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Stevie Nicks: Trouble In Shangri-La

 A l b u m   D e t a i l s


Label: Reprise Records
Released: 2001.05.01
Time:
 56:10
Category: Pop/Rock
Producer(s): See Artists ...
Rating: *********. (9/10)
Media type: CD
Web address: www.nicksfix.com
Appears with: Fleetwood Mac
Purchase date: 2001.05.04
Price in €: 16,99



 S o n g s ,   T r a c k s


[1] Trouble in Shangri-La (Stevie Nicks) - 4:49
[2] Candlebright (Stevie Nicks) - 4:41
[3] Sorcerer (Stevie Nicks) - 4:55
[4] Planets of the Universe (Stevie Nicks) - 4:46
[5] Every Day (John Shanks & Damon Johnson) - 3:36
[6] Too Far from Texas [Duet with Natalie Maines] (Steve Booker & Sandy Stewart) - 3:48
[7] That Made Me Stronger (Stevie Nicks / Scott F. Crago & Timothy Drury) - 4:19
[8] It's Only Love (Sheryl Crow) - 3:32
[9] Love Changes (Stevie Nicks) - 4:23
[10] I Miss You (Stevie Nicks / Rick Nowels) - 4:15
[11] Bombay Sapphires (Stevie Nicks) - 4:05
[12] Fall from Grace (Stevie Nicks) - 4:31
[13] Love Is (Stevie Nicks) - 4:29

 A r t i s t s ,   P e r s o n n e l


STEVIE NICKS - Voclas, Keyboards on [4][9][11], Tambourene on [6], Background Vocals on [7][9], Producer on [1]-[4][6][7][9][11][12]

SHERYL CROW - Guitars on [2]-[3][8], Bass on [6], Acoustic Guitar on [7], Guest Vocal on [2]-[3], Backing Vocals on [8][12], Producer on [2]-[3][6]-[8]
JOHN SHANKS - Guitarson on [1][4][5][12], Keyboardson [1][4][12], Bass on [4][5][12], Programming on [1][4][5][12], Producer on [1][4][5][12]
BENMONT TRENCH - Hammong B3 Organ on [2][6], Piano on [2][6], Chamberlin on [6], Keyboards on [7][8]
JEFF TROTT - Electric Guitar, on [7][8], Producer on [7][8]
RICK NOWELS - Acoustic Guitar on [10], Background vocals on [10], Producer on [10]
PIERRE MARCHAND - Guitar and Keyboards on [13], Producer on [13]
VINNIE COLAUTA - Drums ON [1][11][12]
AL ORTIZ - Bass on [1][11], Guitars on [11]
PATRICK WARREN - Keyboards on [1]-[5]
MATT CHAMBERLAIN - Drums on [2]-[3]
TIM SMITH - Bass on [2]-[3]
JEFF TROTT - Guitars on [2]-[3]
PETER STROUD - Mandolin on [2], Guitars on [3]
STEVE FERRONE - Drums on [4]-[6]
RAMI JAFFE - Keyboards on [5]
MIKE CAMPBELL - Guitars on [6][8], Producer on [6]
WADDY WACHTEL - Guitars on [6]
BRIAN MACLEOD - Drums on [7][8]
DAN ROTHCHILD - Bass on [7]
RUSTY ANDERSON - Guitar on [9][10]
DAVID KAHNE - Keyboards and Programming on [9]
GARY FERGUSON - Drums on [10]
TIM PIERCE - Guitars on [10]
LINDSEY BUCKINGHAM - Additional Guitar on [10]
CHARLED JUDGE - Keyboards on [10]
LENNY CASTRO - Percussion on [11]
MACY GRAY - Guest Vocals on [11]
SARAH MCLACHLAN - Piano, Guitar and Background vocals on [13]
ASH SOOD - Drums on [13]
MICHEL PEPIN - Guitar on [13]
SYLVAIN GRAND - Keyboards on [13]
BRIAN MINATO - Bass on [13]

SHARON CELANI - Background vocals on [1]-[5][10][11][13]
LORI NICKS - Background vocals on [1]-[5][10][11][13]

MARK DESISTO - Engineer on [1][12]
JAMES MURRAY - Pro Tools Engineer on [1][6]
BRIAN SCHEUBLE - Engineer on [2]-[3][7][8][11]
DAN CHASE - Engineer on [4][5][12], Pro Tools Engineer on [4][5][12]
MARK DESISTO - Engineer on [4][5]
LARS FOX - Pro Tools Engineer on [5][7]
DON SMITH - Engineer on [6]
SCOTT F. CRAGO - Drum Loops on [7]
TIMOTHY DRURY - Drum Loops on [7]
ROB BRILL - Engineer on [9]
WAYNE RODRIGUES - Pro Tools Engineer on [10], Additional Engineering on [10], Drum Programming on [10]
DOMINIQUE GRAND - Additional Engineer on [10][13]
PIERRE MARCHAND - Additional Engineer on [10][13]
BUDDY JUDGE - Pro Tools Engineer on [11]
JAMES MURRAH - Pro Tools Engineer on [12]
MIKE PLOTNIKOFF - Engineer on [13]

 C o m m e n t s ,   N o t e s


2001 CD Warner Brothers 47372
2001 CS Warner Brothers 47372



Rock enchantress Stevie Nicks strips off the shawls, scarves, and most of the rest of her trademark witchy esoterica for her first album since 1994's rather precious Street Angel. Seemingly more comfortable in her skin, Nicks also settles more comfortably into her croaky, lived-in voice, and is a stronger presence for it. While Trouble in Shangri-La was produced in part by Sheryl Crow, Nicks also tapped the talents of John Shanks (Melissa Etheridge) and Sarah McLachlan producer Pierre Marchand (McLachlan adds her haunting pipes to "Love Is"). Also on hand are Dixie Chick Natalie Maines (on the rockabilly-like "Too Far from Texas"), and the ubiquitous Macy Gray growls on "Bombay Sapphire," a blistering, hard-charging track that recalls the best moments of Fleetwood Mac. Other standouts on the album are the unflinching, autobiographical "Fall from Grace," recorded at punk rock speed, and the winsome "Everyday," with its elegant, soulful lyrics.

Jaan Uhelszki - Amazon.com



Trouble in Shangri-La, Stevie Nicks' first album in seven years, is a typically autobiographical offering filled with slow-to-mid-tempo songs of love and loss done in Nicks' trademark rich, thick voice. Shangri-La is preoccupied with shadows from Nicks' past -- in particular, one suspects, her relationship with fellow Fleetwood Mac alum Lindsey Buckingham, who adds guitar to the gentle ballad "I Miss You." Nicks gathers new friends around her as well: The Dixie Chicks' Natalie Maines appears for a lovely duet on "Too Far from Texas," Macy Gray backs Nicks on the gutsy, sultry soul track "Bombay Sapphires," and Sarah McLachlan graces the filmy piano ballad "Love Is." It's Sheryl Crow who provides the ablest assistance here, helping out with production and songwriting on several songs, and adding voice and guitar to the Nicks-appropriate "Sorcerer."

