Stevie Nicks Worn Sequin Top With Certificate Authenticity Coa Fleetwood Mac

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 176277810459 STEVIE NICKS WORN SEQUIN TOP WITH CERTIFICATE AUTHENTICITY COA FLEETWOOD MAC. AN EXTREMELY RARE SEQUIN TOP WORN BY STEVIE NICKS WITH CERTIFICATE OF AUTHENTICITY FROM STAR WARES ON MAIN. PURCHAED DIRECTLY FROM THEM IN THE 1990'S.
The look is pure Stevie. Long, fluid chiffon skirts, airy capes with cut velvet details that seem to move to the music, rich jewel-toned maxi-coats and buttery suede platform boots. And black--lots of it. Many things have changed since 1975 when a doe-eyed 26-year-old named Stevie Nicks joined a struggling British blues band called Fleetwood Mac. But Nicks' look has remained a crystal vision. She is still the gypsy queen of diva-dom. Today, she is high on the success of the group's reunion tour, which on Friday night will add a Hollywood Bowl engagement to its roster of sold-out shows across the country. At 49, Nicks has reached a point in her life where she is confident with herself and her look, a look she didn't come upon by accident. Living in L.A. with Lindsey Buckingham in the early '70s, before either had joined Fleetwood Mac, Nicks had her eye on another diva. "I was very influenced by Janis Joplin," she said during a recent interview, "the one time I saw Janis in person, and all the times I saw her on television with her feathers and her bell-bottomed pants and her beautiful silky blouse tops." She liked the look so much that she traveled to San Francisco to try to duplicate it at the Velvet Underground, a store where Joplin and Jefferson Airplane's Grace Slick bought their clothes. "It was a tiny little store, but it had the most beautiful things," Nicks recalls. "Tunic tops that came down to your mid-thigh, and evening gown, old-lady nightgown material bell-bottoms that weren't really wide, but instead fell straight over a really high boot. It was in that room where I thought 'Wow! These are the kind of clothes I'm going to wear forever.' " The "Rumours" tour in 1977 was a definitive point for the band and for Nicks' ethereal stage look. "Onstage I wanted to wear skirts that just flowed around me as I walked, and if there was air-conditioning, or real air, they would move," Nicks said. Margi Kent, a designer in L.A., helped Nicks crystallize the look and has acted as the primary designer of Nicks' stage clothes ever since. This past summer, Nicks had two- and three-hour fittings at the Kent studio, located near the Beverly Center, to make sure each wardrobe piece for the current tour would fit perfectly. Nicks and Kent's partnership will be the subject of an eight-page photo spread in the November Harper's Bazaar. During the "Rumours" tour, the bulk of Nicks' onstage wardrobe consisted of quasi-religious-looking black skirts and fringe shawls that helped feed her wise woman/high priestess image. But black became her color of choice for practical reasons, not just a desire to dress like the Celtic witch she sang about in "Rhiannon." "I really started wearing black because it was easy and it was slimming," Nicks explained. "I kind of elongated the little black dress into a mid-calf length because it was dramatic and because my hair is kind of streaky blond and black is always good on blonds." Another part of the look are 7-inch-heel platform boots. "They make me feel like a bigger person," said the singer, who is 5-foot, 1-inch. The boots have been custom made for 20 years by a local Italian boot maker, di Fabrizio. Although her relationships with Kent and di Fabrizio have been long and fruitful, others in the fashion world had not shown much interest in designing for her, Nicks said. "Fashion people have always talked about me like 'that's a very Stevie Nicks maxi-coat' or 'that's a very Stevie Nicks chiffon skirt,' but nobody really came to me." * * * But last season, both Isaac Mizrahi and Anna Sui dedicated collections to Nicks. Richard Tyler, who approached her last year, also has contributed a few pieces to the tour wardrobe. Undoubtedly, some of the increased attention springs from an apparent re-fascination with anything from the 1970s. Fashion-forward pop singer Courtney Love--another in a long line of divas (and also a Harper's cover girl)--says she has long been fascinated both by Nicks' music and her clothes. In the early days of her own band, Hole, Love took her pop idol's dreamy gypsy look and hardened it into grunge for the '90s. Instead of the love-struck mystic personified by Nicks, Love came across as an angry broad with smudged black eyeliner in a ripped lace baby doll dress. Unlike that of many female rock singers, Nicks' image was never about how much skin she could get away with showing the audience. "I never wanted to create a sexual object kind of image," she said. "I wanted to be beautiful first, and somewhere on down the line sexy came with it." Indeed, for Nicks, feeling sexy has nothing to do with hem or necklines. It's about how clothes feel against her body. "I am a fabric sensualist," she said. "I love fabrics. Cashmere, velvet, silk chiffon. . . . If it feels good, it doesn't have to be particularly beautiful. I buy clothes sometimes just because I like the way they feel." Now, 20 years and some 50 million album sales after she joined the band, Nicks has her own stylist, Kim Brakeley, who swatches all over the world for her silk chiffons and textured velvets--some of which cost more than $100 a yard. Nicks also has the attention of the fashion elite focused on her, really for the first time in her career. Still, many of the pieces you will see among her seven costume changes in the band's show are not the latest creations from Kent, Mizrahi, Sui or Tyler. They're old--as old as Nicks' membership in the band. "I knew when I created this image in 1976 that I was going to stick with it," Nicks said. "I knew the skirt lengths could be changed, they could handkerchief their way to the floor or come right back up to under the knee. It was a moving style. If shoulder pads go 'out,' we pare them down and if they are back 'in,' we use them again." Many of the costume pieces are almost as essential to the concert experience as the music itself--and have proven just as enduring. "Some songs have a special item or piece of clothing that goes along with the song. Either it was in the video or it has stood for that song," said Brakeley, who is touring with the band. "There are capes that literally have names that go with songs, like the Gold Dust Woman cape, the Bella Donna Blue cape. Everything has a meaning." * * * The Gold Dust Woman cape is one of Nicks' personal favorites. "It's gold chiffon with sequins, glitter and drapery fringe, and it's strong as anything," Nicks said. "It looks like it's brand new. But I had it made in 1976." That cape no doubt will make an appearance Friday night--along with another Fleetwood Mac hallmark: the Stevie-heads, fans who mimic the gypsy look, twirling in their own chiffon. "I think if people like to dress like a gypsy and they get a little inspiration from me to do it, then it's great," Nicks said. "It's definitely something everyone should try at least once in their lives. Dress like a gypsy!" Thirty years after she sold her soul to the devil and, with Fleetwood Mac, set new records for rock'n'roll overindulgence, Stevie Nicks has somehow lived to tell the tale - and what a tale it is. Now if only she could remember where she lives… Interview by Mick Brown. Photograph by Neal Preston During the 10 or so years that she was addicted to cocaine - back in the days when Fleetwood Mac's album credits would include a 'thanks' to their dealer - Stevie Nicks estimates that she must have spent more than $1 million on the drug. 'At $100 a pop - that's a gram - and we were the ones who were buying it for everybody else; not only us, but all our friends.' Nicks thinks about this. 'Actually, I would say millions.' It all came to end in 1986, when a plastic surgeon advised her that if she wanted her nose to remain on her face she should stop snorting coke immediately. (The legacy was a hole in her septum the size of a five cent piece.) So it was off to the Betty Ford Clinic in Palm Springs, which was like 'the army' - meetings from six in the morning until nine at night. 'Tammy Wynette was there, and one of James Taylor's backing singers.' After 30 days she had an epiphany, and that was it for the cocaine. She hunches forward in her chair, sipping at her tea, which is about the strongest stimulant she indulges in these days. The dying afternoon sun is slanting through the window behind her, casting a halo around the blonde curls that tumble past her shoulders. 'So when I left Betty Ford, I felt that I was fine. But my world was terrified that I was not fine.' Your world? 'The powers that be, the people around me. They were terrified I was going to start doing it again. I think everybody knew I wasn't an alcoholic, because I'm not; but I drank. And every-body thought I should go to AA, and in order to get out of that the next best thing in everybody else's eyes was for me to go see a shrink. I really didn't want to go. But I finally just said all right in order to get all of you off my back…' Related Articles Stevie Nicks releases her first new album in 10 years 05 May 2011 The psychiatrist, she says, put her on a tranquilliser called Klonopin - 'he said to calm my nerves a little. I didn't want to do it. He said, "You're nervous." And I was nervous; I'm a nervous person. So I finally just said, all right.' Klonopin, Nicks says, is a member of the Valium family. 'It's a tranquilliser, right? And you think, what does tranquilliser mean? It tranquillises you!' Particularly when, as Nicks claims, the drug is radically oversubscribed. After a year, she realised she was beginning to put on weight and lose interest in her work. 'And the saddest thing, I did an interview in England, and somebody had sent the article to my mother and she read it to me over the phone. And it said, you could see Stevie Nicks in there, but she was very sad and very quiet and she was just a shadow of her former self. And that article broke my heart. 'And after that, it got worse, because he kept upping my dose. 1988 into '89, I'm now not even writing songs any more. I was living in a beautiful rented house in the Valley, and just pretty much staying home. Ordering take-in and watching TV. And I've gained 30lb and I'm 5ft 1in tall, and I'm so miserable. And I started to notice that I was shaking all the time, and I'm noticing that everybody else is noticing it too. And then I'm starting to think, do I have some kind of neurological disease and I'm dying?' So 1993 comes rolling round, and Stevie Nicks is finally convinced that the protracted high dosage of Klonopin might be killing her. So she does exactly what you or I might do. She instructs her personal assistant, Glenn, to take her daily dose - just to see what effect it has. 'I said, it won't kill you, because it hasn't killed me, but I just want to see what you think. Because Glenn was terribly worried about me - everybody was. So I was taking two in the morning, two in the afternoon and two more at night. At that point if I could find a Percoset, because I'm so miserable, I'd take that, or I'd take a Fiorocet - anything. 'So Glenn proceeds to take all my medicine. He was setting up a stereo in the living-room. Well, after half an hour he was just sitting there. And he said, "I can't fix the stereo and I don't think I can drive home." And I said, "Well, good - just stay there, because I'm studying you." And he was almost hallucinating. It was bad. And I called up my psychiatrist, and I said, "I gave Glenn every-thing you've prescribed for me." And the first words out of his mouth were, "Are you trying to kill him?" And the next words out of my mouth were, "Are you trying to kill me?" ' Nicks admitted herself to the Daniel Freeman Memorial Hospital in Venice Beach. It took her 47 days to detox. 'Dallas Taylor, the drummer for Crosby, Stills and Nash, was there the whole time. I nearly died. I moulted. My hair turned grey. My skin started to completely peel off. I was in terrible pain.' She shivers at the memory. 'I think it's very good to talk about this to get the message out into the world about addiction to this particular drug. That was the worst period of my life. They stole my forties. It was eight completely wasted years of my life.' Here's the irony, she says: the 'powers that be' had sent her to the psychiatrist in order to keep her working, but the 'treatment' he gave her made work almost impossible. 'It's very Shakespearean. It's very much a tragedy.' But what happened to Glenn? Nicks throws back her hair. 'Glenn was OK, because it was just for one day.' Stevie Nicks lives in a large, extremely beautiful house built in the 1930s in the American colonial style, situated in the hills behind Santa Monica. She is in a meeting when I arrive, and I am shown into the library - a wood-panelled room, the walls hung with pre-Raphaelite miniatures and tapestries. On the bookshelves are volumes about the Kabbalah, Madame Blavatsky and Arthurian legend; a copy of The Johns Hopkins Consumer Guide to Drugs sits beside Luxury Hotels of the World. At length Nicks appears and leads me down the hall, past a store room filled with travel wardrobes - her stage costumes - and into a spacious sitting-room. There is a velvet chaise-longue draped in silk, Persian carpets, carved tables. Home recording equipment, keyboards and a couple of guitars stand in one corner. Nicks moves among the collection of colourful Art Deco lamps that stand on every surface, carefully orchestrating the ambient light. 'That's the famous blue lamp that's been in lots of photos; that's a Tiffany,' she says. 'And so is that one. I don't know about the others.' Even though she is now 59, as Stevie Nicks puts it, 'I still look very much like me', which is to say unreconstructed fantasy flower-child: kohl-eyed, bee-stung lips, wrapped in a muted symphony of rustling satin and chiffon, legs encased in pointed heel, knee-high black suede boots. In Fleetwood Mac's heyday in the late 1970s Nicks was 'the mystical one' whose ethereal appearance, love of gothic romances and songs about witches, gypsies and dreams lent her a certain evanescently wistful air. 'Sweet, fragile, airy-fairy,' she says with a laugh. 