Stevie Nicks, a name synonymous with mystical allure and raw emotionality, has captivated audiences for decades. From her early days alongside Lindsey Buckingham to her reign as a pivotal force in Fleetwood Mac and her successful solo ventures, Nicks has woven a tapestry of songs that explore the complexities of love, loss, and the human spirit. This curated list of 20 Stevie Nicks Songs delves into the heart of her songwriting genius, tracing her journey through poignant lyrics and unforgettable melodies. These tracks, spanning her entire career, showcase why Stevie Nicks remains a timeless icon.
Crying In The Night (Buckingham Nicks, 1973)
Emerging from her pre-Fleetwood Mac era with Lindsey Buckingham, “Crying In The Night” offers a glimpse into the raw talent that would soon captivate the world. Resurrected in her 2016 tour, this song initially appears as a cautionary tale against a heartbreaker. However, Nicks’ delivery hints at a deeper empathy, almost rooting for this “tarnished pearl.” Her phrasing exudes a languid pleasure, an anticipation for the emotional whirlwind this figure brings “back in town.” The song becomes an anthem of embracing vulnerability and the bittersweet nature of turbulent relationships.
Frozen Love (Buckingham Nicks, 1973)
“Frozen Love” serves as a prophetic precursor to the Fleetwood Mac sound, foreshadowing the magic that would unfold. Even before joining forces with Mick Fleetwood and John McVie, the Buckingham Nicks duo already possessed a sound remarkably akin to the iconic band. This track, a shape-shifting blend of folk blues, AOR harmonies, and Buckingham’s signature feral guitar work, acted as a perfect audition piece. It’s a testament to their precocious talent, embodying the combustible chemistry of what would become Fleetwood Mac’s most captivating couple. Adding to its pedigree, the track features drumming by the legendary Jim Keltner.
Rhiannon (Fleetwood Mac, 1975)
“Rhiannon” became a cornerstone of Stevie Nicks’ mystical persona and a signature Fleetwood Mac anthem. While initially performed by Buckingham Nicks as a faster-paced rock song, Fleetwood Mac transformed it into a dreamier, more hypnotic groove. This rendition became the blueprint for Nicks’ atmospheric contributions to the band. Intriguingly, the mythical Welsh figure Rhiannon was not Nicks’ initial inspiration. Instead, she drew from the witchy character in Mary Leader’s 1972 novel Triad, highlighting Nicks’ ability to tap into ethereal and enchanting themes.
Silver Springs (Fleetwood Mac, 1976)
Originally a B-side to “Go Your Own Way,” “Silver Springs” stands as a powerful testament to Stevie Nicks’ songwriting prowess and emotional depth. “You will never get away from the sound of the woman that loves you,” Nicks passionately declares in the song’s final minute, directly confronting Buckingham during their tumultuous breakup. Inspired by a Maryland road sign, this vengeful yet beautiful track poignantly explores the potential of what could have been, tragically transformed into what would never be. It’s a raw and honest portrayal of heartbreak and lingering connection.
Dreams (Fleetwood Mac, 1977)
“Dreams,” Fleetwood Mac’s only US Number 1 hit, is a testament to Stevie Nicks’ effortless songwriting ability, reportedly written in just “10 minutes.” The song functions as both a blessing and a curse within the context of a breakup. Nicks coolly navigates the dissolving relationship, suggesting a sense of enlightenment and moving on that surpasses her former lover’s. The stripped-down ‘Take 2’ version on the Rumours deluxe reissue underscores the sheer power and control of her vocals, particularly on the poignant lines, “What you had/ And what you lost,” emphasizing the weight of lost love.
Gold Dust Woman (Fleetwood Mac, 1977)
“Gold Dust Woman” encapsulates the essence of the Rumours era, reflecting broken hearts and the excesses of fame. Taking its name from Gold Dust Lane in Wickenburg, Arizona, Nicks’ native state, the song weaves a narrative deeply intertwined with the album’s themes. Originating as a folk song, it evolved into something darker and more soulful, mirroring the band’s turbulent inner dynamics. Nicks employs the third person in her lyrics, creating a sense of distance from direct confession while still conveying profound personal experience.
