Stevie Nicks on Satuarday Night Live Rebroadcast December 28, 2024

October 28, 2024, Saturday Night Live will rebroadcast episode 3 from October 12, 2024 with Ariana Grande as host and Stevie Nicks as musical guest.

Saturday Night Live airs Saturday's at 11:30/10:30c on NBC and Peacock.

Fleetwood Mac 2024 Year-end Charts USA and Canada

Billboard Announced their year end charts this week.  A stripped down version this year when you compared it to the 2023 year end charts.  

Fleetwood Mac and "Rumours" were featured prominently (obviously) in a number of categories this year:

TOP 200 ALBUMS CHART - YEAR END 2024

• #34 - FLEETWOOD MAC “RUMOURS”
• #158 - FLEETWOOD MAC “GREATEST HITS”

TOP 100 ARTISTS

• #55 - FLEETWOOD MAC

TOP ARTISTS DUO/GROUP

• #2 - FLEETWOOD MAC

GLOBAL 200 SONGS

• #95 - FLEETWOOD MAC “DREAMS”

Canada also announced their 2024 year end charts.  The UK should be announcing their year-end charts within a few weeks. 

 

Stevie Nicks "Lighthouse" Third Bestselling Record Store Day Single

Stevie Nicks had the third bestselling Record Store Day Black Friday single

Stevie Nicks had the third bestselling Record Store Day Black Friday single

Stevie Nicks scored big on Record Store Day Black Friday with her latest single, "The Lighthouse." 

Billboard reported that the white 7-inch vinyl claimed the #3 spot among the bestselling singles, trailing only Pearl Jam's "Waiting for Stevie (Live)”/“Wreckage (Live)” at #2 and The Beatles’ “I Want to Hold Your Hand”/“I Saw Her Standing There” at #1. 

Top-Selling Record Store Day Black Friday 2024 Exclusive Singles at Independent Record Stores in U.S.

1. The Beatles, I Want To Hold Your Hand / I Saw Her Standing There (7-inch vinyl)

2. Pearl Jam, Waiting for Stevie (Live) / Wreckage (Live) (12-inch 45-RPM vinyl)

3. Stevie Nicks, The Lighthouse (white-colored 7-inch vinyl)

4. Bluey, Rug Island / Bluey Theme Tune (picture-disc 7-inch vinyl)

5. The Beatles, All My Loving (3-inch vinyl)

6. Echo & The Bunnymen, The Killing Moon (12-inch vinyl)

7. Jane’s Addiction, Imminent Redemption (12-inch vinyl)

8. Steve Martin, King Tut (picture-disc 12-inch vinyl)

9. Sam Cooke, A Change Is Gonna Come / Shake (white iridescent-colored 7-inch vinyl)

10. Jungle, Back On 74 (12-inch vinyl)

Stevie Nicks and Billy Joel Announce MetLife Stadium Show

Stevie Nicks and Billy Joel are teaming up for another show on Friday, Aug. 8, at MetLife Stadium in East Rutherford, NJ. This will be their only tri-state area performance and Joel's first-ever show at the venue, though he frequently played at the old Giants Stadium.

The concert marks the final stop on Joel’s tour.

Tickets go on sale Friday, Dec. 13, at 10 a.m. EST, with select pre-sales starting Monday, Dec. 9.

Get your tickets at StevieNicksOfficial.com

Mick Fleetwood CBS Sunday Morning

Mick Fleetwood plays to the future in Maui

By Tracy Smith

CBS Sunday Morning

November 24, 2024

The island of Maui is a mere dot in the enormity of the vast Pacific Ocean, but it's not hard to see why millions visit every year, and why there are some who never want to leave. Fleetwood Mac founder Mick Fleetwood fell in love with Maui decades ago, and put down deep roots. "Long story, a long love affair," he said.

"But it really is your heart and your home?" I asked.

"Uh-huh. People often think, 'Oh yeah, how often are you on Maui?'" Fleetwood said. "This is my home. No other place."

As a young man he'd dreamed of a place, a club, where he could get his friends together, and 12 years ago he made it happen in the west Maui city of Lahaina:  Fleetwood's on Front Street. The menu was eclectic – they served everything from Biddie's Chicken (just like Fleetwood's mom, Biddie, made it) to cookie dough desserts dreamed up by his children. It was also a place where Mick and friends could play. "We created, I created, a band of people under a roof," he said. "Instead of a traveling circus, it was a resident circus at Fleetwood's on Front Street."

And then, in August of 2023, the music stopped.

A wind-driven fire tore through western Maui, killing more than a hundred people, and consuming more than 2,000 buildings. Fleetwood was in Los Angeles when the fire started, and he hurried back to a scene of utter devastation. 

And his beloved restaurant? A charred sign was about all that was left.  

I said, "I understand your not wanting to be, 'Me, me, me,' especially in light of the lives that were lost, the homes that were lost; you don't want to make too big of a deal out of a restaurant."

"No."

"But at the same time, this was your family. This was your home. That must've been a huge loss."