Linda Laban, April 30, 2001
CDNOW Contributing Writer



Beispielhaft für das Kunststück, das Stevie Nicks mit Trouble In Shangri-La schafft, soll hier "Sorcerer" stehen; ein Stevie-Nicks-Song, der fast dreißig Jahre auf dem Buckel hat. Nicks schrieb die Nummer bereits 1972. Aufgenommen hat ihn dann zwölf Jahre später Marilyn Martin als Bombast-Ballade für den Soundtrack zu Streets Of Fire. Produzentin Crow gelingt es meisterhaft, "Sorcerer" wie einen Sheryl-Crow-Song klingen zu lassen, ohne dabei die Ursprünglichkeit und Faszination des Originals zu zerstören. Die kongeniale Kombination von Nicks/Crow knüpft nahtlos an die Zeiten an, in denen Jimmy Iovine einst Stevie Nicks und Tom Petty zusammenführte, an Zeiten, in denen mit Bella Donna und Wild Heart (produziert von Jimmy Iovine) die bis dato besten Nicks-Alben entstanden. Und in eben dieser Tradition steht endlich wieder Trouble In Shangri-La, nicht zuletzt auch durch die Zusammenarbeit mit den Tom-Petty-Gefährten und Heartbreakers Mike Campbell, Benmont Tench und Steve Ferrone, die u.a. auch auf "Too Far From Texas" zu hören sind. Als weitere Gäste veredeln Sarah McLachlan, Macy Gray, Waddy Wachtel und Fleetwood-Mac-Kollege Lindsay Buckingham ein durch und durch gelungenes Album, das wieder erdig und kernig rockt, als hätte sich Schamanin Nicks einen Zaubertrank gebraut, der sie und ihren Sound um gut zwanzig Jahre verjüngt.

Dirk Ruschepaul - Amazon.de



Poetically Beautiful

Stevie Nicks brings in talented musicians on stunning 'Trouble'. The witch-goddess and legendary songwriter of rock, Stevie Nicks, has offered up her first collection of solo material since 94's "Street Angel." The new release, "Trouble in Shangri-La," teams the former Fleetwood Mac chanteuse with an array of musical talents. Longtime friend, Sheryl Crow, has a prominent role in the recording. Crow has production credits on five of the album's 13 tracks and also plays guitar, bass and sings backup on several of the tracks. Nicks duets with Natalie Maines of the Dixie Chicks on the country sounding "Too Far From Texas," and R&B star Macy Gray does background vocals on the spicy "Bombay Sapphires." Also, Sarah McLachlan brings in her entire band and producer Pierre Marchand on Nicks' beautiful ballad "Love Is" that sounds much like something that could have been on McLachlan's "Surfacing." But rest assured, Nicks is not merely following in the footsteps of other legendary comebacks like that of Carlos Santana, showcasing a fine assortment of musicians who just recently gained fame to appeal to a new crowd. Nicks is clearly the main feature here; her eerie, domineering voice and mystic lyrics are the main focal point of "Trouble." The 13 songs on "Trouble," which have accumulated over several years of hiatus, recall the gorgeous, surreal music Nicks created during her time in Fleetwood Mac and solo outings such as 82's "Bella Donna." Nicks recreates her sound here to make it a bit more accessible to the younger generation, dabbling in the occasional electronic sounds and programming here and there and adding dreamlike keyboards and guitars, making many of the songs sound like they would work well on a Lilith Fair compilation album. "Planets of the Universe" is a brilliant example of Nicks' poetic imagery as she sings, "No doubt, no pain/ Come ever again, well/ Let there be light in this lifetime/ In the cool, silent moments of the nighttime." The cool rock song "That Made Me Stronger," shows Nicks recalling a discussion she had with longtime pal, Tom Petty, in which he helped her realize that she is still one of the most gifted songwriters in music today. On this track, Nicks thanks Petty singing, "Well you know me better than I know myself/ Can you write this for me/ He says no, you write your songs yourself/ That made me stronger/ It made me hold on to me." "Falling from Grace" finds Nicks rocking out with her band on this startlingly forceful tune in which she sings, "And it's not enough that you say you love me/ It's not enough to just save face/ Because sometimes/ You just fall from grace." Overall, "Trouble" is an excellent illustration of Nicks' ability to create strikingly beautiful songs with the fiery passion that has made her a legend in the music world. Nicks has penned songs that stand the test of time, and the songs on "Trouble" should prove that Nicks can do the same with extraordinary grace.

By Ben Leger
from the Reveille, an LSU Student Newspaper



The album cover shows a woman from the back, but there is not mistaking you it is. The diaphanous, multilayered dress fluttering in the breeze, the chunky platform high heeled boots, the Rapunzel mass of tendrils flowing just like a white-winged dove and the lace could only signal one person: Stevie Nicks. There's also no mistaking the music on Nicks' new "Trouble In Shangri-La". The poet priestess of rock has delivered a recording that is pure, essential Stevie - powerful, emotional songwriting that ranks with the best music from her Fleetwood Mac years. Her first album in seven years (following 1994's disastrous "Street Angel", recorded while Nicks was in a Klonopin haze), "Trouble In Shangri-La" is her best work since "Bella Donna", the classic that sparked her solo career in 1981. No trouble in paradise, here. We find Nicks, aided by the producing skills of Sheryl Crow and the backup vocals of Sarah McLachlan, Macy Gray, and Dixie Chick Natalie Maines, confident in both voice and songwriting. Her tunes (including several penned in the '70's) are fresh, vibrant and wickedly catchy. Her lyrics, Nicks' strong suit, are as powerful as they are smart. She sings of love, yes, but not from the vantage point of a hopeless romantic. There's something of a wise survivalist in the lyrics; the intelligent take from a woman who knows enough to know better. And yet, Nicks also finds herself in the familiar arena of passion - wanting romance and dreaming of love. "Does he know how long I've waited for this love to come?" she asks in the plaintive "Too Far From Texas". On the stirring "Candlebright," she confesses "Well you know me....I can't feel bad about the way I am." The tracks produced by Nicks' new pal Crow benefit from the wistful outsiderness both artists have separately conveyed. Together, they're a good partnership expressing both moving honesty and bittersweet knowingness. Nicks hasn't stopped dragging her heart around. But "Shangri-La" suggests she's a little bit better at protecting it.

Greg Morago
Hartford Courant May 3, 2001



Stevie bridges the gap

She had written songs, such as Rhiannon and Dreams, which had graced some of the biggest albums in pop history. Her gipsy-diva style and husky voice had made her the female rock icon of the late Seventies and early Eighties. But, by the begining of 1995, Stevie Nicks was in a rut. The American singer, who had joined Fleetwood Mac in 1975, had spent a year promoting a solo album, 1994's Street Angel, that she knew fell below her usual artistic standards. Having Kicked a cocaine habit in 1986, she had also overcome an eight-year addiction to prescription drugs. Then, as she began to piece her life back together, she was hit by writers's block. 'In 1986, I'd started taking a tranquillizer called Klonopin,' says Nicks.'By the time I began recording Street Angel, it had really kicked in. I was sick and I didin't go out at all. But my overwhelming sense of calmness took away all my feelings. It took away my creative juices.' Determined to make her next record a more stimulating and honest affair, she approached an old friend, Tom Petty, in 1995 to suggest a songwriting collaboration. 'He said asking him to co-write was a dumb idea,' she says. 'He said my songs didn't need saving. 'Tom told me that I had made a lot of mistakes, fired a lot of people and gone crazy. 'But he also told me I was a great songwriter. He had my best interests at heart and he shook me up. So I went to my piano and started writing. Suddenly, I was on a roll.' The songs Nicks wrote after Petty's pep talk have been assembled on her fifth solo album, Trouble In Shangri-La, out last week. The album features cameos from Sheryl Crow, Macy Gray, Sarah McLachlan and Dixie Chick Natalie Maines. 'I feel as if I've found all my long - lost daughters,' says 52 year old Nicks of her new vocal partners. 'I'm older than them and from a different place, but they relate to me.'

