Stevie - iHeart Radio (11.07.2014)

‘Twisted’ was written in 1995 for a movie called ‘Twister’ and I was actually approached to write it for this movie. So I kinda, uh, I went and saw the movie without any music in it and really, uh, you know, got the gist of what these crazy people do when they follow these tornadoes around in cars and, um, are almost killed, and why they do it is to protect us and to be able, you know, warn the, uh, American public or wherever that there’s a tornado coming. And, um, so, it was pretty, you know, pretty violent and scary and so I went and I wrote this song called ‘Twisted’ and, um, uh, I recorded it with Lindsey for the movie and, uh, we did a, uh, you know, we did a movie version of this song. And, um, years and years later - like a couple of months ago - I was listening to, uh, some demos and the ‘Twister’ demo that I had originally made in my house in Phoenix, um, came on and at first I didn’t recognize it because it’s very, very different than the version that went in the movie. And I just went like, I just love this song and I think song deserves another chance because I think any song that goes into a movie - unless it’s a huge, you know, unless it’s like a, you know, Terminator movie or something - is gonna be heard, seen for a second and never thought of again. So I thought this song deserves to be re—recorded and re-done and so I just decided that it should be on this record. So I took it with me to Nashville and, of course, they did it exactly like my demo which I loved because that’s the way I really always wanted it to be, anyway. And it’s, you know, it’s not just a song about tornadoes; it’s a song about when a man or a woman comes into your life and they are a tornado and they almost just wipe you out and, uh, so it’s, it is a love song. And it’s kind of a crazy love song and, um, I’m very proud of it because it is so much what I always wanted it to be and I hope everybody, you know, everybody has their ‘She Loves Him Still’ and everybody has their tornado. So, this is for all the tornadoes in peoples’ lives that are actually human.

‘Lady’ was written right after Lindsey and I moved to Los Angeles. We had, uh, rented a small space to rehearse in and the man who owned the space actually gave us a big, white upright carved grand piano that was in pretty bad shape but sounded good. And, um, asked me if I wanted it and I said ‘Well, of course I want it. Even though I don’t play piano. But I’ll learn’. And so, um, we took it to our apartment and, uh, I started plunking around on it and this was when Linds and I were, you know, we didn’t, we were scared. For sure. About being in Los Angeles and we were wondering if we should’ve stayed in San Francisco and stuck, tried to get a record deal up there. We had actually moved to LA because we thought the music’s in San Francisco but the record deals are in LA. So we packed up and moved to Los Angeles to get a record deal and, but it was a very, um, unnerving time cos we knew we were really good and we believed in ourselves and our producer Keith Olsen believed in us but it was still, you know, there was no money and we weren’t doing gigs; we were just really working on songs and anyway, I think this was probably the first song I wrote on that piano which means it was the first song I ever wrote on a piano. It was like, you know, probably preceded Rhiannon by six or seven songs. By Rhiannon I was playing a little bit better but the chords on ‘Lady’ strangely enough are incredibly complex or so I’m told by anyone who actually knows how to play. Um, and it was, you know, it was just a time and it was a time where we were on our journey and we believed in it but we were hoping we weren’t, wouldn’t fail. And, uh, it says, you know, ‘I know that things have gotta change but how to change them isn’t clear, I’m tired of knocking on doors when there’s nobody there’. Uh, it was hard. So I named it ‘Lady’ because I felt that some spirit up there was saying ‘you’re going to make it, you’re going to get there, don’t give up’



Fleetwood Mac - 'Rumours' [Deluxe] Liner Notes (February 2013)

"In the end, what we were going through as people - as two couples who were falling apart - was something that was appealing and interesting to an audience," says Lindsey Buckingham. "I really think there came a time when the sales of Rumours became less about the music and started being more about the phenomenon and the musical soap opera of it all. Something about it really tapped into the voyeur in everyone - including us. And it was voyeuristic in the best way possible - not in a tabloid or exploitative way, but on a more honest and real level. The truth was not being hidden, but was being all put out there to be seen and heard."


I love "Second Hand News" because it's that rhythmic up-tempo rock 'n' roll thing that Lindsey does so well - like on "Monday Morning" from Fleetwood Mac. And those are always songs that transfer well to performing onstage - because they have that original rock 'n' roll power.


It was a gift to me to help frame Stevie's songs because what she did was really wonderful. We could turn her amazing poems into these epic sonic movies. Stevie would have her epics typed out and so that was her center - the poetry of it all. By the same token, my words often came last, though I like to think I've gotten better. We were opposites who had attracted, and we brought out great things in one another. 


That's a song about the fact that we're broken up, and we're done forever, at that point he's glad. But at the end of the song, Lindsey comes around a little, and he's looking through the eyes of someone who's thinking that maybe somewhere down the line we'll be together again. He was being hopeful and not slamming doors in that song. Looking back in retrospect, that's nice. He always plays it live and I'm glad he does. To me, "Never Going Back Again" is Lindsey's "Landslide."


Even though "Go Your Own Way" was a little angry, it was also honest. So then I wrote "Dreams," and because I'm the chiffony chick who believes in fairies and angels, and Lindsey is a hardcore guy, it comes out differently. Lindsey is saying go ahead and date other men and go live your crappy life, and Stevie is singing about the rain washing you clean. We were coming at it from opposite angles, but we were really saying the exact same thing.


They decided they were going to take "Silver Springs" off the album because it was too long. They recorded "I Don't Want To Know" - a guitar song that I wrote before Lindsey and I joined the band - when I was not there. Then they took me out to the parking lot and said, "We're taking 'Silver Springs' off the record because it's too long." Needless to say, I didn't react well to that. Eventually, I said, "What song are you going to put on the album instead?" They said, "We recorded 'I Don't Want To Know'" and I think Lindsey thought it would be okay with me because I wrote it. But I wasn't okay with it. That always put a shadow over "I Don't Want To Know" unfortunately - even though I love it it and it came out great. We had so many great songs at the time. It [Silver Springs] took some decades to come out - like "Planets Of The Universe."

"I Don't Want To Know" was a demo Stevie and I had before we joined the band. The tone of the song is quite upbeat, but the words are not, and that dichotomy seems to capture emotionally what was going on within the band, even though it was the closest thing to a Buckingham Nicks track on the album.


"Gold Dust Woman" is the perfect way to follow "Oh Daddy" - it almost picks up the thought and makes it more exotic and psychedelic. It's always been a fun one to do live because of the way it unwinds so powerfully. And it's just an excellent piece of writing from Stevie. It's one of my favorites she's ever written.  



Fleetwood Mac - BBC Radio 4 (05.24.2012)

PP: What was your state of mind as you went in to start recording?

LB: Stevie and I broke up during ‘Rumours’. John and Christine McVie broke up. For myself, being someone who was in the trenches producing, I had to monitor my own choices and to make sure that I was doing the right thing for Stevie, for everyone. Because we obviously had this calling and we had to make sure that was going on in our personal lives wasn’t going to undermine that.

SN: He was very crazy at that time. He stopped being the tall, cool drink of water guy that was beautiful, that played guitar on the side of the stage and sang like an angel. He started to become this like radical guy. Cut all his hair off and, you know, and he was not the Lindsey that we knew. Cutting his hair was like, you know, like if my little boy had cut his hair off. I was horrified.

PP: Why did he do it?

SN: Just flipped out the night before, I think. You know, he was so handsome. His face was so chiseled. Like when he cut all the hair off it was very odd. 

SN: Sara was banished. By the band, not by me even. So Mick’s, you know, living with Sara and he’s coming in every day and he’s very stressed out and I’m not speaking to him. I’m not even looking him in the face. Because even Lindsey, who was horrified that I was having a relationship with Mick, was even more horrified that he had fallen in love with my friend, Sara, and broken my heart. 

PP: Your songs on it were so radical and have been so influential in the ensuing years. One critic commented on ‘What Makes You Think You’re The One’ - and I have to replace a word here because it is the BBC - who called it “the greatest break-up screw you song ever written”. 

LB: *laughs* Really, I think I was still working through my last little bits of issues with Stevie not that many years ago, you know. I was the one who had been left. 

