Stevie Nicks
Photo: Fernando Leon/ Getty Images

It's one of rock's most enduring love stories, one that's played out in the media, "Behind the Music" and the imaginations of millions of fans for decades: Fleetwood Mac's Stevie Nicks and Lindsey Buckingham.

Nicks and Buckingham first met in high school, when Buckingham was singing at a party and Nicks walked up and joined him.

"We were at some get-together and he was there, sitting, playing his guitar — [the Mamas and the Papas' hit] 'California Dreamin' ' — and I walked up and brazenly burst into harmony with him. It was cool, and I said 'I'm Stevie Nicks' and he said 'I'm Lindsey Buckingham.' I never saw him again for two years, until he was in a band and he remembered that night and he called and asked me to join their band."

That second meeting resulted in the formation of their romantic relationship as well as their musical career. They released an album entitled Buckingham Nicks in 1973 (the cover of which is a photograph of the two of them topless). Two years later, they joined — and revitalized — Fleetwood Mac, which was formed as a blues band by drummer Mick Fleetwood and bassist John McVie in 1967, but became one of the biggest pop acts of all time after Buckingham and Nicks joined. Their eponymous 1975 album and 1977's Rumours were among the biggest sellers of the era.

Yet with success came discord: Nicks and Buckingham's always-tumultuous romance unraveled in 1976; McVie and keyboardist Christine McVie filed for divorce, and drummer Mick Fleetwood divorced his wife as well. The result of such romantic turmoil was famously reflected in the songs on Rumours.

The group split in the 1980s and, with the exception of their 1993 performance of "Don't Stop" at President Bill Clinton's inaugural ball, did not reunite until 1996 for The Dance. The album includes "Silver Springs," a song that that did not make the final cut of Rumours, much to Nicks' dismay, but it remains a striking representation of the Nicks and Buckingham's relationship ("Time casts a spell on you, but you wont forget me/ I know I could have loved you, but you would not let me").

On Fleetwood Mac's recent tour, which Buckingham has described as "fun" and "drama-free," and Nicks' agreed that the two are in a better spot than in the past.

"I don't feel like screaming at Lindsey right now. ... I'm not in a violent state of mind," Nicks, 60, said. "I want people to leave feeling the emotion of 'Silver Springs,' but without seeing Lindsey and I clawing at each other."

However, she concedes that "fun" might not be the most suitable word for their relationship on or off the stage "When he goes onstage and does his little speech where he says, 'You know, everything is great and we're just all grown up now and we're having fun,' I'm just standing on the other side of the stage and going [rolls her eyes], 'Whatever!' Right now, we're trying to be a little more on the high road, but let us go in and do another album, and bang! Back down to the bad, low road go we."

Still, fans find it hard to let go of the vision of Stevie and Lindsey together. "That electric crazy attraction between Lindsey Buckingham and Stevie Nicks never dies, never will die, never will go away," she said. "He's married, he's happy, he has three beautiful children that I love. You know, he's found a good, happy, calm, safe place — but who Lindsey and I are to each other will never change."

Still, she said, "It's over. It doesn't mean the great feeling isn't there, it must mean that ... you know, we're beauty and the beast. It means that the love is always there but we'll never be together, so that's even more romantic."

Asked when she knew the romance was really over, Nicks said, "The day his first child was born. I knew that was it ... that was the definitive thing."

Whether or not that was really it, the romance of Stevie Nicks and Lindsey Buckingham clearly lives on for fans, and perhaps in their own hearts as well.

• Stevie Nicks

Whitney Houston and Mary J. Blige on stage at "VH1 Divas Las Vegas"
Photo: Image Direct

It was "Divas." It was Vegas. So it had to be an over-the-top, throw-subtlety-to-the-wind kind of affair, right?

Not entirely, though "VH1 Divas Las Vegas" did offer a show-closing Elvis medley and enough vocal gymnastics to turn the MGM Grand into the earth's vibrato epicenter. Between host Ellen DeGeneres' low-key approach and a few quiet acoustic numbers from Shakira, Dixie Chicks and Stevie Nicks, this year's edition may have been the mellowest yet.

Even the opening number — an out-of-breath DeGeneres rapping Salt-N-Pepa's "Shoop" while crawling among a slew of sweaty studs — suggested that this show might offer more nuanced treats than years past. And when Celine Dion and international dance star Anastacia stormed the stage with a version of AC/DC's headbanging classic "You Shook Me All Night Long" (featuring a cranked-up guitar solo by Meredith Brooks), it was clear that any bombast would be delivered with a self-deprecating wink.