The affinity between Nicks and Sheryl Crow, who co-produced five tracks, was particularly strong. 'Someday, when we're older, we'll tour together. We'll be like the Everly Brothers, Don and Phil, except we'll be Donna and Philomena.' The best tracks on the new album are I Miss You, a ballad co-written with Rick Nowels, and Candlebright, which dates back to 1971 when Nicks and her boyfriend Lindsey Buckingham were working as a duo in San Francisco. The pair later joined Fleetwood Mac, but broke up during the sessions for 1977's Rumours album, which sold 25 million copies. 'Splitting up with Lindsey made things difficult, but we both loved being in Fleetwood Mac and we knew our songs were terrific, when you love a band, you don't sacrifice that. We knew great art would come out of difficult circumstances. And, despite all our problems, we were never boring.' Fleetwood Mac, meanwhile, will begin recording a new studio album later this year. Though keyboardist Christine McVie has decided not to take part, the other four stalwarts - Nicks, Buckingham, Mick Fleetwood and John McVie - will all be there. Stevie is looking forward to the sessions. 'Without Christine's synthesizers and keyboards in the mix, the group will be pushed back towards guitars,' she says. 'But it will be back to an English blues sound, which is exactly what I loved about the band when we joined.'

by Adrian Thrills
The Daily Mail, pg 54 Friday, May 4, 2001



Fleetwood Mac chanteuse Stevie Nicks takes flight once again. Slipping into those high heel stilettos and batwing sleeves, Nicks reclaims her rightful place as rock enchantress on Trouble in Shangri-La (her first solo album since her rather haphazard 1994 affair, Street Angel). Nicks has forgone most of her witchy-woman trappings and chosen to construct her own little Lilith Fair, recruiting Macy Gray, Sheryl Crow, Sarah McLachlan and Dixie Chick Natalie Maines to back her up. Dipping into uncharacteristic, straightforward musings unlike anything she's done before, Nicks experiments with rockabilly at times and shashays around this disc with much aplomb, humor and self-awareness, finally growing into her throaty growl at age 53. A track like "Fall from Grace" doesn't pull any punches either, chronicling Nicks' own public humiliations without shame, proving that, even though there may be trouble, there's a happy place for everyone.

E! online



Great Album No Trouble for Nicks

Until U2 released All That You Can't Leave Behind last year, the idea that rock acts would release an album that ranked with the best material in their long careers was almost unheard of. But Stevie Nicks also turned the trick with Trouble in Shangri-la, her first studio album in seven years, and arguably her best work since her solo debut, 1981's Bella Donna, sold 4 million copies. Despite having many different producers for the album's 13 tracks, the songs blend extremely well and showcase a variety of styles, from country-spiced ("Too Far From Texas") to Latin- flavored ("Bombay Sapphires"), to pop ("Everyday," and Love Changes"), to ballads ("Love Is," I Miss You.") But Nicks is at her best when she rocks, and the album includes that element. The powerhouse rocker "Fall From Grace" brought the house down at the Blockbuster Awards when Nicks and good friend and producer of five Trouble in Shangri-la songs, Sheryl Crow, sang it April 10. "Planets of the Universe" sounds starkly different from demo versions of the song that were almost sweet-sounding, but have been described by longtime fans as depressing. The song transformed into a defiant, mid-tempo rocker for the album. Nicks included several songs that could only be described as complex, from layered vocals in the title track to sounds in "Bombay Sapphires" that could work on a jazz station or one that plays R&B. But another album highlight is a very simple-sounding song with many possible interpretations, "It's Only Love." Crow wrote the song for Nicks when she thought about the stories her friend told her about her life, and the song makes it clear that Crow understands Nicks better than anyone who hadn't known Nicks for 20 years. The most remarkable thing about the album is that of the 13 tracks, nine are worth playing over and over again. That doesn't mean that no songs stand out; in fact, "Fall From Grace" and "It's Only Love" are the two strongest. The weakest tracks, "That Made Me Stronger" and "Everyday" are songs I'd have to be in the right mood to hear. Since Trouble in Shangri-la is in stores today, run, don't walk to the store or surf the Internet to an online store and get a copy of the album. There's something for everyone from the casual listener to the shawl-wearing, tambourine shaking Stevie Nicks freak to appreciate.

by Mike Sarzo, ECLIPSE Staff Writer
May 1 issue of The ECLIPSE (the black student newsmagazine at the University of Maryland)



When Sheryl Crow helped induct Stevie Nicks and her Fleetwood Mac mates into the Rock and Roll Hall of Fame in 1998, Crow called the siren "the woman all young girls wanted to be and all men wanted to be with." After years of drug abuse and health problems in the '80s, Nicks has not only cleaned up her act, she has polished it. On her first solo album since 1994, she reins in her loopy side with an assist from Crow, who coproduces, plays guitar and sings backup on a few tracks. And though Nicks dresses like Rhiannon heading for Wicca practice on the cover photo, she keeps things real lyrically--"Sorcerer" is apparently about a drug dealer, not a mystic. Enlisting the gravelly soul of Macy Gray for "Bombay Sapphires" and the Dixie Chicks' Natalie Maines on "Too Far from Texas," she also keeps it real vocally. Best of all is "Fall from Grace," a rocker about sin and redemption from one who has been there and back.
Bottom Line: Another side of pop paradise.

from People Magazine
Album of the Week



She was a gypsy trailblazer, casting a spell with her flowing scarves and raspy voice, cool, charismatic and undeniably mysterious. More than 25 years into her career, Stevie Nicks is still a captivating presence, whose blend of soft allure and fierce determination paved the way for a new generation of of rock n' roll soul women. Several of those decendents, most notably Sheryl Crow, show their debt of gratitude to Nicks on this, the Fleetwood Mac frontwoman's first solo album since 1994. Crow collaborated on five of the set's thirteen tracks, most notably the true-grit gem "Sorcerer",and "Too Far From Texas", a borderline country, steel n' slide saga, which also features Natalie Maines of the Dixie Chicks on vocals. Other A-List guest include Macy Gray, who distinctive vocals can be heard on the mystical "Bombay Sapphire", and Sarah McLachlan, who harmonies and piano add color to the set closing ballad "Love Is". As impressive as the collaborations are, Nicks shines just as fine on her own. And while the album might be a bit too retro and too faithful to her classic sound, she throws in a few surprises as well-especially the over-the-top,surging rocker "Fall From Grace", which sounds like it could be a perfect encore for the singer on her upcoming tour.

by Kevin O'Hare - April 29,2001
The Sunday Republican



Stevie Nicks' long-awaited return to the spotlight is as saturated with that totally Eighties vibe-big sound, big songs, big hair-as you might expect, but Trouble in Shangri-La also has feminine soul-power to spare. Despite sporting a list of contemporary collaborators that virtually guarantee an album rock/VH-1 bulls-eye (Sheryl Crow. Macy Gray and Heartbreaker Mike Campbell among them), Shangri-La is one of those archetypal "it takes a few listens" albums -- although even songs like the meandering title track do eventually make an impression. On first spin, however, the Crow-produced tracks -- "Too Far From Texas" (a country-rock tearjerker) and "That Made Me Stronger" (with its subtle trip-hop groove and harmony-laden roots-rock chorus) -- are the ones most liable to get lodged in the noggin. The latter tune, in particular, seems less like the product of our Gold Dust Woman than of Sheryl herself, what with lines like "I asked will you write this for me/you said no, you write your songs yourself/that made me stronger." Still, by rockin' and railin' about the male/female power balance in the so-called post-feminist world, Nicks boldly brings out the yucky feelings, redeeming them through one line in one song. And even three decades into her career, that's still her unique power.

