VIDEO: Stevie talks about accepting her BMI Icon Award

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PHOTOS: BMI honors Stevie Nicks with Icon Award

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Broadcast Music, Inc. was proud to honor the songwriters and music publishers behind the year’s most-performed pop songs at the 62nd Annual BMI Pop Awards, held at the Beverly Wilshire Hotel in Beverly Hills, California, on May 13, 2014.

Legendary singer-songwriter Stevie Nicks received the BMI Icon Award in recognition of her unique and indelible influence on generations of music makers. As the 2014 BMI Icon Award recipient, Nicks joins an elite list of past honorees that includes Paul Simon, Carole King, David Foster, John Fogerty, Kris Kristofferson, the Jacksons, Carlos Santana, Dolly Parton and others.

“This is one of the best nights of my life,” Nicks said upon accepting her award, going on to poignantly capture the craft for which she was honored, “We are reporters – we songwriters write songs about life, not just love.” Nicks added, “I want to thank Del. This is so important to me. To all of you here, all of you songwriters and artists, I wrote my first song when I was 15 1/2 and this is what you have to look forward to if you really want to do this. Go for it, be determined, don’t let anyone get in your way … Bring the fun back!”

Slideshow: 2014 BMI Pop Awards

The night included a special star-studded musical tribute to Nicks, featuring Maroon 5 frontman Adam Levine, the incomparable Sheryl Crow, country music trio Lady Antebellum, piano-playing chanteuse Vanessa Carlton and the multi-talented Shakira. Levine and Crow combined their breathtaking talent to deliver a mesmerizing rendition of Nicks’ “Leather & Lace,” Lady Antebellum commandeered “Rhiannon,” Carlton wowed the audience with “Dreams” and Shakira serenaded with “Landslide.”

Other songwriters honored included Adam Levine, Ryan Lewis, Jeff Bhasker and Ben Haggerty, who all earned the coveted BMI Pop Songwriter of the Year title. Each penned three songs on the most-performed list. Levine composed Maroon 5’s “Daylight,” “Love Somebody” and “One More Night.” Lewis and Haggerty co-wrote Macklemore & Ryan Lewis’ “Can’t Hold Us,” “Same Love” and “Thrift Shop.” Bhasker co-penned Fun.’s “Carry On” and “Some Nights,” and P!nk’s “Just Give Me A Reason.”

Jeremy Fraites and Wesley Schultz of the Lumineers clinched the BMI Pop Song of the Year honor for co-writing “Ho Hey.”

With 15 songs among the year’s most performed, Sony/ATV Publishing claimed the prestigious BMI Pop Publisher of the Year crystal.

The 62nd Annual BMI Pop Awards were hosted by BMI Vice President & General Manager, Writer/Publisher Relations, Barbara Cane, BMI CEO Mike O’Neill and BMI President Del Bryant.

Here is a complete list of 2014 BMI Pop Award winners:

Song of the Year

“Ho Hey”
Jeremy Fraites
Wesley Schultz
The Lumineers

Songwriters of the Year

Jeff Bhasker
“Carry On”
“Just Give Me a Reason”
“Some Nights”

Ben Haggerty
“Can’t Hold Us”
“Same Love”
“Thrift Shop”

Adam Levine
“Daylight”
“Love Somebody”
“One More Night”

Ryan Lewis
“Can’t Hold Us”
“Same Love”
“Thrift Shop”

Publisher of the Year

SONY/ATV Music Publishing
(EMI-Blackwood Music, Inc., Sony/ATV Ballad, Sony/ATV Countryside, Sony/ATV Tree)

“As Long as You Love Me”
“Carry On”
“Clarity”
“Cruise Remix”
“Feel This Moment”
“I Knew You Were Trouble”
“Just Give Me a Reason”
“Little Talks”
“Love Somebody”
“Mirrors”
“My Songs Know What You Did in the Dark (Light Em Up)”
“Safe and Sound”
“Some Nights”
“The A Team”
“The Way”

Icon

Stevie Nicks

Award Winning Songs

50 WAYS TO SAY GOODBYE
Amund Bjørklund (PRS)
Espen Lind (PRS)
Stellar Songs Limited
Train

AS LONG AS YOU LOVE ME
Big Sean
Rodney Jerkins
Andre Lindal
Nasri (SOCAN)
FF to Def Publishing LLC
Rodney Jerkins Productions
Son of Bjorn Music
Songs of Universal, Inc.
Sony/ATV Songs LLC
Tre Ball Music
Justin Bieber featuring Big Sean

BEAUTY AND A BEAT
Nicki Minaj
Zedd (GEMA)
Harajuku Barbie Music
Money Mack Music
Songs of Kobalt Music Publishing
Songs of Universal, Inc.
Justin Bieber featuring Nicki Minaj

