Stevie picks up the intensity level on “Nothing Ever Changes,” Track 8 of The Wild Heart. The track stands out for its strong hook and rock-driven arrangement, performed by an all-star cast of musicians, such as drummer Russ Kunkel, Bruce Springsteen’s E Street Band pianist Roy Bittan, and former-Eagles guitarist Don Felder. Respected saxophonist Phil Kenzie (The Eagles, Paul McCartney, Al Stewart) also leaves his indelible mark, providing The Wild Heart‘s most riveting solo. As an album track, “Nothing Ever Changes” received moderate radio airplay, reaching No. 19 on Billboard’s Mainstream Rock chart.
‘I was feeling pretty cynical’
“This is another song that Sandy [Stewart] wrote the track for,” Stevie says, “When I’m writing, I’ll go and drag out 300 pages of lyrics and take a word from here, a line from there, a verse from here. And it doesn’t really matter since I always start from my basic idea and go back to my words. I always say it better on the typewriter than I’m gonna say it while the song’s going by. This was written about a year and a half ago. Maybe you can tell I was feeling pretty cynical at the time. This is the only cynical song on this album.”
Musicians
Piano: Roy Bittan
Guitar: Don Felder
Bass: Bob Glaub
Percussion: Bobbye Hall
Saxophone: Phil Kenzie
Drums: Russ Kunkel
Synthesizer: Sandy Stewart
Background vocals: Sharon Celani & Lori Perry
Produced by Jimmy Iovine. Recorded at Record Plant, Los Angeles.
Billboard charts
Mainstream Rock: 19 (July 30, 1983)
Lyrics
If it’s me that’s driving you to this madness
Then there’s one thing that I’d like to say
Would you take a look at your life and your lovers
Nothing ever changes
Ooh, it was just the first time
That I ever played for you
Oh, I could be the dancer of your dreams
I can turn all your music on
I can make you feel alive
I am gone but I’m never gone from you
It was just the first time
Come back, little boy
So baby come back, yeah, little boy
Ooh, it’s just me that lies waiting
Well, it could come from anywhere
Oh, it could come straight, straight from my heart
Nothing can be saved here
I can turn all your music on
I can make you feel alive
I am gone but I’m never gone from you
It was just the first time
Come back, little boy
So baby come back, yeah, little boy
Come back, little boy
So baby come back, yeah, little boy
Nothing ever changes, you know it doesn’t
Nothing ever changes, ooh, you know it doesn’t
Nothing ever changes, you know it doesn’t
Nothing ever changes
Come back, so baby, come back
Baby, come back, baby, come back
Come back, come back, come back
Come back, baby, come back
So baby, come back, baby come back
Come back, come back, come back
Come back, so baby, come back
Come back, come back, come back
Come back, come back
Modern Records. (1983). Stevie Nicks: The Wild Heart [Press release].
Whitburn, J. (2008). Joel Whitburn presents rock tracks 1981-2008. Menomonee Falls, WI: Record Research, Inc.
“Beauty and the Beast” is Track 10 on The Wild Heart, the album’s orchestral closer. It also appears on the retrospectives Timespace: The Best of Stevie Nicks (1991) and The Enchanted Works of Stevie Nicks (1998).
About the Song
Stevie: “Besides the fact that ‘Beauty and the Beast’ to me is a story of desperation (see the Jean Cocteau film) and besides the fact that ‘Beauty and the Beast’ surrounds me everywhere — everybody I know is either being the beauty or the beast — the experience of recording this song was so special.
It began as a piano demo done in Lori’s husband Gordon Perry’s studio in Dallas. The room is just magical, a church. Lori later sent me a tape with beautiful voices on it, and Sharon and I tried to duplicate it, but we couldn’t. So we got all the original vocalists together in New York and recorded it live. We brought the orchestra in for a three-hour live session–and I’m someone who’s oblivious to being able to do anything in the studio in a mere three hours! I knew they were gonna pack their little violin cases and walk away from me in no time.
Meanwhile, Roy Bittan’s playing piano just like I do, and everybody’s watching me. Nobody has done a live session in years. No Stevie Nicks has walked in in a long black dress to sing ‘Beauty and the Beast with champagne for all these men in probably as long as they can remember, even 30 years ago. I wanted them to feel like they were the most special orchestra that ever existed for that night. They walked in, played, and left. And it’s like they don’t even have any idea what they gave me, how precious it is.”