Reader rating: 4.5 out of 5 stars

DENISE SULLIVAN - May 1, 2001
from the Rolling Stone's website



The most telling lyrical moment on Stevie Nicks' first solo release since 1994 (and the successful Fleetwood Mac reunion) comes on "That Made Me Stronger." The song relates a dinner conversation with Tom Petty, who in 1981 co-wrote and sang one of Nicks' biggest solo hits, "Stop Draggin' My Heart Around." This is the chorus: "Well you know me better than I know myself/ Can you write this for me/ He says no, you write your songs yourself/ That made me stronger/ It made me hold onto me." There's nothing wrong with a taking a friend's advice, but shop talk makes for an extremely self-indulgent lyric. The music on "That Made Me Stronger" is handsomely produced by Sheryl Crow and her guitar player, Jeff Trott, but the tune (and this collection) suggests two things about Stevie Nicks. One is that despite her "Behind the Music" history of affairs and drugs, she's still not one to see beyond the cushy perspective of rock star privilege. The other is that she is at her best when pushed by a talented collaborator — be it her old flame, Mac's Lindsey Buckingham, or, in this case, Crow, who had her hand in four of the album's strongest tunes. All told, eight producers (including Nicks) were involved in the production of Trouble in Shangri-La, and not everybody is up to the challenge. Non-fans will mock the Hollywood-Babylon title tune "I hear there's trouble in Shangri-La/ I run through the grass/ I run over stones/ Show me the way back ... to the sea." What, no room at the Hotel California? Nicks often writes lyrics in this clipped style, and her choppy clumps of words don't always paint a coherent picture. Some gaffs are perfectly clear, like on "I Miss You," where Nicks adds lyrics to producer Rick Nowels' music. "Well I miss you now," goes the chorus. "I have so many questions/ About love and about pain/ About strained relationships/ About fame as only he could explain it to me." Crow puts some musical bite behind the blather. "Sorcerer" features the requisite mysterious lady from the mountains, but it's also got a thicket of guitars that crest into a rocking chorus. Nicks' throaty voice is supported by a lovely Crow harmony on the folkish "It's Only Love," while "Too Far From Texas", a country-rock duet with Dixie Chick Natalie Maines, is perhaps the freshest music of the set. Too bad Macy Gray's guest vocal on "Bombay Sapphires" is all but lost in the only song produced by Nicks alone. All of which suggests once more that, like many performers who rise to fame as part of a rock and roll band, Stevie Nicks is only as good as the company she keeps.

from VH1.com



The Bella Donna casts another solo spell.

"I AM SOMETHING OF A DREAMER," Stevie Nicks sings on "Candlebright," the mandolin-driven second song on her excellent new album, Trouble in Shangri-La. Has a major artist ever made so self-evident a statement? Spinning highly charged fables of latter-day lords and ladies, dream weaver Nicks plays the resigned but ever hopeful fairy princess waiting for some gallant hero to sweep her off her feet. The sobering accumulation of life experiences by the former Fleetwood Mac chanteuse, combined with the gauzy mysticism that has been her hallmark since she twirled herself dizzy to "Rhiannon," makes for an attractively ripe set of songs, her first new collection since the largely forgotten Street Angel in 1994. Nicks has never sounded more grounded or passionate than on Shangri-La, which is her best and most varied work as a solo artist. The title track has an urgent propulsion reminiscent of "Edge of Seventeen," albeit with a more adult outlook, while "Fall From Grace" is a galloping, intense rocker that would be impressive for an artist of any age, especially one on the edge of 53. While the fire is entirely of Nicks's making, she's joined by eager acolytes like Sheryl Crow, who coproduced and plays on five songs. These include the eloquent "Sorcerer" -- listen to Nicks's brief, angelic ascent into falsetto - which is as lyrically and musically concise as her work with ex-partner Lindsey Buckingham (think "Landslide") in Fleetwood Mac. R&B singer Macy Gray adds soulful spice to "Bombay Sapphires," and Natalie Maines (of the Dixie Chicks) imparts twang to the countrified lover's lament "Too Far From Texas," an earthy departure for Nicks. Mainly, though, Shangri-La is a triumph of resurgent creativity and a profoundly gusty second wind.

PARKE PUTERBAUGH
from US Weekly



A bewitching and long-awaited album by the supremely talented singer songwriter. Rich musically and superbly crafted songs fill Trouble In Shangri-La. Nicks delivers the classic American vocal - her voice is deeper than before, scorched by the desert sun, full of tragic beauty. The haunting 'Candlbright' and classic 'Sorcerer' - both written in the early 70's are immediate favourites. Lindsey Buckingham, her one-time partner from Fleetwood Mac plays guitar on the lush ballad 'I Miss You', Macy Gray contributes vocals to 'Bombay Sapphire' and Sherly Crow's collaboration on five tracks has added to the magic of this exceptional album where every song is a winner. Highly recommended.

from the may 8th issue of the UK Magazine, Hello



What becomes a legend most? Getting back to work, apparently.

Stevie Nicks has spent more than a quarter century establishing a reputation as one of rock's most influential artists. But since 1994's half-baked Street Angel, she's released precious little music that suggested her creative juices were still flowing freely; her finest moment on Fleetwood Mac's reunion disc, The Dance, "Silver Springs," was a leftover from 1977's Rumours. The 1998 three-CD solo set Enchanted did much to shore up Nicks' legend, but in the silence that followed, it seemed increasingly unlikely that any new material she wrote would be heard outside the confines of her Arizona ranch.

Trouble in Shangri-La was a long time coming, but it was worth the wait; Nicks' sixth solo album is her strongest since 1983's The Wild Heart. While tracks like the mandolin-laced "Candlebright," "Sorcerer," and "Planets of the Universe" play into Stevie's mythological role as shawl-wearing mystic, the album is firmly rooted in the here-and-now by memorable songs and dynamic performances. "That Made Me Stronger," a tune inspired by Tom Petty's refusal to help Nicks write new material, is a captivating reminder of her gifts as a storyteller. But the finest songs among these 13 tracks — the stripped-down "Every Day," the closing "Love Is" (produced by Sarah McLachlan knob-twiddler Pierre Marchand) — are the ones that, like her classics "Stand Back" or "Edge of Seventeen," crystallize a powerful sentiment or flash of emotion in an arresting pop composition.

