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Speaker 1: Welcome to Rolling Stones five hundred Greatest Songs, a podcast

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Speaker 1: based on Rolling Stones hugely popular, influential, and sometimes controversial list.

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Speaker 1: I'm Britney Spanos and.

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Speaker 2: I'm Rob Sheffield. We're here to shed light on the

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Speaker 2: greatest songs ever made and discover what makes them so great.

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Speaker 1: So this podcast is based off of the twenty twenty

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Speaker 1: one list. There are three versions of the lists that exist.

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Speaker 1: There's the two thousand four list, the original one, the

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Speaker 1: twenty ten update of the list, and then of course

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Speaker 1: in twenty twenty one.

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Speaker 3: We redid it completely and revamped it.

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Speaker 1: And this podcast is going to have us talking about

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Speaker 1: a different song each week that we enjoy talking about,

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Speaker 1: and then we're excited to talk about I mean, Rob,

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Speaker 1: what do you remember about the two thousand and four list,

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Speaker 1: because we are going to be talking a lot about

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Speaker 1: the changes between the list as they exist and the

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Speaker 1: two kind of canonical lists and what's changed since the

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Speaker 1: original one. So what do you remember about the kind

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Speaker 1: of process and the voting that happened for two thousand

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Speaker 1: and four?

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Speaker 2: Well, because the different versions of the list have involved

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Speaker 2: hundreds of voters, but different pools of voters each time.

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Speaker 2: Shout out to Ark Garfunkel, who voted in every version

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Speaker 2: of the list, and Aaron Neville. They are the absolute

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Speaker 2: MVPs of all Rolling Stone Greatest Things lists because they

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Speaker 2: voted in the different versions of them. But the two

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Speaker 2: thousand and four to one it was totally new, and

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Speaker 2: there were so many surprises in terms of what came

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Speaker 2: out on top. And in twenty twenty it was really

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Speaker 2: interesting to see that there was so much change in

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Speaker 2: terms of songs that were around all these years, but

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Speaker 2: some songs had gotten this whole new afterlife, this whole

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Speaker 2: new mystique years after the fact.

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Speaker 1: How did you think of voting and is it different

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Speaker 1: between how you voted for the two thousand and four

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Speaker 1: list in the twenty twenty one list.

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Speaker 2: Yes, I voted in the different versions of the poll.

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Speaker 2: When I was voting in two thousand and four, I

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Speaker 2: was trying to be more sort of well rounded orally,

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Speaker 2: and this time I was more Now I'm stuffing the

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Speaker 2: ballot box for my personal faves. My number one the

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Speaker 2: first time I voted in two thousand and four was

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Speaker 2: Common People, the classic nineteen ninety five song by Pulp,

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Speaker 2: And this time that was number two on my list. Yeah,

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Speaker 2: It was replaced by a Taylor Swift song involving a

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Speaker 2: scarf that was number one on my twenty twenty list.

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Speaker 2: A lot of the songs were the same on my ballot.

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Speaker 2: But it's weird how some songs change for you personally

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Speaker 2: over time, that you can spend your whole life listening

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Speaker 2: to a song and it's meaning for you changes, it

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Speaker 2: grows or shrinks. But very interesting to see that happen

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Speaker 2: with so many different people over the years.

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Speaker 1: Yeah, I think I learned so much about music, and

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Speaker 1: like I used the albums and the songs list the

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Speaker 1: original one sort of as a jumping board for me

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Speaker 1: in terms of music history, and so it was really

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Speaker 1: fun to vote for the first time in the twenty

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Speaker 1: twenty one one.

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Speaker 3: But yeah, I feel like I ended up.

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Speaker 1: I went back and forth between like, here are songs

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Speaker 1: that you know are just like obviously very great, and

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Speaker 1: like are the canon or whatever, but also it's like,

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Speaker 1: here are songs that I really love and I think

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Speaker 1: deserve to be uplifted on the list as well. So

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Speaker 1: it mind's very like pop and dance heavy.

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Speaker 2: Your list is amazing. What was at the top of

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Speaker 2: your list?

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Speaker 1: Dancy on my own Robin, I think it is the

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Speaker 1: most influential song of the last I guess thirteen years.

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Speaker 1: So and then yeah, I think my number two is

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Speaker 1: believed by Share again, very influential, and I just want

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Speaker 1: to see Share on the list.

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Speaker 3: So it's very.

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Speaker 1: Important for me to just stuff the ballance and make

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Speaker 1: sure that song was high. But yeah, so I feel

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Speaker 1: like I ended up going for a lot of pop

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Speaker 1: songs because that was so there aren't as many kind

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Speaker 1: of like dance pop moments on the original list, and

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Speaker 1: I think in terms of the canon, you know, those

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Speaker 1: songs are getting more respect as time goes on and

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Speaker 1: sort of seen as as properly influential as they deserve

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Speaker 1: to be. Absolutely, so, we have a song that we

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Speaker 1: really love that.

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Speaker 2: This is a song that you know is very near

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Speaker 2: and dear to both of our hearts.

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Speaker 1: Yeah, very very important to our personal listening habits, and

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Speaker 1: just a band that we love so much, sung by

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Speaker 1: someone that we.

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Speaker 3: Love so much.

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Speaker 1: And to kick off the entire podcast, we're going to

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Speaker 1: be talking about Dreams by Fleetwood Mac And this song

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Speaker 1: was not on the original list. Actually, the song did

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Speaker 1: not make the two thousand and four list. It did

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Speaker 1: not make the two thousand and ten list, but it

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Speaker 1: ranked at number nine on the twenty twenty one list.

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Speaker 1: It is the highest placement of a song that was

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Speaker 1: not on the original list, and it came in the

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Speaker 1: top ten, which is like a pre big debut for

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Speaker 1: this song. And it was released in nineteen seventy seven.

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Speaker 1: It was on the album Rumors. Of course, this was

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Speaker 1: a very dramatic recording process, writing process of an album.

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Speaker 1: There were multiple breakups going on. Steven Knicks of Lindsay

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Speaker 1: Buckingham were breaking up. John and Christine mcviee were divorcing.

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Speaker 1: Mick Fleetwood and his wife were divorcing. Everyone was just said,

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Speaker 1: and well, you.

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Speaker 2: Know, it's not like Mcfleetwood divorced his wife and then

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Speaker 2: started having an affair with Steven that began at the

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Speaker 2: Rolling Stone cover shoot. Yeah, for the story on Rumors,

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Speaker 2: everything about the Fleetwood Max story, the Fleetwood Mac myth

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Speaker 2: everything about it so melodramatic in every detail. And yet

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Speaker 2: Dreams is a song that has kind of come to

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Speaker 2: symbolize all that drama, all that mythology, and it's wild

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Speaker 2: because again we were talking about the afterlife of these songs.

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Speaker 2: You know, twenty years ago Dreams did not loom as

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Speaker 2: large in the Fleetwood Max story, in the Stevie Nicks story,

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Speaker 2: in the whole Rumor's mythology the way it does now.

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Speaker 2: Dreams is a song that's been around for almost fifty

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Speaker 2: years and yet has never been more popular or iconic

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Speaker 2: than it is right now.

