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 wonderful piece of musical art, something that’s very, very hard to find these days. Who does that anymore? U2 had a great album. I just keep hoping that some of those little bands that are coming up are going to somehow push through the system. But it’s so hard now--it’s very hard for record companies today to nurture acts. You used to be given time to develop, but that doesn’t happen anymore. If Lindsey and I had moved to Los Angeles now, and we were 21, would we be able to break through? I don’t know.


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 painting. It’s more of a meditative process. And to some degree, this project was more like that for me. It was really exciting and satisfying. It’s really touching that we can come back after so long and care about making an album that says as much as this one does. And after all this time, we really do care about each other. Years on, Christine and John still have a deep love for each other, as do Stevie and I--we’ve been working together since I was 17. Our chemistry is what made us a great band to begin with. That it’s still potent after 16 years apart is pretty amazing. 

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