During her time on the mountain, much has been made of Nicks' role in inspiring other artists. But while Shangri-La boasts a plethora of big-name guest stars, the collaborations feel natural, particularly "Too Far From Texas," which finds Stevie, Sheryl Crow (who co-produced five tracks), and Natalie Maines of Dixie Chicks accompanied by the Heartbreakers (sans Petty). The aforementioned McLachlan provides piano on "Love Is," and Nicks' distinctive vibrato meets its match in Macy Gray's on "Bombay Sapphire." Even Nicks' longtime romantic and creative foil, guitarist Lindsey Buckingham, pops up on "I Miss You." Despite having so many cooks in the kitchen, Nicks has no trouble commanding the spotlight throughout the 52-minute disc. Trouble in Shangri-La has brought Stevie back down to Earth — and might well return her to the pop charts, too.

Kurt B. Reighley
from Wall of Sound



Nicks' first solo set in five years positions the rock legend as this year's comeback equivalent to Carlos Santana. Offering her strongest material since her 1982 [sic] landmark, Bella Donna, Nicks is radiant as she vamps through guitar-charged rockers that deftly balance her signature poetry with sticky pop hooks. While much ado will be made of the glittery guests on Shangri-La -- including Sheryl Crow (who also produced five cuts), Macy Gray, Sarah McLachlan, and Natalie Maines of Dixie Chicks -- none pulls the listener's ear away from Nicks. Rather, they quietly compliment her, seemingly approaching the set as fans paying homage. Radio programmers are embracing the fine first two singles, "Planets of the Universe" and "Every Day," although there are even better tunes: the white-knuckled anthem "Fall From Grace," the sweetly introspective "It's Only Love," and the elegant, piano-laced ballad "Love Is." A stellar return for a true rock original.

Billboard, May 5



From the opening strains of her new solo album, Trouble in Shangri-La (Reprise), her first since 1994's Street Angel, it's clear that Nicks is once again in peak form. "You and I will simply disappear, out of sight," she croons on "Planets of the Universe," somehow managing to be apocalyptic and uplifting at the same time as her reedy voice seems to shrug off its earthly bonds and fill up the cosmos. As ever, Nicks' lyrics are the stuff of velvet-bound journals and metallic-gold pen--unicorn-bedecked bits of heartsick poetry forged in adolescence and seasoned by years of hard living, detox, emotional upheaval, fame and survival. Accordingly, "Bombay Sapphire," a lite-FM duet with Macy Gray (perhaps the only chanteuse with a raspier voice) is an ode not to top-shelf gin-Nicks hasn't touched the stuff in years-but to the calming power of the sea.

On several other tracks, Nicks teams with Sheryl Crow and Dixie Chick Natalie Maines, but they both seem perfectly superfluous. Like poor Christine McVie back in the day, Nicks leaves them chocking on her pixie dust.

W Magazine, May 2001, page 128 - Critical Eye



Even without some help from her friends, Stevie Nicks finds herself again.

Every terminally pampered rock star should have a realization like the one Stevie Nicks describes in "That Made Me Stronger." A chronicle of the steps Nicks took to make "Trouble in Shangri-la", her first album since 1994, the song centers around a typical rich- person approach to problem solving: her first thought was to hire others to help with the song writing. The chorus tells of one conversation (in interviews, she's said it was with Tom Petty) in which the queen of the gold dust demimonde wheedles & begs: "Well, you know me better than I know myself, could you write this for me?". The response, snapped out over a banging j. Geils-ish rhythm guitar: "No, you write your songs yourself." The lesson: "That made me stronger, that made me hold on to me."

Good thing too. Because unlike other legends in her tax bracket, Nicks actually has something to say for herself after all these years. She's been thinking about the ways her identity has been sacrificed to (or subsumed by) love, about the illusions she's held & shed. She's put those ideas down in plain words & plaintive melodies, devised song structures that rely on genuine hooks & unusual interludes & concocted a crafty update of California pop, shot through with the insights & ravings of a sometimes-lonely desert mystic.

Still, the disciplined songs of "Trouble" occasionally scream "Warning! Career Rehabilitation in Progress!" There are the inevitable trips back to past glories (most odiously the title track, which sounds like a computer-generated composite of previous Nicks Hits), & musical elements transplanted from her bellowing Eighties arena songs. There are contributions from present-day disciples (Macy Gray, Sarah McLachlan) & a big helping of Sheryl Crow, who co- wrote several songs & produced five gems, including the ethereal "Sorcerer", a gorgeous reverie that recalls the contemplative mood Nicks first explored in the pre-Fleetwood Mac days of Buckingham/Nicks.

Mostly, there is a wise woman with a wickeder-than-ever voice who admits to being "something of a dreamer". Though she's suffered scorn for that cosmic mumbo-jumbo that helped make her famous, Nicks won't back down: One of Trouble's wondrous songs, "Planets of the Universe", expresses worry about global warming in disarmingly eloquent terms.

Still, most of the songs are about earthly love & devotion, & that's where her artistic growth is inescapable. Having once accepted such polarized Venus/Mars definitions of love as "give to me your leather, take from me my lace", Nicks has discovered a whole realm of nuance: she effortlessly expresses awe ("Everyday") & regret ("I Miss You") & with the whispery "Its Only Love" captures relationship tumult with the kind of hushed phrases and feathery touches that often escaped her back when.

She closes "That Made Me Stronger" by repeating the mantra "I don't want to go back & nothing you can say can change my mind" & even though its just an ordinary pop vow, you hear the conviction in her voice, & you believe her. Because it sounds like she understands that she has no other choice.

Revolver
May/June 2001



One of music's true originals previews Trouble in Shangri-La, her first studio collection in five years, with a sterling pair of tunes that nicely reflects the project's overall tone. "Planets of the Universe" shows Nicks in classic form, wrapping her unique brand of romantic poetry in jittery electric guitars and a chugging groove, a la her now signature 1982 smash "Edge of Seventeen." Meanwhile, "Every Day" casts the artist in a more time-conscious mode, as she gamely interprets a sweet John Shanks/ Damon Johnston song amid cozy swirl of synths and strumming acoustic guitars. Although "Planets" is wisely aimed at mainstream rock and triple A formats and "Every Day" is geared toward AC and top 40 outlets, the currently quirky (that is, narrow-cast) nature of radio dictates that Nicks' best shot at airplay for either track is at AC. Given a choice most programmers wil likely opt for "Planets," if only because it's her strongest self-penned effort in years. It's also a refreshingly vibrant, instantly memorable recording on which Nicks performs with the kind of heart that's made her an enduring rock heroine. In the end, though, both songs are several notches above the material currently vying for attention right now. You can't lose by choosing either tune.