That self-deprecating wink is something that Cher has mastered, allowing her to offer up her anthemic "Believe" and "Song for the Lonely" with convincing sincerity while later she donned a black pompadour and fake sideburns for her tribute to the King. While she fell short of some of the high notes on "Believe," she made up for it with her enthusiastic version of "Lonely," spurred on by Cyndi Lauper.

The Dixie Chicks slowed things down with their upcoming single, "Long Time Gone," backed by stand-up bass and dobro. Dressed in loose, flowing shirts that said "Appalachian gypsy," the Chicks' acoustic turn suggested they might have been inspired by the success of "O Brother, Where Art Thou" to reveal a rootsier side than on their crossover hits. Even the full-band version of "Wide Open Spaces" was airier than usual, and their duet with Stevie Nicks on Fleetwood Mac's "Landslide" was the evening's quietest moment.

Shakira took a similar approach, forsaking the uptempo "Whenever, Wherever" for an unplugged version of "Underneath Your Clothes." While her sleeveless t-shirt and ripped jeans were biker chic, her harmonica solo revealed her folkier side, and she went back and forth between her throaty vibrato and reedy chirp on the song's chorus.

Despite her song title to the contrary, Mary J. Blige's set was full of drama, no moreso than when she and Whitney Houston engaged in a growling call-and-response duel at the end of "Rainy Dayz." Blige repeated the formula on "No More Drama," ending the song, almost on her knees, with repeated shouts of the song's title.

Anastacia, a native New Yorker who's scored massive hits in Europe despite being a relative unknown Stateside, took her solo shot to present "One Day in Your Life" from her upcoming album, Freak of Nature (which has already been released overseas). With her flowing sleeves and oversized shades, she looked a bit like Nikka Costa, but while Costa offers her funk with icy coolness, Anastacia attacked her tune like a disco diva-in-waiting.

At the other end of the spectrum was Dion, who was already well established when she appeared on the first "Divas" broadcast in 1998. After a two-year hiatus, Dion returned to the stage and the charts this spring with A New Day Has Come, and she used her closing spot to focus on her new material. Wearing a simple, sleeveless white cocktail dress, Dion kept her performance of "I'm Alive" and the album's title cut relatively low key, for her at least.

Everyone threw caution to the wind with the Elvis medley that wrapped things up. Anastacia offered up "Jailhouse Rock" and Blige did "Blue Suede Shoes," both in appropriately slick Vegas arrangements, while the Dixie Chicks' "That's All Right (Mama)" was practically a parody of country music, replete with dancing cowboys. Shakira and Dion took the ballads heavy on the theatrics, the former stretching out her notes on "Always on My Mind" while the latter sang the first verse of "Can't Help Falling in Love" a cappella.

Reprising "You Shook Me All Night Long," all nine divas (Houston didn't return) closed the show together, with the cross-dressing Cher planting a big kiss on DeGeneres' lips. As the King himself might have said, "Thank you, ma'am."

• Celine Dion
• Mary J. Blige
• Dixie Chicks
• Stevie Nicks
• Whitney Houston

Anastacia
Photo: Sony

Funny lady Ellen DeGeneres has been tapped to host "VH1 Divas Las Vegas," taking place at the MGM Grand hotel in Sin City May 23.

Chicago-born soul-pop singer Anastacia and Fleetwood Mac vocalist and solo artist Stevie Nicks have just been added as special guest performers, according to a VH1 spokesperson. Las Vegas living legend Wayne Newton will serve as announcer for the event, the proceeds from which will benefit the VH1 Save the Music Foundation, a charity aimed at restoring music programs in public schools and raising awareness of the positive impact that music participation has on students.

The new additions join a previously announced lineup of performers that includes Cher, Mary J. Blige, the Dixie Chicks, Celine Dion and Shakira (see "Shakira Joining Mary J. Blige, Cher On 'Divas' Lineup").

VH1 will broadcast the fifth installment of the "Divas" series live. Past "Divas" specials have featured Mariah Carey, Destiny's Child and Shania Twain.

• Stevie Nicks
• Anastacia

Sheryl Crow
Photo: UNI/A&M

Beck, Deftones and Offspring singer Dexter Holland joined Recording Artists Coalition founders Don Henley and Sheryl Crow at California's State Capitol on Wednesday to support new legislation that could change the relationship between recording artists and their labels.

