CHRISTINE MCVIE WILL release In the Meantime July 27, 2004

McVie Returns With “Meantime”

Former Fleetwood Mac keyboardist to release third album

BY ANDREW DANSBY

April 5/2004

Rollingstone

CHRISTINE MCVIE WILL release In the Meantime, her first set of new songs since departing Fleetwood Mac, on July 27th. Meantime is only the singer/keyboardist’s third solo release in her almost four-decade career, and it’s the follow-up to a self-titled album issued two decades ago.

McVie’s return contradicts comments from her former Mac mates who said that she had left the music business altogether and retreated to her home in the U.K. Because Fleetwood Mac’s 2003 release Say You Will included some material from the mid- and late-Nineties, McVie’s keyboards were heard on a couple of the songs, but according to drummer Mick Fleetwood, McVie “retired” because “she doesn’t want to be in this business anymore. Her heart was in the music always, but she didn’t have her heart in what comes with it.” The group released the album as a four-piece and toured without McVie.

McVie’s departure followed a tenure of more than three decades with Fleetwood Mac, to which she contributed several of its Top Forty hits including “You Make Loving Fun” and “Say You Love Me.” Christine McVie spawned a pair of hits itself, with “Got a Hold on Me” breaking the Top Ten and “Love Will Show Us How” going Top Forty in 1984.

WARNER BROS. WILL reissue Fleetwood Mac‘s landmark late Seventies albums

Fleetwood Mac Dust Off Demos

Expanded reissues of late Seventies albums due in March

BY COLIN DEVENISH

January 28, 2004

Rolling Stone Magazine

WARNER BROS. WILL reissue Fleetwood Mac‘s landmark late Seventies albums Fleetwood Mac, Rumours and Tusk on March 23rd.

The expanded version of Fleetwood Mac, originally released in 1975 and the first to feature Lindsey Buckingham and Stevie Nicks, will include a previously unreleased jam, along with four alternate takes of album cuts. Both Rumours (1977) and Tusk (1979) will come with a full disc of unreleased demos and outtakes.

Rumours, which has sold more than 19 million copies, has become almost as famous for its creators’ feuding as its blockbuster hits. “All of those problems and all of those drugs, and all of the fun and all of the craziness, all made for writing all those songs,” says Nicks in the liner notes. “If we’d been a big healthy great group of guys and gals, none of those great songs would’ve been written.”

The roughs and outtakes on the discs offer a behind-the-scenes peak at the group’s sometimes fractured songwriting process, which gave “The Chain” its name.

“It started out as one song in Sausalito,” Buckingham told Rolling Stone. “We decided it needed a bridge, so we cut a bridge and edited it into the rest of the song. We didn’t get a vocal and left it for a long time in a bunch of pieces. It almost went off the album. Then we listened back and decided we liked the bridge, but didn’t like the rest of the song. So I wrote verses for that bridge, which was originally not in the songs and edited those in. We saved the ending. The ending was the only thing left from the original track. We ended up calling it ‘The Chain’ because it was a bunch of pieces.”

Fleetwood Mac outtakes:

• Jam #2
• Say You Love Me (Single Version)
• Rhiannon (Single Version)
• Over My Head (Single Version)
• Blue Letter (Single Version)

Rumours demos and outtakes:

• Second Hand News
• Dreams
• Brushes (Never Going Back Again)
• Don’t Stop
• Go Your Own Way
• Songbird
• Silver Springs
• You Make Loving Fun
• Gold Dust Woman #1
• Oh Daddy
• Think About It
• Never Going Back Again
• Planets of the Universe
• Butter Cookie (Keep Me There)
• Gold Dust Woman
• Doesn’t Anything Last
• Mic The Screecher
• For Duster (The Blues)

Tusk demos and outtakes:

• One More Time (Over and Over)
• Can’t Walk Out of Here (The Ledge)
• Think About Me
• Sara
• Lindsey’s Song #1 (I Know I’m Not Wrong)
• Storms
• Lindsey’s Song #2 (That’s All for Everyone)
• Sisters of the Moon
• Out on the Road (That’s Enough for Me)
• Brown Eyes
• Never Make Me Cry
• Song #1 (I Know I’m Not Wrong)
• Honey Hi
• Beautiful Child
• Song #3 (Walk a Thin Line)
• Come On Baby (Never Forget)
• Song #1 (I Know I’m Not Wrong)
• Kiss and Run
• Farmer’s Daughter
• Think About Me (Single Version)
• Sisters of the Moon (Single Version)

