The name came, really, from the song Alice. And I must give credit where credit is due... my manager Tony Dimitriades, when we were over in England, said “what about ‘The Other Side of the Mirror’?’ Because, in Alice, it says, when she finally has had it when being over in Wonderland, [sings] ‘Alright says Alice, I’m going back to the other side of the mirror’ and I thought to myself, well, that pretty much encompasses my entire life. I’m constantly going back and forth from one side of the mirror to another. Between Fleetwood Mac and Stevie Nicks, and then there’s of course the cusp, where I do the things I do, like painting and collecting things and drawing and making blankets, and doing silly stuff that probably keeps me sane... I thought, well, Alice... your grandmother’s name was Alice, everybody tells everybody that you look a lot like her, I know you are a lot like her, since you spent half of your life with her, and I dedicated the record to Alice my grandma. So why not call it The Other Side of the Mirror? She died a few months ago, so she’s on the other side of the mirror now. The other side of the real mirror. And I know in my heart that she’s looking down, probably saying ‘I wish I could’ve lasted a few more months so that I could have held this in my hands and said, this is my granddaughter and she gave me this record.
— Stevie Nicks, Castle Walls Interview


"Rooms on Fire is about me. Rooms on Fire is about, um, a girl who is a rock and roll star who has pretty much accepted the fact that she will never ever be able to be married or have those children that she wanted or the husband that she wanted or that deep, deep love that she wanted and she's accepted it.

And then one night, at one of those everlasting parties that we all have to go to that we really don't want to go to, and we go make an appearance and leave as quickly as possible... um, a man comes into the room and there is a certain sort of a... see, I don't see very well, so I have a sixth sense that there is an eye contact thing that even though I can't see him very well, I feel something and I close my eyes for a second and he walks over to me and I look up and he's there. And he asks me to dance, and we end up getting married and I end up having a little baby girl and we live together for twenty, twenty-five years and the sad thing is that I waited for him all my life and then he dies before me and I wait for him for the rest of my life and he comes back after I am very, very old and gets me. And takes me with him back to whereever he comes from."
~Stevie Nicks, BBC Interview 1989

"It is very hard to be the one that's left and it's hard to be the one that leaves, too. But it's much harder to be the one that stands in the driveway going 'I'll see you in four to six months.' And to drag him out on the road is like pride-killing. It's not good for a man's pride. And I learned that a long time ago, that you don't drag a man around, you know, he... either you have such a solid relationship that he can stay home and do what he does and that he can understand what you do. But it takes, this takes a saint... this takes a very saint-like man.

[Not many saints about] Very few. I mean I couldn't take it.

[So why should anyone else?] Why should anybody else? I mean it does get to the point where someone finally says to you 'I really love you and I would love to spend the rest of my life with you and I would love to have, you know, two or three children with you and I would love for you to be the mother of my children and I would love for all these things to happen, but the fact is, Stevie, it will never happen because you are always going to be on call to your work.' Until that specific man walks into your life like in Rooms on Fire... that you are willing to give up at least 50 percent of what you do."
~Stevie Nicks, BBC Interview 1989

"Rooms on Fire was writen about a girl like me or me, who has such an incredible life, an incredible schedule that she doesn't have time to go out and meet people and go to parties because I don't. The people that I know I've known for a hundred years and I stay in. This girl had pretty much given up the idea that there would ever really be a great love in her life and that she'd come through 14 years of rock & roll and that there would never be anybody. So she gives this party that I call one of the everlasting parties that you have to attend. Where I basically sit in the middle of the room abd wait for it to be over so that I can get changed and do what I want to do. And she sees this man and I wrote the video, so this is exactly what happens in the video. And she meets him and it's an instant thing and all the things she has to do and all the commitments and everything else fade away because this man is more important than all those things.