Rage Against the Machine's Tom Morello, Matchbox Twenty's Paul Doucette, Stevie Nicks, John Fogerty, Carole King, Ray Parker Jr. and Jonatha Brooke also appeared in Sacramento, California, calling on legislators to support Democratic Sen. Kevin Murray's Senate Bill 1246, legislation that would allow artists to function more like free agents, according to a spokesperson for the Recording Artists Coalition.

Murray's bill aims to repeal Section 2855, Subsection B of the California Labor Code, which states that all entertainers and workers in California, except recording artists, have the right to terminate a personal service contract after seven years.

California's 56-year-old Labor Code protected musicians until 1987, when record companies secured an amendment that made artists liable for albums still owed to labels after seven years with them.

"This practice of singling out recording artists is discriminatory and it restricts the basic American philosophy of free-market competition," Henley said in a statement Wednesday. "A recording artist, like any other working person, should be given the ability to seek higher compensation and test his or her value in the open marketplace."

Joining the Recording Artists Coalition in meeting with legislators Wednesday was the American Federation of Television and Radio Artists, along with other prominent figures, including members of the American Federation of Musicians and the Hollywood Entertainment Labor Council.

Hole's Courtney Love, Henley, country singer LeAnn Rimes and others testified on the so-called seven-year statute at a hearing chaired by Murray in September that persuaded the former music agent to pursue legislation (see "Courtney Love, Don Henley, LeAnn Rimes Testify On Artists' Rights").

The Recording Industry Association of America, which represents record companies, believes the 1987 amendment provides needed protection for the labels, who they say take massive financial risks and endure the failure of 90 percent of their acts. The labels argue they will be unable to take risks on new artists if they can not hold on to their profitable acts.

"Recording artists sign these contracts in good faith, fully intending to honor them," the Offspring's Holland said in a statement. "But the record companies know from experience that it is highly unlikely artists will be able to fulfill their requirements due to the demands they place on the artists, including touring, video shoots and other marketing chores. The labor code which exempts artists from the seven-year rule must be repealed to level the playing field and make it fair for everyone."

The Recording Artists Coalition has organized four benefit concerts on February 26, the night before the 44th annual Grammy Awards, to raise money for its cause (see "Ozzy, No Doubt, Korn, Weezer To Play Benefits For Musicians' Rights Group").

Henley and Crow formed the Recording Artists Coalition in 2000 to lobby for artists' rights (see "Henley, Petty, Love Urge Artists To Fight The Labels' Power"). Last spring, the coalition's select members testified before the U.S. Senate on the issue of online rights (see "Morissette, Henley Tell Senate To Remember Needs Of Artists").

• Beck
• Deftones
• The Offspring
• Don Henley
• Sheryl Crow

Sheryl Crow
Photo: Steen Sundland

All of Sheryl Crow's collaborating over the last couple of years apparently gave the singer some ideas for her fourth studio album.

The as-yet-untitled follow-up to 1998's The Globe Sessions, due in late March, will include contributions from several big-name artists, including Stevie Nicks, Don Henley, Lenny Kravitz and the Dixie Chicks' Natalie Maines, according to Crow's Interscope Records spokesperson. "Soak up the Sun," the album's first single, is due in February and features additional vocals by fellow female rocker (and could-be twin sister) Liz Phair.

Nicks, who appeared on Crow's 1999 live album, Sheryl Crow and Friends: Live From Central Park (see "Sheryl Crow Sets December Date For Star-Studded Live Album"), sings on "You're Not the One." Crow and Nicks recently collaborated on Nicks' Trouble in Shangri-La (2001), sharing vocals on "It's Only Love." Crow also produced several tracks on Nicks' record.

Eagles singer Henley, who's among the artists Crow sang backup for early on in her career, appears on the track "It's So Easy." Kravitz sings on "You're an Original," and Maines adds her signature twang to "Abilene." Crow and Maines performed several songs together at a breast cancer benefit in Los Angeles last fall, including Crow's "It Don't Hurt" (see "Mary J. Blige, Pat Benatar Take On Breast Cancer, Prove Women Rock!"). Maines' Dixie Chicks also appear on Sheryl Crow and Friends: Live From Central Park.

Other guests on the upcoming album are folk and country veteran Emmylou Harris ("Weather Channel") and blues guitarist Doyle Bramhall II ("Steve McQueen," "Over You").

