Category: interview

Silver Springs, Fleetwood Mac Live, Milwaukee,…

Silver Springs, Fleetwood Mac Live, Milwaukee, WI – June 24, 1976.

“There’s some really amazing songs on this album. There’s one called ’Silver Springs’ that has a lot in it about Christine and me. It’s very sad. It goes: “Your man is seeing another woman, did you say she was pretty, did you say that she loved you, I don’t want to know about it…” It’s really sad.
Then at the end it has a tremendous build up – “Time cast a spell on you, but you won’t forget me, I could have loved you but you wouldn’t let me, I’ll follow you down till the sound of my voice haunts you – you’ll never get away from the sound of the woman who loved you…"  That’s repeated over and over for about five minutes. By the end of it, you’re in tears, I’m screaming ”Give me just a chance, was I such a fool" and it’s just terribly sad.” 

It must be an extraordinary, cathartic experience to perform. 

“Yes, it brings me back always. But that’s good. When we did that once onstage, I almost did start to cry. When I wrote ‘Silver Springs’ I hadn’t written the part about “the sound of my voice”, and when I started doing a rough vocal, it just came out.
When I finished, everyone said, isn’t it strange that you would say that without thinking… 

Stevie’s voice wanders off, repeating the instinctively meaningful lyric almost to herself – “I’ll follow you down till the sound of my voice…“ rather than saying, you know, the memory of me, or my face, or something, I dwelt on the sound of my voice. 

“Because I suppose, as far away as Lindsey goes from me, he’ll never get away from the sound of my voice, ever. And John will never get away from the Christine’s voice. On a literal level. It’s very heavy.” – Sounds, October 1976.

Groupie Love: Lana Del Rey by Kim K, Stevie Ni…

Groupie Love: Lana Del Rey by Kim K, Stevie Nicks, Courtney Love, & More – L’Officiel:

Stevie: Dear Lana, are we planning on spending the summer in our fantastic apartments in the Hollywood sign? 

Lana: Stevie! Sweet angel! Yes don’t worry I’ve already began planning the summer but I was thinking we could spend half of our time on that boat we were talking (maybe shoot a video for “Beautiful People, Beautiful Problems.”) I was thinking we could kick it off on the Summer Solstice — what do you think? 

Stevie: Are we still going to have the fabulous dinners and parties? Long gowns required. (I realize no one will know what we’re taking about!) 

Lana: Yes to fab parties with long dresses, folk music, and all the most fun people in attendance. I started a guest list I’m going to send over to see what you think. (The men are the trickiest part.) Should we invite the local gossip columnists too or keep it low key? I was thinking open bar, but buffet-style only. Lots of twinkling garden lights on our shared deck. 

 Stevie: Have you enjoyed your new record Lust For Life and why, since it’s so different? 

Lana: I can’t tell you how much I’ve enjoyed touring this new record and a lot of my happy feelings about it kicked off when I was talking to you and we were so on the same wavelength about how nice it is to turn a corner for the better. Obviously you have to really be changing to write a record that’s different from the rest of your discography, but it feels good to be slowly catching up in my personal life to some of the more cheerful sentiments I was writing about over the last two years.

Stevie Nicks Interview | Classic Rock Magazine

Stevie Nicks Interview | Classic Rock Magazine:

Stevie Nicks may appear to have a complicated and ambivalent relationship with Fleetwood Mac, but you’d be bard-premed to find a greater public proponent for the band. Since 1981 the writer and singer of Rhiannon, Dreams, Sara and many more has juggled a successful solo career alongside being in the group and has sometimes frustrated her bandmates with her priorities. But Nicks still swears allegiance to the Mac and is always ready to add a new chapter to the saga – when it fits. 

You maintain an active and successful solo career, as well as membership in Fleetwood Mac. What’s the agar of doing both? 

Solo work and Fleetwood Mac is a really great thing to be able to go back and forth to. You can do your own thing until you get bored and then you can go to the other thing and do that until you start to get bored, and then you can go back to the other thing. It helps you stay more excited and uplifted for what you do so you’re not just doing one thing year after year.

It keeps it fresh, in other words.
Basically, what we are is entertainers. When we go on stage we’re performers. That’s what we do. Even if this band had never made it big, we’d be playing all the dubs. So it isn’t a question of keeping it fresh, it’s that were doing what we love and we don’t have anything else, basically, to do. 

What’s the most difficult adjustment when you move between the two? 

From the very beginning, when I was seventeen, I wanted to be in a band. When you’re in a band you’re a team. When I’m in solo work, I’m the boss. I have gone back and forth about it in my head. I’ve decided I do like being the boss, but I’ve been in Fleetwood Mac for so long I understand how to not be the boss and be part of a team and a team player and it’s okay. Part of it knocks your ego down, makes you humble. So there’s a lot of good things about being in a band. 