"It was a huge loss," Fleetwood said. "And in the reminding of it, that wave comes back. Today knowing we're doing this, I go, like, Okay, this is gonna be … a day."

We took a walk with Fleetwood down the street where his place once stood: the last time he was here, the place was still smoldering. "Literally, parts of it were still hot," he said.

More than a year later, the Lahaina waterfront is still very much a disaster zone.

The decision about what to do with the land is still up in the air; the priority is housing for the displaced residents. But Fleetwood says he's determined to rebuild, just maybe not in the same place.

Asked what he pictures in a new place, he said, "For me, it has to encompass being able to handle playing music. There has to be music. We had it every day. That's a selfish request!"

But before anything is rebuilt, there's still a massive cleanup that needs to be completed here.

"We will see," he said. "You have a blank [canvas] to paint on, and there's a lot of painting to do.

"You have to be careful, even in this conversation, of going like, 'How sad that was,' when really it's about, 'Yes, but now we need this.' In the end you go like, it happened. And what's really important is absorbing maybe how all these things happened, and can they be circumnavigated to be more safe in the future, and be more aware? Of course that's part of it. But the real, real essence is the future."

Fleetwood's ukelele is one of the few things that survived the fire, and he's hoping his dream survives as well.

For details about helping those impacted by the August 2023 fires, and for the latest on recovery and rebuilding efforts, including housing, environmental protection and cultural restoration, visit the official county website Maui Recovers.

Grand Piano Fleetwood Mac Used to Write ‘Sara,’ ‘Songbird’ Headed to Auction

The Grand Piano Fleetwood Mac Used to Write ‘Sara,’ ‘Songbird’ Headed to Auction

The instrument traveled all across the globe with Fleetwood Mac and was also used by Elton John and Freddie Mercury

By Andy Greene

Rollingstone

A Grand Hamilton Piano once owned by Stevie Nicks, which was used to compose the Fleetwood Mac classics “Sara” and “Songbird” and was later played by Elton John and Freddie Mercury, is headed to the auction block via Gotta Have Rock and Roll. The minimum bid is $50,000, and the auction house estimates it will go for between $100,000 and $200,000. The auction ends on December 6.

The piano first caught the eye of English singer/songwriter Robbie Patton when he visited Nicks at her house in 1975. “[She had] his black Grand Hamilton Piano where she wrote most of her songs on,” Patton says in a statement provided by the auction house. “She wrote everything on the piano, she really cherished it as her own.”

Patton opened up for Fleetwood Mac when they went on the road in 1979 to promote Tusk. “Christine used it on tour,” Patton said. “She played it all over, she even composed ‘Songbird’ from the album Rumours on this piano.”

McVie used the piano on the road again in 1982 when Fleetwood Mac toured behind Mirage. Patton co-wrote the hit “Hold Me” on that album and requested the piano as payment. “I used to work for all the big musicians, Elton John, for four and a half years,” Patton said. “John Reid managed Elton John and then Queen. Freddie Mercury even came by for a recording session and used the piano. Elton John used the piano. The people who have touched this piano are crazy!”

The piano comes with a letter of authenticity that was signed by Nicks, McVie, and Patton in 2015. “It has been refurbished and re-lacquered, at the request of Mr. Patton,” Nicks wrote. “And in time, he intends to pass on this interment, which this letter, so that its history can be fully appreciated.”

Gotta Have Rock and Roll is also auctioning off a Custom Stratocaster signed and played by Ringo Starr, Eric Clapton, David Gilmour, Bruce Springsteen, Pete Townshend, Slash, Brian May, Tony Iommi, Slash, Mike Rutherford, Joe Walsh, and many others. The estimate is between $80,000 and $100,000.

CBS Sunday Morning Tracy Smith joins Fleetwood Mac’s Mick Fleetwood in Hawaii

 

MICK FLEETWOOD – Tracy Smith joins Fleetwood Mac’s Mick Fleetwood in Hawaii, where he lost his restaurant in the Maui wildfire, to talk about his love for the region and what he’d like to see in the future.

Tune in to CBS Sunday Morning November 24, 2024 9:00am-10:30am ET

Fleetwood Mac is set to receive its first fully authorized documentary

Fleetwood Mac is set to receive its first fully authorized documentary, directed by acclaimed filmmaker Frank Marshall for Apple Original Films.

The untitled feature will include new interviews with surviving core members Stevie Nicks, Lindsey Buckingham, Mick Fleetwood, and John McVie, along with never-before-seen footage and both new and archival interviews with the late Christine McVie, who passed away in 2022. A release date has yet to be announced.

Directed by Frank Marshall, a five-time Oscar nominee and recipient of the Irving G. Thalberg Memorial Award, the project marks the first fully authorized documentary with participation from all surviving band members. Fleetwood Mac—comprising Mick Fleetwood, Christine McVie, John McVie, Stevie Nicks, and Lindsey Buckingham—is celebrated for iconic albums like Rumours and Tusk, as well as hits like “Rhiannon” and “Landslide.” Their turbulent relationships, often reflected in their music, added to their legendary status.