BURN IT DOWN
Chester Bennington
Rob Bourdon
Brad Delson
Dave Farrell
Joe Hahn
Mike Shinoda
Big Bad Mr. Hahn Music
Chesterchaz Publishing
Kenji Kobayashi Music
Nondisclosure Agreement Music
Pancakey Cakes Music
Rob Bourdon Music
Universal Music-Z Songs
Linkin Park

CAN’T HOLD US
Ben Haggerty
Ryan Lewis
Macklemore Publishing
Ryan Lewis Publishing
Macklemore & Ryan Lewis featuring Ray Dalton

CARRY ON/
Jack Antonoff
Jeff Bhasker
Shira Lee Lawrence Rick Music
Sony/ATV Songs LLC
Way Above Music
fun.

CLARITY
Skylar Grey
Matthew Koma
Porter Robinson
EMI-Blackwood Music, Inc.
Hotel Bravo Music
M Shop Publishing
Mattski Songs
Portabello Publishing
Sony/ATV Ballad
Universal Music-Z Songs
Zedd featuring Foxes

COME & GET IT
Ester Dean
Dat Damn Dean Music
Songs of Universal, Inc.
Selena Gomez

CRUISE REMIX
Tyler Hubbard
Brian Kelley
Joey Moi (SOCAN)
Chase Rice
Jesse Rice
Big Loud Mountain
Big Red Toe Music
Dack Janiels Publishing
Deep Fried Dreams
Sony/ATV Countryside
Florida Georgia Line featuring Nelly

CUPS
A P Carter
peermusic
Anna Kendrick

DARK SIDE
busbee
Alex Geringas (GEMA)
BMG Platinum Songs US
Hello I Love You Music
JAM Writers Group
Kelly Clarkson

DAYLIGHT
Adam Levine
Sudgee Music
Universal Music-Careers
Maroon 5

DIAMONDS
Benjamin “Benny Blanco” Levin
Matza Ballzack Music
Where Da Kasz At?
Rihanna

DIE YOUNG
Kesha
Benjamin “Benny Blanco” Levin
Dynamite Cop Music
Matza Ballzack Music
Where Da Kasz At?
Kesha

DON’T WAKE ME UP
Alessandro “Alle” Benassi (SIAE)
Marco “Benny” Benassi (SIAE)
Chris Brown
DJ Replay
Michael McHenry
Culture Beyond Ur Experience
Downtown DMP Songs
Ryan Buendia Music
Songs of Universal, Inc.
Ultra Empire Music
Chris Brown

DON’T YOU WORRY CHILD
Axwell (STIM)
Universal-Songs of PolyGram International, Inc.
Swedish House Mafia featuring John Martin

FEEL AGAIN
Noel Zancanella
Blastronaut Publishing
Songs of Patriot Games
OneRepublic

FEEL THIS MOMENT
Christina Aguilera
Magne Furuholmen (PRS)
Morten Harket (PRS)
Nolan Lambroza
Nasri (SOCAN)
Armando “Pitbull” Perez
Urales “DJ Buddha” Vargas
Pål Waaktaar (PRS)
Abuela Y Tia Songs
DJ Buddha Music Publishing
EMI-Blackwood Music, Inc.
Sony/ATV Songs LLC
The Messengers Joints
Tre Ball Music
Universal Music-Careers
Xtina Music
Pitbull featuring Christina Aguilera

FINE BY ME
Andy Grammer
S-Curve Songs Worldwide
Andy Grammer

GET LUCKY
Thomas Bangalter
Guy-Manuel de Homem-Christo
Nile Rodgers
Songs of Imagem Music
XLC Music
Daft Punk featuring Pharrell Williams

HALL OF FAME
Jimbo Barry (PRS/IMRO)
Danny O’Donoghue(PRS/IMRO)
Mark Sheehan (PRS/IMRO)
will.i.am
BMG Sapphire Songs
i.am.composing llc
Universal Music-Z Songs
The Script featuring will.i.am

HEART ATTACK
Mitch Allan
Sean Douglas
Jason Evigan
Nikki Williams
Art In The Fodder Music
Bad Robot
BMG Platinum Songs US
International Dog Music
Part of the Problem Publishing
Demi Lovato

HO HEY
Jeremy Fraites
Wesley Schultz
The Lumineers
The Lumineers

HOME
Drew Pearson
Drew Yeah Music
Songs of Pulse Recording
Phillip Phillips

I CRY
Jeffrey B. Hull
Brenda Russell
Dwarf Village Music
Flo Rida

I KNEW YOU WERE TROUBLE
Taylor Swift
Sony/ATV Tree
Taylor Swift Music
Taylor Swift