SN: I said, “I’m going out with one of the engineers”, which also did not make Lindsey happy. I think that Lindsey used every single thing that was happening as a part of this tribal walk up to the top of the sacred mountain. 

PP: The logistics of getting Fleetwood Mac to turn up to the studio at the same time had always been a challenge. Ten million sales of ‘Rumours’ and the lifestyle that came with it did not do wonders for their timekeeping. Lindsey Buckingham.

LB: I was not really a nocturnal animal. Mick was very much a nocturnal animal and Stevie still is, really. 

PP: Is there a chance that you would record with Stevie again?

LB: I would love to record with Stevie again. It would be such a circular thing to come back to where you started, and I think it would be magical, you know, because that subplot is so built into the history of Fleetwood Mac. So if you talk to her, put in a good word for me! *laughs* You already talked to her, I guess. *laughs*

PP: I did. And she seemed to make all the right noises so, um - 

LB: Well, good. Yeah, well, I have written a bunch of songs and I do want her to hear them, and I hope that we do.


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Fleetwood Mac - BBC Radio 2 (09.28.2011)


Whistle Test: Tell me how you and Stevie linked up with the band, Lindsey.

Lindsey Buckingham: Well, um, [laughs] Mick was looking for a studio in which to record. And this was last, uh, well, about a year and eight months ago, I guess now, and, um, he ended up in a place called Sound City out in the San Fernando valley, talking to an engineer called Keith Olsen. Just to check out the studio. So Keith put on a song of Stevie’s and mine off an album that we’d had out about a year earlier called Buckingham Nicks, just to show Mick what the monitors sounded like and what the whole studio’s sound was like. And so, um, Mick heard a song called ‘Frozen Love’ and I guess liked it, and about a week or so later, Bob Welch decided he was going to leave the group. And I guess Mick had been sensing Bob’s unrest for awhile anyway and had kind of, you know, filed the song that he had heard of ours away for future reference. And he just called us up and said, “Hey, would you like to join?” 


Stevie Nicks: Even though we were already famous then - We were just famous, and so there was a certain demeanour that both Lindsey and Mick had that, um, was very kind of precious. And that’s, I guess, just youth, you know. Very easygoing and just kind of explaining the situation, and I think, you know, when you get really famous year after year after year, you get a little arrogant and a little conceited. And we all do. That’s not there then. And that’s really kind of lovely to see. 

Bob Harris: Yeah. There’s an innocence.

Stevie Nicks: There’s an innocence that’s very - Yeah. And that innocence is great, you know. I mean, that’s the guy that I loved, that’s the, you know. In fact, that, both of those men. I loved both of those men at different times. And, uh, THOSE are the guys that I loved, the more sweeter, younger versions of who they are now. Because of that innocence. I mean, I think that maybe, you know, when I watch Lindsey in that video and I know exactly why I fell in love with Lindsey and exactly why I spent, gosh, almost eight years with Lindsey, you know. It’s, I see it. And I remember it. And I really hadn’t seen anything like that in a long time. I mean, you see pictures of us at that age, you know, and they’re beautiful photographs, but you don’t hear them talking. So that is a, that’s a mind-blower.

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Stevie - BBC Radio 2 (09.16.2011)

Stevie Nicks: The Eagles were famous before Lindsey and I ever moved to Los Angeles. We drove to LA and I remember listening to that song, thinking what a great song it was. And of course, as all women my age did at that point, we were all hoping that we would actually be the witchy woman. Premonition-wise, you know, I would come to know Don Henley quite well. I, in fact, even do know who the actual Witchy Woman was. It was somebody who became a very famous jeweller.

Ken Bruce: Ooh.

SN: The Eagles were very inspirational to both Lindsey and I because we loved their singing. And we loved their ability to bridge country and rock'n'roll so beautifully. I thought that 'Witchy Woman' was just the perfect mix of country rock'n'roll, and so we were very inspired by that, Lindsey and I. We were very inspired by The Eagles, never knowing that, you know, that on down the line, six years from then, we would meet all The Eagles and know them. And it was kind of cool because I think I felt that somehow we would end up knowing them in the years to come. 

SN: 'Cry Me A River'. Well, I just thought it was so interesting that he wrote that about Britney Spears, and then the video is so good, and the decoy that looks like Britney is just fantastic. Cos it really does tell the story of what happened. But at the same time, when it first came out, I was really mad at Lindsey. So this song comes out and I was in Maui for like two months, and I just walked around that house playing this song over and over and over, just going, "Cry me a river." I listened to it so many times, it just became part of the tapestry of my head for months. And it's just a brilliant song. And I think that Justin Timberlake's pretty brilliant too, so it just become one of the songs that went on my collections of stuff that I listen to again before I go onstage. And so I love it.



Stevie - 95.5 KLOS w/ Jim Lad (08.01.2011)

JL: Um, before we get onto ‘Annabel Lee’, let me ask you: how are your buddies in Fleetwood Mac doing?

SN: They’re good. Um, Lindsey’s, uh, finished a record that is, I think, amazing. Um, I think it’s the best thing that he’s ever done, and it’s so interesting because last, like, November when he came up to work on ‘Soldier’s Angel’, um, which was the last thing that we really did, um, we played him my record and he played the Dave and Stevie world - and Glen Ballard - his record. So we listened to both records in a row and at the end, um, Lindsey was sitting on one side of me, I was sitting in the middle, and Glen was here, and Dave was walking around with a guitar around his neck like, it’s what he does. And Glen just jumped up and said, “Oh my god! You guys are on fire! You have both made an amazing record in the same year.” And I’m like so, and of course I’m going like, ‘Please God, let me love this record.’ Because I’m sitting here next to Lindsey; he knows me so well. If I don’t love this record, I’m gonna go like, “Well, I…” You know, so, and I swear to god, I think that Lindsey like swallowed some melody pills and some lyrical pills, because all of a sudden, along with his, you know, amazing, bombastic guitar that he plays, are these really beautiful words and beautiful melodies. I’m so very proud of him. So the Fleetwood Mac gang is fine. John’s in Honolulu, Mick’s in Maui, Lindsey’s here getting ready to release his record and working on it, you know. And so, you know, it’s good. I mean, for the first time, I’m not keeping them waiting.

JL: *laughs*

SN: Lindsey’s working. Lindsey’s record hasn’t even come out yet. Mine at least came out in May. So it’s like he’s busy, I’m not waiting on him, he’s not waiting on me, and it’s like, but the boys, the other boys, John and Mick, they know that we’re doing our thing and when we’ve, when we’re done doing our thing then we, you know, then we go back to Fleetwood Mac. And that’s just the way it has always been and will always be.

SN: And, um, I went to my journal and wrote a six page rant, of which nobody will ever see, and out of that six pages came the chorus, which says: “I am a soldier’s angel four years later / In a war of words between worlds / About what is wrong and about what is righteous / I am a soldier’s girl.” And, uh, “I am a soldier’s girl” means ‘I support them in whatever they do. I don’t have an opinion. I’m a soldier’s nurse. I am somebody who tries to bring comfort and fun and stories and music to them. I am not here to judge this war or what they do and, uh, I’m just there to hold their hand and make them laugh, hopefully.’ It is my most sacred and my most revered song I have ever written. And I have to say my dear, sweet friend Lindsey saved the day on this one because Dave and I tried to beat the demo for almost nine months and we couldn’t do it, and I finally said to him, “Dave, we have to call Lindsey,” and he said, “Then let’s call Lindsey.” And we did and Lindsey came. A week later I sent him the demo and he studied it and he came and we went into the entryway in that magic golden circle under the stairway and we recorded it live. And he came back the next day and put a little bit of guitar on top of it and put a harmony on the choruses, and he came into the world of Dave and Stevie and realized what a special world it was. And when he walked out I had my most sacred song. And I said to him, “Lindsey, this is as close to Buckingham Nicks as we have been since 1973 and I thank you from the bottom of my heart for making it possible that this song will be able to go out to the soldiers now. Because this is their song, and it’s just you and me doing it and it’s so special.” 

