I CAN'T WAIT

(Regarding "I Can't Wait") "I haven't seen this kid... his name is Rick who wrote this song who I've known since he was 13, and I was 18. The only other person I've known longer than that... there isn't anybody except Robin. And Rick was Robin's brother's best friend, so we hung out a lot together. So when he and Glenn, one of my roommates, came over one night and brought this track that had this song on it, no vocal or anything, just the track. And very, very professive and real wonderful. I kind of said, 'Okay, I'll listen to that.' And they left and I went crazy. I went into my bathroom and turned up the stereo as loud as it would blast and played 'I Can't Wait' all night long and made up the words and danced around to it and saw the video in my head, saw it on TV. And went in the next night, without Jimmy Iovine or anbody else's permission, and did the vocal that's on the record right now, the next night. It's the only time I ever sang this song."
~Stevie Nicks, 1986

Inspired by Rick Nowels

"I think this was about the most exciting song I had ever heard. My friend, Rick, whom I had known since I was eighteen and he was thirteen, brought over this track with this incredible percussion thing, and gave it to me asking me if I would listen to it and consider writing a song for it... I listened to the song once, and pretended not to be that knocked out, but the second Rick left, I ran to my little recording studio and wrote "I Can't Wait." It took all night, and I think it is all about how electric I felt about the music... And that night, that SATURDAY night, Rick and I went into a BIG studio and recorded it. I sang it only once, and have never sung it since in the studio. Some vocals are magic and simply not able to beat. So I let go of it, as new to me as it was; but you know, now when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen...
To understand this song, you sort of have to let yourself go a little crazy... love is blind, it never works out... but you just have to have it...
I can't wait..."
~Stevie Nicks, Timespace liner notes, 1991

ROCK A LITTLE (GO AHEAD LILY)

"Stevie is happiest "when I write a song every day or every couple of days," she says. "Last night I wrote a song in the middle of the night. I got up, came out here to the organ and just started playing. I filled up two sides of a cassette with ideas for a song. It's about how this house shakes every time the waves crash."
~Stevie Nicks, Hit Parader, January 1982

"This is about the house shaking, Mick... 'Cause it, like, shakes the whole place, right? And everybody thinks it's the big EQ every time... today, it was..."
~Stevie Nicks talking to Mick Fleetwood during an early piano demo of Rock a Little

[On the album Rock a Little and the title track] "We're already about seven songs into it...[the album] and it's very different from Wild Heart. It's called 'Rock 'n Roll. [Later changed to 'Rock a Little.'] I wrote this song about three years ago. I lived on the beach, and this song is about the fact that the beach was always shaking and I always thought it was an earthquake. So I had to learn to know not to pack my bags and run out the back. It's real rock 'n roll, and was written before Wild Heart. It was really written right along with Bella Donna. But I knew the second I wrote 'Rock 'n' Roll' that it would be the next record after Wild Heart."
~Stevie Nicks, Arizona Republic, 9-83

"We kinda rock a little all our life... we rock, I did, I rocked in my cradle for sure and, ah, then in mid-life you sort of rock on your feet, and then you move onwards to a rocking chair at some point, probably, so that's kind of what Rock a Little means. It means to rock and roll all your life."
~Stevie Nicks, MTV interview clip, 1985

"[Rock A Little] was also written before Bella Donna came out... and I've had most of the song... in fact, I mean really the entire [singing] 'Sometimes it rages...' that was about the ocean, you know... that, like, shook my house and scared me to death every night... 'cause I thought it was an earthquake. [Singing] 'Rock a little/ Even when it's calm the house still shook a little/Just like the sea I rock a little/Some say it was just like me... Rock a little.' That means cool out. Relax. Okay? Just rock a little all the time and you won't die."
~Stevie Nicks, Jim Ladd Innerview, 1986

"I'm Lily... I've been Lily for a long time, actually, because in my writing... in my book and everything... I, when I write about me and my friend Robin, who everybody knows that I lost to leukemia, I wrote about her and I as Lily and Julia... Julia and Lillian Hellman... so that movie, [Julia] you know with Jane Fonda and Vanessa Redgrave... so Robin looked incredibly like Vanessa Redgrave and I, I was very Jane Fonda, you know. And our relationship was very much like this, like you know, 'come on across the river, but don't forget to tell me that you're really afraid, so in case you fall in I'll be expecting it. Don't lie to me and say 'Alright, I'll do it because you think I'm brave.'"
~Stevie Nicks, Off the Record with Mary Turner, 1986