Who Is the Beauty, Who The Beast
Written for Mick Fleetwood
Inspired by Jean Cocteau’s 1946 French film adaptation of the 1757 story Beauty and the Beast, written by Jeanne-Marie Leprince de Beaumont
Dedicated to Vincent and Katherine
“We recorded this live in New York, with Roy Bittan playing grand piano and Paul Buckmaster doing the strings and conducting the orchestra, and me and the background singers, all at the same time. It was like we had gone back in time. We all wore long black dresses, and served champagne, and recorded it all in one room. When it was over, I walked out with this elderly gentleman who played violin, and the generation gap ceased to exist.
I also remember Mick and I years later at the Red Rocks Rock a Little video. He had come by himself to play, and he stayed there with me all night (in the rain) to do close-ups. Everyone else had left. Who is the beauty, and who is the beast? Which one of you? Have you ever really been able to answer that? I have. It took a long time, but I did finally find the answer.”
Lyrics
You’re not a stranger to me
And you, well, you’re something to see
You don’t even know how to please
You say a lot, but you’re unaware how to leave
My darling lives in a world that is not mine
An old child misunderstood, out of time
Timeless is the creature who is wise
And timeless is the prisoner in disguise
Oh, who is the beauty, who the beast
Would you die of grieving when I leave
Two children too blind to see
I would fall in your shadow
I believe
My love is a man who’s not been tamed
Oh, my love lives in a world of false pleasure and pain
We come from difference worlds
We are the same (my love)
I never doubted your beauty
I’ve changed
I never doubted your beauty
I’ve…changed
Changed
Who is the beauty
Ooh, where is my beast (my love)
There is no beauty
Without my beast (my love)
Who is the beauty (le bete)
Who… (my love)
Ahh…
Ooh, la bete
La bete
Where is my beast
La bete, la bete
Ooh, where is my beast
La bete, le bete, le bete
My beauty, my beauty
My beautiful, beautiful, beautiful
Beautiful beast
Piano: Roy Bittan
Background vocals: Carolyn Brooks
Background vocals: Sharon Celani & Lori Perry
Conductor: Paul Buckmaster
Bass: John Beal
Cello: John Abramowitz
Cello: Seymour Barab
Cello: Jesse Levy
Cello: Frederick Zlotkin
Harp: Gene Bianco
Viola: Julien Barber
Viola: Theodore Israel
Viola: Jesse Levine
Viola: Harry Zaratzian
Violin: Harry Cykman
Violin:Peter Dimitriades
Violin: Regis Eandiorio
Violin: Lewis Eley
Violin: Max Ellen
Violin: Paul Gershman
Violin: Harry Glickman
Violin: Raymond Kunicki
Violin: Marvin Morgenstern
Violin: John Pintavalle
Following the quarrelsome “Stand Back” is the conciliatory “I Will Run to You,” a duet with Tom Petty & The Heartbreakers. Back to back, the two songs complement each other well, fitting the pensive mood of the second half of the album. Written by Tom Petty, “I Will Run to You” has a melodic chorus and bears some resemblance to the song “You Got Lucky” from Tom’s 1982 album Long After Dark.
As an album cut, “I Will Run to You reached No. 35 on Billboard’s Mainstream Rock chart. On September 13, 1983, Stevie and Tom performed “I Will Run to You” (and “Stop Draggin’ My Heart Around) live during Stevie’s Wild Heart tour at Radio City Music Hall in New York, where Tom was a special guest.
‘Something really pretty’
“I don’t really know why Tom wrote this song for me,” Stevie recalls, “because it’s not like he had to, or not like I called him up and asked him to do it. But for some reason, he wanted to write me something really pretty, and he did, and we worked real hard. We recorded in New York, and we didn’t get it. Then we went to Caribou and recorded but still came back without what we thought was a real lead vocal from either of us. Finally, we did it in L.A.
Tom and I love to sing together, and we’ve really developed this relationship, and I’m not really very interested in developing relationships with other men singers, because this is just perfect: we sing well, we have a great time, we complement each other. I love his songwriting, perfect, why bother? Whatever the hassles that be that make it difficult — and believe you me the hassles that be are everywhere to stop Tom and I from ever doing anything together — my relationship with him is more important.
Anyway, the song’s fabulous. It’s beautiful, and I’m very honored that he even cared enough to write it for me.”
Musicians
Guitar: Michael Campbell
Bass: Howie Epstein
Drums: Stan Lynch
Guitar, vocals: Tom Petty
Keyboards: Benmont Tench
Produced by Jimmy Iovine. Recorded at The Hit Factory, New York.