Stevie Nicks "Trouble in Shangri-La"

MAY 1, 2001:

Stevie Nicks sixth solo album "Trouble in Shangri-La" was released May 1, 2001 and debuted at No.5 on Billboards Top 200 Albums Chart with 109,000 units sold in the U.S. on May 19, 2001 This was the second highest debut for the week behind Destiny's Child "Survivor" at No.1 which feat. a sample of Stevie's "Edge of Seventeen" on "Bootylicious". This was also Stevie's highest charting solo ranking since 1983's The Wild Heart hit the same peak, and her biggest SoundScan era sales week ever, besting her previous solo album, 1994's "Street Angel", which started with 27,000 units sold and debuting at No.45. Trouble in Shangri-La was also the No.1 Internet Album for the week with Destiny's Child coming in at No.2.

The album spent a total of 20 weeks on the Top 200 chart. To date the album has been certified gold in the U.S.

Nicks’ box set has finally arrived! Enchanted: The Works of Stevie Nicks

Q&A: Stevie Nicks

Rolling Stone interviews Fleetwood Mac's white witch

BY JANCEE DUNN

MAY 14, 1998

LOOK, WE LOVE LINDSEY AND CHRISTINE and the gang, but, let’s face it, that Fleetwood Mac tour was all about Stevie Nicks: white witch, Gemini, ex-cheer-leader, poetess, former three-pack-a-day smoker, Miami Vice fan, one-time hostess at Bob’s Big Boy, friend to Billy Corgan and Courtney Love, fashion icon. The accolades continue with Legacy: A Tribute to Fleetwood Mac’s “Rumours,” in which folks like Elton John, Jewel and Matchbox 20 salute Rumours‘ classic tunes; but, more exciting, Nicks’ box set has finally arrived! Enchanted: The Works of Stevie Nicks, culled from her six solo albums, contains eight previously unavailable tracks; a new single, “Reconsider Me”; and a booklet chock-full o’ photos and personal reminiscences. “This is my heart,” she writes. “This is my work; it has been enchanting. I wouldn’t change a thing.” Nicks chats with us from her Phoenix home, where she has just returned from Bed, Bath & Beyond.

And what did you buy?

Two floor lamps and some silky white panels to wrap around my pole bed. I’m not doing a lot because I’m really trying to rest. I started working on this box set the day I got home from the Fleetwood Mac tour. If you’re a Stevie Nicks fan, you’ll probably really like this.

There is a lot in this box set, Stevie.

It’s a lot of music, and it’s all my intense songs. It’s very heavy. You have to be in the right mood for it. I have to be in the right mood for my music. I tend to listen to slow jazz on the radio. The first thing I do when I get to a hotel is look for jazz stations, because I can dance around to that – I can be happy and sing my own words. I can’t be intensed-out by rock & roll all the time. I have too much going on in my life that is intense enough.

Do you rock out to CDs?

When I rock out, I usually play tapes I’ve made over the years – all the big songs through the Eighties and the beginning of the Nineties. I can’t really listen to a whole CD. I’m gonna have two or three favorites and that’s all. Hey, I’m almost fifty [laughs]. I’m an old woman.

Now, you stop with that.

You can only rock out so much. Then you have to go rest. I also make [tapes] for the treadmill.

I thought you watched Miami Vice on the treadmill.

I do, but Miami Vice isn’t on quite as often as it was before.

Let’s go back to you saying you’re an old lady. You don’t really feel that way.

Well, I’m tired. I am tired. The tour was actually easier for me than coming home and doing two months of TV things. We did the Brit Awards, the Rock & Roll Hall of Fame, then the Grammys. I was the most nervous for that.

Let’s talk about the tour.

It was an incredible experience. We played forty-five concerts, we made a lot of money, I think we made a lot of people happy. We never had any fights. It just went by like a whirlwind.

Do you feel melancholy at all, now that it’s over?

Six months before we re-formed, I would have told you in my own psychic way that there was no possible way that Fleetwood Mac would have ever gotten back together. So I’d never say it’s not ever going to happen again.

How are relations with Lindsey?

He and I are probably better friends than we’ve been in a long, long time. We had some really nice talks and some nice moments that were sweet.

Your solo tour begins at the end of May.

