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Trouble in Shangri-La | 
| Artist: Stevie Nicks
Label: Warner
Category: Music
List Price: £15.99
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as of 25/11/2009 07:42 GMT details
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Seller: all your music
Rating:  27 reviews
Sales Rank: 9349
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 47372
UPC: 093624737223
EAN: 0093624737223
ASIN: B00005AXEL
Release Date: April 30, 2001
Availability: Usually dispatched within 1-2 business days
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| Tracks:
| • | Trouble In Shangri La | | • | Candlebright | | • | Sorcerer | | • | Planets Of The Universe | | • | Every Day | | • | Too Far From Texas | | • | That Made Me Stronger | | • | It's Only Love | | • | Love Changes | | • | I Miss You | | • | Bombay Sapphires | | • | Fall From Grace | | • | Love Is |
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| Editorial Reviews:
Amazon.co.uk Review
As one half of Fleetwood Mac's twin female leads, Stevie Nicks is possessed of one its most distinctive voices. ITrouble in Shangri La/I, her first solo album since 1994s IStreet Angel/I, demonstrates Nicks has lost none of her flair for penning richly textured baroque-flavoured folkrock. Despite the presence of former paramour Lindsey Buckingham on the dreamy ballad "I Miss You", a duet with Sarah McLachlan, a guest appearance from Macy Gray (on the iridescent "Bombay Sapphires") and diverse contributions from Sheryl Crow who acts as sounding board, co-producer for five tracks and contributes one song, "It's Only Love", this is very much Nicks's work, a labour of love that she spent the best part of five years on. Polished and burnished to a lacquered sheen, songs like "Planets Of The Universe" glow like embers while Nicks's aching world-weary lyricism frames the tableau. --IMike Pattenden/I
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| Customer Reviews:
Showing reviews 1-5 of 27
 A Huge Return To Form.Spellbinding April 30, 2001
13 out of 13 found this review helpful
This CD marks the first new album since the 1994 album Street Angel.Whilst that album was something of a disapointment to Stevies many fans this album will not disappoint anyone.pThe album is quite simply perfect from the opening notes of the title track to the haunting closing strings of the final track Love Is.Stevie has worked with Sheryl Crow on this album and Sheryls guitar driven music is evident although at no time does it overpower the feeling of this album.pStand out tracks are the title track Trouble In Shangri La,Planets of the Universe,Every Day.Too Far from Texas,Its Only Love,I Miss you and Love Is.pThe album features guest vocals from Sheryl Crow,the Dixie Chicks very own Natalie Maines,Macy Gray and on the closing track Sarah McLachlan..Each guest artist adds their own touch to this amazing album and the album is enriched by their presence but this is without a doubt a Stevie Nicks record.pThis is the finest album Stevie has made since Bella Donna.To not own this album would be a crime.This record could do for Stevie Nicks what Supernatural did for Carlos Santana.
Stevie's Best Solo-work by far April 12, 2002
7 out of 7 found this review helpful
Although I'm a long-time Stevie fan, Stevie's best work has always genrally been with Fleetwood Mac, where she had the production genius of Lindsey Buckingham to give her songs the eclectic treatment they required. In comparison, her solo-albums to me have always sounded under-produced and her vocals under-rehearsed (there have been some excellent solo songs). Stevie's vocal problems have also been a source of concern. Trouble in Shangri-La is the solo album I've been waiting for, a reaffimation of everything that is great about Stevie, great melodies, poetic lyrics and distinctive vocals. Stevie's voice is deeper than it was, but it remains completely distinctive and effective and she shows the kind of range and energy that she hasn't shown in years.pThere are a number of excellent songs - personal favourites being the hard-rock of Fall from Grace, the heartbreaking ballad Love Is, the pop of Love Changes and long-time Stevie fans will be glad to hear that Stevie's trademark mysticism remains intact on Candlebright and Sorceror.pA real treat, and my favourite album of the year.
The Candlebright Sorceress of Shangri-La December 16, 2006
Kathryn Sinclair (UK)
7 out of 7 found this review helpful
As someone who grew up on Fleetwood Mac, but only discovered the wonder that is Stevie's solo work in 1999, I had to buy this as soon as it was released. I pretty much saturated myself in this album for a month. In the last 5 years I have frequently come back to it, but only now feel I know it well enough to review it.
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br /As all Stevie fans will know, she herself was somewhat disapointed with 1994's "Street Angel". Having suffered stinging reviews from critics, both for the album and the ensuing tour, her confidence was badly dented. Then along came Clinton's election campaign, and "The Dance". Realising her fans had not deserted her, and being a prolific songwriter, it was time for a new album.
