Rock’s Witchy Woman Enchants the Strip with Timeless Magic and Tributes

Stevie Nicks’ cultural legacy looms as large as the T-Mobile Arena itself – after all, the two-time Rock & Roll Hall of Famer remains the only woman inducted twice into the Hall.

That legend was on full display in Las Vegas on October 11, 2025, as Nicks – now 77 – took the stage for the fourth show of her fall tour. The rock icon proved her enduring appeal with a mystical, high-energy performance that had thousands of fans under her spell. Die-hard attendees noted that the setlist held steady from earlier stops, meaning the rare gem “Angel” (revived on opening night in Portland) was once again left off the set. But with a trove of other beloved songs and deep cuts to offer, Nicks kept the crowd enthralled from the first note to the final bow.

A Fleetwood Mac Legend Under Desert Skies: Stevie Nicks Shines in Phoenix

Stevie Nicks comes home
The rock icon returned to her Valley roots on Tuesday and was down-to-earth while belting out timeless, legendary tunes.

By Teresa K. Traverse (review and photo)
Phoenix New Times

What is there to say about an artist as legendary as Stevie Nicks? The Valley native has been in our lives for decades. As a member of the storied rock group Fleetwood Mac, she was responsible for singing parts of some of the most enduring songs of the last 50 years. When “Rhiannon,” “Dreams” and “Landslide” first entered the culture, they’ve been fixtures ever since. How many songs achieve this? Not many.

Her unique image — an interesting mix of upbeat femininity, hippie vibes and dark energy that was put to good use when she guest-starred on an episode of “American Horror Story” — has also probably made her a lasting cultural icon. Which is why it took me by complete surprise that she managed to somehow — despite her legendary status — to feel completely down to Earth. The fact that she seemed so relatable might be the impressive feat someone of her status can pull off.

After performing the first tune of the show, she immediately talked about coming home to Phoenix and how she had lived here for more than 20 years. Even though she’s a long-time California resident, she spoke about how people often asked her if she missed the ocean when she was in Arizona. She told them that the desert and the ocean managed to somehow make similar sounds. Nicks also talked about how she often felt inspired by the desert whenever she was in town. The white-winged dove lyrics that open “Edge of Seventeen” were inspired by a menu of a Phoenix restaurant that read “The white wing dove sings a song that sounds like she’s singing ooh, ooh, ooh.” I couldn’t detect an ounce of pretension in her persona or performance. She even twirled a few times during the show — one of her signature moves. I also admired her candor and ability to make a show at the recently renamed Mortgage Matchup Center in downtown Phoenix feel intimate.

A dynamic image

Can you think of a better month for a Stevie Nicks show than October? I sure can’t. It was a joy seeing many audience members dressed in Nicks-inspired attire. Think spooky black, lace and her signature long shawls draped over their shoulders. If Nicks were a holiday, she’d be Halloween. Nicks wore all black when she performed behind her microphone decorated with shiny scarves, and her long blonde curls were on full display. Speaking of shawls, throughout the show, Nicks donned a few and took a few moments to explain the significance of a couple of them.

She started with the dark blue shawl that she wore on the cover of the “Bella Donna” album. She said it was strong and had never been mended. Another was the shawl she wore in the “Stand Back” videos. She jokingly said one was a good video, and that the other was not so good. Finally, she showed off the shimmery gold one that she wore during, you guessed it, the performance of “Gold Dust Woman.”

That song in particular was so dreamy, ethereal and made great use of the show’s screens with “gold dust” seemingly splashed all over the image of Nicks performing. The title was a nod to Gold Dust Avenue in Scottsdale.

Stellar production and song notes

Nicks performed in front of massive screens that displayed images that were coordinated perfectly with each tune. Many featured pictures of her from the past, with her big eyes and flowing long hair. Although the images could be a bit on the nose — a flying white dove during “The Edge of Seventeen,” anyone?—they always managed to be effective. I also enjoyed the dark images of lightning and a lighthouse for the track “The Lighthouse.” Written in Chicago by Nicks in response to the fall of Roe v. Wade, it’s impressive that she’s still able to craft powerful jams after all this time.