'That was this person on drugs.' Nobody survives in the rock'n'roll business for 30 years by being 'airy-fairy', however, and there is a palpable vein of toughness under the cordial, disarmingly confessional manner. Nicks is delightful company; but you wouldn't want to cross her. Nicks was married once, fleetingly, but she has no children and no permanent partner. She shares the house with her god-daughter, who is in her early twenties, and who lives in the guesthouse above the garage. Nicks has lived here for two years, and it was a mistake, she says, from day one. So she is moving to a penthouse apartment on the beach and the house is on the market. 'I saw it, and there was this big family living here that obviously loved it. So there was a vibe here. And something in me thought, maybe I can have that. I was not here three days before I thought, what the hell do I here? I was too shallow and stupid to realise that it wasn't the house I'd fallen in love with but the mom and the dad and the four kids, and the smells of the cooking.' She sighs. It is, she reflects, a house 'for adults. And even though I'm pushing 60 I don't feel that I'm that old yet.' Does she see beauty when she looks in the mirror? 'Sometimes I still think that I'm looking OK. And other times I look at myself and I go, "Oh, my God, you're so old." ' She pulls a face and laughs. 'I wrote a song once called The Prettiest Girl in the World, and that was a long time ago. But when you've been the prettiest girl in the world - and I don't mean the most beautiful girl; I just mean a really pretty girl, a really talented girl, a girl who writes really good songs. When you've been all that and you're a lot older, it is hard. You see the lines' - Nicks runs her fingers along the thickening curve of her jaw - 'and you start to see this happening; and even though I'm thinner than I was a long time ago, you see your body changing and you go, well maybe this is not age-appropriate and I shouldn't wear the chiffon scarf any more; and then you go, but if I'm going to change the whole thing it's not me any more.' She shakes the thought to one side. 'I'm just terribly excited to get into my rock'n'roll penthouse and out of here. I feel old here.' I don't know if Stevie Nicks's passport describes her as 'rock'n'roll star', but it is the term she uses to describe herself, completely unselfconsciously, as if rock'n'roll star were a vocation, or a destiny embodied in the genes. Nicks's father was a business executive - a vice-president of Greyhound Buses, the president of a food company - whose work took the family on a journey across the south-west of America - Arizona, Los Angeles, New Mexico, El Paso, Salt Lake City, San Francisco. The elder of two child-ren (she has a brother, Christopher), as a young girl she was fixated on two things - dressing up and singing. Her teenage heroines were Grace Slick of Jefferson Airplane and Janis Joplin. In high school she met another aspiring rock star, Lindsey Buckingham. They became a couple and moved to Los Angeles, performing together as a duo, both singing and songwriting. In 1975 they recorded an album, Buckingham Nicks, that led to them being invited to join Fleetwood Mac. A British blues band that had transplanted to America, Mac had already enjoyed a distinctly chequered history with one founding member, Peter Green, succumbing to LSD psychosis, and another, Jeremy Spencer, leaving to join the religious cult the Children of God. The addition of Buckingham and Nicks brought a pop sensibility and a clutch of exhilarating songs that rejuvenated the group. An eponymous album went to number one in America; the follow-up, Rumours, released in 1977, became a phenomenon. By then, Nicks and Buckingham were breaking up after five years together. The seven-year marriage of the band's bass player, John McVie, and pianist, Christine McVie, was coming to an end. The drummer, Mick Fleetwood, was in the midst of divorce proceedings with his wife. Rumours fastidiously chronicled this tangled and incestuous emotional mess - made more tangled still when Fleetwood and Nicks began a surreptitious affair that ended when Fleetwood switched his affections to Nicks's friend Sara Recor - the inspiration for Nicks's song Sara. Nicks, meanwhile, embarked on an affair with Don Henley of the Eagles. Rumours went on to sell more than 30 million copies around the world (it remains one of the biggest-selling records of all time), launching the group into the realm of imperious self-indulgence more commonly associated with dictators of small African countries. During the group's Tusk tour in 1979, Nicks insisted that each hotel room she stayed in should be painted pink and equipped with a white piano. I remember being present at a photo-shoot for the group in LA the following year. A certain tension permeated the air, and at one point a crisis loomed when one of the group discovered that the champagne that had been provided was not of the preferred vintage; a minion was dispatched to fetch more. The shoot took less than two hours. But enough gourmet food had been provided to feed Burkina Faso. 'And nobody ate a bite, right?' Nicks says with a knowing shake of her head. 'If we'd just counted the meals that we ordered and were never eaten it was probably a million.' Between the cocaine and the banquets, the sports cars and the Hollywood mansions, Mick Fleetwood went bankrupt - twice. 'Because Mick didn't write songs, so he didn't make the publishing money that Christine and Stevie and Lindsey did,' Nicks says. 'But Mick spent just as much money. Millions. So if Mick Fleetwood could go back right now and change that, he would.' Nicks and Buckingham were more careful, retaining an independent business management firm to handle their affairs when they joined Fleetwood Mac. 'So even though we spent a lot of money, a lot of it was invested.' What was it invested in? 'I have no idea.' Fame, and the privilege and separation it brings, has a way of incapacitating people, insulating them not only from other people, but from the practicalities of life. When I ask Nicks for her zip code she admits she has no idea what it is. Or her house number, or her telephone number. Her driving licence ran out in 1978, and she has never renewed it. 'My life is very cloistered really,' she says. 'Because I don't go anywhere by myself, you know what I mean? I'm very, very famous, and I walk in somewhere and people are, like, "Oh, my God!" And I love it, and it's sweet and I sign autographs. But on the other side of that, my assistant and I get in the car and go to the mall; I'm certainly not going to give up shopping. But I would seldom get in a car all by myself.' When she and Buckingham were living together and struggling, before Fleetwood Mac, Nicks did everything: she kept house, worked as a waitress and a cleaner. 'I made the money that supported Lindsey and me, and I paid for the apartment and the car and everything. And I loved that.' A few years ago she went to see a psychologist - she was having a 'horrible' menopause, she says, and wanted to talk to an older woman about it - 'and she said to me that in a way the saddest day of your life was the day you joined Fleetwood Mac, because that was when you ceased to be caretaker and became somebody that everybody else took care of. And she was absolutely spot on. Because I'm very much… if my family's coming here for Christmas, I'm the one who's making the house ready and fixing the beds. I don't have people around to do that kind of stuff for me. 'The people that I have gone out with will tell you that I'm a great girlfriend. I want to make sure that you have the llama hot-water bottle, and the perfect cashmere blanket and the exact perfect pillow. I know about all that stuff.' Nicks recorded her first solo album, Bella Donna, in 1981, and has released eight albums in the years since. Her fortunes dipped radically in the mid-1990s, when she was struggling with her addiction to Klonopin, but her last studio album, Trouble in Shangri-La, released in 2001, went multi-platinum, giving her her greatest success in two decades. At the same time she continued to play a part in the ongoing soap opera that has been Fleetwood Mac. She formally left the band in 1993, but rejoined in 1997. The last album by the band, Say You Will, was recorded in 2003, but Nicks shows scant enthusiasm for the prospect of another reunion. Christine McVie retired from touring in 1998, and Nicks says she has no interest in working with the group unless McVie returns. 'I don't like it as the boys' club. We could make millions and millions of dollars touring again. But I just don't know if I want to go again without Chris.' This dedication to her career has not been without cost. Nicks 'pretty much sold my soul to the devil a long time ago', as she puts it, so that 'I could follow this dream fully and completely, and not be wrapped up in children and husbands and boyfriends and all of that. I chose not to have child-ren.' Her brief marriage in 1983, she says, 'doesn't count'. It was an odd episode. That year her best friend Robin died of leukaemia three days after giving birth to a son, Matthew. A grieving Nicks convinced the bereaved husband, Kim Anderson, that they should marry and raise the child together. 'Completely crazy.' She shrugs. 'We were all in such insane grief, just completely deranged. The families were just outraged at what we were doing; in a lot of people's eyes it was very blasphemous. But I didn't care. All I cared about was that little boy, Matthew.' The marriage lasted only a few weeks, before Nicks made the decision to bring it to an end. 'I said, "You have to take the baby and go back to Minnesota", where he was from, where he had family, "because, Kim, I'm a rock'n'roll star. It's what I do, it's who I am." ' She didn't see Matthew for the next eight years, but she is now putting him through college in Atlanta. There are the great loves of your life, she says, then there are the loves of your life, and then there are the companions of your life - 'there's all the different kind of love affairs that you have. But all the great loves of my life wouldn't have been any better at settling down than me.' And who has been the greatest love of her life? 'My great, great love was Joe Walsh.' Joe Walsh? Of the Eagles? I struggle to keep the note of surprise out of my voice. 'It's crazy, isn't it?' I am no expert on Nicks's romantic adventures, but I've done my research. Her affairs with Buckingham, Fleetwood, Don Henley, the record executive Jimmy Iovine - all are well chronicled. But nowhere have I found a single reference to Joe Walsh. '1983 to 1986,' Nicks says crisply. 'I don't know - why do you love somebody? Why do you love them so much that when they walk in the room your heart jumps out of your chest? I don't know. But I fell in love with Joe at first sight from across the room, in the bar at the Mansions Hotel in Dallas. I looked at him and I walked across the room and I sat on the bar stool next to him, and two seconds later I crawled into his lap, and that was it. 'We were probably the perfect, complete, crazy pair. He was the one that I would have married, and that I would probably have changed my life around for…' She pauses. 'A little bit. Not a lot. But he wouldn't have changed his life either.' The reason they broke up, she says, is that they were both 'really seriously drug addicts. We were a couple on the way to hell.' The relationship finally ended when Walsh got on a plane and went to Australia 'to get away from me, basically. He thought - or so I'm told by my friends that Joe told - that one of us was going to die, and the other person would not be able to save them. And I did think I was going to die, absolutely. It took me a long, long time to get over it - if I ever got over it. Because there was no other man in the world for me. And it's the same today, even though Joe is married and has two sons. He met somebody in rehab and got married. And I think he's happy.' Oddly enough, Nicks once said very much the same thing about Lindsey Buckingham, telling one journalist that Buckingham was 'my first love and my love for all time. But we can't ever be together. He has a lovely wife, Kristen, who I really like… I look at him now and just go, "Oh, Stevie, you made a mistake." ' Nicks shoots me a look when I mention this. 'Well, he was my great musical love, and that's very different. Lindsey and I both loved each other not just because we loved Lindsey and Stevie, but because we loved what Lindsey and Stevie did. And that is definitely what kept Lindsey and me together for as long as we did stay together. It's not that he's not a great love - he is a great love. And I write songs about him to this day. I don't know why. But whenever we're together we fight - to this day.' Nicks thinks on this. She doesn't want people to think that she thinks love doesn't exist, she says, or that she has given up on finding it for herself. 'It's not that. It's just that I am fine without it because it's like I'm involved in a love affair all of the time with my music and what I do. But if the right man walked into my life today and said, "Will you go out to dinner with me tonight?" and I felt that thing, I would absolutely do it. But I love what I do so much that I've never sat around and worried about it.' She has always tried to be a good person, she says. 'I've tried very hard to use my fame, and my money and my power to do good things.' Last year she established her own charity project, the Stevie Nicks Soldier's Angel Foundation, which aims to use music in the rehabilitation of US servicemen and women wounded in Iraq and Afghanistan. The idea for the foundation came to Nicks after a visit to the Walter Reed military hospital in Washington in 2005. ('I walked into Walter Reed today a single woman with no children,' she wrote on her website journal. 'I walked out a mother, a wife, a girlfriend, a sister, a daughter, a nurse, a patient's advocate - a changed woman. What I saw today will never leave my heart.') 'And believe me, talk about feeling old.' Nicks laughs. 'I go in and some of these kids don't even know who I am. So of course I tell them.' The foundation has provided hundreds of iPods to injured servicemen and women. 'In my estimation music is the best thing you can possibly give to them, because it's the only thing that's going to get them up out of the bed,' Nicks says. 'So I try to do good things - things that I can make happen that maybe the next person couldn't make happen. I don't think I'm a prima donna at all. I was the same person when I was a waitress and cleaning people's houses.' Her life has long followed a pattern. She rises sometime around midday, and goes to bed between three and 4am: 'My favourite time is midnight.' She writes songs and listens to music and goes on tour. 