I NEED YOUR LOVE
Ellie Goulding (PRS)
Downtown DMP Songs
Calvin Harris featuring Ellie Goulding

IT’S TIME
Benjamin McKee
Daniel Reynolds
Daniel “Wayne” Sermon
Imagine Dragons Publishing
Songs of Universal, Inc.
Imagine Dragons

JUST GIVE ME A REASON
Jeff Bhasker
P!nk
EMI-Blackwood Music, Inc.
P!nk Inside Publishing
Sony/ATV Songs LLC
Way Above Music
P!nk featuring Nate Ruess

LET ME LOVE YOU (UNTIL YOU LEARN TO LOVE YOURSELF)
Mark Hadfield (PRS)
Ne-Yo

LITTLE TALKS
Nanna Hilmarsdóttir (STEF/BMI)
Ragnar “Raggi” þórhallsson (STEF/BMI)
Mussi Music
Nannabh Music
Sony/ATV Songs LLC
Of Monsters and Men

LOVE SOMEBODY
Adam Levine
Nathaniel Motte
Noel Zancanella
Dick Jams
EMI-Blackwood Music, Inc.
Songs of Patriot Games
Sudgee Music
Universal Music-Careers
Maroon 5

MIRRORS
Chris Godbey
Jerome “J-Roc” Harmon
Jerome Harmon Productions
Sony/ATV Ballad
Warner-Tamerlane Publishing Corp.
Justin Timberlake

MY SONGS KNOW WHAT YOU DID IN THE DARK (LIGHT EM UP)
Andy Hurley
Patrick Stump
Joe Trohman
Pete Wentz
Chicago X Softcore Songs
Sony/ATV Songs LLC
Fall Out Boy

ONE MORE NIGHT
Adam Levine
Sudgee Music
Universal Music-Careers
Maroon 5

RADIOACTIVE
Alex Da Kid
Benjamin McKee
Joshua Mosser
Daniel Reynolds
Daniel “Wayne” Sermon
Imagine Dragons Publishing
Jmosser Music
Songs for KIDinaKORNER
Songs of Universal, Inc.
Imagine Dragons

ROAR
Bonnie McKee
Bonnie McKee Music
Songs of Pulse Recording
Where Da Kasz At?
Katy Perry

SAFE AND SOUND
Ryan Merchant
Sony/ATV Ballad
Takacs Music Publishing
Capital Cities

SAME LOVE
Ben Haggerty
Ryan Lewis
Macklemore Publishing
Ryan Lewis Publishing
Macklemore & Ryan Lewis featuring Mary Lambert

SHE’S SO MEAN
Paul Doucette
Lucinda Panic Music
Matchbox 20

SOME NIGHTS
Jack Antonoff
Jeff Bhasker
Shira Lee Lawrence Rick Music
Sony/ATV Songs LLC
Way Above Music
fun.

SUIT & TIE
Jerome “J-Roc” Harmon
Charles “Slick” Still
Terry Duane Stubbs
John “Sly” Wilson
Dynatone Publishing Co.
Jerome Harmon Productions
Perrell Music
Rightsong Music, Inc.
Warner-Tamerlane Publishing Corp.
Justin Timberlake

THE A TEAM
Ed Sheeran
Sony/ATV Songs LLC
Ed Sheeran

THE OTHER SIDE
Jason Derülo
BELUGA HEIGHTS MUSIC
Irving Music
Jason Derülo Publishing
Jason Derülo

THE WAY
Al Sherrod “A-Rod” Lambert
Mac Miller
Brenda Russell
Jordin Sparks
Blue Slide Park Music
Jordin Sparks Music
Penmenship Music
Sony/ATV Ballad
Ariana Grande featuring Mac Miller

THRIFT SHOP
Ben Haggerty
Ryan Lewis
Macklemore Publishing
Ryan Lewis Publishing
Macklemore & Ryan Lewis featuring Wanz

TROUBLEMAKER
Breyan Isaac
Claude Kelly
Studio Beast Music
Warner-Tamerlane Publishing Corp.
Olly Murs featuring Flo Rida

TRY
busbee
Ben West
BMG Platinum Songs US
Hello I Love You Music
JAM Writers Group
Legitimate Efforts Music
P!nk

WHEN I WAS YOUR MAN
Andrew Wyatt
Downtown DMP Songs
Bruno Mars

WHISTLE
Breyan Isaac
Antonio “Jovii Hendrix” Mobley
Flight38 Group Publishing
Warner-Tamerlane Publishing Corp.
Flo Rida

BMI / Wednesday, May 14, 2014

Night of 1,000 Stevies: Originality reigns supreme

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Stevie Nicks remains the key inspiration of her largest fan event, but the diversity of its talent and turnout proves you can be her disciple and still go your own way.