SN: So, um, I’m going [to Sturgis] and I’m taking Waddy and Carlos and the girls, and we’re going to do ‘Soldier’s Angel’. We wanted Lindsey but Lindsey is totally busy with his record and couldn’t get out, had a prior commitment that he couldn’t get out of. So, um, and Waddy can fill in for him so it will be terrific, and we’re going to do it onstage for probably somewhere between fifty and eighty thousand people. And it’ll be, it’ll be stunning because it’ll be just me and Waddy and those people, you know. And, uh, I really, I’m really looking forward to it.

SN: So what happened with Dave and I in January, before we actually started the record in February, was he - I called him and said, “You wanna produce this record?” And he said, “Well, I’m totally interested in that,” he says, “and I just happen to have a track that has a chorus on it just like ‘Don’t Come Round Here No More’ did.” Cos that was originally meant for me, that song; he wrote that for me and then it became Tom’s and that’s a whole other story. That’s like Narnia. Um, He says, “So, I’m going to send it to you,” and I’m going, “Great, send it to me.” So he sends me this really beautiful track that’s basically what you hear on the record, um, and it’s just got the chorus: “Everybody loves you / But you’re so alone / No one really knows you / I’m the only one.” And that’s the chorus. So then, it’s not like he just said, “Write a song to an instrumental,” because then I would probably have written a completely different song. But I had to build a song around that chorus, so I’m looking at that very much as a person in a duo.

And Dave’s been in a duo with Annie Lennox and I’ve been in a duo with Lindsey Buckingham, so we really have that in common. Like I was telling you before we started this, that’s a different breed of cat, being in a duo. Um, you think you know your duo partner better than anybody else, and you’re never going to believe that anybody knows them better than you. So when I heard that I went, “Okay, so now I know what to write about.” So I went through all my poetry that I had sent Dave also and I started pulling out these words that were mainly about Lindsey, and, um, I wrote the verses and I wrote the bridge in the middle. And I sent it back to him - we emailed it back to him - and he called and he said, “Well, I love it.” So I said, “Well, fantastic.” And then right after the Grammys he came up and we started. Um, so this song was just like the beginning of everything. 

JL: And did you write all the lyrics on this or did you -

SN: Everything except the “Everybody loves you / But you’re so alone.”

JL: Is there any reference - again, I have a tendency to read too much into things sometimes - Is there any references to other songs in here?

SN: There may well be because I - Without the words in front of me, I can’t really tell ya but, you know, a lot of my poetry - I’ll use one verse. In the last twenty years, I’ll use a verse, and then I’ll use two lines of that again in some other song down the line.

JL: Gotcha.

SN: So it’s very possible that there are things that come in and out, yes.

JL: Right. Okay, and so this was basically inspired by Lindsey and your kind of a conversation to him.

SN: Well, inspired by Dave, who was probably inspired by Annie, so that inspired me to be inspired then by Lindsey, yes.

JL: I see. So the duo. 

SN: So it’s the four of us. 

JL: It is a good line. Explain that to me, from someone who is in your position of being very famous. 

SN: Well, okay, the good thing about me being famous is that before I was famous, I was actually - I was almost 28 when I joined Fleetwood Mac. Lindsey was one year younger. Um, we lived together as really as a married couple for five years, and we struggled. And we built a life and we lived a kinda normal life. We did our music all night and I was a waitress all day, but we had bills to pay and we had no money. And so we actually, we knew who we were when we joined Fleetwood Mac, and we knew that we would actually be okay if we just ended up being normal people. Because we had to really fight to stay alive in this business until we actually joined Fleetwood Mac, and so I was always really glad about that, because when people would say to me, “Well, what if this doesn’t work?” I would say, “I’ll just get another job.” And I say that today. “I’ll just get another job. I’ll go on the radio, I’ll, uh, you know, I’ll be an artist, I’ll draw pictures, I’ll do all the things that I’m not doing right now.” Um, so I look at fame as, it wasn’t terrible for me. Um, I never look at it as taking away my freedom. I think that fame for some people really is horrible. I have to say, I mean, being a rock’n’roll star is great.

SN: So I went back and I watched it a second time, and I went up to my room after it was over and I wrote an essay: on fairytales, and clandestine lovers, and beauty and the beast, and who is the beauty and who the beast?, and it was five pages and, uh, it was kind of like something you’d write when you’re in college, you know. It was kind of covering all the bases of basic fairytales. I then started thinking of this song that I’d written in 197-, probably 1977, that Lori and Sharon and I have sung - and can sing to this day the whole thing at the piano - but we just never recorded it. But it went out on a bunch of bootleg things. So my fans have heard it.

Um, and it was called ‘Lady From The Mountains’ and it’s like, “Some call her strange lady from the mountain / Others say she’s not really real / Like a candle burns bright and wants to burn faster / Well, maybe then at least she really feels.” This was about me. But I’m watching this movie about this girl named Bella and she’s up in the mountains of Oregon or Washington or somewhere, and it’s the sea and it’s the crashing ocean and it’s this crazy story. And I’m thinking, ‘Gosh, this could be about her as well as it’s about me’, and then the next verse to this song is, uh, “He loves her but he loves his life alone as well / But does he know the road or the reasons why / If he leaves her / He’ll be losing the chance to stay alive / The candle burns bright then the candle dies.” I’m going, ‘This was written about Lindsey. However this could so totally have been written about Edward, the vampire.’ And so I’m struck by this and I write this essay, and there’s a part of it that I’m writing about Bella and it says “She’s lonely, she’s lost, she’s disconnected, she finds no comfort in her surroundings. Beautiful, insecure, she’s like misdirected, she goes form situation to situation like a ghost.” And all of a sudden these three verses start to go together. And I’m thinking, ‘This is like making this ancient tale right here in front of me’.

The next day we play Melbourne and then we go on to Brisbane, and there’s a piano in the hotel in my room. I go to the piano and I sit down and I start thinking about Lindsey and I in so many ways, and I start thinking about how Bella is in love with a vampire, who is a noble and great man just like the Beast in ‘Beauty & the Beast’ was a noble and great beast. But he was still a monster and Edward is still a monster. And, but that doesn’t make the love any less deep even though it’s impossible. So I start to write this chorus and it says, “Strange, she runs with the ones she can’t keep up with.” She runs with the vampires. Um, and I run with the rockstars. “Strange, he slows down, he’s so desperate to stop her.” Because he doesn’t want her to hurt. He doesn’t want her to be hurt. Um, “Strange, they both run from the one who hunts them.” Who is the crazy vampire that’s after both of them. And, uh, they both drop to the forest floor, frozen. And I sit at the piano and I play this song all the way through and I ask Karen, “Get me the camera. And put it on video, because we need to record this.” 

SN: And, uh, it’s very hard. I mean, I don’t know - If Lindsey and I moved here today and we were 22 and tried to get a record deal, I don’t know, you know. People go like, “Well, what kind of, who are you guys? And what is music? Are you like Texas rockabilly or are you like folk or are you, what are you? Who are you?”, you know. Cos that happened then also but it would really happen now. I mean, would we make it now? We would try and we would be just as, you know, forceful as we were then, but would we actually be able to crawl to the top now? I don’t know.

JL: Plus they’d take one look at you and they’d want to put you in some sort of ridiculous costume and have you do dance steps.

SN: Well, yeah. And of course, you know, I am not to be choreographed. That’s why I’m a lead singer, because I can not do steps, you know. I’m a free dancer, you know. Um, so no, that would not work for me at all. And of course that would just infuriate Mr. Buckingham so that would never work. But it would be, we would have to have really figured out a way, you know, would we have gone on American Idol? Would we have gone on, would we have moved to England and gone on The X Factor? Would we have done whatever it took?



Stevie - Gavin Martin (2003)

Extracts from this raw interview were used in a Daily Express article in Nov. 2003

Gavin: Is there a competitive element in Fleetwood Mac? Say, um, best or better than Lindsey's song.

Stevie: Uh, I don't think you'd really look at it as competitive, but I think that we are all - how do I explain this - cos it's not competitive. But we are all competitive. I mean, does that make any sense? Not really. Um, when you're in a band, you don't really, you want to keep that competitive thing down as much as possible, because you're in a band. If you're going to be in a band, you need to be able to make compromises, you need to really understand the other people who are working and writing with you, and you need to, you need to, you're a part of a group. When you're in your solo work, you're not a part of a group and you make all the decisions. Now that's really good but then you're not in a band. And of course being in a band is really more fun.

