[On how The Wild Heart differs from Bella Donna] “It’s like Bella Donna’s heart is wild all of a sudden. It has that James Dean/Natalie Wood feeling to it. It’s just Bella Donna a little more reckless. She’s just more sure of herself now, so she’s taking a few more chances. I’m very pleased with the album because there are no holds barred on it. It’s real strong and emotional.
— Stevie Nicks, Rock Magazine 1983


"The song 'The Wild Heart' is really kind of an abstract song because I decided to call this record The Wild Heart before Bella Donna came out. Wild Heart, the "where is the reason, don't blame it on me," that was written in New York, at the same time Enchanted was written. A long, long time ago. Right at the time that Bella Donna came out. The verses 'something in my heart died last night/one more chip on an already broken heart/I think the heart died, broke long ago/that's when I needed you.' The second verse, 'I run around like a spirit in flight/fearlessness is fearlessness/I will not forget this night/dare my wild heart.' That was written a good year later. Probably what I'm saying, "one more chip in an already broken heart/that's when I needed you' is probably saying that some of the love that I probably search for always was what I needed a long time ago, probably when Lindsey and I were in love. That's when I need to know it was all right. That's when nobody told me. And so that's I think what the 'one more chip in an already...'cause that came out very quickly. I mean, I went to my piano at noon with a glass of wine and I was really unhappy, turned on my tape. And I sat down and started playing this thing... Sharon, you were there. And I said to Sharon, I started playing this thing on a piano... I wish I had a piano to show you... it goes [hums Wild Heart] 'Something in my heart died last night/It's one more chip off an already broken heart/I think the heart broke long ago/That's when I needed you.' I turned around to Sharon and I said, it's noon, mind you. I hadn't been to bed, and I said, 'Sharon, this is the verse of the Wild Heart."
~Stevie Nicks, Jim Ladd Innerview, 1983

"When I say wild in the darkest places of your mind, I mean the things that you think about in the wildest places of your mind that you don't ever tell anybody about. Only the children lie hopelessly enchanted. That's the way we are, hopelessly enchanted. Wild in the darkest places of your mind. Don't blame it on me, blame it on my wild heart. Yeah, that's those places that many people don't even have, but you see, my audience has it."
~Stevie Nicks, Jim Ladd Innerview, 1983

"In Wild Heart it says 'not even you can tear us apart/you say you don't even know how to start.' You know what that means? That means when someone looks at you and kind of pushes you up against the wall and says, 'you say you're leaving me? Well, I'm telling you, you don't even know how to *start* to leave me.' And that's kind of how Fleetwood Mac is. It's like, you know, I quit every day, I join back up every day. It's one more link in the chain."
~Stevie Nicks, Jim Ladd Innerview, 1983

[The title track the Wild Heart says] 'don't blame it on me, blame it on my wildness.' It's real black-hearted; it has an air about it that's so intense that it just wrenches your heart."
~Stevie Nicks, interview, 1983

"The Wild Heart... that song is a demo, recorded in Dallas with my songwriter friend Sandy [Stewart] and a kid named Brad who's incredible, and the three of us girls sing it live; and it's the title track of the album, and certainly nobody, not one of us, ever believed that this would see the light of day. But I said, if this record is going to be called The Wild Heart, then the Wild Heart song has to be a killer, or I'll have to change the title... but Wild Heart is wild and it's exactly what I wanted it to be: the Wild Heart is all the darkest places of your mind; it's a real intense song. I played it for Tom Petty and he said, 'this is an epic', and that's just what it is, the real story of what we all go through, everybody... of how wild our hearts really are, and we can't help it; because this is just the way it is."
~Stevie Nicks, The Wild Heart Press Kit, 1983

" The [title of the song] Wild Heart probably came - I don't know where it came from - it just came out of the air, but before Bella Donna. [Singing] 'Something in my heart died last night--' that was all written January, February of, I don't know, last year when I first moved into my horrifyingly bad, awful, terrible house in the Pacific Palisades. That, and I was all alone with no phones and like a mountain woman, you know... no fire, no heat, no cooling, and alone right after the Bella Donna tour. So I freaked out and wrote Sable on Blond and the verses to Wild Heart. Me and my piano."
~Stevie Nicks, WBCN Boston radio interview, July 1983

