Carlos Santana, Stevie Nicks and Dave Stewart at The Cosmopolitan’s Sunset Sessions

Stevie Nicks, Dave Stewart, and Dennis Constantine
Stevie Nicks, Dave Stewart, and Dennis Constantine

By J. Buda
Las Vegas Informer
Wednesday, November 14, 2012

On Thursday, Nov. 8, The Cosmopolitan of Las Vegas kicked off Sunset Sessions, a three-day poolside concert experience and music industry event.

For the first time in the event’s 15 year history, the general public was able to attend Sunset Sessions’ Main Stage performances.  All three nights of these performances started at the Boulevard Pool and featured dozens of exciting up-and-coming artists, including headlining performances by Steve Earle on Nov. 8 and Duncan Sheik on Nov. 9.   During the final night of Main Stage performances on Nov. 10, eight bands performed including Cheating Daylight, Beware of Darkness and Tyler Bryant, capped off by a headlining set by Lit.  All proceeds from tickets to these performances will be donated to several nonprofit organizations, including Communities In Schools of Nevada, Three Square and Opportunity Village, as well as The Recording Academy’s own MusiCares.

Stevie Nicks poses with soldiers
Stevie Nicks poses with soldiers

In addition to the Main Stage performances, several exclusive events were held throughout the resort for invited music industry professionals.  On Nov. 8, a Q&A panel was held with the legendary Carlos Santana, where the intimate crowd was treated to a sampling of sound bites from his new album. Santana also discussed where he gets his inspiration and the legacy he hopes to leave behind for music fans.

On Nov. 9, Stevie Nicks and Dave Stewart hosted a special screening of “In Your Dreams,” a film the pair directed together, followed by a rousing Q&A discussion. Several dozen veterans and active duty military were invited to attend the event as Stevie shared her personal inspiration for the film and discussed her lengthy career.

A number of late-night performances were also held for select music industry professionals each evening.  Notable performances included sets from Angel’s Landing, Doris, DJs Skratch n’ Sniff, Slater, Michael Bernard Fitzgerald, Joel Piper, Tora and more.

Stevie Nicks Opens Up MVFF35 About Film, Album and Roller Coaster Career

(Photo by Pamela Gentile)
(Photo by Pamela Gentile)

In promoting a new documentary about the making of her first solo album in more than a decade, former Fleetwood Mac singer returns to the Bay Area, where she spent some of her most crazy and creative years.

By Cate Lecuyer
Mill Valley Patch
Monday, October 15, 2012

When you listen to Stevie Nicks’ new album, In Your Dreams, sit on a couch with two huge speakers at your side — hopefully in front of a fireplace — pour yourself a glass of port, and take it in from start to finish.

That’s the request Nicks made after the screening of her self-produced documentary Friday night during the 35th Mill Valley Film Festival. The film chronicles the year she spent recording her first solo alum in more than a decade, with Eurythmics’ Dave Stewart, who joined Nicks on stage at the sold-out Smith Rafael Film Center in San Rafael.

Nicks’ ties to the Bay Area run deep. She lived in San Francisco from 1968 to 1971, and recorded the renowned Fleetwood Mac album Rumours at the former Record Plant in Sausalito during a stretch that had the group regularly piling into the studio’s outdoor hot tub.

For this latest album, the magic happened at Nicks’ own mansion in Pacific Palisades —although the 64-year-old rock ‘n’ roll icon actually lives with her dog in a one-bedroom condo a few minutes away. With people like Fleetwood Mac’s Lindsey Buckingham, Mike Campbell of Tom Petty and the Heartbreakers and ‘her girls,’ backup singers Sharon Celani and Lori Nicks, all together under one roof, for Nicks it became “the moments that I live for.”

“I really wanted it to go on forever,” she said. Documenting the experience has been a way for her to relive it, and she also hopes it influences up and coming musicians about how much fun the process of creating an album can be.

“We are the teachers,” she said. “And it’s important in this day and age that all the kids who are following us need to know how to do it — and do it right.”