Billboard charts
Mainstream Rock: 35 (July 23, 1983)
Lyrics
One so young, so changed
Should not be left alone
Two in love should confess
And not be left alone
And, I will run to you
Down whatever road you choose
Yes, I will follow you down
I will run to you
You’ve had time, come around
Will you please make up your mind
I stand accused on trial
Will you please make up your mind
And, I will run to you
Down whatever road you choose
Yes, I will follow you down
I will run to you
Make it easy for me
I been lonely, baby
Show some mercy, honey
I was nothing
All those lonely nights
Showed me something
If you need me
I’ll come runnin’
I will run to you
Down whatever road you choose
I will follow you down
I will run…
I will run to you
Down whatever road you choose
Yes, I will follow you down
I will run to you
Modern Records. (1983). Stevie Nicks: The Wild Heart [Press release].
Whitburn, J. (2008). Joel Whitburn presents rock tracks 1981-2008. Menomonee Falls, WI: Record Research, Inc.
Kicking off Side 2 of The Wild Heart is Stevie Nicks’ massive hit “Stand Back.” Though it’s not her highest charting single (that honor goes to “Stop Draggin’ My Heart Around,” which peaked at No. 3 in 1981), “Stand Back” is clearly one of her most recognizable solo hits, having been performed on every solo tour and most Fleetwood Mac tours (that Stevie has been a part of) since the song’s release in 1983. Fleetwood Mac’s “Dreams” is another song that has been performed on every tour since its release.
The story of “Stand Back” is now legendary among fans, but few know that, musically, the song was actually inspired by the opening chord progression of Prince’s “Little Red Corvette.”
‘Little Red Corvette’
“Right after I got married, I heard this wonderful song Prince had done called ‘Little Red Corvette,’” Stevie said in 1983, “And as soon as I heard it I went, ‘Boy, I love that.’ And I just started humming to myself, and in a matter of minutes, I had hummed along a very different melody than what Prince had done. Anyway, me being one of the more honest people you’ll ever meet, I immediately call Prince and tell him what I had written and how and he, against everybody’s thinking he wouldn’t, came down and played on this song! My intuitions are usually right and since he told me he was doing the video of ‘Little Red Corvette’ that day, and since I know videos and films always take a lot longer than anybody thinks, I didn’t think he’d show up. But [songwriter/musician] Sandy [Stewart] and I rushed to the studio anyway, thinking ‘what if he comes, what are we going to show him. We’ll both get out there live and try to play the song for him and start to giggle,’ right? I mean, no chance. So under pressure of fire, we did it in one take, one time, and that’s what you hear; me singing live, Sandy on her synthesizer, Prince playing that dahdahdahdahdah, very kind of ‘Edge of Seventeen’ thing, and a drum machine.
Between then and now, Steve Lukather put an incredible guitar solo in the middle and David Williams, who played all over [Michael Jackson’s] ‘Billie Jean Is Not My Lover,’ played on this. Anyway, ‘Stand Back’ become a real anthem, a real ‘I’m tired of listening to all your great advice, ’cause it’s gotten me nowhere, so I’m listening to myself now kind of anthem.’ So it came slightly out of strength, slightly out of being in love, slightly out of being married, and ever so slightly out of hearing the first three chords of ‘Little Red Corvette!’”
‘My favorite song onstage’
“[‘Little Red Corvette’] just gave me an incredible idea,” Stevie said in 1991, “So I spent many hours that night writing a song about some kind of crazy argument, and it was to become one of the most important of my songs. I’ve been doing this song for years. Fleetwood Mac does it also, and I never get tired of it. ‘Stand Back’ has always been my favorite song onstage because when it starts, it has an energy that comes from somewhere unknown, and it seems to have no timespace. I’ve never quite understood this sound, but I have never questioned it. I become a different person, and I like that, because usually I make up my own characters, but the lady in ‘Stand Back’ was not my idea. By the way, Prince did come into the studio the night I called him and told him about this song, and he played incredible synthesizer on it. And then he just walked out of my life, and I didn’t see him for a long time. It was extraordinary.”
Musicians
OBX-A & DMX drum machine programming: David Bluefield
Drums: Marvin Caruso
Percussion: Bobbye Hall
Drum overdubs: Russ Kunkel
Guitar: Steve Lukather
Synthesizer, guitar: Prince (uncredited)
Synthesizer: Sandy Stewart
Guitar: Waddy Wachtel
Percussion: Ian Wallace
Guitar: David Williams
Background vocals: Sharon Celani & Lori Perry
Produced by Jimmy Iovine. Recorded at Studio 55, Los Angeles.
