Tag: stevie nicks

the pantheon of modern witchcraft in music:

darkfyretheumbrawitch:

taste-in-music:

Stevie Nicks: The grand high witch, the regent of the coven. She oversees all and always will. Immortal and full of all-knowing wisdom, initially peaceful but also can (and will) kick your ass.

Florence + The Machine: Channels nature energy but isn’t afraid to dabble in the dark. Often found wandering through misty forests and open fields of goldenrod, singing lost tales of tortured spirits. Talks with Demeter from time to time.

Hozier: May be possessed by the spring goddess side of Persephone. Spends most of his time in the mossy bogs in the realm of the fae. Sometimes reappears in the human world for brief periods of time, spreading fae wisdom to the humble masses before leaving again.

Zella Day: Modern witch caught between rural and urban magic. Cavorts in the dry, desert planes of the Southwest. Frequently surrounded by crystals and succulent plants. Wears a lot of maxi dresses, wide hats, and combat boots.

AURORA: Actual dryad tree spirit. Lives deep in the woods whispering ageless melodies into waterfalls. Lives at one with nature and is friends with the deer and the wolves. Thrives off of empathy and kindness. Has plans to build a paradise haven for the exiled and rejected peoples of the world.

Zolita: Love witch, harnesses passion and desire for the forces of good. Full of sapphic energy and communicates with Aphrodite. Leader of a badass coven of LGBTQ+ witches and a slowly brewing feminist rebellion.

Elsa & Emilie: The spirits of Victorian witches reincarnated into younger forms. Literally mature beyond their years. Sing haunting harmonies of their lives and loves wrongfully lost. Reach their ultimate power when working together. Aren’t afraid to venture into the dark.

Lorde: Urban witch with untapped chaotic energy. Also mature beyond her years. Is still restless but now channels strong emotions. Uses synesthesia to literally see the spells. Kicks back with Athena from time to time.

Lana Del Rey: Fluctuates between light and dark witchcraft. Uses love magic but will also curse you. Talks to both Harmonia and Eris, also the devil. Keeps a grimoire passed down for generations in her purse.

Lola Blanc: Witch that managed to travel from an alternate jazz age steampunk timeline. Utilizes technological innovation in form mixed with traditional technique. May or may not have performed necromancy and hypnotism.

Banks: Perhaps the most chaotic dark witch of them all. Probably possessed by the queen of the dead side of Persephone, or maybe Hecate. Channels powerful energy from storms, lust, and conflict. Has a soft side she rarely lets anyone see.

That ended up a hella long. Did I miss anyone?

I recently started listening to Florence and the Machine and damn I love it!

crystallineknowledge:

“When we were first recording the Rumours record, we spent two months in Sausalito at the Record Plant, and as far as I’m concerned that’s when we actually recorded the record. It took another eight months after that, but the tracks were all done there. Um, while they’re doing all kinds of stuff and there’s nothing for me to do, I went next door to Sly Stone’s studio within the building, this big like black and red room with a kind of a stairway that went down into this like kind of tunnel thing where people would set up and play around this like light house sort of setup. And I took my little Fender Rhodes piano in there and I wrote ‘Dreams’. And I spent about an hour in there, and then I went back in to Fleetwood Mac and actually was brave enough to just play, play it for them, cause I really thought it was good, and uh, and they liked it and we recorded it that night. That is the story of ‘Dreams’.”

‘Silver Springs’: Inside Fleetwood Mac’s Great Lost Breakup Anthem

crystallineknowledge:

The Dance, a release largely made up of Fleetwood Mac’s best-known hits, would earn the band three Grammy nominations and their first Number One album since 1982’s Mirage.“To be honest, I don’t remember hearing ‘Silver Springs’ done at rehearsals,” Elliot Scheiner, producer and engineer of the concert film, tells RS. Similarly, director Bruce Gowers doesn’t recall anything special about the early run-throughs of the song. It had always been a part of the set list for as long as he had been attending their practice sessions, and he just assumed that it had been a part of their pre-breakup concert repertoire. The looks exchanged by Buckingham and Nicks throughout the show – and the particularly raw moment between them during the climax of “Silver Springs” – did not come about until the two nights of taping in Burbank. 


This was by design. Nicks has admitted that the fiery take on the song that appears in The Dance was “for posterity,” as she told RS at the time. “I wanted people to stand back and really watch and understand what [the relationship with Lindsey] was,” she later told Arizona Republic. 


“’Silver Springs’ always ends up in that place for me because she’s always very committed to what those words are about, and I remember what they were about then,” Buckingham told Rolling Stone in 1997. “Now it’s all irony, you know, but there is no way you can’t get drawn into the end of that song.”

‘Silver Springs’: Inside Fleetwood Mac’s Great Lost Breakup Anthem