Photography by Ricardo Nelson

Tambourines were tossed from the stage into a decadent crowd of hundreds, and ample black shawls were available for sale, but Stevie Nicks’s trademark accessories were hardly a requirement at last Friday’s Night of 1,000 Stevies, the 24th incarnation of the largest Nicks fan event in the world. Held at New York’s Irving Plaza, its sixth—and grandest—venue, the mystical affair attracted fans and performers who each found a way to uniquely channel Fleetwood Mac’s witchy woman.

“At some point, with certain stars, the fans take over and are a bigger entity than the stars themselves,” said Abby Ehmann, one of the evening’s mistresses of ceremonies, and a close friend of event co-founders Johnny Dynell and Chi Chi Valenti (the latter of whom was still recovering from pneumonia, her absence repeatedly lamented).

Among the night’s performers were dancers from Vangeline Theater, whose interpretation of “Rhiannon” involved a ballet dancer evoking “a bird in flight,” and a back-up crew of haunting beauties rocking Kabuki makeup. Also present was Xavier, a four-person group offering a Lenny Kravitz-esque take on “Dreams.”

And then there were epic costumer Machine Dazzle and show-stealer Darrell Thorne, both of whom used Stevie as a launchpad to flaunt their latest fantastical creations. Machine Dazzle donned a pentagram headpiece and a mile-high, scissor-cut wig, while Thorne came fully painted in purple and glitter, with blue dreadlocks and stag horns to match.

“I’m not actually a Stevie superfan,” said Thorne, who’s attended the event 11 times, six as a performer. “But I’d always heard it was this magical celebration, and I’ve come to love her music because of it. This is always a love fest, and it’s one of the most fun events of the year.”

Of course, not everyone took such outré approaches to their Stevie-inspired attire. Drag star Divine Grace sported what he called a “1990s Klonopin” Nicks look, which equaled a lot of blonde and black. “This is the most avant garde year I’ve ever seen,” Grace said. “And I’ve seen a lot. One time there was this giant drag queen with white powder all over her face. She looked like she ate Stevie and then did an eight ball.”

Friday’s no-holds-barred festivities rolled on into the wee hours of 3 a.m., with appearances from the likes of Michael Musto, nightlife honcho Taylor Mac (who came donned in his best Machine Dazzle couture), and drag legend Sherry Vine, who was joined by a quartet of go-go boys for a sexy rendition of “Gold Dust Woman.”

As Musto observed when introducing one of the night’s performers, Nicks is “hotter than ever” thanks to such things as her recent appearance on American Horror Story: Coven, which, according to Ehmann, partly inspired the night’s “Spellbound” theme.

“Stevie always finds a way to stay relevant,” Ehmann said, before observing that, despite the event’s motley crew of attendees, the songstress herself isn’t one to switch it up. “She’s got an extreme staying power and she’s managed to do it without striving to reinvent herself, like Madonna. You know, not to slam Madonna.”

For more info, visit MotherNYC.com/stevie

R. Kurt Osenlund / Out / Tuesday, May 13, 2014

TONIGHT: BMI honors Stevie Nicks with prestigious Icon Award

2014-0513-bmi-icon-awards

Broadcast Music, Inc. will present the BMI Icon Award to legendary songstress Stevie Nicks at its 62nd Annual BMI Pop Awards tonight at the Beverly Wilshire Hotel in Beverly Hills.

The invitation-only ceremony will also recognize the songwriters and publishers of the past year’s most-performed pop songs in the United States, with the BMI Pop Song, Songwriter and Publisher of the Year to be named. The evening will also include an all-star musical tribute to Nicks.

Stevie Nicks Bella Donna (1981)BMI Icons are selected because of their unique and indelible influence on generations of music makers. As a BMI Icon, Stevie Nicks will join elite ranks that include Paul Simon, Carole King, David Foster, John Fogerty, Kris Kristofferson, the Jacksons, Crosby, Stills & Nash, the Bee Gees, Willie Nelson, Merle Haggard, Brian Wilson, Carlos Santana, Dolly Parton, and others.

“Stevie Nicks is an extraordinary songwriter and pedigree artist of stunning genius and unwavering grace, on and off the stage. She has defined an era of pop and rock culture around the world with her brilliance and unforgettable magnificence,” said Barbara Cane, BMI Vice President & General Manager, Writer/Publisher Relations, Los Angeles.

