I met Lori through Gordon [Perry] through Keith Olsen who produced Buckingham
Nicks. When Lindsey and I first moved to Los Angeles and lived with Keith Olsen,
which was in 1971. So I met Gordon right after that and then through Gordon I
met his not-yet wife, Lori. So I've known Lori forever.
I met Sharon ~ Sharon you'll have to help me ~ many, many, years ago. I was
in Hawaii [in 1977] and Sharon was singing at the Blue Max and she was singing
Poor Poor Pitiful Me and I know Warren Zevon very well so I love any songwriter
that can write a line about a Waring Blender and get away with it. And I walked
up to Sharon and said, 'My name is Stevie Nicks' and, of course, she knew I was
there and she was totally dying of embarrassment cause I was there and not knowing
how much I was enjoying listening to her sing and I walked up and said, 'So Sharon,
what's happening? And I know that you love being in Hawaii and everything but...if
I ever have a band, if I ever do a record will you consider coming and singing
with me?' And I didn't know this girl, so it's not like...this could have been
an unpleasant person, you know, that I had just nailed myself into a relationship
with here. I didn't really know. I took it solely, completely on the way that
she sang Poor Poor Pitiful Me.
This girl...my friend Sharon who I found in Hawaii singing in the Blue Max
is so into it that she doesn't even see me looking at her for 30 seconds. I only
like people who are into what they do so this is Miss Sharon Celani.
did you come to choose the backup artists for The Wild Heart?] Jimmy [Iovine,
Nicks' producer] seems to always pick out the perfect people. He lets me work
with the two women that I want to sing with; we've been singing together for five
and one-half years. We could sing every song a capella because we'd been practicing
for so long. We practice with the demos which is like practicing together. So
even if Lori Perry would be in Dallas and Sharon Celani would be in Los Angeles
and I'd be in New York, we'd be practicing to the same group of 40 songs. I always
wanted to do a thing with two girls where we would sing and be like a girls' Commodores.
I wanted to have background vocals sound like they were answering back and forth.
After a while Jimmy would say that we couldn't do this or that. He'd say, 'Stevie,
shut up and quit protecting them. Just back off and let me work with them.' It
was a constant learning process.
I wanted to build a sound from the very first solo record. The three of us
were singing for two years before we even did Bella Donna and we've never
stopped singing since.
[Celani] and Lori [Perry-Nicks] and I have a special thing that we have ~ that
we have perfected ~- and we have perfected it by sitting around the piano... I'm
not going to go sing on-stage alone. I don't want to. I want to be able to walk
away and let them take it. Because I ~ there is nothing in the world that I would
rather hear than beautiful singing. And so I have worked to get a sound that is
not like anybody else. That is really beautiful, that is strong and that is like
dedicated and devoted.
To Loretta and Sharona, for never leaving me...