Review Stevie Nicks Complete Studio Albums & Rarities

Stevie Nicks

Complete Studio Albums & Rarities

Flood Magazine

When too much of the credit for the success of Fleetwood Mac’s White Album, Rumours, and Tusk went to nasal-pop-meister Lindsey Buckingham, his ex and fellow singing songwriter Stevie Nicks did the logical thing and started a solo career. That her own output (seven albums between Bella Donna of 1981 and In Your Dreams 30 years later) out-witchy-womaned everything that the Mac did (or that Buckingham recorded alone, for that matter) after her band’s 1970s hat trick proved who truly wore the gaucho pants and the long, gauzy black dresses in Fleetwood Mac.

The spidery songwriting style she created for herself apart from Mac (yet usually Mac-affiliated) was guided by a gutsier guitar sound than Buckingham ever provided (hello, Waddy Wachtel) as well as denser arrangements (more often than not from a mix of Heartbreakers and E-Streeters), all while pushing and prodding the limits of her scratchy, plumed contralto and her youthfully sensualized lyrics. Thinking of the raspy vocal totality of her solo work as an often-sexualized, but not-too-merry mix of leather and lace scented by patchouli and speckled by emeralds, this first-ever all-oeuvre study of Nicks’ music—including 2014’s 24 Karat Gold: Songs From the Vault, a newly recorded old-song comp, and this box’s centerpiece, Rarities—is mystical (of course), fragrant, and funky in a flashy boho fashion.

While hints of a new-wave Janis Joplin top the earliest and most wearily and ruminatively romantic of Nicks’ solo albums (Bella Donna, 1983’s The Wild Heart) and songs such as “Stop Draggin’ My Heart Around,” the older Nicks gets, the more she yearns to swing (1985’s Rock a Little, ’89’s The Other Side of the Mirror) and find greater weightlessness in her lyrics. Although the oddly glossy, synth-tech Rock a Little is much better than I remember it, with the dusky, even daring likes of “The Nightmare” and “No Spoken Word” competing with a sprightly dance vibe (“I Can’t Wait”), follow-ups such as Mirror (a great soap opera title, but not a great-sounding album) and 1994’s Street Angel were heavy-handed, dull, and filled with floral refrigerator-magnet poetry. 

Luckily, Nicks’ welcome to the 21st century, 2001’s Trouble in Shangri-La, finds her spacey spiritualism and raw, silken rasp in full fettle, and her melodies at their mod-pop best as she touches on hippie-ish outlaw country with The Chicks’ Natalie Maine (“Too Far From Texas”), intense tenderness (“Love Changes”), and meaningful mysticism (“Bombay Sapphires” and “Sorcerer”). And yes, this album also comes across as way better than I remember it. Nicks’ work—no matter whether it’s 40 years old or from 2011’s Mac-sounding In Your Dreams—ages like fine wine no matter what the vintage.

While the overlooked new-old music of her David A. Stewart–produced 24 Karat Gold collection gets a shimmering revisionist look-see here (it’s shockingly great hearing Nicks finish thoughts she only barely started), the Rarities collection pulls off its own surprises: from the swaying R&B of “Love’s a Hard Game to Play,” to the lost 1985 B-side cruncher “One More Big Time Rock and Roll Star,” to her most recently recorded track, the immensely soulful 2022 cover of Buffalo Springfield’s classic “For What It’s Worth.” For what it’s worth (and the price isn’t cheap for the 16-LP vinyl box), Stevie Nicks’ back pages are most desirable at twice the price.

FLEETWOOD MAC RUMOURS LIVE AVAILABLE SEPT 8

FLEETWOOD MAC RUMOURS LIVE

(2-CD OR 2-LP)

RELEASE DATE SEPTEMBER 8, 2023

Order CD or VINYL at Rhino.com

Rumours Live Vinyl | Rumours Live CD

REVIEWS

Fleetwood Mac was at the top of its game in August 1977 when the band returned to its adopted home in Southern California to play three shows at The Forum in Los Angeles. Rumours had only been out a few weeks when the band left in February to tour the world, returning six months later to play three shows at The Forum for nearly 50,000 fans.

