Tuesday, March 31, 2009


Massive turnout today for the Stevie Nicks appearance at Barnes and Noble in New York City. Fans waited in lines that stretched around the block from as early as 5:30 this morning for the signing which didn't begin until 7pm tonight.  Congratulations to everyone that managed to get in to meet her.  This is a first.  Stevie's never done anything like this before.  A really great start for release day of Stevie's CD "The Soundstage Sessions" and the DVD "Live in Chicago".

Fleetwood Mac TORONTO - March 26, 2009 (NIGHT 2) PHOTOS

Nice collection of FLEETWOOD MAC shots at 
the Toronto show from March 26th
Photos by: ozcameraman



The legendary Stevie Nicks is going to be on the show tomorrow night. As if that's not amazing enough, Stevie will be answering a few questions from viewers like you! All you need to do is head on over to our Ask Stevie page and follow the instructions to upload your video question - if we like your question, we'll show it on air and get Stevie to respond directly!

Here are some tips:

Show us your Stevie style! Do you have a Stevie Nicks outfit or decor that you save for special occasions? Now is the time to break it out (I'm not sure what other times you break it out. That's your business.)

Don't get too obscure! As much as you'd like to know the thread count on Stevie's purple scarf from the concert at Salt Palace Convention Center in October '79, keep it interesting for us average folk!

Ask her questions, ask her sweet little questions. (See what I did there?)


Stevie Nicks On Her Favorite Songs: A Music Mix Exclusive
by Leah Greenblatt

It's been more than 30 years since the world first met Stevie Nicks—mystical Fleetwood Mac chanteuse, famously excessive solo star, leather-and-lace pop icon. Yesterday, the original Gold Dust Woman sat down with EW to discuss her new live album, The Soundstage Sessions, and companion DVD Live in Chicago, both out today. Though she is now 60, and many years sober, she looks very much the same: pink cupid's bow mouth, long sweep of blond hair, diminutive (minus her habitual platform boots) five-foot-one frame draped in red chiffon.

Ensconsed on an overstuffed couch in her suite at New York's Waldorf-Astoria and surrounded by her two pocket-sized dogs and a towering spray of white orchids, Nicks tell the stories behind some of her most memorable compositions; songs that have been covered by everyone from the Dixie Chicks to Dave Grohl, but are still, and always, signature Stevie.

"Oh boy, I’ve never really spoken about this, so I get verklempt, and then I’ve got the story and I start to screw it up. Okay: In the old days, before Fleetwood Mac, Lindsey [Buckingham] and I had no money, so we had a king-size mattress, but we just had it on the floor. I had old vintage coverlets on it, and even though we had no money it was still really pretty... Just that and a lamp on the floor, and that was it—there was a certain calmness about it. To this day, when I’m feeling cluttered, I will take my mattress off of my beautiful bed, wherever that may be, and put it outside my bedroom, with a table and a little lamp.

That's the words: 'So I’m back to the velvet underground'—which is a clothing store in downtown San Francisco,where Janis Joplin got her clothes, and Grace Slick from Jefferson Airplane, it was this little hole in the wall, amazing, beautiful stuff—'back to the floor that I love, to a room with some lace and paper flowers, back to the gypsy that I was.'

So that’s what 'Gypsy' means: it’s just a search for before this all happened. And later, I tacked on a line for my friend Robin, my best friend, who died of leukemia: 'I still see your bright eyes.' But then, Robin wasn’t sick yet. She got cancer, and died within a year."

"Edge of Seventeen"
"This was written right after John Lennon was assassinated. That was a very scary and sad moment for all of us in the rock ’n roll business, it scared us all to death that some idiot could be so deranged that he would wait outside your apartment building, never having known you, and shoot you dead. If you were the president of the United States, maybe, but to just be a music person, albeit a Beatle? And to be shot and killed in front of your apartment, when you had a wife and two kids? That was so unacceptable to all of us in our community. So the white dove was John Lennon, and 

"Now, for me, it has taken on something else. I feel like I hear war, because I go to visit soldiers in Bethesda and at Walter Reed [Army Medical Center], and when I hear their stories... We can’t even imagine what they’re going through, the violence. So when I sing ‘Flood of tears that no one ever really heard fall at all / Oh I went searching for an answer, up the stairs and down the hall,'—'the call of the nightbird' is death, and I think of them in the desert, coming around corners, the fear, waiting to be ambushed. It’s very foreboding, ominous."

"It’s not about Mick’s Fleetwood's ex-wife, who was also one of my best friends, even though everybody thinks it is. I used her name because I love the name so much, but it was really about what was going on with all of us at that time. It was about Mick’s and my relationship, and it was about one I went into after Mick. Some songs are about a lot of things, some songs only have one or two lines that are that main thing, and then the rest of it, you’re just making a movie, writing a story around this one paragraph, that little kernel of life. 'When you build your house' was about when you get your act together, then let me know, because until you get your act together, I really can’t be around you."
EW: Some people have said it's about Don Henley, whom you dated around that time 

"He wishes! If Don wants to think the' 'house' was one of the 90 houses he built—and he did build house after beautiful house, and once they were done, he would move because he wasn’t interested in them anymore [laughs]... No. He is one of my best friends in the world. If anything happened to me, he would be there, always. But if someone said that, they're so full of s---!"

