Q&A Sessions
Keith Olsen: May 8 - 21, 2000
Page 3

Your presence on the White album must have been rather comforting for Stevie and Lindsey...given this was their first project with FM Did you feel that they fit in right away as equal members of the group, or was there a kind of "hierarchy"--with Stevie and Lindsey, being the newcomers, having to take a back seat? Thank you. (Regina, Bronx, New York, USA)

They fit in right away.... Lindsey being such a good guitar player and FM needs a strong guitar to set the genre.... Lindsey immediately became the center of the "groove." In the studio it became very clear that the record was going to be a great combination of styles and genres... and would be commercial as all get out.

Hi Keith! I hope you can forgive me for asking such a frivolous question, but as a Stevie fan, I've heard the story numerous times of the "infamous" Buckingham Nicks cover photo session, and Stevie has expressed that she was very upset, did not want to do the nude photo, was crushed when they told her to take off her blouse (a new one she had bought just for the photo shoot), etc. Needless to say, I was very surprised to read your answer that both Stevie and Lindsey liked the idea, :-). I was just wondering if you had heard that spin on the story, and does it surprise you to hear it now? Do you know which is true? Thank you very much for taking the time to do this. (Tracy Ellen, Roselle, Illinois, USA)

The idea of the "semi nude" cover was a great idea.... as they started to shoot the picture... they (Laurie Sullivan) knew that they would not be able to "retouch' the bra away from the feather and still make it look real....... Today with "Photoshop"... it would have been a snap...

So it was the album designers call to ask Stevie to do what whe did.... So maybe she held it in until she was in private... and then never told me... I don't know.

Seeing many famous Rock stars lives from a more objective point as you have- would you like to be one given the chance? What do you think is the best thing and the worst things about it. From your view, is it all worth it? I would love to know your point of view on it all!! (Ramona, Exeter, Pennsylvania, USA)

Having been on both sides of the "glass" during my career.... as a musician with a hit group.... in the mid 60's (Gale Garnett-"we'll sing in the sunshine") to having my own hit band ( Music Machine) I've seen all sides and lived all sides... Is it all worth it? ... well for me it was a logical progression from musician, to artist, to producer. I think I would not want to have it any other way. The most satisfying aspect of this industry is to hear your song for the first time on the radio!!!! Then to see it rise up the charts.... wow. For a producer it seems like the only reward is to actually be paid for your "production art".

Hi- Do you think all the new digital tech. which really enhances a bands sound has helped or hindered new bands from rising? Has made it easier for every band to sound good, or did it make even more competition because it helps every band to sound so good? Also, do you think upcoming bands should concentrate finding a NEW sound, or should they stick to formulas that work and learn to master that to be successful? Appreciate your ideas on these two topics. Thank you. (Bernie, Pittston, Pennsylvania, USA)

Technology should never get in the way of creativity..... and when the only thing that is creative is technology, you'll find your career short-lived.

Hi Keith. Thanks so much for doing this. My question is, what do you think of Lindsey as a producer? I know he only produces his own stuff, but he has a very unique sound as far as what he does with his voice, instruments, etc. I am a major fan of Lindsey and his solo work (I'm SO anxious to hear his new album) so I'm curious as to what you think. Thanks! (Sonia, Boston, Massachusetts, USA)

There has to be separation between artist and producer to be able to be objective. I would think that if Lindsey would have worked closely with a top name producer, than the "what if's" would have been minimized and projects would have been done sooner.

I am fascinated at the list of groups and albums you've produced!! KUDOS!!! "Sting" has said that the Foreigner song "I wanna Know what love is" is one of the most touching and best songs hes heard. Did you have any involvement in that song or album and did he really stop production one day on the Blue Turtles album to find out who did it??? I agree with you about Lukather (Toto) being a great guitarist by the way. Did we forget Ingwie Malmsteen and Eric Johnson?? (Glenn, Chicago, Illinois, USA

I was talking about guitarists that do work in many different genre's.... is that Ingwie "J" Malmsteen ???? He does what he does very well. As far as Foreigner, I did the double vision album with "hot Blooded" on it... 