2011_in_your_dreams_coverThe legendary Stevie Nicks has an instantly recognizable voice that rises above all others. It is at once haunting, romantic, filled with mystery and completely unforgettable. Her spectacular talent has brought joy to her millions of fans for generations. With her incomparable songwriting ability, she has received 12 BMI million-performance citations, along with 12 BMI Pop Awards, a BMI Urban Award and a BMI Country Award for such hits as “Dreams,” “Rhiannon,” “Leather and Lace,” “Landslide” and “Gypsy,” among others. With songs such as “Edge of Seventeen” and “Stand Back,” Nicks has earned a top spot among a pedigree of timeless pop rock icons. From the start of her career as a solo artist with the release of her five million-selling debut, Bella Donna, up to her current critically acclaimed album, In Your Dreams, Nicks continues to bedazzle audiences around the world.

Fleetwood Mac RumoursAs a member of the legendary Fleetwood Mac, whose Rumours album was one of the biggest selling records of all time, Nicks’ four-decade career includes induction into the prestigious Rock and Roll Hall of Fame, multiple GRAMMY award nominations, and numerous gold and platinum records. Collectively, these achievements add up to one of the most successful female artists in pop rock history.

The 62nd Annual BMI Pop Awards will be hosted by BMI President Del Bryant and BMI Vice President & General Manager, Writer/Publisher Relations, Los Angeles, Barbara Cane.

Follow on Twitter: #BMIPopAwards #WriteOn

BMI / Tuesday, May 13, 2014

The Other Side of the Mirror turns 25

(Photo: Neal Preston)
(Photo: Neal Preston)

By the end of the ’80s, Fleetwood Mac fans had grown accustomed to enjoying a round of solo releases from band members between solo projects, with singer Stevie Nicks establishing herself as the most prolific artist outside the confines of the group.

Starting with 1981′s Bella Donna, Nicks spent the decade see-sawing between her solo career and Fleetwood Mac projects, and the market seemed perfectly willing to bear the extra music; both Donna and its followup, 1983′s The Wild Heart, made the Top 10, and 1985′s Rock a Little extended her streak of platinum releases. But after finishing three records in five years, Nicks put her solo career on temporary hiatus — partly because of her obligations to Fleetwood Mac following the massive success of the band’s 1987 Tango in the Night album, and partly because personal problems put a crimp in her creativity.

As she explained in a 1998 interview with People Magazine, Nicks’ cocaine dependency came to a head in 1986, when a plastic surgeon reportedly warned her, “If you want your nose to remain on your face, stop right now.” She entered rehab to deal with her addiction, but as she put it, “after I quit cocaine, things got even worse” — mainly because she left treatment with a prescription for the powerful sedative Klonopin, which she said “changed me from a tormented, productive artist to an indifferent woman.”

Even without chemical woes in the way, Nicks’ solo career faced another critical stumbling block in the mid-to-late-’80s: the frequently turbulent personal dynamics between the members of Fleetwood Mac. Pointing out that the tour for Tango in the Night went on for months, Nicks later recalled the difficulties of dealing with her Mac bandmate Lindsey Buckingham’s lack of support. “When you work with Lindsey he pretty much demands that you’re there,” she recalled. “And I was also touring. We’d tour for six weeks and come home for a week then I’d bang into the studio to try to be there as much as I could. But Lindsey was not very understanding about that. He felt that I shouldn’t have a solo career. It was like, ‘Oh, thank you so very much for giving us another week of your precious time!’ So it was never a very pleasant experience.”

Stevie Nicks The Other Side of the Mirror 1989Fortunately, she’d reached the stage of her career where she no longer needed to keep recording to pay the bills, and whatever urgency she felt to finish the album was solely creative. “At my age and after all I’ve been through, what I really need is to love the music that goes out,” she insisted. “I have everything I need on a living basis, so whatever the sales, I want the music to be true to me and my songs.”

To that end, Nicks sought out a new producer when she got down to work on what would become her fourth solo album, The Other Side of the Mirror. “I started out with Rupert Hines, who is an amazing keyboard player, so that whole album sort of went the way of the airy, surreal keyboard and synthesizer thing,” she explained in a 1994 interview with Music Connection. But it wasn’t just Hines’ keyboard playing that led Nicks to hire him — more importantly, he was willing to listen.

“The thing that I told him was most important to me was that my songs came through,” she later recalled. “I have archives of demos, and I have many, many friends who prefer the demos — who have them and listen to them, and that’s kind of really hard to take when it costs you nothing to do a demo and it costs you $500,000 or $1 million to do a record, and people come to you and say, ‘Can I have a cassette of the song when it was just a demo?’…It’s very important to me that what I’m saying comes through. I’m not a musician. More than musically, it’s very important that what I have to say comes through and so on this record, he did what I asked. He let me put my demo feeling through.”

Released on May 11, 1989, The Other Side of the Mirror was presented as a sort of loosely constructed song suite based around Alice’s Adventures in Wonderland, although Nicks herself could be somewhat evasive on the subject. “I’m not ready to tell everybody exactly what the songs are all about,” she demurred when asked about the inspiration behind the album, “because I’d rather people interpret them in terms of their own lives, as opposed to thinking the songs are just about me.”

