|
The Other Side of the Mirror
Page Jumps ::
Rooms on Fire
- Castle Wall Interview 1989 - The name came really, from the song Alice. I must give credit where credit is due, my manager Tony Dimitriades, when we were over in England said "What about The Other Side of the Mirror?" Because in Alice it says, when she finally has had it when being over in Wonderland "Alright says Alice I'm going back to the other side of the mirror" and I thought to myself ... well, that pretty much encompasses my entire life. I'm constantly going back and forth from one side of the mirror to another ... between Fleetwood Mac and Stevie Nicks. And then there's of course the cusp where I do the things I do like painting and collecting things and drawing and making blankets and doing silly stuff that probably keeps me sane. I thought .. well Alice .. your grandmother's name was Alice everybody tells everybody that you look a lot like her, I know you are a lot like her since you spent half of your life with her and I dedicated the record to Alice my grandma. So why not call it Th e Other Side of the Mirror! She died a few months ago so she's on the other side of the mirror now. The other side of the real mirror and I know in my heart that she's looking down probably saying "I wish I could've lasted a few more months so that I could have held this in my hands and said .. this is my granddaughter and she gave me this record."
- The Record Interview 1982 - The clothes I wear, that doesn't change. I love long dresses, I love velvet, I love high boots, I never change. I love the same eye make-up. I'm not a fad person. I still have everything I had then. That's one part of me, that's where my songs come from. There's a song on the new FM album (Mirage) that says "Going back to the velvet underground/back to the floor that I love" because I always put my bed on the floor. "To a room with some lace and paper flowers/back to the gypsy that I was," and that's San Francisco ... that's the velvet underground. Those are the things that I can't give up.
Long Way to Go
- Castle Wall Interview 1989 - I remain real good friends with most of the men in my life. This particular song that you're talking about [Long Way to Go] was not written in such a nice way. This happened to be an experience that I had with somebody that I did very much love who, we had been broken up for a long time before, a year before and I had just finished Rock a Little. And I had walked into my house with Rock a Little under my arm an acetate, the phone rang and it was him, and he wanted me to drive two and a half hours to wherever it was that he lived, and I was very tired and it was very late, it was like 3:30/4 in the morning, and I turned around to somebody that was living in my house at that time and I said "should I go?" and they said "well, it's a pretty long way to go to say goodbye again, I thought that we'd already" basically Stevie, it's taking you an awful long time to get over this. Do you want to go down and start it up again? So I went back and forth and back and forth in my mind and finally he said to me "'I'm sending a limousine for you.' and I said alright. And so, chump that I was, I got in the car and drove down there and played the record for him and he kept it. Which I will never forgive him for. He kept my first acetate and I think the last thing that I did say to him was, "you know it's a real long way to go to say goodbye again, I thought we already did that ... aave fun tell the the world." Which basically means, words we don't say over the radio. Goodbye, forever this time. Don't ever call me again. I mean, he put me in the car and I was hysterical in tears and I cried all the way home and I said, 'I will never ever ever put myself in that position again. Nobody will ever do that to me again. As much as I loved him I will never let that happen again.
- Atlanta Journal 1989 - I was really angry at the person I wrote that song about. It's a lot of fun to perform because it has that definite attitude that audiences can pick up on.