This is going to be a different set than I’ll ever do again. I’m going to put some of the cool things from the box set in it – some of the country songs, acoustic things, really neat stuff. We’re going on the bus this time, and it will be a fabulous one, otherwise I won’t go on it.

Your fashion influence continues. Even Madonna is copying you.

People have been telling me that, and I don’t know quite what to say. I saw her video, and, of course, I loved all her black clothes and the long, long, long black hair. And the birds were interesting. But I didn’t immediately go, “Oh, how me.” But some people are saying that, right?

Absolutely. Are there still plans for you and Billy Corgan to collaborate?

Billy is recording in L.A. When I get home next week, I’ll go visit him. Both of us have been totally, totally working.

What about your next solo album?

Well, I spent three years writing songs after the Street Angel tour. I probably have six songs, so I’ll come home to Phoenix in September to write the other six. I can do anything here. I can record, I can write. I can sit by the pool. I can draw. My house here is like my own little resort. At midnight, if I want to, I can go in, light candles and put a fire in the fireplace and spend two hours writing.

Fireplace? In that heat?

We just crank the air conditioner.

Do you swim in that pool?

I do.

I can’t picture you in a bathing suit.

Yeah, well, you never will [laughs].

It has to be customized in that special Stevie way.

I get a black bathing suit and a fabulous black-lace sarong thing and kind of tie it around me. And there is never, ever, a man in the back yard. If there is, he is banished to the front of the house.

Please, you’re looking fabulously thin.

It’s not a question of weight. It’s dancing across the stages of the world for two and a half hours for those three months. My body kind of changed from all the dancing. And, you know, the tambourine playing.

STEVIE NICKS: LONG-DISTANCE WINNER

Atlantic Honors Stevie Nicks with lavish 3-CD "Enchanted" Anthology

Billboard Magazine

April 18, 1998

A quarter-century ago, Stevie Nicks penned a tune about embracing a paradox, its music an upward spiral that predicted a corresponding descent, its lyrics contemplating the change that only comes from awareness of the unchangeable. The song ultimately celebrates the victory that arrives by agreeing to allow others to triumph.

On the eve of the release of "Enchanted" (Atlantic, due April 28), the engaging three-CD, 46-track retrospective—with eight unreleased cuts—of Nicks' lengthy solo career, it seems the soon-to-be-50-year-old singer/songwriter, who wrote the lovely "Long Distance Winner" as half of an early-'70s duo on Polydor called Buckingham-Nicks, has finally found the wisdom to learn from the intuition of her 25-year-old self.

"Back then, 'Long Distance Winner' was very much about dealing with Lindsey," says Nicks, referring to Lindsey Buckingham, her artistic and emotional partner in the interval before their act merged with a subsequently revitalized Fleetwood Mac. "How else can I say it?" she wonders aloud, quoting a passage of the "Enchanted" track resurrected from the long-out-of-print "Buckingham-Nicks" album: "I bring the water down to you/But you're too hot to touch."

"What the song is really all about," Nicks confides, "is a difficult artist, saying, 'I adore you, but you're difficult, and I'll stay here with you, but you're still difficult.' And the line 'Sunflowers and your face fascinate me' means that your beauty fascinates me, but I still have trouble dealing with you—and I still stay. So it's really just the age-old story, you know?" Meaning the inability to live with someone and the inability to live without them.

According to Nicks, who starts a 40-date U.S. solo concert trek May 27 in Hartford, Conn., Buckingham's stubborn but admirable streak lay in his unwillingness to compromise his composing to "play in clubs, playing four sets a night in a steakhouse, whereas I was much more able to be practical." That was then, and this is now, an era in which Nicks and the tempestuous Fleetwood Mac were able to set aside their collective differences, focus on teamwork, and reunite for the hugely fruitful "The Dance" live record and tour.

Stevie is quick to assert that the Mac now "plays way better than we did in the beginning" and readily agrees that the material selected for "The Dance" boasts even better arrangements than the vintage renditions. Yet she also admits her own personal and artistic intransigence of old: "'Gold And Braid,' another song on 'Enchanted,' is an unreleased track from my [1981] 'Bella Donna' [solo debut] sessions, and it's about Lindsey wanting more from me in our relationship. But wanting to know everything about someone, which goes hand in hand with being in love, was never something I've ever wanted to share with anybody. Professionally, everybody always wanted me to be their idea of what I should be. I'd flat-out look at people and say, 'You know I'm not gonna do what you want, so why do you bother?'

