"If I ever have a little girl I will name her Sara. It's a very special name to me. I love singing it on stage. It's the absolute delight of my night. There's so much in Sara. And it is, the poet in my heart, for sure."
~Stevie Nicks, Jim Ladd Innerview, 1979

[On what the line 'drowning in the sea of love/where everyone would love to drown' is about] "Self indulgence. Don't we all love to be miserable and lay face down on our bed, and go 'I'm so miserable, don't talk to me, I want to hurt! Don't bring me tea, don't even talk to me, let me die in my own...' we all do that. We love to do that. It's when I write my best songs. I *love* to be miserable, I love to walk around in the throes of a passionate miserability -I made that word up years ago. I don't like to suffer, and I hate pain, but I *do* love to suffer in the point where I get to my typewriter and write down all my wonderful and marvelous philosophy for why I'm suffering. I love that part of it."
~Stevie Nicks, Jim Ladd Innerview, 1979

"There was a suit brought against me... they said that I stole the words to 'Sara,' and I suppose that everybody thought that I would just settle out of court. But not me, I did not settle out of court. I don't think there's anybody that won or lost. The lady that sued me didn't win, she didn't lose. I didn't win, I didn't lose. We spent a lot of money, but the song is mine. And I won."
~Stevie Nicks, Rockline 1981

"There were some great similarities [in the lyrics], and I never said she didn't write the words she wrote. Just don't tell me I didn't write the words I wrote. Most people think that the other party will settle out of court, but she picked the wrong songwriter. To call me a thief about my first love, my songs, that's going too far. [After a few months, the woman's lawyers finally gave up, stating] 'We believe you.'
~Stevie Nicks, on her lawsuit over the song Sara, Rolling Stone, 1981

"Sara was my favorite, [song] for that kind of song. Sara was, and is, the love of my life. There are different kinds of favorites. You have your miserable favorites and your happy favorites. I can't pick just one [song]."
~Stevie Nicks, Arizona Living Magazine, September 1983

[On who Sara is] "Probably my alter ego, my other self."
~Stevie Nicks, Montreal Interview

["Is there a 16 min. version of Sara, and will it ever be releasesd?"]

"It's absolutely true, and as I watched it go from 16 minutes to 12 minutes to 10 minutes to 7 minutes to 4 minutes 40 seconds, I doubt, seriously, that anybody will ever hear the full-on version of Sara... but yeah, there was a lot more verses in it. I'm actually... this is the only song that I'm actually playing piano on, and that Mick actually overdubbed drums on, because I played the song Sara *every* day as they were all coming into the studio, and *finally* at one point, Mick said to me, 'I really kinda like this song, and I think I'll try to overdub drums,' because, of course, with Fleetwood Mac you can't just ask them to do that, so you have to trick them. So I tricked them, and even though it ended up at 4:40, at least Sara got out to the world."
~Stevie Nicks, The Other Side of the Mirror Listening Party, Westwood One interview, 1989

"Sara [is my most personal song] It's about myself, and what all of us in Fleetwood Mac were going through at the time. The true version of that song is 16 minutes long. It's a saga with many verses people haven't heard."
~Stevie Nicks, Us magazine, July 1990

 [On whether the line in the song Sara, 'When you build your house, I'll come by' is about Don Henley, whom she was dating at the time?] (laughs) "That is true. He did [build the house]. And I was in it before he finished it."
~Stevie Nicks, Us magazine, July 1990

"I wrote Sara on the piano, by myself. The original Sara was 16 minutes long. Like about nine more verses than what you hear on the record. It got edited down to 14 minutes, down to 11 minutes, down to 9 minutes, down to 7 minutes, down to 4 minutes and 40 seconds. I was to the point where I went, 'Is the word Sara even going to be left in my song?'