No one looked as I walked by
Just an invitation would have been just fine
Said no to him again and again
First he took my heart then he ran
No one knows how I feel
What I say unless you read between my lines
One man walked away from me
First he took my hand
Take me home
Stand back, stand back
In the middle of my room
I did not hear from you
It’s alright, it’s alright
To be standing in a line
(Standing in a line)
To be standing in a line
I would cry
Do not turn away my friend
Like a willow I can bend
No man called my name
No man came
So I walked slow down away from you
Maybe your attention was more than you could do
One man did not call
He asked me for my love
That was all
Stand back, stand back
In the middle of my room
I did not hear from you
It’s alright, it’s alright
To be standing in a line
(Standing in a line)
To be standing in a line
I would cry
So I walked on down the line away from you
Maybe your attention was more than I could do
One man did not fall
Well, he asked me for my love
That was all
Stand back, stand back
In the middle of my room
I did not hear from you
It’s alright, it’s alright
To be standing in a line
(Standing in a line)
To be standing in a line
I would cry
Feel I need a little sympathy
Well, I need a little sympathy
(Cry…)
Well, I need a little sympathy
Well, you could be standing in
(Stand back)
Well, you could be standing in
(Stand back)
Well, you could standing in
(Stand Back)
Take me home
Take home
(Stand back)
Why don’t you take me home
Well, I need a little sympathy
(Stand back)
Well, you could be standing in
(Stand back)
Why don’t you take…
(Me home)
Why don’t you take me home
(Stand back)
Take me home
(It’s alright)
Take me home
(It’s alright)
Oh, yeah…
Take me home
Closing Side One of The Wild Heart is the soulful “Nightbird,” a song that poignantly addresses the death of Stevie Nicks’ childhood friend Robin Anderson, who succumbed to leukemia at the end of 1982. Stevie draws parallel to her 1981 hit single “Edge of Seventeen,” borrowing the lyric “just like the white winged dove” for the song’s final refrain. An unreleased outtake of “Nightbird” contains slightly different lyrics that refer to the “eyes of the nightbird.” According to Stevie, both the white wing dove and the nightbird are metaphors for death, the spirit leaving the body.
‘A spirit calling’
Robin Anderson’s spirit served as The Wild Heart‘s main inspiration, which is reflected in album’s dedication: “This music is dedicated to Robin — for her brave, wild heart. And to the gypsies that remain.”
“This song does extend from ‘Edge of Seventeen,’ Nicks reveals. “It’s about the difficulties of female rock ‘n’ roll singers, it’s about my friend Robin, it’s about death, it’s a spirit calling. Wearing boots all summer long is like, always being ready for a flood or avalanche to happen, for the worst to happen. Because when you really look at life, all the money, material things and dreams we all search after could not save one small girl.”
The limited-run US picture sleeve 7″ vinyl release of “Nightbird” with unique artwork remains rare and highly collectible.
Third single
“Nightbird,” featuring Stevie’s longtime collaborator Sandy Stewart on shared vocals, was the third and final single released from The Wild Heart, reaching No. 33 on Billboard’s Pop Singles chart and No. 32 on Mainstream Rock. Stevies gave memorable performances of the song on Saturday Night Live and Solid Gold (both clips below) but has never performed the song since. Background singer Lori Nicks sang Sandy Stewart’s parts for both of these performances.
Musicians
Bass: Kenny Edwards
Piano: David Foster
Drum overdubs: Chet McCracken
Synthesizer, vocals, and piano solo: Sandy Stewart
Organ: Benmont Tench
Guitar: Waddy Wachtel
Background vocals: Sharon Celani & Lori Perry
Produced by Jimmy Iovine. Recorded at Record Plant, New York
Billboard charts
Pop Singles: 33
Mainstream Rock: 32 (February 11, 1984)
Lyrics
And the summer became the fall
I was not ready for the winter
It makes no difference at all
‘Cause I wear boots all summer long
Eye makeup dark and it’s careless
Same circles around my eyes
Sometimes the real color of my skin
Is my eyes without any shadow
(And when I call)
(Will you walk gently through my shadow)
When I call will you walk
Gently through my show
(It’s the ones who sing at night)
Cried the nightbird
(The ones who sing at night)
(The ones you dream of)
The ones you dream of
(The ones who walk away)
The ones who run away
(With their capes around them tight)
Their capes pulled around them tight
(Cryin’ for the night)
Cry for the nightbird
Tonight
The winter is really here now
And the blankets that I love
Sometimes I am surrounded
By too much love
(And when I call)
(Will you walk gently through my shadow)
And when I call will you walk
Gently through my shadow
(It’s the ones who sing at night)
It’s the ones who sing at night
(The ones you dream of)
The ones you dream of
(The ones who walk away)
With their capes pulled around them tight
Cryin’ for the night
Cry for the nightbird
Tonight
(And when I call)
(Will you walk gently through my shadow)
And when I call will you walk
Gently through my shadow
(It’s the ones who sing at night)
Cried the nightbird
(The ones who sing at night)
The ones who sing at night
(The ones you dream of)
The ones you dream of
(The ones who walk away)
The ones who run away
(With their capes around them tight)
Cryin’ for the night
Cry for the nightbird
Tonight
(And when I call)
(Will you walk gently through my shadow)
When I call will you walk
Gently through my shadow
(Just like the white winged dove)
(It’s the ones who sing at night)
Cry for the nightbird
(The ones who sing at night)
Ooh…
(Ooh, ooh)
Through the dark and the net of the lace
Pulls back the net and it’s hard to see her face
(Just like the white winged dove)
Feel the touch
The touch that you want so much
(Yes, when I call)
(You can walk gently through my shadow)
Through the dark and the net of the lace
And she pulls back the net
(Just like the white winged dove)
Hard to see to see her face
(Don’t be afraid)
You’ll see
(‘Cause you’ll see)
Modern Records. (1983). Stevie Nicks: The Wild Heart [Press release].