Gavin: When you and Lindsey first met, did you never write together?

Stevie: Never.

Gavin: Why did that - I mean, it seems odd that - 

Stevie: I don't know why. Um, I was just telling the last lady [that] I'm not - When I first wrote my first song, which was - I was fifteen-and-a-half - just a little love song. I'd fallen - My first love, y'know, and he'd totally dumped me and I was totally miserable, and my Mom and Dad gave me a guitar. And my Grandfather had taught me like, y'know, four or five chords that I'd been playing for many years. I sat down and I just wrote this song, y'know. 'Well, I've loved and I've lost and I'm sad but not blue / I once loved a boy who was wonderful and true / But he loved another before he loved me / And I knew he still wanted her, it was easy to see.' So that was my first song, right. And I wrote it all by myself, you know.

Gavin: Was Lindsey love on the rebound from the first love? Was he -

Stevie: Oh, no, no, no. This was like fifteen-and-a-half. This was long before Lindsey. So this was like in my sophomore year in high school in Los Angeles. 

Gavin: Right.

Stevie: I hadn't even moved to San Francisco where Lindsey lived. My family got transferred to San Francisco, um, like a week after my senior year began. So I didn't even meet Lindsey until almost the end of my senior year. 

Gavin: So was it a musical relationship before it was a romantic relationship?

Stevie: Oh yeah. And when I first met Lindsey in 1966, the year that - and he's a year younger so he was a junior and I was a senior. I met him one time in some high school function, and then I didn't hear or see from him again until two years later when the drummer in his rock'n'roll band called me and asked me if I had any interest in coming and being in the band. And this being that - When I had met Lindsey in 1966, uh, we had sang a song together. So they had remembered that. You know, they pulled it out of their hat and called me. Um, if it hadn't had been a rock'n'roll band, I might not even have been a rock'n'roll singer. I might've ended up being a country singer. Because I was a little bit more country at that point. Um, so by the time my songs started getting used in the band, it was almost the end of our period of having a band in San Francisco, which was '68, '69, and '70. 

Gavin: Right.

Stevie: So I was pretty much on my way to being a very solitary songwriter when I met Lindsey. 

Gavin: Okay, okay. And, um, as far as your relationship was concerned, I mean, it came together through music, but -

Stevie: Oh, so that was what I was going to tell you. So when I went into the band, into Fritz, Lindsey was going with somebody I actually knew and was pretty good friends with. Her name was Sally. And I was going with my boyfriend, David. And this was - So for three years in the band, we were both with somebody else. So, you know, when you're in a band and you travel and you work every weekend and you practice every single day, so we were just friends for a long, long time. And then the only reason - and he will tell you this too - that probably we ever actually got together was because we went to Los Angeles as a band - the five of us - and we played for a showcase. And the record industry was not at all interested in the other three. They were only interested in Lindsey and I. So we had to go back to San Francisco and fire these very close friends of mine for three years but Lindsey for all through high school. I mean, these were his dear friends. We had to fire them. That was a huge drag. And in that sad, sorrowful situation where we had to let these three people go, that's when Lindsey and I started going out. 

Gavin: Right. But was it getting involved in Fleetwood Mac that pulled you apart, or would you have fallen apart anyway? Or is that hypothetical?

Stevie: That's hypothetical. You know, if we never moved from San Francisco, if we had stayed up there, it's very possible [that] Lindsey and I would've been married and would've been together forever. It's very possible. No way to know. 

Gavin: Yeah. And what was the problem in your relationship? I mean, what was, what were the things that so pulled you apart? Love.

Stevie: Yeah, and it's just very hard to be in the public eye and have everybody watching you all the time and everything you do is news. It's not like - Like I said, if we had stayed in San Francisco, I mean, cos we had a great relationship. And I was very much the care-taker in that relationship, and I LOVED taking care of him. And I loved taking care of our house and, you know, all the things that women do when they love a man. You know, I washed his jeans and embroidered stupid moons and stars on the bottom of them, you know. I made sure that HE was perfect, you know. I mean, I loved being that person in our relationship. The day we joined Fleetwood Mac, that all changed. Because we were famous. And we were rich. And the world really, the world really got in the way.

Gavin: Did you battle to keep hold of him, or - I mean, I got the impression from what I've read about the relationship was that really you went away from him. 

Stevie: Well, I did go away from him. 

Gavin: Left him quite torn up.

Stevie: And it did. And it probably wouldn't have left him near so torn up if we hadn't had been in a band together. Because when people break up, you know, you don't go and have breakfast with that person the next morning. In a hotel. And that's what we had to do. And, y'know, I was very, very careful to never, y'know, I didn't really go out with anybody, I didn't bring anybody on the road, I didn't - I knew how sensitive he was about the whole situation so I didn't ever, ever cause him any more pain than had already been caused. So I was really careful to - It's like, you know, he probably thought I never went out with anybody again cos he never saw me with anybody.

Gavin: What about your songs? Would you be sensitive or cautious about what effect they might have on him?

Stevie: Yes. Yes. Very much. Always careful what I wrote. And was he a great sense of something to write about? Yes, he was. But I was very coded in how I would write.

Gavin: Is he still? I mean, in these new songs, are you writing about Lindsey? 

Stevie: Well, there are a couple. Uh, Thrown Down is written about Lindsey. Not just Lindsey but Lindsey and Fleetwood Mac in an odd sort of around-the-world way. 

Gavin: Sure. Well, that's quite a showcase. 'You're not like other people, you do what you want to.'

Stevie: Now see, THAT verse was just written like a couple of months ago. Because I didn't have a second verse for Thrown Down. And the song was completely recorded and what I did was I went back into - I have a huge volume of poetry that a friend of mine, over the past five, six, seven years, has gone through all my journals and pulled out the poetry out of the journal. And so I came upon this poem that is that verse. Excuse me. And I said, 'Well, you know.' And I'm pretty sure this was written about Lindsey. I'm not sure sure, but I'm pretty sure it was. Um, cos it was very old. And I thought, 'Well, this is great because this really does just fit perfectly into what's happening now.' Because he's not like anybody else and he does do what he wants to. Um.

Gavin: In terms of life or music. I mean - 

Stevie: You know, life and music. Um, he's - But it's me too. We both do what we want to. We're both very - We're kind of both very solo people, and even though Lindsey's married and has children, we're still pretty much loners, both of us. And, uh, so that's, I don't know how to exactly finish where we're at on that question, but in answer to your question, yes, some of the things I write DEFINITELY tend to be about Lindsey and I. And yet some of the things that I write aren't about Lindsey. And some of the things I write aren't about anybody; they're just made-up, magical things in my head, you know. Or I get one little sentence that's about somebody, and then I have to basically make up the rest of it, you know, because then it isn't really about, you know, I got an idea from somebody but I didn't get a whole song from somebody. 

Gavin: How was it working in the studio with Lindsey on these new songs? This is the first time, what, that you've worked in the studio with new stuff for, what, a decade or more.

Stevie: It was great. It was, uh, it was pretty dreamy. The first six months was very dreamy. Um, because I came right from Trouble In Shangri-La, and that was not dreamy. That was 9/11 out there and it was horrendous. So to come from that mess back into a house, a home in Bel Air, with nobody but me, Mick, John and Lindsey and the tech, Ray Lindsay, it was very, it was very kinda calming. And then, of course, we got started February 1st. Then by the time we got to the middle of summer then the soup was all starting to heat up a little bit. You know, there was a lot of stuff going on at that point. The songs were starting to be done and the record was starting to come together. And so then it wasn't quite so dreamy anymore. It was more, then we were really working on a record. So it was nice that there was that couple of months transition period for us, especially for me, to come out of a situation that was very difficult for me. Because I stayed out on the road. I was in New York when it happened. I had just flown in. I was there for a couple of hours. I'd just gotten to my hotel and unpacked everything and gone to bed at 7.30 and BANG the world blew up. Um, our shows were all cancelled due to acts of war, which has not happened since Pearl Harbor, you know, that shows were actually canceled due to an act of war. And I had to stay in New York for three days, which was very amazing. Because we didn't want to cancel anything until the actual Radio City Music Hall, The Today Show - Until they canceled, we were going to play if they wanted us to. And from that day on it was just the most difficult thing I've ever done. So to finally get home in December - It took that long to actually make up all those shows and tie up the odd ends and pieces of Trouble In Shangri-La, to go home and go back into this really lovely home in Bel Air and start working on music was a very wonderful thing.