"Crash Into Me"
written by Dave Matthews
"Oh, as soon as that song came out I said, I want it. I want to do that song! And the answer from every single person was, 'This is really a man’s song, you can’t do it.' So I was like, “Alright, whatever,” but in my head I said, ‘But I will do this song. It’s a twisted song, so I’ll just twist it even more, and make it fit me.' Now live, where he would sing 'In a boy’s dream' I have the [backup] girls go 'And the boys sing...' Then I can do those lines: [singing] 'Hike up your skirt a little more, and show your world to me.' Dave’s actually very sexual, his writing. But I don’t know if he likes it or not. I invited him to come to the taping for PBS, and he never got back to us. I thought he would! But you know, his wife was having a baby, I think."

"How Still My Love"
"I really don’t write extremely sexual songs, never have. I’m always going to write about the bouquets and the flowers [laughs]. But 'How Still My Love' really is a sexy song, and being that it’s one of my few sexy songs, when we do it onstage it’s fun. It’s kind of woozy and it’s slow, but it’s got a really great beat—kind of a strip-tease, a little burlesque, a little Dita Von Teese-y. The title actually came from two different books I saw in some hotel, one was called How Still My Love and one was called In the Still of the Night, and I used both, but I never even opened up the books [laughs], so I have no idea what they were about. Whenever I come into a room with a library, in a hotel or whatever, I pull them all down and just sit—I get a lot of ideas that way."

"The Circle Dance"
written by Bonnie Raitt
"I love to do this song. Bonnie’s dad, John Raitt, was a big music guy, Broadway, and he would be gone a lot when Bonnie was growing up. And when you’re young, you don’t think 'Oh, they have to work,' you just think, 'They’re gone and it’s my fault.' You know, the words, 'I’ll be home soon, that’s what you’d say, and a little kid believes / after a while I learned that love must be a thing that leaves.' But when her father was older, there was a peace she found with him. And in many ways the song can be about a romantic relationship too, about letting go: 'Time has made things clearer now.'"

"Beauty and the Beast"
It was definitely about Mick, but it’s also based on the 1946 Jean Cocteau movie. I first saw it on TV one night when Mick and I were first together, and I always thought of Mick as being sort of Beauty and the Beast-esque, because he’s so tall and he had beautiful coats down to here, and clothes made by little fairies up in the attic, I always thought [laughs], so he was that character in a lot of ways. And also, it matched our story because Mick and I could never be. A, because Mick was married, and then divorced and that was not good, and B, because of Fleetwood Mac.
Lindsey had barely survived the breakup of Lindsey and Stevie, much less would he not survive the relationship of Stevie and Mick. So Mick told Lindsey, even though I thought it was totally the wrong thing to do, and two days later we broke up. But of course Lindsey never forgave me for years, if ever. All the great love stories are the love that cannot be. And in the midst of that whole thing, Mick fell in love with my best friend Sara. So the moral is, Don’t go out with a gorgeous rock star who goes on the road, just don’t! Because it will never, ever work out."

"I was in Colorado around 1973, after me and Lindsey's first record, and we’d just been dropped. Lindsey had been offered a tour with the Everly Brothers, it was a good salary and we really needed the money, so we went to where either Don or Phil Everly lived, in Aspen, to rehearse. I had my best friend with me, and we went out to dinner one night and met these great guys, they just gave us their living room in their three-bedroom apartment—we stayed there for three months.

"So one day while I was sitting there sitting on their floor, looking out the window at all the snow, I made a decision whether I wanted to continue a relationship with Lindsey, musically and romantically, and I decided that I was gonna give it another try, because we weren’t getting along very well, but the music was important. But I never told him what it was about 'til years and years later, maybe only in the last five. I knew it was a good song. Whether I had sense if it would do anything or go anywhere? I don’t know [laughs]. But I knew it was really good."


This week is a big week for Stevie.... 
Tonight Barnes and Noble, Union Square, New York City - CD/DVD signing

April 1st, Late Nite with Jimmy Fallon

April 2nd The Today Show

April 2nd CD Listening Party at greenhouse in New York City. 

STEVIE NICKS... The Original Gold Dust Woman

Nick of Time: Q&A With Stevie Nicks

Forget retirement. For Stevie Nicks, it’s a busy few months, touring with Fleetwood Mac and promoting a live solo album and DVD. On Monday, the original Gold Dust Woman talked to WWD about what it’s like to fight with Lindsey Buckingham at age 60, the perils of Botox, and the reason she isn’t mentoring flailing divas like Britney Spears and Courtney Love. 

