FANS ARE NOW RATING THE SHOWS AS WELL

1-5

5 BEING THE BEST

by Michele Jackson aka "mjackson866

You know, if I could have just seen one Stevie show this year, it would have been one with Don, because that was such a unique experience. They may tour together again and they may not. Just in case, I want to have that one-of-a-kind memory in my scrapbook. Even so, Stevie is definitely more dynamic alone. It's hard to say why, but the solo shows just have more of an undiluted fire and spirit to them.

Most everything about the songs has already been said before, so I'll just mention what stuck out for me.

This is the first time I could get the program. Obviously, in exchange for licensing rights for the video images she is using, Stevie put a section about the stuff in the program. I know how she feels about Sulamith (that's even the name of one of her dogs), but I didn't know that Mick was the one who gave her her first Wulfing book in 1975. I'd also like to know exactly which of the drawings that play behind Rhiannon are Stevie's own. These images running behind the song are much more effective than the live action galloping unicorns. They are both eerie and quixotic. And the way they are displayed on the screen, sometimes turned sideways, they sometimes call death to mind, nicely expressing the witch's fatal attraction.

I don't know who put this program together, but it's easy to point the finger at Chris Nicks, so I will: The center picture is a two-page spread showing the entire stage. The whole band. It would be beautiful, the only problem is the fold and staples go right through Stevie's picture, since she is the one center stage. Judging by her costume, Stevie was singing EO17 when the picture was taken and she is dancing, her skirt jumping? Why ruin this image, by putting the fold there? Why can't the fold obscure Jimmy Paxson??

Then the large image on the back of the tour program is of Stevie and Waddy, back to back. Waddy is facing the camera and Stevie is facing away. Yeah, that's just what I want as a closing thought: 8 x 11, glossy color Waddy.

This was the first time I've ever seen Vanessa. When I first saw that big, black grand piano sitting in the middle of the stage, I thought Songbird, force of habit. Aside from the fact that Vanessa's female and a songwriter, she doesn't remind me of Stevie in any way shape or form. Not even her dress looks like something Stevie would wear, contrary to what everyone says. To sound like my grandmother, this young woman certainly curses a lot. For a moment, I thought I'd walked into a production of Glengarry Glenn Ross.

She was pretty funny though. She said that her record company ***** up the promotion of White Houses and that's why no one has ever heard it. She said that MTV also censured the song, because it's about sex. She said she found that ironic since all MTV does 24 hours a day is "ass."

She played 3 songs that are new, which she thinks will be on her next album. I don't think this was a good strategic move, since she should play things that people can go out and buy NOW. But one of the new songs, Put Your Hands On Me, sounded great. Instead of having Lindsey play unremarkable guitar on any of the songs she's just written, why not ask him to produce this one? I'm sure Stevie would love to sing backup. It was lovely, although she said her mother didn't approve of the title.

She also said that one of her songs is about relationships that "either your mother or the government disapproves of." A Thousand Miles really showcased her dexterity as a pianist. She should have ended on that one. That's definitely when the crowd was most enthusiastic and sounded like they'd all just discovered a new talent.

On to the main attraction . . .

It is very exciting to have Stevie take the stage as the I Can't Wait video plays. That image of Stevie rushing forward is like -- well to quote Rick James -- it's like she's Bustin' Out of L 7! Even though she's no longer a charging bull, that old video footage reminds me of what an elemental force she can still be.

I'm not used to SDMHA as the second song, but it's fine. She closes OTR with the words "baby, baby, baby, baby. . . " before it melds into Dreams. She adds these words, almost a moan, to GDW too.

I notice that Stevie often turns her mic to Sharon, as if they are dueting. Not only during Edge, but during other songs like Sorcerer. Many times, as the two lock eyes, Sharon is singing with Stevie while Jana is silent.

At one point, Stevie sings, "c'mon over. Let me put you onnnnn . . ." she pauses and then adds the "ice" so that it's more spoken than sung. I think it's interesting phrasing, because I find that to be one of Stevie's sexiest lyrical sentences.

Stevie introduces Circle Dance by dedicating it to someone in the audience. In fact, it's her cousin Suzy. She says, "Sue, a while ago you asked me if anything ever happened to you, if I would take care of your girls. I want you to know that I've thought about it and I've decided that yes, if anything ever happens to us [sic] I would love to take care of your girls." Hmmm. I wonder what's up with that. Some time ago, poor Suzy, whose white blood count was probably dropping even as they spoke, asked Stevie if she would take care of Suzy's daughters if Suzy died. Months pass and Stevie never answers, but finally decides to alleve Suzy's fears and say, "yes she will" up there on stage tonight. Thanks cuz.

I agree with curranl that Circle Dance is better with Stevie doing it alone. Of course, I'd still be happy if Stevie not do it at all, but I listen to the lyrics and wonder what about them made Stevie want to sing it. What do they say that she wants to say and who does she want to say that to? Who does she want to let go?