My personal favorite vocal performance was “Rhiannon.” Nicks managed to really nail the vocals of this track. It represents so much about what made Fleetwood Mac so great: It’s ethereal, magical and powerful all at once.

The extended drum and guitar solo that led into “Edge of Seventeen” was also particularly effective. Like a nice long tease before you finally get to that iconic opener of the enduring rock track.

The version of “Dreams” was nice and slow. I’ve always loved how dreamy (pun intended) that song feels and hearing it slowed down somewhat made it even more ethereal.

Touching tributes

The show also included a few touching tributes to Nicks’ musician pals who have passed. Before she took the stage, Tom Petty and The Heartbreakers’ “Running Down a Dream” played in its entirety. Before singing “Stop Draggin’ My Heart Around,” Nicks spoke of how the late, great and fellow rock legend Tom Petty wrote this song for her first solo album, “Bella Donna.” The album needed a single. Petty crafted the duet that ended up rocketing up the charts, and the rest is history. As Nicks sang, pictures of her alone and her together with Petty were displayed on the screen.

But the tributes didn’t stop there. Nicks performed a gorgeous rendition of Petty’s all-time anthem, “Free Fallin’.” Her vocals soared, and the entire song was such a magical, powerful tribute to such a rock icon. It was a special moment and a reminder of why we all go to live concerts in the first place. She added her own signature vocal flourishes to Petty’s most famous track. As she sang, images of Petty, his bandmates, including long-time guitar player Mike Campbell and Nicks over the years played in the background. It was such a sweet and touching tribute to an artist she had known for decades. Petty passed away eight years ago on Oct. 2, 2017. It’s hard to imagine Nicks having any real, true equal, but he’s probably as close as anyone could ever really get.

Before she launched into the final song of the evening, she talked about how she was laid up in bed for weeks recovering from a shoulder injury and listened to the opening band while she was healing — a three-piece Austin-based rock act called The Night Traveler–and wished she had never sold her Arizona house 10 or 15 years ago.

The last song of the evening was “Landslide.” As Nicks performed this touching song that’s largely about what it means to get older, images of her late Fleetwood Mac bandmate Christine McVie splashed across the screen. McVie passed in 2022. Part of aging is about accepting loss, and the images of her with McVie felt heartfelt.

After “Landslide,” Nicks and all her fellow performers took a few bows. She advised everyone to listen to music, which is her favorite activity. Finally, Nicks told everyone to get home safely. One can only hope that Nicks felt right at home on Tuesday.

Stevie Nicks Brings Magic and Mystery to Sacramento

 

 

Sacramento, California

Golden 1 Center – October 4, 2025

Stevie Nicks returned to the stage in Sacramento Saturday night, performing at the Golden 1 Center in what became the second stop of her rescheduled fall tour. The show was originally meant to be part of her co-headlining run with Billy Joel in Santa Clara, but after Joel’s health issues forced that date’s cancellation, Sacramento inherited the coveted slot and fans couldn’t have been happier.

The setlist, nearly identical to the tour opener in Portland earlier this week, delivered a sweeping journey through Nicks’ five-decade career, blending Fleetwood Mac staples with solo treasures and a few surprises. The only notable omission from the Portland debut was “Angel” the deep cut from Tusk that she’d dusted off for the first time since 1983.

Opening with a burst of nostalgia, Nicks launched into “Not Fade Away,” the Buddy Holly classic she covered for a tribute album years ago. The song set an upbeat tone and instantly transported the audience into her vintage rock-and-roll universe. From there, she eased into the shimmering “If Anyone Falls,” a track whose ethereal synths and emotional vulnerability still resonate just as powerfully as they did in 1983.