“I am fascinated by how this incredible story of enormous musical achievement came about. Fleetwood Mac somehow managed to merge their often chaotic and almost operatic personal lives into their own tale in real time, which then became legend. This will be a film about the music and the people who created it,” said director Marshall in an official statement.

Added producer Nicholas Ferrall, “Fleetwood Mac are a musical phenomenon, their alchemy almost beyond comprehension. White Horse is grateful and humbled by the extraordinary opportunity to produce a documentary that dives deep into both the talents of each band member individually and the magic that is Fleetwood Mac as a whole.”

Per today’s announcement, the film will follow “their fortuitous meeting in 1974” and see Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham, and Stevie Nicks “reflect on their uncompromising fifty-plus-year history, from their record-breaking recordings and tours — including never-before-seen footage, exclusive new interviews, and archival interviews of the late Christine McVie — through to today. The film will explore how the band’s trials and tribulations, personal resilience, and musical dexterity combined to create songs that have not only stood the test of time but are indeed timeless masterpieces.”

Marshall’s film promises to “take fans through the highs and lows of their brilliant career, illuminating the exceptional ingredients each member brought to the band’s uncommon alchemy — a musical union that sold more than 220 million records around the world. The documentary will explore what allowed this combination of artists to create singular musical work again and again, and what drew them back together and held them there when every possible pressure, both outside and inside the band, threatened to blow them apart.”

Director Frank Marshall produces through The Kennedy/Marshall Company with White Horse Pictures’ Nicholas Ferrall (“The Beatles: Eight Days A Week,” “Stax: Soulsville, U.S.A.”) and Jeanne Elfant Festa (“The Apollo,” “Lucy and Desi”), and Kennedy/Marshall’s Aly Parker (“The Bee Gees: How Can You Mend A Broken Heart,” “The Space Race”). White Horse’s Cassidy Hartmann executive produces with Kennedy/Marshall’s Tony Rosenthal. Diamond Doc’s Mark Monroe serves as writer and executive producer.

Fleetwood Mac Documentary Announced by Apple Original Films

BY JESSICA LYNCH

Billboard

Apple Original Films has unveiled plans for a new definitive documentary chronicling the legendary Fleetwood Mac. Directed by acclaimed filmmaker Frank Marshall, a five-time Academy Award nominee and winner of the Irving G. Thalberg Memorial Award, the project marks the first fully authorized documentary about the band.

For the first time, Fleetwood Mac members will narrate their own extraordinary story, supported by exclusive interviews, archival footage, and unseen material, including tributes to the late Christine McVie.

The film promises to delve into Fleetwood Mac’s meteoric rise and the personal and professional dynamics that shaped their legacy. From the band’s formation in 1967 to their groundbreaking albums and record-breaking tours, the documentary will explore the unique alchemy between Mick Fleetwood, John McVie, Lindsey Buckingham, Stevie Nicks, and Christine McVie that produced some of the most enduring music of the modern era.

Fleetwood Mac’s impact on the Billboard charts underscores their legendary status. The band has charted 25 songs on the Billboard Hot 100, with nine Top 10 hits, including their sole No. 1 single, “Dreams,” which spent 19 weeks on the chart during its original release in 1977. On the Billboard 200, the band has placed 30 albums, with four reaching the summit: Fleetwood Mac (1975), Rumours (1977), Mirage (1982) and The Dance (1997).

Their 1977 masterpiece Rumours achieved an extraordinary 31 weeks at No. 1 and remains one of the best-selling albums of all time, with over 40 million copies sold globally, with over 20 million copies being in the US alone.

In a statement, director Frank Marshall reflected on the band’s cultural significance, saying, “I am fascinated by how this incredible story of enormous musical achievement came about. Fleetwood Mac somehow managed to merge their often chaotic and almost operatic personal lives into their own tale in real-time, which then became legend. This will be a film about the music and the people who created it.”

Producer Nicholas Ferrall added, “We are thrilled to continue our creative partnership with Frank and the talented team at Kennedy/Marshall. Fleetwood Mac are a musical phenomenon, their alchemy almost beyond comprehension. White Horse is grateful and humbled by the extraordinary opportunity to produce a documentary that dives deep into both the talents of each band member individually and the magic that is Fleetwood Mac as a whole. And to do this with the support and reach of Apple is quite wonderful.”

The documentary, which is yet to be titled, joins Apple Original Films’ prestigious catalog of projects, including the Academy Award-winning CODA and the Emmy-winning STILL: A Michael J. Fox Movie.

Stevie Nicks performed at the Michael J. Fox Foundation's yearly gala

Stevie Nicks Praises 'Lovely' Michael J. Fox amid His Parkinson's Journey: 'He Just Keeps Going'

The music icon performed at the Michael J. Fox Foundation's yearly gala on Saturday, Nov. 16

By Brenton Blanchet and Marisa Sullivan

People

Stevie Nicks is supporting an important cause and giving props to the "lovely" Michael J. Fox.

