Rhino Expands Stevie Nicks’ “Bella Donna” and “The Wild Heart” In November

"And the Summer became the fall... I was not ready for the winter"... Well I am now!!

Stevie Nicks is launching her 24 Karat Gold tour later month, named for her acclaimed 2014 studio album consisting of new recordings of previously unheard compositions. Now, Nicks is looking back once more with two more 24-karat gold Deluxe Editions of her first two solo albums, Bella Donna and The Wild Heart. Both releases arrive from Rhino on November 4, along with remastered, stand-alone editions of the original albums on LP, CD and DD.

1981’s solo debut Bella Donna will be released as a 3-CD set. Produced by Jimmy Iovine, the album yielded such immortal Nicks tracks as “Edge of Seventeen” and two duets: “Stop Draggin’ My Heart Around” with Tom Petty and the Heartbreakers, and “Leather and Lace” with Don Henley. Disc Two of the upcoming set has nine previously unreleased cuts (including alternate versions of “Edge of Seventeen,” “Leather and Lace,” and the title song) plus Nicks’ soundtrack performances of “Blue Lamp” from Heavy Metal and “Sleeping Angel” from Fast Times at Ridgemont High. The third disc premieres a 1981 concert featuring selections from Bella Donna alongside Fleetwood Mac favorites “Sara” and “Rhiannon.”

Following the 1982 release of Fleetwood Mac’s Mirage (recently reissued across multiple formats by Rhino – read our review here!), Nicks returned to her solo career with 1983’s The Wild Heart. The double-platinum smash is being reissued as a 2-CD set. It included such favorites as “Stand Back,” “Nightbird” and “I Will Run To You,” which reunited the artist with Tom Petty and the Heartbreakers. The 9-track bonus disc has seven previously unreleased cuts including demos and outtakes, plus the “Stand Back” B-side “Garbo” and Nicks’ recording of “Violet and Blue” from the Against All Odds soundtrack.

“I’ve had so much fun reliving the making of Bella Donna and The Wild Heart while working on the liner notes and listening to all of the alternate versions and demo takes,” Nicks commented in the original press release. “The liner notes are so much more than liner notes. They are like a little novel. I tried to make whoever reads this feel like they were there. I think…I succeeded….”

These two highly-anticipated reissues arrive from Rhino on November 4. In the meantime, Stevie kicks off her 24-Karat Gold tour (on which she’ll be joined by The Pretenders) on October 25 in Phoenix. It wraps December 18 at The Forum in Los Angeles!

You can peruse the track listings for both Deluxe Editions below!  Pre-order links are not yet available, but we will add as soon as they become active!

Stevie Nicks, Bella Donna: Deluxe Edition (Rhino, 2016)

Disc One: Original Album (Modern Records MR 38-139, 1981)

“Bella Donna”
“Kind Of Woman”
“Stop Draggin’ My Heart Around” – with Tom Petty and the Heartbreakers
“Think About It”
“After The Glitter Fades”
“Edge Of Seventeen”
“How Still My Love”
“Leather And Lace”
“Outside The Rain”
“The Highwayman”
Disc Two: Bonus Tracks

“Edge Of Seventeen” – Early Take *
“Think About It” – Alternate Version *
“How Still My Love” – Alternate Version *
“Leather And Lace” – Alternate Version *
“Bella Donna” – Demo *
“Gold And Braid” – Unreleased Version *
“Sleeping Angel” – Alternate Version *
“If You Were My Love” – Unreleased Version *
“The Dealer” – Unreleased Version *
“Blue Lamp” – From Heavy Metal Soundtrack (Asylum/Full Moon 90004, 1981)
“Sleeping Angel” – From Fast Times At Ridgemont High Soundtrack (Asylum/Full Moon 60158, 1982)
(*) denotes previously unreleased

Disc Three: Live 1981

“Gold Dust Woman”
“Gold And Braid”
“I Need To Know”
“Outside The Rain”
“Dreams”
“Angel” *
“After The Glitter Fades”
“Leather And Lace” *
“Stop Draggin’ My Heart Around”
“Bella Donna” *
“Sara”
“How Still My Love” *
“Edge Of Seventeen”
“Rhiannon”
Stevie Nicks, The Wild Heart: Deluxe Edition (Rhino, 2016)

Disc One: Original Album (Modern Records 90084-1, 1983)

“Wild Heart”
“If Anyone Falls”
“Gate And Garden”
“Enchanted”
“Nightbird”
“Stand Back”
“I Will Run To You” – with Tom Petty and the Heartbreakers
“Nothing Ever Changes”
“Sable On Blond”
“Beauty And The Beast”
Disc Two: Bonus Tracks

“Violet And Blue” – from Against All Odds Soundtrack (Atlantic 80152, 1984)
“I Sing For The Things” – Unreleased Version *
“Sable On Blond” – Alternate Version *
“All The Beautiful Worlds” – Unreleased Version *
“Sorcerer” – Unreleased Version *
“Dial The Number” – Unreleased Version *
“Garbo” – B-side
“Are You Mine” – Demo *
“Wild Heart” – Session *

(*) denotes previously unreleased

Source: By Joe Marchese The Second Disc

Happy 67th Birthday to Lindsey Buckingham

Many happy, healthy, productive returns Lindsey... Looking forward to what you and Fleetwood Mac have in store this next year!