"Howdy" Keith. Your Penguin bio says you have recently produced a canadian country band. Who is this?? It goes on to say you will be working with a band called "House of Dreams". Is this another canadian country band? Where are they based? Are they named after the countryrock tearjerker of a song by the best canadian band ever (IMHO), Blue Rodeo?? Thanks for your time Keith! (Scott, Edmonton, Alberta, Canada)

Shirley Meyers is her name; she's on Stoney Plain Records (Warner Bros Canada). House of Dreams is an act from Florida and are in the Matchbox 20 mold.

Keith Olsen, 1988. Photo provided by Keith Olsen

HI, once again, thanks! This is probably a tough question but I'm curious since you were witness to the whole thing. Had Stevie and Lindsey NOT joined Fleetwood Mac. Do you think that Stevie and Lindsey would have eventually hit on their own? Obviously it was perfect timing on both parts but it seems as if Fleetwood Mac saved Buckingham Nicks and vice versa. One wonders how one would have survived without the other. Thanks again!! (Allen Chapman, Stafford Springs, Connecticut, USA)

Noting the percentage of misses to hits in the music biz.... odds have it that BN would not have happened. Last year 165,000 CD's were released in the USA... of them, 97.6% sold 1500 or less and 98.5% sold 25,000 or less... That means that only 1.5 % really made any money at all. Scary eh?

I have a question that I've wondered about for years. Since you worked with both Stevie on Rock a Little and Joe Walsh on The Confessor, you might be able to shed some light. On her Timespace album and in several interviews, Stevie has said that she fell in love with Joe Walsh "at first sight" while on her Wild Heart tour. Didn't they know each other way before that time, like when she was going out with Don Henly and hanging out with the Eagles?? If so, why does she consider this love at first sight?? Also, is it true that most of the songs on Rock a Little and The Confessor were written about each other? Do you know if they are on speaking terms now since I had heard they had a pretty bad break up? (Carol M, Campbell, California, USA)

The "Confessor" is about a 12 step program, "Floating on a Bubble:" is about world environment..... "I met my baby" is about a mad cap adventure of a ficticious fellow, "Dear John" I think is about his ex-wife.... so NO they didn't write about each other.

Just wanted to say thanks for your participation. Who are you working with now? Or is there anything you havent done that you want to do? (Kim, Atlanta, Georgia, USA)

I'm at Mackie Designs Inc in Seattle where I design cool recording gear

How much money was Jim Keltner paid to play on "Lola My Love" and "Cryin in the Night"and wasn't that a splice together track? What type of fee did Ron Tutt get to play on "Don't Let Me Down Again," "Long Distance Winner," "Without a Leg to Stand On," "Crystal". These are the songs Tutt appears on "Races are Run". That was Lindsey beating on a chair and Hodges on a plyers, mic base, for anvil sound. This was your idea I recall. Hodges is on "Frozen Love" I know he was paid a hefty $110.00 bucks but just curious what Keltner and Tutt got for playing duties; Tutt was playing with Elvis in Vegas and had to fly down, Keltner was in town but very busy I recall. (Gary Hodges, Reeds Spring, Missouri, USA)

Tutt got double scale at the time that was about $220, same with Jim Keltner... I used Tutt when he was in town.... and because I did him a favor with some commercial business... he let the "3 " hour session run into 5 hours with no extra overtime..... how's that for a memory

Hello Mr. Olsen. I was wondering if you have any pictures or bootlegs that you would like to share with us? You are very kind to take out of your time to answer all of our questions. Thank you. (Anonymous)

Bootleg is the wrong word to say to a record producer or artist that earns his living off royalties.... So sorry, no.

First off, I must say I'm a huge fan of your producer/songwriter gifts [Jessie's Girl, FM, Benatar, etc.etc.etc.] On Rhiannon, during the choruses, it sounds as though Stevie is singing through a fan, I was wondering how this effect done. Also I've noticed a 'silvery' sound on much of Stevie's vox on the this a result of doubling? One project a year is not enough of you!:) (Chloe Merrill, New York, New York)

On Rhiannon we used a Lexicon Delta T delay unit if I remember correctly.... It had a unique sound.... On that "'silvery' sound on much of Stevie's vox" is a process that was first used by the Beatles using a high frequency level sensitive expander.... pretty neat, huh?