I suppose in reality they are married and they have a little girl. The sad thing is that she loses him in a very few years so she only has him for about five years. So she waits for the rest of her life for him. At the end of the video and at the end of the story, he comes back to get her. And that's when she's kind of old, she's real old actually, and she looks up and he comes walking through the door with his hand out to her. She's not even sure this could possibly be happening. She looks again and it's indeed him, and she's reading a book and he just puts the book on the floor, takes her hands, pulls her up, and suddenly they're walking away and they're young again. He didn't appear to be old because of course you didn't get old if you leave the planet young.

It is a very romantic song and it means that somebody is able to walk into a room and look across the room at you and have the power to make you feel like the room is on fire, it means that this person has a power over you that is instant and this was written about somebody, this song was definetly written about somebody who has that power over me and when he walked in the room, the rooms do seem to be slightly on fire to me. He can just give me a look and I know where I stand. We're just talking about people who have an effect on you and so I wrote this song about a person who has a very deep effect on me."
~Stevie Nicks, Saturday Sequence, 1989

"I guess the single [Rooms on Fire] is about when you're in a crowded room and you see a kind of person and your heart goes, 'Wow!' The whole world seems to be ablaze at that particular moment."
~Stevie Nicks, Record Mirror, 5-20-89

"A fairy tale...

As I see this video, I do not see it as a music video, but as a true to life love story.

There was a lady who for as long as she could remember had always wanted to be a singer, of one sort or another. This dream was so strong that it came true. In a big way: but in a much bigger way than she had ever imagined. It is now the year ???? and she has been a very famous rock and roll star since ????. Yes, this is exactly what she had wanted: she had everything, money, clothes, jewelry, beautiful things, she flew in on helicopters like in Woodstock, she headlined huge shows with her band and on her own. But somewhere, something, had gone wrong... something was missing. There was no one to share all this good fortune with which left her with no more than being a modern day "Rapunzel," locked up in a tower: her dream had come true, and gone far far beyond...she was lucky, she appreciated that...she had kept her youth, she was "blessed," but surrounded as she was by well wishers, that great love, nor those beautiful children had ever been given to her, because her life was just too complicated for any man to deal with, so many times she had suffered, one more chip of an already broken heart...she would always be alone.

She finds herself thinking about this a lot...

'Somewhere out in the back of your mind (somewhere) comes your real life...and the life that you know it seems like it was the creation of some of those same old things it seemed to be the...only thing left our, in the light...'

She had trusted many down through the years, and sometimes it had been wonderful, but usually, something had come along to ruin it, and it was always her career and her lifestyle. It wasn't that the men in her life did not care. They just could not take it.

And then one day, she was at one of those never ending parties, thinking about her life, and if she had made the right decisions...and in walked someone that she immediately noticed, and not even really knowing who he was, she was it "love at first sight" it whatever you want, but she knew that her life would never be the same again.

Well, maybe I'm just thinking that the rooms are all on fire...every time that you walk in the room...

Yes, there was magic all around him, and she had no idea who he even was, but something had happened...(I have known this much longer than I've known you)

She thought about it for awhile, about all those who had been a possibility, but this one was different. There was something very special about him and she could feel this from all the way across the room. She let her mind wander, and closed her eyes to dream for a moment, when she opened her eyes, he was standing right above her, asking her to dance, and yes, without a doubt, the rooms WERE on fire, as far as she was concerned, she had found him, and she would give up anything to have him.

In reality...she does fall entirely in love with this man. She had not been wrong, he had been one of her crystal visions. They were married, he did understand her life, and she did give up a substantial part of her life for him. They had one, maybe two children...the fire remained. The said thing was that he died several years before her, and she never married again. She had her memories,no one could ever take her memories from her, they were hers and they would meet again someday...somewhere else, and this is what kept her going through the ensuing later years...

Dream sequence...