Rumours was the #1 album in America and well on its way to becoming one of the most successful ever released. Rumours eventually sold more than 40 million copies worldwide and has just been certified 21x platinum in the U.S. The record has also been certified 14x Platinum in the U.K., and 13x Platinum in Australia and New Zealand, all countries where the album reached #1.

RUMOURS LIVE captures the energy and excitement of the band’s opening night at The Forum on August 29, 1977. The nearly 90-minute performance includes live versions of most of the songs from Rumours and Fleetwood Mac, the group’s first multi-platinum #1 album, which came out in 1975.

The concert remained unreleased for decades until 2021, when “Gold Dust Woman” from the show was included as a bonus track on Live: Deluxe Edition, Rhino’s expanded version of Fleetwood Mac’s 1980 concert album. The other 17 songs on the collection have never been released before.

RUMOURS LIVE will be available on September 8 as 2-CD and 2-LP sets. The black-vinyl version has two 180-gram records in a gatefold jacket with lacquers cut by Chris Bellman at Bernie Grundman Mastering. Pre-order HERE. Also, a crystal clear-vinyl version of RUMOURS LIVE will be released the same day exclusively at Walmart.

The music will be available from digital and streaming platforms. Unreleased live version of “DREAMS” from RUMOURS LIVE is available now on all digitally platforms.

The concert’s setlist draws almost exclusively from Fleetwood Mac and Rumours, the first two albums recorded by the band’s latest incarnation: Mick Fleetwood, John McVie, and Christine McVie, and the newest members, Stevie Nicks, and Lindsey Buckingham. The lone nod to Fleetwood Mac’s other nine studio albums is a performance of “Oh Well,” a rock-guitar masterpiece originally released in 1969 and written by the band’s founder, guitarist Peter Green.

Engineer Ken Caillat, who helped record Rumours, also recorded the concert at The Forum using the Record Plant’s mobile recording truck. He captured the band’s impassioned performance at a moment of peak Rumours frenzy, including powerful versions of “Landslide,” “Never Going Back Again,” “Songbird,” and “The Chain.”

In the liner notes from RUMOURS LIVE, Sam Graham observes: “The songs are familiar: ‘Dreams,’ ‘Go Your Own Way,’ ‘Say You Love Me,’ ‘Over My Head,’ and on and on. But most of these live versions are more muscular, more ferocious, than the album recordings, driven by the powerhouse Fleetwood-John McVie rhythm section and Buckingham’s febrile guitar playing; and instead of a rote recital of the hits, the group stretches out in concert, as songs like ‘Rhiannon,’ ‘World Turning,’ and ‘I’m So Afraid’ blossom into exuberant tours de force onstage.

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RUMOURS LIVE 2-LP Track Listing

LP One

Side One

1.    “Say You Love Me”

2.    “Monday Morning”

3.    “Dreams”

4.    “Oh Well”

5.    “Rhiannon”

Side Two

1.    “Oh Daddy”

2.    “Never Going Back Again”

3.    “Landslide”

4.    “Over My Head”

5.    “Gold Dust Woman”

LP Two

Side One

1.    “You Make Loving Fun”

2.    “I’m So Afraid”

3.    “Go Your Own Way”

4.    “World Turning”

Side Two

1.    “Blue Letter”

2.    “The Chain”

3.    “Second Hand News”

4.    “Songbird”

Mick Fleetwood and ‘Ukulele Virtuoso Jake Shimabukuro honor Christine McVie

Mick Fleetwood and ‘Ukulele Virtuoso Jake Shimabukuro honor Christine McVie on the late Fleetwood Mac Singer’s Birthday with a touching instrumental version of “Songbird”

The release of “Songbird” was years in the making. Fleetwood and Shimabukuro, who both live in Hawaii, have been eager to collaborate for over a decade. When the opportunity finally arose this spring to record some music at Fleetwood’s studio in Maui, it was Shimabukuro who suggested they record “Songbird.” Fleetwood recalls, “We cut it in April, and it turned out beautifully, but there was no plan yet to release it. But when I heard about Christine’s upcoming birthday, it felt like the right time to share this as a tribute to all the lovely music she created, both on her own and with Fleetwood Mac.”

