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Video: September 1, 2011 - Opening Number...
Friday, September 02, 2011
Review: Lindsey Buckingham "Seeds We Sow " ★★★✩✩
The Daily Mail - UK
Sept 2, 2011
AS FLEETWOOD Mac gear up for another reunion in 2012, guitarist Buckingham’s solo renaissance continues apace. In contrast to his arena-pleasing day job, this homespun album has a maverick charm. There is an Arabic feel to his fretwork on In Our Own Time. That’s The Way Love Goes is a surging rocker, and She Smiled Sweetly is a faithful cover of an obscure Stones gem.
Thursday, September 01, 2011
Stevie Nicks | Fleetwood Mac - Billboard Chart Update with Sales
Stevie's "In Your Dreams" jumps back onto the Top 200 Albums Chart this week at # 150 with 3,103 in sales for the week up from 2,532 last week (Total accumulated since release = 146,971. In Your Dreams also moves higher on the Top 200 Current Albums Chart to # 132 from # 170 last week.
Fleetwood Mac's "Rumours" also re-enters the Top 200 at # 155 this week on 3,037 units sold vs 2,052 last week (Total accumulated since 1991 = 2,879,330). Both albums taking a jump in sales could be as a result of her appearance on Good Morning America on Thursday August 26th, but because the sales week ended Sunday the 28th that leaves only 2 days to accumulate enough for a re-entry. It's likely just a combination of GMA and the current tour.
On the Catalogue Chart Stevie's "Crystal Visions" moves up to # 124 from # 149 last week selling 1,470 units this week which is up slightly from last weeks 1,408. Total accumulated for Crystal Visions = 382,516. Fleetwood Mac move up to # 22 from # 65 last week with "Rumours". "The Greatest Hits" moves up to # 90 from # 95 last week on sales of 1,707 down from 1,713 the previous week. Total accumulated sales since 1991 in the US = 4,487,579. Fleetwood Mac's other hits collection the double disc "The Very Best Of" moves down to # 188 from # 143 last week on sales of 1,228 vs 1,436 the previous week. Total accumulated units sold for The Very Best Of = 1,436,657
Fleetwood Mac's "Rumours" also re-enters the Top 200 at # 155 this week on 3,037 units sold vs 2,052 last week (Total accumulated since 1991 = 2,879,330). Both albums taking a jump in sales could be as a result of her appearance on Good Morning America on Thursday August 26th, but because the sales week ended Sunday the 28th that leaves only 2 days to accumulate enough for a re-entry. It's likely just a combination of GMA and the current tour.
On the Catalogue Chart Stevie's "Crystal Visions" moves up to # 124 from # 149 last week selling 1,470 units this week which is up slightly from last weeks 1,408. Total accumulated for Crystal Visions = 382,516. Fleetwood Mac move up to # 22 from # 65 last week with "Rumours". "The Greatest Hits" moves up to # 90 from # 95 last week on sales of 1,707 down from 1,713 the previous week. Total accumulated sales since 1991 in the US = 4,487,579. Fleetwood Mac's other hits collection the double disc "The Very Best Of" moves down to # 188 from # 143 last week on sales of 1,228 vs 1,436 the previous week. Total accumulated units sold for The Very Best Of = 1,436,657
Top 200 Albums Chart:
# 155 (-) Fleetwood Mac "Rumours" Re-eners The Top 200 Albums Chart
Top 200 Current Albums Chart
# 132 (170) Stevie Nicks "In Your Dreams"
Top Rock Albums Chart:
# 40 (-) Stevie Nicks "In Your Dreams" Re-enters the Top Rock Albums Chart
Top 200 Catalogue Chart:
# 22 (65) Fleetwood Mac "Rumours"
# 90 (95) Fleetwood Mac "Greatest Hits"
# 124 (149) Stevie Nicks "Crystal Visions"
# 188 (143) Fleetwood Mac "The Very Best Of"
Kings of Leon, Fleetwood Mac, more: The iTunes Store's back to school sale -- where selected albums are sale priced at $7.99 engineers gains for a number of charting sets this week. Among the gainers: Kings of Leon's "Come Around Sundown" returns at No. 144 (up 52%), Nickelback's "Dark Horse" gallops 198-153 (up 9%), Fleetwood Mac's "Rumours" re-enters at No. 155 (up 48%).