I knew that Sara would be very popular because I loved writing that song. I've had more fun writing that... I remember the night I wrote it. I sat up with a very good friend of mine whose name is Sara, who was married to Mick Fleetwood, Sara Fleetwood. She likes to think it's completely about her, but it's really not completely about her. It's about me, about her, about Mick, about Fleetwood Mac. Its about all of us at that point. There's little bits about each one of us in that song and when it had all the other verses it really covered a vast bunch of people. Sara was the kind of song you could fall in love with, because I fell in love with it..."
~Stevie Nicks, Tommy Vance show, May 1994

[Regarding why she does not perform "Sara" in concert anymore] "Sara is the kind of song that is different to do on stage. It makes such a great record - you can go along and add very subtle things which make it work on a record. When you try to do it on stage, you just can't recreate the Sara that's on the record. I couldn't cut anything out of it. It just has to be the whole thing. Maybe one day I'll find a way to do it on stage."
~Stevie Nicks, 1998

"Sara was pretty much about Mick. So, he was the 'great dark wing'. And, ah, it was about everything that was going on at that particular time, too, but he was the... the reason for the, you know, the beginning of it."
~Stevie Nicks, MTV Fanatic, 1998

[Why don't you perform "Sara" live anymore?]
"Because it is a very difficult song to do live. It didn't transfer to stage very well."
~Stevie Nicks, Nicksfix "Ask Stevie" sessions, 2000


"This is a song called 'Always Been a Storm,' and it's, um, kind of in, I suppose, the style of an old folk songwriter that's been taught by Tusk...  it's that kind of song."
~Stevie Nicks, Australian interview, 1979


[Regarding the inspiration for Sisters of the Moon]"...we [Fleetwood Mac] had played for four months and I thought I was going to die. I really did think that I might die. I mean, I am strong, but this is in the beginning. I have learned now how to do it, but at that point I had not learned. And I walked up in front of a mirror, and I looked at myself, and I was sick. I went, 'Oh, poor, sad little thing. She must be dying.' And I stood back and said, 'But this is you. So then, therefore, *you* must be dying.' And then I stood back and said, 'but you don't want to die, and neither do I. So we must change this now.' And that's where I said, and so be my sister, don't let me down this time. 'Cause I'm not going out on some cloud without you. And you look like you're on your way out now. And I'm not going with you. So... we better separate this and put it back together... and realize that this is not such a frail creature, and that this frail creature is certainly not going to go down for Fleetwood Mac, or anybody else... so, 'intense silence as she walked in the room' was me looking at myself."
~Stevie Nicks, Jim Ladd Innerview, 1979

" 'And she was dark at the top of the stairs/and she called' is me saying, 'Don't do this to me,' or 'the people, they love her, and they keep filling up her room...' that's after the gigs, where there's a million people, and you're being pulled every way, and you're going, 'but does anyone... know *my* name?' And they like to wrap her in velvet, like some kind of weird... corpse? Not me. Do it to your other rock and roll stars, baby, but I'm not doing that. I love life too much."
~Stevie Nicks, Jim Ladd Innerview, 1979

"But I was sinking... and I wasn't sinking from drugs, or booze... I was sinking from my own self, letting myself sink. And sort of getting off on the fact that I was so frail and so blonde and so pale, and something like that... it was like my dad was there, and it was something about being with my family, and walking in front of that mirror that clicked it. 'Cause I had looked like that for a month, so it could have clicked anywhere. But there was something about being home and looking at my parents who would say, 'Are you crazy? Where is that little girl that we love? Where is the one who sings in her bedroom until five in the morning and cries, where is *she*? Is she gone?' No, she's not gone... hopefully. And that's what that is, 'so we make our choiced when there is no choice."
~Stevie Nicks, Jim Ladd Innerview, 1979

"We were in Arizona, after a concert that we had done there, about two years ago... long time ago... and I was ill. I was getting sick. I'd been on the road for four months, and I'd never toured before. And I just was falling apart. I was real thin, and real blonde, and real pale, and I wore all black, and my parents were there... I walked in front of a full-length mirror after the gig, and I mean, by that time all of your cheek color is pretty much gone. I  looked transparent to myself. Something made me stop and say, "is this what you want? Are you going to take care of yourself this badly, and let yourself fade? Because you look like you're fading, Stevie." And at that second, I just said, that's it for me. I'm not gonna look like this again. I'm not gonna scare myself again.

[Well, you're lucky you put the brakes on when you did, because a lot of people don't know when to put the brakes on and get it together.]