Gavin: But once you started, when you described the soup 'heating up', was there a tension in the studio between you and Lindsey? I mean, quite often it must've just been you two in the studio, um, how - 

Stevie: Well, there's - Quite often it was all four of us, too. 

Gavin: Okay.

Stevie: Um, the way that we recorded was was that Lindsey would pretty much get there at nine. If we were tracking, we would start to track at about like two. Um, and then we would track for a couple of hours, and then the boys would probably go home and I might stay and then we'd work for another couple of hours. But Lindsey really put in a good solid six hours every day more than anybody else did. So he really deserves a medal for this because he did a whole lot more work than anybody else did. 

Gavin: He doesn't think you've thanked him enough.

Stevie: Did he say that to you?! 

Gavin: Um, well not quite, but he did say something to that effect. It was earlier, so *mumbles* I'd seen a piece where you'd been interviewed and you said it was a bit like the cast of Big Brother. Um, if you'd have had a chance, you would've voted him out and if he'd have had a chance, he would've you out. 

Stevie: Oh my god. Did he - I mean, all I can say - and I mean, whatever, that's fine whatever the world is thinking - but, in fact, I'm telling ya that he got there at nine every morning and worked his butt off. I came in at two. I stayed until seven. Many nights he stayed later. So I give him all the credit in the world. He took my little skeleton songs - and that's what they are when I give them to you, it's like - That's what, when we said we don't write together, we don't write together because we both are very frozen in our ways of writing. We write our songs by ourself at our own house. That's the way it was in 1971, so that's not changed. And then I, you know, I get a cassette and I write my little song and I put it on the thing and then I give it to him. And then he runs with that. And then he goes and spends that extra six hours a day - where I'm not even there - putting, trying different stuff, playing different parts, doing singing parts. Um -

Gavin: What do you think of his talent? Is it an immense talent, do you think?

Stevie: It's an immense talent.

Gavin: Do you think it's one of the greatest things in pop?

Stevie: Abso - I think that he is a craftsman beyond belief. And, you know, I knew that the first day that I met him. I knew that that's who he was. And you know what? We never like - The fact that we didn't write together, we never like - It was not ever like a bummer. It was just the way it was. And it was fine with him that I wrote my own songs. He never came in and said, "You know what, I think you should change these words to - I don't like the words in this line." He never in all the years I've known him was ever -

Gavin: He accepted them as yours.

Stevie: Yes. And vice versa with me. When Lindsey plays me a song, it's like, I love it because it's his. I love it because it's what he needs to say. And that's how he feels about my songs. And we never, ever have ever had problems with that. That's always been a really great thing. I think maybe one time in our whole life we actually tried to write to song together and we both just ended up going, "You know what, this isn't working." Because we both don't want to change our words. Once they're down, they're in stone. And neither of us wants to go back and start over and try to make something else out of a song.

Gavin: How was it for you in a quite masculine environment or, I dunno, maybe Lindsey's got feminine qualities or you've got masculine qualities, but how was it for you in a band where, I mean, sort of competitive in a way but was it a battle for you? Maybe - Of all the people that took cocaine, maybe you had the most problems with it. Would that be true? Would that be a function of trying to keep up with the lads or the boys? 

Stevie: Well, no.

Gavin: No.

Stevie: Um, I think we all did a whole bunch. It was pretty much, you know - I think that probably Lindsey did the least. 

Gavin: Yeah.

Stevie: Yeah, he did. He - I don't think that we would have even put him in the bag of being a cocaine addict. I think he did it once in a while but I think that Lindsey just like had a shot of scotch. Um, it was Christine and me and Mick who did the cocaine. And, um, I'm sorry, now where was that leading us?

Gavin: And are you more content now than you've ever been? Are -

Stevie: Yeah. I'm very - I'm happy now. And I love being single, I really do. I'm really - Like I said about Lindsey and I both, and even though he's married, but we are very much loner people. And, uh, we are kind of happy being by ourselves, which, I mean, I don't really, you know, he's in a marriage so I don't really, I can't really speak about that because I don't know anything about that, but I just know that for myself - And again, you're right, being a father you don't have to quit. You don't have to get up with the baby every morning. You don't have to, you know. So it's different. 

Gavin: And how will you and Lindsey interact onstage? Have you been, uh, will there be theatricality in -

Stevie: See, that never goes away. That's just there. And we know that it stops when we go offstage. It begins when we go onstage. And it's really a lovely thing that we have that, because it makes it a lot of fun. And we get to yell at each other and, you know, argue out all the things we never argued out. We get to actually do it onstage and that's really fun. And it certainly makes for excitement for the audience and, in turn, excitement back for us.

Gavin: Is there ever any sort of been a heartbreak when you're hearing certain songs that were written - I mean, how do you feel when Go Your Own Way's being played? Is that -

Stevie: It takes me right back to when it all happened, it really does. You know, it takes me back to when we first broke up, which was when he wrote that song.

Gavin: I mean, are you still, in a way, on this record, playing out your relationship? In the songs, do you think? He wrote this song, Say Goodbye -

Stevie: Mm-hmm.

Gavin: And then Goodbye Baby ends the record. Is that your answer record to him?

Stevie: Well, no, to be perfectly honest, he actually arranged those. I said I would like to end the record with Goodbye Baby, because I thought it was a good closing song. Because we've always gone to - whether it was Songbird or, for me, Has Anyone Ever Written - more of a ballad at the end, which is a nice way, I think, to leave people. Um, and he wanted to put Say Goodbye To You right before it. And I felt that was a good idea. It was a nice pairing of those two songs.

Gavin: I think it gives a sense of closure.

Stevie: I think so. I do. I think it's a really nice - That's what people really remember, is when you get to the end of a record and the last two songs is what really makes the imprint on you. 

Gavin: I mean, the song Illume 9/11, it sounds like another song about your and Lindsey's relationship. Obviously it's got the 9/11 thing in there - But how does that relate to 9/11?

Stevie: Well, it's written about the day it happened. It really is written about the day it happened, because that day was, you know, I went to bed at 7.30 and Karen came in - my assistant - and woke me up at 11. She actually let me sleep through the really horrible part, and, uh, came in and woke me up and said, 'Well, you're not going to believe this, so check this out.' And, uh, we were there for three days and we didn't leave until Thursday night, because like I told you, we had to wait to cancel everything. I saw - You know, it said in the song, it says, I'm alone now / With my thoughts / Of how we could make it / Of how we could get out / What we've been through / All of the trauma / The smell of Nag Champra / Shadow of a stranger / What I saw on this journey / I saw history go down / I cannot pretend / That the heartache falls away / It's just like a river / Ooh, it's never-ending / I cannot pretend / That the heartache falls away...' I cannot pretend to this day that the heartache goes away for that. I will never get over that. That song is not about Lindsey. That song is about 9/11. That song is about being in the city that was bombed. And being fifteen minutes away. And then staying out on the road until - My last show, I think, was at the end of September going into October. And going onstage in a big public place every night and being afraid.


Gavin: Is it not odd with different - You've all got separate managers; is that an odd set-up to go out on the road with? Will it be -

Stevie: No, because they don't go. No, they don't go. They're not there. All the different managers and all that has a lot to do with, like, what's going on now, but once we leave, they all stay home. Once we go, it is not, you know, it's like we laughingly call it, you know, 'my camp' or 'Lindsey's camp', everybody's camp, but once we go, the camps are just disassembled and it becomes one camp, and that's Fleetwood Mac. So it seems complicated now but it stops being complicated once we leave this city.



Fleetwood Mac - ‘Rock Lives’, Timothy White (1990)

The High Priestess of Pop-Rock is spitting mad.