Midway through the night, Nicks shifted the tone with “The Lighthouse,” her most recent single and one of the most powerful songs in her modern catalog. Described by Nicks as a protest song and a woman’s rights anthem, it was written in the wake of the U.S. Supreme Court’s decision to overturn Roe v. Wade. Haunting and resolute, the song carried a message of defiance and compassion a reminder that her voice, both literally and symbolically, still stands as a beacon of strength for women navigating an uncertain world.

Fleetwood Mac fans found plenty to celebrate as well. The medley of “Outside the Rain” and “Dreams” glided beautifully into “Stop Draggin’ My Heart Around,” a song forever linked to her friendship and creative partnership with Tom Petty. Later, the double-shot of “Wild Heart” and “Bella Donna” felt like opening a time capsule from the early 1980s two songs that defined her as a solo icon.

By the time she hit “Stand Back,” the arena turned electric, the synth-heavy anthem igniting a full-on dance floor energy. “Free Fallin’” followed her tender tribute to Petty before “Gold Dust Woman” plunged the crowd into a hypnotic, gold-lit haze.

The main set closed with “Edge of Seventeen,” that timeless white-winged rock epic, its driving guitar riff shaking the rafters. But it was the encore that brought the night home. “Rhiannon” shimmered with its usual mystic energy, and “Landslide” stripped-down, emotional, and deeply personal silenced the crowd in reverence.

Before leaving the stage, Nicks took a moment to speak directly to the audience. With genuine warmth, she thanked the crowd for coming and offered a heartfelt message: “Take care of yourselves, it’s a scary world out there. Be strong. You can do it. Save the world.” It was a fitting close from an artist who has always balanced magic with meaning, a reminder that behind the shawls, poetry, and moonlight, Stevie Nicks is still guiding her audience home.

New Release Buckingham Nicks - Frozen Love (Official Lyric Video)

The latest release from Lindsey Buckingham and Stevie Nicks is the lyric video for "Frozen Love", the over 7-minute-long last song on the album.

Lindsey Buckingham and Stevie Nicks’ elusive 1973 studio album is out now with newly remastered sound on Vinyl, CD and digital. Get it Here: https://bn.lnk.to/BNAlbum

Subscribe to Buckingham Nicks: https://bn.lnk.to/YTSID

Stevie Nicks Returns to the Stage in Portland with Surprising Setlist Shifts

After a year marked by setbacks, including cancelled co-headlining dates with Billy Joel and a shoulder injury that forced her to postpone her fall run, Stevie Nicks triumphantly launched her North American tour on October 1st in Portland, Oregon.

The wait proved worthwhile. Nicks, now 77, looked radiant and sounded as hauntingly powerful as ever. But what truly caught fans and critics off guard were the unexpected adjustments to her setlist—small in number, but significant enough to spark headlines.

She opened the night with a curveball: a rollicking take on “Not Fade Away,” the Buddy Holly classic she once recorded for a tribute album, but had never used to kick off a tour. Even more stunning was the resurrection of “Angel,” a deep cut from Fleetwood Mac’s 1979 Tusk LP, absent from her live repertoire since the Wild Heart Tour in 1983.

Equally notable was the live debut of “The Lighthouse,” her latest single released last fall, marking the first time audiences heard the new track woven into her set.

For longtime followers, these changes underscore Nicks’ willingness to keep her live show evolving, balancing iconic hits with rarities and fresh material. If Portland is any indication, this tour won’t just be another victory lap—it will be a journey through the many eras of a voice that helped define rock history.

Check out highlights from the performance in the videos below.

Full setlist:

1. Not Fade Away
2. If Anyone Falls
3. Outside the Rain
4. Dreams
5. Stop Draggin My Heart Around
6. The Lighthouse
7. Gypsy
8. The Wild Heart / Bella Donna
9. Stand Back
10. Free Fallin
11. Gold Dust Woman
12. Angel
13. Edge Of Seventeen
14. Rhiannon
15. Landslide

Fleetwood Mac Live 1975 2LP Crystal Clear Vinyl - Record Store Day 2025

Rhino Records announced their annual Record Store Day Black Friday releases today... The event takes place worldwide on November 28th at independent record stores, and Rhino continues its effort to release the live portions of the deluxe editions of the Fleetwood Mac albums that were previously released on CD only.