WWD: Your publicist barely allowed me to interview you at 2pm. What time do you ordinarily get up?
Stevie Nicks: : I get up when I have to get up. But Lindsey Buckingham insisted that we start rehearsals for the tour between 1 and 2. That meant my vocal lesson had to be at 11, and I got up everyday at 8 so I could have my two hours by the ocean with my coffee. Before that I could sleep until one or two. 

WWD: At the show at Madison Square Garden, you and Lindsey were very affectionate with one another. Have you guys finally made peace or does it change on a daily basis? 
S.N.: Well, that was a good show. We love New York. But Lindsey is married. He has three darling children, one little boy and two girls. He lives in girlie world with the wife and the four year old girl and the eight year old girl. So he’s softened. When he gets mad at me, he treats me like with the love and respect that he would show for a girl-child instead of just getting mad at me like an old, miserable ex-girlfriend. It’s different. And I’m thrilled. 

WWD: Isn’t that damning with faint praise? Wouldn’t it be better if he were mad at you like an equal rather than his preteen daughter? 
S.N.: Well, It’s a softer way. And I prefer it. He treats me as an equal. He just sometimes doesn’t agree with me. And sometimes I don’t agree with him. We don’t agree on a lot of things. Putting this set together, we didn’t agree on a lot of things. But we came to be one voice. By the end. After two months of rehearsal. 

WWD: What’s it like not having Christine McVie on tour? 
S.N.: The loss of Christine has been gigantic. Before she left there was Lindsey the gnarly gnome, Stevie the miserable, philosophical fairy and Christine the pop star. She was happy. She was able to rein everybody in. She’s five years older than me and six years older than Lindsey. She had a lot of power in this band. She was older, she was smarter, and she had been through more. So we miss her terribly and if there was any way to get her back we would. But she’s finished. She has no interest. 

WWD: You said in a recent interview that you were relieved to still look like you. And you do. Is this the result of good work or no work? 
S.N.: You mean like plastic surgery? No. I had Botox and I hated it. For four long months, I looked like a different person. It almost brought down the whole production of the last tour. It was so bad, I would look into the mirror and burst into tears. Botox is becoming the new face of beauty and it’s unfortunate because it makes everybody look like Satan’s children. Everybody has pointed eyebrows. Everybody looks related. All the Desperate Housewives look like sisters. If you’re an unattractive girl who’s trying to be beautiful with Botox, forget it. If you are a beautiful girl who’s trying to be beautiful with Botox, you will look like you’re angry all the time. You’d have to tie me down to get me to do it again. 

WWD: Do you find yourself wearing different clothes now that you’re getting older? 
SN: I’m very aware. I want to be age appropriate. I don’t want to be that girl you see walking away and she looks 25 and then she turns around and she looks 90. I don’t wear see-through chiffon skirts anymore. I wear a slip. When I was 30 I didn’t care if people could see through my clothes. Now I care. I know I’m sixty. 

WWD: In the last decade, you’ve worked with Sheryl Crow and mentored Courtney Love. What are you listening to now? 
SN: This is the part where I run and get my Ipod. Can I do that? [She runs and gets her Ipod.] I just made a tape of dance tracks. Beyonce’s “Single Ladies,” “Umbrella,” by Rihanna, “Come to me, Peace,” by Mary J. Blige, “Afraid,” by Nelly Furtado, “Touch my Body” from Mariah Carey. Love that. 

WWD: So you like R&B? 
S.N.: Oh yes, very much...I’d like to do something crazy with Timbaland and Justin Timberlake. I learned to sing listening to R&B groups, Phil Spector stuff. 

WWD: Anything else you’d like to do? 
S.N.: I’d like to do an all girl choir with Michelle Branch and Sheryl Crow and Natalie Maines. I love singing with her.

WWD: Do you still talk to Courtney? 
S.N.: I haven’t talked to Courtney in a long time. We formed a bond the last time before she got all messed up again. When she did the movie [The People vs. Larry Flynt], and came to my house and interviewed me for Spin or Interview Magazine. She was totally sober, and she was beautiful and so smart. I thought she was going to be a famous Academy Award winning actress. Then she fell apart. But if she called me and said “I need you,” I’d go to her. I love her. But you can’t tell people what to do. People say “Do you want to talk to Britney Spears.” I say “No.” Because nobody could talk to me back when I was having problems. 

WWD: Do you have any regrets? 
S.N.: The eight years I was on Klonopin. 

WWD: You don’t even drink now, right? 
S.N.: No. But not purposely. I used to have a shot of tequila before I went on stage and it would give me this acid thing. Finally, I said, “This isn’t worth it.” I can’t get a good enough buzz on one shot of tequila to risk having an acid bubble my entire show. And I don’t like watching drunk people. Especially women. My mom always said to me “Everybody forgets drunk men, but no one forgets a drunk woman.”