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Speaker 1: While because the song was so popular when it came

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Speaker 1: out too, you know, like it was it's the only

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Speaker 1: number one song that Fleetwood Mac had in the US.

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Speaker 1: It was a third single off of Rumors. Was just

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Speaker 1: a massive, massive moment for the band and really helped

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Speaker 1: solidify so much of the success that Rumors had not

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Speaker 1: only an nineteen seventy seven but for decades to come.

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Speaker 1: I mean, this album was on the album's charts for years, decades,

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Speaker 1: Like this is something that's been very consistent in pop music.

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Speaker 1: But I feel like Stevie and her music specifically because

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Speaker 1: this is the song is written solely by Stevie Nicks,

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Speaker 1: has had so many different lives and so many of

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Speaker 1: the songs have had different moments. My introduction to Fleetwood

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Speaker 1: Mac was Landslide, and that song had such a big

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Speaker 1: moment in the late nineties and early two thousands because

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Speaker 1: there were so many covers in this is Smashing Pumpkins version,

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Speaker 1: The Chicks did a version. Those were huge radio hits,

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Speaker 1: and I think for someone growing up at that time,

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Speaker 1: that was a huge introduction to Stevie Nicks, that was

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Speaker 1: and to Fleetwood Mac generally. So it's kind of crazy

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Speaker 1: how many different different cycles that all of her songs

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Speaker 1: kind of have and all these moments.

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Speaker 2: Totally really amazing, and all the different lives that Stevie

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Speaker 2: Nicks has had, all the different lives that Rumors has had.

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Speaker 2: It's wild that it's always been a super famous but again,

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Speaker 2: it's never been more popular or famous than it is

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Speaker 2: right now. And it's really amazing how Rumors just gets

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Speaker 2: more iconic, more famous, and more mysterious over the years.

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Speaker 2: And Dreams, which you know, like you said before, it

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Speaker 2: didn't make the two thousand and four version of the list.

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Speaker 2: That wasn't one of the songs that really stood in

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Speaker 2: for the whole Rumor's story the way it does now.

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Speaker 2: But it's wild to see how it's grown into into

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Speaker 2: what it is now.

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Speaker 1: Yeah, and great context for when the voting was happening

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Speaker 1: and when the like Dreams was having a major resurgence

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Speaker 1: and it's funny to think about, like what would happen

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Speaker 1: if the list was made this year, or what would

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Speaker 1: happen if the list had been redone.

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Speaker 3: Like two years before.

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Speaker 1: But in twenty twenty, of course, the song blew up

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Speaker 1: on TikTok of all places because a usernamed Nate Abudaca

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Speaker 1: had done a video where he's skateboarding and drinking ocean

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Speaker 1: spray cran raspberry juice and just listening to dreams, which

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Speaker 1: is just so soothing, and Stevie did a like Mick

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Speaker 1: Fleetwood made a video reenacting it. Even Lindsay Buckingham did

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Speaker 1: one on a white Horse.

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Speaker 2: Lindsay did one. I was like, okay, this is off

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Speaker 2: the rails now, even by rumors standards, this is completely

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Speaker 2: mind blowing melodrama. Yeah. And the fact that you know,

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Speaker 2: Lindsay was like, sure, I'll do this with this song

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Speaker 2: that begins with my ex saying, well, here you go again,

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Speaker 2: you want your freedom? A great example of how there's

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Speaker 2: no end to the story of dreams. This song just

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Speaker 2: keeps mutating and changing over time, and no.

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Speaker 1: End to the story of steveing Lindsay to the story

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Speaker 1: of Fleetwood Mac It's like one of those bands where

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Speaker 1: their lore is constantly evolving in crazy ways so true,

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Speaker 1: which is just like how people are reintroduced to them constantly.

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Speaker 1: Like thinking about the fact that even Lindsay doing that

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Speaker 1: video for the for the Dreams viral moment is so

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Speaker 1: insane because he was very dramatically kicked out of the band,

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Speaker 1: just like what was it a year or two before

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Speaker 1: that had happened, and like him and Stevie have not

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Speaker 1: been on the best terms recently and they have had

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Speaker 1: these bouts of being on the best terms and it's

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Speaker 1: just kind of crazy how that has continued when this

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Speaker 1: couple broke up fifty years ago.

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Speaker 2: Absolutely, the fact that the last time that those two

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Speaker 2: were in the same room together was on stage accepting

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Speaker 2: a Humanitarian award as the Music Cares Person of the Year,

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Speaker 2: and that they actually that you were actually there for

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Speaker 2: witnessing that the.

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Speaker 1: Only time I've seen that lineup perform together and then

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Speaker 1: it was gone.

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Speaker 2: It was last time, last time.

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Speaker 3: Yes.

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Speaker 2: And the fact that any group can break up right yeah,

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Speaker 2: for Fluid Back to break up while they're on stage

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Speaker 2: accepting a Humanitarian award as the Music Cares People of

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Speaker 2: the Year, that is just priceless. That could only happen

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Speaker 2: to Fleetwood back right.

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Speaker 1: But also in the most kind of like I feel

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Speaker 1: like everyone is too old for this thing where it

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Speaker 1: was like Lindsay giggling in the background because Stevie was

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Speaker 1: doing a speech that was like a little too long,

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Speaker 1: which is like he's known Stevie longer than anyone has

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Speaker 1: known Stevie, Like you should know.

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Speaker 2: I know.

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Speaker 3: The woman loves to talk. She loves to give a speech.

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Speaker 2: Yes, do not guide a meteor. There's that great footage

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Speaker 2: of her giving her acceptance speech at the Rock and

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Speaker 2: Roll Hall of Fame. She was inducted as a solo artist,

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Speaker 2: and you see the teleprompter saying wrap it up, like

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Speaker 2: and she kept talking for eight minutes after that appeared,

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Speaker 2: and you.

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Speaker 1: Don't tell her to wrap it up. Yes, you just

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Speaker 1: gotta let it flow. I think there's one or two

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Speaker 1: idea with her that was she. I think I asked

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Speaker 1: like two or three questions in the span of forty minutes,

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Speaker 1: Like I just kind of I was like, well, we're

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Speaker 1: talking about all of this, and I'm not sure how

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Speaker 1: we got here.

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Speaker 3: And I love it and I appreciate.

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Speaker 2: It absolutely absolutely. Nobody gives you more a per cue.

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Speaker 3: Yeah, it's all great.

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Speaker 2: Yes, Yeah, this song is so fascinating because we associate

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Speaker 2: Stevie with these sprawling epics. You know, for a lot

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Speaker 2: of people, their favorite Stevie song will be something like

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Speaker 2: gold Dust Woman or Sarah or Gypsy, these songs that

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Speaker 2: you know, tell a long story over a long period

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Speaker 2: of time. Dreams is really out of character story for her.

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Speaker 2: It's a very short song. It's got you know, like

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Speaker 2: verse chorus, verse, chorus, and that's the song. And it's

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Speaker 2: unique for Stevie Nicks, just as it's unique in the

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Speaker 2: history of pop music.

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Speaker 1: Yeah, and it's very it's very direct in what's saying.

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Speaker 2: It is direct.