Larry Flick
From Billboard Magazine - April 7, 2001



After 1994's spotty "Street Angel," Stevie Nicks' first solo outing in seven years, "Trouble in Shangri-La," is a return to form in terms of songwriting craft and vocal commitment. Her melodies are characteristically complex, buoyed by gorgeous counter-melodies and her own background flourishes. Such is the case with the title track, a sprawling epic that works as a spectral warning of the dangers of indulgence ("You can consume all the beauty in the room, baby, I know you can and I've seen you do it," she sings.). Her distinctive voice occupies every peak and valley as she exhibits the kind vocal might that elevated her to the role as the high priestess of rock in the late '70s. On "Sorcerer," where she receives back-up from Sheryl Crow, Nicks rediscovers her upper register, hitting high notes she hasn't attempted in years. The VH-1 ready-made "Everyday" is a sweet, delicate mid-tempo ballad where Nicks coos romantically, "Don't keep me hanging on a string, tell me what I feel is no big thing... Don't give me visions to explain." Her duet with Dixie Chick Natalie Maines on "Too Far From Texas" is a bracing country ode to lost love. ("Maybe my love could fly over the ocean, maybe my heart should try to leave him alone.") Interestingly, the disc's plethora of guests stick to the sidelines, only offering the occasional harmony vocal or guitar lick. Fans of Nicks' work will have plenty to get into here - from the propulsive "Planets of the Universe" to the sparse acoustic offering "It's Only Love." After three decades of making music, Nicks remains the most relevant of rock goddesses. She's never lost any of her mystery or allure, which is so horribly absent from today's pop charts, while standing firm at the top of her craft. This sterling disc will assure that worship at the Temple of Stevie will continue uninterrupted.

Rick Dunn (Boston) - Newspaper editor



It's a matter of seconds before album opener and title track 'Trouble In Shangri-La' reveals the distinctly nasal vocals of one of rock's greatest achievers - Stevie Nicks. Solo albums by big name rock artists are always in danger of having shed loads of money thrown at them, lavish over production, and too many big name guest appearances. But lavish production and Sheryl Crow excused, Stevie Nicks' latest effort features some of her best material to date. Nicks and hungry Fleetwood Mac fans will not be disappointed. There are a couple of obvious potential singles here, the extremely catchy 'Every Day' and the ballad 'It's Only Love' (the one which features Sheryl Crow). As good as the aforementioned tracks are, their chances of surviving the current UK chart climate are undoubtedly very slim, whereas their potential in the current U.S. market is probably massive. The country rock tinged 'Sorcerer' and (aptly titled) 'Too Far From Texas' see Nicks diverting from her usual MOR genre - and I have to say both are a breath of fresh air. MOR, Country Rock, ballads, 'Trouble in Shangri-La' is a varied album which offers something new with each listen.

from www.virtualcardiff.co.uk



It's been almost eight years since Stevie Nicks released a solo disc -- touring with a reformed Fleetwood Mac is time-consuming work, evidently -- and three songs here are previously unrecorded holdovers from the 70s. But Nicks couldn't have returned with anything better than Trouble In Shangri-La (out Tuesday). Eschewing Welsh witches and other spooky maidens for a grittier lyrical palette drawn from real life (read Lindsey), and collaborating with everyone from Macy Gray to Sheryl Crow, Nicks crafts timeless and relentlessly melodic pop that speaks sharply without being stern. Alternately moody and hopeful, with a revelatory centrepiece track inspired by Tom Petty, Shangri-La never loses steam and never stumbles. This is the Nicks record fans have been awaiting.

KIM HUGHES
from the NowToronto.com


Solo Stevie a singular pleasure

Take your pick: Bad drugs or bad relationships. Stevie Nicks has dealt with both to the point that one could take her heartbreak songs either way. Take Planets of the Universe, one of the more "out-there" tracks on her first solo album in seven years: "You will never love again the way you love me/you will never rule again the way you ruled me." Presumably free now from bad drugs or bad lovers, Nicks's personality is more present here than on 1994's Street Angel. With distinctive catty rasp in fine form, she fleshes out plenty of old ghosts - from being in the midst of despair (Sorcerer) to rehashing the Fleetwood Mac saga (Fall From Grace) to relating a pep talk she got from Tom Petty on That Made Me Stronger. She sings, "Can you write this for me? He says, no, you write your songs yourself." So she did. And while Petty may have turned her down this time, Nicks enlisted lots of help - a veritable Lilith Fairian posse of special guests - and one could argue that she needs it. Without Sheryl Crow, who produced and sang backup on several tracks - along with writing one of the best songs, It's Only Love, specifically about Nicks - this might've turned into a watered-down version of Fleetwood Mac. Of course, there are worse fates. Also lifting it up is Dixie Chick Natalie Maines, who adds a sassy country flair on Too Far From Texas, a classic long-distance heartbreak tune. The other guests, Macy Gray, Sarah McLachlan and Lindsey Buckingham, are largely lost in the shuffle. Still, despite its flaws, this could be Stevie's best solo work to date - at least on one where she did most of the work.

By MIKE ROSS Edmonton Sun



Those whose most recent memory of Stevie Nicks is her reserved performance on Fleetwood Mac's 1997 reunion album, The Dance, prepare to be pleasantly surprised. Trouble In Shangri-La finds her throaty drawl restored to its former glory, and Nicks's supporting cast of younger, equally gifted gal pals - Sheryl Crow, Macy Gray, Sarah McLachlan and Dixie Chick Natalie Maines - has obviously inspired her. Comfortingly, the songs are still peopled by sorcerers, former lovers and "ladies from the mountain", and both Everyday and Candlebright have FM-friendly choruses as big as their writer's hair. Those still curious about the relationship soap-opera that underpinned Nicks's former band should also note that ex-boyfriend Lindsay Buckingham plays lead guitar on I Miss You. Seems it's never quite over when the Mac lady sings.

Reviewed by James McNair
Q Magazine



Stevie Nicks's new album could very well be called "Stevie Nicks and Friends." Aided and abetted by Sheryl Crow, Macy Gray, Sarah McLachlan, Dixie Chick Natalie Maines, and the Heartbreakers' Mike Campbell, Trouble in Shangri-La is a friendly affair, indeed. Crow proves to be Nicks's greatest pal, grounding Nicks in no-nonsense arrangements. (In the past, Nicks has occasionally let overproduction eclipse her stellar songwriting.) The rootsy but spooky "Sorcerer" and "Candlebright" meld Nicks's mysticism and Crow's earthiness especially well. As for the other guests: the throaty Gray adds even more resonance to Nicks's darn-near-Marianne-Faithfull-low vocals on "Bombay Sapphire"; Maines is right at home trading verses on the twangy "Too Far from Texas" (a song that finds Campbell echoing his signature guitar work from "Stop Dragging My Heart Around"); and McLachlan's lofty harmonies prove a pretty foil for Nicks on the closing ballad, "Love Is." Despite all the input, Nicks seems very much in charge here, her songs suffusing the album with her deeply personal reflections on love, loss, and triumph. "That Made Me Stronger" -- inspired by Tom Petty, who turned down Nicks's plea for collaborative help, saying, "You write your songs yourself" -- is typical of her candor. Whether she's on her own or with her friends, the songs on Trouble in Shangri-La make Nicks strong indeed.