"It was born in New York, and it's just intense, 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 and 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..."
~Stevie Nicks, The Wild Heart Press Kit, 1983


"This is the first song that I wrote with Sandy [Stewart]. 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 in my bathroom, put it on my stereo, plug in my other 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."
~Stevie Nicks, Wild Heart press release, 1983

"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. 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 have 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 him. 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 beside 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, you have won the game..."
~Stevie Nicks, Timespace liner notes, 1991

"I wrote this song about Mr. Waddy Wachtel-- who I have always felt was the twin that we all have somewhere. It is to my great sorrow that he is no longer with me, but it is to my great joy that I had him as long as I did-- some people are simply irreplaceable."
~Stevie Nicks, Timespace tourbook, 1991


"It's all in my diary, 'what are they gonna ask me about this song?' 'Cause I don't know what "Gate and Garden" is about... I guess it's my idea of 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."
~Stevie Nicks, The Wild Heart press release, 1983


"We wrote it last summer on the way from New York City to Quoque on Long Island. I mean we wrote it in the car, in the limousine. We heard the instrumental part out of the speakers, and we hooked up our TCD-5, which is the saviour of our singing lives. So we sang and recorded and by the time we got there the song was written. Constructive traveling, I call it."
~Stevie Nicks, Wild Heart press release, 1983


"This song does extend from Edge of Seventeen; 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."
~Stevie Nicks, Wild Heart Press Kit, 1983

"Robin had the worst leukemia UCLA Medical Center had ever seen. Robin was sicker than you could believe. And Robin didn't have any time. So, it's like, the song is really about the fact that it's very hard to be a rock 'n' roll singer. It's Sharon Celani, Sandy Stewart, Lori Perry and Stevie Nicks. It's the ones who sing at night, the ones that you dream of because we don't have any time."
~Stevie Nicks, Jim Ladd Innerview, 1983

"I spent about 3 hours the other, a couple of days ago, in my bathroom with the [Wild Heart] album, just reading it, you know, in the middle of the night by myself, just reading every little word, going, 'it's real.' And, I thought, you know, the dedication to Robin... her strength, you know. Uh, maybe, maybe Nightbird, you know, will inspire somebody. Maybe it will, maybe it will inspire somebody else to go and do some research. Maybe it will make somebody be a doctor. You know, maybe some kid will go I'm gonna do cancer research and I'm gonna beat leukemia. That's what I hope that maybe Sandy [Stewart] and I did with Nightbird."
~Stevie Nicks, Jim Ladd Innerview, 1983


"Right after I got married, I heard this wonderful song Prince had done called "Little Red Corvette", 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 went and 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 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 'Billie Jean Is Not My Lover' played on this... anyway, 'Stand Back' became 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."
~Stevie Nicks, Wild Heart press release, 1983

"I got married the day I wrote this song. We were driving to Santa Barbara and a new song by Prince came on, so we pulled over somewhere and got the tape. It just gave me an incredible idea, so I spent many hours that night writing a song about some kind of crazy argument, and it was to become one of the most important of my songs. I've been doing this song for years, Fleetwood Mac does it also, and I never get tired of it. 'Stand Back' has always been my favorite song onstage, because... when it starts, it has an energy that comes from somewhere unknown... and it seems to have no timespace. I've never quite understood this sound.... but I have NEVER questioned it.
I become a different person, and I like that, because usually I make up my OWN characters... but the lady in 'Stand Back' was not my idea. By the way, Prince did come into the studio the night I called him and told him about the song, and he played incredible synthesizer on it... and then he just walked out of my life, and I didn't see him for a long time.
It was extraordinary..."
~Stevie Nicks, Timespace Liner Notes, 1991

"Standback comes from a place unknown even to me. A hush surrounded it from the very beginning... and a feeling that it had always been was there from the first. 'Standback' lives in it's own timespace. It never belonged to me, it has always belonged to the world... and to Prince, who inspired the entire song."
~Stevie Nicks, Timespace Tourbook, 1991