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br /I will say now that the two tracks that never did it for me are 'Everyday' and 'Too Far from Texas'. Personally, I don't think either of these show her voice as it should be, and I find 'Too Far from Texas' somewhat droney, so it would not be fair for me to review them.
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br /But to the album:
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br /We open with the wonderful 'TROUBLE IN SHANGRI-LA', a song that seems to build like a rising wind ("in pillars of colour"). It's gentle, then it rocks, briefly comes back down again, then the drums kick and it rocks out!
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br /'CANDLEBRIGHT' originated as a song from the Buckingham Nicks days called 'Nomad'. It has a mystical early 1970's feel (makes me think of Christine McVie's 'Say You Love Me').
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br /'SORCERER' had its debut in the Buckingham Nicks live performances of 1973/74. It emerged again in a rock-ballad form in 1984 on the soundtrack to 'Streets of Fire', performed by Marylin Martin with Stevie singing backing. There are hints of 'Rhiannon', 'Enchanted' 'Blue Denim' in there. It's an upbeat rock song - think 'Angel'!
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br /'PLANETS OF THE UNIVERSE' can be found in 1976/77 rough form on disc 2 of 'Rumours - Expanded'. This is classic rocking Stevie, and similar to her songs on FM's Say You Will, with maybe even a hint of 'Edge of 17'. It was definately written aimed at Lindsey ("I still wish you gone, and I will live alone").
br /If you have heard the 'Rumours' version, you may wonder where the lyrics at the end have gone here ("You will remember, but I will die slowly..."). For those you will need the 'extended album version' on the now deleted single.
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br /'EVERY DAY' 'TOO FAR FROM TEXAS'
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br /'THAT MADE ME STRONGER' in 1995, still getting over her slated tour, Stevie had dinner with Tom Petty. They talked about her making a come-back album, but her low confidence led her to ask him "Will you write these songs for me?". Thankfully, Tom said "No, you write your songs yourself." This track rocks (reminds me of 'Kick It'), but it has a slight eastern flavour.
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br /'IT'S ONLY LOVE' written by Sheryl Crow, is different enough from Sheryl's own version to stand out. It has an acoustic guitar base, with very light drums - a bit Beatles, 'Norwegian Wood'. Sheryl's sounds rather sad, whereas Stevie makes you think 'this is only the beginning, the ride isn't over yet'!
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br /'LOVE CHANGES' is more 'pop' sounding than rock, but it is very upbeat and happy.
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br /'I MISS YOU' is not a ballad, though it seems to be about a sad subject. It's along the lines of 'I sing for the Things', but not so stripped down (there is a lot of music in there!). But Lindsey added guitar! (I'm not overly fond of this track - least favourite of the 11 I like).
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br /'BOMBAY SAPPHIRES' takes us softly (but with a rock edge) into the mystical east. More classic Stevie, but for the 2000's! She returns to her tendancy to reuse lines from her earlier songs "The sea never changes..." ('Edge of 17'), and she nods to Jimi Hendrix in there "And it's like Purple Haze...".
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br /With 'FALL FROM GRACE' the Rock Chick returns! This is like late-70's live FM...the end halves of 'Rhiannon' or 'Gold Dust Woman'. It has the intensity of 1981's live 'Edge of Seventeen', and the energy of 'I Need To Know'. You would be forgiven for thinking it was Mick Fleetwood on those drums!
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br /Finally, 'LOVE IS' is the beautiful ballad we drift out on. This is 'Beautiful Child' for a new generation (hey, I was only born in 1982, but I love them both!). The georgeous piano playing is by Sarah McLachlan, who Stevie herself is a fan of (Stevie says one of the only non-FM songs that can wake her in the middle of the night is 'Posession'). This is one of the few songs that can have me in tears and singing along at the same time!
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br /If you've ever liked any Stevie Nicks songs, or 70's era Fleetwood Mac, you ***NEED*** this album!!!
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br /The 'S' in Stevie's name was drawn by Sarah McLachlan. It was originally just a drawing of a dragon, but when they reversed it they realised it was a perfect 'S' for the album!