Through long nets of white, you see her from the side, with her long grey silver hair in a long white dressing gown, she is reading...and suddenly, you see him walk into the room. She thinks it is a dream, but it is no dream. She stands up, and starts walking toward him very slowly, and he toward her. They do one or two very slow turns together.
(there is magic...all around you...every time you walk in the room)

And then they change back into when they were young, while they are dancing, and everything blurs, and they stop, take each others' hands and start to walk away from us all. They are old again, they walk straight into a great white light, and they never turn around. He has come to take her, finally...home."
~Stevie Nicks, 1989, The Other Side of the Mirror tourbook

"The night I met Rupert Hine was a dangerous one. He was different from anyone else I had ever known...He was older, and he was smarter, and we both knew it. I hired him to do the album before we even started talking about music. It seemed that we had made a spiritual agreement to do a magic a fabulous Dutch castle, at the top of the mountain. We recorded it in the formal dining room...where, upon the walls hung all these very old and expensive pieces of art... looking at us... we were never alone.

It always seemed to me that whenever Rupert walked into one of these old, dark castle rooms, that the rooms were on fire. There was a connection between us that everyone around us instantly picked up on, and everyone was very careful to respect our space...our TIMESPACE, so we all lived at the castle for about four-and-a-half months. I went home with him to England to mix the album at his studio...he left in December. I joined him there in London in January. We left immediately for his studio, Farmyard Studios, somewhere outside London. It was like being in a cottage in Wales, it was a little spooky...the atmosphere was like nothing I had ever experienced. Then something happened to him that simply made it impossible for us to ever be together again. I left him there...the rooms were still burning, but the fire had been stolen from us. It wasn't over love, in had nothing to do with love. It was just a bad situation. I came back to Los Angeles, a very changed woman. And now, long nets of my memory...Now I remember the rooms, the music, and how truly magic the whole thing was..."
~Stevie Nicks, Timespace liner notes 1991


"I remain real good friends with most of the men in my life. This particular song that you're talking about [Long Way to Go] was not written in such a nice way. This happened to be an experience that I had with somebody that I did very much love, who... we had been broken up for a long time before, a year before, and I had just finished Rock a Little, and I had walked into my house with Rock a Little under my arm, an acetate... the phone rang, and it was him, and he wanted me to drive two and a half hours to wherever it was that he lived... and I was very tired, and it was very late, it was like 3:30, 4 in the morning, and I turned around to somebody that was living in my house at that time, and I said, 'should I go?' And they said, 'well, it's a pretty long way to go to say goodbye again. I thought that we'd already, basically... Stevie, it's taking you an awful long time to get over this. Do you want to go down and start it up again?' And so I went back and forth and back and forth in my mind, and finally he said to me 'I'm sending a limousine for you.' And I said alright. And so... chump that I was, I got in the car and drove down there and played the record for him, and he kept it. Which I will never forgive him for. He kept my first acetate. And I think the last thing that I did say to him was, 'you know, it's a real long way to go to say goodbye again. I thought we already did that. Have fun, tell the the world.' Which basically means words we don't say over the radio. Goodbye. Forever this time. Don't ever call me again. I mean, he put me in the car, and I was hysterical in tears, and I cried all the way home, and I said, 'I will never, ever, ever put myself in that position again. Nobody will ever do that to me again. As much as I loved him, I will never let that happen again."
~Stevie Nicks, Castle Walls interview

[DJ: "Stevie, you sound angry in that tune."]
"I was angry. I wrote it about a person I was very much in love with, who asked me to travel two and a half hours down the coast to play him Rock a Little. And so I asked everybody 'should I go,' they said yes, I went, I played him the record, he kept it; the first thing that you get, the collector's item, he kept it. And then I had to drive back and it was like, 'yeah, it's a long way to go to say goodbye, again."
~Stevie Nicks, The Other Side of the Mirror Listening Party, Westwood One, 1989

"I was really angry at the person I wrote that song about. It's a lot of fun to perform because it has that definite attitude that audiences can pick up on."
~Stevie Nicks, Atlanta Journal, 9-27-89