This year, for Record Store Day Black Friday and appropriately for the 50th anniversary of the white Fleetwood Mac album, they are releasing the live recordings originally released on CD in the deluxe edition in 2018 in a 2LP Crystal Clear Vinyl set.

Fleetwood Mac: Live 1975

Fleetwood Mac Live 1975 captures the incredible electricity of the band’s first tour with the legendary lineup of Stevie Nicks and Lindsey Buckingham joining Mick Fleetwood, John McVie, and Christine McVie.

Recorded 50 years ago at the Capitol Theatre (Passaic, NJ, 10/17/75) and Jorgensen Auditorium (University of Connecticut, Storrs, CT, 10/25/75), the album features the band’s at-the-time recent hits “Rhiannon” and “Landslide,” along with some early Fleetwood Mac favorites, including “Hypnotized” and “Oh Well.” Pressed on vinyl for the very first time!

If you happen to own the 1975 White Album Deluxe Edition (3CD/LP/DVD Deluxe Edition), which was released in January 2018, this live album was one of the three CDs in the package.  That live CD also contained "Over My Head" live from 1976, which isn't included with this 1975 set. The real treat is having this released on vinyl for the very first time.

Mark your calendars and set your alarms for November 28th and hit up your local record store.

Full details on all titles are listed, and for a list of participating stores, visit:

USA www.recordstoreday.com

Canada https://recordstoredaycanada.ca/

UK https://www.recordstoreday.co.uk/

Event: BLACK FRIDAY 2025
Release Date: 11/28/2025
Format: 2 x LP
Label: Rhino
Quantity: 5,000
Release type: RSD Exclusive Release

Tracklist

1. Get Like You Used To Be
2. Station Man
3. Spare Me A Little
4. Rhiannon
5. Why
6. Landslide
7. I'm So Afraid
8. Oh Well
9. The Green Manalishi (with the Two Pronged Crown)
10. World Turning
11. Blue Letter
12. Don't Let Me Down Again
13. Hypnotized

Buckingham Nicks tallies the biggest sales week in over a decade for any album by Buckingham, Nicks or Fleetwood Mac

OUT OF THE ARCHIVES & ONTO THE CHARTS: ‘BUCKINGHAM NICKS’ DEBUTS ATOP 3 BILLBOARD CHARTS

The long-out-of-print 1973 release from a pre-Fleetwood Mac Lindsey Buckingham & Stevie Nicks hits the charts after its Rhino reissue.

By Keith Caulfield

Billboard

The long-out-of-print self-titled album from Buckingham Nicks debuts at No. 3 on Top Album Sales with 30,000 copies sold in the United States in the week ending Sept. 25, according to Luminate. The set was originally released in 1973 before Lindsey Buckingham and Stevie Nicks joined Fleetwood Mac and is the only album from the pair as a duo.

Buckingham Nicks also arrives on Top Rock Albums, Indie Store Album Sales, Catalog Albums (No. 1 on each); Top Rock & Alternative Albums, Vinyl Albums (No. 2); and the Billboard 200 (No. 11).

Originally issued through Polydor, Buckingham Nicks has been out of circulation (though widely bootlegged) until its official remastered Rhino reissue on Sept. 19. The project also made its official debut on CD, streaming services and as a digital download through Rhino, alongside a number of vinyl variants.

Upon the album’s reissue, Buckingham and Nicks shared on their respective Instagram accounts: “We’re so happy this album is getting a second life. We hope you love it.”