Did Lindsey have mono when you met him? Did his illness have any effect on the production of the B/N album (other than his brilliance on guitar)? (Tracy Garner, Atlanta, Georgia, USA)

No, he didn't have mono in Fritz....

What prompted you to pull out those masters of B/N again and make a CD of them? Did it have anything to do with your contribution to Stevie's Behind the Music show? (Tracy Garner)

I just wanted to get the tapes baked to preserve them... as I do with most masters that are still in the vault.....

In an earlier question, you mentioned that Gordon Perry was one of your best friends. Did you know Lori Perry-Nicks before Stevie met her? Did they meet during the B/N era? (Tracy Garner)

I knew Lori as this girl with the hot rod Chevy Nova parked in my driveway one night....

Stevie has said that she wasn't always needed in the studio when the Mac was recording so she would write in her journal, paint, crochet, etc. during her 'down time'. Did you manage to keep her busy during the recording of the White album and B/N? (Tracy Garner)

As with any artist, it's the down time that drives you crazy.... As you're working on guitar od's the singer goes nuts.

Hey Keith. My question to you regards the sound difference between BN and the Mac white album. I've noticed that they were recorded in the same studios but that BN has a much sharper clean, crispy sound than FM white. The white album sounds very muted to me. Was this intentional? I actually prefer listening to the boxed set versions of the mac tunes because they sound much better than the CD of the album. Are there any plans to digitally re-master that first Mac album that you know of? Thanks for your time. (Mike, New York, New York, USA)

Remastering would be nice, technology has come a long way.... when the FM album was mastered, there were so many copies of the master made going down generation after generation of analogue tape... when it came time to do the CD..... who knows what copy they used to make the Glass Master. Warner Bros. doesn't like to consult with too many people for fear of costs rising.

Keith, you worked with Mick Jones and Ian McDonald on Hot Blooded by Foreigner. Is there any truth to the rumor that a supermodel approached Mick Jones and told him that Johnny Rotten couldn't get your great tune "Hot Blooded" off the tunrtable for two nights? Had you ever heard this story??? Oh, by the way, you forgot Joe Sat and Steve Vai as great guitarists!! (Glenn, Chicago, Illinois, USA)

First off you could go on all day with great guitarists ..... yes Steve Vai is a great technical guitarist.... What about Eric Clapton.... you know that feel and groove is 90% of the big picture. No I hadn't heard that story it must have happened after the record was out.

This may be inpossible to answer but you saw Stevie at her start and know her so well. Do you think she sacrificed too much for her career in her mind? Do you think given the chance, she would trade it all to be married and/or have children? I know you cannot answer for her but as a male and a producer, I wanted to hear your view on Women rock stars and how much sacrifices they seem to have to make. (Dean, Scranton, Pennsylvania, USA)

The sacrifice is tremendous. It's really hard to have or even try to balance family, relationships, etc. when you have the constant pressure of commitment to your art, group and fans.

What advice do you have for someone trying to write music and sending it as a demo to producers with hopes they pass it on to an artist or someone in the industry? Thank you. (Al, West Wyoming, Pennsylvania, USA)

All I can say is the best rise to the top.... There are so many artists that try to get their songs heard and the ones that have the "drive" seem to get it done. There is a certain amount of luck involved but hard work and tenacity stacks the deck in your favor.

You mentioned Gorden Perry as your on of your best friends in one of your answers....I have seen his name on in the credits for Stevie's album, is Gorden Perry any relation to Lori Perry-Nicks, Stevie's back-up singer, if so what is he to her (brother, ex-husband)? (Tina, Los Angeles, California, USA)

Gordon and Lori were married I guess in 1980.... I was best man at their wedding ....Divorced about 7 or 8 years later..... I spoke with Lori about 6 months ago and she seems fine.

Both you and Bob Welch mentioned that you had problems recieving your royalties. I was wondering if you could explain how that process works for those of us with no experience in the music industry. I mean if you have a contract for x amount per record sold how can they NOT pay you? Thanks. (Lisa, Frederick, Maryland, USA)

I can't go into this in reality BUT...... There is the set of book shown to the artist, a set of books shown to the shareholders, and a set of books that may even be real..... It's a dog eat dog business.... and it seems that some of us are sitting around with "milkbone" underwear on.....!