'If you asked me, "What's your idea of a good time?" I'd say a fantastic grand piano, overlooking the ocean if possible; or going to a studio and being able to record; to write a new song and listen back to something I wrote yesterday and really put it together.' She is working on a new project now, inspired by The Mabinogion Tetralogy, by the American author Evangeline Walton, and its connection to what is probably Nicks's most famous song, Rhiannon. The Tetralogy is an epic retelling of stories from the Welsh Mabinogi - a collection of myths and legends that are believed to date from the 12th century. Nicks had never heard of Walton or the Mabinogion when she wrote Rhiannon in 1973. 'I'd read another novel about two sisters, Branwen and Rhiannon. I wrote the song about Rhiannon, and bought an Afghan hound and named her Branwen. So it could have been the other way around, you know.' In 1978, after a fan had introduced her to the Tetralogy, she contacted Walton and visited her at her home in Tucson. 'She was living in this little tract home, and you went inside and it was all, like, gothic and curtains. And right on the mantelpiece was a big stone lion inscribed with the words "Song of Rhiannon". I thought, this is so wild - the world is small somehow, you know? If you look at the dates, it was kind of like Evangeline's work ended on Rhiannon, and mine began. It's almost like this has been laid out to me, by the gods - or whomever - that this will be the next 20 years of my life.' Three years ago Nicks and a couple of girlfriends spent three months in Hawaii brainstorming the Tetralogy with a view to translating it into a musical work. 'It could be a movie. It could be a record. It could be a couple of records. It could be a mini-series. It could be an animated cartoon. There is no end to what this could be, because the stories are fantastic. We started in that totally scholarly, you-are-a-student-of-Welsh-mythology place. And then I got a call from my manager saying, "I need you to come to Vegas right now because Celine Dion and Elton John are playing back to back at the Caesar's theatre, and they want you to do a week there. It's really good money and you don't have to travel very far." And I'm, like, "Howard, I am on a spiritual quest here; I really cannot come to Vegas." And he's, like, "Stevie, you have to, please, just come tomorrow." ' So what did she do? Stevie Nicks throws back her head and laughs. 'We went to Vegas.' Trouble In Shangri-La was predominantly recorded in and around Los Angeles (the album’s closing number, “Love Is,” was done in Vancouver). Stevie wrote nine of the 13 cuts, and co-wrote one other. No less than seven different producers are credited, with Sheryl Crow’s, John Shanks’ and Nicks’ names appearing most often. The short list of performers includes Crow, Lindsey Buckingham, Mike Campbell, Sarah McLachlan, Waddy Wachtel, Benmont Tench, Macy Gray, Natalie Mains of the Dixie Chicks, Patrick Warren, Rami Jaffee of The Wallflowers and Steve Ferrone. And yet, despite the relative disjointedness all that implies, Trouble In Shangri-La is a cohesive work that is both timeless and current. In short, it’s a robust reintroduction from an artist who, save for Fleetwood Mac’s 1997/’98 world tour and The Dance, has been noticeably absent since 1993’s Street Angel. It was the kind of clear, windy March day that follows an L.A. storm when Stevie called to discuss Trouble In Shangri-La. She’d been decorating her house near scenic Pacific Coast Highway, but for nearly an hour she put that task aside in favor of chitchatting about everything from Fleetwood Mac (they plan to record a new album next year) to her eight-year battle with drugs to her upcoming tour. Is this nail-biting time or is this calm time for you, waiting for the CD to actually come out? “When I gave it up, I gave it up. I handed the record in right before the end of the year and it was like, ‘This is it—I’m not gonna touch it now, it’s finished.’ A record is like a painting—you could certainly go on for a hundred years.” So how do you know when a record is done? “You just feel it. You just know that it’s done.” Some of these songs have been around for years, haven’t they? “The old ones are ‘Candlebright,’ ‘Sorcerer’ and ‘Planets Of The Universe.’ ‘Sorcerer’ was written in ’74, ‘Planets Of The Universe’ was written in the end of 1976 and ‘Candlebright’ in 1970. Those were in the Rumours group of songs—it’s not that they weren’t considered or that they weren’t really good, it was just that there was not room. That’s why I did a solo career. Bella Donna was simply the songs that could not fit on the first three Fleetwood Mac records.  “And these were really, really precious songs to me, too, so I waited for the right time.”  Were “Candlebright,” “Sorcerer” and “Planets” considered for every solo album since then? “Uh-huh. ‘Planets Of The Universe’ and ‘Sorcerer’ were bootlegged 25 years ago, so the fans are going to be very interested to hear these songs.” Are the versions on this album completely new since then? “Completely new and redone.” The opening guitar line in “Planets” is a nod to Lindsey’s guitar part from “Rhiannon.” Did you write it that way back in ’76? “Well, it’s the same chords basically as ‘Rhiannon’; it’s not exactly the same, but there are parts of it that are the same. ‘Planets Of The Universe’ was one of the ‘Rhiannon’ songs—I have 11 songs over all of these years that if I ever wanted to [I could] do a movie or something built around the story of ‘Rhiannon.’ Those songs are all continuations of each other—‘Planets,’ ‘Rhiannon’ and ‘Sorcerer.’ I have recorded all 11 of them, just sat and played them all in a row to see what my line was through the whole thing, and for a long time I didn’t want to separate them.”  Are we familiar with any of those other tracks or are they songs that haven’t been released yet? “There’s two or three on all the solo albums all the way back, but there’s probably seven left.” When did you start working on this CD? “The first song was written in the last month of 1994; the very end of that year I wrote ‘Love Is,’ which is the last song on the record—one year later I wrote ‘Trouble In Shangri-La,’ and that’s when I named the record. In my heart I believed that this record was gonna be important when I wrote ‘Love Is.’ At that point I set out to make my little dream come true; then the Fleetwood Mac thing happened and for two solid years I was pretty much stopped, but when I went out on the road with Fleetwood Mac I wrote a lot of the poetry that ended up in the Trouble In Shangri-La songs.”  And when did you actually enter the studio? “Sheryl and I recorded ‘Candlebright’ and ‘Sorcerer’ about two-and-a-half years ago. She really wanted to produce the record, and I wanted her to, but she had just released The Globe Sessions and it was like, ‘Are we crazy? You can’t produce my record right after you just released your own record.’ So I went into a little bit of shock, where I didn’t know exactly what to do, you know? I kind of worked around and I went back to writing at that point. I worked with a couple of other people, but it didn’t really work out. I came into the studio January a year ago and started. This record, except for ‘Sorcerer’ and ‘Candlebright,’ really was just about completely done between last January and December, so it didn’t really take near as long as everybody thinks. We weren’t working constantly, either. If we went back and checked through all of my journals and all of my assistant’s journals of what we did, I bet you this record took four months—except for the two songs that I did with Sheryl two years before...and they only took four days.” Those weren’t the only two songs you did with her, right? “We did the two songs for [the movie] Practical Magic a little before that, and that’s when we realized that we could work together.” And what about “Touched By An Angel,” which is on the new Sweet November soundtrack? “That was one of my very favorite songs and when they told me I had to cut down from 16 songs to 12 [for this CD] I was horrified. The only reason I let ‘Touched By An Angel’ go was because they said, ‘We have a great movie that it could go in and it’ll have its own little starring role.’ It’s about AIDS and about the angel that I believe is with us all that takes you through to the next side. And so it was a very precious song to me. And the other three that didn’t make the record I pulled back to redo next year with Fleetwood Mac.” Okay, let’s go there for a moment: you’ve said that you think Christine McVie has had enough, that she probably won’t ever tour again. Will she be on the Fleetwood Mac album? “Well, it’s a choice that we’ll have to make then because she will not ever tour again. If she participates fully on the record then what do we do if we have a big hit single and no Christine? So if we’re gonna do it we’ve got to go on without her—and she wants us to go on without her. We waited for three years for her to change her mind. Bless her little heart, she is fine and having a fabulous life in England. She doesn’t want to be a rock star anymore. she wants to be an artist. She was an artist before she joined Chicken Shack [the band she was in prior to joining Fleetwood Mac in 1970]. She paints and draws, and she’s an incredible chef. She wants to do other things. She’s been doing this since she was 16 years old. I didn’t join Fleetwood Mac until I was 28, so my life was very normal until I was 28; Christine was on the road at 17. She has every right to say no. She’s not gonna change her mind and I don’t want her to change her mind if she doesn’t want to.”  So then that begs the question in 2001, 2002, who’s Fleetwood Mac? “Fleetwood Mac is a power trio.” A power trio? Who? You, Mick and Lindsey or Mick, you and John? “Mick and John and me and Lindsey, but you know I don’t play.” Oh, okay; the Led Zeppelin/Who format. So are you gonna play Robert Plant or Roger Daltrey? “I’m gonna be Robert Plant. It’s very exciting and actually we just had a great meeting—Mick and Lindsey and I—and I gave Lindsey 17 more songs. It’ll happen.” Getting back to your new CD, one of the things I noticed that’s dramatically different from your earlier albums is that where those albums had a lot of keyboards and synthesizer sounds, this one is... “More guitars.” ...more guitars and percussion. Was that the plan early on or did it just kind of organically come out that way? “It just organically happened. My first bands were very heavy, two keyboard players that played really, really good and really full. This wasn’t an album that I did with all of my own people. Sheryl used her people, Pierre Marchand used his people, John Shanks used his people, Rick Nowels used his people.” “Silver Springs” finally became a hit 22 years after it got pulled from the Rumours album. How gratifying was it for you to finally have that song see the light of day? “First of all, when I first recorded it I gave it to my mother as a present. My mother would never take a penny from me, so I figured the only way I could actually give her some money would be to give her a song. ‘Silver Springs’ was her favorite song; she named her antique store The Silver Springs Emporium. Then they took it off the record, so it was very much of a dud gift.”  You gave her the royalties? “The whole thing. Writer’s [royalties] and publishing—everything. So then it was like, ‘Well, mom, guess what? It’s not going on the record and I’m really sorry.’ But she continued to own it. "And they are getting ready to release a 5.1 DVD mix of Rumours that is stunning. I went out to hear it and I started to cry three times. You can only hear so much out of two speakers. In the 5.1, stuff that the band did that you never heard is all there now. It’s outrageous.”  Is there video on the DVD as well? “There’s an interview, there’s stuff from the past and there’s pictures from the recording of Rumours. It’s a really nice interview from before, and it’s incredible. So my mom stands to totally rule one more time because they’ve put ‘Silver Springs’ onto Rumours as if it were always there.” You’ve done a lot of duets: Don Henley, Kenny Loggins, Bruce Hornsby, John Stewart, Tom Petty, and now Natalie Mains of the Dixie Chicks. What’s the appeal to duet? “Because I’m really a harmony singer. That’s why Lindsey and I came to this town as a package. I love to sing harmony. I love to sing with people. That’s why I have Lori [Nicks] and Sharon [Celani], who are not just background singers. When we sing, the three of us, it’s amazing, just like when Chris and Lindsey and I sing. Since I first started singing in the fourth grade, I can remember always going to a harmony. I very seldom ever sang melody. “That’s why it was very hard when Christine came into Lindsey’s and my thing, because we were so practiced and we were such a good duo. As soon as we had to sing with a third person, our duo singing became less and less and we became more trio singers. I loved singing with the three of us, but I also was very sad to see the Lindsey/Stevie thing start to go.” What have you heard about Lindsey’s next record? “He has a double-album and he’s in the midst of making a decision whether or not he wants to turn it around and make it into a Fleetwood Mac record. He’s got way too many songs for one record, so even if he puts a record out, he’s still gonna have another 15 songs left that aren’t chopped-liver songs. So we don’t really know exactly what he’s gonna do yet. “And you know Lindsey, he’s worse than me moving furniture—he changes stuff constantly. That artist thing, when you have to say, ‘I’m done,’ is hard for him. “So anyway, I really don’t know exactly what he’s gonna do, but he’s very much thinking about it right now. I mean, Tango In The Night was [going to be] a solo record and he decided to flip it to a Fleetwood Mac record. And we’re all behind him—we just want him to do whatever will make him happy. I’m gonna be gone for a year, so we really can’t start this until the end of this year. So even though I did give Lindsey 17 songs, who knows? What I basically feel, Jim, is that there’s a good feeling around everything, so I’m not worried about anything.” You’re gonna be gone for a year, covering, I would imagine, most of the world? “Yes, absolutely.” Are you geared up for that? “I’m geared up for it. I’ve been working out for two years and have a little of my strength back. I figure I’m not gonna wait for 10 years to do it because I’m not gonna want to do it in 10 years, you know? So it’s like if we’re gonna get out and really do this in a big way one more time, we need to do it.” You’ve said that you didn’t like Street Angel. I bet you’re feeling much better about this album, huh? “This album is so much different because right before Street Angel came out, I was in rehab for 47 days—so I was totally clear when the record went out. So I really saw how not good it was. “I tried to fix it in a couple of months’ time, but it was just not possible, and I was so depressed about it. When I left rehab and went back to Phoenix to write my songs, I knew this would be a whole new part of my life, so I can honestly give these [new] songs out to people, and say, ‘Not only do I think these are good songs, but I want you all to know that I’m okay now.’ Trouble In Shangri-La is saying a lot more than just, ‘Here’s some really nice songs for you to listen to.’ It’s saying, ‘My life was almost gone and what saved me is my music.’ That’s really what gave me the strength to say, ‘I don’t want to die, I want to be alive, I want to have fun, I want to write more songs, I want to tour, I want to do all of that.’” Was it that bad? “Yeah, it was that bad. And in another year I think I would have been dead because I would have OD’d on something really stupid, like a couple swigs of Nyquil or something. When you take Klonopin for eight years, it just takes away your good judgment, it takes away your soul. You don’t do anything well because you’re not really yourself. “I talk about it in every interview so that in case somebody says to one of my fans, ‘We think you should go on this—let’s do a trial Klonopin run,’ they’ll run out of the room screaming. So I really try to mention it to everybody I talk to because it almost killed me. It makes you feel lousy; it makes you feel so blah and so bored that you just don’t care about anything, so you try to medicate yourself to make yourself feel a little better. Maybe you’ll take a couple of Pamprins or some Nyquil, or maybe you’ll take a whole bunch of Excedrin PMs because you can’t sleep. I would have done something really stupid. One day I woke up and said, ‘I’m going to the hospital.’” I don’t bring up things like drug problems in interviews because I think it’s a private thing for people. Does it feel uncomfortable to you that we know all of these details about your drug problems? “No. I want you to know in case some day you go to a psychiatrist and they try to put you on this stuff. Or at least you and everybody that I ever talk about is able to say, ‘Let me research this first.’” Is that how you started? “I went to a psychiatrist and he said, basically, ‘You’ve just given up cocaine and I think you should take this because it will calm your nerves. You’ll be better.’” All it did was give you something else to be addicted to. “Oh my God. If I could go back to that day and just get up from that chair and walk out, my life would be so different now. Now you’re gonna say, ‘Maybe you wouldn’t have written Trouble In Shangri-La,’ and, ‘Maybe you had to go through all of that to get to this place,’ and if so, that is a drag. I would have just as soon taken the eight years and not had to go through that.”  You and Lindsey released Buckingham Nicks back in 1973. At the time, when it was still full of potential and everybody was excited about it, you must have had a dream of how it might be if that album took off and was successful. So here we are 28 years later—does the here and now match up in any way to what you thought it might be like in ’73? “I knew we were gonna be famous—I really believed that. I don’t think I ever thought it would be this huge because how could I relate to that? I didn’t know any rock stars, you know? So now as I sit here in my beautiful home that I thank God for every day, I think, ‘I knew I would be here.’ “We moved to L.A. in 1970; in 1973 we did Buckingham Nicks; in 1974 they dropped it. The last day of 1974 Mick called us, so we had that one bad year. Lindsey and I were both seriously not believing in us, wondering if we were going to be able to overcome this incredible town. That never entered our minds until they dropped that record. So then we were really strapped for money. That’s the only time I thought it wasn’t gonna work out. “I’m really happy now. I’m feeling very creative again and after not being creative for a long time, it’s so wonderful that I can just sit down at the typewriter right now if I wanted. I could go and write a song about this conversation. I’m looking at my beautiful view and I’m enjoying talking to you—I am happy and it did work out great.” The story behind “Landslide” as told by Stevie Nicks: It was written in 1973 at a point where Lindsey [Buckingham] and I had driven to Aspen for him to rehearse for two weeks with Don Everly. Lindsey was going to take Phil’s place. So they rehearsed and left, and I made a choice to stay in Aspen. I figured I’d stay there and one of my girlfriends was there. We stayed there for almost three months while Lindsey was on the road, and this is right after the Buckingham Nicks record had been dropped. And it was horrifying to Lindsey and I because we had a taste of the big time, we recorded in a big studio, we met famous people, we made what we consider to be a brilliant record and nobody liked it (laughs). I had been a waitress and a cleaning lady, and I didn’t mind any of this. I was perfectly delighted to work and support us so that Lindsey could produce and work and fix our songs and make our music. But I had gotten to a point where it was like, “I’m not happy. I am tired. But I don’t know if we can do any better than this. If nobody likes this, then what are we going to do?” So during that two months I made a decision to continue. “Landslide” was the decision. [Sings] “When you see my reflection in the snow-covered hills”—it’s the only time in my life that I’ve lived in the snow. But looking up at those Rocky Mountains and going, “Okay, we can do it. I’m sure we can do it.” In one of my journal entries, it says, “I took Lindsey and said, We’re going to the top!” And that’s what we did. Within a year, Mick Fleetwood called us, and we were in Fleetwood Mac making $800 a week apiece (laughs). Washing $100 bills through the laundry. It was hysterical. It was like we were rich overnight. Stevie Nicks was two shows away from wrapping up the 2018 leg of Fleetwood Mac‘s world tour when the news came in that she was inducted into the Rock and Roll Hall of Fame as a solo artist, making her the first woman in history to enter the institution twice. “It’s a lot to take in emotionally,” she told Rolling Stone the following evening. “I’m kind of really emotional now. If I have to cry, you just have to let me cry and then we’ll get back to this.” Nicks managed to avoid crying during our 20-minute conversation, but she did explain why this honor is so meaningful to her, why she’ll miss Tom Petty and Prince that night along with her parents, how she hopes this will inspire younger women in the industry, how the other members of Fleetwood Mac reacted, what she told the members of Haim after a recent show and how she hopes to finally meet Janet Jackson at the ceremony. Walk me through the moment of when you found out you were in. I obviously found out about the nomination [in October], but I never believe anything is going to happen until it actually happens. I believed that the nomination was happening because the nomination happened. But I didn’t give it that much thought because I was out on the road working extremely hard with an extremely hard schedule for a little old lady like myself. I was just like, “Okay.” But I’ve always been that way, ever since I was a little girl. When something big or fantastic happens, I never go there in my mind. I just go, “That’s really great.” And I really appreciate that. But I don’t really believe it ever. That’s because in my whole life I’m the type of person where I don’t want to get my feelings hurt, so I’m not going to believe it until it actually is. That’s in every type of part of my life, from family to friends to projects to whatever. I don’t know where that came from, but it started a long time ago, that way of accepting things. RELATED Radiohead's Thome Yorke, Janet Jackson, Stevie Nicks Radiohead, Janet Jackson, Stevie Nicks Lead Rock and Roll Hall of Fame 2019 Class Rock Hall of Fame: Def Leppard, Stevie Nicks, Radiohead, Rage Lead Nominees When I found out yesterday that it was for sure I was getting ready for the second big show at the Forum, so I was super tired and super wanting to walk onstage and for all of us to just be spectacular. And then I’m trying to process the Rock and Roll Hall of Fame, so it’s a lot for one brain to take in. I was just like, “That’s great. That’s amazing. I’ll be there.” But then when we went onstage… I never would have expected anybody in the band to have said anything about it. But I was standing right in front of Mick [Fleetwood] and all of a sudden he did say something about it, but I had one of my ear monitors out. I thought he said something about the Hall of Fame, but I wasn’t really quite sure. I turned around and looked at him and I could hear he was saying, “Congratulations. We’re really proud of you.” It was something like that. I couldn’t really tell what he said. And then I turned towards Christine [McVie] and she was like, “Congratulations sweetheart” or something and I’m just standing there and thinking that this was not anything that would have been mentioned onstage before. [She seems to mean before Lindsey Buckingham left the group, but she was unwilling to field questions about that situation.] I was a little bit verklempt and I didn’t know what to do. And then we were getting ready to go into the song that Neil [Finn] and I do [“Don’t Dream It’s Over”] and then during the “Landslide” dedication I said, “I wouldn’t have said anything about this, but because Mick and Christine said something about it, you’ve opened the doors.” Then I made a dedication to Jimmy Iovine for making this Gemini able to have two careers, which for somebody like me was so wonderful because I like bouncing from one thing to the other back to the other back to the other. I’m never bored, ever, and if I want to take a vacation, I told the audience, I don’t want to go to Hawaii for a year. I really just want to go to Hawaii for like two weeks and then come back and start on another project. That’s how I’ve always been. I would be bored stiff. The fact that I’ve been able to have these two careers my whole life… I joined Fleetwood Mac at the beginning of 1975. We started talking about the solo album at the end of 1979, so my solo work was just a little over four years behind Fleetwood Mac. It has made my life amazing because I’ve been able to have these two amazing careers and live in two completely different worlds. I did dedicate it to Jimmy Iovine, him and several others. But it was Jimmy that said, “I will produce your record and we’ll make you a Tom Petty record, expect it’ll be a girl Tom Petty record.” I found that very exciting and I was jumping off the walls. That’s how it all started. The people around me in my solo career were all very much like, “This is not going to mess with Fleetwood Mac. You’re going to be able to do both. It’s what you do. You’re a Gemini. You want two lives.” And then it just took off, both things. So I’m very grateful to all the spirits that it was made easy for me to do this and nobody was angry with me and saying, “You shouldn’t do this.” Everybody backed up the whole thing. That was really wonderful because it could have gone the other way, but it didn’t go the other way. How do you feel about being the first woman to enter the Hall of Fame twice? Well, that’s probably the biggest part of it. After the show last night I was talking to the Haim girls. I was saying to them, “Okay, now I’ve opened the door for you. Now each one of you need to go do a solo album really fast and get your solos going so in the next 20 years you’ll be able to do this too and maybe I’ve opened the doors to all the girls in my life that sing and write and play and are amazing.” My biggest hope is that I have opened the door due to the fact that there’s 22 men who have gone in twice and zero women. I think that’s really a little off balance. That’s what I’m hoping, that what’s happened here to me will give all the little rock and roll stars that are just waiting out there a little hope that they can also do what I do. Mind you, it took a long time. I’m 70 years old. It took a long time for this to happen, but maybe because of this it won’t take so long for all the other incredibly talented women that I know and that I respect and that I listen to and that I’m friends with. That’s really the nicest thing. I didn’t have children. I would have loved to have had a house full of daughters. I would have ended up having a house full of sons, which would have driven me crazy, so I probably made the right decision. But I sort of do have a house full of daughters since I have so many women singers around me that are in their twenties all the way up to not quite as old as me that are friends of mine. We discuss music and we talk about it and we’re friends. Every time I play a show they come. Every time we play the Forum we shut the Forum down with all the girls that have come to see me. We are sitting on the couches at 2:30 am when even the crew is almost gone. That’s because we have so much to talk about and so much to share, just about being women musicians and what we love and what we want to do. I still have so much I want to do and they have so much they want to do. It’s like we have a mutual admiration society that goes on after every one of these, especially the last shows, whether they are my shows or Fleetwood Mac shows. That’s what I’m mostly happy about. I don’t think that I have exactly accepted the actual ceremony and the whole thing that will happen in March or whenever it is because in my world that’s a long time. When it comes down to a month away from that and trying to figure out what I’m going to say and what I’m going to do, then it’s going to hit me in more of a weepy, emotional way because I’m already feeling really emotional today and as you can hear, I can hardly even talk. I am feeling really emotional that my mother and father aren’t here. My father would have said, “Well, I knew you’d do it.” And my mother would have said, “I told you when you were 15 and a half that you better be the boss of your own company since you don’t like being told what to do. You’re going to school. You might be a