(Previous week in parenthesis)
American Songwriter Magazine Q&A with Stevie Nicks
By Lynne Margolis
September 1, 2011
When Stevie Nicks started her musical and romantic relationship with Lindsey Buckingham, both were still in high school. By the time the romance ended, the folk-pop duo were in one of the world’s hottest bands, which also contained another splitting couple, John and Christine McVie, as well as drummer Mick Fleetwood, who also was in the throes of divorce. Their tangled, cocaine-addled lives—and Nicks’ affair with Fleetwood—would become fodder for 1977’s Rumours, one of the best-selling albums of all time. In the years since, Fleetwood Mac’s members would go their own ways, only to come together again periodically. But of all their solo careers, Nicks’ has been the most successful.
Her string of hits, with and without Fleetwood Mac, represents one of pop music’s most beloved canons: the list includes “Rhiannon,” “Landslide,” “Dreams” (a favorite topic), “Edge of Seventeen,” “Leather and Lace” (a duet with one-time lover Don Henley), “Stand Back” and, with Tom Petty, “Stop Draggin’ My Heart Around.” Her gypsy/witchy-woman look—Victorian-inspired gowns, high-heeled boots, leather and lace, silk and satin, romantic hats over long, blonde hair, all shown off with frequent stage twirls—set a tone in the ‘70s from which she hasn’t wavered to this day. Her songwriting methods hadn’t changed much, either, till she called Dave Stewart and asked him if he’d like to produce her first solo album in 10 years. Released in May, In Your Dreams contains the first song collaborations she’s ever done with another writer while sitting in the same room, raw and open to anything.
Their output, it turns out, is remarkably strong. This time, she’s inspired by soldiers, angels, vampires, New Orleans, Edgar Allen Poe and, of course, romantic notions—past, present and future. (Both Buckingham and Fleetwood are on the album, along with guitarist Waddy Wachtel, with whom she’d also reportedly been linked at one time.) Sometime writing partner Mike Campbell also participated. In a wide-ranging conversation, Nicks discusses her unusual methodology.
You’ve written some of the most enduring songs in the pop-rock lexicon. I’m sure you’re very proud of that. How about if we start with Buckingham Nicks? “Frozen Love” was the biggest song that you two were known for as a team. Did you write that together?
No, I wrote it. Lindsey and I did not ever write a song together. The only—strangely enough—time I’ve ever written a song with anybody is Dave Stewart.
Wow!
I mean anybody in the same room. I do write with [Heartbreaker] Michael Campbell, but he sends me a CD that has three or four tracks on it, so he’s not sitting there. That’s very different, because if you don’t like it you can like wait three days and call and say, “You know, I just didn’t see anything/hear anything right now, but I’ll revisit it.” So you can kind of get out of it without hurting anybody’s feelings. That’s a problem with writing songs with people—you can really end up hurting peoples’ feelings, because if you don’t like it, you either get stuck with something you don’t like or you’re honest and you tell them you don’t like it, and, it takes a very special team to be able to write together without that ego thing happening. So Lindsey and I never wrote. He would leave guitars all over our little house and they’d all be tuned in different tunings and God knows what. He’d be gone, I’d write a song, I’d record it on a cassette, and then I’d put the cassette by the coffee pot and say, “Here’s a new song, you can produce it, but don’t change it.” Strict orders. “Don’t change it, don’t change the words, don’t change the melody. Just do your magic thing, but don’t change it.”
Did you ever overcome that feeling that once it was done, nobody could touch it?
No. Very superstitious.
How does that translate into your songwriting? When it’s done, it’s done?
It’s done—pretty much. Sometimes when I write a song, I’ll just write the first two verses and the chorus, and in my head I know I still have to write another verse, and maybe I’ll do that down the line a couple weeks later or maybe even a month or two later, but it’s very set in stone because—I always have a tape recorder going, and usually the first time, if I’m singing [sings] “Now there you go again, you say you want your freedom /who am I to keep you down?”—I’m not changing that. And I know it. The second it comes out of my mouth, I’m like “Oh, that was good.” So I have a little overhead lightbulb thing that goes off, so then I’m never going to go back and change that even though a good example is Don Henley—I was going out with Don Henley when I was writing “Dreams,” and it says [sings], “When the rain washes you clean, you’ll know.” Well, he didn’t like that [sings]“washes you” [accent on “es”], and he wanted me to go, “When the rain washes you clean” [accent on “wash”]. And I’m like, “No, I don’t like it.” [laughs] And he’s like, “Well, wash-ES doesn’t sound good,” and I’m like, “Well, wash-ES is the way it’s gonna be.” So then you start getting into that with somebody, and we’re talking an ego [of] a fantastic songwriter here. So I’m arguing with Don Henley over this, you know? That’s why I really stayed away from writing songs with other people.
To get the full 4 page interview - Continue at American Songwriter
To get the full 4 page interview - Continue at American Songwriter
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