Bill Crandall - Barnes & Noble



Stevie Nicks, rumored to be the best voice that ever fronted seminal rock outfit Fleetwood Mac, returns to the solo recording life with today's release of "Trouble in Shangri-La," where the good witch of rock is in great voice with 13 songs of love and fantasy. Her emotional vocals reveal her as a strong woman willing to risk love's pain for its ultimate reward. With her 53rd birthday later this month, she's written an open-handed, forthright album that's hopeful, optimistic and smart. If you are already one of Nicks' chicks, you'll love "Trouble in Shangri-La" from start to finish. The title track opens the disc with the singer's husky vocals peeling away the petals of love's flower in an attempt to find its secret. Those who still remember "The Other Side of the Mirror" and her last solo outing "Street Angel" (1994) will approach this disc with caution, but with the help of Sheryl Crow, who appears on the disc and produced five tracks, this is more of a sure bet. Other guest singers include Macy Gray, Natalie "Dixie Chick" Maines and Sarah McLachlan. While these pairings are all fine, those looking for a Mac attack should check out her collaboration with her longtime pal and Fleetwood Mac partner Lindsay (sic) Buckingham on the very fine song of lost happiness "I Miss You." This is a carefully put together, very good collection. It had to be--this good witch's career couldn't stand another bad record falling on her like a house.

by Dan Aquilante New York Post - May 1st



Somewhere along the line, Stevie Nicks fell into the same trap nearly all great songwriters do at some point; She forgot that she's a songwriter and believed that she was a rock star. So after being a rock star in the '80s (successfully) and the '90s (unsuccessfully), she's gotten back to concentrating on saying something rather than just being something. Everyone knows the classics she's written, topped by the impossibly dark Dreams and countered by the hopeful Landslide. The hits kept coming over the years, even as they got more indecipherable. (I've yet to hear a rational explanation, from her or anyone else, of what her biggest solo hit, Edge of Seventeen, could possibly be about.) Yet she continued writing great songs, even if they got buried deep in Fleetwood Mac or solo album. Storms was one of the most affecting, vulnerable, confessional songs she ever wrote, hidden deep inside Tusk. When I See you Again is a heartbreaking song of achingly lost love, again dumped unceremoniously onto the end of the 1987 Tango in the Night album. And the Rumours-era accusatory triumph Silver Springs was relegated to the flip side of a 45 until Fleetwood Mac finally had the sense to make it the centerpiece of the band's 1997 reunion tour and live album.

It wasn't just the band that disrespected her. She did it to herself too; generic hits such as Talk to Me were no match for the darker, more personal material that she seemed to hide. The proof: Outside the Rain and How Still My Love, from her solo debut, Belladonna, and even Garbo, buried by Nicks herself on a B-side (though she rescued that and many of her other best songs for her 1998 Enchanted boxed set). Many great songwriters go through bursts of brilliance and come up with more great material in a short period of timethan most do in a career. Neil Young keeps pulling gems out of his fiery late '70s period; Pete Townsend returns repeatedly to the Lifehouse songs that fueled his early-'70s work. Likewise, Nicks has finally gone back and rescued three abandoned tunes from her most inspired era. The oft-bootlegged Nomad finally turns up in an official release here as Candlebright, complete with all the Nicks trappings and imagery: dreams, love, flying. Sorcerer revisits familiar Nicks ground as well. More remarkably, the newer songs fit in nicely with the vintage Nicks, with a duet with Natalie Maines of the Dixie Chicks being an unexpected highlight. Despite a variety of producers, songwriters and guests (including Sheryl Crow handling all three duties), Trouble in Shangri-la has a consistent tone and ranks among Nicks' best solo work.

from the Denver Rocky Mountain News
 

 L y r i c s


TROUBLE IN SHANGRI-LA

I remember him, he was very young
No one spoke like him, he was someone
And I carried on, like I couldn't stop
All of it for us baby

And you, you got in my way
Stood between me and my friends
It was my sin, it was my shame
You were unconscious to the pain I was in

Chorus:
I hear there's trouble in Shangri-La
I run through the grass
I run over the stones
Down to the sea
Show me the way back, honey
I hear there's trouble in Shangri-La
I run through the grass
I run over the stones
Show me the way back...to the sea

With honor be it spoken
To understand this light that we carry
And let it light your way
Of course, you know, I generally take it
Well I make accommodations for you
And consider this
You used to be my love
I make excuses for you

(Chorus)

You can consume all the beauty in the room, baby
I know you can, I've seen you do it
And it brings up the wind
And it rises around you in pillars of color

But the promise has been broken
As you walk through the shadow of death
You try to see no evil
But you are heartbroken
You say, dear God, make it stop!

Before the dawn of separation
Brings up the wind
Rises around you
I hear there's trouble in Shangri-La
Pillars of color
Trouble in Shangri-La
I make accommodations for you

I guess we don't believe
That things could go that far
We all believe in people...
That we think believe in God
Somewhere in the night...
Someone feels the pain
The ones who walk away
Try to love again...

(Chorus)

You can consume all the beauty in the room, baby
Because you are so heartbroken
You can consume all the beauty in the room, baby
Before the dawn of separation
You can consume all the beauty in the room, baby
Show me the way back


CANDLEBRIGHT

For no special reason
I am leaving you for awhile tonight
I'm flying far above you
Still I love you
You make things right

Chorus:
I've been with you before
I'll be with you again
I'll come back for more, yea
The story has a strange ending

Well, you know me I'm a nomad
I can't feel bad
About the way I am
I've been rolling around
My whole life
You're my candlebright in the window

Chorus:
You guide me back again
And I come when you shine
You are not my friend, no
But I am something of a dreamer
I am something of a dreamer
I am something of a dreamer

(Repeat verse and Chorus)

Still I love you
My candlebright
You are not my friend
But still I love you
You're my candlebright
Still I love you
But you are not my friend
But still I love you
I can't feel bad


SORCERER

I'm tired
I'm thirsty
I'm wild-eyed
In my misery

Timeless in your finery
It's a high price
For your luxury

Chorus:
Sorcerer
Who is the master
A man and woman on a star stream
In the middle of a snow dream
Sorcerer
Show me the high life
Come over
Let me put you on ice

All around black ink darkness
And who found lady from the mountains
All around black ink darkness
And who found lady from the mountains
Lady from the mountains

I'm tired
I need you badly
I'm wild-eyed
In my misery

Timeless in your finery
It's a high price
For your luxury


PLANETS OF THE UNIVERSE

The bright light is lying down
The earth and the sea and the sky
Is at rest with the ocean
And the days go by

They go into the seas that have no shores
Haunted by that same closed door
Looking up at skies on fire
Leaving nothing left of us
To discover

Chorus:
And the planets of the universe
Go their way
Not astounded by the sun or the moon
Or by the day
You and I will simply disappear
Out of sight
But I'm afraid soon there'll be
No light

No doubt, no pain
Come ever again, well
Let there be light in this lifetime
In the cool, silent moments of the nighttime

(Chorus)

We will never change again
The way that we are changing
Well, you'll forget the chill of love
But not the strain

Now I know
Well, I was wrong
To live for a dream
If I had my life to live over
I would never dream, no
I still wish you gone
And I will live alone
Yes, I will live alone

(Chorus)

You will never love again
The way you love me
You will never rule again
The way you ruled me
You will never change again
The way you're changing


EVERY DAY

Don't keep me hangin' on a string
Tell me what I feel is no big thing
Don't turn away I'm listening
Over and over again

Don't give me visions to explain
There are no doubts I feel the strain
Of all my senses yearning
Over and over again

Chorus:
Every day I see you
Every day I need you
Every way I breathe you
On and on and on and on again

It's not important to wonder why
What is just is no more to imply
This simple thought repeating
Over and over again

(Chorus)

Imagine all the ways to cope
I close my eyes, that gives me hope
It cures the silence

(Chorus)


TOO FAR FROM TEXAS

There's a plane, it's headed for London
Twenty-four hours more and he'll be on it
And I can't show my love, and I can't stop it
Ooh, I can't stop it