"Actually, my father and Rebecca were responsible for "Go Ahead Lily" because it was like, one time on the Wild Heart tour, I was sick, I had pneumonia and I was laying on the ground with a towel over my face; I had just done my exercises --who cares if you have pneumonia-- and my father came in and said, 'I have to talk to you.' And I said, 'if it's about business, I don't want to talk about it right now.' And he walks over and looks down at me and goes... he went to say something, and I said 'Dad, I'm sick' and he said, 'I don't care. Nobody cares, Stevie. They've paid their money. So either get well or go home.' And of course, this kind of an attitude to me is like, well, I'm absolutely fine, you know? And I'm instantly well."
~Stevie Nicks, Off the Record with Mary Turner, 1986

"I wrote it [Rock a Little] about when I moved into that place... you know, I'm afraid of the earthquake. And, my place would shake... you know, when the waves would hit, and it was like, half a block to the beach, and it was straight sand from the end of my place to the water. But the water would hit so hard that it would shake my apartment. And my bed was like, a little platform built to the floor with a matress on it, right? So when my house shook, my ribs shook. And it would scare me. And I would think, 'this is it, this is the big EQ.' And I finally had to realize the difference between what was the water and what was possibly the earthquake. And so Rock a Little says 'sometimes it rages/rock a little/just like the sea.' Rock a little means perseverance. Rock a little means rock a *little* all the time. If you rock *out*, you may not rock any more."
~Stevie Nicks, Off the Record with Mary Turner, 1986

"The Other Side of the Mirror came from…well first it was going to be Mirror Mirror, that was going to the name of Rock a Little. And then, because the song Mirror Mirror didn't end up going on the record because I didn't like the way it turned out, I changed it to Rock a Little because Rock a Little became the lead song."
~Stevie Nicks, Atlantic Records video interview, 1989

SISTER HONEY

(Regarding "Sister Honey") "Les Dudek and I wrote this song and it was inspired by us. He just started playing those chords and just went, 'Alright, baby!' and it was written. He's playing live, though, in my living room. He's playing not only live, but loud! I mean, the entire canyon is ringing with 'Sister Honey', you know. It's like, I can't believe that the people aren't trying to burn down our house, you know. Because he's really playing loud, and I'm going, you know, 'Those parts are all really loud!' It's like, I'm screaming, you know. And once again, you get that sparkle. And you're standing in a room with somebody that's playing great and they're not really paying a hell of a lot of attention to you because they're playing their thing, you know, and you're just standing there trying to sing something that even gets there or anybody else's attention. And so yeah, you just draw back and go, 'Okay, I'm gonna blow your mind now.'"
~Stevie Nicks, 1986

"I wrote a song with Les Dudek called Sister Honey. Which was probably one of the most fun two months of my life... it was the closest I've been back to the same environment that Lindsey and I were in. Les sort of just parked his Harley Davidson outside our house, and like, became a part of my family. He just became a part of my family, you know, everyone loved him to death.And he just lived there, and we worked all night and all day for about seven weeks. And he played *loud* rock and roll, *raucous* loud rock and roll guitar, and we sang *loud*, the entire canyon was ringing with this song. And I love nothing better than to be in the company of a great guitar player. It's the only time when I'm calm, and I think it's because of living all those years with Lindsey. And all he ever did was play guitar. Acoustic guitar, electric guitar, not plugged in, sound off on the television. And I *had* to learn to cool out and be calm when that was going on, or get out. And so when in the studio, here,or anywhere, the *only* time really when I am completely calm is when a guitar player is working on a part. Very strange."
~Stevie Nicks, Off the Record with Mary Turner, 1986

I SING FOR THE THINGS

(Regarding "I Sing For the Things") "We've already got too many of each of those (material) things. That's what I hate. I love having my favorite skirt and my favorite boots and my favorite jacket, you know? And when I start having a bunch of neat things, like several things that aren't nearly as neat as your favorite but similar, you know? I can't choose. It's like Sophie's Choice. I can't make a choice, and that makes me want to run away and not bother with it. I just don't even want to go."
~Stevie Nicks, 1986

"You say I have everything, but I'm living on dreams and chains. I sing for the things money can't buy... means, well that's about Fleetwood Mac, you know? You say that you've given me everything, and you say that I have everything, so I should be the most happiest person in the world. Why am I not the most happiest person in the world? Because I'm living on Fleetwood Mac and dreams and chains. You know, I can still hear you saying you would never break the chain. If you don't love me now, you will never love me again. Threat. Dreams and chains. I have my dreams and I'm chained to the ground. Fleetwood Mac will always have the potential to be great. With Fleetwood Mac, it just depends on whether or not they feel like being great or not. And they'll never change. If you're living on dreams and chains, you know... you deal with it."
~Stevie Nicks, 1986