"I wrote Two Kinds of Love when I was on tour with Bob Dylan and Tom Petty. I'd sort of written it; I hadn't completely finished it, it was the [singing] 'two kinds of love,' that was all there. But all of it wsan't there. And I finished it, and Rupert [Hine] said to me, 'there's a couple lines that I think that you could phrase a little better.' And I said, 'well then, Mr. Terrific Phraser, you go out there and sing it, and then I will tell you if I agree or don't agree.' And so Rupert went out and sang the lines that the male voice would sing. Because I did not, in fact, write it as a duet. And the duets that I write, I usually write as duets knowing that there's going to be another person singing, and so we got so used to listening to a man and woman sing this song that when we got down to finally, actually, almost finishing it, he said to me, 'who do you want to sing this?' And I said, 'well, do you want to sing it?' And he said 'not particularly. I didn't come here to be a singer on your record, I came to produce it. Who is your first choice?' And I said Bruce Hornsby. He said, 'do you have any other choices, just in case, (We were in London) just in case we can't find Bruce?' I said no. If we can't get Bruce, then I'll sing it myself. I'll sing it alone. And so he got on the phone to Bruce's manager, and we got in touch with Bruce. We flew in from London to New York on Saturday. Bruce had done his homework, he knew Two Kinds of Love backwards and forwards. We let him go out and sing along to what I had already sang, because I, along with Rupert, had already sang the whole song myself. So we just took everybody out, and he sang his part. And then, on the choruses, the [singing] 'who in the world do you think that you are fooling,' I had already done my part. So we let him sing along with my recorded part. And then, after he did that perfect, I said 'I think it's only fair that Bruce and I are allowed to go out there and sing the choruses live. So I want you to take all the pre-recording out and just leave the track and Bruce and I will sing it live.' So Bruce and I went back out in the studio and looked at eachother with our words, and and all the choruses, and some other little bits. And so Rupert had not only the professionally recorded me by myself/Bruce by himself, but he also had a live performance. So he had those two things to work with. So he could mix all that in to get it on the choruses so for me, it was very important because I wanted it to sound like we were really standing on stage singing. So, a lot of the live performances are in that song."
~Stevie Nicks, Castle Walls interview

[DJ: Did you write it (Two Kinds of Love) for Bruce Hornsby?]
"No, but he was my only choice to sing it as a duet, because I didn't write it as a duet. So when they said 'do you want to do this as a duet' I said 'only if Bruce Hornsby will do it.' Bruce Hornsby and Kenny G both came to me over the airwaves, I didn't know who they were, I just said in myself, 'I want them.'
...I put it on a tape, and I didn't know who it was, and finally, months later, they said 'that's Bruce Hornsby.' This was a long time ago... he asked me himself, he said 'did you consider anybody else to do this duet?' and I said no. I didn't, only you."
~Stevie Nicks, The Other Side of the Mirror Listening Party, Westwood One, 1989


"The song came from, actually, the Christmas story of the ghost of the future, past, and present. And the ghosts of what you want to be and the ghost of the future that you're frightened of, and the ghost of what really is happening. Which is actually very much into The Other Side of the Mirror because again, there is one side of the mirror, the other side of the mirror, and the cusp of the mirror, which I teeter back and forth on all the time."
~Stevie Nicks, The Other Side of the Mirror Listening Party, Westwood One, 1989

"Ghosts is about wanting things that you can't have and about being afraid to not live in the past anymore, being afraid to live in the future and basically to live at all. It says 'and a few of them were all you had wanted, love was thing.' So many people have said to me in different ways over the last several years 'don't live for the past, Stevie, don't live for the past 13 or 14 years.' You have to live for the now and I found that it was very difficult for me not to live in the past. So I wrote Ghosts to say 'it's just the ghost of the past that you wanted, it's just the past that you live in, it's the ghost of the future that you're so frightened of, so you turn to your guardian angel, some of them are here on earth, some of them are way up there in heaven.' I just thought as I was writing those words about those that I have lost, that are gone now that are up there in heaven. Like my friend, like Roy Orbison, Buddy Holly, and my grandmother, all those people are up there watching after us. That's really what I wrote it about. It's very reflective, it's not a sad song, it's just reflective on what it is that you want to do on this planet."
~Stevie Nicks, Saturday Sequence, 1989