With 30,000 sold, Buckingham Nicks tallies the biggest sales week in over a decade for any album by Buckingham, Nicks or Fleetwood Mac. The last time a set from any of those acts had a larger sales week was on the Top Album Sales chart dated Oct. 25, 2014, when Nicks’ 24 Karat Gold: Songs From the Vault, sold 33,000 copies in its opening week (No. 7).

Further, with 18,000 copies sold on vinyl, the album notches the largest sales week in the format in the modern era (since Luminate began electronically tracking sales in 1991) for any project by Buckingham, Nicks or Fleetwood Mac.

Check out the debut chart positions here

Buckingham Nicks debut strong on the UK Album Charts

Famously recruited to Fleetwood Mac in 1975, Lindsey Buckingham and Stevie Nicks previously worked together in a band called Fritz, and subsequently released their only album as a duo – the eponymous Buckingham Nicks – in 1973. Although it was pivotal for drummer Mick Fleetwood to ask them to join Fleetwood Mac, it was a commercial flop and was soon deleted. Now available for the first time on CD, and simultaneously released in six vinyl variants, it makes its much-belated chart debut this week, opening at No.6 (8,874 sales).

Former lovers Buckingham and Nicks have had a very stormy relationship over the years, much of it providing the inspiration for Fleetwood Mac material. Buckingham was sacked from Fleetwood Mac in 2018, but his relationship with Mick Fleetwood and Stevie Nicks seems to have thawed – Fleetwood endorsed the reissue of Buckingham Nicks on Instagram, while Buckingham and Nicks coordinated social media posts about the album’s reissue. Ironically, the Buckingham Nicks album is one of those responsible for Fleetwood Mac’s 2018 compilation 50 Years: Don’t Stop dipping out of the Top 10 this week, falling 9-11 (7,529 sales) to end its longest-yet run of 28 consecutive weeks in the Top 10. 

- Alan Jones, Music Week

Chart Action for Buckingham Nicks, including the US... Updated September 30, 2025

BUCKINGHAM NICKS

UK Charts September 26, 2025
No. 1 - Top 40 Americana Albums Chart
No. 3 - Top 40 Vinyl Albums Chart
No. 4 - Top 100 Album Sales Chart
No. 4 - Top 100 Albums Downloads Chart
No. 4 - Top 100 Physical Albums Chart
No. 6 - Top 100 Albums Chart (8,874 units sold)
No. 13 - Top 40 Record Store Chart (biggest albums of the week in 100 UK independent record shops)

USA - Billboard October 4, 2025

No. 1 Rock Albums Chart

No. 1 Indie Store Album Sales Chart

No. 1 Catalog Albums Chart

No. 2 Top Vinyl Sales Chart

No. 2 Top Rock and Alternative Albums Chart

No. 3 Top Album Sales Chart

No. 11 Billboard Top 200 Albums Chart (31,200 units sold)

AUSTRALIA
No. 6 - Top Vinyl Albums Chart
No. 30 - Top 50 Albums Chart

AUSTRIA
No. 15 - Top 40 Albums chart

BELGIUM
No. 7 - Top 200 Albums Chart (Flanders)
No. 30 - Top 200 Albums Chart (French-speaking Belgium)

CANADA

No. 91 - Top 100 Albums Chart

CROATIA

No. 9 - Top 40 Albums Chart

GERMANY
No. 5 - Rock and Metal Albums chart

No. 15 - Germany Top 100 Albums chart

HUNGARY

No. 32 - Top 40 Albums Chart

IRELAND
No. 42 Top 100 Albums Chart

NETHERLANDS
No. 4 - Top 33 Vinyl Albums Chart
No. 10 - Top 100 Albums Chart

SCOTLAND
No. 4 - Top 100 Albums Chart

SPAIN

No. 89 - Top 100 Albums Chart

SWEDEN

No. 37 - Top 60 Albums Chart

SWITZERLAND

No. 25 - Top 100 Albums Chart

In the US, Buckingham Nicks is expected to debut within the top 10 on next week's Billboard Top 200 (chart date Oct 4).