There's a house there, somebody's waiting
Somebody else's arms will wrap around him
And in that moment what will he think then...
When I can't touch him

Chorus:
Maybe my love could fly over the ocean
Maybe my heart should try to leave him alone
All that I really know is that he's goin'
Too far from Texas
Too close to home

In a room just outside of Houston
That's where I spend my nights trying to get through to him
He says he's comin' back in every letter...
But he might never
No he might never

(Chorus)

Does he know how long
I've waited for this love to come
Does he know I'm holdin' on
And that won't change no matter where he's gone

(Chorus)

Couldn't I, couldn't I wait
Couldn't he, couldn't he stay one more day


THAT MADE ME STRONGER

Dreams reoccur in my solitude
Breaking my heart
Injuring my mood
With all of the things that I thought I knew
It was you

Chorus:
Well the conversation rings in my head
Well you know me better than I know myself
Will you write this for me
He says no, you write your songs yourself
That made me stronger
It made me hold on to me

Well, I remember
You caught my eye
It was late September
It was no surprise
He made me better
His songs were soft and tender sometimes

Well the conversations ring in my head
I remember everything that we said
All those tears that we shed

(Chorus)

The conversations ring in my head
I remember everything that we said
All those tears that we shed
Don't call me when you're lonely

(Chorus)

Well once more I tell the shadows of my soul
To stay back
Everything has changed now
And I don't want to go back
And nothing you can say can change my mind

Well once more I tell the shadows of my soul
To stay back
Everything has changed now
And I don't want to go back
And nothing you can say can change my mind


IT'S ONLY LOVE

I think I met my match again
Passing 'round the candlelight
In the center of this blizzard
You stood and melted all the ice

Chorus:
Ah, it's only love
Ah, it's only love
Ah, if only love comes around again
It will have been
Worth the ride

You were master of so many
But savior to none
I waged all of my hopes so plenty
On you, now look what I've become

(Chorus)

Someday's lonely is not only
A word, but faces I have known
And if you see me, could you free me
With a smile, so I can let go


LOVE CHANGES

It wasn't that I didn't love you
I just couldn't make you see
That as hard as I tried
To make it all better
It was not better for me
The love that I gave you was...

All around you
There was nothing left for me

But I hate to say it
But I saw it coming
My feelings were changing

I only say what you want to hear
When there is a conflict
I stay clear
When he was loving I was in tears
He knows my fears

I wish I could figure a way around this
She says...like a sad song
I don't understand the way that I feel
I am terrified of being wrong
Well, I am not happy
And I am not crazy
Are you listening, do you hear
Everything happens for a reason
Stay clear

I only say what you want to hear
When there is a conflict
I stay clear
When he was loving I was in tears
He knows my fears

When love changes in the flash of an eye
It leaves people burnin' by the side of the road
You stand there you got nothing to hold
For the first time you are alone
For the first time you are alone

It wasn't that I didn't love you
But I just couldn't make you see
That as hard as I tried to make it all better
It was not better for me
The love that I gave you was all around you
There was nothing left for me
But I hate to say it
But I saw it coming
My feelings were changing

I only say what you want to hear
When there is a conflict
I stay clear
When he was loving I was in tears
He knows my fears

When love changes in the flash of an eye
It leaves people burnin' by the side of the road
You stand there you got nothing to hold
For the first time you are alone
For the first time you are alone

That don't mend the sorrow
Or reinvent the pleasure


I MISS YOU

When I think about you
I think about how much I
Miss you when you're not around
When I think about you
I think about how much I
Can't wait to hear the sound
Of your laughter
Time and distance never matter

Chorus:
Well I miss you now
I have so many questions
About love and about pain
About strained relationships
About fame as only he could explain it to me

Seems like yesterday
I think about how much I
Wish that you were here with me now
The invisible girl that was my name
She walks in and walks out
And I'm sorry now
I'm sorry now

(Chorus)

Paris to Rome, London to Paris
Always goodbye, I nearly couldn't bear it
Her heart settles down
She's back on that staircase
On the way up to her place

(Chorus)


BOMBAY SAPPHIRES

You--beloved
Were to me - everything
That love stood for
To love one another for awhile
Was enough -
It was all that I lived for
How can I go on without you
Can I go on - without you
I tell myself - this time
I'm going to have to -
Move on

Chorus:
It's like
Bombay sapphires
Hey I can take you higher
Whatever you desire
I can mend your heart

It is green
It is aqua marine
It is colors I have never seen
I can see past you - to the white sand...
It is blue
It is not about you
It is all true
You know--who I am

The sea never changes - not really
It is the constant in my life
I always return here
To the flash of those colors
Through every window
The wind through the night
Here I am dramatic
Here I am not waiting
Here I am not listening
For the call of the wind

(Chorus)

It's like purple haze
It's there every day
Its passion never fades
You know what I mean

(Chorus)


FALL FROM GRACE

I choose to be his confidant
And to keep him from the fire
I choose to be quietly discreet
If that is his desire
I touch with gossamer wings
To be quiet around you
There is so much going on
You could easily

Chorus:
Wake up with a stranger
It's not something you plan
One night in a world of pain
And you finally understand
Not all the king's horses, not all the king's men
Could put it back together

You say you wouldn't do this for very long
The applause from it all is so defining
Well it bounces off the wall at you
When the miracle is happening
High priestess...she's the keeper of the peace in this
Twice as much, intensified
What people will do
To get...this...high

(Chorus)

And now alone in my room
As it all begins again
Was I so wrong
Why am I always so intense
In this same place I sit
The same place as before
Well I came all the way here
Just to watch you walk out that door

I didn't ask when you shook your head
I always accepted what you said
As the truth and the truth only
Well it's not enough that you depend on me
And it's not enough that you say you love me
It's not enough to just save face
Because sometimes
You just fall from grace
Sometimes
You just fall from grace

Maybe I am calmer now
Maybe things are fine
Maybe I made the whole thing up
Maybe it isn't a lie
Maybe the reason I say these things
Is to bring you back alive
Maybe I fought this long and this hard
Just to make sure you survive
Just to make sure you survive


LOVE IS

Do you know what this is
No, I don't
But whatever it is
It's very powerful
Have you felt this way before
Oh, I thought I knew
Do you know that I love you now
Oh yes, I do

Love is...
You've got the softest lips

You know that I cannot stay
Yes, I know
It has nothing to do
With you or with love
Oh, yes it does
Do not call or come around here
Do not tell
You know that I loved you then
Oh well...

Love is...
You've got the softest lips
Love is...
The touch of your fingertips
Love is...
Knowing you won't let go

She awakens things
That he said he thought were dead
He says, are you happy now
Oh yes, I am
But when it's over
How then will you feel
Will you miss those arms that used to go
Around you

So she stood there in the hallway frozen
In the dark
And her heart broke down
She cried
She fell to the floor

One tear slid across her lips
To the corner of her mouth
Love is...
And dropped to the floor

Love is...
You've got the softest lips
Love is...
The touch of your fingertips
Ooh, she says love is
Knowing you wont let go
Love is...
Watching you go

You're so very powerful
Love is...

Am I happy
Yes I am
Do I know you love me now
Yes I do
Do I know you cannot stay
I know
All about love
All about love

You're so very powerful

 M P 3   S a m p l e s


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