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Speaker 1: Yeah, like she she's very direct in what she's saying.

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Speaker 1: It's a very sort of kind of like whimsical pop song.

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Speaker 1: I feel like Stevie obviously is so associated with kind

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Speaker 1: of this like magical quality, this witchiness and like, but

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Speaker 1: I wouldn't call many for songs whimsical in that way.

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Speaker 1: I think a lot of the stuff with Rumors is

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Speaker 1: that there is so much anger underlying every single line

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Speaker 1: on there, and so much anger underlying the way that

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Speaker 1: they're all playing on certain parts of things. But the

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Speaker 1: album comes across so kind of bright when you listen

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Speaker 1: to it, like it is such like this like very

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Speaker 1: sort of sunshiny sounding kind of seventies FM pop moment,

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Speaker 1: and like it is very fueled by a lot of

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Speaker 1: deep rooted anger between every single person. Because the song

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Speaker 1: was a response to go your Own Way, which is

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Speaker 1: Lindsay's take on the breakup. Stevie really hates that song.

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Speaker 1: She hates the packing up, shocking up line. There's a

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Speaker 1: lot a lot of anger from that lot. Yeah, but yeah,

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Speaker 1: the same thing with like Stevie Solo starf too, Like

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Speaker 1: I feel like it's always just been there, Like Edge of

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Speaker 1: seventeen is a song that you know would be again

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Speaker 1: on the radio School of Rock, you know it's playing

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Speaker 1: in there, and Booty Delicious by Dsny's Child, Like you know,

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Speaker 1: it's like all these moments. So it's kind of it's

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Speaker 1: kind of wild to think about sort of just like

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Speaker 1: how so how so much of her music just quickly

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Speaker 1: became sort of rock and pop standards for for a

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Speaker 1: lot of generations of people. But yeah, I would say

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Speaker 1: Silver Springs kind of led into the full deep dive

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Speaker 1: of deep dive of rumors and the Stevie and Lindsay

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Speaker 1: Lore and Fleetwood Mac and all of that.

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Speaker 2: I love that, Yeah, I love it. I was a

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Speaker 2: little kid when Rumors came and Dreams was the biggest

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Speaker 2: radio hit at first. It was, like you said, though,

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Speaker 2: it was the one that hit number one, and it

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Speaker 2: sounded so weird on seventies top forty radio. Just everything

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Speaker 2: about that song is so weirdly anomalous. That it's so spare,

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Speaker 2: that for a lot of it's just bass, drums and voice,

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Speaker 2: and that the lyrics are so like you said, direct,

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Speaker 2: they're so angry, they're so nasty, the humor is so

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Speaker 2: knife twisting, and that it was a song that really

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Speaker 2: jumped off the radio and that was the number one hit.

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Speaker 2: But for me, Rumors was an album that I was

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Speaker 2: always associated with. It was always in people's houses, when

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Speaker 2: you went over a friend's house, it was you know,

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Speaker 2: every suburban mom was into Rumors and Tapestry.

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Speaker 1: It's kind of surreal how that album has aged so

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Speaker 1: well and how that album has continued to like, you know,

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Speaker 1: I feel like a lot of there was a lot

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Speaker 1: of parents who also had Rumors in their in their

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Speaker 1: house when I was and like, you know, it's just

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Speaker 1: kind of a.

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Speaker 3: Thing that is just always there.

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Speaker 1: Like it, it feels like it's always been a part of

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Speaker 1: pop music. And yeah, I mean even just like how

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Speaker 1: different it is to that point that you had mentioned

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Speaker 1: about how people think of like, you know, gold Dust

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Speaker 1: Woman or those kinds of moments or Rhiannon and things

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Speaker 1: like that. It's like such like a a delicate vocal

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Speaker 1: performance from Stevie, which I really love. I think so

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Speaker 1: much of her vocals and the way that people think

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Speaker 1: about them is kind of like that visceral kind of

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Speaker 1: rock voice, and you know that's why like Silver Springs

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Speaker 1: is having its own resurgence right now, and like thinking

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Speaker 1: about how she does her live performances of like gold

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Speaker 1: Dust Woman and during her live shows and like her

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Speaker 1: solo music and things like that. Yeah, I feel like

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Speaker 1: it's such like a delicate and pretty kind of understated

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Speaker 1: Stevie moment, which I really love, and kind of that

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Speaker 1: it feels like the song feels almost kind of like

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Speaker 1: a little bit of like a Stevie meets Christine kind

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Speaker 1: of fusion of lyrics with like the kind of melody

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Speaker 1: and that kind of pop ness.

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Speaker 2: Absolutely vocal is really amazing. I love your point about

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Speaker 2: the way she sings the word women is so great.

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Speaker 2: There's so much going on, and just the way she

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Speaker 2: says those that particular word yes, two syllables yeah.

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Speaker 1: Because I was listening to the live at the Forum

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Speaker 1: version on the way here, and that is also like

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Speaker 1: the way that it becomes such like an angry performance

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Speaker 1: of it, like the way that she's like able to

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Speaker 1: turn this it's already angry, but like, you know, this

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Speaker 1: like very pretty kind of you know, if you're not

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Speaker 1: listening close enough to the lyrics, it just sounds like

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Speaker 1: this like kind of theial kind of pop moment. And

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Speaker 1: then you listen to the live of the Forum version,

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Speaker 1: She's pissed.

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Speaker 2: Something happened women, Women, It's wild. I mean, you hear

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Speaker 2: those songs as a little kid and you think, wow,

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Speaker 2: like these grown ups are having a life, you know,

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Speaker 2: and it's like, oh, you hear the boy singing background

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Speaker 2: in the chorus of dreams Yeah, and he's You hear

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Speaker 2: Lindsay's voice very prominently singing the line players only love

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Speaker 2: you when they're playing and you listen to go your

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Speaker 2: own way, and it's like, oh, Lindsay's telling the story

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Speaker 2: with Stevie's voice very prominently singing along, and it's not

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Speaker 2: like they're saying nice things about each other. It's not

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Speaker 2: like either of them is taking the high road those songs.

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Speaker 2: And it's wild to hear that, he said, she said

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Speaker 2: dialogue about this breakup happening in real time in these songs.

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Speaker 1: Yeah, I mean, all the layers that they add to

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Speaker 1: their songs about each other is so crazy, Like when

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Speaker 1: you get older and you're like you're like, oh yeah,

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Speaker 1: like this like guitar part I mean, just like the

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Speaker 1: guitar playing that Lindsay does on Dreams. It's just like

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Speaker 1: so perfect and beautiful and adds so much to the song.

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Speaker 1: Like thinking about like John McPhee's bass and You Make

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Speaker 1: Loving Fun, a song that Christine wrote about looking up

347
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Speaker 1: with the lighting director. That bass is so iconic on

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Speaker 1: that song and literally leads you into it. It's so wild.

