after the glitter fades
She’s come back to the “word” that is love, that “some entertain,” or play around with, as the connotation goes. What else is there to love but the one? Use features like bookmarks, note taking and highlighting while reading After The Glitter Fades. Both, rather, need the other to love her/him. After The Glitter Fades Chords by Glen Campbell. Or is this just another expression of how Nicks sees herself in the context of her varied relationships, of her rock n’ roll life? She identifies so strongly as a writer. In that vein, “seem” suggests a lack of assertion, as if she is saying, “What I think I want,” rather than know what she wants. “Stop Draggin’ My Heart Around” is the only song on Bella Donna not written by Stevie Nicks. While writing this song, Stevie had asked herself, “Should I just go back to school, or should I go on pursuing a music career with Lindsey?” (“Landslide”). Well, to be honest, the heart sounds a bit exhausted: “Whatever / It is…that you want from me”; but then it goes on to remind her love is “just one…small…part… / Of forever.” That there is more out there in the “forever-verse” is obvious to Stevie. Sheet music arranged for Piano/Vocal/Guitar in A Major (transposable). The image of “the highwayman” conjures up the idea of the outlaw on the road seeking his fortune — an image that, in turn, deftly suits the image of the aspiring rock n’ roller. Is this Lindsey still? There is an undercurrent of competition that comes out often in her lyrics; “Long Distance Runner” from 1973’s Buckingham Nicks album has the lyric, “I come calling unto you / But you run / You’re the winner / Long distance winner”; in “Rhiannon”: “Will you ever win?”; and, in “The Highwayman”: “Enter competition…” and “And then he sees her coming / Heartbeats on the wind / Considers slowing down / But then…he could never win.” In her view, love, to this you, means winning the game; a definition she is tired of. It really was so easy for Linda Ronstadt to score a hit with her Buddy Holly cover of "It's So Easy." But mostly, they tell each other to “stop draggin'” the other’s “heart around,” a telling line that after years of listening to the song, I now take for granted. Print and download After the Glitter Fades sheet music by Stevie Nicks. I have sometimes wondered if “creature” is a veiled reference to Mick Fleetwood, who is the “great dark wing” in “Sara” and the beast in “Beauty and the Beast.” In any case, these lines remain wide open. In a much earlier post I suggested that Bella Donna is a beginning, a rebirth, an expression of self. "After The Glitter Fades" Pub., Welsh Witch Music, BMI "Think About It" Pub., Welsh Witch Music, BMI Eighty Eight Music Pub. After the Glitter Fades Stevie Nicks. Eds. This pursuit is a challenge, a competition, and one of them has to win, though what is at stake isn’t clear. Is it all just pie-in-the-sky airy-fairyness? What might have appealed to her in “Stop Draggin’ My Heart Around,” apart from the idea of getting to work with Petty and the Heartbreakers, was that a female voice in this song could take a stand, and allow her to take back her dragged-around heart. While I prefer the sound of the early demos, I do think that “Think About It” remains one of Nicks’ strongest songs—not just on Bella Donna, but in her entire ouevre. Loner status? Download the PDF catalogs. The change that Stevie is undergoing at the present moment, that has “been like dying,” is, I think, represented by the making of Bella Donna. I’m always going to write about the bouquets and the flowers…. Perhaps, in an angry moment or two, she reasoned it would be best to leave the band, should her situation not improve? But most of all, as I consider my Bella Donna project, I realize, with the release of In Your Dreams, that Nicks’ overriding musical project, whether intentional or not, has been the creation of, the evolution of a mystical or fairytale-esque (albeit somewhat obscure) personal mythology that keeps her core audience enchanted. And what’s a week in the life of Stevie Nicks in 1980? So, in that vein, he is, by 1979, “doing all [he] can,” or the very best he can, anyway, which presents a challenge to his pride, and above all, to Fleetwood Mac. The feeling remains after the glidder fades And for me, it's the only live I've ever known. After the Glitter Fades Posted on May 18, 2011 by afterglitterfades While “Edge of Seventeen” is the clear winner of the title of “Standout Track” on Bella Donna , “After the Glitter Fades,” for me, comes very close to stealing its thunder. Lyrics to 'After The Glitter Fades' by Stevie Nicks. Elton John's "Rocket Man" is based on a Ray Bradbury story called The Rocket Man published in 1951. One could say this “bright eyed kid” is ready, perhaps willing, to be devoured. Here, those same ideas are evident, yet they are also stripped down in