During an interview with Record Mirror, however, she admitted that the songs often are about her. Discussing the inspiration behind leadoff single “Rooms on Fire,” she said, “I guess the single is about when you’re in a crowded room and you see a kind of person and your heart goes, ‘Wow!’ The whole world seems to be ablaze at that particular moment. You see, I don’t write fantasy songs. Everything I write is based on personal experience. I guess I’m quite an intense, romantic person. Of course, selling lots of records means you can live a privileged, glamorous lifestyle, but it becomes very lonely as well.”

Speaking with Revolution later in 1989, she opened up further, saying The Other Side of the Mirror started out as a tribute to her grandmother. “I called her Crazy Alice; I lost her three months ago and I just loved her so much,” she explained, adding that as the album developed, it took on several personalities.

1989_tosotm_back_cover“I love making up little fantasy things,” Nicks admitted. “All the characters in my songs — the Gypsies, the Saras, and on this album, Alice and Juliet — they’re all me. But they’re all different sides of me. It’s a great way to write about what’s going on in your life without telling it in a real serious way, but the point comes over and I think people understand that. I don’t think I started out intending it to have much to do with Alice in Wonderland, though I read it when I was little. But I kept thinking about how I go back and forth from one side of the mirror to the other. And then I have a little space in between, which is when I do other things which nobody really knows about; my painting, my art, my writing.

“That’s my sanity life,” she added. “That’s when I’m pretty serious and sane. And my Fleetwood Mac life and my Stevie Nicks life, both of those are pretty heavy and I have to scurry back and forth constantly. For the past seven years I’ve been running two straight careers pretty solid, and they’re both big and they’re both demanding.”

It could get a little confusing at times. “Much of Alice in Stevie Nicks’ Alice is Stevie writing about Alice in parallel back to Stevie, so I’m really writing about Alice’s adventures as in comparison to my adventures,” she explained in a separate interview. “For Alice to run back and forth between the looking glass is kind of what I perceive my whole life to be, running back and forth between two places — which is obviously my career with Fleetwood Mac and my career by myself. And then of course, there’s the other part of my life, which is my own life, which there isn’t very much of. But I always seem to be running to one place or the other.”

She’d soon find herself running to all kinds of places, courtesy of an extensive tour that found Nicks visiting Europe as a solo artist for the first time. Although she later confessed that her growing Klonopin dependency had obliterated most of her memories of the tour, ‘Mirror’ still did well, both overseas and in the States; “Rooms on Fire” was a hit on both sides of the Atlantic, and the album reached No. 10 on the Billboard charts, eventually selling more than a million copies in the U.S. alone.

In spite of its success, The Other Side of the Mirror represented the end of Nicks’ time as a platinum-selling solo act. Shortly after wrapping her tour for the album, she drifted back to her duties with Fleetwood Mac, and although she departed the band shortly after the release of 1990′s Behind the Mask LP, personal issues continued to stunt her creative output until the mid-’90s; it wasn’t until she underwent another round of detox (and got a little tough love from her old friend Tom Petty) that she really started writing again, and by the time a reinvigorated Nicks released the well-received Trouble in Shangri-La in 2001, the radio landscape had tilted away from artists of her generation.

Still, Nicks remains active, both within and without Fleetwood Mac; the band reunited with keyboard player Christine McVie for a highly anticipated 2014 tour, and her most recent solo release, 2011′s In Your Dreams, broke the Billboard Top 10. Once a rock ingenue, she’s now looked up to by younger artists the same way she looked up to her own influences — a role she clearly relishes.

“I would say I am a very romantic person and very intense,” Nicks mused of her songwriting in general. “I don’t write real happy songs, but I don’t ever write a song that leaves people with no hope. Everything I write comes from reality, and then I throw a handful of sparkle-dust over it and try to make it so that people can accept it and say, ‘Life goes on no matter how bad or what kind of tragedy you’re involved in, a heartbroken love affair or whatever it is.’ You will make it. Because I’m proving it. I’m telling you that I’ve been through it all and I’m still here.”

Jeff Giles / Ultimate Classic Rock / Sunday, May 11, 2014

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Fleetwood Mac revives chemistry in studio

(Photo: Billboard)
(Photo: Billboard)

It appears that Christine McVie will be returning to Fleetwood Mac to do more than play some old songs in concert. The group — sans Stevie Nicks, who was busy with “some other commitments,” according to Lindsey Buckingham — has just finished a nearly two-month run in Studio D at the Village Recorder in Los Angeles, where Fleetwood Mac made 1979’s Tusk album, working on a batch of new songs by McVie and Buckingham.

