Stevie - High Times Magazine (March 1982)

HIGH TIMES: Didn’t you write "Leather and Lace" for Waylon Jennings and (his wife) Jesse Colter?

STEVIE NICKS: I wrote it for them and I wanted them to do it. Waylon Jennings asked me to write a song called "Leather and Lace." That’s his title. So I did and I spent a lot of time on the psychology of the man and the woman in the music business both being stars in their own right and trying to live with each other and work and give Waylon a break and let him be a little weaker for a minute and let Jesse be a little stronger for a minute. This is a long time ago. This is what I was searching for even then. I mean, I was writing about Waylon Jennings and Jesse Colter, but I was writing about me and Lindsey (Buckingham, of Fleetwood Mac). And I was, at that point, going out with Don Henley and I was writing about Don and me. I was writing about the few couples that I knew and what they went through to try and work it out. And I guess Jesse and Waylon sort of broke up around then. And I felt in my heart that either I had to do this song with Don, or Waylon had to do it with Jesse, or Waylon and I had to do it. Those were the only three possibilities for that song to be done. It was the most disciplined song I had ever written and I had to finish it.

HIGH TIMES: What about someone like Don Henley, who knows that? He’s in the same position.

STEVIE NICKS: When I was going out with Don, it was five years ago and I was much less busy; Fleetwood Mac was much less popular, we were just beginning. When I was with Lindsey, we lived together and were famous. It was the opposite extreme. I’ll never forget the day I was up at Don’s house having dinner with him and his manager, Irving Azoff, who is now my manager five years later, and Glenn Frey of the Eagles walked in and looked at me and said, "Spoiled yet." Like no mention of Fleetwood Mac. I was not even in the league of a singer. I was nothing more than a girl. My claws went out and I wanted to get out of there.

HIGH TIMES: You mention in "After the Glitter Fades" that the one-night stand is hard to take. What are you talking about?

STEVIE NICKS: That was written in 1972 and Lindsey and I had never been on the road at all. We had certainly never had a one-night stand because we had been together and there were no one-night stands between Lindsey and me. That was a real premonition. I just had some idea about Fleetwood Mac. I wasn’t talking about one-night stands with a man. I was talking about your one-night stands in a concert where you run in, played, and left.

HIGH TIMES: You must have a great relationship with Christine McVie. You dedicated "Think About It" to her.

STEVIE NICKS: Yeah, when I really love something that she does, I really get in there and help her with it. She can do it alone, she really doesn’t need anyone, but when she writes something that I really take to heart, then I go for it. I stay up all night with her and we work on it. I really work on it and I drag Lindsey and her in there and make them sing, because that’s what they forget—they forget that there’s three of us and how good we sing. I irritate them to death, it’s like a little bug. I keep saying, "Lindsey, you and I should sing this part. It’s important that we sing this part, it would sound terrific." And they eventually do it. Especially because I am not going to stand by and watch no singing go on this album.

HIGH TIMES: It sounds like there has been some dissatisfaction on your part in the past.

STEVIE NICKS: That’s because they’re players, they get really wrapped up in the playing of it, and I don’t get to play. I don’t have anything to do. I sit around and watch them play—it’s boring. The thing I do real well is vocal production. I can really get them happening on singing, but if it wasn’t for me, there wouldn’t be nearly half the vocals.

HIGH TIMES: You never played guitar onstage?

STEVIE NICKS: I’m not good enough. There’s no reason. If I was terrific, then maybe they’d find a part for me, but I’m not, so it would be for the look of it, and I’d be too nervous. I’d be so nervous, it wouldn’t look or sound good and then everybody would be mad at me, and Lindsey would be screaming at me that it was out of tune. And I don’t need that for sure.