I Don’t Want To Know (Fleetwood Mac, 1977)
A Buckingham Nicks throwback nestled within the Rumours tracklist, “I Don’t Want To Know” offers a different perspective on relationship strife. Replacing the more overtly raw “Silver Springs” on the album, this country-tinged track showcases a less bitter, more playful dynamic. Despite the underlying tension, there’s an undeniable enjoyment in the push and pull of the relationship. From the deceptively laconic Sweet Jane-esque intro, Nicks maintains a captivating June-and-Johnny Cash-style eye contact, kindling an on-off passion that crackles with energy and unresolved feelings.
Sara (Fleetwood Mac, 1979)
“Sara,” a six-minute epic from Tusk, is a deeply personal and forgiving song directed towards Sara Recor, who played a role in Nicks’ breakup with Mick Fleetwood. Adding another layer of poignancy, Sara was also the name Nicks envisioned for a child she might have had with Don Henley of The Eagles, had she not chosen to terminate the pregnancy. This personal context imbues lines like “There’s a heartbeat/And it never really died” with profound emotional weight, making it a heart-wrenching reflection on love, loss, and what could have been.
Edge Of Seventeen (Stevie Nicks, 1981)
“Edge Of Seventeen,” a defining song from Stevie Nicks’ solo debut Bella Donna, emerged partly from a misheard conversation. Tom Petty’s wife, Jane, saying “age,” was misinterpreted as “edge,” sparking the song’s iconic title. Built around a thrillingly elongated hook, the track is propelled by Nicks’ gutsy, intense, and lived-in vocal performance. The recent deaths of her uncle and John Lennon had left her emotionally exposed, and the song’s “white winged dove” symbol became a powerful symbol of the soul’s journey beyond earthly existence.
Stevie Nicks MOJO Magazine Cover
Leather And Lace (Stevie Nicks, 1981)
Originally penned for country duo Waylon Jennings and Jessi Colter, “Leather And Lace” found its ultimate home as a duet between Stevie Nicks and her former partner, Don Henley. Despite Jennings and Colter taking the song title for their album, they surprisingly passed on recording the song itself. Nicks, never one to let a great song go to waste, and seemingly unfazed by potential studio awkwardness, recorded it with Henley. The result was a country-tinged ballad that became a US Top 10 hit, showcasing their enduring musical chemistry.
Stop Draggin’ My Heart Around (Stevie Nicks, 1981)
“Stop Draggin’ My Heart Around,” another standout track from Bella Donna, highlights Stevie Nicks’ shrewd early solo career collaborations. Teaming up with Tom Petty, this song seemed to send a clear message to her Fleetwood Mac bandmates: “See? I don’t need you.” Sultry and enraged in turns, the track awakened Nicks’ inner Janis Joplin and Grace Slick, revealing a powerful vocal range and phrasing. Duetting with Petty, she revitalized a song The Heartbreakers had shelved, propelling it to Number 3 in the US charts and solidifying her solo star power.
Gypsy (Fleetwood Mac, 1982)
“Gypsy,” from Fleetwood Mac’s Mirage, marks a shift towards more direct storytelling in Nicks’ songwriting. Moving away from her often abstract lyricism, the song presents a more straightforward narrative. Here, superstar Stevie Nicks nostalgically yearns for “The Velvet Underground,” a San Francisco boutique where she once window-shopped for clothes beyond her reach. She also recalls “back to the floor,” referencing the early days with Buckingham when they slept on a mattress on the floor. Set against a nursery rhyme-simple melody and chorus, “Gypsy” is a poignant reflection on simpler times amidst fame and fortune.
I Will Run To You (Stevie Nicks, 1983)
Harmonies were always central to Fleetwood Mac’s sound, and “I Will Run To You,” from Stevie Nicks’ The Wild Heart, further emphasizes her intuitive grasp of vocal arrangements. Written by Tom Petty and performed by The Heartbreakers, this track showcases Nicks’ unique approach to harmonies. After taking the second verse, she weaves in and out of the third, bending and stretching lines to create a desperate devotion within the duet, demonstrating her skill in crafting emotionally resonant vocal interplay.