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Speaker 2: Yeah, but that's such a huge part of the mystique

350
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Speaker 2: of Dreams as a song, and rumors and Fleetwood Mac

351
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Speaker 2: in general, that they always added so much beauty to

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Speaker 2: each other's songs even they were totally ripping each other

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Speaker 2: to shreds. So yeah, You Make Love and Fun. But

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Speaker 2: something about this bizarre five way chemistry that they had

355
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Speaker 2: that they always just wanted to make each other songs

356
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Speaker 2: better despite the emotional carnage going on in them. And

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Speaker 2: that's definitely happening in Dreams where Lindsay is adding so

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Speaker 2: much guitar beauty to this song and helping her shape

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Speaker 2: her draft into a song when she knows what she's

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Speaker 2: singing about. And that's kind of always the beauty of

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Speaker 2: these songs. You know. Stevie's always said that she wants

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Speaker 2: to kill Lindsay every single time that they've been on stage,

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Speaker 2: and he sings go your Own Way, and she's there

364
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Speaker 2: like playing the tambourine, and yet she sings so beautifully

365
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Speaker 2: on that song. Remember that great scene in the documentary

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Speaker 2: on the Dance where Lindsay is hearing Silver Springs and

367
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Speaker 2: he's listening back to it and he hasn't heard it

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Speaker 2: in a while, and he's like, Wow, that guitar, I

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Speaker 2: remember that guitar. He's talk about how awesome his guitar.

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Speaker 2: It's like, dude, you are literally listening to your ex

371
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Speaker 2: sing a song about how her voice will haunt you

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Speaker 2: for the rest of your life and about how no

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Speaker 2: matter how long you live, you'll never get away from

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Speaker 2: her because their voice will always be there. And to me,

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Speaker 2: that's not just the essence of Lindsay brilliance, but that's

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Speaker 2: really the Fleetwood Mac story in a nutshell, because they're

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Speaker 2: adding so much genius to each other's songs despite all

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Speaker 2: the pain that they're causing each other in these songs.

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Speaker 3: Yeah, and that guitar part is very good on.

380
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Speaker 2: Sord It is great to me. One of the fascinating

381
00:18:31,080 --> 00:18:35,280
Speaker 2: things about Dreams is that Stevie Nix's so many classic

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Speaker 2: songs that people love to cover, you know, people so

383
00:18:38,600 --> 00:18:41,480
Speaker 2: many people have done, as you said, Landslide, people love

384
00:18:41,560 --> 00:18:45,600
Speaker 2: to sing Gypsy, people love to sing Sarah. It's well

385
00:18:45,640 --> 00:18:48,919
Speaker 2: that nobody really covers Dreams, and when they try to,

386
00:18:49,080 --> 00:18:51,320
Speaker 2: you can hear why. It's a really uncoverable song.

387
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Speaker 1: Yeah, it's like it's hard to for anyone to kind of,

388
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Speaker 1: I don't know, tackle the like the charm that Stevie

389
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Speaker 1: has in it, Like it's like a fel like a

390
00:19:00,359 --> 00:19:03,439
Speaker 1: song that only she can sing. Yeah, I mean just

391
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Speaker 1: so many of the lyrics like are just unconvincing from

392
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Speaker 1: anyone else, Like, like I don't want to hear about

393
00:19:08,440 --> 00:19:10,679
Speaker 1: anyone else's crystal visions, Like no one else has crystal

394
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Speaker 1: visions the way Stevie has.

395
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Speaker 2: She invented crystalis.

396
00:19:13,160 --> 00:19:15,280
Speaker 1: Yeah, like it's not like I can't I know, there's

397
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Speaker 1: like a I think the Coors did one.

398
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Speaker 2: I think so much of that is what John McVie

399
00:19:20,960 --> 00:19:23,840
Speaker 2: and mcfleetwood are doing that. Yeah, you definitely hear. This

400
00:19:24,000 --> 00:19:26,639
Speaker 2: is why this band is named after the rhythm section,

401
00:19:27,040 --> 00:19:30,080
Speaker 2: and you can definitely hear this rhythm section learned how

402
00:19:30,119 --> 00:19:31,800
Speaker 2: to do this by playing blues and R and B

403
00:19:31,960 --> 00:19:35,320
Speaker 2: because what they're doing with the bass and drums all

404
00:19:35,359 --> 00:19:37,920
Speaker 2: through the song, it's not something that any other rhythm

405
00:19:38,000 --> 00:19:40,240
Speaker 2: section can duplicate. And that's the case with so many

406
00:19:40,440 --> 00:19:41,320
Speaker 2: Fleetwood maxims.

407
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Speaker 1: Yeah, I feel like like if Dreams came out today,

408
00:19:44,480 --> 00:19:46,439
Speaker 1: it would still be a massive hit. Like that's the

409
00:19:46,440 --> 00:19:49,439
Speaker 1: thing too the song is that it is so timeless

410
00:19:49,560 --> 00:19:51,280
Speaker 1: in the way that it sounds like it doesn't sound

411
00:19:51,400 --> 00:19:53,800
Speaker 1: tied to any specific era, Like there are a lot

412
00:19:53,840 --> 00:19:57,160
Speaker 1: of moments on Rumors that sound so distinctly seventies, like

413
00:19:57,160 --> 00:19:58,880
Speaker 1: like oh your own wage just sounds like so distinctly

414
00:19:58,920 --> 00:20:02,240
Speaker 1: seventies to me, and like gold Dust Woman sounds so

415
00:20:02,359 --> 00:20:05,760
Speaker 1: distinctly seventies in that way, but like, yeah, I mean

416
00:20:05,800 --> 00:20:09,440
Speaker 1: there's nothing about Dreams that sounds like it. It could

417
00:20:09,440 --> 00:20:11,440
Speaker 1: have come out like any decade and it still would

418
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Speaker 1: have been I think a massive absolutely yeah.

419
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Speaker 2: Something about the song and it's resurgence in the last

420
00:20:17,760 --> 00:20:20,679
Speaker 2: ten years. I think it has to have something to

421
00:20:20,720 --> 00:20:25,000
Speaker 2: do with One Direction, and especially Fireproof, Yeah, right, which

422
00:20:25,040 --> 00:20:27,879
Speaker 2: is it's not a cover of Dreams, but it's one

423
00:20:27,960 --> 00:20:30,359
Speaker 2: direction definitely doing a song of like let's get that,

424
00:20:31,119 --> 00:20:35,440
Speaker 2: let's get that dreams kind of groove. Yeah, Fireproof. The

425
00:20:35,480 --> 00:20:37,800
Speaker 2: first time you hear it, you're like, wow, I can't

426
00:20:37,840 --> 00:20:40,800
Speaker 2: believe they're doing this, and it's a phenomenal song, but

427
00:20:41,160 --> 00:20:43,360
Speaker 2: it's really funny how they go for this specific kind

428
00:20:43,359 --> 00:20:43,720
Speaker 2: of groove.

429
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Speaker 1: I feel like the Mitski cover of it brings out

430
00:20:45,880 --> 00:20:48,159
Speaker 1: a lot that Fleetwood Matt totally even more so, like

431
00:20:48,160 --> 00:20:49,520
Speaker 1: you kind of get a little bit more of that

432
00:20:50,000 --> 00:20:53,920
Speaker 1: kind of like Stevinus in Mitski's take on Fireproof.