“This has kind of been a project in slow motion, that’s the only way I can put it,” Buckingham tells Billboard. “We got in the studio not knowing what to expect, and the chemistry was just unbelievable… We got eight tracks very far along, like, 75 percent done. It just played out really organically in a way that seemed appropriate.” Buckingham says the new songs came from ideas McVie brought into the band, and coupled with material he worked on previously with Mick Fleetwood and John McVie, the group has “about 14 or 15 things, and some other things we want to get to down the line” even before Nicks begins making contributions.

“We’re all very excited about it. Knowing me, I’m going to be pushing for a double album,” Buckingham says with a laugh.

Describing the new songs — which include “Carnival Begin,” “Red Sun” and “Too Far Gone” — McVie says, “There’s a wide variety, starting from sort of blues-based songs to very commercial songs. It’s very, very exciting. We get chills when we hear them. They sound really fresh. There’s an element, I guess, that hasn’t really existed so much in the past although it has been there in the fact Lindsey and I have been collaborating more. We’ve been working very closely together, so there is a freshness and obviously there are parts for Stevie to sing on all of these songs, which she will do eventually.”

When the rest of the world hears them remains up in the air, however. Fleetwood Mac released a four-song digital EP in April of 2013, and Buckingham and McVie say they don’t expect to have a new album ready before the group’s upcoming tour starts September 30 in Minneapolis.

“We haven’t finished what we’ve done here,” McVie explains. “these are just tracks with some overdubs, and they’re certainly not finished. I go back to England now until the beginning of rehearsals, which is the end of July, and then we’re rehearsing and then we’re touring, so we won’t really have time to (finish the songs). There’s some talk about some time next year. Fleetwood Mac always take a long time to make a record — you know what.”

Buckingham concurs, though he acknowledges that there may be a bit of clamor for the new music once word of the sessions leaks out, which may effect the timetable for the material’s release. “We want to plant some seeds of awareness about what we’re doing,” he says. “We won’t want to pretend it doesn’t exist. We’re very proud of it, and we do want to get the word out. But we’ll have to see how much clamor there is by the time we get into rehearsal and we have some time to let these seeds grow and see what kind of interest there is. That may inform our decisions one way or the other.”

Buckingham, meanwhile, says he’s particularly stoked that making new music is part of McVie’s return after a 16-year absence. “It just took on a life of its own for sure,” he says. “For years I was telling everybody, ‘Y’know, she’ll never be in the band again. She’s gone.’ I really believed that. But right now the whole thing has really got such a circular feel to it. And if you’re talking about one more act for this play or whatever you want to call it, I can’t think of a better way to do it.”

Fleetwood Mac formally announced McVie’s return in January after she joined the group on stage in London last September. McVie — who released one solo album, 2004’s “In the Meantime,” during the interim but mostly spent her time as “a retired lady of leisure with the Range Rover and the Dogs” in rural England — has gone through therapy to overcome a fear of flying that was one of the reasons he left the group. And she promises that she’s back in Fleetwood Mac “for perpetuity, yeah. For as long as I’m around. I’m here. I’m committed.” And she adds that returning to the studio with the group was like getting back on the proverbial bike.

“I thought I was going to get nervous coming in the studio, but it’s felt very easy and natural,” she says. “Before I got to L.A. Lindsey and I had been ping-ponging ideas on computers and that; I’d send him my very, very rough, funky demos and he made some kind of sense out of them and sent them back to me with him playing guitar and they started to turn into really lovely ideas. I really missed playing with them and the chemistry of it all and started to really, really desire to start doing something again, and the only people I could think of that I would have any desire to do anything with would be them, Fleetwood Mac.”

Gary Graff / Billboard / Wednesday, May 7, 2014

Latest Fleetwood Mac recording sessions productive

Lindsey Buckingham talked to Classic Hits Mix 100.9 FM on Tuesday about the progress from Fleetwood Mac’s latest recording sessions at Village Studio in Los Angeles. He mentioned that the band had been in the studio for about two months, completing eight tracks, seven of which were co-written by him and Christine McVie. He added that they were able to complete 75% of the work towards a new album.

Fleetwood Mac will begin rehearsing for the On With the Show tour later this summer.

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PHOTOS: 24 Karat Gold recording sessions

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Courtesy of David Stewart via Facebook

Why Hipsters are obsessed with Fleetwood Mac

Dana Williams and Leighton Meester perform their cover of "Dreams." (Photo: YouTube)
Dana Williams and Leighton Meester perform their cover of “Dreams.” (Photo: YouTube)

What’s up with the hipster-led Fleetwood Mac revival going on right now?

Let’s look at the evidence: Ruminative indie-darling Nicholas Jaar started his Coachella weekend one set with “The Chain.” Last month Gossip it-Girl Leighton Meester and her friend did an earnest and well-rendered cover of “Dreams” that got blogs all buzzy.