Whitburn, J. (2008). Joel Whitburn presents rock tracks 1981-2008. Menomonee Falls, WI: Record Research, Inc.
As Side 1 of the The Wild Heart starts to wind down, the tempo starts to pick up with “Enchanted.” Showcasing tight vocals and a strong hook, “Enchanted” is similar to other spry, uptempo songs that Stevie has recorded, such as “I Don’t Want to Know” (with Fleetwood Mac, 1977), “Imperial Hotel” (1985), and “In Your Dreams” (2011). Though it was never released as a single, “Enchanted” received moderate US radio airplay, reaching No. 12 on Billboard’s Mainstream Rock chart. It later became a staple in her concert set lists.
‘Constructive travelling’
Stevie recalls writing the lyrics to “Enchanted” quickly during a car ride to Long Island. “We wrote it last summer (1982) on the way from New York City to Quogue, on Long Island. We wrote it in a car, in the limousine. We heard the instrumental part out of the speakers, and we hooked up our KD-5, which is the savior of our singing lives. So we sang and recorded, and by the time we got there, the song was written. Constructive travelling, I call it.”
Stevie first performed “Enchanted” live on The Wild Heart tour. The song title went on to bear the name of Stevie’s 1998 box set release The Enchanted Works of Stevie Nicks, a three-disc retrospective representing her entire solo work.
Enchanted vs. Destiny
“Enchanted” is closely related to “Destiny,” another song recorded during The Wild Heart sessions. Both tracks share similar verses but use different choruses. Despite its compelling, power-ballad vocal, “Destiny” was shelved for the time being. Stevie finally recorded the song 10 years later for her fifth solo album Street Angel (1994).
Musicians
Roy Bittan: Piano
Bob Glaub: Bass
Bobbye Hall: Percussion
Russ Kunkel: Drums
Benmont Tench: Organ
Waddy Wachtel: Guitar
Sharon Celani & Lori Perry: Background vocals
Produced by Jimmy Iovine. Recorded at Record Plant, New York
Billboard charts
Mainstream Rock: 12 (July 16, 1983)
Lyrics
(1-2-3-4)
Cryin’ in the morning trying to be strong
Waitin’ for the spring to turn into the fall
Love don’t mean what it says at all
And destiny says that I’m destined to fall
Enchanted
You thought you saw something in my eyes
Enchanted
It’s a shame that you wanted me
You didn’t try
Why the sad face
Oh, darling
Was it my darkness
Shadow light
I mean to cause no trouble for you
That is the story of my life
Enchanted
You thought you saw something in my eyes
Enchanted
It’s a shame that you wanted me
You didn’t try
Enchanted
Wo, it’s just a voice through the night
Enchanted
Well, I hope you make it
You were gone
You were gone from me
When I remember someone
I remember their dreams
In those dreams that no one knows of
My destiny says that I’m destined to run
(Enchanted)
Ooh, you saw something in my eyes
Enchanted
It’s a shame that you wanted me
You didn’t try
Enchanted
Well, it’s just a voice through the night
Enchanted
Well, I hope you make it
Ooh, enchanted
Well, I hope you make it
Wo…
Wo-wo-ho
I hope you make it
Wo…
Wo-wo-wo
I hope you make it
Yay…
Yay-yay-yay
I hope you make it
Yay..
Yay-yay-yay
I hope you make it
Modern Records. (1983). Stevie Nicks: The Wild Heart [Press release].
Whitburn, J. (2008). Joel Whitburn presents rock tracks 1981-2008. Menomonee Falls, WI: Record Research, Inc.