Stevie Nicks: How I Look Fabulous at 60
By K.C. Baker

Stevie Nicks is 60 but she still feels like she's on the "edge of 17," thanks to super-efficient Power Plate workouts that have whipped her into incredible shape. 

"When I gained my 30 lbs., it was because I went on tranquilizers for eight years," Nicks told PEOPLE Monday, the day before her new CD, The Soundstage Sessions, and Live in Chicago DVD hit stores. "I don't blame myself for that." 

The secret to staying slim is finding a healthy weight you can maintain, says the "Rhiannon" chanteuse, who is now a sleek size 8 and is touring with Fleetwood Mac for the first time in five years. "You don't have to weigh 105 lbs. Weigh 125 lbs. and stay there."


Stevie Nicks: This Is What 60 Looks Like Now

No computer, no cell phone, no facelift. ‘I am old-school all the way. School of rock.’

By Deborah Barrow, Editor-in-Chief


Stevie Nicks is a very busy woman.

Some 40 years into one of the most remarkable careers in music, she is touring the country with her famous supergroup, Fleetwood Mac, which still fills large venues with rapturous baby-boomer fans; she is releasing a new solo CD, "The Soundstage Sessions," as well as a new solo concert DVD, "Live in Chicago."

And that’s just March and April. So what’s with this sudden flurry of activity?

"It wasn’t meant to all be together," Nicks told wowOwow in an interview squeezed in during a short break in the concert tour. "Live in Chicago" was supposed to release last October, but with the Election, it was moved to this two-week period while the tour is on vacation."

What’s it like to be a rock goddess at the tender age of 60? "I would be lying to you if I told you it was easy. Our show is very hard and very long: two hours and ten minutes. Spinning around in seven-inch heels, it’s long. You have to be in really good shape. You have to take care of yourself."

In her new DVD, Stevie Nicks takes to the stage like the gypsy that she was: blonde hair to the waist. Morgane Le Fay wedding dress under a black jacket. Top hat. Feather. Ubiquitous scarves. As The Washington Post said about the Fleetwood Mac concert, "Nicks showed she still knows how to really work a shawl."

"I’ve never had a facelift and I never will. I stopped laying in the sun at 28. I never go to bed with makeup on. I have creams and lotions and I take 20 minutes of rubbing it in my skin … like a little biochemist." Nicks tells her many female friends now in their 30s, "If you think you’re not going to care how you look when you’re 60, I’m here to tell you: You are going to care more. When you’re young and thin and cute, beauty, it’s your world. You will be sorry, later on, if you don’t take better care."

When asked about her online life, she skips barely a beat: "I don’t have a computer or a cell phone. I am old-school all the way. I am school of rock."

"In 1983 when I was going out with the love of my life, Joe Walsh (legendary rock god of James Gang and Eagles fame), he had built a room in a loft filled with pianos." According to Nicks, the first time she heard a tune she had just picked out on an electronic keyboard instantly played back by Walsh with full orchestration, she realized, "Everyone, even the violinists had been replaced."

Later that year, Walsh told Nicks he couldn’t be with her on her favorite holiday, Halloween, because he had to work on his computer.

"That means I have also been replaced. If computers are going to replace me in a man’s life and replace those violinists …"

That was the end of Nicks’s relationship with computers.

So no Facebook, no tweeting, no MySpacing for Nicks. She does have an official website, a good one — The Nicks Fix — which she infrequently posts to, but is kept up-to-date by her webmasters. (Great pictures, by the way.)

When asked who she wants to come back as in her next life, she says she wants to return as her Yorkie/Chinese Crested mix. "She only wears Ralph Lauren. She always wears Ralph Lauren. She travels like a rock star."

Monday, March 30, 2009


Ever the rock gypsy, Stevie Nicks preps a new live album and DVD while touring with Fleetwood Mac

By John Russell 
Photo by Neal Preston

With over 30 years of touring under her leather and lace belt, Stevie Nicks is a bona fide rock ‘n’ roll road dog. But this month’s The Soundstage Sessions—released along with her new Live in Chicago DVD—is Nicks’ very first live album as a solo artist. Currently on tour with Fleetwood Mac, the luminous 60-year-old gypsy chatted with HX about life on the road with the boys in the band and why she’s never been to Night of a Thousand Stevies.

HX: For someone who tours as much as you do, it’s surprising that this is your first live solo album.

Stevie Nicks: I filmed my show in 1985 at Red Rocks in Boulder, Colarodo. And from then on, everything happened and happened and happened. Fleetwood Mac filmed in 1997 for The Dance and we filmed again in 2007 for Say You Will and somewhere in all of those years, even though I was touring in between all of those things, it just got lost, the idea to film my show. And when I finished touring in 2007, I just called my manager and said “Listen, I can’t move on until I film this show.” It started in Vegas with four shows at Celine Dion’s theater at the Colliseum at Caesar’s. It’s like, you just couldn’t take your little rock ’n’ roll band in there! I had to build that big world around that huge stage. So we went back to all our film and videos and we built a world. So PBS called and they said they would love to do it and we went to Chicago and filmed it at the Soundstage studios. It was just great, because, you know, you could take a little time between each song, so you could actually wear all the really great outfits that sometimes in a real show you just don’t have time to make those kind of changes. So I got to really do all the little images that I’ve created over the years. And it was really important to me to do that. First, because I think it’s such a spectacular show, and second, because the next time I go out on my own, I wanna do something really different. I wanna find some different songs in my repertoire and I wanna do maybe a little unplugged thing. Maybe I’ll play piano. But I couldn’t do that until this baby of mine was, you know, grown up, dressed and pushed out of the nest.