Your solo commitments often seem to go on longer than they were initially expected to, which frustrates a lot of the band’s fans — and maybe your bandmates? 

A big band like Fleetwood Mac needs to get out of the spotlight, so that’s what we done. We should always be off the road for three years, because when we come back it’s an event. I think that’s very important. There’s a lot of famous bands and a lot of important people out, and you’re going to make a choice of which ticket to buy, and if you haven’t seen one of them for three years or more then that’s going to be at the top of the list. It feels more special. And being away from each other for three years is good. It really sets you up for a good time because everything’s new and everybody’s got new stories and everybody’s been doing crazy, different things, so when you walk into rehearsal that first day everyone’s really happy to see each other. If we toured every other year it wouldn’t be like that. 

Read more

Fleetwood Mac’s ‘paid the same’ policy

Fleetwood Mac’s ‘paid the same’ policy:

(CNN) Rock icon Stevie Nicks believes the fight against sexual misconduct and gender inequality in the entertainment industry is going to require persistence. 

Everybody needs to not let this be a kind of big wave and just go away and say, ‘Oh well, you know, it’s over and nobody cares anymore,’” Nicks told CNN at the Recording Academy’s MusiCares event on Friday. “Everybody has to keep really fighting because otherwise women, we will be swept under the carpet yet again and it will just start over." 

The singer, who joined Fleetwood Mac in 1975, said she and fellow bandmate, Christine McVie, did not experience much sexual harassment over the course of their meteoric careers. 

"I think I’ve been very lucky,”
she said. “And maybe it’s because when I joined Fleetwood Mac, Christine and I made a pact. We said we will never ever be treated like a second class citizen amongst our peers as we get more famous and more famous – and if we’re in a room with famous rock n’ roll stars that are men and they treat us that way, we will scream at them and then we’ll walk out." 

We’ve been a force of nature our entire career, so nobody has dared to step over that line to Christine McVie and Stevie Nicks,“ she continued. "I’m such a raging monster when I’m angry that it would have never worked, so I’m really glad I never had to run into that." 

As for the ongoing conversations about pay disparities between men and women in entertainment and across industries, Nicks said she’s in full support of those calling for pay equity.
"Fleetwood Mac has two women and we all get paid the same,”
She said. “And if we didn’t, Christine and I would be walking out the door.”

    ‘Rhiannon’ is indeed a magical kind of son…

    ‘Rhiannon’ is indeed a magical kind of song. Not only because the actual 45 is lilting, haunting, and exquisite but also in terms of how it came to realisation. ‘Rhiannon’ is the name Stevie read in a book called ‘Triad’ by a woman named Margaret Righter.

“She’d really like to think that I got the story from her, but I didn’t. Her Rhiannon is evil and mine is really good. ‘Triad’s’ about a modern lady with two personalities, and has nothing to do with history. I just fell in love with the name, sat down, and wrote the song in about ten minutes, and found out later that the whole story is already written in Celtic mythology, Welsh mythology. It’s very strange… and Rhiannon onstage is very, very weird.”

    Ever heard of the collective unconscious? I think I’ve got the phrase right – it’s all about a shared racial/tribal memory, kind of a shared reference file of information referring back to pre-history and beyond. Like Bunny Wailer says, "we are reincarnated souls from time to time”; if that’s so and Stevie very definitely thinks it is, then what could be more natural than that something you’d never even been aware was filed away should suddenly turn up in your conscious mind? Walt Whitman puts it thus: “I was there…” Stevie puts it like this: “I’m sure that I was there at the time, and Rhiannon somehow came through me.”

    The following chain of inter-related events backs up Stevie’s theory. “I started collecting butterflies in L.A., after I’d joined the band, and Rhiannon was recorded. Then, a year and a half later, somebody gave me this book. I’d never read anything on Rhiannon at the time. This book was called ‘The Song of Rhiannon’, and there’s a picture of her at the beginning. She’s sitting like this; she has really long flowing hair, and out of her mouth is flowing butterflies.”

"You turn the book over and there’s these little nooks and crannies and there’s butterflies on all the ledges… and I’m going, this is very strange.”
There’s further links involving visions of “corridors, high ceilings, stone doors opening and closing, echoes…” seen by a student at a gig, who later researched a thesis into ‘Rhiannon and related subjects’ which bore out Stevie’s lyrics so exactly that she applied to Stevie for further information.

    “I said, Lindsey, I’ve never read any of that stuff, but it’s all there in the song. I figure I really didn’t need to read it, I just think I was around at some point.” I won’t elaborate; I know that if, like me, you believe in those kind of supernatural things you’ll believe it, and if you don’t you won’t.

– Sounds, October 30, 1976.

Thanks to @headersonline for the beautiful graphic.