The documentary captures moments that unveil the spirit of the album, and of Nicks herself. From lighthearted disagreements over changing the tense of a pronoun mid-song — “I just snapped and said, ‘would you say that to Bob Dylan?’” Nicks said — to the heavy emotions she experienced after Hurricane Katrina and when she volunteered helping wounded veterans at Walter Reed Hospital, her inspiration shines behind each and every song, and paints an intimate portrait of what’s behind the music.

In a touching moment, a girl in the audience, Amber, told Nicks how her music gave her and her friends something to believe in during a difficult time when they were about 13 or 14-years-old.

“That’s all I ever wanted to do with my songs,” Nicks said. “I just want to affect people.” Whenever she receives notes and mail from people, it gets tucked away into one of her journals.

Nicks also talked candidly about her struggles with addiction — “I loved both my rehabs,” she said — the importance of parents supporting their kids’ dreams even if it means letting them discover they really can’t sing on their own, and her difficulty dealing with the death of her mother in December 2011.

She highlighted some choice words, which she later apologized for, against American Idol judge Nicki Minaj in response to the hip-hop star’s altercation with fellow judge Mariah Carey.

“That was the first time something happened when I couldn’t call my mom and ask what to do,” Nicks said.

She also talked about how difficult it is to make it in the music industry today. The advice she gave was to form a band, have a place like your parent’s garage to rehearse in, and play as much as you can in one city and then grow from there.

“It’s a different world out there,” Stewart said, and Nicks had a nostalgic moment for 1975.

“It was such a romantic time,” she said. “It doesn’t mean we were all having affairs — we were — but it was romantic overall.”

The documentary In Your Dreams captures both the old and the new, and proves that good music never dies.

“My hope is when people see this, they’re going to want to hear this record,” Nicks said. “Because this record is magnificent.”


Stevie Nicks: In Your Dreams And The Hamptons

(Photo by Rob Rich/
(Photo by Rob Rich/

Legendary singer/songwriter Stevie Nicks sat down with to discuss In Your Dreams during the Hamptons International Film Festival.

By Nicole B. Brewer and Nicole Barylski
Friday, October 5, 2012

After a ten year hiatus legendary songwriter Stevie Nicks is back with her latest album In Your Dreams and a rockumentary, produced by the Eurythmics’ Dave Stewart, of the same name. “When you see it you are going to be living in my world for one hour and forty minutes,” said Nicks during our recent interview. The ‘gypsy’ is in the Hamptons this weekend for the 20th Hamptons International Film Festival. We sat down with her at The Maidstone on a gorgeous fall afternoon to get the scoop.

“It was the best year of my life! I have never had so much fun in my life,” exclaimed Nicks as we sat in the garden and talked about nail polish a bit before our interview officially began. She prefers OPI Big Apple Red and does her nails herself saying as we settled in, “If I wasn’t doing this I’d be a manicurist!”

The In Your Dreams album was ten years in the making and all started with 9/11 explained Nicks, “I went on the road at the end of June with Trouble in Shangri-La. I had been on the road for two and a half months, which is nothing and then 9/11 happened. So for all practical purposes the record and everything blew up.” Nicks was in New York by herself set to enjoy her one day off on that fateful day, her band was in Canada getting ready for the next leg of the tour. “I went to bed at 7:30 p.m.,” she went on to say, “and when [my assistant] Karen woke me up at 11 a.m. the world had changed.”

Ever generous to her devoted fans, Nicks stayed on the road for another month because “no one had turned their tickets in or asked for refunds.” She went on the Say You Will tour with Fleetwood Mac in 2002, then again on her own in 2003 and 2004. During that time she kept pondering writing and another record but the music industry was in flux and piracy was a hot topic. Her advisors told her to enjoy touring and wait. Nicks says her managers told her, “You’re a songwriter, you create the song it’s yours, you write the poem, and you put it out. [Then] one person buys it and sends it out to 500 personal friends and they send it out to their friends. You are a songwriter this is how you make money. What we recommend is you go back on the road because you can still do big shows and sell tickets. A lot of people can’t.” So she did.

Inspiration for In Your Dreams happened quite unexpectedly in 2009 while on tour with Fleetwood Mac in Australia. “I saw the second ‘Twilight’ movie and wrote ‘Moonlight (A Vampire’s Dream)’ right then.” Nicks told us, “There was a piano in my suite and I said to my assistant Karen, I am ready to make a record now. I don’t care what is going on around me I’m doing it. If nobody wants it or everybody steals it I will have to deal with that then.”