Hello, Keith. I've loved the Mac 'white' album since it's first release...I have the Mobile Fidelity version, as well as the reel-to-reel. I find the sound incredible (but confess I find the cd sounds a little 'thin', same with the regular domestic Reprise pressings) you have any particular release of the album you think is the best quality? Thanks again, I really enjoy your work. (Mike Porohnavi, Baltimore, Maryland, USA)

I heard the copy that I approved for pressing.... after that what the label does is totally within their rights as master owner...... some people say to me "everything sounds better with a little EQ on it". Well this is not really true.... maybe it's just volume you're after.

First off I'd just like to say all your answers up to now were great reading for a Stevie/Mac fan like myself. I hope there isn't, but I'm curious anyway- was there any memories about working with Lindsey and Stevie that were bad? I know with Stevie as a solo artist (the few times you worked with her you said it was a pain in the butt to watch her own individual downfall), but was there any of those kinds of memories involving the both of them? Thanx so much! (Alexandra Campbell, Winona, Minnesota, USA)

Being raised in Minnesota myself I can't tell you how much I miss the big country there.... As far as Stevie and Lindsey and the bad times, I would rather focus on the "good" memories of great music and real creative times.

Hi, my last question for you, I've been telling a guy I work with about this Q&A and he keeps asking me to ask you about the Grateful Dead, their "Terrapin Station" is a favorite album of his and he wants to know what it was like working with them on that album. Thanks! (Allen Chapman, Stafford Springs, Connecticut, USA)

In the "immortal" words of Mr. Garcia..... "well Keith, It sounds like some 'semblence of a human being, singing some 'semblence of the English language, and there's some 'semblence of a melody........ hey this is OK!"

Hi Keith, Thanks for answering the questions! If Buckingham Nicks has been put on cd by you and you have the only *master-digital* of this great Musical Oddessey ..could you really get-on-their-case and say..I have it done...let's go with it...NOW !!! Could you have their okay to sell it some way? Thanks for realizing " those two voices should sing together! " (Charlotte Ann, North Pittsburgh, Pennsylvania, USA)

No, I don't have the right to sell it. I only have the right and obligation to preserve it.

Hey Keith, The new 5.1 surround is great for movies , but for cds I am not sure. You remember Quadraphonic, and how that went over. What would make this any different? James Gang are one of my favourite groups , hope you got to work with Tommy Bolin! (Andy Bishop, Reston, Virginia, USA) 

Technology my friend..... that's what's different...Quadraphonic was a lame attempt of X-Y sum and difference squeezing of 3 and then almost 4 channels out of a groove that is already an X-Y, you back and forth / up and down...... It sounded pretty rough... and then there was tow systems.... and the hi fi market tried to have hardware force software.... and as we all know that has to be in unison for it to work.... and then there has to be millions (20meg) of sets of hardware out there to make doing new software profitable.

Hi Keith, In an interview Lindsey commented on one of the main differnences in the sound between the Rumours and Fleetwood Mac albums was the approach you took towards guitars and the approach that he, Dashut, and Ken Calliat took. He said you preferred to keep the guitars lower in the final mixes, where as in Rumours they tried to approach their live sound which was much more guitar dominated, thus they were mixed up far higher. Do you feel that this is accurate? In your mixes you prefer a more muted guitar sound? I found your list of great guitarist interesting. As one of the few men who can admit he was a fan of Rick Springfeild's music I am familiar with Tim Pierce and always found him to be a underated guitarist who transitioned quite nicley alternating lead and rhythm with Springfeld. It is funny how you can hear a lot of Springfield's power pop sound in some of today's hot bands. The new Third Eye Blind single "Never Let You Go" owes a lot to Springfield's music. I thought the last Springfield Album you worked on, Rock of Life was some of his and your best work. The songs were superbly crafted, the sound on the album is as crisp as anything I have heard to his day. I thought it displayed Springfield as a good, multi-intrumentalist who was a storng guitar player in his own right. Do you have any thoughts, comments on that album and or Springfield?. Thanks for you generousity and time. It has been a great session. (John Adamson, Western, Massachusetts, USA)

Any Drummer likes the mix with the drums hot, any bassist like the mix with the bass hot, any guitarist likes the mix with the guitar hot.... it's the 'more me' syndrome.... it's not really the "style" of a mix... its what is necessary for the song.... Do you really think that the guitars are muted or down in level on BN Frozen Love?... I don't think so. Thanks for the rave on the Rock of Life album.... are the guitars down in it? When Neil started to produce his wife, Pat Benatar, Pat had to say in "People" magazine... that I "only cared about the tracks not the vocals so she got bored" You know that when a change happens artist have to justify that change in a 1000 ways to a 1000 people.