Since the release of The Globe Sessions, which featured the single "My Favorite Mistake," Crow has recorded with an array of artists, from Tony Bennett (see "Sheryl Crow, Stevie Wonder, Ray Charles To Appear On Tony Bennett LP") to Kid Rock (see "Kid Rock Is Cocky, Calls Out 'Your Mama' With Snoop").

While recording in New York last summer, Crow played several high-profile club shows that included many of the guests on her album along with Rolling Stones guitarist Keith Richards (see "Sheryl Crow Jams With Kid Rock, More In New York").

In other Crow news, she was just added to the list of presenters for the American Music Awards in Los Angeles on Wednesday night. The show will be broadcast live on ABC.

Tentative track list for Sheryl Crow's upcoming album, according to her spokesperson:

• "Steve McQueen"

• "Soak up the Sun"

• "You're an Original"

• "It's So Easy"

• "Over You"

• "It's Only Love"

• "Weather Channel"

• "You're Not the One"

• "Missing"

• "Abilene"

• "Slave"

• "Safe and Sound"

• Sheryl Crow
• Stevie Nicks
• Don Henley
• Lenny Kravitz

Michelle Branch
Photo: Warner Bros.

Nurse Abby Lockheart has just been dumped. She is in the middle of the rather painful process of moving her stuff out of her ex-boyfriend's apartment. And to make matters worse, Cake's "Short Skirt/Long Jacket," a song about the things a man is looking for in a woman, is playing on the radio.

On "ER," popular music is becoming a bigger part of the story line with every episode.

"It adds something to the show every time we use it," "ER" supervising producer and writer Scott Gemmill said. "It's amazing what music can bring to a scene."

There's a new movement in television toward an increase in the use of trendy music, and it extends far beyond the crowded halls of the "ER."

Tune in to "The West Wing" and you might hear some Tricky. Watch "Providence" and you could hear Remy Zero's "I'm Not Afraid."

"The District" is blasting cutting-edge hip-hop like it's BET. If you caught the series premiere of "Crossing Jordan," you may remember John Hiatt's "Thirty Years of Tears."

Television's oldest networks appear to be drawing from the musical formula of newcomers Fox and the WB, whose shows "Party of Five" and "Dawson's Creek" have often championed up-and-coming artists.

"It comes from who is writing the shows," Gemmill said. "We're not that old. I like to think we're just as young and hip. And that stuff more and more is getting into our shows."

J.J. Abrams, the creator of "Felicity" and this year's new "Alias," is at the forefront of the movement. In just the first episode of "Alias," he pulled music from Vertical Horizon, Sinead O'Connor, Cat Stevens, Supreme Beings of Leisure, Peter Gabriel, Gus and the Stereo MC's. He's also a musician himself, and composed the show's techno theme.

"Music is as important or more important than anything in movies or TV," Abrams said. "I don't know how you tell stories without music."

As Abrams and others work their way into the game, Fox and the WB continue to showcase new artists, with the latter in particular becoming more music-driven with each new show.

So far this year, "Felicity" has featured songs from former Whiskeytown frontman Ryan Adams and neo-psychedelic popsters Essex Green. "Charmed" has used music by Tantric, Depeche Mode and Stevie Nicks. Michelle Branch, Poe and P.O.D. have been used on other WB programs.

"Smallville," the network's much-talked-about new series about the teenage years of Clark Kent, included songs from Lifehouse, Jude, Stereophonics and the Calling in Tuesday's premiere.

That show's use of music has already proved effective, according to Allan Johnson, TV critic for the Chicago Tribune. "It really gave the series a modern slant to a story that has been around for more than half a century. I thought it enhanced the show's 'Dawson's Creek' aspect that really works."

Leonard Richardson, the director of music for the WB, said each show on the network has its own music supervisor whose job it is to set their scenes with the most fitting music out there.

"I think we're more aggressive about getting the hottest music than some other places, because our demographic is so young," Richardson said. "Music plays such a big part in our dramas, not just 'Dawson's' and 'Felicity,' but 'Gilmore Girls' and 'Smallville' as well."

The WB pulled a major musical stunt a few years ago when it helped break Paula Cole by using her song "I Don't Want to Wait" as the theme to "Dawson's Creek." The singer later won the Best New Artist Grammy.