As soon as she got off tour she called Dave Stewart and asked him if he wanted to work with her to produce. He jumped right in. “Dave came up [to my house] to spend one day discussing it and I said why don’t we do it here. We don’t have to go into the studio and pay $2,500 per day. He said, ‘let’s do it.’“ Vamping a bit and mimicking her dear friend and collaborator she went on, “By the third day he said, ‘Darling we have to film this.’ And I said, ‘Darling do you know what that means?’ Now this guy dresses up every day and loves it.” Nicks is not in full stage dress and makeup at home, she likes a more casual look. For her the thought of cameras every day meant hair, makeup, and wardrobe which caused some hesitation. She relented when he reassured her, “He said if you don’t love it, we won’t use it. I said, ‘Hand to God?’ and he promised ‘Swear to God.’“ But he didn’t get off that easy. “Fair enough,” she told him, “But I will hunt you down and kill you if any of it gets out and I don’t like it.”

From there they filmed for a year and in her words, “Had the best time.” Stewart’s team then edited a year of her life down to three hours. Later the film would be cut to a final hour and forty minutes. “We finished just two weeks ago,” said Nicks, “With that kind of thing it’s like ‘no you can’t have it it’s not done yet.’“ When they finally handed it in and realized the film was complete Nicks was “in tears and I said ‘take it.’ It’s like your child.”

Regarding the genius that is Dave Stewart, Nicks went on to gush a bit, “He is an amazing photographer. He’s been filming women for years. With Annie Lennox, he is the reason she cut off all her hair. He was behind all of this amazing stuff, I didn’t even know.” On In Your Dreams, Nicks says he gave everyone Flip cameras and said, “Everyone film and we will see what we come up with. If it doesn’t make sense or is an Alice In Wonderland bewitched world we won’t put it up. If we love it we will let people have it.” It was an “easy thing to do because Dave made it into a no big deal thing.”

Having only been in and out of the Hamptons a mere three times for benefits over the years Nicks is looking forward to enjoying the film festival weekend in Sag Harbor with friends. So if you notice a familiar looking blonde with a crescent moon necklace window shopping next to you on Main Street take time for a second look, it might just be the Stevie Nicks, star of In Your Dreams and 140 million album selling Rock and Roll Hall of Fame legend.

Get up close and personal with Stevie Nicks at Bay Street Theatre on Sunday, October 7, 2012, at noon for a “Conversation With Stevie Nicks” presented by Capital One. Catch a screening of In Your Dreams during the Hamptons International Film Festival this weekend at the Sag Harbor Cinema also on Sunday, October 7, 2012, at 3:00 p.m. For details check out

In Your Dreams: A Conversation With Stevie Nicks

Interviewed by Mike Ragogna
Transcribed by Galen Hawthorne
Thursday, October 4, 2012

Mike Ragogna: Stevie, how are you?

Stevie Nicks: Good, how are you?

MR: Pretty good, thanks. Stevie, you have a new documentary that’s going to be premiering on October 7th at Hamptons International Film Festival. The name of you new documentary with Dave Stewart is In Your Dreams, that title also having been the name of the last album. Obviosly, this was an important album for you.

SN: This was an important album. This was an album that I probably was never going to make, because after I did Trouble in Shangri-La that came out in 2001, I went out on the road with Fleetwood Mac for a couple of years and then in 2005, I was going to make a record. I came off the road with Fleetwood Mac and that’s kind of what I’ve always done. I do my whole thing with Fleetwood Mac, and it was like a year and a half for Say You Will, and then I was going to make a record. I really got very depressed feedback from everyone in the business around me, which was like, “You know what, the business is so screwed up that really, right now, you just shouldn’t bother.” It wasn’t just my manager, it was everybody. It was like I’d tripped and fallen down the stairs. It was a really bad moment in my life, and I said, “Okay.” That’s really not like me, but with the whole internet piracy and everything, I don’t have a computer, I didn’t have one then, but I knew that was coming ten years ago. I knew that that was going to start to destroy the music business, and I was like, “Oh, my God, it’s happening, it’s even happening to me.”