"I wrote Whole Lotta Trouble myself, on the guitar, which I seldom do because of my fingernails. Again, along with Two Kinds of Love, in Australia on the Bob Dylan/Tom Petty tour... I went to Michael's [Campbell] room, he had his 4-track set up, gave me his guitar, tuned it to an open G, you know that [hums opening notes of Whole Lotta Trouble] Well, I can play pretty well; I can play real good rhythm guitar. But with long fingernails and an open tuning, you can only just play that one note, so it's like bass. So I played it, and he recorded it and he sang it, and he took it home, and a year later, I went to Michael's house and he had cut a complete track on it. And he had written a little bridge in the middle of it. And the wildest thing about it was that I had already, in the years that had gone between, I had written probably five or six more Whole Lotta Troubles. So I was all into my new Whole Lotta Troubles, and Michael brought his little yellow ghettoblaster and said, 'Stevie, this is the way we wrote it' and he made me listen to it. And then he put on his track, and it was one of the most amazing moments of my life, was that exactly what I had played on the little yellow ghettoblaster, went exactly along with this incredible track that he had done, and he said 'now you have to relearn it that way.' And of course I hate that, I hate when anybodt tells me that. But I adore Michael, so it's like, 'yes sir, Mr. Campbell, I'll learn it, give me five minutes.' So I learned it, I sang it, and it remained very much, exactly ike it is on the record."
~Stevie Nicks, Castle Walls interview

"We went into a recording studio called Lionshare, and by the grace of the gods, the LA rhythm horn section was doing another session down the hallway. And I had never in a million years expected that those horns would be anything but synthesizers. Well, they were like, walking down the hall with all their horns, right? And Rupert [Hine] and I saw them, and it was like, we went, [laughing] 'Hey! Are you guys, like, really tired? Are you going home? Do you have any extra time?' And they said, 'nah,' like, we got nothing to do, so they came in, they listened to the song once, and they went out, and they played the horns all the way through the song one time, and *then* said, 'is there anything else you want us to play on?' [laughing] So we, just out of magic, just as a special gift from the gods of music, got them. And they loved it. I mean, you could tell they loved it. We loved it. It was *so* special, because I never had any horn players play anything on my record before, except for the things that Kenny [G] had played, and that's a whole different... he's like a little archangel, you know? And these are like, these four heavy-duty guys that got these big, huge horns and stuff, and they... I couldn't believe it, I walked in and they were out there, and they were doing the moves, the up and the down, and it sounded incredible, and I never in a million years expected it to be anything but programmed-in horn sounds off of a synth. Because that's what Michael had done, and that sounded great, it sounded just like horns to the point of I never complained and said 'you know, this is really not fair, I think we should have real horn players.' I just never expected it. So, they were in and out in thirty minutes."
~Stevie Nicks, Castle Walls interview

"Written for Tom Petty and Bob Dylan

I recorded this song in Michael's room in Sydney, Australia, on his 4-Track. I actually played guitar, and almost a year later, Michael had worked up a track right along with what I had played in Australia. He wrote a bridge for it, and when I got home from MY tour, he insisted I come up and sing it exactly as I had played it that night; and he could play his track right along to me playing rock and roll guitar... I was totally flattered. On the other side of the coin, he is the only person in my whole life who has EVER done one of my songs exactly as I had written it. So thank you Michael, for all your wonderful music and for sharing some of it with me... nothing like a tour with Tom Petty and Bob Dylan to make you extremely creative. I asked Tom if I could be an honorary Heartbreaker, and he said.
"You already are one, Stevie..."
~Stevie Nicks, Timespce liner notes, 1991