“Songbird” holds a special place in the hearts of Fleetwood Mac fans around the world, and McVie’s impassioned vocals have made it an enduring classic since its debut on Rumours in 1977. That’s why Fleetwood says he was initially cautious about reinterpreting such a cherished song. “When something is that well known, it becomes hallowed ground to a certain extent. But when we did it, I remember there was a hush when we listened back, and we felt that we had touched on something.” At that moment, Fleetwood says, he felt McVie’s presence in a powerful way.

In his heartfelt dedication at the end of the instrumental, Fleetwood adapts a lyric from McVie’s original. He says, “As the songbird sings, now from the heavens, to you Christine, I wish you all the love in the world. But, most of all, I wish it from myself.”

Surprisingly, “Songbird” wasn’t the only Fleetwood Mac song inspiring them in the studio. The drummer reveals that the track’s soft, insistent rhythm was influenced by another instrumental piece, “Albatross.” Written by the band’s founder and guitarist Peter Green, the song topped the U.K. charts in 1969. Fleetwood describes the songs as musical siblings. “They’re as simple as can be, but Peter Green always used to say, less is more.”

Listen here: cmv.lnk.to/SongbirdMJ

Remastered Christine McVie Albums Set For November, 2023 Release

 

Rhino is celebrating Christine McVie today (Wed, July 12th) on what would have been the beloved singer-songwriter’s 80th birthday. While she has been deeply missed since her death last November, the music she made, both with Fleetwood Mac and as a solo artist, continues to resonate with fans worldwide. In honor of McVie’s enduring legacy, Rhino is introducing new music and announcing plans to release remastered versions of her final two solo albums this fall.

Two new releases are available now with the first being a new Dolby Atmos and stereo mix of In The Meantime created by McVie’s nephew Dan Perfect, who helped write and produce the original in 2004. The collection also includes “Little Darlin’,” a previously unreleased gem unearthed from those recording sessions. The other release is by Mick Fleetwood, the legendary drummer and co-founder of Fleetwood Mac, who pays tribute to his bandmate with a touching new instrumental version of “Songbird” featuring ukulele virtuoso Jake Shimabukuro.

Later this year, McVie’s work as a solo artist will get its due when Rhino reissues two of her albums on November 3rd. Christine McVie will be released on CD and LP. Also, a cola-bottle clear vinyl version will be available exclusively from Barnes & Noble. On the same day, In The Meantime will be released on CD and as a 2 LP set featuring a “songbird” etching on the final side.

IN THE MEAN TIME (Newly Remastered)

Pre-order the CD | Pre-order the Vinyl

CHRISTINE MCVIE (Newly Remastered)

Pre-order The CD | Pre-order the Vinyl

Unavailable on vinyl since its original release nearly 40 years ago

McVie’s solo journey began in 1970 with her debut, Christine Perfect, her maiden name. Soon after its release, she put her solo career on hold when she joined Fleetwood Mac as a full-time member. For the next 14 years, she wrote some of the band’s biggest hits (“Don’t Stop” and “You Make Loving Fun”) before releasing her second solo album Christine McVie in 1984. The album peaked at No. 26 on the Billboard 200, spending 23 weeks on the chart. The record produced two Top 40 hits on the Billboard Hot 100, “Got A Hold On Me” at No. 10 and “Love Will Show Us How” at No. 30. Notably, the album has been unavailable on vinyl since its original release nearly 40 years ago.

Although McVie semi-retired from Fleetwood Mac and public life in 1998, she continued to write music. In 2004, she returned with her third and final solo album, In The Meantime. McVie produced the album with her nephew, Dan Perfect. The album was remastered and remixed for the upcoming release, including the previously unreleased outtake, “Little Darlin’.” In The Meantime has never been available on vinyl until now.