On Saturday, Nov. 16, the 76-year-old Fleetwood Mac musician stepped out in New York City for The Michael J. Fox Foundation's yearly A Funny Thing Happened on the Way to Cure Parkinson’s gala, where she performed a few songs and raved about Fox — all while helping to celebrate his foundation's ongoing dedication to Parkinson's aid with research.

"He is here tonight. And he just keeps going," Nicks told PEOPLE of Fox, 63, who was diagnosed with Parkinson's in 1991 and went public with his diagnosis in 1998. "He got this pretty early. A long time ago. He’s had an amazing career, and he is the face of this. And when they asked me if I wanted to do this, I said of course I want to do it, you know?"

"He’s such a lovely guy. He could have just given up on all this kind of thing a long time ago and he didn’t," she added of his efforts, as Fox developed the MJFF in 2001. "And that’s so magical."

Nicks, who added that Fox is "an amazing guitar player," also posed for some photos on the Cipriani South Street carpet with Fox, his wife Tracy Pollan and fellow musician Maggie Rogers. During the event, the Back to the Future star wore a navy suit and brown paisley-print dress shirt, while Nicks opted for a stylish all-black look.

The gala, which salutes the MJFF's efforts throughout the year alongside patients, families, scientists and donors, was hosted by Denis Leary and featured some music from Nicks and Fox himself, who shared the stage alongside Rogers, 30.

Speaking with PEOPLE, Fox opened up at the event about maintaining his sense of humor, and how he works to ensure that it always shines through. As he explained, maintaining a darker sense of humor is actually “hard for me," adding, “I gotta keep it intact.” He also called his foundation's latest event “so exciting."

“I can’t believe — a lot of these people I’ve known for years and years — they’re so kind to me,” he said. “I think because they see an opportunity for a win, for a big advancement, and that’s what we’re working toward.”

The annual gala has raised $116 million toward Parkinson's disease research so far, with the foundation raising $2 billion total since its inception. Fox previously explained to CBS Mornings during a 2023 interview that his efforts seek to give a voice to the voiceless.

"They didn't have money, they didn't have a voice, and I thought, I could step in for these people and raise some hell," Fox said on the morning show. "It's not a cure. But it's a big spotlight on where we need to go, and what we need to focus on so we know we're on the right path, and we're very proud."

The MJFF's latest gala in N.Y.C. comes just months after their Nashville-based A Country Thing Happened on the Way to Cure Parkinson's event in April, which featured appearances from Sheryl Crow, Little Big Town and Jason Isbell.

EXCERPT An Intimate Biography of Christine McVie by Lesley-Ann Jones

Christine McVie: ‘The affairs dented my self-respect. There was something seedy about them’

Extracted from Songbird: An Intimate Biography of Christine McVie by Lesley-Ann Jones, published by Bonnier Books - AMAZON

Lesley-Ann Jones

One of the great misconceptions about Fleetwood Mac is how Rumours came about. The band’s 11th album was designed, you often hear, to chronicle the breakdowns between three couples: Mick Fleetwood and his wife Jenny Boyd, Stevie Nicks and Lindsey Buckingham, and John and Christine McVie. As such, it’s often referred to as a “journey album”, even a “concept album”. There was no pre-planned structure. Drugs, booze, illicit sex and affairs simply took their toll, and as their relationships fell apart, Christine, Stevie and Lindsey all separately brought to the table cathartic pieces that laid bare their own pain, anger, despair – and a little hope.

As they began recording Rumours at the Record Plant Studios in Sausalito, California in February 1976, the band’s producer Ken Caillat soon got the measure of those five distinct personalities. Mick, for instance, was the leader, and a control freak: he would go all night if he could, and sod the home life. Stevie was “the new girl”, she and boyfriend Lindsey having joined the band only in January 1975, who was infuriatingly precious about “her words”. Woe betide anyone who suggested an alteration.

But of all the dynamics within the band, the McVies’ was the most fascinating. Singer and keyboard player Christine was the reluctant member, having quit her own fledgling music career to marry their bassist John, intending to become a housewife and, hopefully, a mother. Drifting into the line-up because she happened to be around when they needed backing vocals here, a bit of piano there, she quickly became an essential component, contributing not only cohesive keyboard-playing and blues-inspired songwriting but her aching and irresistible voice.

It was obvious to anyone who was paying attention that John, Mick’s trusty collaborator, “loved” her – but he also had the most dangerous mistress: the bottle. Christine knew that John was a drinker when she married him. ‘He drank to cope,’ she said, ‘with who he was and who he wasn’t.’ Divorce in the late sixties was a dirty word, but they lasted only eight years. Having called time on their impossible marriage, Christine appeared resigned. She was, nonetheless, able to rise above her feelings: she was still willing to work with John, provided he controlled himself and behaved like a mature adult. He could do this when he was sober, but he lamented their distance when in his cups. He must have known as well as Christine did that they were beyond reconciliation.