Since then, punk funnymen Nerf Herder were commissioned to write the theme to "Buffy the Vampire Slayer" and Public Enemy's Chuck D was asked to compose the theme for "Dark Angel." This year, "Undeclared" snagged the Dandy Warhols' "Solid" for its theme.

Other shows have taken the "Malcolm in the Middle" approach to showcasing hip music. That show features original music composed by They Might Be Giants. Other bands composing for TV this year are David and Don Was of Was (Not Was) ("The Education of Max Bickford") and Ween ("Inside Schwartz").

"Ed" used Foo Fighters' "Next Year" for its theme last season, and replaced it this season with "Moment in the Sun," by New York indie rock band Clem Snide.

Producers for "Ed" first asked Clem Snide to write a new theme for the show, but after passing on three different tunes, they opted to have the band re-record "Moment in the Sun," which originally appeared on its summer album, The Ghost of Fashion.

"It's kind of odd it ended up being the 'Ed' theme song because I wrote it two years ago and it's a very sarcastic song," Clem Snide frontman Eef Barzelay said. "It was my reaction to Jewel, who was so ubiquitous at the time I wrote it. I just hate Jewel, I don't hate many singers or songwriters, but something about her bugged me. So I wrote the song as if I were Jewel."

So far, the band has run into mixed reactions about the theme song. "It's funny, we just checked out the 'Ed' chat room and they all really miss the Foo Fighters," Barzelay said. On the other hand, National Public Radio heard about the song before it even aired and had the band perform it on one of its programs.

Clem Snide are happy to make the extra money from the theme song, but aren't quite sure they want to be the next Rembrandts, whose "I'll Be There for You" was an unavoidable hit when it became the "Friends" theme.

"You have to be careful what you wish for," Barzelay said. "In a way it would be great because our record is kind of strange, and you would have a bunch of normal people buying it, which would be really cool. But if I had to play that song every show the rest of my life, that might be a bit of a drag."

Songs can explode off television sets without being theme songs, points out Anne Klein, the music supervisor for the "The West Wing," "Third Watch" and "ER."

"We used an Amanda Ghost song on 'ER' last year that we got an incredible response to," Klein said. "People were calling from all around the world. It changed her career. Her label went with that as the single instead of something else they were going to use."

Klein has already fielded several phone calls about Abandoned Pools, the relatively unknown debut solo project from Eels rocker Tommy Walters. His song "L.V.B.D." was played and the Abandoned Pools name was mentioned by Dr. Greene's daughter on last week's episode of "ER." "Almost everything gets tons and tons of phone calls," Klein said. "It's nice."

The trend of using popular music on television exploded about three years ago when electronic music starting hitting the airwaves, Klein said. "It made it easy for action shows to use songs as scores," she said. "That was our first big opportunity to use the Crystal Method and Fatboy Slim in a cool way."

Before the electronic music boom, though, there was "Miami Vice," the show that really illustrated the kind of impact popular music could have, the Tribune's Johnson said.

"I'll never forget how 'In the Air Tonight' in the pilot of 'Miami Vice' was so effective in telling volumes about what was going on in that scene," Johnson said. "Ever since 'Miami Vice,' using popular music for both TV shows and commercials lures in a particular audience, one that could be younger and hipper and lend to the given show's demographics."

"Alias"'s Abrams, who jumped from film to television after writing such screen gems as "Armageddon" and "Regarding Henry," credits both movies and music videos for showing TV producers how to fuse images with music. "As TV has become increasingly like film, it is sort of a natural progression for TV to use music in the same kind of way," he said.

Although using popular music has become more ... popular, Klein noted that it is not easy for everyone to get in on the party. Sitcoms with non-stop laugh tracks and some dramas have it especially hard. "There's no place in the White House where they listen to music," Klein said. " 'Third Watch,' where the characters are sitting around the firehouse, has the biggest opportunity for new music."

Every show can benefit from new music, however, through the use of promotional ads. ABC received praise for its use of Coldplay's "Yellow" in advertising its entire roster last winter. The network also helped break the song along the way.

This fall, NBC used Enya's red-hot "Only Time" for commercials for "Friends" and "Frasier." Staind's "It's Been Awhile" was used in promos for "UC: Undercover," while "Smallville" used Perry Farrell's "Song Yet to Be Sung."