For years now, Stevie has been putting more character into GDW than she does into any of her other songs. In Vegas she was still playing with the word "shadows, shadows, shadows," echoing it. She's dispensed with that now. Towards the end, she holds her hand to her head, covering her ears, mimicking a soul lost. As she sings, Waddy repeats her vocals on his guitar, "baby, baby, baby, you can't save me now. You can't save me now. You can't do it. You can't do it now." Quite nice.

She introduces her "fabulous" band and says that she will try to find a different adjective to describe all the "fabulous" men in the band.

She says that Jimmy is quirky, but phenomenal.

She says Taku is gorgeous. You know, I never thought Taku was a dog or anything, but I must say I never paid attention before. He is so hot on this tour. He even looks really good in the tour program. I've been looking at him for years. Where did this new sexy vibe suddenly come from?

So, after saying how gorgeous Taku was, she introduces Brett as being incredibly sweet. How sad is that? You don't want to be the "sweet" one, especially when Carlos is introduced as "gorgeous" as well.

Stevie says that in her mind Taku is the best percussionist in the world. Well, not only does that make Mick somewhat of a loser, but how does Jimmy Paxson feel about it? I thought I saw his hair droop a bit, under the words.

She says that Jana entered 135 Fleetwood Mac shows at the halfway point without missing a beat. She said Jana came in and joined them seamlessly, without even one rehearsal. Well, that's hard to believe.

She said that Sharon was the tall, dark one (Sharon's not tall). She is the teacher goddess. Stevie cracked an imaginary whip and says that Sharon is the one who makes sure they all know their parts.

She says that Waddy is and always will be the love of her life. She has known him since 1971. Back then he was doing just what he's doing now, while she was a cleaning lady and waitress. She said Waddy was already a musical person in 1971, and she was sort of a musical person then, but she was even more, she was supporting a musical person. So, today, when she says that Waddy made all of this possible, she really means it.

Huh? I'm confused. How did Waddy, in 1971, make all of this possible today? Did the fact that he kept pounding away at his craft give Stevie hope and inspire her. Or did he somehow help her when she was "supporting a musical person." I mean, was Waddy taking care of Lindsey, nursing him through mononucleosis, cooking for him, cleaning for him, and embroidering stars and moons on his jeans too?

Fall From Grace is great. Hearing Stevie do it -- and keep doing it -- just makes me think of all the other fiery songs in her repertoire that she could still more than carry off if she wanted.

Stevie dedicates Landslide to Howard Kaufman, says she wouldn't be here, playing in a stadium this size, without him. This is the first time I'd ever seen the video playing behind the song. Of all the images on the screen the ones I like most are (1) Stevie in her top hat hugging Christine and (2) Stevie playing guitar, while singing Landslide.

Edge is fantastic. The drum solo that precedes it is incredible. Then, when Waddy comes and he's crouching over his guitar playing the familiar opening riff, with the screen in back of him showing different Waddy-profiles. It is really powerful. I mean, the audience hasn't know Waddy since 1971, but man we've known him an awful long time and Edge plays homage to everything we know in a wonderful way, celebrating the joyful familiarity of it all.

When Stevie starts shaking hands, her security guy in the audience actually takes two little boys from their mothers' arms and helps hold them up to reach Stevie. One woman comes up and holds out both arms to Stevie and Stevie grasps them with both of hers. The crowd allowed at the foot of the stage are pretty much all front row people. Security wasn't letting very many others up. My favorite part is when she returns to her mic and the song resumes. "Sometimes at night I still think about you. I know what it sounds like. I know what it sounds like . . . " Now, I'm used to Edge being the last rock song of the evening on a Stevie tour, but not this time.

When I see Stevie's hat for Rock and Roll, with the tall red and black feathers, I hope against hope that she will keep that same outfit on for Beauty and the Beast. But no such luck. This is Anaheim. The Magic Kingdom is just down the street. I wish she'd borrow one of the Beast costumes from Disneyland and sing the song with a lion head on.

Vanessa does come out and sing on Rock and Roll, but I think it's a wasted appearance. Curiously, when Vanessa leaves her microphone, Al Ortiz comes and takes the mic for Beauty and the Beast. I didn't see him singing at all, but maybe he did.

A couple of times during the night, you had Al on bass, and Carlos, Waddy and Brett on guitar. So many guitars I almost thought I was back on the OOTC tour.

As the show ends, they all stand in a row for their group bow. After a moment, Stevie mouths the words "ok" and then leads Vanessa to the front of the stage for an individual bow.

Waddy walks Stevie off stage as the lights come up.

I'm not musically inclined, so Stevie could have sounded as pitchy as she wanted and I wouldn't have known. Her voice sounded really strong all evening, however.

Edge ended with a white dove flying against a black screen. And it's wonderful to think I'll be falling asleep with that picture in my head tonight.

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