He may also have been wracked by jealousy. For Christine was now, in 1976, having an affair with a Fleetwood Mac hand: their suave lighting director, Curry Grant. Their relationship provided light, no-strings relief from the shame and heartache of her ruined marriage. Although the couple lived together for about a year at her West Hollywood home, she regarded their set-up as a convenience and reflected its status in her song You Make Loving Fun.

Christine’s affair with Curry was not her first. She had, three years previously “got tangled up… as my mother would say” with Martin Birch, the band’s married sound engineer. At 25, he was five years her junior. John was aware, and played tit for tat, with a string of groupies. He drank even more. The atmosphere during recording sessions for their 1973 album Mystery to Me became unbearable.

Although Birch, a loyal servant, had engineered five albums for the band, Mick and John fired him. (Grant was also fired, but only for a few months, to teach him a lesson – he was indispensable.).

Christine could have walked away – she was only 30 years old, talented and in her prime. She might have divorced John, cut her losses and resumed her solo career. Chicken Shack, the second-division pre-Fleetwood Mac blues outfit with whom she famously scored a hit with the Etta James cover “I’d Rather Go Blind”, would have had her back in a beat. But Christine knew the magical harmonies that she, Stevie and Lindsey conjured together were too precious to throw away.

Christine’s hesitation to walk away from such a destructive situation, she explained to me in the 90s, had been to do with a fear of “losing everything”: “I wasn’t brave enough, frankly. There was still the stigma of being divorced in those days. My pop [her father] would have been very, very disappointed in me. I didn’t dare do that to him. In some ways, thank God my mother wasn’t still alive to know about it.

“Martin was never going to leave his wife. I loved him, but I didn’t want to be a mistress – horrible word – forever. It wasn’t as if I could leave John and go straight into a new set-up with Mart. That was never an option – he made that clear. Neither of us had money, it was still only wages. And I was, you know, John’s missus, not a person in my own right. There was no future in it.

“There was something seedy about [the affairs],” she went on, despondently, “that dented my self-respect. Maybe that was how the others made me feel. If they did, that would have been subliminal – nobody actually said anything, which in some ways made it worse. I didn’t like myself during that whole period. I sank very low.”

Maybe another part of her, I ventured, had thought it might work out with John eventually? “I don’t know,” Christine said. “I disliked my husband intensely for what he’d become, for what he was doing to me and to our marriage. We should have had kids by then. At least one, maybe. But in a way, thank God we didn’t. I could understand completely how things had gotten so bad. We hated the sight of each other. The booze numbed the pain, as did the drugs.

“Fleetwood Mac had become the mistress of us all. There was a sense by then that we could be on the verge of something, a breakthrough – dare I say it, the big time. The band had us by the short and curlies. She wasn’t going to let us go.”

Though the McVies’ union was over (and would be finalised in 1978), both remained married to the band. As for the Fleetwoods, Mick and Jenny had divorced in 1976, remarried four months later, but fell apart again almost immediately. Stevie and Lindsey had disintegrated. Stevie and Mick had a damaging affair. Now international superstars thanks to Rumours, 1977 became “their year”. They toured the world triumphantly, a travelling soap opera, knowing that nothing would ever be the same again. In 1979, they released their punk-infused album Tusk. That same year, Christine met and fell hopelessly for “The One”, Beach Boys drummer Dennis Wilson. The notorious, four-times-married, hell-raising womaniser was so wrong for her that she couldn’t let him go. She believed that she could fix him. He proposed.

Though when, given their punishing schedules, were they going to have time to get married? What about children? She’d had her fallopian tubes tied around the time of her divorce from John but she told me later that she’d looked into the possibility of reversing that.

Five years before her death, Christine would discuss her childlessness with Kirsty Young on BBC Radio 4’s Desert Island Discs. She now insisted that she had never wanted to be a mother.

Turning 40 proved devastating – her motherless status haunted her. Although she remarried in 1986, to Portuguese keyboard player Eddy Quintela, the marriage was a dud before it got off the ground.

The self-confessed ‘Daddy’s girl” was floored by her father Cyril’s death in July 1990. She found herself reliving the loss of her mother 22 years earlier, when she had swept her grief under the carpet. Her father’s passing rekindled that long-buried, unprocessed agony. “Losing Pop made me begin to look at my life differently,” she told me. “I could suddenly see that so much of it was pointless. Devoid of worth.

“A lot of [life],” she went on, “was going through the motions, and I was deferring actual living. For what? To satisfy the insatiable, ever-increasing demands of a record company? To keep the band going? To help keep the rest of them, the profligates, afloat? To make sure the fans carried on buying our records and seeing our shows, which in turn fed the record company? And there was that moment when I saw myself as a hamster in a wheel. I was rich beyond anything 15-year-old me could ever have imagined, ‘just’ from making music. But no amount of money, I knew, could buy me love or peace of mind. I woke up. I just didn’t want to live that lifestyle any more.”