"Mark my words," says Stevie Nicks, a furnace in her gaze, "tomorrow, in this very room, is the final reckoning, and if Lindsey Buckingham dares to insist his own projects are more important than the future of Fleetwood Mac - that's it! New beginnings have always been the best part of this band. I swear it to you now: if there needs to be a new Fleetwood Mac, we'll start all over again!"

It is Wednesday, July 8, 1987, and the wild-hearted head siren of rock and roll's longest-running passion play is storming around the art nouveau-packed living room of her hillside Los Angeles home, attired in full Good Witch of the West Coast finery. Stevie's startling fashion statement builds upwards from white lace anklets and black spandex hose to a vision of cemetery seduction. And there is disorder in the dark lady's realm.

"If that man tries to hang us up," she vows, regarding Fleetwood Mac's errant lead guitarist, "he is not gonna have the last laugh!"

“Big Love,” the first single from Tango, carried a hint of foreboding with its inscrutable choruses of sweaty ooohs and aaahs. Who, the rock rumor mill wondered, was responsible for such outbursts? With a wink and a shrug, Buckingham is now happy to ‘fess up.

“It surprised me there was a whole lot of interest in who was doing the female side of the song’s ‘love grunts,’ or whatever you want to call them,” says Lindsey, with a nasal laugh, while seated in the Slop, the cluttered twenty-four-track home studio inside his quasi-oriental Bel Air home. “That was actually me – with VSOs, variable-speed oscillators. There’s a lot you can do in terms of your arranging and your voicing with slowing and speeding tape machines. It was odd that so many people wondered if it was Stevie on there with me. I guess it just follows the same thread as everything that was brought to the public in Rumours – you know, the musical soap opera.”

“While Fleetwood Mac took only two or three months to record,” says Nicks, “Rumours took twelve months because we were all trying to hold the foundation of Fleetwood Mac together, and trying to speak to each other in a civil tone, while sitting in a tiny room listening to each other’s songs about our shattered relationship. It was very, very tense – a room full of divorced people who didn’t dare bring anybody new into the same room, because nobody was gonna be nice to anybody brought into the circle.”

“On August 5th, 1987, the new history of Fleetwood Mac began,” stated Stevie Nicks at a secret September band rehearsal in Venice, California, just before the revised Vito-Burnette edition embarked on its baptismal concert trek.

According to Nicks, the original July ’87 meeting in which the band was to have it out with Buckingham proved anticlimactic. All personnel arrived at Nicks’s house in the afternoon, arranging themselves on the semi-circular ivory leather couch in her living room. The atmosphere was taut, but Lindsey diffused the tensions by announcing that he might still be open to the road trip. A low-key dinner for final deliberations was scheduled for that evening – and Lindsey failed to show.

Nonetheless, a call came from his management several days later, informing one and all that Buckingham would indeed tour.  “We all got really excited,” Nicks recalls. “It was like, ‘Well, he’s gonna do it, even if it’s only for ten weeks. It’s gonna be great, we’ll get to play, and we’re gonna make some money; everybody needs to make some money.’” Instantly, all of the members’ separate management offices aligned to spend a frenetic week booking in intricate itinerary that more properly should have been arranged six months earlier.

The night before the final production meeting to settle on additional backup musicians, lighting and staging, etc, Buckingham’s representatives rang Nicks and guest Mick Fleetwood at her main manse in Phoenix, Arizona, to tell them Lindsey has rescinded his agreement. In collective shock, but unwilling to face the humiliation of informing the nation’s top concert promoters that the band was in dire disarray, the rest of Fleetwood Mac demanded a confrontation in Los Angeles with their delinquent whiz kid.

That conference on August 5 lasted a matter of minutes before Nicks was on her heels, tongue-lashing her old boyfriend. The duo’s mutual harangue culminated in an outdoors tiff in an L.A. parking lot that grew more deeply felt than either party ever intended or feared.

“It was horrifying for both of us,” says a somber Stevie Nicks, describing her August altercation with Lindsey Buckingham, a shouting match extraordinaire. “We said too much to each other. We said all the things that we had wanted to say for the last ten years, and we screamed at each other. Those things in a relationship that you try to never say just in case you do get back together – we said those things. Lindsey and I had been going together from about 1971 to around 1976. But we never really broke up until that moment. We’ve since patched up our friendship, because Lindsey is far too important to my life not to do that, but the creative ties are behind us.

“The thing about Fleetwood Mac is that everybody wants everybody to be free,” Nicks now reflects, “everybody wants you to be in this group because you want to. I think that in his heart Lindsey didn’t want to say, ‘I quit, I’m leaving.’ Everybody believes in dreams and fairy tales, we all hoped he’d change his mind. I knew he would never change his mind.

“He just wants to concentrate completely on his own music, recorded and played on his terms,” she summarizes. “And I admit he’s certainly earned that right.”

Not surprisingly, Buckingham concurs. “In the past,” he says, “what I’ve done is given over the commercial side to Fleetwood Mac, and tried to make, hopefully, more artistic statements on solo records.” And how would he describe those statements? “Ah, just lust, longing, loneliness,” he answers with a subtle grin. “Same old thing you always hear from me.”

Fritz was Lindsey’s rock combo, playing music he concocted in his four-track lair in the coffee factory. Stevie was the catalyst for its modest goals, and then some. After three and a half years of experience together, which Stevie helped fund through work as a dental assistant (for one day) and a hostess at a Bob’s Big Boy, Lindsey and his gal lit out for Los Angeles. They shared a house, much as Lindsey does now, with Richard Dashut, and peddled their demo tapes. Polydor Records bit, and issued the Buckingham-Nicks LP in November 1973. An exquisite folk-rock miniature just a tad ahead of its time, it could still be mistaken as modern Fleetwood Mac product.

When the LP bombed, Stevie resumed waitressing on the lunch shift at a Beverly Hills restaurant called Clementine’s, and Lindsey hit the road with a group Warren Zevon threw together to back Don Everly. On New Year’s Eve 1974, at a party at their house, Lindsey and Stevie were wondering if 1975 was worth welcoming in when Mick Fleetwood phoned with the invitation that made their dreams, and nightmares, come true.

"Absolutely," she assures, "and each of us has he skills to prove it. I've been writing songs again like mad, and I've got a killer one I put together with Mike Campbell, the guitarist in the Heartbreakers. Like I say, I always write songs about the truth, and this is definitely one of those. Hell, if it can't keep until the next Fleetwood Mac studio album, I might even make it the title of my next record."

What's the name of the song?"

"Oh! I call it 'Whole Lotta Trouble.' I mean, what else?"



Stevie - Woman’s Own (1990)

Lindsey left Fleetwood Mac three years ago and Stevie now says, 'He and I were about as compatible as a boa constrictor and a rat. But we've had our final words. We will never be able to work together again. We'll ever even speak again, which is very sad. In any relationship you come down to a point where you say things that you can never take back, and we've said them. It breaks my heart.'

Despite their love for each other, she and Lindsey were in daily conflict too long before being chosen from hundreds of hopefuls to join the band. 'Rich and famous or starving and poor, we went through the same problems,' she sighs. 'He always wanted me to himself, but someone had to go out and earn some money. All he wanted to do was play his music.

'When I came home I'd always get a slight cold shoulder. He wouldn't quite trust me about where I'd been or what I'd been doing. When we broke up, two years after joining Fleetwood Mac, it was like living a nightmare.'

For Lindsey, excelling at his music was a continual struggle. But it came easy for Stevie. And as her vocals and songwriting began to play an ever-increasing part in the band's success, a wedge was driven between them.

'He felt I should have to work much harder at it,' she says, 'I tried asking, 'Lindsey, how can I change?' But everything about me seemed to bug him. My laughter, the way I could deal with a lot of difficult things, all made him cringe. So I changed when I was around him. I became mouse-like and would never dare offer a suggestion.'



Lindsey - BBC R1 w/ Johnnie Walker (06.27.1992)

JW: Just talking about family and things, going back to that Buckingham/Nicks album, that we played a track from earlier on, it says dedicated to AJ Nicks - the grandfather of country music. Stevie's dad or?