Absolutely no 'Trouble in Shangri-La' May 1, 2001
8 out of 9 found this review helpful
Fans of Stevie Nicks' solo work have had to be a patient lot as this is her first new material since 1994's Street Angel. However, the wait has been worth it as the 'high-priestess of rock' demonstrates once again that she can wipe the floor with the competition. From the first track to the last, 'Trouble in Shangri-La' sees Nicks blending the past and the present together with songs such as the title track, which evoke memories of 1989's 'The Other Side of the Mirror' and 'Sourcerer' which wouldn't look out of place against Rhiannon and Landslide on the 1975 Fleetwood Mac album 'Fleetwood Mac'. These glimpses of the past line up with lots of fresh material such as the sparkling 'Bombay Sapphires' and the breakneck speed of 'Fall from Grace'. With significant input from Sheryl Crow, along with Sarah McLachlan, Natalie Maines and even Macy Gray, Nicks' work is re-energised, but not swamped, still retaining its trademark poetic qualities and the familiar names that have worked with her on past albums like Mike Campbell and Benmont Tench. This is an extremely good album, perhaps her best (time will tell); one that every Stevie Nicks fan must have, and one that will provide a very good starting point for those hearing her work for the first time.
Stevie Nicks, Pure and Simple November 27, 2003
Gary F. Taylor (Biloxi, MS USA)
9 out of 11 found this review helpful
After a stunning career with Fleetwood Mac in the 1970s, Stevie Nicks emerged as one of the hottest solo acts of the music industry in the 1980s with BELLA DONNA and THE WILD HEART. But although she scored a memorable success with Fleetwood Mac on 1987's TANGO IN THE NIGHT, after 1985 the quality of her solo work began to decline. 1989's THE OTHER SIDE OF THE MIRROR offered the memorable "Rooms on Fire" but was disappointing as a whole, and of 1994's STREET ANGEL the less said the better. Her occasional performances with Fleetwood Mac aside, it seemed that her glory days as a solo act were far behind.pThen in 2001 Nicks quietly released TROUBLE IN SHANGRI-LA. Working with what seemed a different producer on almost every cut and drawing in supporting talent from the likes of Cheryl Crowe, Nicks stripped herself of her past personas. Gone was Rhiannon, gone was the Welsh Witch, the Gypsy. Gone were the third person lyrics, the ethereal notes, the hard rock flourishes. TROUBLE IN SHANGRI-LA was Stevie Nicks, pure and simple and unadorned. Quite a lot of her long-time fans, who would have preferred Nicks to remain in her Bella Donna persona forever, balked. But quite a few people who had never been fans suddenly reappraised her. And when all was said and done, Nicks garnered some of the finest critical praise of her long career and picked up a Grammy nomination in the process.pOpening with a solid rocker on the title cut, TROUBLE IN SHANGRI-LA finds Nicks remarkably unpretentious and completely devoid of the self-indulgence that made THE OTHER SIDE OF THE MIRROR such a disappointment and STREET ANGEL such a disaster. Her voice, always a delicate instrument, has changed, and the high notes are gone and the lower notes have become deeper still--but at both extremes it now possesses an unexpectedly dark richness of tone. Both it, and the emotional tones of her performance, are those of a mature woman in full command of her talents.pSome have complained that there is not really a "hit single" track on this album, and in a sense that is true--nothing here jumps ahead of the pack. But that is not because the music is weak; rather, it is because it is all so consistently good. And throughout the entire collection the overall sound creates a somewhat hypnotic quality that gradually draws you deeper and deeper into the artist's skills. Because of this, it would be extremely difficult to pinpoint any one single selection for singular praise; I will say, however, that I find "It's Only Love" particularly fine.pWhen I first sat down to listen to this recording I found myself completely surprised by Nicks' overall approach, which is considerably more disciplined than anything she has previously offered. I was not immediately enthusiastic and I set the recording aside--only to find myself drawn to it again and again, and with each listening discovering more and more in it. And I now think of this as quite possibly Stevie Nicks best overall solo release. Whatever the case, it is certainly her most subtle and most complex effort to date.pI had the pleasure of seeing Fleetwood Mac on the SAY YOU WILL tour, and while Nicks did not perform any of the selections from this album (the only selection of her solo work she offered was a knock-out "Stand Back"), I found her live performance with the band very similar in tone to TROUBLE IN SHANGRI-LA: completely unaffected with the focus on the music itself. After some three decades of stardom and one of the most jolting personal roads imaginable, at the end of the day Stevie Nicks has become a musician in her own right. And in an industry that spawns so few of them, that is the highest compliment any one can offer a rock star. The bell has a deeper tone, and it tolls with a more measured note, but it still "rings through the night." Rock on, my lady, rock on.p--GFT, Amazon Reviewer--
Showing reviews 1-5 of 27
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