Christine withdrew in 1990, and bought a manor house back in England. The band played on. Stevie Nicks was now immersed in a massive solo career. They regrouped for Bill Clinton’s presidential inauguration in January 1993, and four years later toured a live album, The Dance. After the New York performance at the Grammys, Christine left the band for good, blaming aviophobia, and moved into her renovated Kentish manor.

Rattling around in her huge home, lonely and depressed, she took up drinking and pills again. A fall down the stairs snapped her out of it. She could only go back. After therapy for fear of flying, she rejoined the Mac in 2014, 17 years after she had left. But her second coming would be short-lived. The health problems that blighted her final forays with the band ended her life in November 2022. She was 79.

Extracted from Songbird: An Intimate Biography of Christine McVie by Lesley-Ann Jones, published by Bonnier Books on Nov 14

Stevie Nicks and Jason Kelce Share "Maybe This Christmas" Duet

 JASON KELCE + STEVIE NICKS 

“Maybe This Christmas”

A Philly Special Christmas

“Maybe forgiveness will ask us to call, someone we love, someone we’ve lost for reasons we can’t quite recall, maybe this Christmas,”

Listen on Apple, or wherever you stream music

WATCH Stevie Nicks Performed "The Lighthouse" on Jimmy Kimmel Live

 Stevie Nicks performing The Lighthouse on Jimmy Kimmel Live

November 4, 2024

Stevie Nicks sits down with Mika Brzezinski on Morning Joe

 

Mika Brzezinski on Morning Joe (MSNBC) sat down with Stevie Nicks on Monday October 28th and interviewed her about her new song "The Lighthouse". Sheryl Crow joined as well. The interview airs Wednesday, October 30th. Morning Joe starts at 6am ET and it's a 3 hour morning show. Not sure what hour Stevie will be in.  Tune in if you can. 

Stevie Nicks opens up about the reversal of Roe v. Wade

Stevie Nicks on "The Lighthouse," her rallying cry for women's rights

CBS Sunday Morning

October 27, 2024

Watched the full segment at this link

On a trip to New York City earlier this month to appear on "Saturday Night Live" for the first time since 1983, Stevie Nicks said she was scared to death. She said her first reaction when she got the call to appear on "SNL" was, "Absolutely not. Because I was terrified to do it, 'cause it goes out live!"

But she did appear on "SNL," and her performance of "The Lighthouse" brought down the house.

She says the inspiration for her latest song, a rallying cry for women's rights, struck a few months after Roe v. Wade was overturned, and it took her less than a day to write the song and record it.

Smith asked, "It takes some courage to step into the waters of the abortion debate. Why take the risk?"

"Because everybody kept saying, 'Well, somebody has to do something. Somebody has to say something,'" replied Nicks. "And I'm like, 'Well, I have a platform. I tell a good story. So maybe I should try to do something.' I was also there. I was, been there, done that."

In the late '70s, Nicks was on top of the world with the legendary band Fleetwood Mac. She'd broken up with her longtime partner and Fleetwood Mac bandmate Lindsey Buckingham, and she was romantically involved with Don Henley of The Eagles when she found out she was pregnant, and decided that, as a touring musician, being a mother was not in the cards. 

In 1979 she terminated the pregnancy. "In my younger life, I'd already decided I didn't want to have somebody have their feelings hurt all the time, and like, 'When are you comin' back?' 'Well, I don't know. I'll be back when I get back,' you know?" Nicks said. "And not even having any idea how big that Fleetwood Mac was going to get in the future, you know? And this is, like, super personal and weird, so you know ... you can edit this out if necessary."

"I appreciate your sharing this story though," said Smith.

"Well, and it's a good story, too. I tell a good story!" Nicks said. "I got pregnant. And it was like, Why? I have an IUD. I am totally protected. I have a great gynecologist. How come this has happened? What the heck?"

"So you took all the precautions?"

"Yes. And I'm like, This can't be happening. Fleetwood Mac is three years in. And it's big. And we're going into our third album. It was like, Oh no, no, no, no, no, no."

Nicks said it would have "destroyed" Fleetwood Mac if she had had the baby: "Absolutely, because many reasons. I would've, like, tried my best to get through, you know, being in the studio every single day expecting a child. But mostly, having a child with Don Henley would not have gone over big in Fleetwood Mac, with Lindsey and me – we had been broken up for two or three years. It would've been a nightmare scenario for me to live through."

Interview Stevie Nicks on the demise of Fleetwood Mac, Christine McVie and New Music

The Rolling Stone Interview

Stevie Nicks: ‘I Believe in the Church of Stevie’

In a nearly four-hour interview, the legendary singer goes deep on longevity, Kamala Harris, why Fleetwood Mac are finished, and much more

By Angie Martoccio

Rollingstone

Every second feels like an ­eternity when you’re hovering four inches from Stevie Nicks, noodling around with her blouse. This is Stevie Nicks, the first woman to be inducted into the Rock & Roll Hall of Fame twice — as a member of Fleetwood Mac and as a solo artist. Stevie Nicks, whose legendary shawl collection resides in its own temperature-controlled vault. Stevie Nicks, who, at 76, has become an obsession of younger generations, from her American Horror Story appearance to the original poem she wrote for Taylor Swift’s Tortured Poets Department to a recent viral TikTok video, where she intensely stares down her ex-boyfriend and bandmate Lindsey Buckingham during a 1997 performance of “Silver Springs.” (Yes, Nicks has seen it.)  