“I’m very weird about money anyway becau…

“I’m very weird about money anyway because to me, money is one of the most unimportant things in life. Unless you’re a happy person, what good is money going to do for you anyway?“

Here’s another little clipping to celebrate Kenny Loggins’ birthday today. 

Courtney Love: One thing you’ve always done, I…

Courtney Love: One thing you’ve always done, I realized recently, is write about these muses, these other females, these goddesses. These parts of yourself. You don’t write big, sexy love ballads about men. I wondered why that was for you? Because I do the same thing. I was listening to a song of Billy Corgan’s yesterday called “I Need a Lover.” It’s sexy, okay. But I’m listening and I’m going, I can’t write like this. 

Stevie Nicks:
You know how else asked me that same question a long time ago: Prince. We were really close for a while–we never went to bed together, but we had something that was very, very special. And he always said, Why don’t you write songs that are more sexual? And I said, Well, because that’s no the way I am in my real life. I am not a person who walks naked through the house. I will always have something beautiful on. It will be beautiful, and it will enhance me.

Blonde on Blonde, Spin Magazine, 1997.

An episode with Stevie Nicks

An episode with Stevie Nicks:

Do you ever suffer imposter syndrome or have you always felt that you are where you belong?

“No, I have never suffered imposter syndrome. I have always felt I am exactly where I am supposed to be, doing exactly what I was supposed to be doing.”

Stevie Nicks reveals how she almost got kicked out of Australia for singing with Tom Petty

Stevie Nicks reveals how she almost got kicked out of Australia for singing with Tom Petty:

New article/interview filled with great quotes and anecdotes.

‘Rock yourself into the stars’: Stevie Nicks doing it for Tom Petty

‘Rock yourself into the stars’: Stevie Nicks doing it for Tom Petty:

When Stevie Nicks closes the shows on her Australian tour with her 1981 hit Edge of Seventeen, it will hold a particularly special meaning for the Queen of Rock ‘n’ Roll. 

“There was a whole verse written about Tom Petty that I never really referred to
,” Nicks said.
Petty, who died in October, was a long-time friend and collaborator of Nicks and she credits him with helping her launch her solo career. 

But it was a misheard conversation Nicks had with Petty’s wife Jane that inspired the song’s famous title.
“The verse ‘he was no more than a baby then, well he seemed broken hearted, something within him, but the moment that I first laid, eyes on him all alone, on the edge of seventeen’ that was about Tom,” Nicks says. 

Jane has a real Florida accent and she said something about him being around the age of 17 and I thought she said the edge of 17 and I just thought that was so poetic.
“She corrected me when I asked her about it, but I didn’t care. I kept it.” 

Nicks said she would normally be spending this difficult time with Petty’s family and going through her grief privately, but wanted to fulfil her Australian tour commitments, mostly because it’s ‘what Tom would want’.
“I am going to be going over the loss of Tom while I am on this tour. Since he just died and I am actually here in my time when, under normal circumstances I would be with his family and going through my grief. But I am here in the arms of Australia and if I was going to be anywhere I want to be here,
” Nicks said. 

It’s going to be an interesting thing to perform Edge of Seventeen and all the other songs Tom was part of but he would not want me to change my show one little bit because of him. He would say ‘do your show exactly as you did it 55 times in the United States, rock yourself into the stars’.” 

Nicks current Australian tour, which kicks off in Perth on November 2, is just two years after she was last here with her band Fleetwood Mac, and comes on the back of her 2014 solo album 24 Karat Gold. 

Honestly, after I delivered the album to the record label I didn’t listen to it again for almost two years because I had to go straight into rehearsals for the Fleetwood Mac tour,“ Nicks said.

“So we did 110 shows on the first tour and then Chris (Former Fleetwod Mac songwriter Christine McVie) said she wanted to come back, so we did another 110 shows with her.

“When I got back I literally didn’t even take a day off, I went to my managers and said ‘I know it’s been 18 months since we released the album, let’s book a tour’.” 

The original 28 show tour was extended to 55 dates and then an Australian leg of the tour was added. 

Now, she admits, she is ready for some time off. 

This is the most successful tour I have ever done, so it is really worth it,“ she said. 

I have a Fleetwood Mac show in January and then I am taking some time off to go to Hawaii.“

But she already has her eye on more touring as soon as she can after the holiday ends.

You just have to,“ she said. “Especially what has happened to me with Tom, you can’t take anything for granted, if you have music to play that you love, why not?

“I don’t want to not play Edge of Seventeen again.” 

Stevie Nicks plays Perth Arena on November 2, Botanic Park, Adelaide on November 4, ICC Sydney Theatre on November 7 and 8, Bimbadgen, Hunter Valley on November 11, Sirromet Wines, Mt Cotton on November 12, Rod Laver Arena, Melbourne on November 16 and Rochford Wines, Yarra Valley on November 18. 

Tickets are available through