- Audio CD (Nov. 18 2016)
- Number of Discs: 1
- Format: Original recording remastered
- Label: Warner Music
- ASIN: B01LTHO0LC
- Other Editions: Audio CD | Audio Cassette | LP Record
- Average Customer Review: 14 customer reviews
- Amazon Bestsellers Rank: #56,786 in Music (See Top 100 in Music)
The Wild Heart (Remastered) Original recording remastered
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Newly Remastered Version ofThe Wild Heart.StevieNicks returned in 1983 with her follow-up solo album, The Wild Heart, which peaked at #5 on the album chart and has been certified double platinum. The album produced hits like “Stand Back,” “Nightbird” and “I Will Run To You,” which features Tom Petty and the Heartbreakers.
Il fut un temps où Stevie Nicks chantait dans un groupe britannique fortement influencé par le blues avant qu'il devienne une des machines à succès de la pop californienne, annonçant, avec Rumours, l'avènement des Eagles dès 1977 : il s'agit de Fleetwood Mac. La route de cette formation fut pavée d'embûches dont la plus célèbre demeure le double divorce des deux couples vedettes qui le constituaient en grande partie. Au début des années 80, chacun des membres de Fleetwood Mac enregistre de son côté : Christine Mc Vie, Mick Fleetwood et Stevie Nicks notamment qui commence une carrière solo avec Bella Donna en 1981. The Wild Heart, enregistré deux ans plus tard, est son deuxième opus en cavalier seul, précédant les fameux Rock A Little et The Other Side Of The Mirror. La formule est simple : c'est celle du rock californien classique qui emprunte ici certaines de ses plus grosses pointures pour venir à bout de la tâche. Le fidèle Tom Petty, des membres de Fleetwood Mac, Toto, Eagles et du E-Street Band de Bruce Springsteen sont ainsi de la partie: pour le meilleur de ce qui, pour ceux qui aiment, est un classique du genre. --Hervé Comte --This text refers to an out of print or unavailable edition of this title.
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It was inevitable that Nicks, Buckingham, and McVie would write more music than Fleetwood Mac could ever find a recording slots for. And so all three begin to spin out from the band, each producing their own solo albums. Of the three, Stevie Nicks had the most visible success as a solo act, first with the platinum-selling BELLA DONNA and then with the equally memorable THE WILD HEART. Fans argue a great deal about which album is their favorite, and critics bicker about which album is Nick's best--but the truth is that both are extremely fine.
Whereas BELLA DONNA had a somewhat country-music flavor, THE WILD HEART leans heavily on synthesizer and serious percussion, and it would generate at least three hit singles. Both "If Any One Falls" and "Stand Back" offer driving rhythms and some stunning keyboards, and with the latter Nicks recasts the almost savage fury that made BELLA DONNA's "Edge of Seventeen" so memorable; "Nightbird" presents Nicks in a slower, more melancholy, more thoughtful, and very memorable light.
Still, the song for which this album is perhaps best remembered is one that was never really released as a single. Working with a near-symphonic arrangement with heavy strings, "Beauty and the Beast" is a truly stunning piece, with Nicks at her most romantic and vulnerable and yet her most emotionally powerful. Nicks' voice, which might be described as an iron fist inside a velvet glove, has always had a tendency to become just a shade too eccentric for its own good, but she controls it well throughout all these recordings--and most particularly here, in an incredibly complex array of delicately placed wails, cries, and surges. The vocal dynamics of this song alone are truly nothing short of miraculous.
Lyrically, this recording also finds Nicks at or at least very near the height of her powers. A sort of rock and roll Rimbaud, Nicks' lyrics do not always make logical sense--but at her best, as on this album, they always make emotional sense, and both "Gate and Garden" and "Sable on Blonde" are particularly good examples of her often uncanny knack to fuse strange images to memorable effect.