McVie was involved in the creation of the new Atmos mixes for In The Meantime before she passed away last year. In the liner notes, Dan Perfect writes: “When my aunt Christine McVie died unexpectedly last year, plans were already afoot for the re-release of this solo album, which is perhaps her most personal and intimate project. Chris and I had been working for some time on remixing the original tracks in Dolby Atmos, and Chris was excited and intrigued by this process, which was bringing fresh life and contemporaneity to the songs… I dearly wish that she could have lived to see this re-release as she would have been delighted.”

The digital remastered version of "In The Meantime" is available now on streaming platforms.

The Tracklist for "In The Meantime" contains one extra track titled "Little Darlin'" which was titled "Come Out To Play" back in 2004 when it was released in Australia and on iTunes as a bonus. 

In The Meantime Tracklist

1 Friend (2023 Remaster)

2 You Are (2023 Remaster)

3 Northern Star (2023 Remaster)

4 Bad Journey (2023 Remaster)

5 Anything is Possible (2023 Remaster)

6 Calumny (2023 Remaster)

7 So Sincere (2023 Remaster)

8 Easy Come, Easy Go (2023 Remaster)

9 Liar (2023 Remaster)

10 Sweet Revenge (2023 Remaster)

11 Forgiveness (2023 Remaster)

12 Givin' It Back (2023 Remaster)

13 Little Darlin' (2023 Remaster)

Stevie Nicks Chicago Review "Finding beauty in the struggle and a voice amid heartbreak"

Stevie Nicks takes Chicago down memory lane in heartfelt United Center show - June 23, 2023

By  Selena Fragassi 

Photo: Tyler Pasciak LaRiviere

Chicago Sun Times

As much as she is a gifted songwriter, Nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to Chicago while she was still enrolled at San Jose State University. It was the first move she didn’t make with her nomadic parents and fatefully led to her start in music.

Finding beauty in the struggle and a voice amid heartbreak has always been the cornerstone of Stevie Nicks’ unending talent. Her gift takes on even new weight in 2023, as the prolific singer-songwriter tours while mourning the loss of her “best friend” and Fleetwood Mac cohort Christine McVie who passed away unexpectedly last November.

“Someday I’ll talk to you about what it’s like to lose Christine. … I can’t do it yet, but maybe someday over a glass of wine,” Nicks said, her voice cracking with emotion as she wrapped up her moving headlining performance at United Center Friday night.

Nicks and her talented eight-part backing ensemble — led by the incredible guitarist/music director Waddy Wachtel — did so with a solemn salute of “Landslide,” one of the biggest and most poignant songs Nicks wrote for Fleetwood Mac in 1975. A confessional for navigating the way forward as life changes, it’s a message that takes on even more gravitas now.

Moving “Landslide” to the end and dedicating it to McVie, complete with a black-and-white photo montage of the two that played across the video screens, was one of the marked differences in Nicks’ latest 2-hour, 17-song set that otherwise largely mirrored her show under the stars at Ravinia last September. 

Even so, the emotional pull felt different nine months later. The celebration of seeing Nicks live was buffered by the thought that Fleetwood Mac is likely wrapped up, while a large part of Friday night also felt like a séance for the giant ghosts of music past, with Nicks as the audience medium. It added to the ongoing sense of urgency to see the legends while we still can (and no doubt led to a near-capacity crowd at the UC). 

There was a Prince tribute during the “white-winged dove” of “Edge of Seventeen” as well as Nicks’ ongoing tributes to late friend Tom Petty. In addition to a heartfelt serenade of “Free Fallin’,” Nicks dug out her 1981 duet with the Heartbreakers frontman, the ever-catchy “Stop Draggin’ My Heart Around.” She prefaced it by recalling what a timely gift it was from Petty, as her record label scrambled to find a single to help explode her debut solo album “Bella Donna.” 

That LP was much of the focus of the night, with 75-year-old Nicks sounding as pristine as ever and celebrating by donning the original shawl “cape” she wore during the “Bella Donna” promo shots and videos (and the one she originally wore for “Gold Dust Woman”). It was her only costume change of the night, met with uproarious applause as she did little twirls around the stage.