"The original inspiration for this was when I lived in a house on Doheny and my garage caught fire because somebody else's house caught fire down the street and a cinder hit my garage. And I woke up because I heard all this noise, and I looked out my front window and there's like, fifty firemen running up my driveway and I thought, well, 'what is this for?' And I ran around to all the windows and finally I got to the back of the house, and I looked out, and the entire garage was like, fifty feet of burning flames. And I ran around to the bathroom about fifteen different times, saying 'what can I take? What should I take?' So what I took was the dog, the blanket, all my writings and tapes, my jewelry... and I thought, you know, the stairs may be on fire. But she'll get down, she said. I'll get out, I'm not burning up in this house. So that's where the whole beginning and idea of this song came from, was 'what can I take and still survive the fire' or how much time can I spend to decide and not be burned up on the second story?

It's frightening, to see flames that high and know that at any point those flames could hit your house and I didn't know whether the bottom story was on fire already or not. But it was very hard for me because I thought, 'what do I take out of this room? I did, I ran around in circles three times, four times, five times, and I said, 'I'll take the dog, cashmere blanket, all my tapes, and my writing.' Everything else can be... doesn't matter, material things, at this point, don't matter."
~Stevie Nicks, The Other Side of the Mirror Listening Party, Westwood One, 1989

"I don't like fire in the real dictionary reading of the meaning of the word fire. I'm afraid to death of fire, I will never die by fire. I've only been in one fire and I was only about six and I will never forget it-- that's not true, I've been in two. My garage burned and and it was a massive fire and I was not 2 or 4, I was 28 or 30, actually. In Fire Burning, that's what the song is about. It's about when I say 'she turns around on the second story, I'll get down, what can I take and still survive the fire.' What that meant was I didn't know what to take, I was running around the room going 'well, let's see, the house is burning, it must be because the back yard is completley on fire, so the house must be burning too, so what do I do? What in these arms can I carry? What if the stairs are on fire?' I didn't know because I was only in my bedroom, so what I did was I grabbed my dog, my cashmere blanket, my writing, my tapes, my semi-absolute precious jewelry which all fit in a tiny little thing. And I just said goodbye, I've loved you all and everything that is left here, I'm sorry, I can't carry you down, but I can't, but I'll get down, I'll get out if I have to scale this side of this wall. I'll get out, I will not die in this fire. So that's kind of where that song came from."
~Stevie Nicks, 1989


"All the characters in my songs; the Gypsies, the Saras, and the on this album, Alice and Juliet... they're all me. But they're all different sides of me."
~Stevie Nicks, Revolution Magazine, November 1989

"I don't think I started out intending it to have much to do with Alice In Wonderland, though I read it when I was little. But I kept thinking about how I go back and forth from one side of the mirror to the other. And then I have a little space in between, which is when I do other things which nobody really knows about; my painting, my art, my writing. That's my sanity life. That's when I'm pretty serious and sane. And my Fleetwood Mac life and my Stevie Nicks life, both of those are pretty heavy and I have to scurry back and forth constantly. For the past seven years I've been running two straight careers pretty solid, and they're both big and they're both demanding."
~Stevie Nicks, Revolution Magazine, November 1989

"...I'm constantly crossing back and forth, [between the two "mirrors"] and it's usually like, 'Alright, I've had enough here, and I'm going back to the other side now.' And I thought, well, since Alice happens to be one of my favorites, not that it was ever planned to be a single, or any of that kind of song, it still probably is my favorite."
~Stevie Nicks, Castle Walls interview