This is also Stevie Nicks, who’s somehow gotten a long, spiraled, gold ring she’s wearing stuck in the mesh fabric of her blouse, requiring the up-close-and-personal assistance of an interviewer she met only minutes ago.

She is surprisingly nonchalant as I lean over her, delicately unwinding the thread from each loop of the ring. “It happened [recently] onstage,” she says of the ring tangling. “It was stuck on my ‘Gold Dust Woman’ cape, and the most handsome guy on our entire tour ran out and was down on one knee trying to undo it. I felt like a princess in a Cinderella movie.” She laughs. I loosen up. Miraculously, I free the material from the ring without a single tear. “Thank you, honey,” she says sweetly. 

Nicks has been in Philadelphia for the past three days, wrapping up a massive tour and recording a Christmas song with former NFL star Jason Kelce. Tonight, she’s in her signature all-black attire, save for hot-pink hair ties that hold her blond, elegant French braid. Her tiny Chinese crested dog, Lily, saunters in and out of the room, occasionally sitting on her lap and staring at the massive charcuterie plate in front of us. 

The spread will go untouched over the next three and a half hours while Nicks takes me on a wild ride through her life — and, at one point, into the bedroom to meet her Stevie Nicks Barbies. There’s the prototype, dressed in her beloved “Rhiannon” black dress, and the official Stevie Barbie, released last fall. Nicks didn’t love Barbies as a child, but there’s something special about this doll. “I never in a million years thought this little thing would have such an effect on me,” she says, holding the miniature Gold Dust Woman. 

Nicks is as prolific and driven as ever. She’s also unmoored from her famous band. After a successful tour with the classic Fleetwood Mac lineup in 2014 and 2015, Buckingham ran into conflict with his bandmates — and with Nicks in particular — leading to him being fired from the group in 2018. The 2022 death of Christine McVie, whom Nicks calls “my musical soulmate,” truly seems to have ended the band; Nicks says she’s done with Fleetwood Mac for good. Instead, she launched a two-year-long solo tour, which just wrapped a couple of evenings before we talk at the 30,000-seat Hersheypark Stadium.

She’ll perform to millions shortly after our conversation, when she appears as the musical guest on Saturday Night Live for the first time in more than 40 years. When she steps onto the stage at Studio 8H, she’ll play her women’s-rights anthem “The Lighthouse,” which Nicks wrote following the demise of Roe v. Wade. Featuring Sheryl Crow on guitar, it’s a cathartic rocker in which Nicks compares herself to a lighthouse, guiding women and encouraging them to stand up for their power. 

Mick Fleetwood Speaks to Billboard About Blues Experience and Fleetwood Mac Reunion

 

Out Now!

Inside Mick Fleetwood’s Collaborative Blues Album With Ukulele Pro Jake Shimabukuro

Their album, 'Blues Experience,' includes a heartfelt tribute to the late Christine McVie

By Gary Graff 

Billboard

Jake Shimabukuro is still pinching himself. And Mick Fleetwood is smiling ear to ear.

That’s how the two are feeling as they bring out Blues Experience, a collaborative album that finds the ukulele virtuoso and the Rock and Roll Hall of Fame drummer exploring the blues over nine tracks – one of which is a moving tribute to Fleetwood’s late Fleetwood Mac bandmate, Christine McVie.

“I’m really excited about this project,” Shimabukuro tells Billboard via Zoom from Hawaii, where he lives (and where he met Fleetwood, another Hawaii resident). “It’s such a departure from anything I’ve ever done, but I love that because it really feels like I learned a lot from this experience. In my wildest dreams I never would have imagined that this album would exist someday. And I love those kinds of things…the most unlikely collaborations or combinations coming together to do something very different and unique.”

Fleetwood — who has some 40 ukuleles hanging on the walls of his home as decorations — adds that the appeal for him was to work with someone he calls “an explorer. He’s fascinated with music. He comes from a very traditional musical background, but he’s done an extraordinary amount of projects with anyone from Neil Young to Bette Midler, all this strange, bizarre, super-eclectic stuff that’s obviously intrigued him on his journey. That’s what led to, ‘What can a funny old drummer — me — do with someone like this?'”

Fleetwood and Shimabukuro had met a number of times over the years, establishing a friendly relationship. “We basically were passing in the night for years, always saying, ‘We’ve got to do something together,’” recalls Fleetwood. Meeting up again at a Shimabukuro show in Maui during early 2023 put the idea on the front-burner for both, and by March they were in a studio Fleetwood has near his home, with “no pressure, no agenda, just to get in there to see what happens.” Four songs in four days — “recording everything live and just experimenting and having a lot of fun,” according to Shimabukuro — proved they were creatively in sync. Shimabukuro was even happy to plug into a vintage Fender Princeton amplifier that helped him craft a sound that “really seemed to work nicely for this genre and this style.”