I heard that you were hesitant to play “Sara” for the taping because you consider it an exclusive Fleetwood Mac song. Are there others? What makes them sacred to Fleetwood Mac?

Well, had I known that Fleetwood Mac was going out on October 5, in 2007, I wouldn’t have filmed “Sara.” It’s fun to keep a few songs exclusive. Even though “Gold Dust Woman,” “Dreams,” “Rhiannon”—those are pretty darn exclusive Fleetwood Mac songs! But I’ve been doing them [solo] since 1982. So it’s kinda like, those songs just exist in all sets.

How do you decide which songs you put in a set list?

It really seems to have a lot to do with the time and what you’re doing and how everybody’s feeling. Some songs make great records and don’t transfer to stage very well. You know, you love one song one day and the next you want to put it away. When you have as many songs as we have between my solo work and Fleetwood Mac’s work you have a lot to choose from.

What do you think touring with Fleetwood Mac would be like if one of the guys was gay?

If one of us had been gay, I don’t think it would have mattered. I think it would have been fine. The love and respect that we have for each other would certainly have overridden any way that anyone would have felt about somebody being gay. I think we would have all been absolutely fine with that. It’s really about the music at that point.

What’s the worst practical joke they’ve ever played on you?

Well in the very beginning, I think it was the end of the Rumours tour, in Hawaii, somebody filled an entire hotel room with chickens and mud and chicken feed. And it was kind of a disaster. It was supposed to be really funny, but it really wasn’t very funny! [Laughs] That kind of stuff really doesn’t happen that much anymore. You have to remember everything else that was happening at that point. Everybody was drinking a lot, so when everybody’s goofed out and high you could say, “Let’s get a bunch of chickens and put them in the hotel room!” And not even think about the fact that you’re gonna spend $30,000 to clean up the room and get the chickens back to their home!

You’ve had some successful remixes of your early hits in the past few years. Did you ever think that 30 years later the gay boys would still be out at the clubs dancing to those songs?

You know, I always felt that “Stand Back” was such a great dance song that I was not surprised. It’s been dance-mixed a million times! It’s funny with my songs. Deep Dish, when they did “Dreams,” I think they never in a million years thought I would say, “Oh, I’m so down with doing a new vocal!” And they loved it so much that they just mixed it and mixed it and mixed it. And I did finally, laughingly say, “You guys have got to move on! I have many songs. If you want to do dance mixes I will just get the tapes out and you can just take them!”

So, Night of a Thousand Stevies is coming up in May, and there are die-hard fans who are convinced that you showed up one year in disguise.

I didn’t. I did not. But you know what? Sometimes I think I should just lie and say I did! The fact is that I’ve never been to a Night of a Thousand Stevies, not because I wouldn’t like to come. I would love to go. But I’m always working. And I’m usually working on something that I can’t get out of. And I live on the other side of the country. I would love to attend Night of a Thousand Stevies. And what I’d like to do is come in total Stevie disguise. Which of course nobody could do better than me! And one year, watch out all you people, I will be there! And you won’t know, so watch everything you say, because I could be lurking! [Laughs]

Does it ever hit you that you’re a cultural icon?
It probably doesn’t. Because, I play the gigs, I go back to the hotel. I don’t get to go out to clubs. I don’t even get to go out to dinner! So, when you ask me if I’m aware of my iconic status—it’s like hearing the PA in the venue. I’m aware because I can hear it, but I don’t get to be a part of it that often. And I’m sorry about that, because I would like to be more a part of it, and dig on it more. And I don’t really get to do that. But I will tell you I am very, very honored. I’m very honored about Night of a Thousand Stevies. I think it’s precious. And it goes straight to my heart. I wish I could come there every year. I know I’m a rock ’n’ roll star, but I work very hard. I’m the worker bee. I don’t really get to enjoy the honey comb very much.

So when can we expect some new material from you?

Well, when this whole Fleetwood Mac thing is done, I think I’m gonna do another record. I’ve been told by a lot of people that, “The music business is in such terrible shape, maybe you just shouldn’t do another record.” And I really took that to heart. Only in the last couple of months have I really started thinking, “Well you know what? I don’t even care if it doesn’t sell any records.” I need to go back into that creative world. I need to go back into the studio and sit at the piano and pull out all my thousands of pages of what I think is very good poetry, and write some new really beautiful songs and throw them out there. If people like them, great. If they don’t, that’s okay too. I need to do it for myself. So, are you going to hear something from me at some point? Yes you are.