"There's definitely a race [between the networks]," Abrams said. "We're all looking for great music and wanting to ride the wave of a hit single. You get a 'Kiss Me' [from Sixpence None the Richer] and it happens to hit just at the right time and the soundtrack sells and the show benefits. But that's as much about luck as finding the perfect song for the moment."

• Michelle Branch
• Tricky
• Depeche Mode
• Stevie Nicks

Wyclef Jean
Photo: Columbia

Wyclef Jean, Macy Gray and Sheryl Crow are among the artists who will be heard on the fifth installment of the A Very Special Christmas series.

This year's edition, due November 6, features 15 traditional holiday songs rearranged or rewritten by artists from an array of genres, Interscope Records said.

A Very Special Christmas 4, released in the fall of 1999, was a live album recorded at a concert held the previous year in Washington, D.C. (see "Crow, Blige, Run-DMC On Live 'Very Special Christmas' Album"). The first three, like the new LP, were compilations.

A Very Special Christmas 5 also includes songs from Dido, City High, Eve 6, Stevie Nicks, B.B. King and Tom Petty and the Heartbreakers, among others.

Wyclef covers "The Little Drummer Boy," during which he breaks into the Calypso standard "Hot, Hot, Hot." He also produced City High's funky "O Come, All Ye Faithful" and raps on Stevie Wonder's "Merry Christmas Baby." Wonder also duets with singer Kimberley Brewer on "I Love You More."

"Merry Christmas Baby" is the first single from the LP, and a video for the song, featuring Wyclef in a Santa suit, is currently being cut.

Aside from producing the album with Bobby Shriver, Jon Bon Jovi contributes a bluesy rendition of "Blue Christmas." Bon Jovi and his namesake band have contributed to three of the four previous A Very Special Christmas records.

Most of the material on A Very Special Christmas 5 was recorded specifically for the LP, which, like the past projects, benefits the Special Olympics.

The new album includes a live version of Stevie Nicks' "Silent Night," which was featured on the first A Very Special Christmas in 1987.

A Very Special Christmas 5 track list, according to Interscope:

• Macy Gray - "This Christmas"
• Wyclef Jean - "The Little Drummer Boy/Hot, Hot, Hot"
• Eve 6 - "Noel! Noel!"
• Jon Bon Jovi - "Blue Christmas"
• Stevie Wonder and Wyclef Jean - "Merry Christmas Baby"
• City High - "O Come, All Ye Faithful"
• SR71 - "Christmas Is the Time to Say I Love You"
• Dido - "Christmas Day"
• Sheryl Crow - "Run Rudolph Run"
• B.B. King and John Popper - "Back Door Santa"
• Tom Petty and the Heartbreakers - "Little Red Rooster"
• Powder - "The Chipmunk Song (Christmas Don't Be Late)"
• Stevie Nicks - "Silent Night"
• Stevie Wonder and Kimberley Brewer - "I Love You More"
• Darlene Love - "White Christmas"

• Wyclef Jean
• Macy Gray
• Bon Jovi
• Dido
• Stevie Wonder

Stevie Nicks
Photo: VH1

Maybe Stevie Nicks should have called her recent record Trouble in Shangri-Lungs, as a recurring respiratory infection has caused her to put another four gigs on hold.

Nicks, scheduled to perform on August 21 and 22 at Universal Amphitheatre near Los Angeles, postponed those shows Tuesday. She hoped to be healthy enough to play the Coors Amphitheatre in Chula Vista, California, on Friday, but doctors ordered Nicks to nix that show and the next evening's gig at the Aladdin Hotel & Casino in Las Vegas as well, said her publicist.

The singer has been forced to reschedule eight shows — two last month, two last week and the just-announced four — because of the illness (see "Stevie Nicks Postpones More Shows on Troubled Tour").

According to her publicist, Nicks has been diagnosed with acute bronchitis. The condition develops when the branches of the windpipe swell, leading to increased mucus production, which clogs the airways. Bronchitis can be accompanied by wheezing, shortness of breath, chest pains and a fever over 100 degrees; while patients sometimes recover fully in as little as three days, the infection can keep some people out of action for upwards of a month.

The next scheduled Stevie Nicks show is Tuesday, August 28 at the Riverport Amphitheatre in Maryland Heights, Missouri. Her August 14 performance at the Shoreline Amphitheatre in Mountain View, California, and August 15 show at the Chronicle Pavilion at Concord, California, have been rescheduled to September 30 and October 1 respectively, Nicks' publicist said. She added that Nicks plans to reschedule the Universal City and Chula Vista dates as well.