a sense; the lyric is laid bare, becomes more matter-of-fact. But, Stevie changed “learn” to “find”; she changed the idea of love’s pursuit from intellectual to material or physical. What is it he will win by perpetually widening the gap between them, by leaving her to chase the distance he has created between them? I’ve always been unsure if the listener is to read what follows as one line: Is “forever” a “falling star”, and Stevie and Christine, in their role as rock n’ roll women, “star catchers”? This song, I have noticed over the years, has that karaoke-like effect of becoming a communal sing-a-long, of making those who were teenagers in the late 70s coo with nostalgic romanticism. Log in to leave a reply. It is so interesting to hear this demo, obviously under the sonic influence of Buckingham and the FM “vibe” of the time, and contrast it to the more poppy Bella Donna version seven years later. “No More Dreaming For Stevie Nicks.” Circus, Nov. 31, 1981. It was the fourth and final single from her debut solo album, Bella Donna. As one of the most sought after and influential film stars, Siena has a reputation to uphold. In a March 1982 interview with High Times journalist Liz Derringer, Stevie talks candidly about being a lady rock n’ roller in a world where men tend to rule. Is it her or him? While “Edge of Seventeen” is the clear winner of the title of “Standout Track” on Bella Donna, “After the Glitter Fades,” for me, comes very close to stealing its thunder.Completely different musically—”Edge” is a solid rocker, while “Glitter” is flirty country—the two songs wonderfully complement one another thematically. "Cotton Eye Joe" is a folk song dating to the 1800s, but it became a hit when a Swedish act called Rednex did a psychokinetic version in 1994. After the Glitter Fades - written by Stevie Nicks - appears on Bella Donna(1981) and Enchanted boxed set(1998) - released as a single; b-side Think About It(May 1982) - hit #32 on the Pop Charts Lyrics. Martin and Lisa Adelson. After The Glitter Fades appeared on Stevie’s highly successful 1981 solo debut album Bella Donna. Think you know your Bob Dylan lyrics? The video for “Stop Draggin'” was one of the first of the video era: “Kind of Woman” is the album’s second song, following “Bella Donna”; as previously discussed, “Bella Donna” seems to be about re-connecting with a lost self, and carrying her to new ground. She wants to stay still in that space of the night, whenever that “stillness” happens or lives or manifests, so much so that it remain lodged in his memory, so that he doesn’t ever, ever, forget her love. For Stevie and Gaga, that’s a lot of “one-night stands” to deal with. What is difficult to ascertain is who is who; if Stevie is a character in her songs, is she the one “waiting at home,” or is she the one who “came to you when you were alone”? Even the first photo, a portrait of Sharon Celani, Lori Nicks, and Stevie, looking out and smirking like three muses or good witches or Greek chorus, is a constant; every solo Stevie album has featured a portrait of them, in all their regalia. Use features like bookmarks, note taking and highlighting while reading After The Glitter Fades. I know that any fan reading this would say that Stevie is a prolific writer, she writes all the time, she has books upon books of material. As the song escalates, and that piano progression gives way to a harder guitar, the second verse acts as justification for the “you’s” actions: “You didn’t mean to meet her,” and “She came to you when you were alone,” as if to say, the you is not to blame for the random meeting, or for the crime of being “alone.” The second line, “Oh but the sun goes down every night,” which Nicks growls, suggests that such company is as natural, as routine, as the sun going down “every night,” so what should she expect? So, I’ve come to the end, the last song. And even though the living is sometimes laced with life it's all right. How do they figure as metaphors or images or allusions? Thirty years of a voice that rouses, cuts, and bleeds rock n’ roll, love, and desire. Is she unsure of her own response to hearing those words? Zac tells the story of Hanson's massive hit "MMMbop," and talks about how brotherly bonds effect their music. According to Stevie’s liner notes to her greatest hits album, Timespace, “we went into the studio and sang it live, together. The song opens with the lines: “Still the same old story / What price glory.” What, for Stevie, constitutes the “same old story”? According to the liner notes, the song was written in 1979, at the time Fleetwood Mac is busy recording the follow-up to Rumours, the highly anticipated Tusk. Is that her “life’s love”? It is unclear, to me, what she means by “heaven”; is it an allusion to an imagined Shangri-la, where her ideal relationship could flourish? G C D What I seem to touch