The Soundstage Sessions and Live in Chicago will be released Mar. 31. Catch Stevie’s in-store appearance at Barnes and Noble Union Square, 33 E 17th St, also on Mar. 31 at 7pm.

Thanks to Jose for the heads-up on the article.

Sunday, March 29, 2009

REVIEW: Toronto (night 2) Fleetwood Mac

Concertaholics Review - Toronto (night 2) for Fleetwood Mac
The concert goal tonight was to get a cheap single on the street and get inside to where my contact was so he could assist me with getting down front on the floor. There weren’t alot of singles floating around but after waiting about 6 songs in I grabbed a ticket for $20 and was into The Air Canada Centre now.

Concertaholics Full Review


Mar 28 2009
Mick Fleetwood enjoying his lunch and the weather at Cross Creek, Malibu. Then he tried to work out how to use his phone. Pictured: Mick Fleetwood Picture by: London Ent / Splash News


Mick Fleetwood NPR Radio Interview
Scott Simon spoke with musician Mick Fleetwood on his Weekend Edition on WITF Saturday March 28, 2009 about The Mick Fleetwood Blues Band, their new cd "Blue Again",  about his early days with Fleetwood Mac and how he began playing blues - and briefly on the Fleetwood Mac Unleashed Tour.  I believe the interview was conducted earlier in the month.

DOWNLOAD the interview, or Stream the interview at NPR


Two FREE Give Aways to tell you about:

STARPLUS.COM is giving away a copy of Stevies CD/DVD package "The Soundstage Sessions, Live in Chicago". All you need to do is send them an email. This contest mentions that it's open to anyone in the USA and Canada (except for Quebec). And although it doesn't say otherwise, it looks like it's open to anyone internationally as well.

Prize: One winner will receive Stevie Nicks' "Live In Chicago" DVD and "The Soundstage Sessions" CD!
Restrictions: None; see official rules
Number of winners allowed: 1
Contest Ends: Tuesday April 28th 2009

RYAN'S SMASHING LIFE is giving away the same package - with the same entry method - entering by sending an email. This contest is only open to US citizens.
Prize Pack:
I have a CD/DVD Package to Giveaway for one of you! Send an email with "Stevie Nicks" in the subjectline. Winner will be asked for their mailing address. (* US entries only, sorry.) Good luck!
Visit each site to enter.

Friday, March 27, 2009

F1 BBC Sports Sneak Preview (includes "The Chain")

Sneak preview of the opening titles of BBC Sport' s Formula 1 TV coverage.

The title sequence uses the iconic track "The Chain", a song recorded in 1976 and released on Fleetwood Mac's best-selling album Rumours.

As fans will know, it was used as the theme song for BBC Sport's Grand Prix programme from 1978 until the end of 1996, when ITV Sport took over the rights. And now it's back. Here are the first few seconds of our new titles - see what you think...


MICK FLEETWOOD drew hundreds of fans to Barnes and Noble on March 20th for a CD Signing of "Blue Again".  Here's a couple of shots from the event.  The line shot is courtesy of 429 Records.

"Blue Again" debuted at #4 on the Top Blues Album Chart with the digital release.


Past 60, Mick Fleetwood Plays On

Scott Simon talks with musician Mick Fleetwood...Saturday March 28, 2009 on Weekend Edition from 8am to 10am on WITF 89.5 and the new 93.3 in Chambersburg.

Weekend Edition Saturday, March 28, 2009 - It's been more than 40 years since guitarist Peter Green founded Fleetwood Mac, and although he no longer plays with the band, it remains active. The group still includes drummer Mick Fleetwood, who, at 61, is bringing his music back to its blues roots.

After a five-year hiatus, Fleetwood is playing again with longtime bandmates Stevie Nicks, Lindsey Buckingham and John McVie on the Unleashed tour, while at the same time touring with his own outfit, Mick Fleetwood's Blues Band.

As a tribute to his blues-based roots, Fleetwood created Mick Fleetwood's Blues Band with guitarist Rick Vito. Vito, a fan of Fleetwood Mac when the group formed in 1967, had a stint as its guitarist in the late 1980s. Fleetwood's experience playing the blues with acts such as John Mayall & The Bluesbreakers placed him in the history of blues alongside the likes of Eric Clapton and Mick Taylor from The Rolling Stones.

"There was a whole blues movement in Europe," he says.

It was a movement which helped send Peter Green's Fleetwood Mac, the band's first album, to the top of the English charts. Back then, the average English listener thought he was playing a brand-new musical form.

Returning To Roots

Blue Again, Fleetwood's first album with his new band, strives to bring back the music that sparked the movement. It's a hybrid album, composed of old songs (written by Green from the first incarnation of Fleetwood Mac) and new material by Rick Vito. One of the album's "vintage" songs is Green's "Love That Burns." Fleetwood says he remembers playing that song long before it was recorded on an album.