Oh, and then in 2012 there were not one, but two Fleetwood Mac tribute albums featuring indie-leaning groups. One had Best Coast, Tame Impala, St. Vincent, and The Kills, while the other had Yeasayer, Liars, and Julia Holter.

But for up-to-the-minute proof of the Fleetwood Mac hysteria sweeping the greater Silver Lake/Echo Park metropolitan area, behold the “Fleetmac Wood” party going down at the Short Stop tomorrow night, April 30. More than just a regular old tribute night, it’s a “re-edit project and party dedicated to the music of one of the greatest bands of our time,” according to London-transplants and husband and wife DJ-team founders Alex Oxley and Lisa Jelliffe.

Jelliffe gave us the scoop.

Tell us about the Fleetmac Wood parties.

Lisa Jelliffe: I used to put on these sort of West coast / yacht rock / disco nights in London and I always had this idea that I wanted to put on a Fleetwood Mac only event. This sort of came about from a love of their music, but also from an insight that quite often at parties, someone would put on a Fleetwood Mac greatest hits album and it would end up playing all night.[laughs]

Which was a clue to the fact that people love Fleetwood Mac. It creates such a great party atmosphere. The first party was this small basement in London. And Psychmagik made it their launch-party for their hit remix of “Dreams” which ended up getting millions of hits on Soundcloud. Everyone sort of just gets drunk and bangs on a tambourine and sings at the top of their lungs. It’s like, everyone can gorge on their favorite musical food. It’s an idea and an experience…it’s something more immersive than a regular club night. There’s a heavy representation of women at our events, too.

Even though I kind of know the answer, why did you decide to hold this at the Short Stop in Echo Park?

There seems to be a lot more going on on that side of town and we very much like a more word of mouth kind of event.

What do you make of the whole Fleetwood Mac revival?

I think what they are is essentially a supergroup. What they bring to the band is so much talent. It’s rock and roll that works on the dance floor. And edit-wise there’s so many different genres that they span…you’ve got pretty much every genre throughout their career. But I think there’s not much pop music out there that’s like that, I think they’re kind of filling a hole that no one’s been able to crack now. These are the best musicians in the world. I don’t think you get the same level of craftsmanship that you get with a band like that.

Why does everyone want to look like Stevie Nicks now?

Well, she was quite unfashionable for awhile. She’s an inspiring woman. She’s a survivor and she’s got a lot of stories to tell. She’s never going to stop being Stevie Nicks. I love her commitment to being an artist and her commitment to being herself. And we don’t have enough female role models of a certain age. We’ve got enough old rocking guys, but there’s not many older women who keep going. Most of them kind of get phased out or phase themselves out of the media, and she’s like, “No, I’m fucking Stevie Nicks, and I will continue to be.”

Ok, Jelliffe’s enthusiasm has caught on, we’re sold. Fetch us our Victorian waistcoats. More info on the party here

Alex Oakley and Lisa Jelliffe (Photo: Fleetmac Wood)
Alex Oakley and Lisa Jelliffe (Photo: Fleetmac Wood)

Paul T. Bradley / Rock That’s, Like, Classic / LA Weekly / Wednesday, April 30, 2014

Fleetwood Mac slated for Live Nation/Yahoo concert streaming

From left, John McVie, Stevie Nicks and Mick Fleetwood of Fleetwood Mac at Madison Square Garden on Thursday. The band mostly performed its 1970s hits. (Photo by Robert Caplin)
(Photo: Robert Caplin)

Fleetwood Mac may soon join Live Nation and Yahoo’s roster of high-profile acts at the center of the two media behemoths’ ambitious plan to live-stream 365 concerts over a 12-month period, beginning sometime in the summer. The two companies announced their partnership on Monday during Yahoo’s “Newfront” advertisers’ presentation at New York’s Lincoln Center.

Live Nation, which annually promotes 60,000 concerts, and Yahoo, which receives 800 million monthly unique visitors, are hoping to scale the online live concert experience. The two companies join YouTube, Vevo, and Vice, vying for a piece of the highly lucrative advertising marketplace, valued at $20 billion spent on top-tier sponsorships for broadcast television, cable, and live events.

As one of Live Nation’s most successful touring acts of 2013 with a total domestic gross of $62 million, Fleetwood Mac remains a sure bet for advertisers looking to capitalize on the band’s enduring legacy, fueled by the band’s 1977 Grammy-award-winning album Rumours, one of the best-selling recordings of all time.

Live Nation hopes to build on that success by promoting Fleetwood Mac’s highly-anticipated fall On With the Show tour featuring returning band member Christine McVie, who left the band in 1998. The tour begins on September 30 Minneapolis.