As much as she is a gifted songwriter, Nicks is also a great storyteller and had several yarns to spin with the crowd, including how her parents moved to Chicago while she was still enrolled at San Jose State University. She noted it was the first move she didn’t make with her nomadic parents and fatefully led to her start in music. “It’s a good thing I didn’t change my mind,” Nicks joked.

Later, she covered Buffalo Springfield’s “For What It’s Worth,” talking about Stephen Stills writing it in homage to the Sunset Strip curfew riots in the ‘60s.

“This song has traveled all the way from 1966 to 2023 and still makes a statement,” Nicks said, sharing that had she been old enough and in L.A. at the time, she would have participated in the demonstrations. 

Her hippie heart continued to shine with a moving delivery of “Soldier’s Angel,” from her 2011 album “In Your Dreams.” Originally written after Nicks visited American soldiers at Walter Reed Army Medical Center in the early 2000s, on this tour it’s being revisited as a tribute to the people of Ukraine.

“I stand for democracy, I stand for freedom, I stand for Ukraine,” Nicks shared, reading a speech from a teleprompter in order to not mince words. The number ended with blue and yellow flashing lights on the video screens and a QR code that audience members could scan to donate to the UN’s crisis relief fund.

Finding throughlines of past and present and adapting archive songs to modern context is the true mark of a legacy artist, and the practice is just one part of what makes Nicks so alluring and worshipped by multi-generations, even though it’s been nearly 10 years since she released a new album. Droves of fans came bedecked in flower crowns and their best witchy wear, some with binoculars to get a closer look at the woman who has inspired a whole new legion of singer-songwriters (see her close relationships with Taylor Swift and Haim, and even Riley Keough’s eponymous lead character from “Daisy Jones.”

And she’s clearly not done yet, promising to see everyone “next time.”

Nicks’ tour continues through 2024 coupled with co-headlining dates with Billy Joel.

SET LIST

• Outside the Rain
• Dreams (Fleetwood Mac)
• If Anyone Falls
• Stop Draggin’ My Heart Around
• Fall From Grace
• For What It’s Worth (Buffalo Springfield)
• Gypsy (Fleetwood Mac)
• Wild Heart
• Bella Donna
• Stand Back
• Soldier’s Angel
• Gold Dust Woman (Fleetwood Mac)
• I Sing for the Things
• Edge of Seventeen
• Free Fallin’ (Tom Petty) 
• Rhiannon (Fleetwood Mac)
• Landslide (Fleetwood Mac) 

Chicago Review Onstage, Stevie Nicks remains an original: a free-spirited blend of siren, gypsy, canyon queen and enchanted sorceress.

Review: Stevie Nicks’ musical legacy was in the room with her at the United Center on June 23, 2023

By Bob Gendron

Chicago Tribune

In the waning moments of her concert Friday at a rafters-packed United Center, Stevie Nicks sang about getting older. She echoed the sentiments in back-to-back lines of “Landslide,” a classic she has performed across six decades.

Yet as black-and-white pictures of Christine McVie — Nicks’ longtime Fleetwood Mac cohort and best friend who died last November — flashed on a curved projection screen behind her, the words took on added weight. Nicks, recognizing how circumstance forever changed the lyrical meaning, struck a decidedly submissive and reverent tone. The interpretive shift and photos of McVie weren’t the only reminders of time’s finite qualities during the 110-minute set.

Now 75, Nicks is in the victory-lap stretch of her long career. This July, she’ll be feted with a career-spanning box set documenting her solo work. The release (by Rhino) coincides with her current tour on which she’s appearing with Billy Joel for select stadium dates. These profile boosts follow a 2022 summer-fall trek that brought her to Ravinia, and her 2019 feat of becoming the first woman to be twice inducted into the Rock & Roll Hall of Fame.