"I've learned from mistakes," she adds. "I got fat, and on the Dr. Atkins diet I had to lose that 30 pounds I had been trying to lose for four or five years. But people have come into my career and wrongly told me, 'Change your music, reinvent yourself!' I just stayed what I am." Which is a real rock'n'roll character, a true one-of-a-kind piece of work. "Thank you!" she responds, erupting in giggles edged with her trademark throaty rasp. "People used to laugh at my musical style or my black handkerchiefy stage clothes, which make me look like an orphan out of 'A Tale Of Two Cities,' and say, 'Oh, that's very Stevie Nicks.' But now people in the fashion industry [like designers Anna Sui and Isaac Mizrahi] are giving me these accolades. If you believe in something and stick it out, it'll come around, and you'll win in the end."

Other familiar criticisms of Nicks center on her devotion in both composing and common-day activities to a heavily mystical life view. Possibly the single most recurrent image in her material, as illustrated by the "Sleeping Angel" cut that "Enchanted" retrieves from the 1982 "Fast Times At Ridgemont High" soundtrack, is a supporting cast of heavenly spirits. "I am religious," Nicks explains. "I wasn't raised in any religion, because we were always moving when I was a kid and didn't get involved in any church. But I believe there've been angels with me constantly through these last 20 years, or I wouldn't be alive. I pray a lot. In the last few years I've asked for things from God, and he's given them to me. And there were things I thought were gonna kill me, and he fixed them. I felt that because I was fat I wasn't talented anymore; I was destroying this gift that God gave me and asked for help. Now I'm happy, even outside my music, and enjoying my life."

Stephanie Nicks was born May 26, 1948, the daughter of General Brewing president Jess Nicks and the former Barbara Meeks. "My mother's mom and dad were divorced very early," says Stevie, "and her stepfather worked in a coal mine in Ajo, Ariz., and died of tuberculosis. She had a hard life, was very poor, was 19 when she got married, and had me at 20. My dad went after a big job in a big company, got it, did very well, and liked to move around and travel a lot. My mom got used to it and had a lot of fun, but she's much more practical, frugal—she still sniffs her nose at my dad's and my expensive tastes—and she wanted more than anything else for her daughter and son [Christopher] to be independent and self-assured.

"I didn't want to be married or have children," Nicks confesses, "because then I couldn't have worked as hard on all this. I would have split the whole thing down the middle, and I wouldn't have been a good mother, or a good songwriter either. If I got a call from the love of my life and a call from Fleetwood Mac saying you have to be here in 20 minutes, I'd still probably go to Fleetwood Mac. And that's sad, but it's true."

Over the years Nicks has overcome substance abuse, serious eye surgery, the Epstein-Barr virus, and a host of detractors eager to diminish her musical contributions. Yet "Enchanted" documents a resilience and a wry candor—"I'm no enchantress!" she pointedly exclaims on the album's "Blue Lamp"—as well as a parallel path to her Big Mac experience, characterized by productivity and solo success equaling or exceeding that of her talented bandmates. Nicks' work is unapologetically feminine in the face of the boys' club that is rock. Consistently tuneful and sure in its spell-weaving, Nicks' music also has surprising staying power, as shown by "If Anyone Falls," one of the best and sexiest pop/rock singles of the '80s, and "Enchanted's" frank "Thousand Days," which could close the '90s on a similar note.

"'Thousand Days' was written about my non-relationship with Prince," says Nicks, who had earlier composed "Stand Back" with him—although she notes he's never called her back "to set up his payment on 50%" of the latter. "Days" recounts an abortive, all-night '80s recording session with him at his Minneapolis home during a Fleetwood Mac tour, climaxing with Nicks "smoking my pot—he didn't agree with my lifestyle—and going to sleep on Prince's floor in his kitchen. I like him, but we were just so different there was no possible meeting ground."

What current colleagues/collaborators does she most admire? "Alanis Morissette, Joan Osborne, Sheryl Crow [who co-authored "Somebody Stand By Me" on "Enchanted"], and Fiona Apple, who's very young and angry. I care about her and hope she's OK. Fame is dangerous ground when you're young. You've gotta pace yourself."

Fleetwood Mac Reunion eases memories of their bitter breakup

Chicago Tribune November 22, 1997