One of Stevie’s more obscure songs is “Gate and Garden,” Track 3 on The Wild Heart. Stevie has seldom discussed the song in great detail and has never performed it in concert, but the breezy tune appears to be about secret escapes and getaways.
“It’s all through my diary, ‘what are they gonna ask me about this?’ ’cause I don’t know what ‘Gate and Garden’ is about,” Stevie ponders. “I guess it’s my idea about my escapes, of the places that I go, the things that I do and think about—that is my private, silent, secret garden world that belongs to nobody else. That’s where and what that place probably is for me. Everybody should have their own secret, peaceful garden.”
Musicians
Dave Monday: Guitar
Brad Smith: Drums & percussion
Sandy Stewart: Keyboards, synthesizer
Benmont Tench: Organ
Waddy Wachtel: Guitar
Sharon Celani & Lori Perry: Background vocals
Produced by Jimmy Iovine. Recorded at Goodnight, Dallas
Lyrics
There is a gate
It can be guarded
Well, it is not heaven
And it has a garden
So to the red rose
Grows the passion
And the guardian
Well, it’s now you know
It’s just a few days away
It’s now you know
And it’s then
It’s just a game that we play
Someone steals it
Someone steals it away
It scares you to death
You don’t give into yourself
You give into your friends
Don’t send an answer
How many times have you said
Do I love you
Well, I always did (every night)
Nobody knows nothing ’bout it, no
Wo, do I love you
Well, I always did
Nobody knows
Knows nothing ’bout it
Well, it’s now you know
It’s everywhere
You say you seek the truth
I say all is fair
Don’t send an answer
How many times
Have you said
Do I love you (every night)
Well, I always did
Nobody knows nothin’ ’bout it
Wo, do I love you
Well, I always did (every night)
Nobody knows nothin’ ’bout it
They know nothing ’bout it
They know nothing’ ’bout it
Do I love you…ooh-hoo
Wo, do I love you…ooh-hoo
Wo, do I love you…ah-ha
Wo, do I love you…oh-ho
Wo, do I love you
Do I love you…ooh-hoo
Wo, do I love you
Ooh-ooo-hoo
Do I love you…oh-ho-ho-ho
Following the success of lead single “Stand Back,” which peaked at number five on the Billboard Top 100 Singles chart, Stevie followed up her big summer hit with “If Anyone Falls (in Love)” track No. 2 on The Wild Heart. With its distinctive synthesizer arrangement and infectious chorus, the song was another hit for the album, reaching No. 14 on the Billboard Pop Singles chart and No. 8 on mainstream rock. A music video with iconic Stevie Nicks imagery (complete with leg warmers, chiffon skirts, and ballet dancers) and a cameo by drummer Mick Fleetwood accompanied and propelled the single.
Original music video for If Anyone Falls
Music by Sandy Stewart
“This is the first song that I wrote with Sandy,” Stevie explains. “I’ve probably prayed for so many years that I’d find somebody I could write songs with, and I finally found her. She lives in Houston, and she’s totally crazy. She’s a real brilliant musician and what she does for me is she writes a song, goes in with a band and records it, sends me the track, track sounds great. I go into my bathroom, put it on my stereo, plug in my tape recorder, sing along, record it right there. I play it for everybody the next day; everybody goes crazy, and that’s it, it’s over.”
Inspired by Waddy Wachtel
“There was a time when I was falling out of one love and into another, when nothing else seemed to matter except this person,” Stevie recalls. “I adored him. He was everything I wanted to be; a real rock and roller and a lover of the Stones, small and frail sometimes, but in many ways the strongest person I had ever known. His word was law. I became him. He became me, and no one dared intrude upon this union. He is no longer with me, but his spirit twin never leaves me. I think sometimes I liked being on stage just to watch him. It was music combined with love, combined with the fact that when Waddy was besides me, I felt completely safe. It is to my great sorrow that we are no longer on stage together, but it is to my great joy that he always seems to be with me, even after all this time. ‘Love is a word that some entertain… If you find it, then you have won the game.’” (Timespace liner notes)
Musicians
Roy Bittan: Synthesizer
Bob Glaub: Bass
Bobbye Hall: Percussion
Russ Kunkel: Drums
Waddy Wachtel: Guitar
Carolyn Brooks, Sharon Celani & Lori Perry: Background vocals
Billboard charts
Pop Singles: 14
Mainstream Rock: 8 (September 24, 1983)
Appears on
The Wild Heart (1983) Timespace: The Best of Stevie Nicks (remix) (1991) The Enchanted Works of Stevie Nicks (1998) Crystal Visions…The Very Best of Stevie Nicks (2007)
Lyrics
I hear a voice
In the room next to mine
Feels good, sounds good
Closes the door from behind
And another voice
Comes through the door
I am dealing with a man
When away from me
Stays deep inside my heart
And he says if anyone falls in love
It will be one of us
If anyone falls in love
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
If anyone falls
And I heard someone say
As my eyes turned away
He said, “I have loved many women.”