The attention showered on Nicks in the past decade-plus seems overdue. Despite her distinguished role in Fleetwood Mac, she often stood in the shadows of male colleagues and dealt with the double standards of a chauvinistic era. Though her situation paralleled those faced by many female artists who traded in rock ‘n’ roll during the ‘70s and ‘80s, Nicks’ songwriting acumen, unique voice and inner strength helped transform her into an icon embraced by subsequent generations.

Her wide-ranging impact could be seen throughout the United Center crowd, which skewed younger — median age falling between late 30s and early 40s — than at most shows by baby boomers. Celebrating the singer’s trademark fashions, some fans arrived adorned in frilly jackets, wide-brimmed hats or chiffon shawls.

Dressed in black, Nicks wore a few signature accessories of her own. When performing “Bella Donna,” she modeled the original cape she was pictured wearing on the back cover of that title track’s 1981 LP and proudly boasted about its pristine condition. The old cape used for her 1983 synth-heavy single “Stand Back” also emerged but didn’t merit the same royal treatment. After noting its holes and repairs, Nicks tossed the garment aside like a dirty T-shirt ready for the laundry. It’s unclear if she realized the humor of her actions.

Amicable and sincere, Nicks appeared to dwell in her own universe. She came across less as a famous rock star and more as an eager storyteller. Talking a mile a minute, Nicks framed a majority of songs with introductions or outros. Her combination of personal histories and frank disclosures supplied context and color — not to mention trivia fodder. A prime example: Who knew she penned “Gold Dust Woman” after passing a street named Gold Dust Lane?

Nicks’ candor applied to matters lighthearted (the need for an album to have a hit single in order to get attention in the ‘80s; her tendency to go off on a tangent) and serious. In terms of the latter, after the final acoustic passages of the closing “Landslide” faded and the music stopped, she admitted she will one day discuss what it feels like to lose McVie. Nicks isn’t ready yet.

The singer also addressed her collaborative experience with Tom Petty, increased the heat on a rendition of their 1981 duet “Stop Draggin’ My Heart Around” and paid the late artist tribute with a well-meaning albeit flat cover of “Free Fallin’.” Another bygone great, Prince, received his due in the form of his picture being displayed during two songs. Nicks also punctuated the end of an invigorating version of “Edge of Seventeen” with a lyric from Prince’s “When Doves Cry.”

Backed by an ace band anchored by veteran guitarist Waddy Wachtel and drummer Drew Hester, Nicks sang with a sharpness that projected above the eight-piece support group. Her range is considerably lower from that of her heyday and proved most convincing on upbeat fare. Occasionally, Nicks’ voice betrayed her, turning pinched and nasally on upper-register passages. Two backing vocalists assisted with highs, choruses and extended notes.

Onstage, Nicks remains an original: a free-spirited blend of siren, gypsy, canyon queen and enchanted sorceress. With the longest strands of her hair nearly reaching her waist, and a mix of beads and ribbons lining her angled microphone stand, she gave the mysticism and dreams in her narratives visual reference points. Those extended to Nicks’ theatrical movements — outstretched arms, palms-up gestures, cape clutches, slow twirls, forward bends, head-in-hands signals, grandiose bows. For the finale of an epic “Gold Dust Woman,” she stood in front of an amplifier and worshipped distortion.

Though Nicks and company played just one song released in the last two decades, the present revealed itself in other ways. The collective’s folk-blues reading of Buffalo Springfield’s “For What It’s Worth” invoked themes of division, confrontation and paranoia fracturing the American landscape. “Fall From Grace” burned with an intensity that mirrored the courage, independence and outspokenness of a crop of younger, modern artists Nicks inspired.

Nothing, however, resonated with as much relevance as “Soldier’s Angel.” Concerned she might lose focus, Nicks read her explanation of the 2011 tune from a Teleprompter and apologized for doing so. Played as devastating images from the Russian invasion of Ukraine provided the backdrop, the song sounded a clarion call for righteousness, justice and democracy before concluding with an image of the Ukrainian flag.

The answer to the question Nicks has asked in another, more renowned song for decades — “Do you know how to pick up the pieces and go home?” — seldom seemed so uncertain or necessary.