singer/songwriter and you may do great things, but you’re also going to be an educated singer/songwriter so that you can always be in the boy’s club and so you can never be treated like a second-class citizen by a bunch of guys.” That’s what she told me when I was 15 and a half. So I’m so sorry that my little mom isn’t going to be seated on the side of the stage going to everybody, “Well, I knew she’d do it.” My sadness is there are a few people that won’t be there. Had Prince not passed away, Prince would have come and played on a song with me because I get to do one or two or three songs. He would have come and played on his and my song for the first time in history since we never got to play [“Stand Back”] together on stage. If Tom Petty had lived, he could have come and played “Stop Draggin’ My Heart Around” with me. And that breaks my heart that those two people aren’t alive for this. But you know what? They are in my heart. They walk with me onstage every night. That’s the sadness that there are a few people that I would really loved to have shared this with, but life goes on and they are in my heart, so it’s okay. I have to let that part go. I am super excited. I am super grateful. I really didn’t expect this to happen, honestly. I just thought it never was going to happen. I’m really thrilled and I’m really grateful. It’s a pretty cool class with you, the Zombies, Roxy Music, the Cure, Radiohead and Def Leppard. Are you fan of these people? I’m a huge fan of Def Leppard. I know them and they always come to our shows. I know them pretty well and I really love their music, actually, and I have their music on my road tapes that I make and I listen to every night between 5:00 and 8:00 every night that I do a show. That’s my inspiration, a lot of my favorite groups. I’m a huge fan of Janet Jackson. She’s also all over all my tapes. I listen to Janet almost every single night. And the Zombies, from my past, I was a huge fan. I love the Zombies! And the Cure, I don’t know much about them because I really wasn’t a punk girl, not that I wouldn’t have liked to throw some punk into my life, I probably would have, but I can only do so much in one life. And then Radiohead. I have much respect for Radiohead and the beautiful voice of Thom Yorke. I think this is a great bunch of people. This is going to be a really fun night. Are you thinking much about who might induct you and what three songs you might play? I’m not really there yet. I have to really give that some thought. Tomorrow is our last show until the end of January and right now I’m in a hotel because I can’t get out of road mode while we’re still playing, so I’m five minutes from my house, but I’m going home tomorrow night after the show. And then the next day I’ll start thinking about all that. I can’t tell you, but I pretty much know who those people are going to be, but I don’t want to hex it before I make my final decision and talk to some people about it. I want to make the right decision and I want this to be really perfect. But this is a great group of people to be going in with. I’m thrilled about that. I don’t think I’ve ever met Janet Jackson even though I feel like I know her like she lives next door because I’ve been listening to her music since she was a baby. I’m super excited about that and I think she should be in, absolutely. She’s amazing. I’m happy this is a great bunch of people that get to walk through this little heavenly rainbow with me and I couldn’t be happier. I couldn’t be more honored to be going in twice. First of all, to be going in once was amazing. Everybody that I know over the last 50 years, people that aren’t in the Rock and Roll Hall of Fame are like, “Well, I don’t really care.” And as of 1998, when Fleetwood Mac went in, I always cared since I’m all about ceremony. I would say to myself, “Yeah, you don’t care because you’re not in it. But when you do go in it, you’ll totally care.” It’s that kind of thing. Nobody expects to ever go in it. But when you get that little invitation, you’re dancing around your house because there is nothing better than being inducted into the Rock and Roll Hall of Fame. Being inducted into it twice, for your own work out of the band, there really isn’t anything better than that, to be able to be in both clubs. It’s the “you’re in it because you’re in a band club” and the “you’re in it because of your solo work” club. I’m glad it happened now before I was like 78 or something. I would have had to walk in with my walker and my feathers and my sequins and my long, flowing grey hair. (Laughs) So I’m glad it happened now and not in another five or six years. What a visual! Stephanie Lynn Nicks (born May 26, 1948)[1] is an American singer and songwriter. Nicks is best known for her work as a songwriter and vocalist with Fleetwood Mac, and also for her chart-topping solo career. She is known for her distinctive voice, mystical stage persona, and poetic, symbolic lyrics.[2] Collectively, her work both as a member of Fleetwood Mac and as a solo artist has produced over 40 top-50 hits and sold over 140 million records, making her one of the best-selling music acts of all time with Fleetwood Mac. Nicks has been named one of the 100 Greatest Songwriters of All Time,[3] and as one of the world's top "100 Greatest Singers of All Time" by Rolling Stone.[4] As a member of Fleetwood Mac, she was inducted into the Rock and Roll Hall of Fame in 1998, and will be inducted as a solo artist in 2019; she will become the first woman to ever be inducted twice into the Hall of Fame.[5] She has garnered eight Grammy Award[6] nominations and two American Music Award nominations as a solo artist. She has won numerous awards with Fleetwood Mac, including a Grammy Award and five Grammy Award nominations. Nicks joined Fleetwood Mac in 1975 along with her then boyfriend, Lindsey Buckingham. Rumours, Fleetwood Mac's second album after the incorporation of Nicks and Buckingham, was the best-selling album of the year of its release and to date has sold over 40 million copies worldwide, making it the fifth biggest-selling studio album of all time. The album remained at number one on the American albums chart for 31 weeks and reached number one in various countries worldwide. The album won the Grammy Award for Album of the Year in 1978. It produced four U.S. top-10 singles, with Nicks's "Dreams" being the band's first and only U.S. number-one hit. In 1981, while remaining a member of Fleetwood Mac, Nicks began her solo career, releasing the album Bella Donna, which topped the Billboard album charts and has reached multiplatinum status.[7] She has released a total of eight solo studio albums to date, with her most recent, titled 24 Karat Gold: Songs from the Vault, released in October 2014. Contents 1 Life and career 1.1 1948–1971: Early life and career beginnings 1.2 1972–1974: Buckingham Nicks 1.3 1975–1978: Fleetwood Mac and Rumours 1.4 1978–1982: Tusk, Bella Donna, and Mirage 1.5 1983–1986: The Wild Heart and Rock a Little 1.6 1987–1990: Tango in the Night, The Other Side of the Mirror, and Behind the Mask 1.7 1991–1996: Timespace and Street Angel 1.8 1997–1998: The Dance 1.9 1998–2001: Enchanted and Trouble in Shangri-La 1.10 2002–2006: Say You Will, Two Voices Tour, and Gold Dust Tour 1.11 2007–2009: Crystal Visions, Soundstage Sessions, and Unleashed Tour 1.12 2010–2013: In Your Dreams and Extended Play Tour 1.13 2014–present: 24 Karat Gold: Songs from the Vault and On with the Show 2 Artistry 2.1 Philanthropy 2.2 Style 3 Legacy and influence 4 Personal life 5 Discography 5.1 Studio albums 5.2 with Buckingham Nicks 5.3 with Fleetwood Mac 6 Filmography 7 Tours 8 Awards and nominations 9 See also 10 References 11 External links Life and career 1948–1971: Early life and career beginnings Stephanie "Stevie" Nicks was born at Good Samaritan Hospital in Phoenix, Arizona, to Jess Nicks (July 2, 1925 – August 10, 2005), former president of Greyhound's Armour-Dial,[8] and Barbara Nicks (November 12, 1927 – December 29, 2011), a homemaker. Nicks is of German, English, and Irish ancestry.[9][10] Nicks's grandfather, Aaron Jess "A.J." Nicks, Sr. (May 18, 1892 – August 1, 1974), a struggling country music singer, taught Nicks to sing duets with him by the time she was four years old. Nicks's mother was so protective that she kept her at home "more than most people" and during that time fostered in her daughter a love of fairy tales. The infant Stephanie could pronounce her own name only as "tee-dee", which led to her nickname of "Stevie".[11] Her father's frequent relocation as a food business executive had the family living in Phoenix, Albuquerque, El Paso, Salt Lake City, Los Angeles, and San Francisco during Nicks's youth. With the Goya guitar that she received for her 16th birthday, Nicks wrote her first song, "I've Loved and I've Lost, and I'm Sad But Not Blue". She spent her adolescence playing records constantly, and lived in her "own little musical world".[9][10][12] While attending Arcadia High School in Arcadia, California,[13] she joined her first band, the Changing Times, a folk rock group focused on vocal harmonies.[14] Nicks met her future musical and romantic partner, Lindsey Buckingham, during her senior year at Menlo-Atherton High School.[15] When she saw Buckingham playing "California Dreamin'" at Young Life club, she joined him in harmony.[16] She recalled, "I thought he was a darling."[17] Buckingham was in a psychedelic rock band, Fritz, but two of its musicians were leaving for college. He asked Nicks in mid-1967 to replace the lead singer, guitarist Jody Moreing. For the next three years, Fritz was composed of Nicks on lead vocals, Buckingham on bass and vocals, Brian Kane on lead guitar, Javier Pacheco on keyboards, and Bob Aguirre on drums. Pacheco was the main songwriter, with a psychedelic bent, but Nicks's compositions brought a country rock flair. Fritz became popular as a live act when it opened for Jimi Hendrix and Janis Joplin from 1968 until 1970. Nicks credits the acts as having inspired her stage intensity and performance.[18] Both Nicks and Buckingham attended San Jose State University, where Nicks majored in speech communication[19] and planned to become an English teacher.[20] Nicks dropped out of college the semester before graduation.[20] 1972–1974: Buckingham Nicks After Fritz disbanded in 1972, Nicks and Buckingham continued to write as a duo, recording demo tapes at night in Daly City on a one-inch, four-track Ampex tape machine Buckingham kept at the coffee-roasting plant belonging to his father, Morris.[21][22] They secured a deal with Polydor Records, and released the album Buckingham Nicks in 1973. The album was not a commercial success, despite the live shows that Nicks and Buckingham performed together to support it, and Polydor dropped the pair. To support herself and Buckingham, who wrote music while recovering from mononucleosis, Nicks worked a variety of jobs, including waiting and a stint cleaning producer Keith Olsen's house, where Nicks and Buckingham lived for a time before moving in with Richard Dashut.[23] Nicks says that she first used cocaine during this time.[24] "We were told that it was recreational and that it was not dangerous," Nicks told Chris Isaak in 2009.[25] Nicks and Buckingham moved in with Dashut in 1972. While there, Buckingham landed a guitar-playing gig with the Everly Brothers and toured with them while Nicks stayed behind working on songs. During this time, Nicks wrote "Rhiannon" after seeing the name in the novel Triad by Mary Leader. She also wrote "Landslide", inspired by the scenery of Aspen and her inner turmoil over her decision to pursue music and her relationship with Buckingham.[26][27] 1975–1978: Fleetwood Mac and Rumours In late 1974, Keith Olsen played the Buckingham Nicks track "Frozen Love" for drummer Mick Fleetwood, who had come to Sound City in California in search of a studio to record Fleetwood Mac's next album. Fleetwood remembered Buckingham's guitar work when guitarist Bob Welch departed to pursue a solo career. On December 31, 1974, Fleetwood called Buckingham to ask him to replace Welch, but Buckingham insisted that Nicks and he were "a package deal". A few days later, Nicks and Buckingham discussed the offer over dinner with Fleetwood and the McVies. The group decided that incorporating the pair would improve Fleetwood Mac, making the British band into an Anglo-American one. The first rehearsals confirmed this feeling, with the harmonies of the newcomers adding a pop accessibility to the hard rock. Buckingham Nicks was called to perform three sold-out dates in Birmingham, Alabama – the one area in which their album had seen success. During these final performances as Buckingham Nicks, the duo told their fans that they had joined Fleetwood Mac.[28] Nicks in 1977 In 1975, Fleetwood Mac achieved worldwide success with the album Fleetwood Mac. Nicks's "Rhiannon", which appeared on the album, was eventually voted one of The 500 Greatest Songs of All Time by Rolling Stone.[29] Her live performances of the song throughout the decade began to take on a theatrical intensity not present on the album's single. The song built to a climax in which Nicks's vocals were so impassioned that Mick Fleetwood declared, "her 'Rhiannon' in those days was like an exorcism."[30] Also included on the album was "Landslide", which achieved over three million airplays and spawned multiple cover versions.[31] Also in 1975, Nicks worked with clothing designer Margi Kent to develop Nicks's unique onstage look, with costumes that featured flowing skirts, shawls, and platform boots.[32] Following the success of Fleetwood Mac, increasing tension between Nicks and Buckingham began to take its toll on their creativity, and Nicks ended the relationship.[33][34] Fleetwood Mac began recording their follow-up album, Rumours, in early 1976 and continued until late in the year. Also, Nicks and Buckingham sang back-up on Warren Zevon's self-titled second album.[35][36] Among Nicks's contributions to Rumours was "Dreams", which became the band's only Billboard Hot 100 number-one hit single. Nicks had also written and recorded the song "Silver Springs", but it was not included on the album because the early versions of the song ran too long, the album was getting to be longer than the producer's target of 22 minutes per side, and the band was also concerned that the album had too many slow songs. Instead, the shorter and faster Nicks-penned tune "I Don't Want to Know" was recorded. Studio engineer and co-producer Ken Caillat said that Nicks was very unhappy to find that the band had decided against her song "Silver Springs", which he said was beautifully crafted, and carried some of the band's best guitar work.