(Review) Stevie Nicks' "In Your Dreams," isn't simply a trick. It's Nicks' best music since 1983

It took Stevie Nicks 40 years to become unpredictable.

The Journal
Jeb Inge - Journal Copy Editor

After decades of chart-topping repetition and radio-friendly solo albums, Nicks entered the new millennium seemingly spent. As recently as Fleetwood Mac's 2009 tour, the white winged dove wheezed more than wowed. But like the sorcerers and witches lacing her songs, Nicks always has another trick up her mystical sleeve.

Her latest solo album, "In Your Dreams," isn't simply a trick. It's Nicks' best music since 1983.

"In Your Dreams" is unpredictable in the only way an album from an aging rocker can be: It doesn't sound like microwaved nostalgia. Sure, Nicks still relies on the well-worn themes of California witches and love's labor lost. She's been doing that since she joined Fleetwood Mac with Lindsey Buckingham on New Year's Eve 1974. But in 2011, the era of Cullens, and Bella Swans, and shirtless werewolves, her music regains a youthful glisten.

(Review) "Stevie Nicks' voice sounds as strong and supple as ever on In Your Dreams"

Stevie Nicks' In Your Dreams: Yes, It Really Is Her Best Album in Years
By Niki D'Andrea
Phoenix New Times

Phoenix resident Stevie Nicks' new album, In Your Dreams, was released today. Rolling Stone writer Rob Sheffield has already given the album rave reviews, calling it Nicks' best album in a decade.

It's hard to argue with that, especially considering that Nicks hasn't released an album in a decade (her last solo record was Trouble in Shangri-La in 2001). But is the Valley songbird's latest album really "her best work since the 80s"? I listened to In Your Dreams, and came to my own conclusions.

First, In Your Dreams is way, way better than Trouble in Shangri-La. The latter album was one of the first times Nicks didn't have a star songwriter or producer working with her -- not that she didn't try. Nicks had met her old friend Tom Petty for dinner at the Copper Star Club near US Airways Center and asked him to write some songs for her. According to Nicks, Petty told her to write her songs herself. The result was a collection of predictable and uninspired pop songs that couldn't be saved even with a guest vocal from then it-girl Macy Gray.

Continue to the full review

Stevie Nicks Wrote a Letter To Her Fans on Eve of Album Release...

Stevie has written a letter to the fans 

about the new album release.

Please visit The Nicks Fix to read it

Glee: The Music, Volume 6 - Out May 23rd - Includes Fleetwood Mac Tracks

NEW YORK, May 3, 2011 PRNewswire 

Glee: The Music, Volume 6, the final official album release of Glee's second season, is available on Monday, May 23, 2011. With the return of fan favorites Kristin Chenoweth on Fleetwood Mac's "Dreams," Jonathan Groff on Adele's "Rolling In The Deep" and Gwyneth Paltrow on Adele's "Turning Tables," Glee: The Music, Volume 6 has something for everyone. Among its 18 tracks, Glee: The Music, Volume 6 features 3 new and original tracks including "As Long As You're There" (featuring Charice), "Pretending," and "Light Up The World" a New Directions showcase co-written by Max Martin.

The full track listing for Glee: The Music, Volume 6 is as follows:

1. Turning Tables
2. I Feel Pretty / Unpretty
3. As If We Never Said Goodbye
4. Born This Way
5. Dreams
6. Songbird
7. Go Your Own Way
8. Don't Stop
9. Rolling In The Deep
10. Isn't She Lovely
11. Dancing Queen
12. Try A Little Tenderness
13. My Man
14. Pure Imagination
15. Bella Notte
16. As Long As You're There
17. Pretending
18. Light Up My World

(Review) Stevie Nicks: In Your Dreams

The dreamy, mystical “Annabel Lee” offers Nicks’ catchiest melody in years, her precise vocals pulsing over a sturdy, John McVie-esque bass and a Lindsey Buckingham-influenced guitar sweep.

Paste Magazine
By Ryan Reed

5 Stars

Amid the fingerpicked folk of “For What It’s Worth,” the most nostalgic, romantic track from Stevie Nicks’ seventh studio album, America’s most beloved and mysterious gypsy princess emotes, “I got to sing; I got to dance; I got to be a part of the great romance.” No mystery there. As a former vocalist and songwriter for ’70s legends Fleetwood Mac, Nicks did experience the ups and the downs, the fame and the decline, the mysticism and the harsh reality of the rock star life.

No matter what she does, Nicks will never escape the large-looming legacy of her former band, the monster collective that cranked out masterpieces like Rumours and Tusk. Not that she’s avoiding the association—she did, after all, record with the band on their 2003 comeback, Say You Will, and participate in the sporadic tours that have taken place since. But she’s never quite reached her former act’s level of acclaim or commercial success, and she’s certainly never crafted that one album that’s come to define her as a solo artist. Her first attempt, 1981’s Bella Donna, has come closest on all counts, sprouting an array of top-notch singles (like “Stop Draggin’ My Heart Around” and the oft-referenced “Edge of Seventeen”), but even still, most of her best moments as a soloist bear The Mac’s stylistic hallmarks.

Full Review

Stevie Nicks on In Your Dreams and the Duet That Brought Her Back to 1973 With Lindsey Buckingham

Stevie Nicks on In Your Dreams and the Duet That Brought Her Back to 1973 With Lindsey Buckingham

NYMag.com

By: Robert Burke Warren

Stevie Nicks says writing and recording her seventh studio album, In Your Dreams, was probably the most fun she’s had making music since Fleetwood Mac put out its self-titled album in 1975. The thirteen tracks came together at Nicks's Pacific Palisades home in early 2010, with producer-songwriter-guitarist Dave Stewart (Eurythmics), hit-maker Glen Ballard (Alanis Morissette, Michael Jackson, Aerosmith), and Fleetwood Mac alums Lindsey Buckingham and Mick Fleetwood. Vulture spoke with Nicks about her "magical" communal writing process and how it compared to her contentious collaborations with Buckingham.

Why was making this album so much fun for you?

We worked four or five days a week, and we’d break at seven for dinner — we had dinners for ten to twelve people every night — and we’d discuss politics and music and the world, and then went back to work for two or three hours. It was an experience. It was like Magical Mystery Tour. It was so much fun that when it was over and all of the people started packing to go and taking the recording equipment, I just sat down on the couch and started to cry. It was like, "I don't want this to be over."

Read The Full Q&A at NYMag.com