MR: Yeah, it took out the record companies, leaving them going, “How in the world are we going to make money now?”

SN: Right, and then not to mention us—the elite bands from the seventies who never stopped playing and who could go out and do big tours, vis-à-vis Fleetwood Mac and The Eagles. We can have a three-hour repertoire if we want. We can have a five-hour repertoire if we want. We can still do these big tours and that’s where the money is right now. But what makes me very sad is all the kids, all those really talented kids anywhere from fourteen to thirty, just so talented and out there waiting to be found. But the problem is that record companies don’t have money so they can’t help you. In my day, they helped you. When we did Buckingham Nicks, Polydor helped us before they dropped the record. For two years, they helped us and they gave us money and they helped us with our rent and our car and food. You can’t get that now, so how in the heck is anybody that’s up-and-coming going to make it if they can’t support themselves because they’ve moved out of their parent’s house and their parents are like, “Hey, you’re on your own. We’re not going to just support you for the next ten years while you try to make it in a business where people are stealing your songs, even if you’re the best songwriter we’ve ever met.” That’s just so unfortunate. I feel so sorry for this generation—for the last five years’ worth of the generation coming up that so want to be in the music business that are having such a hard time because they cannot support themselves.

MR: Stevie, let me ask you, what do you think of these talent shows like The VoiceAmerican Idol and the franchises that have popped up over the years? To me, it does seem like a last hurrah or a last gasp for the record companies to try to hook into something. But it’s the same problem, right, the loss of sales?

SN: Yeah. The problem with that is, people ask me all the time, “If you and Lindsey moved to LA now and you were 23, 24 or 25, would you go on one of those shows?” and I’m like, “Well, first of all, I’d have to drag Lindsey kicking and screaming. However, oh you bet your life we would!” That is the last bastion right now to get noticed. But then again, I know people who have won these shows and some of them are doing really well and some of them disappear within the next year. I guess even once you’ve won those shows, then what? You put out a record, five hundred people buy it, and each one of those five hundred people sends it out to a hundred of their close personal friends and then each one of those close personal friends sends it out to another five hundred people and you may have won a big television show, but unless you’re Carrie Underwood or Kelly Clarkson, you’re still going to have a terrible time. My friend Michael Grimm who won America’s Got Talent, I took him on tour with me and he’s amazing. He’s like Boz Scaggs.

MR: Yeah, I interviewed him a while back. Nice guy.

SN: He’s so sweet and dear and he walks out there on that stage and that voice is amazing. He lives in Las Vegas, he’s doing gigs there, and he said, “You know, I actually had more gigs before I won America’s Got Talent, and it was a great thing. I won a million dollars and was able to set my grandparents up, who pretty much raised me, and I was able to take care of the people around me. But when it comes down to me, my goal…it’s like I’m really back to doing exactly what I was doing before.” The record companies don’t have the money. They’re going to be onto the next thing the second they even see you falter.

MR: Yeah, remember when artists on A&M or Geffen or whatever and the label would hang in there for like four or five albums because they believed in you?

SN: Our record company, after Rumours, when we did Tusk, needless to say, Warner Brothers was like, “What is this?” and Lindsey’s like, “We’re not making another Rumours. We’re making something completely different.” So he went in on a mission to make something that was the other side of Rumours and we did. The record company really wasn’t happy about it, at all, and it was a double album, so it was double bad. But they didn’t drop Fleetwood Mac, they said, “Okay, we’re going to let you guys be crazy…and when your record comes out, we’re going to totally promote it, and we’re going to go with you on this one because we are willing to hang with you and let you morph…from Fleetwood Mac to Rumours to Tusk to Mirage toTango In The Night.” They could have just dropped us. If it had been even in the last ten years, they would’ve dropped us so fast with Tusk. You would’ve never heard about Fleetwood Mac again.

MR: Before you leave Tusk, I also got to interview Lindsey and one of the things I mentioned to him was that I’ve found that over the years, Tusk has become much more appreciated, with artists doing projects based on what they’ve learned from the project.