No. They don't. It's very scary to see yourself in such a weakened... and everybody treats you like you're so fragile, and you feel like a piece of glass, you know. And it's not very much fun. So Sisters of the Moon is about that, because I said 'and so i followed, as friends often do/I cared not for love or money, I think she knew." It was just my spirit saying to me, I really don't want to see this happen to you. And that's what it's about."
~Stevie Nicks, Australian interview, 1979


"This is a song that I wrote, and it's called 'Track a Ghost Through the Fog.' And everybody else calls it 'Angel,' but I call it 'Track a Ghost.' This is rock and roll..."
~Stevie Nicks, Australian interview, 1979

[On whether 'Angel' is an example of her love for Fleetwood Mac] "Oh yeah. 'I still look up.' That goes out on stage now. The 'I knew you would.' It's like, we *all* knew we would. Nobody questions that. That's that knowledge. Somebody wrote me a letter that I read tonight that said, and that special knowledge that I wrote about in 'Crystal,' says 'special knowledge holds truth, bears believing'-- that *is* that special knowledge that we *all* know that we would, at any point, down the line, give up everything else for this band. 'Cause we've done it, time and time again. And it's not a bummer, it's not a forsaken love. It's not a sacrifice. It's the only thing that I want. I will not give that up."
~Stevie Nicks, Jim Ladd Innerview, 1979

[On the line 'so I close my eyes softly/till I become that part of the wind'] "That's from the story, Rhiannon... there's a man, in the story of Rhiannon and his name is Arawn... he was the great lord of darkness-- he's the man who possesses the power to take or give life, but he only takes life because of pain. And, so I wrote something at some point... because Aaron is my father's name, and Aaron is also my brother's name. And Aaron is also my grandfather's name. So Arawn is many things to me. And it says, 'so I close my eyes softly/till I become that part of the wind/that we all long for sometime.' And so Arawn touched the twins with his hand so that they would sleep. And in that sleep there would be no pain. And in that nonexistence of pain there will be happiness. Because it was only given with great love. And this was in the haunted song, and a charmed hour, and this was the angel... of my dreams."
~Stevie Nicks, Jim Ladd Innerview, 1979

[On what the definition of a "charmed hour" is] "The best hour. The best of all your life. Always will reign in your memory and always read through your dreams, and be there when any people hurt you or bring you down, or you suffer, maybe. That haunted song will be there for you. Because that's the Birds of Rhiannon. And that's what that was written about, is the Three Birds of Rhiannon, which always are there, if you need them. And you may black out, and that's what they do, they just take the pain from you, and you wake up and it's alright. And that's the haunted song of Rhiannon... you have to know the story."
~Stevie Nicks, Jim Ladd Innerview, 1979

(Regarding "Angel") "I wanted to write a song that was just silly. But in the end it wasn't silly - it wasn't silly at all."
~Stevie Nicks, Jim Ladd Innerview, 1979

"I wanted to write a rock 'n' roll song. And so it started out being much sillier than it came out. It didn't end up being silly at all. It ended up being very serious, actually. But when I started it I was just... I thought this is good for me since I write so many, like, intense, serious, dark songs that I wanted to write something that was up but... and it starts out that way and it is up, but there is a definite eerieness that goes through that song that I didn't even know was there, until just the other night... when you were filming that."
~Stevie Nicks, Tusk Documentary, 1980

"Angel is a song that I love doing on stage because it makes me feel like an old-time dancehall girl. I love it. I love it."
~Stevie Nicks, Tusk Documentary, 1980


[Although Fleetwood Mac couldn't make it to the star-studded "Music for UNICEF" concert at the United Nations last month, they are donating a new song to the U.N.'s "Year of the Child" fundraising campaign. Written by Stevie Nicks, the tune is titled "Beautiful Child," and it will be included on the Mac's long-awaited new album, now scheduled for summer release.]
"'Beautiful Child' is a lullaby," says Stevie. "It was written two years ago on a Sunday night sometime after midnight, and finished before dawn. It is my most special song....from Fleetwood Mac to the children, with love."
~Circus magazine, 2-13-79

"Beautiful Child is the one that, the writer's royalties are going to the Heart Institute in Arizona, and the publishing royalties are going to UNICEF, for the Year of the Child. So Ithink that's an important song, just because it's gonna be a song that's gonna go away on it's own, and do it's own trip...

[Was that inspired just by children in general?]

No. It's a demo, it was written almost three years ago. But it's a lullabye, even though it wasn't really inspired by children. It was inspired by a lot of things. But... I hope it does well, because if so... they'll probably even pull it as a single, just because it's that song, because it's for charity. And if so, it could make a lot of money... for both of those things, and that would be... I knew from the second I wrote that song that there was a purpose for it, it had a mission of sorts."
~Stevie Nicks, Australian interview, 1979