433
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Speaker 2: Which is totally it's so good. I feel like, for

434
00:20:57,080 --> 00:20:59,879
Speaker 2: me and as someone who has loved that song forever,

435
00:21:00,640 --> 00:21:03,640
Speaker 2: I learned so much about Fleetwood Mac and about Dreams

436
00:21:03,680 --> 00:21:07,400
Speaker 2: from both of those versions of Fireproof, Yeah, and that

437
00:21:07,440 --> 00:21:09,879
Speaker 2: there's just so much going on in the music of

438
00:21:09,920 --> 00:21:12,840
Speaker 2: this song, even before you get to Stevie's vocals.

439
00:21:12,920 --> 00:21:17,359
Speaker 1: Yeah, And it's like almost it's like Fleetwood Mac and

440
00:21:17,359 --> 00:21:20,600
Speaker 1: Stevie Nick specifically, they don't really have to do a

441
00:21:20,600 --> 00:21:23,480
Speaker 1: lot of upkeep on their legacy because people just find

442
00:21:23,520 --> 00:21:24,280
Speaker 1: their way to them.

443
00:21:24,400 --> 00:21:27,440
Speaker 3: Thinking of like the last ten fifteen, I mean, the.

444
00:21:27,440 --> 00:21:30,679
Speaker 1: Last couple of decades of like Fleetwood Mac and the

445
00:21:30,760 --> 00:21:34,720
Speaker 1: way that there's always going to be younger artists who

446
00:21:35,240 --> 00:21:37,399
Speaker 1: are going to want to evoke them and want to

447
00:21:37,480 --> 00:21:40,840
Speaker 1: like try to find elements of Fleetwood Mac in their

448
00:21:40,880 --> 00:21:43,880
Speaker 1: own music and try to find ways that make that connection.

449
00:21:44,000 --> 00:21:47,640
Speaker 1: And it's once their fans kind of hear that it's

450
00:21:47,800 --> 00:21:49,560
Speaker 1: not a hard cell to get further.

451
00:21:49,359 --> 00:21:50,399
Speaker 3: Into Fleetwood Mac. You know.

452
00:21:50,480 --> 00:21:53,399
Speaker 1: It's like I think for especially for younger artists, like

453
00:21:53,400 --> 00:21:56,359
Speaker 1: when One Direction was kind of evoking that, and then

454
00:21:56,400 --> 00:21:59,040
Speaker 1: later with Harry Styles covering the chain and having such

455
00:21:59,080 --> 00:22:02,359
Speaker 1: like a close relationship with Stevie, that's been such a

456
00:22:02,400 --> 00:22:06,040
Speaker 1: big moment for Fleetwood Mac and for Stevie Nicks generally,

457
00:22:06,200 --> 00:22:08,879
Speaker 1: just to kind of have that, you know, even younger

458
00:22:08,960 --> 00:22:12,800
Speaker 1: artists and younger fans kind of find a connection to them.

459
00:22:12,960 --> 00:22:13,199
Speaker 3: You know.

460
00:22:13,400 --> 00:22:16,400
Speaker 1: There's of course, like Taylor Swift and Carl Ray, Jepson

461
00:22:16,400 --> 00:22:19,600
Speaker 1: and Lord and like all these pop girls who love

462
00:22:19,840 --> 00:22:22,280
Speaker 1: Stevie and revere her so much, Florence and the Machine,

463
00:22:22,320 --> 00:22:25,960
Speaker 1: like all these artists who have found ways to channel

464
00:22:26,359 --> 00:22:31,200
Speaker 1: her specifically and found ways to channel like that Fleetwood

465
00:22:31,240 --> 00:22:34,359
Speaker 1: macnus in their own music without copying them. Like with

466
00:22:34,440 --> 00:22:36,000
Speaker 1: Carl Ray, I hear like a lot more like Christine

467
00:22:36,040 --> 00:22:38,320
Speaker 1: mcviee obviously and what she does. And I think like

468
00:22:38,359 --> 00:22:40,040
Speaker 1: you can kind of hear like these little pockets of

469
00:22:40,680 --> 00:22:44,560
Speaker 1: Fleetwood Mac and all the vocalist and the artists within

470
00:22:44,600 --> 00:22:46,080
Speaker 1: the band kind of coming out in a lot of

471
00:22:46,080 --> 00:22:49,959
Speaker 1: pop music these days, and people wanting to catch that magic,

472
00:22:50,040 --> 00:22:51,879
Speaker 1: and a lot of people are able to do it

473
00:22:51,920 --> 00:22:53,560
Speaker 1: in their own kind of special way.

474
00:22:53,840 --> 00:22:57,679
Speaker 2: Absolutely, it's really amazing how it constantly inspires people, and

475
00:22:57,720 --> 00:23:00,840
Speaker 2: that it's such a timeless story. As you say, it's

476
00:23:00,880 --> 00:23:05,080
Speaker 2: so quintessentially seventies, but it's timeless. It's always so funny

477
00:23:05,080 --> 00:23:08,040
Speaker 2: to think about the fact that, you know, part of

478
00:23:08,040 --> 00:23:11,919
Speaker 2: what draws people and always draws new fans into this

479
00:23:12,000 --> 00:23:14,920
Speaker 2: story is that it's a band of people singing about

480
00:23:14,920 --> 00:23:18,560
Speaker 2: breaking up with each other and connecting with each other

481
00:23:18,960 --> 00:23:23,680
Speaker 2: ilicit like ways, and to have all their emotional mess

482
00:23:23,760 --> 00:23:29,359
Speaker 2: just like out there documenting it together in public. That

483
00:23:29,359 --> 00:23:31,440
Speaker 2: that's something that always draws people in.

484
00:23:31,600 --> 00:23:33,960
Speaker 1: Yeah, I love watching people learn it in real time too,

485
00:23:34,080 --> 00:23:36,359
Speaker 1: Like I feel like, especially after Daisy Jones and The

486
00:23:36,440 --> 00:23:38,919
Speaker 1: Six came out, and that show and book are so

487
00:23:39,960 --> 00:23:42,640
Speaker 1: very clearly about Bluewood Back and so very clearly about

488
00:23:42,640 --> 00:23:45,320
Speaker 1: the relationships that the band had with each other, And

489
00:23:45,359 --> 00:23:47,439
Speaker 1: it's been so fun to kind of watch all of

490
00:23:47,440 --> 00:23:50,680
Speaker 1: these kids on TikTok and Twitter kind of become really

491
00:23:50,720 --> 00:23:53,119
Speaker 1: obsessed with them and being like, oh, this is like

492
00:23:54,200 --> 00:23:56,359
Speaker 1: this really happened, Like this is like a lot of stuff,

493
00:23:56,440 --> 00:23:58,479
Speaker 1: or like even crazier stuff has happened.

494
00:23:58,480 --> 00:23:58,679
Speaker 2: You know.

495
00:23:58,720 --> 00:24:01,080
Speaker 1: It's like, yes, like Into the Six is like barely

496
00:24:01,119 --> 00:24:04,560
Speaker 1: scratching the surface of like the decades that this band

497
00:24:04,600 --> 00:24:05,280
Speaker 1: has had together.

