Lindsey Buckingham (Fleetwood Mac): You had both couples, John and Christine McVie and Stevie and myself, in the process of breaking up during the making of the album, so you had all this cross-dialogue going on in the songs.
Richard Dashut: It took two months for everyone to adjust to one another. Defences were wearing thin and they were quick to open up their feelings. Instead of going to friends to talk it out, their feelings were vented through their music: the album was about the only thing they had left.
Christine McVie: Dreams developed in a bizarre way. When Stevie first played it for me on the piano, it was just three chords and one note in the left hand. I thought, This is really boring, but the Lindsey genius came into play and he fashioned three sections out of identical chords, making each section sound completely different. He created the impression that there's a thread running through the whole thing.
Mick Fleetwood: Go Your Own Way's rhythm was a tom-tom structure that Lindsey demoed by hitting Kleenex boxes or something. I never quite got to grips with what he wanted, so the end result was my mutated interpretation. It became a major part of the song, a completely back-to-front approach that came, I'm ashamed to say, from capitalising on my own ineptness. There was some conflict about the "crackin' up, shakin' up" line, which Stevie felt was unfair, but Lindsey felt strongly about. It was basically, "On your bike, girl!"
Chris Morris: Recording Gold Dust Woman was one of the great moments because Stevie was very passionate about getting that vocal right. It seemed like it was directed straight at Lindsey and she was letting it all out. She worked right through the night on it, and finally did it after loads of takes. The wailing, the animal sounds and the breaking glass were all added later. Five or six months into it, once John had got his parts down, Lindsey spent weeks in the studio adding guitar parts, and that's what really gave the album its texture.