Early indications from Hits Daily Double, a fairly accurate indicator, suggest the album will land at No. 6 with just under 37,000 albums sold in the US. This combines physical copies purchased along with streaming and digital downloads of the album.  According to Hits, the majority of album sales come from physical purchases, either on CD or the various vinyl versions. 

TEA means track equivalent albums. TEA is calculated by adding up all of the song sales from an album and dividing by 10. Thus, 10 song downloads from the same album are equivalent to 1 album unit.

SEA means streaming equivalent albums. SEA is calculated by adding up all of the audio song streams from an album. Premium streaming totals are divided by 1,250, and free streaming totals are divided by 3,750. Thus, 1,250 premium streams or 3,750 free streams from the same album is equivalent to 1 album unit.

When you compare the sales of Buckingham Nicks in the US vs the UK, based on population size, sales were actually 19% stronger in the UK vs the US. Put another way: for every 1 million people, the UK bought 21 more copies than the US.

Album Sales Per-Capita Comparison

Country	Population	Albums Sold	Albums per 1M People
US	340,000,000	37,000	109 per 1M
UK	69,000,000	9,000	130 per 1M

For comparison, Fleetwood Mac's Rumours this week sold 18,978 units, a combination of physical, streaming, and digital downloads of songs/albums. You can see that the majority of its album sales come from streaming on platforms like iTunes, Apple Music, and Spotify. 

We'll have a complete rundown for Buckingham Nicks in the US and Canada next week when Billboard starts publishing next week's charts. 

Fleetwood Mac’s Lindsey Buckingham & Stevie Nicks: 1973 Album Reissue Tops iTunes Charts Worldwide

Buckingham Nicks: A breakdown of the iTunes charts worldwide on day six of it’s re-release

When Lindsey Buckingham and Stevie Nicks’ elusive 1973 debut finally hit streaming, fans around the world rushed to rediscover it — and the iTunes Albums Charts tell the story.

In Norway, the record stormed straight to #1, while New Zealand crowned it at #2. The U.S., Netherlands, and Belgium all agreed on a #3 peak, underscoring the duo’s enduring pull across continents. The U.K. and Australia weren’t far behind at #4, and Canada locked it inside the Top 5 at #5.

In total, the album landed in the Top 10 in 11 countries, including the Philippines (#10), South Africa (#6), Austria (#10), and Ireland (#8). Across Europe, it held steady mid-chart in Germany (#11), Luxembourg (#12), Finland (#14), Denmark (#18), and Sweden (#19).

Even farther afield, the record resonated in Israel (#23), Switzerland (#28), Turkey (#45), Hong Kong (#68), and Mexico (#183), proving that the Buckingham Nicks legacy isn’t bound by borders.

The median global chart peak was #12, meaning half the territories placed it at or above that level, while the average peak was ~#29, dragged down by a few lower results. The spread between Norway’s #1 and Mexico’s #183 tells the tale of a record that was both a global rediscovery and a localized phenomenon.

For an album unavailable for decades, Buckingham Nicks’ sudden digital debut made a decisive global impact, cementing its place not just as a lost prelude to Fleetwood Mac, but as a chart-topping moment in its own right.


10 Chart Stats That Prove the Buckingham Nicks Reissue Is a Global iTunes Success

1. Top 5 Global Success

The album reached the Top 5 in at least 7 countries: Norway (#1), New Zealand (#2), United States (#3), Netherlands (#3), Belgium (#3), Australia (#4), and United Kingdom (#4)

2. Multiple #3 Peaks

It peaked at #3 in three major markets (US, Netherlands, Belgium) – showing consistent mid-top-tier performance across very different regions

3. Nordic Dominance

Scandinavia proved especially strong: Norway gave the album its highest global peak (#1), while Finland (#14), Denmark (#18), and Sweden (#19) all placed it within the Top 20

Every major English-speaking market charted it inside the Top 10:US (#3)

• UK (#4)
• Australia (#4)
• Canada (#5)
• New Zealand (#2)

This indicates strong resonance in its core target regions.