"Stand Back was inspired by Prince, by Little Red Corvette, which, if you really listen carefully, you can sing Stand Back along to Little Red Corvette, and you can sing Little Red Corvette along to Stand Back. So, I gave him half of the song though, for that inspiration. That is, and always remains, my favorite song onstage to this day, and I've probably performed Stand Back-- Fleetwood Mac even did Stand Back on two different tours. So then, I *always* do it on mine, so that means that since the day it came out, it has been performed in concert every time, either me or Fleetwood Mac went out [on tour]. So there's something very exciting about Stand Back... when those drums start, you know, when it comes on the radio, I know it, I can hear it from, like, miles. And I know that it's my song."
~Stevie Nicks, Mark and Brian show, 12-94

"I phoned Prince out of the blue, hummed a melody, and he listened," says Nicks of the latter hit's gestation. "I hung up, and he came over within the hour. He listened again, and I said, 'Do you hate it?' He said, 'No,' and walked over to the synthesizers that were set up, was absolutely brilliant for about twenty five minutes, and then left. He was so uncanny, so wild, he spoiled me for every band I've ever had because nobody can exactly re-create - not even with two piano players-what Prince did all by his little self."
~Stevie Nicks, Rock Lives, by Timothy White, 1991

"I said to him on the phone, 'Prince - you little prince, you - you little sweet thing, you... I said 'listen, I did this song, and it's like, similar to [Little Red Corvette] and I want you to have half of it. And could you come down and play electric piano on it?' And he said, 'Okay' and I didn't believe he would come down, and he did. So he walked in and he played two incredible parts and then he kind of walked out... and that was it." M&B: "He didn't ask you out or anything?" Stevie: "Well..." (laughs) M&B: "Alright, Prince!"
~Stevie Nicks, Mark & Brian show, 12-94

"Stand Back is a favorite because it's a lot of fun, it's a lot of fun and it's a dancing song... I mean, it's like even for me it's like you know, hearing when it starts out, I almost feel like I 'm hearing it coming out of a club or something, so that's why it's so much fun."
~Stevie Nicks, Radio Interview, WMGK Radio, July 1998

"I can't even really tell you what Stand Back is about. Stand Back's kinda about more than one thing. There was a lot going on when Stand Back was written so it kinda pulled together all the things that were happening so it wasn't about one thing. It was written very quickly and I really did hum along to Little Red Corvette. And of course, now you can go home and do it too. If you search you will be able to find it. So, it was kinda more built around that whole thing, you know? Stand Back and Dreams are my two favorite songs to perform on stage."
~Stevie Nicks, Jim Ladd Innerview, 1998

[On what the lyrics You'll be standing in a line mean] "To be standing in a line, like a welfare line... to be standing in a line waiting to get money or something, to be standing in a line waiting... you'll be standing in a line. It was another angry song!" (laughs)
~Stevie Nicks, Jim Ladd Innerview, 1998

"The story of Stand Back. [audience cheers wildly] Many years ago, like in the beginning of the 1980s, I got married. And my husband Kim and I were driving from Los Angeles to Santa Barbara for our honeymoon. And we heard this incredible Prince song called Little Red Corvette, and we were SO knocked out at this song, so we pulled over and we got it, and I just kind of hummed this song along to it. It's very, very different-- you'll try it, you'll all go home and try this-- [audience laughs] you'll have to find where it fits in, but it was perfectly in there... and we got to the hotel, or wherever we went, and we recorded it. And like, it was a song, it was done. And, also, to add, that when I went in to record it, we were in the middle of recording it, and I thought, 'well, you know what, I could just call Prince and tell him this.' And somebody got me his number, and that's not an easy thing to do [audience laughs] and we contacted him. I was at Sunset Sound in Los Angeles, we contacted him and he called me back, he called me right back, and I kinda told him the story; I said I kinda hummed along this song and now I'm at Sunset Sound, and how do you feel about that, and 20 minutes later, he roared into the parking lot, and came in, listened to the song, you know, very cool, very quiet, and he said 'ok' and I said 'do you hate it?' and he said 'no, it's ok, it's cool.' And they set up an OB8 for him, and he played the opening bars, [hums them] the sixteenth note thing, he did it, like, one time, and then he went to the middle part where it goes, [hums it] he did that, he finished it, he said goodbye, and he kind of walked out of my life. [audience laughs and applauds] So that's my Prince story... and it's also my story of Stand Back."
~Stevie Nicks, VH1 Storytellers, 1998