• Stevie Nicks

Stevie Nicks
Photo: VH1

For the second time in a month, Stevie Nicks has postponed a pair of shows on her Trouble in Shangri-La tour due to illness.

Tuesday's concert at the Shoreline Amphitheatre in Mountain View, California, and Wednesday's performance at the Chronicle Pavilion in Concord have both been put on hold because Nicks is suffering from a respiratory infection and her doctor ordered her not to sing for a few days, the singer's publicist said.

The spokesperson did not elaborate on how Nicks became ill or whether the problem is related to the throat ailment that caused her to postpone two shows last month. Nicks missed a July 24 gig at the Verizon Wireless Virginia Beach Amphitheater and a show the next day at the Alltel Pavilion at Walnut Creek in Raleigh, North Carolina. Those concerts were rescheduled for September 4 and 5, respectively.

Nicks' publicist said the Mountain View and Concord shows will be rescheduled as well. Nicks' next scheduled performance is on Friday at the Santa Barbara Bowl in Santa Barbara, California.

• Stevie Nicks

Stevie Nicks
Photo: VH1

Stevie Nicks has revamped her Trouble in Shangri-La tour schedule.

The 33-date tour now kicks off on July 6 in Burgettstown, Pennsylvania, at the Post-Gazette Pavilion at Star Lake and hits major sheds across the country. The trek ends September 1 in Columbus, Ohio.

Nicks will be touring in support of her new album, Trouble in Shangri-La, which entered the Billboard 200 albums chart at #5 and has remained in the top 20 for the past three weeks. The shows will feature new songs, tried-and-true solo material and Fleetwood Mac classics. Trouble in Shangri-La tour dates, according to Nicks' publicist:

• 7/6 - Burgettstown, PA @ Post-Gazette Pavilion at Star Lake
• 7/7 - Clarkston, MI @ DTE Energy Music Theatre
• 7/10 - Rosemont, IL @ Allstate Arena
• 7/11 - Cincinnati, OH @ Riverbend Music Center
• 7/13 - Hartford, CT @ ctnow.com Meadows Music
• 7/14 - Mansfield, MA @ Tweeter Center
• 7/17 - Camden, NJ @ Tweeter Center at the Waterfront
• 7/18 - Cuyahoga Falls, OH @ Blossom Music Center
• 7/20 - Wantagh, NY @ Jones Beach Amphitheatre
• 7/21 - Holmdel, NJ @ PNC Bank Arts Center
• 7/24 - Virginia Beach, VA @ Verizon Wireless Virginia Beach Amphitheatre
• 7/25 - Raleigh, NC @ Alltel Pavilion at Walnut Creek
• 7/27 - Charlotte, NC @ Verizon Wireless Amphitheatre Charlotte
• 7/28 - Bristow, VA @ Nissan Pavilion
• 7/30 - Atlanta, GA @ Chastain Park Amphitheatre
• 8/3 - Dallas, TX @ Smirnoff Music Center
• 8/4 - The Woodlands, TX @ C.W. Mitchell Pavilion
• 8/7 - Albuquerque, NM @ Journal Pavilion
• 8/8 - Englewood, CO @ Fiddler's Green Amphitheatre
• 8/11 - Portland, OR @ Rose Garden Arena
• 8/12 - Seattle, WA @ KeyArena at Seattle Center
• 8/14 - Concord, CA @ The Chronicle Pavilion
• 8/15 - Mountain View, CA @ Shoreline Amphitheatre
• 8/17 - Irvine, CA @ Verizon Wireless Amphitheatre
• 8/18 - Phoenix, AZ @ Desert Sky Pavilion
• 8/21 - Universal City, CA @ Universal Amphitheatre
• 8/22 - Universal City, CA @ Universal Amphitheatre
• 8/24 - Chula Vista, CA @ Coors Amphitheatre
• 8/25 - Las Vegas, NV @ Aladdin Hotel & Casino
• 8/28 - Bonner Springs, KS @ Sandstone Amphitheatre
• 8/29 - Maryland Heights, MO @ Riverport Amphitheatre
• 8/31 - Noblesville, IN @ Verizon Wireless Music Center
• 9/1 - Columbus, OH @ Polaris Amphitheatre

• Stevie Nicks

Hair Aware

• Busta Rhymes
• Gwen Stefani
• Cyndi Lauper
• Rod Stewart
• P!nk