MD: The relationships within Fleetwood Mac have always been a big part of the material. It’s one of the few groups that never shied away from including that.
Stevie Nicks: When we get back into a room together, all those crazy relationships--the loves, the hates, the non-acceptance, the acceptance, the ways you live your life--all those things come up. Believe me, we talk about everything.
MD: With songs like “Illume” and “Peacekeeper” and “Murrow,” there seems to be a kind of social consciousness at work in the band. I really appreciate that because, even though the world’s going through this intense period, there seems to be almost no corresponding social consciousness in music right now.
SN: The state of music concerns me. I think our album is
MD: How was recording this album different from the earlier ones?
Lindsey Buckingham: This time, there were no drugs involved. The hours were completely normal daytime hours. I think we were able to appreciate the interplay, where before we had taken it for granted. You know, I was never totally thrilled with being a Fleetwood Mac member, but surprisingly, I was having such a good time reuniting with John, Mick, and Stevie. A lot of healing went on, along with some things that weren’t exactly healing, too. There’s a checks-and-balances system that we don’t have as solo artists, but it comes with some aggravation--Stevie and I are always going to butt heads from time to time.
MD: How did your relationship play out in the confines of the band?
LB: When Stevie and I joined the band, we were in the midst of breaking up, as were John and Christine. By the time Rumours was being recorded, things got worse in terms of psychology and drug use. It was a large exercise in denial--in order for me to get work done. I had to seal off my feelings about Stevie while seeing her every day and having to help her, too. But you get on with it. What was happening to the band was much bigger than any of that. Ironically, that was quite a bit of the appeal of Rumours. It’s equally interesting on a musical level and as a soap opera.
MD: Can you talk about some of the new material? The song “Come” is Fleetwood Mac’s most sexually frank song ever.
LB: Quite honestly, Stevie really didn’t want that on the album. Too bad! [laughs] She objected when I sing, “Think of me sweet darling every time you don’t come.” She thought people would think it was about her--it isn’t.
MD: I know you produced the album--Stevie said, “Lindsey plays the studio as if it was a whole other instrument.”
LB: Well, I’ve always done that at home. Before, in the band, producing was kind of like movie making-delegating and verbalizing ideas to other people. It’s a far more chaotic, political process. but when I would do solo albums, I worked alone in my garage studio, and it was more like