498
00:24:05,359 --> 00:24:08,840
Speaker 2: You know, absolutely no fictional version could ever live up

499
00:24:08,880 --> 00:24:11,720
Speaker 2: to the melodrama the real version. And also just the

500
00:24:11,800 --> 00:24:14,440
Speaker 2: craziest is that it's wild enough that they're doing this

501
00:24:14,560 --> 00:24:16,960
Speaker 2: in nineteen seventy seven, that they're standing on stage and

502
00:24:17,000 --> 00:24:19,280
Speaker 2: singing all these songs about breaking up with each other.

503
00:24:19,760 --> 00:24:22,200
Speaker 2: How horrified would they be to think that they'd still

504
00:24:22,240 --> 00:24:22,880
Speaker 2: be doing this.

505
00:24:23,560 --> 00:24:25,480
Speaker 1: Yeah, there's still a couple more decades they're going to

506
00:24:25,560 --> 00:24:29,120
Speaker 1: learn about. Yes, yes, yes, Like wait until everyone learns

507
00:24:29,160 --> 00:24:30,879
Speaker 1: about the music care stuff, Like they're going to be

508
00:24:30,920 --> 00:24:31,640
Speaker 1: real shocked.

509
00:24:31,720 --> 00:24:35,200
Speaker 2: Yeah, it's like, sorry, you guys are not even halfway through.

510
00:24:35,560 --> 00:24:39,400
Speaker 2: You're just getting there, Yes, exactly. The worst is yet

511
00:24:39,440 --> 00:24:39,800
Speaker 2: to come.

512
00:24:40,359 --> 00:24:42,200
Speaker 1: And now we are going to have a very special

513
00:24:42,240 --> 00:24:45,360
Speaker 1: guest rolling Stones, Angie Martosio, who's going to be discussing

514
00:24:45,440 --> 00:24:49,400
Speaker 1: dreams even further with us. Thank you so much, Angie

515
00:24:49,440 --> 00:24:51,000
Speaker 1: for coming to chat with us today.

516
00:24:51,320 --> 00:24:53,399
Speaker 4: Oh, anytime I can talk about Fleetwood Mac with you

517
00:24:53,440 --> 00:24:54,280
Speaker 4: guys is special.

518
00:24:54,359 --> 00:24:56,240
Speaker 1: So let's hear a little of your your Fleetwood Mac

519
00:24:56,280 --> 00:24:57,200
Speaker 1: origin story.

520
00:24:57,400 --> 00:24:59,119
Speaker 5: So we're talking about the cover.

521
00:24:59,600 --> 00:25:02,480
Speaker 4: You know, I heard you guys discuss that, and I

522
00:25:02,520 --> 00:25:04,600
Speaker 4: just want to point out that I thought for years,

523
00:25:04,680 --> 00:25:07,639
Speaker 4: as a ballet dancer that Stevie was a like professional

524
00:25:07,640 --> 00:25:10,480
Speaker 4: ballerina because of that cover of Urmers, and I did

525
00:25:10,480 --> 00:25:12,280
Speaker 4: not know for years if that was not the case.

526
00:25:13,480 --> 00:25:18,359
Speaker 4: My own Fleetwood Mac experience is pretty much similar to you.

527
00:25:19,480 --> 00:25:21,760
Speaker 4: We're the same age, so for me, it was like

528
00:25:22,200 --> 00:25:25,800
Speaker 4: late nineties, early aughts, you know when Fleetwood Mac in general.

529
00:25:26,560 --> 00:25:29,160
Speaker 4: I didn't know that Landslide was a Fleetwood Mac song

530
00:25:29,280 --> 00:25:31,400
Speaker 4: for a very long time. I knew it also from

531
00:25:31,400 --> 00:25:34,640
Speaker 4: the Chicks and from Smashing Pumpkins. Uh.

532
00:25:35,040 --> 00:25:35,880
Speaker 5: And then once I.

533
00:25:35,840 --> 00:25:38,280
Speaker 4: Fell into that obviously like it opened the doors for

534
00:25:38,320 --> 00:25:39,159
Speaker 4: everything else for me.

535
00:25:39,480 --> 00:25:42,320
Speaker 1: And what sort of turned you into a big fan

536
00:25:42,400 --> 00:25:42,920
Speaker 1: of the band.

537
00:25:43,200 --> 00:25:46,080
Speaker 4: This is also because of my age, but it's Stevie

538
00:25:46,200 --> 00:25:48,720
Speaker 4: Nicks simple. I love all of them for different reasons.

539
00:25:48,760 --> 00:25:51,280
Speaker 4: I think they have great eras in different periods, but

540
00:25:51,840 --> 00:25:54,119
Speaker 4: for me, Stevie is kind of what encompasses what I

541
00:25:54,160 --> 00:25:55,000
Speaker 4: love about that band.

542
00:25:55,280 --> 00:25:55,720
Speaker 3: Yeah.

543
00:25:56,000 --> 00:26:00,000
Speaker 1: Yeah, And do you have any like fun origin story

544
00:26:00,160 --> 00:26:01,720
Speaker 1: for Dreams or like the first time you heard it

545
00:26:01,800 --> 00:26:03,240
Speaker 1: or was it just a song in the same way

546
00:26:03,280 --> 00:26:05,359
Speaker 1: that you know it's kind of always around.

547
00:26:06,080 --> 00:26:10,800
Speaker 4: I really love that song to the point where I

548
00:26:10,920 --> 00:26:14,640
Speaker 4: may have fiddled with our list of the greatest Fleetwood

549
00:26:14,680 --> 00:26:18,199
Speaker 4: Mac songs recently and I may have put Dreams as

550
00:26:18,280 --> 00:26:20,640
Speaker 4: number one instead of a different song.

551
00:26:22,000 --> 00:26:23,440
Speaker 5: Go your Own Ways Now at number two.

552
00:26:23,480 --> 00:26:26,520
Speaker 4: I made Dreams number one, and I had some comments

553
00:26:26,560 --> 00:26:28,520
Speaker 4: being read on the side after that. That was like

554
00:26:28,800 --> 00:26:31,520
Speaker 4: a millennial must have messed with this list, and I

555
00:26:31,600 --> 00:26:35,280
Speaker 4: was like, yeah, actually I did. It's the I'm sorry.

556
00:26:35,320 --> 00:26:37,639
Speaker 4: It's just their greatest song. It's the synthesis of what

557
00:26:37,760 --> 00:26:42,040
Speaker 4: makes that band so excellent. It's all of their input together.

558
00:26:42,480 --> 00:26:45,760
Speaker 4: Obviously Stevie's leading it, but there's so much mythology around it.

559
00:26:45,840 --> 00:26:48,120
Speaker 4: I feel like there could be books on just.

560
00:26:48,080 --> 00:26:50,280
Speaker 3: That song alone. Do you have a favorite line?

561
00:26:50,440 --> 00:26:53,520
Speaker 4: I think just like a heartbeat because it reminds me

562
00:26:53,600 --> 00:26:56,280
Speaker 4: of this is so nerdy and I'm sorry, but it

563
00:26:56,320 --> 00:26:57,399
Speaker 4: reminds me of a growl and.

564
00:26:57,440 --> 00:27:00,920
Speaker 5: Po of the tellsale art. It's like, so.