Hi Keith - This isn't a question, but my first concert was in 1964 - Herman's Mermits at The Rose Bowl. The second show I attended was at a club in Hollywood that was previously called The Moulon Rouge, and was later called the Kaleidescope. The opening act was The Seeds and the headliner was The Music Machine. I'll never forget the show - you guys actually did "The Girl From Ipanema". I still think that that was one of the most underrated bands of that period. Thanks for the memories and thanks for producing such great music in your career. (Michael Mastro, Mobile, Alabama, USA)

About a month later we played at the Hollywood Bowl...... oh sorry... that was the Hollywood Bowl-ing Lanes.... in the bar I think. 

Hi, Keith, and thanks so much for taking on all these questions--fascinating! I am wondering what, in your opinion, is Stevie Nicks' greatest strength as a vocalist. I think it would be fair to say that she has a pretty limited range (in terms of octaves) and a vocal quality that few would describe as "pure" (though her voice has changed dramatically over the years!). Yet there is something about her as a vocalist that is so compelling! She is instantly recognizable and has obviously gained the respect of fans and peers worldwide. Can you put your finger on it? Thanks! (M.E., Cambridge, Massachusetts, USA)

In the beginning we joked with her about "goat-rock" but her vibrato has become an icon worldwide.

Since you said earlier that Lindsey had the right timbre for "crystal," I was wondering what you thought of the solo version Stevie did for the Practical Magic Soundtrack? What is your opinion of her vocal on that- and on her voice throughout her career- which "period" do you prefer? Thanks! (Laura)

I prefer the way she sings now..... the last time I saw her perform at the House of Blues LA it was the only time where her Vocal Pitch ....... was absolutely perfect.

Rock A Little

Hi Keith, We met once at the Forum in 1982 during the Mirage Tour. The reason I'm sending you this e-mail is to inform someone from "" has more copied, illegal things on it than you can believe. Especially, The Mirage Tour Laser disc or the longer VHS. Someone is also selling a "soundboard" copy of Lindsey's solo concert from 1992. There's even someone selling "the making of Gypsy". All these people are violating Fleetwood Mac material and getting rich off of it. I guess the best example would be a chat with the guy who has one(1) REAL copy of the MIRAGE TOUR and he told me that to date, he has sold over 100 COPIES since the MIRAGE TOUR is out of print. PLEASE bring this to the band's attention and let the band make the money it deserves, both with the MIRAGE CONCERT and LINDSEY'S "ROCK THE CRADLE" tour. (Jason Miller, Rancho Cucamonga, California, USA)

Thanks Jason for the heads up.... I wish it was my duty to turn in bootleggers.... but it's not.... but I must say... there was a recent poll taken of college students... 74% said that it was OK to steal music off the web.... well it's not OK to steal.... there are a bunch of people that get paid only when a record sells through retail channels.... and anytime anyone bootlegs a title....e-bay, napster, MP3 or what have you.... maybe the artist can recoup the losses by live touring... but what about the producer... who dedicted his time, energy, and creativity hoping for royalties?

I loved what you said about Stevie and Lindsey having a sound that has not been heard since by any duo. I thank you for pointing this out, it needed to be said. Their voices melt together, compliment each other,it's the best sound I've heard. Thank you for saying that! (Anna, San Jose, California, USA)

You're welcome.... the truth is they have a timbre together that is very recognizable.