"I said, 'well, Bruce, you tall thing, you' --'cause he's so tall, he can hardly fit his legs underneath the piano-- I said, 'how would you feel about playing on a song I wrote called Juliet? You haven't heard it, but it needs you badly. I would be your friend forever if you would just give it a chance.' And again, I said to him the same thing- 'I'm not asking you to do anything special, listen to it in here with me a couple times, I'll sing it to you, and would you play on it?' And he said, 'why not? Of course I will.' And this was already after he'd said to me, 'did you even think about having somebody else do this duet [Two Kinds of Love] with you besides me?' And Rupert said, 'no she did not, it was you or nobody.' And so [laughing] I said, 'you have to do this for me, considering I picked you out of the skies, you know.' So he went out and played on Juliet all the way through and then sang on the bridges with me. And then on the end part that says 'the sky is not crying/oh she says the sky is blue.' So he sang on all that on out and we were done by nine, went out to the River Cafe, had dinner until we closed the place down, and then I haven't seen him since that day."
~Stevie Nicks, Castle Walls interview


"That song certainly could have been said in a lot harder terms. And I could have sounded a lot angrier. The music could have been a lot angrier behind it. But I chose to make it more poignant as opposed to you know, like if I had been speaking all those words, I probably would have been yelling. So, 'doing the best that I can,' in the hardest of terms, means 'get off my back,' basically. I'm doing the best that I can. And I have been doing the best that I can for as long as I can remember, so either give me a break or leave me alone. And it's a very serious song for me... I mean, it's sad: 'in my distress/I wanted someone to blame me/in my own way, disaster was the only thing that I could depend on.' I mean, that's pretty much down in the very depths of despair. Which is where I pretty much was when I wrote this song; which meant, I cannot take all of this advice and keep on living with all of you. You've got to let me grow up and leave me to make my own decisions. I'm a grown up. I'm not a child."
~Stevie Nicks, Castle Walls interview

"I wrote this song to tell people that yes, I did suffer, and I have suffered but that I refuse to let the bad parts ruin my life and the good parts of my life be erased. So I said I'm just going to simply remove the bad parts and I'm coming out of a phase now, I think, where I was unhappy, and I was very lonely and I didn't feel if I exactly knew if I should still be here or not. Maybe I would be better off on the next plain, living a much more spiritual life, maybe. Saying 'in my distress, I wanted someone to blame me,' because people would go around me and like if I did something that wasn't right, they'd take the blame for it or they'd get me out of it. I'd get to the point where I'd go 'just get mad at me, it's my fault. I did it, nobody else did. I did it. Why are you blaming somebody else?' And it says 'in my devastation I wanted so much to change.' I did, I wanted so much to be happier because I was becoming more unhappy by the day and in my own way they only thing I had to depend on was disaster because it seemed like nobody would get off my back, nobody would leave me alone, nobody would keep their opinions to themselves. It was like most of the people I know are quite a bit younger than I am and I would want to say to them, 'you haven't been through what I've gone through, so please stop telling me what I should do!' It means let me do what I have to do. This is not your problem, this is my problem."
~Stevie Nicks, 1989


"When I went to Australia with Bob Dylan and Tom Petty, I asked Bob Dylan if he'd written 'Blue Eyes.' He said 'no, I didn't write it, but I know who wrote it: Ian and Sylvia.' So I of course believed Bob and Bob of course believed in what he was saying and now I've been told in the last two weeks that in fact Johnny Cash and somebody wrote it. So I don't know, I can't actually sit here and tell you who wrote this song but the reason that I did it was because I've been singing it since I was about 16 or 17 years old and I'm not sure if the words are exactly right, there are maybe more verses, there may have been a different kind of bridge, I don't know because this is just what has lived on in my heart sonce I was really a girl. So all I know was that I loved it and I never forgot those words because of Lindsey and his beautiful, beauiful blue eyes."
~Stevie Nicks, 1989


"Sometimes we cry and it's not very real, it's just for drama or effect. And sometimes when you cry, it's really very real. And that's what that song is about."
~Stevie Nicks, Mark & Brian interview, 1994