SN: People love it now because it was way ahead of its time. I used to say that we were climbing to the top of the mountain to find the gods. It was a thirteen-month project where we there 24/7 every day. It was pretty outrageous, but we lived in that bubble where it was kind of strange and mystical world music, music from all over the world we were listening to in order to make that record. We knew it was weird, but we also knew in our hearts, I think, because…people always ask me with Fleetwood Mac, “You guys were doing a lot of drugs and you were all crazy and breaking up and mad with each other and stuff.” My answer to that is always, “Yes, that’s true.” However, we were so very focused on our music that we weren’t letting anything get in our way and if we were mad at each other, we did not take that into the studio. If we were a little bit too high, somebody would always say, “Why don’t you go home and come back tomorrow and don’t be that way.” It’s like with every one of the five of us there were always two or three people going, “Listen, what’s most important here?” Fleetwood Mac is most important here. Fleetwood Mac trumps everything that is happening in everybody’s life. So whatever it is, don’t bring it here.

MR: Let’s get further into In Your Dreams. On camera, you appear fluid, informed, and very comfortable. You’re very at ease here.

SN: Yes. You know what, I have been a little performer since I was four years old, and you’re going to see that in this film. I was just nuts for the stage. I came into the world dancing and singing, and my mom and dad, I think, knew from the very beginning. My grandfather was a country-western singer and a fiddle player and guitarist, and he wrote songs and traveled all over the United States and played gigs in the forties. My parents were very supportive of my love of music and my focus was very strong from when I was in grade school. They knew I didn’t want to be an actress, I didn’t want to take drama, I didn’t really want to take musical drama. I just wanted to listen to rockabilly and rock ‘n’ roll and R&B, and I just was in my own little musical world. I had it planned out. In sixth grade, I was wearing a black outfit with a top hat. I had it all planned out.

MR: We like to diagnose things as ADD or ADHD, but how about, “No, she just had the music in her?”

SN: Exactly, and I was really refusing to go any other way. But you know, the great thing about this record is that I wrote a song in the early seventies when Lindsey and I first moved to Los Angeles called “Lady From The Mountains.” It never got recorded for real, but a demo was made of it and the demo was stolen from my house and it went out as a bootleg. So the whole world heard this song called “Lady From the Mountains.” In 2009, we went to Australia and I saw the second movie in the Twilight series and I was very taken with it. Either you are or you aren’t; I was. I went back to my hotel in Brisbane and I took the first and the third verses from “Lady From The Mountains,” and I wrote the second verse and the chorus and it became the song, “Moonlight (A Vampire’s Dream).” When I finished that song and we did it on a demo, I got up from the piano and I said to my assistant, “Karen, I am ready to do a record now, and I don’t really care what anybody says and I don’t really care if the record business in trouble. I’m going to make this record for me. I need to do it and I feel the power right now.” So I did. I went straight back and I called Dave Stewart at the beginning of January and I said, “I’m going to do a record, Dave. Would you produce it?”

We got together at his studio and offices in downtown Los Angeles and that’s when we decided to do it at my big house and from there on, within three days, we were filming. Even though the filming thing was like, “Okay, really, does that mean I have to wear makeup every day and I have to kind of dress up every day and do my floor-length hair every day,” he said, “Well kind of. Or you could come down in your pajamas, it’s okay, I don’t care.” He said to me, “Darling, if you don’t like it, we won’t use it,” and right there, it was like, “I love him and I trust him.” And I knew that, first of all, he really knows how to film women and has since Annie Lennox, and so that right there is a big, huge plus. So I said, “Okay, we’ll give it a go,” and by the end of the first two weeks, not only Dave was filming and not only did he have a friend of his who was a great film photographer who just came in with a small, really great camera, he had the girl background singers and the chef—my god-daughter who was a really great film photographer—he had everybody in the house filming. Then it became really, really fun because all of us had really great stuff. Not only were we writing songs and making this great album, but we were all part of this filming project. It was the best year of my life and that’s what I tell people. It’ll be hard to ever recreate something that is this much fun.

MR: Yeah, and you’ve said you would like to leave this behind for people who are getting into music, which brings me to my next question. What advice do you have for new artists?