The Wild Story of Tusk - Lindsey Buckingham Interview

The Independent
October 17, 2024

With lobster and champagne arriving at the studio by the crateload, the making of Fleetwood Mac’s radical 12th album is pure rock’n’roll history. As the album turns 45 this week, Mark Beaumont speaks to Lindsey Buckingham about those storied sessions, and going his own way after the commercial success of ‘Rumours’

For Lindsey Buckingham, making Tusk was akin to following Jurassic Park with some small indie cult flick. “Here we are in Spielberg-land,” he says of life after selling 16 million copies of Fleetwood Mac’s Rumours in 1977, en route to its eventual 40 million global sales. “But if you’re willing to do what you want to do and lose nine-tenths of your audience, then you’re Jim Jarmusch or somebody. That’s what I’ve been valuing ever since Tusk.”

On its 1979 release, 45 years ago this week, Tusk was one of the boldest, bravest, and most bewildering records in rock’n’roll history, the very grandest of rock follies. Fleetwood Mac were following Rumours, the ninth-best-selling album of all time, with this experimental, often ramshackle double record full of junkyard clatter, Kleenex box drums and a full-on marching band. A record that was willing to risk the sort of monumental folk-rock success most bands can only dream of in order to stay creatively invigorated and relevant within an evolving post-punk landscape.

At the time, Tusk sold four million albums: a career-making phenomenon for most acts but a major knockback for Fleetwood Mac. However, as their late-Seventies era has been rediscovered and re-evaluated by subsequent generations, Tusk has become regarded as a triumph of art and creativity over the crass demands of mainstream commerce.

“There was a certain amount of esteem that it did garner from people who might have thought Rumours maybe a little too safe or a little too decadent or a little too California,” the former Fleetwood Mac singer and guitarist, now 75, says down the line from his Californian home, happy to discuss a record that acts as an origin story for his decades of musical exploration since. “But it did take a number of years for it to reveal itself. People, younger artists especially, began to appreciate it, not just for the creativity but for the reason it was done. They could see that there was a method to the philosophy of it.”

Tusk is arguably the most punk record of the Seventies; the ultimate in nonconformist, anti-commercial artistic expression with far, far more than a last-minute punt deal with Virgin Records on the line. For Buckingham, though – relatively fresh in Fleetwood Mac, having joined with then partner Stevie Nicks on New Year’s Eve 1974 and hit the biggest of big times on just his third album release – it was merely the natural next step of an artist following the instincts that were serving them so well.

“With our first album [1975’s seven-million-selling Fleetwood Mac] and then with the Rumours album, everything we’d done had been from our gut, from our heart,” he says. “And [Tusk] was where we wanted to go creatively and emotionally.” The inevitable “far greater, extreme expectations” from their label Warner Bros to repeat the formula of Rumours seemed counterintuitive: this was the Rumours formula.

Stevie Nicks’ SNL Performance Sparks iTunes Chart Resurgence

Following Stevie’s performance on *Saturday Night Live*, her music catalog saw a significant boost on iTunes, with both her latest single, "The Lighthouse," and the classic hit "Edge of Seventeen" making a notable impact—both songs were performed during the show.

On October 13th, *The Lighthouse* re-entered the iTunes Top 100 at No. 17 after peaking at No. 3 following its initial release on September 27th. As of Monday afternoon, the single has climbed back to No. 3 on the chart.

*Edge of Seventeen* re-entered the Top 100 at No. 81 on October 13th, reaching a peak of No. 37. Currently, it sits at No. 39 as of Monday, October 14th.

On the Top 100 Rock Songs Chart, *The Lighthouse* has held the No. 1 position since October 13th, while *Edge of Seventeen* peaked at No. 3. Additional charting tracks include *Stand Back*—peaking at No. 15 and currently at No. 16—*Leather and Lace* at No. 20, and *Stop Draggin' My Heart Around* at No. 32.

Regarding albums, *Crystal Visions: The Very Best of Stevie Nicks* peaked at No. 66 on the iTunes Top 200 Albums, while *Bella Donna* reached No. 179.

It’s remarkable how a single appearance on a show can reignite interest in an artist’s catalog. Even Fleetwood Mac’s songs and albums have seen a resurgence as a result.

Stevie Nicks "The Lighthouse" CD Single Available Nov 1, 2024

Stevie Nicks will release a CD and 7 inch vinyl single 

of "The Lighthouse" Nov 1st and Nov 29, 2024

Pre-order the CD Single NOW through her website.

"The Lighthouse" 7 inch vinyl will be available to order Nov 29, 2024 through her website, or you can look for it on November 29th during Record Store Day Black Friday. Check your local viny store. 

I can't remember the last time Stevie actually released a physical single in North America, maybe the 90's?