"I don't really know why Tom wrote this song for me 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 real 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."
~Stevie Nicks, Wild Heart press release, 1983

(Regarding "I Will Run To You" w/Tom Petty) "He actually wrote 'I Will Run To You' for me. Tom is really my good friend. I wrote something about this last night. I wrote all night last night. I haven't written in months. And I said, 'I think Tom is finally believing in this friendship.' Because he can't, you know, I've stuffed this friendship down his throat to the point of, he can't turn away. I mean, it's like, I drop by. And I don't leave for nine hours! You know, it's like, he knows that I couldn't be faking. So it's like, I think finally, Tom Petty had realized that Stevie Nicks wants to sing with him. Tom and me can sit here and sing, which we have, we can sing any song you want us to sing. We can sing, first of all, all of his songs because I know them all. And Tom will say to you, 'She should go on the road and sing my songs, and I should stay home.' Because I am great interpreter for Tom Petty. I can take his songs and I can interpret them. And I love to interpret them. Because I think that he's great. So it's like, I'm a fan, you know. I am a Heartbreaker fan. Are we fans or what? And this ias very wonderful. He played this song for me on the guitar and sang it. He sat down with a guitar, now this man was nervous. And he played this for me, and I said, 'I love it! It's beautiful!' And it's like, Tom, you know, right? 'You do? You do like it?'"
~Stevie Nicks, 1983


"This is another song that Sandy [Stewart] wrote the track for. When I'm writing I'll go and drag out 500 pages of lyrics and take a word from here, a line from there, a verse from here... and it really doesn't 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."
~Stevie Nicks, Wild Heart press release, 1983

[On Nothing Ever Changes] "First of all, I heard the track, and sang and recorded it on the TCD-5 in my home, and then it went, like, immediately to the studio and was recorded. Um.. this was an easy song to write, 'cause I was in a real cynical mood... this is the only real cynical song on the whole album."
~Stevie Nicks, WBCN Boston interview, 1983


"I wrote this when I came off the Bella Donna tour, one of the most exhilarating and beautiful experiences I've ever had. And I moved into my new dream house but it was more of a nightmare because it was cold and empty; I only had my piano, there were no phones and I was all alone, freezing, with nothing. It was like going from heaven straight to hell without even stopping off for a burger on the way. I was devestated. I moved into my closet with my quilt and pillows and my writing stuff; my clothes were hanging in my face and I took my little stereo in there and that's where I lived. But the song really is about learning to live with Stevie, learn to be a stranger, learn to live in silence, learn not to call on everybody else to get you out of everything or make everybody else pay for what you're going through, because you've chosen this life. Like Arthur learned with Excalibur, you do not ever call on your most precious magic unless you are literally out of other choices."
~Stevie Nicks, Wild Heart press release, 1983

"Sable on Blond is my serious statement on The Wild Heart. It fits into a particular group of my songs; Rhiannon, Beautiful Child and Sara. It reflects the mood I was in when I moved into my new house last year. It was a time when I was learning how to live with myself. Sable on Blond meant to learn how to be a stranger, to learn to be with yourself, to learn to be one color. In the legend of Excalibur, the sword is there for protection, but you don't call upon it unless it's absolutely necessary. During that period in my life, I was learning how not to call on the sword."
~Stevie Nicks, Rock Magazine 1983

" 'Learn to be a stranger/blonde on blonde/' is learn to live with yourself; in other words, one color-- blonde on blonde. Um, you know, you can't live with anybody else until you learn to live with yourself. 'In silence she says Excalibur' is in the story, when Arthur says don't call on the sword unless it's your last chance, and you have no other choice, you have to call on the sword. But if you call on it and it's too soon, then it breaks, and you're left. So, this says learn to depend on yourself before you ever ask for that kind of special extra help."
~Stevie Nicks, WBCN Boston, 1983