Two Kinds of Love
- Castle Wall Interview 1989 - I wrote Two Kinds of Love when I was on tour with Bob Dylan and Tom Petty. I'd sort of written it, I hadn't completely finished it .. it was the (singing) 'two kinds of love' that was all there. But all of it wsan't there. And I finished it and Rupert (Hine) said to me 'there's a couple lines that I think that you could phrase a little better.' And I said, 'well then .. Mr. Terrific Phraser you go out there and sing it and then I will tell you if I agree or don't agree.' So Rupert went out and sang the lines that the male voice would sing. Because I did not in fact, write it as a duet. The duets that I write I usually write as duets knowing that there's going to be another person singing .. and so we got so used to listening to a man and woman sing this song that when we got down to finally actually almost finishing it he said to me, 'who do you want to sing this?' And I said, 'well, do you want to sing it?' and he said 'not particularly, I didn't come here to be a singer on your record, I came to produce it. Who is your first choice?' and I said Bruce Hornsby. He said, 'do you have any other choices just in case, (We were in London) just in case we can't find Bruce?' I said no, if we can't get Bruce then I'll sing it myself ... I'll sing it alone. And so he got on the phone to Bruce's manager and we got in touch with Bruce. We flew in from London to New York on Saturday. Bruce had done his homework .. he knew Two Kinds of Love backwards and forwards. We let him go out and sing along to what I had already sang because I, along with Rupert, had already sang the whole song myself. So we just took everybody out and he sang his part, and then on the choruses the (sings) 'who in the world do you think that you are fooling' I had already done my part, so we let him sing along with my recorded part, and then after he did that perfect I said 'I think it's only fair that Bruce and I are allowed to go out there and sing the choruses live. So I want you to take all the pre-recording out and just leave the track and Bruce and I will sing it live.' So Bruce and I went back out in the studio and looked at each other with our words and all the choruses and some other little bits. And so Rupert had not only the professionally recorded me by myself, Bruce by himself, but he also had a live performance, so he had those two things to work with. So he could mix all that in to get it on the choruses so for me it was very important because I wanted it to sound like we were really standing on stage singing. So a lot of the live performances are in that song.
- Atlanta Journal 1989 - I was really angry at the person I wrote that song about. It's a lot of fun to perform because it has that definite attitude that audiences can pick up on.
Whole Lotta Trouble
- Saturday Sequence radio interview 1989 - Ghosts is about wanting things that you can't have and about being afraid to not live in the past anymore. Being afraid to live in the future and basically to live at all. It says "and a few of them were all you had wanted love was thing," so many people have said to me in different ways over the last several years 'don't live for the past Stevie, don't live for the past 13 or 14 years.' You have to live for the now and I found that it was very difficult for me not to live in the past. So I wrote Ghosts to say 'it's just the ghost of the past that you wanted, it's just the past that you live in, it's the ghost of the future that you're so frightened of, so you turn to your guardian angel, some of them are here on earth, some of them are way up there in heaven.' I just thought as I was writing those words about those that I have lost that are gone now, that are up there in heaven. Like my friend, like Roy Orbison, Buddy Holly, and my grandmother, all thos e people are up there watching after us. That's really what I wrote it about. It's very reflective, it's not a sad song it's just reflective on what it is that you want to do on this planet."
- Westwood One 1989 - The song came from actually, the Christmas story of the ghost of the future, past, and present. And the ghosts of what you want to be and the ghost of the future that you're frightened of, and the ghost of what really is happening. Which is actually very much into The Other Side of the Mirror because again, there is one side of the mirror, the other side of the mirror, and the cusp of the mirror, which I teeter back and forth on all the time.
Alice
- Revolution Interview 1989 - "All the characters in my songs ... the Gypsies, the Saras, and the on this album Alice and Juliet, they're all me, but they're all different sides of me."
- Castle Wall Interview 1989 - I'm constantly crossing back and forth, between the two mirrors, and it's usually like ... 'Alright, I've had enough here and I'm going back to the other side now.' And I thought well, since Alice happens to be one of my favorites, not that it was ever planned to be a single or any of that kind of song, it still probably is my favorite.
Juliet
- Castel Wall Interview 1989 - I said, 'well Bruce, you tall thing you' cause he's so tall he can hardly fit his legs underneath the piano, I said 'how would you feel about playing on a song I wrote called Juliet? You haven't heard it, but it needs you badly. I would be your friend forever if you would just give it a chance.' And again, I said to him the same thing, 'I'm not asking you to do anything special ... listen to it in here with me a couple times, I'll sing it to you and would you play on it?' And he said, 'why not? Of course I will.' And so I said, 'you have to do this for me considering I picked you out of the skies, you know.' So he went out and played on Juliet all the way through and then sang on the bridges with me. And then on the end part that says 'the sky is not crying/oh she sa ys the sky is blue.' So he sang on all that on out and we were done by nine went out to the River Cafe had dinner until we closed the place down and then I haven't seen him since that day.
|
|
|
|
|
|