VIDEO Stevie Nicks performing "Edge of Seventeen" Live on The Ellen Show

Stevie was a guest on The Ellen Show October 3rd and performed "Edge of Seventeen". Check it out.

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Check out Lindsey's collaboration with Empire of the Sun 'To Her Door'

Empire of the Sun, 'To Her Door'
NPR
by Megan Buerger

When Fleetwood Mac released Rumours in 1977, the band's lush instrumentals and melancholic harmonies reignited an obsession with bright, shining California pop. Decades later, modern folk bands like Mumford and Sons, Best Coast and Haim are still channeling the same bittersweet chords and joyful choruses.

Empire of the Sun is the latest group to pay tribute to Fleetwood Mac's lush legacy, but the Australian synth duo is far from folksy. It's better known for playing dance-music festivals in exotic Space Age costumes that feel, from a distance, almost like Cirque du Soleil. And yet, its forthcoming album, Two Vines, features a glistening collaboration with longtime Fleetwood Mac guitarist Lindsey Buckingham called "To Her Door."

"When you've got the undeniable, magical aura of Doctor Buckingham, things blossom," Luke Steele — one half of Empire of the Sun — tells NPR. Both he and bandmate Nick Littlemore consider Buckingham one of their heroes. "We jammed like we were in high school and it came together almost instantly."

The song captures a couple's dialogue the day after a big argument. One partner wakes up surprised and anxious, Steele says, eager for reconnection. "He says, 'Hey, good morning, what happened, can I come around and talk?'" The lyrics convey that desire: "I feel better when we're together / I know it's simple but I don't care / I try to say the things to make up for the mess I've caused."

Sonically, "To Her Door" reflects Fleetwood Mac's warmest records — such as "Hold Me" or "Gypsy," which overflow with richness. Steele says that when he and Littlemore conceptualized a direction for this album, they were drawn to an image of vines that grew out of the ground and into cities, wrapping around buildings and cars until they overtook the urban world. He couldn't get the image out of his head. When they traveled to Hawaii to record at Honolulu's Island Sound Studios, where Kanye West recorded My Beautiful Dark Twisted Fantasy, the tropical, breezy setting cemented the return-to-nature concept.

Genesis Publications announce a signed limited edition book by Mick Fleetwood

Genesis Publications announces a new, signed, limited edition book by Mick Fleetwood.

Genesis Publications are delighted to announce a signed limited edition book by Mick Fleetwood that will chronicle the formation and rise of Fleetwood Mac. Genesis are looking for anyone who has photographs of the band during the years 1967 – ’75 for possible inclusion in the book.

For your photo to be considered, and to sign up for more information, please visit: www.mickfleetwoodbook.com

Source: MickFleetwood.com

Review Fleetwood Mac's Mirage Deluxe Reissue

Mirage nixed any suggestion that intra-band drama was their sole animating force, and flourished in the emotional void they occupied: heartbroken, strung out, and alone at the top.

by Laura Snapes

Pitchfork

After two records about cheating on each other, it was inevitable that Stevie Nicks, Lindsey Buckingham, Christine and John McVie, and Mick Fleetwood would begin to cheat on Fleetwood Mac. They were traveling in separate limos by the end of the bad-tempered Tusk tour, where Buckingham had kicked Nicks onstage, and they’d circled Europe on Hitler’s old train. “Looks like the end of the line,” the New York Post warned in March 1981, as solo careers started to proliferate. Fleetwood released The Visitor in June. Where Tusk had taken a year to record, Nicks’ debut album, Bella Donna, was nailed in a few days, released in July, and certified Platinum by October—just as Buckingham’s Law and Order limped to No. 32. Her blousy mystique was the antithesis of his uptight theme, and to dent his fragile ego further, it had been validated by serious men: collaborators Tom Petty, Don Henley, and producer Jimmy Iovine, who she was now dating. According to Buckingham’s then-girlfriend, Carol Ann Harris, he liked to refer to “Stop Draggin’ My Heart Around” as “Stop Draggin’ My Career Around.”

Having accepted that the band weren’t interested in “shaking people’s preconceptions of pop,” as he sniffed to any reporter who would listen, Buckingham resolved that Fleetwood Mac’s next album should be a proper group effort. Mostly minus Nicks, they mingled their ghosts with those of the haunted Château d’Hérouville, just outside Paris, a destination chosen to accommodate Monaco resident Fleetwood’s tax affairs. Harris observed communal meals eaten in silence. The drug intake exceeded even that of Tusk, according to co-producer Ken Caillat. It’s hard to find any comment about why they chose to name their thirteenth record (and fifth under this lineup) Mirage, though the resonance is obvious in hindsight: It’s the illusion of the band, rather than the full-blooded beast. Buckingham tossed off his songs in under two months. “What can I say this time/Which card shall I play?” Nicks sings on “Straight Back,” sounding like a woman in search of an idea. She pulls out her well-worn tarot deck—wolf, dream, wind, sun—and whips up an unconvincing sandstorm about how “the dream was never over, the dream has just begun,” while Fleetwood Mac increasingly resembled an inescapable nightmare.

Full Review at Pitchfork