[37] Despite being devastated by the bad news,[38] Nicks quickly laid down her vocal tracks for "I Don't Want to Know".[37] Nicks's song "Silver Springs" was written about her relationship with Buckingham, and it was released as a B-side of the "Go Your Own Way" single—Buckingham's song about Nicks. Copies of the single eventually became collectors' items among fans of Fleetwood Mac. "Silver Springs" was included on the four-disc Fleetwood Mac retrospective 25 Years – The Chain in 1992.[39] In November 1977, after a New Zealand concert for the Rumours tour, Nicks and Fleetwood, who was married to Jenny Boyd, secretly began an affair.[40][41] The pair mutually decided to end the affair. "Never in a million years could you have told me that would happen," Nicks has stated. "Everybody was angry, because Mick was married to a wonderful girl and had two wonderful children. I was horrified. I loved these people. I loved his family. So it couldn't possibly work out. And it didn't. I just couldn't."[42] She has also stated that had the affair progressed, it "would have been the end of Fleetwood Mac".[43] Soon after, in October 1978, Mick Fleetwood left his wife for Nicks's best friend Sara Recor.[44] 1978–1982: Tusk, Bella Donna, and Mirage Nicks performing in 1980 After the success of the Rumours album and tour in 1977 to 1978, Fleetwood Mac began recording their third album with Buckingham and Nicks, Tusk, in the spring of 1978. That year, Nicks sang back-up on virtually every track of Not Shy, recorded by musician Walter Egan, a friend of both Nicks and Buckingham. One track, "Magnet and Steel", inspired by Nicks, prominently featured her on back-up vocals and became a hit single on the Billboard Hot 100 chart during the summer of 1978.[45] Lindsey Buckingham also produced the album, and played guitar and provided backing vocals on some of the tracks.[46][47] By 1978, Nicks had amassed a large backlog of songs dating back to her Buckingham Nicks days that she had been unable to record and release with Fleetwood Mac because of the constraint of having to accommodate three songwriters on each album.[48] Nicks wrote and recorded demos for a solo project during Tusk sessions in 1979 and the Tusk world tour of 1979–80.[9] Nicks, Danny Goldberg, and Paul Fishkin founded Modern Records to record and release Nicks's material.[49] Nicks recorded the hit duets "Whenever I Call You Friend" with Kenny Loggins in 1978,[50] and "Gold" with John Stewart in 1979.[51] Fleetwood Mac's Tusk was released on October 19, 1979. During 1981, Nicks made occasional guest appearances with Tom Petty and the Heartbreakers on their Hard Promises tour.[52][53] Nicks's first solo album, Bella Donna, was released on July 27, 1981, to critical and commercial acclaim, reaching number one on the Billboard 200 chart, with four singles making the Billboard Hot 100, and Rolling Stone deeming her "the Reigning Queen of Rock and Roll".[54] The day that Bella Donna reached number one on the Billboard 200, Nicks found out that her best friend Robin Anderson was diagnosed with leukemia in 1981. Robin was told she only had three months to live, and also was told she was going to give birth. Robin gave birth to a son, appointing Nicks as the child's godmother. "I never got to enjoy Bella Donna at all because my friend was dying. Something went out that day; something left."[55] Following Robin's death in 1982, Nicks married Robin's widower, Kim Anderson, believing that her friend would want her to care for the baby. "We were all in such insane grief, just completely deranged," she told the Telegraph in 2007. The couple divorced three months after the marriage.[56][57] Bella Donna introduced Nicks's back-up singers, Sharon Celani and Lori Perry, who have contributed vocals to all of Nicks's solo albums since then.[58] In November 1981, Nicks embarked on the White Winged Dove tour, which she had to cut short to record the Mirage album with Fleetwood Mac.[59] Nicks toured with Fleetwood Mac for the Mirage tour in late 1982.[60] 1983–1986: The Wild Heart and Rock a Little Nicks released her second solo album, The Wild Heart, on June 10, 1983. The album went double platinum, reached number five on the Billboard 200 albums chart, and featured three hit singles. It also introduced songwriter and performer Sandy Stewart as co-writer and vocalist. Nicks performed at the second US Festival at Glen Helen Regional Park in San Bernardino, California, and later toured the US from June 1983 to November 1983. Nicks appeared on Saturday Night Live in December 1983, performing "Stand Back" and "Nightbird". Following the tour for The Wild Heart, Nicks commenced work on her third solo album. Originally titled Mirror Mirror, Nicks recorded songs for the album during 1984. However, Nicks was unhappy with the album, and opted to record a new batch of songs in 1985.[61] Rock A Little, as it was retitled, was released November 18, 1985, to commercial success, supported by three successful singles. Nicks toured for Rock A Little in 1986. The tour ended on October 10, 1986. Nicks also performed with Bob Dylan and Tom Petty and the Heartbreakers during their tour in Australia. The tour marked a turning point in Nicks's life. The January before the tour was to begin, a plastic surgeon warned her of severe health problems if she did not stop using cocaine.[62] "I said, 'What do you think about my nose?'," she recalled on The Chris Isaak Hour in 2009. "And he said, 'Well, I think the next time you do a hit of cocaine, you could drop dead. As Stevie said “I used to carry a gram of cocaine in my boot at all times,” as said in a 2013 interview.'" At the end of the Australian tour, Nicks checked herself into the Betty Ford Center for 30 days to overcome her cocaine addiction.[63][64] Recalling the strong influence of Janis Joplin and Jimi Hendrix on her music and life, she told a UK interviewer, "I saw how they went down, and a part of me wanted to go down with them ... but then another part of me thought, I would be very sad if some 25-year-old lady rock and roll singer ten years from now said, 'I wish Stevie Nicks would have thought about it a little more.' That's kind of what stopped me and made me really look at the world through clear eyes."[65] Later that year, on the advice of friends concerned that she might relapse, she visited a psychiatrist who prescribed the sedative Klonopin to help her remain free from cocaine.[66] 1987–1990: Tango in the Night, The Other Side of the Mirror, and Behind the Mask In late 1985, Fleetwood Mac began work on Tango in the Night, but due to her promotional schedule for the Rock A Little album and subsequent tour, Nicks was mostly unavailable to work on the album with the band except for a few weeks following her stay at the Betty Ford Center in 1986 (which was the inspiration for the song "Welcome To The Room...Sara"). She sent the band demos of her songs to work on in her absence. The album was released in April 1987 and became the band's second-highest selling album ever, behind Rumours. Creative differences and unresolved personal issues within the band led Buckingham to quit the group right before their world tour. According to bassist John McVie, a "physically ugly" confrontation between Nicks and Buckingham ensued when Nicks angrily challenged Buckingham's decision to leave the band.[67] The band embarked on the Shake The Cage tour in September 1987, with Buckingham replaced by Rick Vito and Billy Burnette. The tour was suspended during Nicks's bout with chronic fatigue syndrome and developing addiction to Clonazepam, though it resumed in 1988. Tango in the Night met with commercial success and was followed in 1988 by Fleetwood Mac's Greatest Hits album in November 1988.[68] Also in 1988, Nicks began work on a fourth solo album with English record producer Rupert Hine. The Other Side of the Mirror was released on May 11, 1989, to commercial success. Nicks became romantically involved with Hine.[69] Nicks toured the US and Europe from August to November 1989, the only time she has toured Europe as a solo act. She has famously been quoted since as stating that she has "no memory of this tour" due to her increasing dependency on Clonazepam,[70] prescribed in ever increasing amounts by a psychiatrist between 1987 and 1994, in an attempt to keep Nicks from regressing to her former abuse of cocaine.[71][72] In 1989, Nicks set to work with Fleetwood Mac on a new album, Behind the Mask, which was released in 1990 to moderate commercial success in the US. In the UK, however, the album entered the chart at number one and was certified platinum. The band went on a world tour to promote the album, on the last night of which Buckingham and Nicks reunited on stage to perform "Landslide".[73] After the tour concluded, Nicks left the group over a dispute with Mick Fleetwood, who would not allow her to release the 1977 track "Silver Springs" on her album Timespace: The Best of Stevie Nicks, because of his plans to save it for release on a forthcoming Fleetwood Mac box set.[74] Fleetwood knew that the song would be valuable as a selling point for the box set, since over the years, it had gained interest among the band's fans.[39] 1991–1996: Timespace and Street Angel On the 10th anniversary of her solo career debut, Nicks released Timespace: The Best of Stevie Nicks on September 3, 1991.[75] The following year, Fleetwood Mac also released a four-disc box set, 25 Years – The Chain, which included "Silver Springs".[76] During the 1992 US presidential campaign, Bill Clinton used the Fleetwood Mac hit "Don't Stop" as his campaign theme song, and Nicks rejoined the classic Rumours line-up of the band (including Buckingham) to perform the song at Clinton's 1993 inaugural gala. No plans for an official reunion were made at that time. Nicks was criticized for her weight gain.[77] Nicks, who is 5 feet 1 inch (1.55 m), had gained weight, peaking at 175 lbs (79.4 kg). "Klonopin was worse than the cocaine," she has said. "I lost those 8 years of my life. I didn't write, and I had gained so much weight."[63] In late 1993, while Nicks held a baby shower at her house, she tripped over a box, passed out, and cut her forehead near a fireplace. "I'm one of those people who doesn't injure themselves. I was horrified to see that blood. I hadn't had enough wine. I knew it was the Klonopin," she said, realizing that she needed help, and endured a painful 47-day detox in a hospital.[78] Following her successful detox, Nicks released her fifth solo album, Street Angel, recorded during 1992 and 1993 using material written mostly in previous years. Released on May 23, 1994, Street Angel was poorly received, reaching number 45 on the Billboard Top 200. Nicks has since expressed major disappointment with the album, claiming that a lot of its production work took place during her second stint in rehab, meaning she had little or no say over the final product.[79] Despite a three-month tour in support of the album, Nicks was crushed by the focus on her weight and the poor reception of the album. Disgusted by the criticism she received during the tour for being overweight, she vowed to never set foot on a stage again unless she slimmed down.[80] In 1996, Nicks reunited with Lindsey Buckingham and contributed the duet "Twisted" to the Twister movie soundtrack, while in 1996, the Sheryl Crow-penned "Somebody Stand by Me" featured on the Boys on the Side soundtrack, and Nicks also remade Tom Petty's "Free Fallin'" for Fox's TV hit Party of Five.[81][82] 1997–1998: The Dance In 1996, Lindsey Buckingham, working on a planned solo album, enlisted the help of Mick Fleetwood and John McVie, which eventually led to a reunion of the entire band.[83] A newly invigorated and slimmed-down Nicks joined Fleetwood Mac for The Dance, a highly successful 1997 tour that coincided with the 20th anniversary of the release of Rumours.[84] Prior to the tour, Nicks started work with a voice coach, to lend her voice more control and protect it from the stress of lengthy touring schedules.[85][86] She also went on a diet and started jogging to lose weight.[87] The live CD release, The Dance, was released to commercial and critical acclaim, earning the group several Grammy nominations, including their live performance of Nicks's "Silver Springs".[88] In 1998, she joined the group for its induction into the Rock and Roll Hall of Fame.[89] That same year, Fleetwood Mac was awarded the Outstanding Contribution at the BRIT Awards.[90] She put work on a new solo album on hold when she was approached by Warner Music to release a solo career-spanning box set, to finish her contract with Atlantic Records in the US. After the culmination of the Fleetwood Mac reunion tour, Nicks settled down in Los Angeles and Phoenix with close friends and colleagues to devise a track list for this three-disc collection.[91][92] 1998–2001: Enchanted and Trouble in Shangri-La The box set Enchanted was released to acclaim on April 28, 1998, with liner notes from Nicks, as well as exclusive rare photographs, and pages from her journals. Nicks supported the box set with a successful US tour. In 1998, Nicks contributed to the Practical Magic soundtrack and performed in Don Henley's benefit concert for the Walden Woods Project.[93][94] Nicks had begun writing actively for Trouble in Shangri-La in 1994 and 1995 as she came out of her Klonopin dependency.[95][96] According to her, friend and former musical partner Tom Petty was responsible for convincing her to write music again when he rebuffed her request that he write a song with her.[97] She resumed recording songs for the Trouble in Shangri-La album with Sheryl Crow, who produced and performed on several tracks. When a scheduling conflict forced Crow to drop out of the project, Nicks first approached R&B producer Dallas Austin, but these sessions have never surfaced.[98] Nicks finally called on John Shanks to produce the remainder of the album, with additional contributions from David Kahne, Rick Nowels, Pierre Marchand, and Jeff Trott. Artists Natalie Maines, Sarah McLachlan, and Macy Gray contributed to some of the tracks.[99] Released May 1, 2001, Trouble in Shangri-La restored Nicks's solo career to critical and commercial success. "Planets of the Universe" was nominated for a Grammy Award for Best Female Rock Vocal Performance,[100] and Nicks was named VH1's "Artist of the Month" for May 2001.