5. European Mid-Chart Presence

Beyond the Top 10, it reached Italy (#22), Switzerland (#28), Luxembourg (#12), Ireland (#8), Germany (#11), and Cyprus (#47). These middle-tier placements reflect moderate traction in non-English European markets

6. Wider Global Spread

The album still managed to chart in far-flung regions like Philippines (#10), South Africa (#6), Israel (#23), Turkey (#45), Hong Kong (#68), Mexico (#183), showing wide international interest

7. Lowest Notable Peak

Its weakest showing came in Mexico (#183) – over 180 chart spots lower than Norway’s #1 placement, a striking 182-position spread between best and worst

8. Average Chart Peak

Calculating across all 25 countries listed, the average peak position is ~29.5, which is skewed upward by the deep Mexico (#183) and France (#147) placements

9. Median Chart Position

The median chart peak is #12 (Luxembourg) – meaning half of the listed countries placed the album at #12 or better, underscoring a generally strong worldwide debut

10. Top 10 Concentration

In total, the album cracked the Top 10 in 11 countries – nearly half of the reporting regions – highlighting its strong commercial impact upon digital reissue

 

Region	Peak Position	Highlight
Norway	#1	Highest Global Peak
New Zealand	#2	Strong Oceania Launch
USA / Netherlands / Belgium	#3	Consistent Tri-Nation Peak
UK / Australia	#4	Top 5 in Both
Canada	#5	Solid North America Support
South Africa	#6	Surprise Global Market
Ireland / Austria / Philippines	#8–10	Expanded Top 10 Reach
Germany / Luxembourg / Nordics	#11–19	Strong European Showing
Italy / Israel / Switzerland	#22–28	Steady Mid-Chart
Turkey / Cyprus / Hong Kong	#45–68	Broader Spread
France / Mexico	#147 / #183	Lowest Chart Placements

Stevie Nicks Shares Letter to Family while Recording Buckingham Nicks

Stevie shared a letter she had written back in the early '70s while making the Buckingham Nicks album.  She indicated the letter was one that her mother had kept for all these years.  For anyone who remembers seeing the Sound City Documentary that Dave Grohl put together back in 2013, you may recall Stevie reading some of the letter in the documentary.  It was cool then, and it's cool now to read it in its entirety. What a piece of history, and look back at the early stage of her career before it really had even taken off. She was wise then and is still wise now. 

Dear Mom and Dad and Chris,

Well, here I am - once again at the “famous” Sound City Recording Studio. I am getting very tired of sitting around listening to 12 hours of music per day. Oh well, I know it will pay off in the end, and when I am sitting in my small but luxurious Beverly Hills home overlooking my small but tasteful pool that is totally secluded, where I can sun in the nude and tan my entire fat body while waiting for my plastic surgery leg lift - it will all be worth it. Otherwise, everything here is just “peach-y”.

I hope that all of my little family is doing fine and not working too hard. I am sure that dad is already beautifully tan and lythe - making those gorgeous blue grey eyes even more sparkling than they usually are. How sickening that he looks better than I do at 47(?) and I’m only 25. (Give me a break, Dad!)

Speaking of being almost 25 - I have decided that we should set aside the entire month of May to celebrate the fact that I am now 1 quarter of a century old. A new landmark like this should not simply be passed over as yet another birthday, but should include a gala celebration. I shall leave it to the three of you to plan it. By the way, presents will be accepted any time after the first of May - no C.O.D’s please.

Moving right along - I just want to say that I certainly do miss you all, and wish you could be here to hear some of this stuff. By the way - Dad and Chris - that rock and roll tune that you both liked (“Baby Baby, don’t treat me so bad”) with the fancy guitar work is almost finished and Lindsey may go down in history as one of “greats” in guitar playing. It really is quite amazing.

Well, no more news as of yet

- so much love to you all - and hold good thoughts about this thing.

I love you,
Stevie