"We played this in a pub called The Nag's Head in Brixton," Fleetwood says. "It could maybe get 60 people in it, and there used to be 250, 300 people in there. And those were the sorts of places this music came out of. That was our beginnings of Fleetwood Mac."

Fleetwood says he believes strongly that the blues might not be alive today if English rockers hadn't discovered it. Bands such as The Rolling Stones took it upon themselves to teach their American fans about their own heroes, including Muddy Waters, Walter "Shakey" Horton and Bo Diddley.

"That whole genre of music was all but dead," he says. "All of these guys used to come over to Europe and would be treated like royalty. That art form is part of a wonderful heritage of the United States of America. It's nice to know, in some way, that we were a part of that."

Fleetwood has recently taken to the world of Twitter, where he answers questions from fans. Addressing the ups and downs of his band, he admits that, although it's been somewhat dysfunctional at times, the current tour is evidence that Fleetwood Mac is here to stay.

"The lovely thing is, we're very aware that we love to make music together," Fleetwood says. "It hearkens to the Shakespearean phrase, 'If music be the food of love, play on.' And we are playing on."

Stevie Nicks Red Carpet Event (CD Listening Party)


OvationTix.com. are selling tickets to a New York City CD Listening Party with Stevie Nicks on April 2nd at 9pm at the Greenhouse 150 Varick Street.  Tickets are onsale now and are a whooping $15.00 each with all proceeds going to LIFEbeat. 

That's a super great deal for anyone in New York City.... Ron Lasko - Spin Cycle PR confirmed that Stevie will be attending and said that THIS WILL SELL-OUT FAST!

At the event, enjoy complimentary premium vodka cocktails as Stevie joins us to raise funds to fight HIV/AIDS. This is a benefit for LIFEbeat - The Music Industry Fights AIDS. You must be 21+ with valid government-issued photo ID to attend.  Admission is a $15 donation to LIFEbeat.

Buy tix NOW at 212-352-3101 or online at Ovationtix.com

Stevie Nicks Red Carpet Event
a benefit for LIFEbeat
Thursday, April 02 at 9:00PM

at Greenhouse
150 Varick Street
New York, New York 10013
4 blocks below Houston
1,2,3 to Houston Street

Join Stevie Nicks at a listening party for her new CD The Soundstage Sessions and celebrate her new DVD Live in Chicago, as Stevie joins us to raise funds to fight HIV/AIDS. This event benefits LIFEbeat: The Music Industry Fights AIDS. You must be 21 or over to attend this event.


Checkout Concertaholics amazing photos of Fleetwood Mac last night in Toronto (3/26/09). Awesome close-up shots... Really impressive.

Thursday, March 26, 2009

My Night with Fleetwood Mac

Fleetwood Mac 2009 Unleashed Tour
They may be getting older, but Fleetwood Mac put on a great show. If you can, catch the Fleetwood Mac Unleashed tour, it's amazing.

MICK FLEETWOOD Two New Behind The Scenes Videos

These are hysterical!

Episode #2 of MyMickTV.com This is a brilliant idea to film behind the scenes footage of Mick on the Fleetwood Mac tour!!

The first video is courtesy of 429Records channel on Youtube. The second video is from Micks MyMickTV channel on Youtube

FLEETWOOD MAC Un hommage au passé

au Centre Bell: Un hommage au passé


Fleetwood Mac s’est rendu un magnifique hommage, hier soir, au Centre Bell. Sans nouvel album à promouvoir, le quatuor a revisité ses vieux classiques, au grand plaisir des 11 139 spectateurs, qui n’en demandaient pas tant.

Pendant un peu plus de deux heures, la formation a joué ses indémodables tubes, pour la plupart issus de la décennie 1970, plus particulièrement des opus Rumours et Tusk.

Stevie Nicks et Lindsey Buckingham sont montés sur scène main dans la main, histoire de faire taire les rumeurs de friction au sein de la formation. C’est avec Monday Morning qu’ils ont ouvert les célébrations.

Les membres du groupe ont peut-être vieilli, mais ils n’ont pas changé d’un poil. À l’aube de la soixantaine, Stevie Nicks porte encore la même crinière (une longue chevelure blonde) et chante de façon aussi charmante qu’à ses tout débuts : une désinvolture typiquement hippie qui se reflète non seulement dans sa voix, mais également dans sa gestuelle, qui consiste en de grands mouvements de bras dans les airs, comme on a pu l’observer pendant son interprétation de Gypsy.

Lindsey Buckingham fait quant à lui honneur à sa réputation de petit voyou. Vêtu d’un blouson de cuir noir et d’une paire de skinny jeans, le guitariste montre une fougue à faire rougir d’envie les musiciens qui n’ont pas la moitié de son âge. Sa prestation en solo de Big Love a sans contredit été l’un des meilleurs moments de la soirée. De leur côté, le batteur Mick Fleetwood et le bassiste John McVie demeurent beaucoup plus à l’aise en retrait.