[101] Nicks was named one of People magazine's 50 Most Beautiful People,[87] was featured in a well-received Behind the Music episode,[102] and performed an episode of the VH1 Storytellers Concert Program. Nicks made several television appearances in support of the album and performed at the 2001 Radio Music Awards. Nicks supported the album with a successful tour, although some shows were canceled or postponed because of her bout with acute bronchitis.[103] Shows were also canceled because of the September 11 attacks in the U.S.[104] 2002–2006: Say You Will, Two Voices Tour, and Gold Dust Tour Nicks during Fleetwood Mac's 2003 tour In 2001, Fleetwood Mac began work on a new studio album, though this time without Christine McVie, leaving Nicks as the sole woman in the band for the first time. After the end of her solo tour, Nicks convened with the other members of the band for recording during 2002.[citation needed] Say You Will was released in April 2003 and met with commercial success but mixed reviews.[105][106] Nicks joined the group to support the album with a world tour lasting until September 2004. She has subsequently stated in several interviews that she was not happy with the album or the successful world tour that followed, citing production disputes with Buckingham as a core factor, as well as the absence of fellow female band member Christine McVie.[107] A documentary of the making of the album, Destiny Rules, was released on DVD in 2004 and chronicles the sometimes-turbulent relationships between band members, especially Buckingham and Nicks, during that time in the studio.[108] After a few months' respite from the Say You Will tour, Nicks did a four-night stint in May 2005 at Caesars Palace in Las Vegas, and then did 10 shows with Don Henley dubbed the Two Voices tour. During the summer of 2005, Nicks continued doing solo shows (Gold Dust tour) with pop singer Vanessa Carlton as the opening act, playing over 20 dates nationwide.[109] 2007–2009: Crystal Visions, Soundstage Sessions, and Unleashed Tour Nicks in June 2008 On March 27, 2007, Reprise Records released Crystal Visions – The Very Best of Stevie Nicks in the US. The album debuted at number 21 on the Billboard 200 albums chart.[110] The album has sold over 505,000 copies in the U.S. The compilation includes her hit singles, a dance remix, and one new track, a live version of Led Zeppelin's "Rock and Roll". Two versions of this album were made, one with just the audio CD and a deluxe version which includes a DVD featuring all of Nicks's music videos with audio commentary from Nicks herself, as well as rare footage from the Bella Donna recording sessions. A tour with Chris Isaak, opening in Concord, California on May 17, 2007, supported the release.[111][112] Reprise Records initially released two radio-only promos, the live version of "Landslide" with the Melbourne Symphony Orchestra and "Rock and Roll". Both tracks failed to garner much airplay and made no impact on the charts. Reprise Records released "Stand Back" (issued with club mixes) on May 29, 2007. "Stand Back", which peaked at number five on the pop singles chart in 1983, reached number two on the Billboard Club chart. Nicks previously reached number one on this chart, with "Planets of the Universe" (from Trouble in Shangri-La) in 2001. The remix single of "Stand Back" debuted on the Billboard Hot Singles Sales chart on September 15, 2007, at number 10, peaking at number four the following week. It also debuted on the Billboard Hot Dance Singles Sales chart at number three, later peaking at number one . On March 31, 2009, Nicks released the album, The Soundstage Sessions, via Reprise Records. The album debuted at number 47 on the Billboard 200 albums chart. The first single from the album, "Crash into Me", was released as a digital download, along with "Landslide" (orchestra version) as a B-side, on March 17, 2009. In late 2008, Fleetwood Mac announced that the band would tour in 2009, beginning in March. As per the 2003–04 tour, Christine McVie would not be featured in the line-up. The tour was branded as a 'greatest hits' show titled "Unleashed", although they played album tracks such as "Storms" and "I Know I'm Not Wrong". 2010–2013: In Your Dreams and Extended Play Tour Nicks performing with Dave Stewart in November 2011 After completing the Unleashed tour with Fleetwood Mac, Nicks began work on her first solo album in a decade with David A. Stewart, a musician and record producer best known for being one half of the duo Eurythmics. Nicks performed in a series of shows in August 2010 ("it's not really a tour", she said). They did not contain any of her new music, because she did not want it to end up on YouTube. The Santa Barbara show benefited a young girl she had met through the Make-a-Wish Foundation in Los Angeles with rhabdomyosarcoma, a rare cancer.[113] On January 13, 2011, Reprise announced Nicks's upcoming album In Your Dreams would be released on May 3, and the lead single, "Secret Love", would be released on February 8. Reprise provided a free download of the single to fans who ordered the album via certain websites. Nicks originally wrote "Secret Love" in 1976 and recorded a demo of it for Fleetwood Mac's 1977 album, Rumours. It did not make the final cut for the album. The demo version had been circulating among fans for many years prior to its inclusion on In Your Dreams. Nicks promoted the song with a video directed by Dave Stewart. Nicks's goddaughter Kelly appears in the video wearing a vintage dress that Nicks wore on stage in 1976. According to Nicks, Kelly portrays the young Stevie Nicks blending with the soul of Nicks's 62-year-old self.[114] On the US Billboard charts, "Secret Love" was a modest hit on the Adult Contemporary Singles chart, peaking at number 20, and at number 25 on the Triple-A Singles chart. Another song on the album, "For What It's Worth", features Nicks's niece in the video. The song reached number 25 on the Billboard Adult Contemporary chart in September 2011.[115] A documentary film was made for the album, directed by Stewart. The documentary was critically acclaimed, and Nicks appeared at many film festivals to support the documentary.[116] Nicks promoted the album with appearances on various television shows, including The Tonight Show with Jay Leno,[117] The X Factor,[118] The Talk,[119] Good Morning America,[120] The Ellen DeGeneres Show,[121] The Oprah Winfrey Show.[122] and Dancing with the Stars.[123] In Your Dreams was well received by music critics. Rolling Stone commented "It's not just her first album in 10 years, it's her finest collection of songs since the Eighties". The album debuted at number six on the Billboard 200, giving Nicks her fifth top-10 album on that chart,[124] with 52,000 copies sold in the first week. Elsewhere, the album has made numerous top-50 debuts, including number 24 on the Australian ARIA chart,[125] number 22 in Canada, and number 14 in the UK.[citation needed] The same day that Nicks's new album was released, Fox Network broadcast the Glee episode (Season 2, Episode 19) "Rumours" that featured six songs from Fleetwood Mac's 1977 album, including Nicks's song "Dreams" (the band's only number-one song on the US charts).[126] The show sparked renewed interest in the band and its most commercially successful album, and Rumours re-entered the Billboard 200 chart at number 11, the same week that In Your Dreams debuted at number six. (Nicks was quoted by Billboard saying that her new album was "my own little Rumours."[127]).[128] Nicks contributed a cover of Buddy Holly's "Not Fade Away" for the tribute album Listen to Me: Buddy Holly, which was released in September 2011.[129][130] On March 29, 2012, Nicks made a guest appearance as herself on the NBC sitcom Up All Night. The show featured an excerpt of the 1981 track "Sleeping Angel", as well as new duets with both Maya Rudolph and Christina Applegate of "Whenever I Call You Friend" and "Edge of Seventeen". Rudolph and Applegate have said they are fans of the singer.[131][citation needed] On December 14, 2012, it was announced that Nicks would be featured on an original track done in collaboration with Dave Grohl for his Sound City soundtrack, alongside other artists.[132] In 2013, Fleetwood Mac toured again as a four-piece band throughout North America and Europe. On April 30, the band released their first new studio material since 2003's Say You Will via digital download on iTunes with the four-track EP, "Extended Play" containing three new songs and one new song from the Buckingham Nicks sessions ("Without You").[133] On December 3, 2013, Nicks released the In your Dreams documentary film on DVD. The DVD debuted at number seven on the Billboard Top Music Video sales chart and number 29 on the UK Music Video Top 40 chart.[134][citation needed] 2014–present: 24 Karat Gold: Songs from the Vault and On with the Show Nicks performing with her band at the Frank Erwin Center on her 24 Karat Gold Tour in March 2017. In 2014, Nicks appeared on the third season of television series American Horror Story titled "Coven".[135] She played a fictional version of herself, portraying a "white witch" with supernatural powers in two episodes. On the show, she performed the songs "Rhiannon", "Has Anyone Ever Written Anything For You?", and "Seven Wonders". "I said, 'That's perfect,'" she told Us[136] in response to the show's music request. "Because that's exactly how I like to affect people. I want people to put my songs on because they are unhappy and need a boost to dance around their apartment a little and feel good. That's why I write. 'Of course you can use my music. Take it!'"[136] In May 2014, Nicks was honored with a BMI Icon Award.[137] In July 2014, it was announced that Nicks would join The Voice as the adviser for Adam Levine's team.[138] In September 2014, Nicks released her eighth studio album, 24 Karat Gold: Songs from the Vault which reached number seven on the Billboard 200. She also began a North American tour with Fleetwood Mac, now reunited with Christine McVie, the On with the Show tour.[139] The tour began in September 2014 and concluded in November 2015. In May 2015, Nicks reissued Crystal Visions – The Very Best of Stevie Nicks on "crystal clear" transparent double vinyl. The vinyl came with a vinyl messenger bag and a limited-edition lithograph.[140] Throughout 2016 and 2017, Nicks toured with The Pretenders on the 24 Karat Gold Tour.[141] On April 26, 2017, Pitchfork revealed that Nicks would be featured on a track from American singer Lana Del Rey's fifth studio album, Lust for Life, which was released on July 21, 2017.[142] The song is titled "Beautiful People Beautiful Problems".[143] On July 9, 2017, Nicks performed at the British Summer Time festival in Hyde Park in London, supporting Tom Petty and the Heartbreakers. She later performed "Stop Draggin' My Heart Around" with Petty as part of the Heartbreakers' set,[144] in what would turn out to be their final performance of the song together before Tom Petty's death in October 2017. Artistry Nicks performing in 1977 Standing at 5 feet 1 inch (1.55 m), Nicks has stated she felt "a little ridiculous" standing next to Mick Fleetwood, who is 6 feet 6 inches (1.98 m).[145] For this reason, she developed a penchant for 6-inch (15 cm) platform boots. "Even when platforms went completely out of style, I kept wearing them because I didn't want to go back to being 5 feet 3 inches (1.60 m) in heels", she told Allure in 1995.[146] Over the years, Nicks has developed a style which she calls her "uniform". Her “uniform” is known as a witchy kind of look that goes with her songs and performances.[147] Nicks has said that her vocal style and performance antics evolved from female singers like Grace Slick and Janis Joplin. She admitted inspiration when she saw Joplin perform live (and opened for with her first band Fritz) shortly before Joplin's death. Nicks owns a strand of Joplin's stage beads. She also commented that she once saw a woman in her audience dressed in dripping chiffon with a Gibson Girl hairstyle and big boots, and Nicks knew she wanted something similar. She took the look and made it her own.[148] Nicks possesses the vocal range of a contralto and her voice has been described as a "gruff, feathery alto"[149] Over the years, she has decorated her microphone stand with roses, ribbons, chiffon, crystal beads, scarves, and small stuffed toys. [150] Philanthropy Nicks has started a charity foundation titled "Stevie Nicks' Band of Soldiers" which is used for the benefit of wounded military personnel.[151] In late 2004, Nicks began visiting Army and Navy medical centers in Washington, D.C. While visiting wounded service men and women, Nicks became determined to find an object she could leave with the soldiers that would raise their spirits, motivate, and give them something to look forward to each day. She eventually decided to purchase hundreds of iPod Nanos, load them with music, artists, and playlists which she would hand select, and autograph them:[152] I call it a soldiers' iPod. It has all the crazy stuff that I listen to, and my collections I've been making since the 1970s for going on the road, when I'm sick ... or the couple of times in my life that I have really been down, music is what always dances me out of bed. — Stevie Nicks, The Arizona Republic. She now regularly delivers these tokens of her appreciation, bringing her closest friends, such as Mick Fleetwood, along to share the experience:[152] So, as Mick [Fleetwood] and I went from room to room delivering their tiny iPod, they told us their stories. Mick became his tall, loving, father figure, English self, taking in every word they said, remaining calm (at least on the outside) inspiring them. We floated from room to room down through the halls of the two hospitals over a three-day period. We gave out all our iPods. Right before I left for DC, Steven Tyler and Joe Perry dug into their pockets and came up with $10,000 for me. In my eyes they went from the coolest rock stars to generous great men; as my press agent Liz Rosenberg said, every returning wounded soldier should be given an iPod. It will be an integral part of their recovery. — Stevie Nicks[152] Style Nicks's style has remained the same throughout her years in the spotlight and even "at 60 she is still working the gossamer tunics and shawls that have influenced two generations of Stevie acolytes, and given her performances the feel of a Wiccan ritual" writes New York Times reporter Ruth La Ferla.