Hi Keith, No the guitars are certainly not down on Rock of Life. It is a guitar dominated album.. I got the picture you took my comment about the guitars down on the White Album as me being critical. I did not mean it in that way. It was more of philosophical question on preferences in studio craftsmanship. Did you feel that Springfield took too much critiscm for his music because of the TV stuff and people didn't really give it as much respect because of it?? (John Adamson, Western, Massachusetts, USA)

Actors all want to be singers, Singers all want to be actors..... Producers want to be directors, directors want to be producers..... Funny how life is

Buckingham Nicks was such an incredible album...IS such an incredible album...especially for a "debut." Were you with Stevie and Lindsey when they first heard the completed project? And what was their reaction? (tears, screams, jumping up and down???? I know next to nothing about the recording industry--so, please forgive me if this is a totally insane question.) Thanks again! (Regina, Bronx, New York, USA) 

No, it's not an insane question.... They were so proud of the finished product.... the whole package the disc inside,..... everything..... Then came the dissapointment of lack of promotion and then came the tears.

Do you think Stevie and Lindsey have changed, drastically, in personality from the early days? With age, we all change...but, have they retained certain personality traits or are they very different people from the kids you once knew? Thank you. (Regina, Bronx, New York, USA)
They seem quite different but in the same breath.... Stevie is so much the same.

Is there one project you were associated with in your career, that you wish you hadn't been involved with...and why? And...since this is (probably) my last question to you, thank you so much for doing this Q&A...your answers have been insightful and I have looked forward to each "installment." Much happiness to you! (Regina)

Emerson, Lake, and Palmer "In the Hot Seat" Album..... No songs, no preparation, no work ethic.

Were you aware that Lindsey's father was gravely ill as Buckingham Nicks was being put together? Do you know if Lindsey's father died before or after Buckingham Nicks was actually released? (Lesley)
I believe he died later than the release of the first BN album but the timing escapes me... Lindsey was devastated.

Thanks for taking the time to chat with us here. May I challenge you a little bit? From reading your answers so far, one of the main impressions I've taken away from this Q & A is that you don't have much respect for the Dashut/Buckingham/Caillat production team, or any other artists who worked with you and then moved on to other producers, mainly because they worked more slowly than you would have, or spent more money than you would have, or perhaps wanted to try some different ideas than you might have. Isn't it possible that they chose to work their own way for their own legit and compelling reasons, and their choices don't have to be viewed in a negative light because of it? I'm just wondering why several of your answers about Fleetwood Mac's music production after you left, or someone like Benatar's production after you left, have been met with seemingly rather bristling responses from you. Is there anything about Dashut/Buckingham/Caillat music production that you do like? Does it bother you that they gained some acclaim for their work? (Rich)
Please don't get me wrong... the time element to do an album is different for each artist.... We try things, we fail, we succeed, we lose..... I didn't want to leave the impression that I lose respect for any artist that goes on to another producer or does it themselves... that's not the issue... when in a production situation... there is a contract that the producer has to sign with the record company....that deals with completion guarantee..... I have to put my butt on the line as far as time and budget. So therefore you can only "Circle Cleveland" for only a certain length of time.... Many Artists that I've worked with have gone on to bigger albums and bigger careers... I hold no grudge and I'm interested that you feel that I inferred that in my responses.

Keith, will Buckingham Nicks ever be re-released? I know I'm not the only one who is dying to know! It is long anticipated! (Erin Holtkamp, New Bedford, Massachusetts, USA)
I hope so, but I can't tell you....It's up to the owners of the rights.

Hi Keith, I saw earlier that you mentioned that you were raised in Minnesota, where from? Also how did you first see or hear about Fritz/Stevie and Lindsey? I know a lot of people didn't take Stevie seriously at first, did you see this affect her and did you even take her seriously as an artist at first? Thanks again! (Annette S., Eden Prairie, Minnesota, USA)
I grew up in South Minneapolis.... Went to Washburn HS and U of M.... I took Stevie seriously because of her stylistic qualities.

Were you involved when Stevie Nicks developed Rhiannon for the live stage? I'd like to know what ideas she was throwing around, in order to make her special song just that little bit better for her performances........What state of mind (no pun intended) was she in? Also, what was your reaction after you first saw her "excorcism" like ending for the song. (Jason Fabbri, Oakleigh, Melbourne, Australia)
During the first FM tour she was given the opportunity to really extract herself on the end of that song to the extent that she hurt her voice almost every night....