“I have many times run away.”
Ooh, I have never known the words
Well, I have tried to be true
Well, I have never known what to say, how to say
Seen anything today
I’ve never seen anything like you
If anyone falls in love
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
If anyone falls
So I’m never gonna see you
(Never gonna see you)
Deep inside my heart
Well, I see your shadow against
Shadow against, shadow against the wall
Baby, I see your shadow against the wall
I hear a voice
In the room next to mine
Feels good, sounds good
Closes the door from behind
And another voice
Comes through the door
Ooh, I am dealing with a man
When away from me
Stays deep inside my heart
And he says if anyone falls in love
It will be done to us
If anyone falls in love (anyone…)
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
(Somewhere in the back…of your mind)
If anyone falls
If anyone falls in love
(You say, anyone…)
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
(In the back of your mind)
If anyone falls
If anyone falls in love
(Well, say anyone…)
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
(In the back of your mind)
If anyone falls
If anyone falls in love
(Ooh, anyone…)
Somewhere in the twilight, dreamtime
Somewhere in the back of your mind
If anyone falls
Modern Records. (1983). Stevie Nicks: The Wild Heart [Press release].
Nicks, S. (1991). [Liner notes]. Timespace: The best of Stevie Nicks [CD]. New York, NY: Atlantic Recording Corporation.
Whitburn, J. (2008). Joel Whitburn presents rock tracks 1981-2008. Menomonee Falls, WI: Record Research, Inc.
Earlier this year, Stevie Nicks’ second solo album The Wild Heart turned 30. To celebrate this milestone, Stevie Nicks INFO looks back on each unique track that inspired the recording and captivated listeners around the world.
By 1983, Stevie had established a formidable presence in rock music as a solo artist. Pressure to repeat the massive commercial success of her debut album Bella Donna was high. For her sophomoric work, Stevie balanced the pop rock sensibilities of Bella Donna but took on a harder edge, the darker melodies and instrumentation found on Side 2 of The Wild Heart. Straightforward pop rock songs like “Stand Back,” “If Anyone Falls,” and “Enchanted” maintained her core audience, while deeper cuts like “Sable on Blond” and “Beauty and the Beast” explored Stevie’ interest in mystics and fairy tales.
While not as cohesive a work as her debut piece, The Wild Heart thrives in unconventional ways. Listeners experience a fascinating mystery of sorts, left to decipher the meaning of Stevie’ cryptic, but engaging prose that reveals just enough personal details to hook the listener. These are unrestrained creative moments that reflect Stevie’ willingness to gamble for the sake of her craft and entice listeners to read between her lines.
Wild Heart
The Wild Heart begins with the standout title track, Stevie’ six-minute opus that explores the “darkest places of your mind.” The music from the original demo may have been inspired by the music from Lindsey Buckingham’s 1982 demo “Can’t Go Back,” which was later recorded for Fleetwood Mac album Mirage. Stevie can be heard singing lines from “Wild Heart” to the music of “Can’t Go Back” in the clip below.
“It was born in New York, and it’s just intense,” says Stevie of the opening title track. “There are some wild words in it that just sort of popped up. I think that people are gonna love ‘Wild Heart.’ It’s the one song that I go back to time to time again and listen to. There’s something about the vocal that just gives me shivers because it’s just so real. People will understand that, probably more than a lot of other things, because it definitely takes you through your nervous breakdown and through your recovery, and it takes you through your survival. And everybody’s heart is wild, so it’s not like I’ve got any kind of hold on it, ’cause this entire album was written for everybody and their wild heart. This was very much meant to be shared and given to people to have them just love the idea that they have wild hearts ’cause I love that — I love that.”