565
00:27:02,359 --> 00:27:05,080
Speaker 4: She's making it not just like, oh you broke my

566
00:27:05,160 --> 00:27:07,359
Speaker 4: heart and I'm upset about that, She's making it this

567
00:27:07,440 --> 00:27:09,359
Speaker 4: like visceral like paranoia.

568
00:27:09,480 --> 00:27:10,320
Speaker 5: That's very similar.

569
00:27:10,440 --> 00:27:12,840
Speaker 4: She does that later on with Silver Springs, obviously, just

570
00:27:12,880 --> 00:27:14,320
Speaker 4: like You're never gonna escape me.

571
00:27:14,640 --> 00:27:15,760
Speaker 5: I'm here all the time.

572
00:27:16,240 --> 00:27:18,120
Speaker 4: This is the heartbeat that's going to drive you mad

573
00:27:18,280 --> 00:27:21,400
Speaker 4: because of what you did. And it's so it's like

574
00:27:21,720 --> 00:27:23,840
Speaker 4: it's beyond a love song to me, it's beyond a

575
00:27:23,840 --> 00:27:27,199
Speaker 4: heartbreak song. This is like full encompassing, like sick to

576
00:27:27,240 --> 00:27:29,720
Speaker 4: my stomach feeling over this yeah, yeah.

577
00:27:29,920 --> 00:27:36,640
Speaker 2: Yeah, the enjamment between heart beat, it's so intense, one

578
00:27:36,680 --> 00:27:38,240
Speaker 2: of those great Stevie pauses.

579
00:27:38,400 --> 00:27:41,399
Speaker 4: Yeah, and you know, like most incredible songs. They like

580
00:27:41,440 --> 00:27:43,879
Speaker 4: to say this that it was written in ten minutes,

581
00:27:44,040 --> 00:27:48,000
Speaker 4: which is absolutely insane, let alone on sly Stone's bed,

582
00:27:48,119 --> 00:27:49,920
Speaker 4: which I don't think is disgusted enough.

583
00:27:51,040 --> 00:27:53,360
Speaker 5: That there's this you know, record plant, Salsalito.

584
00:27:53,600 --> 00:27:57,359
Speaker 4: It's been it reopened recently, but it closed in two

585
00:27:57,400 --> 00:27:59,840
Speaker 4: thousand and eight. And before that you had everyone from

586
00:27:59,840 --> 00:28:02,199
Speaker 4: like Grateful Dead in there. You had obviously feet with

587
00:28:02,280 --> 00:28:06,080
Speaker 4: Mac and Slidestone had his own like little comfort zone

588
00:28:06,160 --> 00:28:10,400
Speaker 4: room and there's this bed with these like black velvet curtains,

589
00:28:10,440 --> 00:28:12,920
Speaker 4: and Stevie just took some time in there. She didn't

590
00:28:12,960 --> 00:28:15,359
Speaker 4: really want to be in the recording room unless she

591
00:28:15,400 --> 00:28:18,119
Speaker 4: had to, so she was obviously sitting down, you know,

592
00:28:18,160 --> 00:28:21,240
Speaker 4: with her books and art and her you know, journals.

593
00:28:21,600 --> 00:28:23,880
Speaker 4: She went up with this thing on a keyboard and

594
00:28:24,440 --> 00:28:25,919
Speaker 4: kind of brought it out to them and was like,

595
00:28:26,000 --> 00:28:28,720
Speaker 4: see what you think. And they weren't like crazy about

596
00:28:28,720 --> 00:28:31,960
Speaker 4: it at the time, and I think that's worth noting too.

597
00:28:32,000 --> 00:28:34,600
Speaker 4: It was their only number one hit in the US,

598
00:28:35,040 --> 00:28:38,400
Speaker 4: but it's not surprising that it's gotten bigger than ever.

599
00:28:38,960 --> 00:28:41,480
Speaker 1: Yeah, And I think that also is a lot of

600
00:28:41,520 --> 00:28:43,680
Speaker 1: the story with Stevie's songs for Fleet with mac right, Like,

601
00:28:43,720 --> 00:28:46,120
Speaker 1: there's kind of a harder cell for like some of

602
00:28:46,160 --> 00:28:48,080
Speaker 1: the songs to make it to the albums and to

603
00:28:48,560 --> 00:28:50,240
Speaker 1: kind of you know, for people to get on board,

604
00:28:50,280 --> 00:28:53,120
Speaker 1: and so it's kind of wild, like how I don't

605
00:28:53,120 --> 00:28:55,200
Speaker 1: know the foresight that she had about these songs in

606
00:28:55,240 --> 00:28:58,440
Speaker 1: general being kind of so iconic and having these lives

607
00:28:58,440 --> 00:29:00,400
Speaker 1: that go well beyond their release da you.

608
00:29:00,360 --> 00:29:02,920
Speaker 5: Know, Yeah, it's pretty incredible.

609
00:29:02,960 --> 00:29:05,560
Speaker 4: I think just the fact that Silver Strings is left

610
00:29:05,600 --> 00:29:08,080
Speaker 4: off is like one of the greatest tragedies besides like

611
00:29:08,120 --> 00:29:11,160
Speaker 4: the Titanic, you know, Like, but it makes sense they

612
00:29:11,160 --> 00:29:13,160
Speaker 4: didn't want this like slow, it would have made it

613
00:29:13,240 --> 00:29:16,000
Speaker 4: a lot slower the album, and so I totally understand it.

614
00:29:16,040 --> 00:29:19,160
Speaker 4: But I think leaving Dreams on was obviously like the

615
00:29:19,560 --> 00:29:20,800
Speaker 4: better of that she could get.

616
00:29:20,920 --> 00:29:22,800
Speaker 1: I mean, are there, like, who are people that you

617
00:29:22,840 --> 00:29:27,520
Speaker 1: think have sort of accomplished that kind of emulation of

618
00:29:27,560 --> 00:29:29,000
Speaker 1: Stevie as an artist.

619
00:29:29,560 --> 00:29:31,320
Speaker 5: I'm a huge wise Blood fan.

620
00:29:32,720 --> 00:29:37,440
Speaker 4: She to me is extremely obviously singer songwriter from La

621
00:29:37,520 --> 00:29:42,880
Speaker 4: but more than that, She's a very spiritual, mystical lady

622
00:29:42,960 --> 00:29:45,000
Speaker 4: who just reads a lot of books.

623
00:29:45,120 --> 00:29:45,280
Speaker 1: You know.

624
00:29:45,320 --> 00:29:46,520
Speaker 5: It's not about like being cool.

625
00:29:46,640 --> 00:29:49,600
Speaker 4: She's not someone who like does drugs and like is

626
00:29:49,640 --> 00:29:50,640
Speaker 4: on Instagram a lot.

627
00:29:51,000 --> 00:29:53,600
Speaker 5: She literally is just someone who loves to read and

628
00:29:53,920 --> 00:29:55,920
Speaker 5: loves history. And that was very Stevie.