SN: Well, if I had kids that were fifteen, sixteen, seventeen years old and I could see that they were so talented—Dave has a daughter that’s twelve and she’s super talented and she sings like Janis Joplin for real—it’s like what do you tell these kids? I would say, you have to do what you have to do, and if you really want to be a singer and you really want to be a songwriter, put a band together and you’re just going to have to live at your parents’ house and play everywhere in your city that you can, every night. And if you have to go to school at the same time like I did, that’s what I did. I practiced from five to ten with the band every night, and I studied from ten thirty to three every night and I went to college. I went to five years of college when I was in that band up in San Francisco before we moved to Los Angeles. So I did both—I went to school and I was in a band that was actually playing two to three gigs a week. You just can’t give up. I think it depends on how strong your spirit is to actually make it in the music business. If your spirit is super strong and you’ve really got the goods, then you’re going to take on that attitude that you’re not going to fail and you’re going to give it a try. You’re going to go after it in every place you can possibly play, from any mall that will accept you to a coffee shop to steakhouse to any place you can possibly get in. That’s what you do. That’s what you did then and that’s what you do now, except that, hopefully, you have a supportive family that let you stay at home for a couple extra years.

MR: Yeah, or pay for you wherever you’re going to live.

SN: Well that’s asking a lot, right there.

MR: I know, who has money.

SN: With this kind of financial crisis that’s been going on for eight years, you’re asking a lot. So you’re going to have to have a very supportive backup team besides being super-talented. You’re going to have to have a super support team. But you know what? Nobody would be able to tell me, if I moved to Los Angeles right now and I knew how good I was, because I did know how good I was, if I moved there and everybody said, “The record companies are screwed and you’re never going to get a record deal,” I would go, “Just watch me.” That’s how I would go into it. I would pack my bag and I’d be off to Los Angeles or New York in ten minutes. If I had to be a cleaning lady and have five waitress jobs and be a temp somewhere and substitute for dental assistants, whatever you have to do, you do it if you love it that much and then, five years later, you make a decision on what you’re going to do.

MR: You, personally, have a very spiritual side that also keeps you driven, right?

SN: Oh yeah—spiritual backed up by extremely hard work. I psychically knew in the sixth grade when I did a lip-syncing tap dance to Buddy Holly’s “Everyday” I was going to be famous. I flat out told my parents that. “I’m going to be famous. You do know that, don’t you?” They were like, “Well, okay, we get it, but you’re also going to go to school because you’re going to back up your fame with a good education.” My mother would say to me, “You know what Stevie? I totally believe that you’re going to be famous but you’re going to be able to stand in a room with all of the famous people that you’re going meet—and there are going to be politicians and movie stars and famous scientists—and you’re going to be able to totally be on their level because you’re going to have a five-year college education. You’re never going to feel like you’re not as smart as all these people are. You’re going to be able to sing and dance and do your thing, but you are going to be really educated.”

MR: Stevie, your song “Landslide” has embedded itself in this culture to the point where it keeps getting re-recorded and sung during countless open mic nights. And it wasn’t a top ten Fleetwood Mac song. How do you explain that?

SN: You know what, it’s just that little song. That’s what I tell people on stage when I do it. I wrote it in 1973 in Colorado in Aspen, and I knew when I was sitting on the floor looking out at the snow-covered hills and I wrote this little song, I knew. I got up from the floor and I said, “This is going to be that little song. This is going to be it.” That’s what I tell everybody in the audience. So when you’re writing songs—any of you out there that are songwriters—understand that when you write a song that’s really special, it could be the song that makes your whole life.

MR: Yeah, there’s something about “Landslide.”

SN: That is the one. That’s the one that can never go out of the set.

MR: Stevie, any more reflections on the documentary?

SN: I tell people that Dave created a magical sandbox for me and my singers to play in and that he became The Mad Hatter and this walk through ten months in my house is like going into Alice In Wonderland’s world. You really get to experience making this record. Anybody who loves music, wants to be in music, is a singer, is a writer, used to be a singer or a writer, is ninety years old and wishes they were still young enough to be a singer and a writer, it’s like you come into my world and it’s very, very special. I’m so proud of this that my real prayer for this film is that when people see this—because they get to see a little bit and hear a little bit of the finished product of each song, not a lot—but what I’m hoping is that in this world of “We don’t need to buy a whole concept record,” that they see this film and they go, “I really need to hear this record!”