Although she continued to do memorable work with the on-again, off-again Fleetwood Mac, Nick's solo work entered a gradual decline of quality after THE WILD HEART until she suddenly resurged with yet another exceptional release: TROUBLE IN SHANGRI-LA. Where she goes from that point is any one's guess. But one thing is for sure: during Fleetwood Mac's SAY YOU WILL tour, Nicks was still performing "Stand Back"--and still doing it with the same vocal attack that made her recordings on THE WILD HEART so memorable--and still bringing the audience screaming to its feet. An exceptional recording by a truly unique recording artist.
--GFT (Amazon.com Reviewer)--
The mid-paced single "If Anything Falls" indicates a heavier use in keyboard synths, here provided by Roy Bittan, gets a rock flavour by Waddy Wachtel's trademark "Edge Of Seventeen" guitar. This is another one of those featuring a man she falls for but knows he'll never come back to her.
"Gate And Garden" is a metaphor, where in the garden, is the red rose symbolizing someone's heart, and the game is someone stealing that rose. This mildly upbeat, could-be-a-country-hit piano song.
Roy Bittan's engaging piano serves as the backbone of "Enchanted", with a country-like tinge. Enchanted is how a man felt once seeing the woman, only to have that spell: "Enchanted...you thought you saw something in my eyes/Enchanted...it's a shame that you wanted me."
"Nightbird" sounds like a variation of "Dreams", only more upbeat. Another mysterious woman of the night song. The same mold is given to "Sable And Blond".
"Stand Back" propelled Stevie to the Top Ten on the charts, with an engaging beat, fuzz bass, Toto guitarist Steve Lukather, and synthesizers. There is an uncredited artist who did keyboards here. In 1995, he might have the monicker The Artist Formerly Known as the Guy Who Did Uncredited Keyboards On Stevie Nicks's "Stand Back". Now, though, we can call him Prince once again.
Reprising "Stop Dragging My Heart Around" is a difficult chore, and "I Will Run To You", which again features Tom Petty and company. It does not top the catchiness of that song, but the song here at least seems hopeful. At least the bridge is more open to the heart, ending with "If you need me, I'll come runnin'". Sure beats, "You'll never see me again", doesn't it?
"Nothing Ever Changes" falls straight into catchy rock enhanced by synths. Call it a lightweight Survivor-type song.
Very best for last. For me the thing that makes Stevie Nicks special are those heartwrenching ballads like "Has Anyone Ever Written Anything For You." Well, "Beauty And The Beast" comes close to beating that for sheer emotion. Roy Bittan's piano, the string section. Thinking of the original Jean Cocteau movie version, the black and white schemes matches the melancholy of the song. The description of the lonely beast kind of matches me: "My darling lives in a world that is not mine/An old child misunderstood...out of time." The heartfelt questions asked by Belle, when the Beast allows her to briefly visit her father, is asked poignantly: "Would you die of grieving when I leave" Real three hanky stuff, people.
The Wild Heart, like its predecessor, was produced by Jimmy Iovine and engineered by Steve Yakus. The formula has slightly changed, but with variations that make it better. The sound would change radically with Rock A Little...stay tuned.
But, oh yes, about the good songs! "Wild Heart" is an upbeat ballad in 2 parts, bringing it to over 6 minutes in length. It would make a fine live opener. "If Anyone Falls" and "Stand Back" have the best grooves on the disc. "Enchanted" is a piano-driven honkey-tonk romp. "Gate and Garden", to me, sounds like Laura Branigan meets Reba McEntire. "Sable on Blond" could easily be played on a soft-and-easy radio station, and features Mick Fleetwood and some oh-so-feminine backing vocals. "Nightbird" can be a tearjerker. And finally, "Beauty and the Beast" features a real 25-piece string orchestra with a nice piano melody, and some of Stevie's best singing.
Possibly the biggest drawback for this record is the production, which makes Stevie & Co. sound more in the background rather than upfront. It almost sounds like it was recorded mono. Rock A Little, 2 years later, has better sound. Still, this is a good album.
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