[153] Nicks has been known for her multiple wardrobe changes during live performances, almost having a new outfit for each song she sang. The cost to keep up her overall style, of hair, makeup, and wardrobe, was not cheap. Nicks filed tax deductible expenses in 1991 costing "$12,495 for makeup and hairstyling [and] $43,291 for professional clothing and maintenance".[154] Stevie sings about the store where her iconic style all started in the song "Gypsy" on Fleetwood Mac's 13th studio album "Mirage", released in 1982. In the song, Stevie sings of a store called the Velvet Underground, a boutique in San Francisco, California where famous rockers like Janis Joplin and Grace Slick were known to shop.[155] It is here at the Velvet Underground where Stevie's unique and easily recognizable style most notably began. Legacy and influence Many artists have cited Nicks as a source of influence and musical inspiration. These have included Beyoncé and Destiny's Child,[156] Courtney Love,[157] Michelle Branch,[157] Belinda Carlisle,[158] the Dixie Chicks,[159] Mary J. Blige,[160] Sheryl Crow,[161] Nadia Ali,[162] Florence Welch,[163] Taylor Swift,[164] Vanessa Carlton,[165] Delta Goodrem,[166] and Lorde.[167] The Dixie Chicks covered her 1975 classic "Landslide", which became a top-10 hit (number one on the Adult Contemporary chart) and a number one hit on the Country chart. This cover also earned her a BMI Songwriters Award in 2003 when it won Song of the Year (the award is given to the songwriter of the track, regardless of the performer). According to BMI, "Landslide" also earned Nicks the 35th Robert J. Burton Award as "Most Performed Country Song of the Year". This distinction is given to the song tallying the most feature US broadcast performances during the eligibility period. Included on the Dixie Chicks' platinum Monument album Home, "Landslide" was a Country, Adult Top 40, Hot 100 and AC Billboard charts smash.[168] Alternative rock band the Smashing Pumpkins made an acoustic cover of the song that was featured on their 1994 B-side collection Pisces Iscariot. Other successful covers have included the Corrs' "Dreams" and Courtney Love's band Hole with "Gold Dust Woman". "Edge of Seventeen" was sampled on Destiny's Child's 2001 number one single "Bootylicious". Nicks appeared in the video for "Bootylicious" and in an episode of MTV's Making The Video that featured it, in which she expressed her admiration for both the song and the group. Also, American actress and singer Lindsay Lohan covered "Edge of Seventeen" on her second studio album A Little More Personal (Raw) (2005). Deep Dish fulfilled their "Dreams" of working with Nicks in 2005 when Nicks offered to re-record vocals on a remix of her number-one penned song, "Dreams". The Deep Dish version went on to reach number two on the Billboard Hot Dance Airplay chart, as well as providing Nicks with her third UK top-40 hit. Nicks provided additional vocals and writing on Vanessa Carlton's 2007 album, Heroes and Thieves. On January 31, 2010, Nicks performed with Taylor Swift at the 52nd Annual Grammy Awards. Swift, who describes Nicks as one of her childhood heroes, introduced her to the audience by saying, "It's a fairy tale and an honor to share the stage with Stevie Nicks."[169] In October 2018, Nicks was one of fifteen artists to be nominated for induction to the Rock and Roll Hall of Fame. On December 13, 2018, she was announced as one of seven inductees to the Rock and Roll Hall of Fame class of 2019. Nicks will make history as the first woman to be inducted twice to the hall. Personal life Nicks's only marriage was to Kim Anderson, the widower of her friend Robin Anderson. They married in 1983 soon after Robin Anderson died of leukemia and while the Bella Donna album was on the top of the charts. "I was determined to take care of [Robin's] baby, so I said to Kim, 'I don't know, I guess we should just get married." Nicks and Anderson divorced after only three months: "We didn't get married because we were in love, we got married because we were grieving and it was the only way that we could feel like we were doing anything."[55][170] Years after their divorce, she reunited with her stepson when he was a teenager, putting him through college,[171] and she has maintained contact with him ever since. Nicks had been romantically linked to Lindsey Buckingham since 1966, briefly to Mick Fleetwood in 1977, Eagles drummer/vocalist Don Henley during the late 1970s, and briefly to Eagles songwriter J. D. Souther.[172] She connected with Jimmy Iovine, who produced Bella Donna during 1980–81, and with Eagles and James Gang guitarist Joe Walsh during 1983–86, whom she referred to in 2007 as one of her greatest loves, though the couple could not sustain the relationship because of mutual drug abuse.[171] Nicks toured with Walsh in 1984, and wrote "Has Anyone Ever Written Anything for You?" about Walsh's deceased daughter. Nicks has said that she consciously chose not to have children of her own, due to her demanding career and desire to follow her art wherever it should take her: "My mission maybe wasn't to be a mom and a wife; maybe my particular mission was to write songs to make moms and wives feel better."[173] Of her niece, godchildren, and extended family she says: "I have lots of kids. It's much more fun to be the crazy auntie than it is to be the mom, anyway."[174] Nicks has maintained a journal nearly every day since Fleetwood Mac began.[175] "I like to tell all my fairy goddaughters and my niece that when I'm gone they can sit on the floor and go through all these journals, and they can walk through my life, and they can smell the gardenia perfume on the pages. They can have it in their hands, who I was." Regarding a book based on her life, she has said, "I wouldn't write a book unless I could really tell the truth, and say all the people are in it are represented right ... If I'm gonna talk about all the people in my life, I need to be old enough and so do they, that nobody's gonna care ... I would never write a book about the bad parts. I would mostly revel in the fantastic parts, of which there were so many."[136] In early 2007, reports surfaced concerning Lindsay Lohan's interest in buying the rights to Nicks's life story and developing a motion picture in which she planned to play her. In March 2007, while promoting her album Crystal Visions, Nicks was asked about this rumor. She told Access Hollywood, "That is completely insane and crazy. There is no movie in the works on my life. Nobody can do a movie about my life without me being involved, because nobody knows what really happened in my life until I tell them. So, nobody can make a movie about my life. And if anybody ever went and made a movie about my life without my permission and my being involved, I would slam it so hard to the press that it would never do anything."[176] In 2009, she told The New York Times about Lohan, "Over my dead body. She needs to stop doing drugs and get a grip. Then maybe we'll talk."[177][178] Until July 2007, Nicks lived in Paradise Valley, Arizona, a suburb of Phoenix in a home she had built in 1981 and shared with her brother Chris, his wife Lori, and their daughter Jessica. She announced in mid-2007 that her Paradise Valley home would be put up for sale, citing her aspirations to "downsize" and focus more on her charity work, and that in the previous year she had only "spent about two weeks there". The house was put on the market for a reported $3.8 million and later sold for $3 million.[179] Nicks became an ordained minister with the Universal Life Church and officiated at the wedding of Deer Tick singer John McCauley and singer-songwriter Vanessa Carlton on December 27, 2013.[180] I am religious. I wasn't raised in any religion, because we were always moving when I was a kid and didn't get involved in any church. But I believe there have been angels with me constantly through these last 20 years, or I wouldn't be alive. I pray a lot. In the last few years I've asked for things from God, and He's given them to me. And there were things I thought were gonna kill me, and He fixed them....I was destroying this gift that God gave me and asked for help. Now I'm happy, even outside my music, and enjoying my life. — Stevie Nicks, Billboard Magazine (April 18, 1998)[181] Discography Further information: Stevie Nicks discography See also: Fleetwood Mac discography Studio albums Bella Donna (1981) The Wild Heart (1983) Rock a Little (1985) The Other Side of the Mirror (1989) Street Angel (1994) Trouble in Shangri-La (2001) In Your Dreams (2011) 24 Karat Gold: Songs from the Vault (2014) with Buckingham Nicks Buckingham Nicks (1973) with Fleetwood Mac Fleetwood Mac (1975) Rumours (1977) Tusk (1979) Live (1980) Mirage (1982) Tango in the Night (1987) Behind the Mask (1990) The Dance (1997) Say You Will (2003) Live in Boston (2004) Filmography Title Year Role Notes Stevie Nicks: In Your Dreams 2013 Herself Documentary; also director and executive director American Horror Story: Coven 2014 Herself Episodes: "The Magical Delights of Stevie Nicks" and "The Seven Wonders" American Horror Story: Apocalypse 2018 Herself Episode: "Boy Wonder" Tours This section of a biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. Find sources: "Stevie Nicks" – news · newspapers · books · scholar · JSTOR (July 2014) (Learn how and when to remove this template message) Solo tours White Winged Dove (Bella Donna) Tour: 1981 The Wild Heart Tour: 1983 Rock a Little Tour: 1986 The Other Side of the Mirror Tour: 1989 Whole Lotta Trouble (Timespace) Tour: 1991 Street Angel Tour: 1994 Enchanted Tour: 1998 Holiday Millennium Tour: 1999–2000 Trouble In Shangri-La Tour: 2001 Two Voices Tour (with Don Henley): 2005 Gold Dust Tour (on select dates with Vanessa Carlton or John Farnham): 2006 Highway Companion Tour (with Tom Petty and the Heartbreakers): 2006 Crystal Visions Tour: 2007–08 Soundstage Sessions Tour: 2008 Heart & Soul Tour (with Rod Stewart): 2011–12 In Your Dreams Tour: 2011–12 24 Karat Gold Tour: 2016–17 In October 2005, Nicks attended the Melbourne Cup Week in Australia, and one of the horse-racing stakes was named after her: The Stevie Nicks Plate. She used this opportunity to launch her promotion of an Australian/New Zealand extension to her Gold Dust tour in February and March 2006. Nicks toured in Australia and New Zealand with popular Australian performer John Farnham.[182] She also appeared in concert with Tom Petty in June near Manassas, Virginia, and at the Bonnaroo Music Festival that same month.[183] In 2006, Nicks performed with Tom Petty and the Heartbreakers for the first leg of their tour in the summer, and later in the year returned as a guest performer for a number of songs on the tour celebrating Petty's 30th anniversary since his debut album. Tom Petty's Homecoming Concert in Gainesville, FL, which contained performances with Stevie Nicks, was filmed for PBS Soundstage as well as DVD release for March 2007. Nicks was also the featured performer for Bette Midler's benefit function, Hulaween, in October 2006.[184] Beginning in May 2007, Nicks began touring with pop/rock artist Chris Isaak. The last Stevie Nicks/Chris Isaak show was June 17, 2007, at the Tweeter Center in Boston. Nicks continued the tour solo, with Vanessa Carlton opening on some dates. The tour finished at The Borgata in Atlantic City on August 24, 2007.[citation needed] In 2008, Nicks embarked on the Soundstage Sessions tour in the U.S. A video recording of one concert date was released in 2009: Live in Chicago. Vanessa Carlton performed as a guest artist. In 2009, Fleetwood Mac embarked on a global hits tour. The Unleashed tour took place in arenas on multiple continents. The tour ended in December with two sell-out shows of 35,000 people at the New Plymouth TSB Bowl of Brooklands in New Zealand.[citation needed] Rod Stewart and Nicks co-headlined The Heart and Soul tour. Launched March 20, 2011, in Fort Lauderdale, Florida, the tour united the two singers for a series of arena concerts throughout North America – with performances in New York, Toronto, Los Angeles, Philadelphia, Chicago, Detroit, Tampa, Montreal, and more.[185] A solo tour for In Your Dreams began on August 9, 2011 in Denver, Colorado. Nicks announced on her July 27 appearance on America's Got Talent that Michael Grimm would be going on tour with her. She then continued on an Australian and New Zealand leg of the tour accompanied by Dave Stewart until December 2011.[186] Nicks joined Rod Stewart in the summer of 2012 for another leg of the Heart and Soul tour, and resumed the In Your Dreams tour in June 2012.[187] Touring band 2012 Sharon Celani – backing vocals (1981–present) Waddy Wachtel – lead guitar, musical direction (1981–86, 2001–present) Lori Nicks – backing vocals (1981–89, 1996, 2007–present) Carlos Rios – rhythm guitar (1989–present) Al Ortiz – bass (2001–present) Jimmy Paxson – drums (2005–present) Darrell Smith – keyboards (2005–present) Brett Tuggle – keyboards, rhythm guitar (1998–2006, 2012) Awards and nominations Solo Nicks has been nominated for eight Grammy Awards as a solo artist, holding the record for most nominations for Best Female Rock Vocal Performance without a win. Year Category Recording Result 1982 Best Rock Vocal Performance By a Duo or Group "Stop Draggin' My Heart Around" (with Tom Petty and the Heartbreakers) Nominated 1982 Best Female Rock Vocal Performance "Edge of Seventeen" Nominated 1984 Best Female Rock Vocal Performance "Stand Back" Nominated 1985 Best Album of Original Score written for a Motion Picture or Television Special Against All Odds (with Various Artists) Nominated 1987 Best Female Rock Vocal Performance "Talk to Me" Nominated 1988 Best Performance Music Video Stevie Nicks: Live at Red Rocks Nominated 1991 Best Female Rock Vocal Performance "Whole Lotta Trouble" Nominated 2002 Best Female Rock Vocal Performance "Planets of the Universe" Nominated With Fleetwood Mac Nicks has been nominated for nine competitive Grammy Awards as a member of Fleetwood Mac, winning the 1978 Grammy Award for Album of the Year for Rumours, and received the 2003 Grammy Hall of Fame Award. Year Category Recording Result 1978 Album of the Year Rumours Won 1978 Best Arrangement of Voices "Go Your Own Way" Nominated 1978 Best Pop Performance By a Duo or Group Rumours Nominated 1980 Best Album Package "Tusk" Nominated 1990 Best Album Package "Behind the Mask" Nominated 1998 Best Rock Performance By a Duo or Group "The Chain" Nominated 1998 Best Pop Performance By a Duo or Group "Silver Springs" Nominated 1998 Best Pop Vocal Album The Dance Nominated 2003 Grammy Hall of Fame Award Fleetwood Mac Won

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