MR: Nice. And again, it’s debuting at the Hamptons International Film Festival on October 7th.

SN: Right. Dave and I are going to be there and it’s going to be so fun.

MR: I also want to congratulate you on your song “Soldier’s Angel.” It’s still very touching and I love that you are still with the Band Of Soldiers charity. You’ve contributed to our soldiers’ lives as well as the culture in beautiful ways.

SN: Well, thank you. I think that “Soldier’s Angel” is probably the song off of this record that will live on forever because it does sort of capture a moment in time through Iraq and Afghanistan and everything that’s going on now. These wars aren’t over and these kids are coming back and they’re so wounded and they’re never going to be the same and people should try to remember that and try to take care of these guys because once they leave the hospitals, they’re on their own. When you actually sit on the bed of one of these injured soldiers, you’re like, “Oh my God, what can I do to help?” and I tell everybody every night, you need to send in five bucks a month. Do whatever you can.

MR: All right, Stevie, I really appreciate your time. Thank you so much.

SN: You too, and hopefully I’ll see you soon.

MR: Yes, I’ll see you soon.


Interviewed by Dennis Constantine/ KFOG, San Francisco, Ca


The legendary Stevie Nicks has an instantly recognizable voice that rises above all others that stops you in your tracks – that has inspired and influenced artists for generations. It is at once haunting, romantic, filled with mystery and completely unforgettable. Added to the voice are her extraordinary songwriting talents which have brought joy to her millions of fans for generations. Collectively they add up to one of the most successful female artists in rock history. From the start of her career as a solo artist with the release of her five million seller Bella Donna up to her current critically acclaimed In Your Dreams, Nicks has never failed to deliver unforgettable performances on record and on the stage. In Your Dreams is Nicks’ first album of new material in a decade. “Dreams” was co-produced by former Eurythmic Dave Stewart and Glen Ballard. Nicks has been touring the last year and a half for her In Your Dreams Tour and has also appeared with Rod Stewart on the Heart & Soul Tour. “The Gold Dust Woman”is also completing work on a documentary on the making of the In Your Dreams album which will be released at the end of this year.

It will also be screened at the upcoming Hamptons Film Festival and theMill ValleyFilm Festival.

Stevie first came to Sunset Sessions in February 2011, where she treated our attendees to an impromptu performance with Vanessa Carlton! We are so excited to have her back!

Dennis Constantine of KFOG San Francisco: Dennis started in radio when he was five years old; he was the class announcer for his kindergarten class. By the time he was 16, he had a job at the local top 40 radio station in Baltimore helping the deejays at the station and at their record hops. By the time he was 21, he was program director at WYRE in Annapolis,Maryland. After stints in Miami,Florida and legendary stations WYYQ and Y100, he moved to Colorado where he was music director and night deejay at KTLK, and then the morning guy and production director at AOR station KBPI. In 1977, he started KBOC in Boulder and programmed at the station for sixteen years. After consulting two dozen Triple A and and Alternative Stations, he moved to Portland,Oregon to program KINK. After thirteen years there, he moved to the Bay Area where he is now Director of FM Programming for Cumulus San Francisco. He can be heard on the air at the legendary KFOG every afternoon.


Music Collaborator, Documentarian and Former Eurythmics Mastermind Dave Stewart Reveals Intimate Portrait of Grammy Winning Legend

NEW YORK, NY–(Marketwire – Sep 26, 2012) – Rock legend Stevie Nicks in collaboration with musical wizard Dave Stewart have co-produced and co-directed ”In Your Dreams – Stevie Nicks,” a documentary portrait of the illusive Nicks as they embark on a musical journey to write and record the critically acclaimed album “In Your Dreams.” The film will premiere at the 35th International Hamptons Film Festival on Sunday, October 7th and at the 20th annual Mill Valley Film Festival on Friday, October 12th which has already sold out.

Nicks, a multi Grammy Award winner and Rock & Roll Hall of Fame inductee, lead singer and emotional catalyst and vocalist for Fleetwood Mac and one of the most recognizable female rock stars and revered songwriters in the world, allowed cameras into her home as she holed up in a magical old mansion high atop the hills of Los Angeles with Stewart and a wild cast of characters. The vibrant documentary tracks the year (2010) which Nicks calls “the best year of my life.” The result is a rare study of a fascinating artist on par with D. A. Pennebaker’s classic Dylan documentary “Don’t Look Back” or Madonna’s notorious “Truth or Dare.”