LB: No, her grandfather. He was an aspiring country & western singer and he was quite a colourful guy. He never made it as a country singer and he was a little frustrated, but he had a lot of, he'd written a couple of great songs and I think he was probably somewhat of an influence on Stevie in her fledgling days.

JW: Well he got his name on a good album that should be out on CD, shouldn't it?

LB: You know, Stevie and I brought the rights back to that a couple of years OK, and there just hasn't been a time when it seemed opportune. Umm I've understood... about six months ago I found out that of the things you can't get on CD, that's like number one requested, so we'll probably put that out at the beginning of next year, I have a feeling.

JW: Yeah, I think you waiting for your album to do really well, maybe get a better deal.

LB: Well yeah, I don't want to complete with myself. (laughs)



Stevie - The Music Paper (September 1994)

Ironically, Mac never really needed Nicks in the first place.  Minus Welch, the band still included bassist and second co-namesake John McVie and his keyboardist/singer/songwriter wife Christine.  Why add another ‘girl singer’, or another anyone, for that matter, to the fold who could not even offer instrumental augmentation?  Buckingham answered the why by stating that he and Nicks were an inseparable unit.  Starting out with a need to prove herself was probably the catalyst that drove Nicks to shape herself into such a compelling singer/songwriter and performance artist.

“Lindsey and I weren’t just a boyfriend and girlfriend that played music together, we were a duet.”  As Nicks remembered, “[The band] was smart enough to realize that Lindsey wasn’t going to leave me to join their band. So the band simply said, ‘[We] guess we can work with two girls then’ and they just accepted it.”

She never really thought that the chain of Fleetwood Mac would be broken; the final decision to leave was prompted, at least in part, by the prior departure of former partner Buckingham. Though it has since proved to be liberating for her personal and artistic schedules, Nicks admits that “Lindsey and I joined Fleetwood Mac as a set, and breaking up that set, to me, wasn’t the best idea for Fleetwood Mac. Unless it was going to be the original five again, there really was no reason for me to ever go back.”



Fleetwood Mac - Q Magazine (December 1997)

Offstage, all five seem surprised, amused and even a little embarrassed about working together again.

"The music is easy," states Nicks earnestly. "It's the other stuff that's hard. But I realised a long time ago that there is no Fleetwood Mac without Lindsey. If it can't be with him, then let's not do it."

The "we all love each other" party line may be trotted out once too often, but Nicks's platitudes are not completely misguided. Buckingham remains the band's musical linchpin; instilling a touch of barely-controlled mania into the jerky, angular 1979 hit single Tusk ("Back then I really wanted to be in The Clash," he will confess later) and playing the tetchy, demanding musical foul to the more melodic Nicks and Christine McVie. It's little wonder the band foundered without him.

Go Your Own Way sees out the main set, Buckingham and Nicks once American rock's most beautiful couple, all too quickly a grudge match in cheesecloth and flares ham it up, trading knowing looks and even returning to the stage holding hands.

"Sure, we're playing it out," admits Buckingham, looking faintly appalled. 'But when I quit the band, Stevie and I still had unresolved issues. It's kinda nice to be getting along again.'

Cosseted by a 150-strong staff, including no less than seven fractious managers, the saga of this oddball gathering of ex-wives and husbands continues to play in the manner of what Christine McVie freely describes as ‘a mini-soap opera’.

"America wants a happy ending to the fairy story," she laughs. 'I'm sure there were people out there tonight who genuinely believe that Stevie and Lindsey will be reunited, and everything will be alright again. Let me say now that will never happen."

"Y'know before Lindsey and I joined we had to steal ourselves not to go into stores," recalls Nicks, stepping into the stretchiest of limousines. "Six months later we were earning $400 a week each and I was totally famous. We used to pin $100 bills up on the walls of our apartment just for fun. You go through that with someone, you don’t forget."

At the airstrip she follows her former other half into the plane. Strangely, this time they don't hold hands.



Lindsey - Guitar World Acoustic (March 1998)

GWA: How much did drugs contribute to the dissolution that finally led to the split after Tango in '87?

BUCKINGHAM: As far as being creative, it kept getting worse and worse as did the way the individuals in the band conducted their lives. Drugs affect everything, because your priority becomes to do drugs. It was tough in the end. Stevie, you really couldn't talk to her, you couldn't make eye contact. It was hard to recognize someone I had known and lived with a few years before, and there were a lot of hurtful things going on.

GWA: And you have to share your deepest emotions with everyone through music.

BUCKINGHAM: Right, exactly! We were working on such a fundamental level with each other, giving over the most vulnerable parts of ourselves to people we've been so close to before. Really, getting through the whole 12 years was like an exercise in denial for me. Cut to 1997 and I'm in my garage working on my next solo album, and suddenly all these things come to the surface and I'm able to look at them in a more adult way. And you realize that everyone did the best they could. So finally all the baggage is gone.



Stevie - Interview Magazine (July 1998)

RR: What was it like, this time, to be up there onstage singing those very personal songs about the people you're playing with? Does it get easier over the years, or is it still a very loaded situation?

SN: Both. It was, I think, very cathartic for us this time. We've had a long time to stop and look and listen and think about what happened. And nobody's angry anymore. But it's always intense. There's nothing about Fleetwood Mac that is blasé. We were never a band that went onstage and was bored.



Stevie - Phoenix New Times (11.29.2001)

What did former beau and bandmate Lindsey Buckingham think of Trouble in Shangri-la?

"He thinks that it is a very good record. Lindsey does not ever and has never thrown out compliments to me about anything outside of Fleetwood Mac. And on this record he said, 'I think that is the best thing that you have ever done.' That meant a lot."

"I was in Aspen a week ago for three days," she continues. "I wrote 'Landslide' there in, like, 1974. So I was walking around the streets of Aspen going, 'You know what? Aspen has served you well for "Landslide,"' and that song has served me well my whole life. So I thought I'd better write another song, so I wrote about what happened in New York. I just gave it to Lindsey last night -- just the raw cassette and a set of words -- and I'll see when I return in two weeks what he has done with this song."



Mick - Guitar Center (August 2002)

GC: Is Stevie doing the lion's share of the writing?

Mick: Lindsey and Stevie--equally right across the board. Lindsey's arranging Stevie's songs, like he wanted to do in the old days. It's very different, a lot of guitar playing, a lot of great acoustical stuff, finger picking, some real off the wall stuff. A lot of hard hitting. I think people are going to be woken up with this album. The guys in the band are unleashed. And we've gone back to some real hard-hitting rock and roll. I had a lot of fun. Very eclectic.

GC: As a founding member, did you feel a responsibility to mediate in these conflicts or sort of coach the team?

Mick: Christine and John were married, and Stevie and Lindsey weren't married, but they might as well have been. And they all were in this band. So I became like Lindsey said in one of his songs, "piggy in the middle." The reality is that every single person in Fleetwood Mac had their relationship in pieces, at the same time, that in itself is quite unusual. The hard thing was for those four people in the band, not myself, because they had to work together. It was right at the beginning of this tidal wave that we were looking at and going, "We're off to the races here. It's going great. I'd just come off a hit album, are we going to make it?" A lot of people thought for sure we would break up. From that moment on, there's no doubt, my responsibility, from just the way I am as a person, has very often been to always find a way to glue it together. And we made it. In good humor, especially during the making of this album and the last Fleetwood Mac tour maybe 5 years ago now, was an extremely happy one. We're all grown up - but these are people who've been in love with each other, seriously in love with each other and are able to take the physical element out of it, but emotionally and musically reconnect in a way that is very special. That's definitely apparent on this album, very specifically with Stevie and Lindsey. I think there is a lot of reconnecting in some of the songs, which will translate as only they can and have done in the past. There's some magic there that has so much history to it that survived in the nicest possible way where people can come back together and say, "My god, we're not in love but we love each other in a way that means something."



