Monday, June 10, 2013

the wild heart

 Stevie Nicks expanded her country rock sound with the synthesized pop sheen of this daring and dramatic declaration.  In the wake of the massive success of her solo debut 'Bella Donna' she recorded the blockbuster album 'Mirage' with Fleetwood Mac.  She started recording 'The Wild Heart' when the tour for 'Mirage' was finished.  

The sessions were produced by Jimmy Iovine, Gordon Perry, and Tom Petty and featured Stevie Nicks on vocals; and Sharon Celani and Lori Perry on backup vocals;    with guest musicians Sandy Stewart on keyboards, synthesizer, backup vocals, and piano; Tom Petty on guitar and vocals; Mike Campbell, Steve Lukather, and Don Felder on guitar; Benmont Tench on organ and keyboards; Howie Epstein on bass; Stan Lynch and Mick Fleetwood on drums; and Prince on synthesizer;    plus session musicians David Monday, Dean Parks, Waddy Wachtel, and David Williams on guitar; Roger Tausz, Bob Glaub, Kenny Edwards, and John Beal on bass; Roy Bittan on synthesizer and piano; David Foster on piano; Brad Smith on drums and percussion; Russ Kunkel on drums and drum overdubs; Bobbye Hall on percussion; Chet McCracken on drum overdubs; Marvin Caruso on drums; Ian Wallace on percussion; David Bluefield on OBX-A programming and DMX drum machine; Phil Kenzie on saxophone; Carolyn Brooks on background vocals; and Kenneth Whitfield and Paul Buckmaster on string arrangement.

Nicks says:   "Sharon, Lori and I have a special thing that we have perfected. And we have really perfected it from sitting around the piano and, like I said, 'Hey Crosby Stills and Nash did not sing Sweet Judy Blue Eyes by walking in together one night. They must have practiced. They had to have.' And that's what I wanted. I wanted a sound of vocals and I wanted Sharon to be Sharon and Lori to be Lori and me to be me and I wanted , because I told you this before, I don't think that anybody is that cute. On my gravestone it's going to say 'Nobody is that cute.' Because I don't think anybody is cute enough to carry a two hour show. I don't think anybody is cute enough to keep everybody interested for that long. I think that everybody needs help. I'm not going to go sing on stage alone. I don't want to. I want to be able to walk away and let them take it. Because there is nothing in the world that I would rather hear than beautiful singing. And so I have worked and worked to get a sound that is not like anybody else. That is really beautiful. That is strong. That is dedicated and devoted...Certainly you've been in the wildest darkest places of your mind...When I say wild in the darkest places of your mind, I mean the things that you think about in the wildest places of your mind that you don't ever tell anybody about. Only the children lie hopelessly enchanted. That's the way we are hopeless ly enchanted. Wild in the darkest places of your mind. Don't blame it on me, blame it on my wild heart. Yeah. That's those places that many people don't even have but you see my audience has it...Fleetwood Mac is as elusive as a butterfly. Fleetwood Mac is not dependable. Fleetwood Mac is not predictable. One day I can walk in and I can dislike everyone of them intensely . The next day I can walk in and if anybody even says a word to one of them I'll kill him. It's like the love affair between me and Fleetwood Mac is so deep that I don't know really if anybody can really rip us apart. In Wild Heart it says 'Not even you can tear us apart you say you don't even know how to start.' You know what that means? That means when someone looks at you and kind of pushes you up against the wall and says 'You say you're leaving me?'Well I'm telling you, you don't even know how to start to leave me. And that's kind of how Fleetwood Mac is.  It's like you know I quit every day, I join back up every day. It's one more link in the chain ...  It's like Bella Donna's heart is wild all of a sudden. It has that James Dean/Natalie Wood feeling to it. It's just Bella Donna a little more reckless. She's just more sure of herself now, so she's taking a few more chances. I'm very pleased with the album because there are no holds barred on it. It's real strong and emotional." 

'The Wild Heart' went to twenty-eight in the UK, eight in Australia, seven in Canada, and number five in the US.  It sold a million copies in the first three months and was eventually certified double-platinum.

'Stand Back' pushed its way to number five in the US.  Nicks reveals:    "I got married the day I wrote this song. We were driving to Santa Barbara and a new song by Prince came on, so we pulled over somewhere and got the tape. It just gave me an incredible idea, so I spent many hours that night writing a song about some kind of crazy argument, and it was to become one of the most important of my songs. I've been doing this song for years, Fleetwood Mac does it also, and I never get tired of it. 'Stand Back' has always been my favorite song onstage, because...when it starts, it has an energy that comes from somewhere unknown...and it seems to have no timespace. I've never quite understood this sound....but I have never questioned it.  I become a different person, and I like that, because usually I make up my own characters...but the lady in 'Stand Back' was not my idea. By the way, Prince did come into the studio the night I called him and told him about the song, and he played incredible synthesizer on it...and then he just walked out of my life, and I didn't see him for a long time.  It was extraordinary..."

'If Anyone Falls' hit number fourteen in the US.

'Nightbird' flew to number thirty-three in the US.

'The Wild Heart' 
full album:

00:00  "Wild Heart" – 6:11
06:10  "If Anyone Falls" (Nicks, Sandy Stewart) – 4:09
10:19  "Gate and Garden" – 4:06
14:29  "Enchanted" – 3:06
17:40  "Nightbird" (Nicks, Stewart) – 5:00
22:33  "Stand Back" – 4:51
27:21  "I Will Run to You" (Tom Petty) – 3:22
performed by Stevie Nicks & Tom Petty
30:46  "Nothing Ever Changes" (Nicks, Stewart) – 4:09
35:00  "Sable on Blond" – 4:15
39:20  "Beauty and the Beast" – 6:02

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