[What are the things money can't buy?] "Going into a studio and having really a lot of fun over a period of six, seven, or eight hours, instead of going into the studio for 20 hours and having, like, a psychological encounter group meeting, where, like, they used to do in college, where you'd meet and somewhere for three days and by the time you all left, you were, like, hysterical."
~Stevie Nicks, Off the Record with Mary Turner, 1986

SOME BECOME STRANGERS

(Regarding "Some Become Strangers") "The thing is, is that you see, in that, I experienced that very day that this friend of mine from New York sent me, federal expressed me a tape of 'Stranger', and 'Talk To Me' and I got about three songs in about a couple of days that just sort of drifted into my life. And I put them on and there was like a bunch of Rolling Stones songs on there and a bunch of like, raucous, raucous, raucous rock and roll that makes me feel like I'm old. It's like, 'Turn that down!', you know. And all of a sudden, a song comes on that's not mine and I immediately sit down and go, 'I love that song.' And it doesn't make one bit of difference that I wrote it at that point because it simply saved me from having to sit down and write it."
~Stevie Nicks, 1986

TALK TO ME

"It made itself my song. It did sort of sing to me. It said to me something that I was going to write anyway that night. So, it became my song because it was exactly my thoughts."
~Stevie Nicks, 1986

"You should talk to me. There even are points where you and I really could talk, but you even mess up those points. You don't even open up to me, you know, on the riviera in France, if I'd ever been there, under the gorgeous moonlit sky and the stars and the boats and the couple of shots of brandy, and you don't even open up to me then."
~Stevie Nicks, 1986

"Inspired by Jim Keltner, Chas Sandford, and Jimmy Iovine

This was a hard song to sing, but I had loved "Missing You" (co-written by Chas Sandford and John Waite), and I loved the words to "Talk To Me." It took a long time to finish it though, because I couldn't quite get the right feeling on it... until one night, Jim Keltner came in to do some drum overdubs; and then he stayed to be an audience... to push me a little, to make me get a great vocal. So I had someone to sing to, and I got the vocal... I put some tambourine on it, and it was finished forevermore.
That was one of my unforgettable moments.
I'll not soon...
forget it."
~Stevie Nicks, Timespace liner notes, 1991

"This was a hard song to sing but I had loved "Missing You" (co-written by Chas Sanford with John Waite.) But I loved the words and melody so I decided that in my heart I could interpret it the way it should be interpreted. I was never sorry."
~Stevie Nicks, Timespace tourbook, 1991

THE NIGHTMARE

"For me, this was the final statement of how I really felt about real, unconditional love. It's like, as a woman, you know, if you give out the vibe, then people will... they'll ask you out or they'll flirt with you or they'll try to get close to you or something. But boy, when you are in love with somebody, and you're really in love with them, nobody comes near you. Because you just don't flaunt anything. You don't offer out, you know, it's like you're very prim and you're very nice and you're very friendly, and you know, you just don't hug everybody and you don't let everybody kiss you, and you know, you don't like to really basically be mauled. And so, in 'The Nightmare', it really says, you know - I stood with you against the storm and I tried once again. And the fact is, no... it didn't work. But the fact is, I wouldn't trade a second of it because I'll never again settle for anything that is any less than that feeling."
~Stevie Nicks, Jim Ladd, 1986

IF I WERE YOU

"What this meant to me was, sometimes, if you will just listen to somebody... it might just change your life forever. And it's only gonna take you a couple of minutes to listen. And I thought that this was a real important thing for everybody to remember, was that, if somebody really needs to tell you something or talk to you, you just don't know. And you should always give it a chance because for a single moment of inspiration, because there are so few real moments of inspiration, that if that gives you a single moment of inspiration, you should go for it."
~Stevie Nicks, 1986

HAS ANYONE EVER WRITTEN ANYTHING FOR YOU

"To be totally dancing around the subject, of course I wrote it for every person, because I always write my songs for everyone, but... yes, it was written for one person and it was written as a song for somebody that had written a song for somebody else. And it was like, 'Okay, you wrote this for that person. Now I'm gonna write this for you.'"
~Stevie Nicks, 1986

