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Across the record Nicks makes sure no two songs sound the same as she moves between folk, rock, pop and a touch of country.
She sounds as clear and fresh as she did when Fleetwood Mac were in their prime.
Her voice is mainly hard and aloof but she’s at her very best when she softens a bit, as on Everybody Loves You, a brilliant reflection on the hollowness of fame, or when the material hasthe width and harmony of her former band, as on Annabel Lee. Stevie Nicks still has the magic she’s always had and sounds fantastic throughout the record.It's been a decade since Stevie Nicks's last album of new songs, Trouble in Shangri-La, but In Your Dreams proves that there's creative life in the old girl yet.Fans of the wispy tunestrel will be pleased to hear that she hasn't strayed far from her familiar stomping grounds of melodious folk-rockism and tales of love and yearning, the focus (in fine Seventies style) fixing on the singer's emotional trials and torments.The Heartbreakers' Mike Campbell plays an assortment of instruments and co-wrote a couple of tracks, though not as many as Dave Stewart, who also co-produced the disc with Glenn Ballard. Nicks opens with "Secret Love", a sturdily pulsing piece blitzed by growling powerchords as she sings of "a timeless search for a love that might work".Vocal harmonies and acoustic guitars underpin the affecting "For What It's Worth" (no relation to the Stephen Stills one), while the pick of the bunch may be the title track, a scintillating blast of jangle-rock which harks back to the days when Nicks used to hang around with Tom Petty and his crew. Nicks, still festooned in hats, feathers and bodice-ripper gowns after all these years, channels Edgar Allan Poe in "Annabel Lee", runs with the Undead in "Moonlight (A Vampire's Dream)", and evokes vampire chronicler Anne Rice in "New Orleans". In Your Dreams lasts half an hour longer than Fleetwood Mac's Rumours, and the longer it goes on, the more you want to start pelting it with rotten fruit.