629
00:29:56,600 --> 00:29:59,560
Speaker 4: And her music is so incredible because I mean, I

630
00:29:59,560 --> 00:30:03,160
Speaker 4: can have my own episode about her in general, but Natalie,

631
00:30:03,240 --> 00:30:07,800
Speaker 4: she incorporates such Stevie mythology in the way she sings,

632
00:30:07,840 --> 00:30:11,360
Speaker 4: in her songwriting. There's so much imagery there, but it's

633
00:30:11,360 --> 00:30:14,680
Speaker 4: also not too intense, you know, and it's also very alluring,

634
00:30:14,760 --> 00:30:17,560
Speaker 4: Like it always leaves people kind of obsessed with her.

635
00:30:17,640 --> 00:30:19,720
Speaker 4: Has the same exact quality of her fans are like

636
00:30:19,840 --> 00:30:24,320
Speaker 4: die hard, yeah, and I see that same exact I

637
00:30:24,320 --> 00:30:26,560
Speaker 4: don't know, there's the same kind of following. I think

638
00:30:26,560 --> 00:30:28,680
Speaker 4: that's literally why I love wise Blood so much.

639
00:30:29,000 --> 00:30:31,720
Speaker 3: Yeah, yeah, yeah. I feel like I.

640
00:30:33,200 --> 00:30:35,400
Speaker 1: Feel like Florence the Machine. I feel like we don't

641
00:30:35,640 --> 00:30:39,360
Speaker 1: we're not finding enough respect on Florence's name generally, but

642
00:30:39,400 --> 00:30:41,600
Speaker 1: I think she gets a lot of that visceral vocal

643
00:30:41,640 --> 00:30:44,160
Speaker 1: performance that Stevie does, and I feel like that's still

644
00:30:44,360 --> 00:30:47,560
Speaker 1: like seeing her live. I'm like this, this feels like

645
00:30:47,680 --> 00:30:51,160
Speaker 1: kind of reliving a lot of those like the Rhiannon

646
00:30:51,360 --> 00:30:54,600
Speaker 1: kind of TV special video that always, you know, is

647
00:30:54,640 --> 00:30:58,120
Speaker 1: one of the mini iconic Stevie videos that people constantly

648
00:30:58,120 --> 00:31:00,400
Speaker 1: have playing on louped in their heads. And I'm like, yes,

649
00:31:00,800 --> 00:31:03,600
Speaker 1: you've learned, You've learned well from.

650
00:31:04,160 --> 00:31:06,880
Speaker 4: And what's also important about these two songwriters that we're

651
00:31:06,880 --> 00:31:09,719
Speaker 4: talking about is that they're not necessarily copying Stevie.

652
00:31:09,920 --> 00:31:10,880
Speaker 5: They're taking what was.

653
00:31:10,880 --> 00:31:13,560
Speaker 4: So great about her and almost reinventing it and introducing

654
00:31:13,600 --> 00:31:16,320
Speaker 4: it to a younger audience. Something that I always think

655
00:31:16,360 --> 00:31:19,240
Speaker 4: about is that for college kids these days, if you

656
00:31:19,280 --> 00:31:22,920
Speaker 4: ask them to name a musician over the age of fifty,

657
00:31:23,120 --> 00:31:25,320
Speaker 4: most of them would probably just know Stevie Nicks.

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00:31:26,120 --> 00:31:28,240
Speaker 5: And that's all you need to know right there.

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00:31:28,600 --> 00:31:31,760
Speaker 4: I Mean, you raised this excellent point earlier talking about

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00:31:31,880 --> 00:31:34,400
Speaker 4: songs like you know, go your Own Way and Don't

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00:31:34,440 --> 00:31:39,520
Speaker 4: Stop sound so seventies sometimes to a flaw, like I

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00:31:39,760 --> 00:31:41,840
Speaker 4: obviously love that era, but like I'm sorry, like a

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00:31:41,920 --> 00:31:45,040
Speaker 4: kid who's twenty one is not going to be like, yeah,

664
00:31:45,080 --> 00:31:46,120
Speaker 4: this is far out.

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00:31:46,040 --> 00:31:46,960
Speaker 5: You know, that's not a thing.

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00:31:47,560 --> 00:31:49,720
Speaker 4: Dreams doesn't sound like that you can't put a date

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00:31:49,760 --> 00:31:50,040
Speaker 4: on it.

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00:31:50,040 --> 00:31:52,760
Speaker 5: It's very timeless. To me, it could be a hit now.

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00:31:53,000 --> 00:31:55,840
Speaker 4: I just feel like there's something about it that really

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00:31:55,880 --> 00:31:58,400
Speaker 4: stands out when you look back at Rumors, and it's

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00:31:58,680 --> 00:32:00,240
Speaker 4: it's not a shock to me. We put it so hi.

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00:32:00,400 --> 00:32:03,240
Speaker 4: I mean, obviously, as I stated before, I was really

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00:32:03,320 --> 00:32:06,600
Speaker 4: rallying for that, but I do think it's the one

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00:32:06,640 --> 00:32:08,400
Speaker 4: that you can listen to over and over and not

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00:32:08,440 --> 00:32:11,800
Speaker 4: get tired of, and it really represents what makes this

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00:32:11,880 --> 00:32:14,120
Speaker 4: band so great and this new iteration, you know, like

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00:32:14,160 --> 00:32:16,600
Speaker 4: this is a brand new They already had the first

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00:32:16,600 --> 00:32:19,040
Speaker 4: album obviously, but Rumors was the first time they're all

679
00:32:19,080 --> 00:32:22,160
Speaker 4: sitting down together doing this and it's such a great

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00:32:22,200 --> 00:32:24,240
Speaker 4: snapshot to me of that time.

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00:32:24,880 --> 00:32:26,760
Speaker 3: Well, thank you so much, Angie.

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00:32:26,400 --> 00:32:27,440
Speaker 5: Thank you.

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00:32:27,440 --> 00:32:29,280
Speaker 4: You know it's important to note too, when we're not

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00:32:29,320 --> 00:32:32,080
Speaker 4: doing this, we're still doing this talking about it. Yeah,

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00:32:32,600 --> 00:32:35,880
Speaker 4: this is This is a regular conversation ongoing dialostic.

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00:32:35,960 --> 00:32:36,760
Speaker 3: Bleetwood, Mac.

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00:32:38,120 --> 00:32:40,200
Speaker 2: Steve and Christine Rolling Stone.

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00:32:40,960 --> 00:32:43,640
Speaker 1: Thanks so much for listening to Rolling Stone's five hundred

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00:32:43,680 --> 00:32:45,840
Speaker 1: greatest songs. This podcast is brought to you by Rolling

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00:32:45,920 --> 00:32:49,560
Speaker 1: Stone and iHeartMedia. Written and hosted by me Britney Spanos

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00:32:49,640 --> 00:32:53,480
Speaker 1: and Rob Sheffield. Executive produced by Jason Fine, Alex Dale

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00:32:53,480 --> 00:32:56,520
Speaker 1: and Christian Horde, and produced by Jesse Cannon with music

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00:32:56,520 --> 00:32:57,360
Speaker 1: by Eric Siler.

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00:32:57,480 --> 00:32:59,120
Speaker 2: Thanks so much for listening and we'll see you in

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00:32:59,120 --> 00:33:00,080
Speaker 2: the next episode. He