Has Anyone Ever Written Anything For You? (Stevie Nicks, 1985)
“The most committed song I ever wrote,” is how Stevie Nicks described “Has Anyone Ever Written Anything For You?” This Keith Olsen co-written piano ballad, inspired by the tragic death of Joe Walsh’s three-year-old daughter, is a deeply moving expression of empathy and love. A harrowing yet comforting declaration (“If it’s all I ever do, this is your song”), the song’s power lies in Nicks’ remarkably restrained vocal delivery, allowing the raw emotion of the lyrics to resonate fully.
Rooms On Fire (Stevie Nicks, 1989)
“Rooms On Fire,” a love song dedicated to its producer Rupert Hine, revisits familiar Nicks themes of passionate connection tinged with the fear of impermanence. While not her first song to explore this duality, “Rooms On Fire,” from The Other Side Of The Mirror, proved she could still create magic comparable to her greatest Fleetwood Mac hits. Faintly echoing the golden chords of “Sara,” the song possesses an equally seamless groove that effortlessly transitions from a simmering verse to an elevated, anthemic chorus.
Landslide (Fleetwood Mac, 1997)
Stevie Nicks penned “Landslide” for Fleetwood Mac shortly after joining the band at the young age of 26. Feeling poor, tired, and uncertain about the future, she wrote the song while gazing at Aspen’s avalanche-prone peaks as Buckingham toured with Don Everly. While her questions about maintaining faith in art and love might have seemed premature then, they gained profound depth and resonance on the 1997 live album The Dance. Performed when Nicks was at the edge of 50, age had imbued the song with hard-won wisdom and a poignant gravitas.
Sorcerer (Stevie Nicks, 2001)
“Sorcerer” is a song that traveled through time before finding its place in Stevie Nicks’ discography. Originally written during the Buckingham Nicks era, it was gifted to Marilyn Martin for the 1984 Streets Of Fire soundtrack (Nicks even sang backing vocals). However, Nicks didn’t record “Sorcerer” herself until 2001 for Trouble In Shangri-La. Co-producer Sheryl Crow infused it with a rock edge, highlighting Nicks’ cynical yet vocally commanding performance. The long delay in recording it herself only adds to the song’s mystique and impact.
Say You Will (Fleetwood Mac, 2003)
“Say You Will,” from the Fleetwood Mac album of the same name, stands out for its relative jauntiness within their later work. Uniquely featuring a coda sung by children’s voices (Nicks’ niece and John McVie’s daughter), the song is an impeccably crafted plea for another chance at a relationship. More confident than desperate, the lyrics (“if I can get you to dance”) suggest a renewed hope for connection, perhaps directed towards Buckingham or even Christine McVie, who had recently departed the band at that time.
Annabel Lee (Stevie Nicks, 2011)
From In Your Dreams, an album that embraced her mystical queen persona, Stevie Nicks took on Edgar Allan Poe’s haunting poem “Annabel Lee.” She embellished the King of Fatalism’s work, whose heroine’s untimely death inspired endless grief and yearning. “Annabel Lee” becomes another poignant paean to love’s fleeting nature, with Nicks’ seasoned vocals finding the perfect balance between English folk and American AOR sensibilities, creating a truly unique musical interpretation of Poe’s classic poem.
Beautiful People Beautiful Problems (Lana Del Rey, 2017)
Stevie Nicks’ influence extends to contemporary artists like Lana Del Rey, who is seen as a modern-day heir to her heart-bruised crown. Nicks herself has declared Del Rey her “witchy sister,” acknowledging a deep artistic kinship. Featured on Del Rey’s 2017 album Lust For Life, “Beautiful People Beautiful Problems” is a collaboration where Nicks assumes the role of a wiser, older sibling. Singing “My heart is soft, my past is rough,” Nicks delivers a lyric so perfectly aligned with her own songwriting style that it could easily be mistaken as one of her own, bridging generations of iconic female artists.
Stevie Nicks’ songbook is a testament to her enduring artistry and her profound ability to capture the intricacies of human emotion. These 20 songs offer a glimpse into a legendary career, showcasing the magic and mystique that make Stevie Nicks a truly unforgettable musical force.