these days ha The physical demand of performing, and the emotional release, I would imagine, night after night, might make one lonely, might make a heart like Stevie’s “break”, and might make “[her] forget to feel,” sometimes. / Chords Used: ----- GUITAR KEYS E A D G B e Bass| Chord -- And what does “in the still of the night” mean to Stevie? In listening to “Kind of Woman’s” main chorus, “Kind of woman that’ll haunt you / She matters to you,” I’m reminded of a line in “Silver Springs”: “I’ll follow you down till the sound of my voice will haunt you.” On the liner notes to Bella Donna, it states that “Kind of Woman” was written in 1975, the very year Fleetwood Mac released their first album with Nicks and Buckingham, and when they began working on material that would find its way onto Rumours; “Silver Springs,” the B-side to “Go Your Own Way,” and appearing in 1977, is then, its contemporary. It could be either. Iggy Pop wrote "Lust For Life" with David Bowie, who came up with the music on a ukulele. The album spawned four hit singles during 1981 and 1982: the Tom Petty and the Heartbreakers-penned duet "Stop Draggin' My Heart Around" (#3), the Don Henley duet "Leather and Lace" (#6), her signature song "Edge of Seventeen" (#11) and country-tinged "After the Glitter Fades" (#32). After The Glitter Fades by Diane Marina gave me just the Fix I needed with two Tinsel town starlets with that great push-pull relationship. According to Bella Donna, the song was written in 1974, before the band, as a new unit of 5, released Fleetwood Mac. Is it a particular time, a particular hour, a particular moment that hangs there in the moonlight, unchanging, going on forever? And what will she win should she overtake him? “Standing…in the doorway / Watching out to sea / Calling out to me / You go…your way / Go on…go on…” Who is standing in the doorway, watching out to sea? The feeling remains even after the glitter fades. As with most of Stevie’s songs, what at first appears to be an easily interpreted set of lyrics turned out to be something much less straightforward. She complicates interpretation by creating another tension: who is calling out to her, the sea or him? “Loneliness” is a sound like a “hearbeat” that “drives you mad” in “Dreams”; here, the “heart skips a beat / So you’re lonely.” The ideas in “Dreams,” that nature can provide answers, and that your loneliness is the sound of your own heart, are beautifully executed in the lyric, combined with the warble of Stevie’s voice. If “changing” means “dying,” it’s Stevie metamorphosing, caterpillar to butterfly, snake growing a new skin. Such resistance is what is being communicated in the song by both singers. KaraFun. In an early demo of the song, Stevie sings, “Look at me for a very long time / Long enough to fall / Love is a word – I’ve been trying to learn.” The subtle change in words is interesting. / 4/4 TIME @ 136 BPM (3 Min. That is complete speculation on my part, but why else try to encourage her not to go, or, at the very least, to “think about it before you go?” Consequently, I have often mulled over the meaning of the line, “Your fortune is your life’s love”; my problem with it is the word “fortune.” What does it mean in this context? “After the Glitter Fades.” The Penguin Lyric Interpretations. After The Glitter Fades. Yes, there is an HEA (hooray! After The Glitter Fades - Kindle edition by Marina, Diane. [C] What I seem to want, well you k [D] now I'll find a [G] way. Hyman, Stan. 2001. I am reminded, of course, by the grammatical construction of the line that follows—”I know you really want to / tell me good-bye”—which suggests that she actually hasn’t yet sent him packing. An interview with Frankie Valli, who talks about why his songs - both solo and with The Four Seasons - have endured, and reflects on his time as Rusty Millio on The Sopranos. The double entendre is there, though; a concert, with screaming, adoring fans, is, for the performer much like a “one-night stand.” There is the sense that Stevie gives of herself in a live performance just as she might to a lover, and, at the end of it, she leaves behind the crowd’s love, till the next night, and the next night. “Kind of Woman” is interesting in that it follows a self-affirming song yet seems to be about a betrayal; an unknown “you” has fallen to “temptation,” even though he has someone “waiting at home,” someone “who matters,” who is the “kind of woman that’ll haunt” him. “You’re saying I’m fragile…I try not to be / I search only…for something I can’t see.” I’m not what you say I am, Stevie seems to be saying, aiming to contradict the oft-held perception of her as “the coddled, dependent baby of Fleetwood Mac” (Derringer 1982). Is in control of the song by the American singer/songwriter Stevie Nicks, what is being communicated the! 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