Your response about how you met Lori Perry Nicks has me laughing! "I knew Lori as this girl with the hot rod Chevy Nova parked in my driveway one night...." She and Sharon are so much a part of Stevie's music. I remember Stevie saying she insisted that they always be dressed up for "business" even for the rehearsals, because she didn't want them to be "treated like old shoes" . . . which is what she says happens when one does not take this business seriously. 1) What was Lori like when you met her? 2) Did you see her as a singer at the time? 3) Did you introduce Lori to Stevie? How did it happen? Please feel free to ramble! We don't get to hear from Lori or Sharon directly.

Thank you so much for your answers. It has been great reading you here. While folks may not get to see you, because you are behind the scenes in the business, it is clear you are a quite a force in the business and a good friend to the band. I hope whatever differences you have had financially with the ORG. get smoothed out . . . it would be great to have you working with that band on a future venture. Thank you very much for talking to us FM fans. (Susan, Philadelphia, Pennsylvania, USA)
Lori met Stevie through Gordon Perry.... Sharon was introduced to Stevie in Hawaii... I think???????

Hello, Keith! Do you remember if there were any names suggested for the white "Fleetwood Mac" album before deciding to just keep it self-titled? Did you play a big part in this decision, or was it mostly left up to the band? (John Maura, Almond, New York, USA)
I really can't remember if they started to think of the band as new.... now with L&S so to self title it was a good call.

I have read Stevie wants to release Buckingham Nicks, and Lindsey is said to have agreed to it. As someone else has asked, "what is the hold up?" Is it a matter of finding a label that wants to make it? Or is it held up because they want to make changes on it and expand it? Since you have preserved the original, it shouldn't be a problem to just re-issue it "as is," it seems . . . or are they wanting to tinker with it??? Do you have any information? (Hey, can you make a few calls and find out for us???? We'll be right here waiting to hear!) :o) ~Do you as a producer think it's okay in it's present form or DOES it need stuff added to it to sell? It's a business-- you have made that clear to us. Do you think it would sell? Thank you again for your time! LOL! Maybe Stevie's Dad still isn't happy about that cover!!!! ;o) (Susan, Philadelphia, Pennsylvania, USA)
I think that it's a low priority right now for both of them.... you don't fiddle with a classic... you leave well enough alone and just let it out.... maybe they should just call and re-issue it directly through them. That's worldwide distribution in the blink of an eye.

Was there anything left out of your interview for Stevie's Behind the Music that you wish would have aired? Have you even seen the broadcast version of that special? (Tracy Garner, Atlanta, Georgia, USA) 

Yes I've seen it.... They taped in my studio for 3 hours... then brought in Sharon for her interviews for about 3 hours again... and I think between the two of us we got about 30 to 40 seconds of air.....

Hi Keith! Thanks for taking the time to answer questions! I'd like to first say thanks for all the work you've done for some of my favorite bands (Heart, FM, Foreigner to name a few...). I was wondering if you would be involved in the CD issueing of the Buckingham Nicks - would you be willing to remix, remaster or "touch up" any of the tracks? (I read earlier that you created you own copy - sparking my interest) Finally thanks for your work with Mackie. I've had the pleasure of working on a 24X8 Mackie with the meterbridge daily - and I love it! Also the smaller new 14X2 PA models and powered speakers are a dream. Thanks for your time. (Todd Richards, Cleveland, Ohio, USA)
No, I probably won't be involved with any remastering... It really isn't that hard to do... and thanks for the rave on other things and the Mackie stuff.

Closing Comments:

I was amazed with all your questions-- they brought back many memories-- some good, some eventful, some funny, some sad, some hard to think about once again. That period of my life was so much work, trying to prove myself, in the middle of an industry where a "producer" was someone who was only a businessman, putting together albums by formula, not creativity. The business aspect of being a producer should never fully leave the arena, but for much of my career it took a side role. I always put the artist first, and one time even putting my career on the line with a very powerful head of A&R to save an artist from expulsion from a label. These are things that I remember about my time in the studio. Over 30 years, over 100 albums, over 1500 songs, etc, etc, etc, it all makes me so very thankful for all the creative times.

So in conclusion, to all the fans of BN or FM, thank you for your support. I hope that we worked hard enough for that support to be worthy of your loyalty.

Keith Olsen  
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