Fleetwood Mac - Sunday Express (10.27.2002)

Stevie Nicks had become the face of Fleetwood Mac. Her bee-stung lips, baby eyes and tumbling hair were the stuff of album covers and wall posters. Her on-stage dancing distracted from the serious and rather static approach of the other group members. The one person who found this hard to take was her lover of the past five years, Lindsey Buckingham. He had wanted her to be his muse, not a pin-up girl. At first he felt twinges of jealousy but this soon hardened into resentment. Nicks, on the other hand, emboldened by the public recognition she was getting, summoned up enough courage to tell Buckingham to get himself a life without her.

It bothered Lindsey when the audience went crazy for me," she told a journalist "He thought that I, being his girlfriend, was acting too sexy. on stage with my dancing But I liked doing that. l had to tell him that I couldn't be his Stevie  when I was up there. I would never have dreamed of telling him how to act on stage.”

WHEN Nicks, Buckingham and Christine McVie began writing songs, each found that the words they were coming up with were messages to their spouses "There were these dialogues shooting from member to member as Buckingham put it. "They really crackled on the record. He wrote Second Hand News as a comment on the Nicks-Henley romance. "I could see it coming," he said "I thought it would bum me out but it was a good thing to see her with him. It made me happy. I thought there was something to fear, but there wasn't."

Nicks barbed response was Dreams, a  song in which she taunted Buckingham about having given him the freedom he wanted "You say you want your freedom/ Well who am I to keep you down" Buckingham hit back with Go Your Own Way, containing the memorable put-down line: "Shacking up is all you wanna do." Thirty-fifteen to Buckingham.

As tracks were played back there were clenched teeth and averted eyes in the control room. "We were trying to speak to each other in a civil way, while listening to each other's shattered relationships." Nicks admitted. "It was very, very tense." She was furious when she heard Go Your Own Way for the first time. "I very much resented him telling the world that 'shacking up' with different men was all I wanted to do. He knew it wasn't true. It was just an angry thing that he said.”



Stevie - Unknown (12.24.2002)

But now, do you feel that now Fleetwood Mac gives you more creative input that in the past? 

Well, Fleetwood Mac never smothered me. But it is a band, and for someone like me, who's very independent and likes things my way, a solo career has been very helpful in making me not feel smothered. And this new album that comes out early next year is very different. We love Christine (McVie), but she's not involved in this, because she doesn't want to be. And we let her be, you know, you can only do so much begging, until it's like, just let her be. But I think our new music is some of the best music we've ever done, and I don't just say that to be saying that. This recording process this time around has been so positive, there's so much positive energy there now. I love it. And yes, I do feel like my input in the music is a whole lot more accepted now.

I think the greatest thing about Fleetwood Mac has always been the ability you all have to create a new and fresh sound with your records, and still blend that signature sound. You played me some of your new album, and it's the same. Tell me a little about this project. Knowing that this album will be very highly listened to when released, are you more careful? 

Lindsey is never careful. He takes risks. When we did the follow-up to the hugely successful Rumours, which was called TUSK, it was a double album. First off, of course the record company was dying for us to make Rumours II. They wanted something else squeezed out to create the same effect as Rumours. Lindsey wanted the opposite of that. He was honestly annoyed by the success of Rumours. We were all tired of hearing it for awhile, and Tusk was very different, but it was Fleetwood Mac. So it was a double album, and of course the record company worries right there that it may not do as well. Then, they hear these songs, and they don't song anything like Rumours they got very scared. But we didn't care, we did it, because we wanted to. And this album, it doesn't sound like Rumours, or Mirage, or Tusk, it has a very distinct sound. So no, we are never really conscious of the fact that people do want us to sound a certain way, to play it safe. I think this new music is great. 

When you tour for this new album, will you do Silver Springs? 

Of course, that song is timeless. Lindsey and I are so over our relationship, but we cannot put it away and act like it never happened. If we cut out all of the songs that are about us, and our past relationship, we would be playing all new music, and the fans want to hear the old stuff too you know?



Lindsey & Stevie - CNN (03.19.2009)

CNN: What do you think about, Stevie, when you are out there on stage and you hear "Go Your Own Way?" Does it bring back memories of what you were going through at the time -- because that song was about you, wasn't it?

Nicks: I think.

CNN: Lindsey?

Buckingham: Indeed, it was. Yeah, completely autobiographical. You know, the funny thing was I don't think we were aware we were writing songs specifically to each other. It was really only when our audience picked up on it that it became obvious we were dealing with a completely transparent, autobiographical piece of work.

Nicks: If Lindsey and I had been happy, happy, happy, there would have been no "Go Your Own Way." It would have just been, "Here we are -- happy, happy." And the audience would have been like, "OK, well -- next couple."

So you know, we played off of it. We had fun with it. We could actually walk on stage and have our own little almost-love affair, and have the audience go, "Oh my God! They're getting back together!" And we'd be like, "They're falling for it!" You know, we would totally play it, and we did, and we do, and we always will.

CNN: Why do you continue to do this? Because you could just sit in your beautiful house in England, like Christine, and not have to worry about any of this.

Buckingham: That's a very interesting question. I think there are chapters yet to be written within this group. Look at Stevie and myself. We have known each other since we were in high school.

Nicks: 16 and 17.

Buckingham: And it's been a convoluted road, you know. It's been a great road, and often painful for both of us. We have been extremely close, we have been alienated. It's a road of contrast. But there are still things to be learned, and still things to be shared, and still a certain amount of growing up to do in the never-ending quest to become adults.



Stevie - BBC 6 Music (09.13.2013)

Stevie Nicks: I did have a little talk with Lindsey at the very end of 2011, and I said, “We really need to, we need to remember who we were. We need to go back there and be that sweet little couple that started this whole thing. We need to remember who we were, and we need to take that onstage, and we need to not be angry with each other anymore.” And he listened to me. It was an hour and a half talk, and he listened. 

Lauren Laverne: Okay. I mean, that is one of the things that makes Fleetwood Mac very special. It’s connected to the music but it’s slightly separate. The fans feel connected to the story behind the band. I mean, how conscious are you of that? And do you feel that that’s very important to you, and that your connection with your fans is different because of it?

SN: Well, it certainly has been over the past forty-seven shows. I think that this tour in comparison to the 2009 tour, where we were like kind of like just nothing. We were not, we were not connecting at all. We were just standing up there and doing our own thing. I was doing my songs, Lindsey was doing his songs, and, uh, the songs that we did together we were sort of in our own focused world. We weren’t, we were not at all joined. And, uh, I said to Lindsey, “We cannot do that again. We have got to be a power couple. We’ve got to walk onstage and be that fantastic power couple that everybody wants to be. And spread the love. We have to do it. It’s up to us. And if we’re going to be bored and distant then I can’t do this anymore.” And he listened to me. And I’m sorry I didn’t have this talk with him twenty five years ago. Because I think, sometimes I think men - and I love men - but sometimes I think they just don’t get it. 

LL: Is, I mean -

SN: I don’t think he understood. I honestly don’t. When I was talking to him, he was looking at me with that kind of like “Really?” You know, I mean, like he really didn’t realize that it had gone so far off. And I said, you know, we have to pull it back because it’s in our power to do that. 

LL: So your communication has to be, it has to be kind of explicit. Because this is one of my other questions that I was going to ask. We’re so short on time but I kind of imagined that you would develop a telepathy. You know, with a band who have been through so much together and over so many years. Not the case?

SN: Well, you can be mechanical. And still be great. But I don’t care about mechanical and I don’t care about great. I care about compassion. I care about us standing up there and having people - When he comes, you know, if he’s like that me - I’m just touching the girl’s next to me shoulder - 

LL: Lisa’s freaking out.

SN: It’s like if he comes over and does that to me and he looks at me and he means it, the audience is like “Oh my god”. And they love it. And in my own way, I’m kind of like “Oh my god” too. Because that is, then I remember who we were. And I remember how really sweet we were, you know. My parents just thought we were great, you know what I mean? We lived together for five years. We were all practical purposes as married as you could be. And I’ve never had a relationship with anybody like that, you know. Where we lived together everyday in a house - in two different houses - and, um, I took care of the house and him and sewed his jeans and fringed them and sewed moons and stars on them and made sure that he ate well and made sure our little poor house was beautiful, you know, and that his life was good. I did that. And that’s who I want to be onstage this time, and that’s kind of what we have done, and that is exactly why this tour is so successful.