Musicians
Guitar: David Monday
Guitar: Dean Parks
Drums & percussion: Brad Smith
Synthesizer: Sandy Stewart
Bass: Roger Tausz
Background vocals: Sharon Celani & Lori Perry
Produced by Jimmy Iovine. Recorded at Goodnight Dallas
Lyrics
Something in my heart died last night
Just one more chip off an already broken heart
I think the heart broke long ago
That’s when I needed you
When I needed you most
That’s when I needed you
When I needed you most
Well, I run around like a spirit in flight
Fearlessness is fearlessness
I will not forget this night
Dare my wild heart
Dare my wild heart
Where is the reason
Don’t blame it on me
Blame it on my wild heart
As to the seasons
You fought from the beginning
Long before I knew it
There was a danger
And the danger was
To fall in love
In dark sorrow
They gaze down into the darkest heart
If I leave you
You say not even you can tear us apart, whoa
Say you’re leaving
You say, you don’t even know
How to start
How to start
How to start
Well, believe it then
And don’t blame it on my soul
Blame it on my wild heart
Ooh, on my wild heart
Ooh…
Fire on fire
Rain on my face
Fever goes higher
What can you do
Wild in the darkest places of your mind
That’s where I needed you
Where I needed you most
That’s where I needed you
Where I needed you most
Where is the reason
Well, don’t blame it on me
Blame it on my wild heart
There is a reason
Why even the angels
Don’t give it up at all
(Blame it on me
Blame it on me)
Where are the children
Well, are they hopelessly enchanted
Blame it on the angels
(Blame it on me)
(Blame it on me)
Where are the reasons
Don’t blame it on us
Blame it on our
Wild heart
Wild heart
Wild heart
Wild heart
On my wild heart
On my wild heart
Well, even in the darkest places of your mind
(Even in the darkest places of your mind)
Whoa, are the children are they hopelessly enchanted
(Are the children like hopelessly enchanted)
Wild in the darkest places of your mind
(Darkest places of your mind)
No, don’t blame it on me, baby
Blame it on my wild heart
(Blame it on my, blame it on my, blame it on my)
(Blame it on my, blame it on my, blame it on my)
Ooh… Ooh… ooh…
Blame it on my wild heart
Blame it on my wild heart
(Baby, baby, baby, baby, baby, baby)
Blame it on my wild heart
Blame it on my wild, wild, wild
(Don’t blame it on my, don’t blame it on my)
Wild heart
Blame it on my wild heart
Baby, even in the darkest places of your mind
(Don’t blame it my)
One of the “rules” of growing up is to leave behind childhood fantasies of spirits, fairy princesses and the like — unless you build a career on mystical appeal, as has singer-songwriter Stevie Nicks.
Throughout her 15-year career, Nicks, 35, has held on to the fantasies of her youth and made them part of her music. She’ll share those fairy tales with South Florida Saturday at the Hollywood Sportatorium, a stop on her current U.S. tour with singer-guitarist Joe Walsh.
After “Rhiannon,” her first hit composition as a member of Fleetwood Mac, Nicks was nicknamed the “Welsh Witch” after the character in the song. On the cover of her first solo album, Bella Donna, she is surrounded by mystical objects — a tambourine, a crystal ball. On her new album, The Wild Heart, she is draped in a velvet cape, her hands folded in the gesture of a sorceress casting a spell. In interviews, she speaks of dreams and visions that have guided her career and life.
“I love the mysterious, the fantastic,” Nicks told Rolling Stone magazine. “I like to look at things otherworldly and say, ‘I wonder what goes on there?’ I think I was a monk in another life…”
After four years of writing music and recording demonstration tapes with then-boyfriend Lindsey Buckingham, the couple was accepted without audition as members of the already successful Fleetwood Mac in 1974. Within three months, the new Mac was on the road with Nicks as its “front man,” a gravelly voiced petite blond in lacy dresses.
Three Fleetwood Mac albums released from 1975 to 1979 contained hit Nicks compositions — “Rhiannon,” “Dreams” and “Sara.” But being part of a group made Nicks wary of losing her identity, so in 1981 she released her first solo album, Bella Donna, which sold 3 million copies and is still on Billboard’s Top LP chart after 116 weeks.
“The album was my finding out if I could still do something on my own,” Nicks said. “You start to doubt yourself after seven years with Fleetwood Mac…”
After the release of Bella Donna and a duet with Tom Petty, “Stop Draggin’ My Heart Around,” Nicks embarked on her first solo tour, of the Southwestern United States. Her second successful solo album, The Wild Heart, was released four months ago. Two songs from the new album have become hits — “Stand Back” and “If Anyone Falls.”
Nicks’ life indeed reads like a fairy tale — with a new husband, a self-designed dream house in the hills near Los Angeles, her first extensive American solo tour and, of course, the popularity of her music, which she calls the mirror of her “wild heart.”
STEVIE NICKS and JOE WALSH perform at 8 p.m. Saturday at the Hollywood Sportatorium, Hollywood. Tickets are $13.75 plus $1 service charge at BASS outlets. Call 653-0450, 428-0917.
Linda R. Thornton / The Miami Herald / November 4, 1983