Voilà sans doute pourquoi le concert d’hier présentait ce sympathique air familier, celui qu’on trouve dans les soupers avec de vieux amis.


Loose Translation:

FLEETWOOD MAC at the Bell Centre: A homage to the past

Fleetwood Mac paid a splendid homage, yesterday evening, at the Centre Bell. Without new album to be promoted, the quartet revisited its traditional old men, with the great pleasure of the 11.139 spectators, who did not ask such an amount of of it.

During a little more than two hours, the formation played its indémodables tubes, for the majority resulting from the decade 1970, more particularly of the opus Rumours and Tusk. Stevie Nicks and Lindsey Buckingham are assembled on scene hand in the hand, history to make conceal the rumours of friction within the formation. It is with Monday Morning that they opened the celebrations.

The members of the group perhaps aged, but they did not change a hair. At the dawn of about sixty, Stevie Nicks still carries the same mane (a long blond hair) and sings in a way as charming as with its whole beginnings: an ease typically hippie which is reflected not only in its voice, but also in its gestural, which consists of great movements of arm in the airs, as one could observe it during its interpretation of Gypsy.

Lindsey Buckingham made as for him honor with its reputation of little scoundrel. Vêtu of a black leather jacket and a pair of skinny jean, the guitarist shows an ardour to be made redden of desire the musicians who do not have half of his age. Its service in solo of Big Love indisputably was one of the best moments of the evening. On their side, the beater Mick Fleetwood and the bass player John McVie remain much more at ease in withdrawal. Here undoubtedly why the concert of yesterday presented this sympathetic nerve familiar air, that which one finds in the suppers with old friends.

STEVIE NICKS - LANDSLIDE (orchestra version)

STEVIE NICKS - Landslide (Orchestra Version)
Rock superstar Stevie Nicks performing one of her signature songs "Landslide (Orchestra Version)" recorded at her October 2007 "Soundstage" performance. Available on itunes and amazon.

Both "The Soundstage Sessions" CD and the "Live in Chicago" DVD are available on March 31, 2009 (March 30, 2009 in the UK).

REVIEW: Fleetwood Mac - Montreal Nicks, Buckingham balance and complement each other

Fleetwood Mac's golden oldies are aging just fine

Bell Centre gig. Nicks, Buckingham balance and complement each other

Montreal Gazette

When Mick Fleetwood and John McVie formed Fleetwood Mac as a British blues band in 1967, they probably never envisioned that they'd be playing to adoring arena audiences, paying up to $150 per ticket, 42 years later.

And they certainly could not have foreseen, during that long-gone summer of love, that all the adulation would be directed at two Yanks they had yet to meet.

As any of the 11,000 fans at the group's Bell Centre concert last night will tell you, drummer Fleetwood is a muscular timekeeper and bassist McVie provides an unobtrusive, solid anchor of his own. But it's also clear that, at all times, virtually all the energy in the room emanates from - and comes back to - singer Stevie Nicks and guitarist Lindsey Buckingham, the group's songwriters and its heart and soul.

If there was a defining moment in last night's hit-heavy show, it was when Buckingham completely took over Oh Well, a snarling 1969 rocker by original guitarist Peter Green that predates his and Nicks's presence in the band by more than five years. While Buckingham, undeniably the group's frontman, soloed away furiously, Fleetwood played the crazy-old-grandpa part for the benefit of the giant video screens.

Buckingham's prowess on his instrument simply isn't talked about often enough. Whether he's playing tasteful, economical phrases, as he did during ex-member Christine McVie's Say You Love Me, hammering out manic rock-flamenco note clusters in Big Love or fingerpicking the tasty folk-blues licks of Never Going Back Again, he's one of rock's most interesting players.

During his five-minute solo in I'm So Afraid, he made the instrument rumble, shriek and gasp, sending out shards of high-pitched squeals and hammering out repeated patterns. Unlike your average guitar god, Buckingham made no attempt to show how many different notes he could squeeze in per minute.

What makes a Fleetwood Mac show so satisfying, however, is the way Buckingham and Nicks complement and balance each other, in both their vocal blend and their approach to songwriting. For every Buckingham power-pop stomper like I Know I'm Not Wrong or Second Hand News came one of Nicks's earthier, more linear crowd-pleasers, like Gypsy or the sweetly nostalgic Landslide, which she sang in her long-familiar husky, lower register. (And, incidentally, how fantastic did she look?)

Buckingham spoke on stage of the emotional challenges that have defined the group's internal relationships over the years. But during Sara, Nicks crossed over to his side of the stage and he put his head on her shoulder.

Staged? Probably - but really, who cares? That affectionate gesture spoke of a hard-won victory that pretty much ensures that - to paraphrase the group - the chain will never be broken.

Wednesday, March 25, 2009