(Regarding the line, "Poets, Priests of Nothing, Legends") "It means all of the rock and roll stars in the world that I know. They're all poets and they're all priests of nothing and they're all legends. It's like, they are poets. But they don't push themselves to their limits. 'Priests of nothing' means they don't try hard enough. They don't do with what they have what I feel they could do. And so whenever I get involved with any of them, I tend to become like their manager and their agent. You know, 'Why don't we get out your piano and plug it in and write a song or something? Or arrange this for me.' It's like, I even know that if I could even just get them to the piano, if I could just lure them with a glass of wine and some carrots and stuff and just like get them to the piano, that they'll be home free and so will I because I'll get to stand there and watch them be brilliant, and probably write something, and they will be knocked out because they're doing what they do, and they forget that have a job, you know. I'm not a priest of nothing. I'm a priestess of way too much. My problem is the other extreme. It's like, 'How many rooms can she clean? How many hospitals can she visit? Children can she take care of? Meals can she cook? Shows can she do? Fittings can she go for? Make-up hours?' You know, it's like I try to fit the impossible into twenty-four hours. And all of the poets, the priests of nothing - they're sleeping."
~Stevie Nicks, 1986

"[On the Timespace album liner notes] I put 'best of' on it, but it's really my favorite songs, my 'space in time,' the personal hits in my heart. I figured if I was going to pull them out, it was time to explain why they were written. So I typed two pages about every song, what experience caused me to write it. I tried to read Has Anyone Ever Written Anything About You to my parents, and we all choked up---my father, who will not shed a tear, walked out of the room to compose himself."
~Stevie Nicks, The Denver Post, August 1991

"Written for Joe Walsh
Inspired by Joe Walsh

I guess in very few rare cases... some people find someone that they fall in love with the very first time they see them... from across the room, from a million miles away. Some people call it love at first sight, and of course, I never believed in that until... that night... I walked into a party after a gig at the hotel, and from across the room, without my glasses... I saw this man... and I walked straight to him... He held out his hands to me, and I walked straight into them. I remember thinking, I can never be far from this person again... he is my soul. He seemed to be in a lot of pain, though he hid it well. But finally, a few days later, (we were in Denver), he rented a jeep and drove me up into the snow covered hills of Colorado... for about two hours... He wouldn't tell me where we were going... but he did tell me a story of a little daughter that he had lost. To Joe, she was much more than a child... she was three and a half... and she could relate to him...

I guess I had been complaining about a lot of thing going on on the road, and he decided to make me aware of how unimportant my problems were, if they were compared to worse sorrows. So he told me that he had taken his little girl to this magic park whenever he could, and the only thing she EVER complained about was that she was too little to reach up to the drinking fountain. As we drove up to this beautiful park, (it was snowing a little bit), he came around to open my door and help me down, and when I looked up, I saw the park... his baby's park, and I burst into tears saying, "You built a drinking fountain for her, didn't you?" I was right, under a huge beautiful hanging tree, was a tiny silver drinking fountain... I left Joe to get to it, and on it, it said, dedicated to HER and all the others who were to small to get a drink.

So he wrote a song for her, and I wrote a song for him... "This is your song..." I said... to the people... but it was Joe's song. Thank you, Joe, for the most committed song I ever wrote... But more than that, thank you for inspiring me in so many ways. Nothing in my life ever seems as dark anymore, since we took that drive.

"If not for me then, do it for the world...
If not for me then, do it for yourself..."
I want you to remember... me...
"Poet... Priest of nothing... LEGEND..."
~Stevie Nicks Timespace liner notes, 1991

"So we took a drive up into the mountains of Colorado, and he told me his story. He had writtena song for his baby that he had lost, and I wrote a song for the both of them. My life changed that day. I told the public it was theirs and mine, but it never was, it was my Joe's song, and I would never, ever be the same..."
~Stevie Nicks, Timespace tourbook, 1991

"Has Anyone Ever Written Anything For You. Probably um, in my own way this is probably my most intense song. What happened with this song is uh, I was, we went on the Wild Heart Tour in like, I guess it was 1984, something like that. Joe Walsh was opening for me and we became friends. And I was very uptight about something that was going on and, I don't even remember what it was. But Joe felt that is was important in the scheme of our lives to tell me a story that would make me rise above all of it.

And so, we were in Denver and he rented a jeep and he drove me up to Boulder, which is like an hour and a half, and told me this story on the way of a little girl that was killed in an accident in the morning on her way to nursery school. His little girl, in Boulder. And he kinda drove up to this park and I knew something, I knew he was gonna show me something that was gonna freak me out 'cause I was already totally upset by the time we got to Boulder. And we walked across this park and there was this little silver drinking fountain, and it said uh, 'To Emma Christen, for all those who can't, or aren't big enough to get a drink.'

And something about this story touched me so deeply that I went home to me house in Phoenix, I got out of the car, I walked into the front entryway, where my Bosendorfer piano is, I sat down at the piano and I wrote this song. And I wrote it in about five minutes, the whole thing. So that is what this song is about."
~Stevie Nicks, VH1 Storytellers, 1998