Stewart and Nicks, co-directors of the film, also co-wrote many of the songs on “In Your Dreams.” The inner life of the legendary Nicks has by her design long been kept at a distance from the public. We learn in “Dreams” that her world features, costume parties, joyous dinner feasts, tap dancing, fantasy creations and revealing songwriting and recording sessions all of which are captured on film. Also cameos by Edgar Allan Poe, Mick Fleetwood, Reese Witherspoon, a massive white stallion in the backyard, owls and naturally a few vampires who appear in several “home movie” style music videos.

Along with tracking the Nicks/Stewart creative partnership, “In Your Dreams” includes plenty of other cinematic payoffs including rare never before seen personal scrapbook stills from Nicks’ childhood and family life, and a wealth of candid backstage and performance shots taken over the last 35 years.

Nicks, who has sold millions of records as a solo artist, writer of such iconic songs as “Landslide,” “Gold Dust Woman” and “Edge of 17,” is regularly cited by stars as diverse as Taylor Swift, Kid Rock, Courtney Love, Sheryl Crow, The Dixie Chicks and John Mayer as an iconic favorite and heroine and is a continuous inspiration to the world’s top fashion designers.

“I think you see in this film that Stevie just tells it like it is. She is who she is, and she doesn’t change,” commented Stewart.

“In Your Dreams – Stevie Nicks” Hamptons Film Festival – Sunday, October 7th at 3pm Sag Harbor Cinema

“In Your Dreams – Stevie Nicks” Mill Valley Film Festival – Friday, October 12th at 6:30pm at Smith Raphael Film Center

For more information on the Hamptons Film Festival, please go to

For more information about the Mill Valley Film Festival, please go to

Press Contact:
Liz Rosenberg
Liz Rosenberg Media

Song of the Year

By Ben Kessler
City Arts
Tuesday, January 17, 2012

Saluting Stevie Nicks’ “Soldier’s Angel”

Years from now, 2011 may be remembered as the year postfeminism produced poster girls for the status quo. Female-fronted hits such as the movie Bridesmaids and the TV show New Girl were hailed as breakthroughs, despite their unremarkable content. (Bridesmaids even showed up on some confused critics’ year-end best lists.)

Ironically, inordinate media attention turned this distaff escapist trend into a genuine threat to women’s cultural advancement. The “women in comedy” hype carries the suggestion that lucrative half-truths are the best female artists can hope to achieve; risking personal expression turns funny chicks into Debbie Downers.

My choice for best pop song of last year, Stevie Nicks’ “Soldier’s Angel,” points the way out of hype. As if responding to Bridesmaids and New Girl, Nicks shows us how 21st-century pop artists can speak truth and navigate politics.

In “Soldier’s Angel,” Nicks tells how her visits with wounded veterans at Walter Reed and Bethesda Naval Hospital unsettled her as a woman, citizen and icon. Lindsey Buckingham’s resonant guitar notes ensure that the song is threaded through with dread in the face of mortality. Against this stirring backdrop, Nicks’ voice—scarred and pitted by time and trouble—expresses a veteran artist’s perseverance for inspiration.

Imagining how the soldiers to whom she ministers must see her, Nicks sings, “I am a soldier’s girlfriend as I look upon their faces/ They make me remember my first love/ Goin’ out to dances.” Buckingham’s presence as guitarist and background vocalist connects her romantic recollection to our collective Fleetwood Mac memories. As “smart” pop critics might say, Nicks “implicates the audience” in her healing mission.

The refrain of “Solder’s Angel” speaks of the “war of words between worlds” within which Nicks’ mission is enmeshed. This must refer to the partisan scapegoating that has infected American political discourse. While Hollywood entertainment like Bridesmaids and New Girl promises escape from political conflict, Nicks elevates the discourse to a philosophical, even spiritual plane.

“Soldier’s Angel” was a 2011 highlight, but it may resonate even more profoundly in this election year. As Nicks warns: “No one walks away from this battle.”