[On living alone and the line 'Have you come to see/that my face is not seen/outside my frost covered window'] "Have you come to check up on me, to see that I don't leave my house."
~Stevie Nicks, WBCN Boston, 1983


"This is a song I wrote after the second screening of Beauty and the Beast. Of which I'm going to buy a copy if it costs me a thousand dollars because it is... so fabulous." [One of the musicians asks her, "Did you see the one with George C. Scott in it?" Stevie replies] 'No I saw the one with, who was it... we don't even know, it's French; it's all in French subtitles, it's incredible, it couldn't possibly be... I mean, there's something in it that is just so real that it's kinda scary, but the story of the Beauty and the Beast is so incredible because he's so ugly but he's so good, and he's so kind and he has her to pay back a debt from her father. But when she goes back to all her gay fun friends, you know, and she keeps... she'll look in the mirror and she'll see his face, and he's just like, I'll grieve if you don't come back; I'll die.

You just, in your own life you think... boy, you can have all the riches, and this and that, and the world, but if you don't have the look of that in someone else's eyes... forget it, it's not happening. And she rushes home to get him and she's going, 'my bete, my bete, where are you, ya know, and she's searching & she's searching and he's laying on the ground dying. And he said, 'a beast can only die', a man could fight but the poor beast can only die. It killed me... anyway... I'll get it up here again and when I do I'll call you. So I saw it once and I was knocked out with the photography... the candle holdings that were real hands that would point... oh, it was so weird, the fireplace with the two heads on each side where the guys were like, were real and they'd go- [silence, someone in the background gasps.] "Oh, it's incredible. Isn't it, Tom? [Tom replies, "Yeah, it was pretty good"] "It's so strange. The only part we didn't like, the end we thought it fell apart a little bit. But all of it until the last 3 minutes were just... incredible. I mean, the fairy tale of all fairy tales. I didn't even remember the story. So I was totally blitzed out 'cause I expected some, dumb unpleasant show. So this is a story and in this song both people are switching back and forth in the roles of Beauty and the Beast because in true life, you know, if you're going with someone, whether you're the man or the woman, you are the Beauty and you are the Beast sometimes... because, you just are, you know."
~Stevie Nicks, Tom Petty, and friends before recording the 17-minute demo of the song

"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, real simple, and that's hard for a good pianist to 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."
~Stevie Nicks, Wild Heart Press Kit, 1983

"We videoed Beauty and the Beast. It's a live take. The voice and the orchestra ...is live. The girls went in right after we finished, three hours later, and put their beautiful harmonies on it and we were done."
~Stevie Nicks, Jim Ladd Innerview, 1983

"Many years ago... I'll just share this little tiny story with you. I know I'll be shot down in flames, but I want to tell you this so I don't care. Many years ago we came and played Dallas... Fleetwood Mac. Mick's dad was dying of cancer and he had to fly there, get there right after the Dallas show within 45 minutes before Mike died... and so I went to Gordon's studio and I recorded Beauty and the Beast here. And this song kind of went down in the history of the scheme of my life... and when I die, there will be a few moments that I will remember and that was one of them, in this little church recording studio where we recorded Beauty and the Beast. Everybody has to remember how special everybody is... and this is the story of Beauty and the Beast... how special we are to each other... You let me into your life here. Thank you very much. Read the story of Beauty and the Beast if you can."
~Stevie Nicks before performing live in Dallas, TX 9-5-83

"This is the story of a man who is a prince who gets turned into a beast, and in order to be turned back into the prince… into the man… he has to find somebody that likes him because he's just wonderful, not because he's really kind of unattractive and a beast. So this is the story of the beast and his search for his beauty."
~Stevie Nicks before performing live at the City of Hope Benefit in Tempe, AZ 9-25-83

"Written for Mick Fleetwood

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 timel we all wore long black dresses, and served champagne, and recorded 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."
~Stevie Nicks, Timespace liner notes, 1991

"This was inspired by the Jean Cocteau movie from the '30s. When I first saw it, the story itself was happening in my life-- my beast was slipping away from me... my heart was breaking, but I learned something that became a difficult lesson-- you are not always the beast, and many times you are not the beauty... remember this."
~Stevie Nicks, Timespace tourbook, 1991