1 00:00:02,980 --> 00:00:06,340 MUSIC: "The Chain" by Fleetwood Mac 2 00:00:19,420 --> 00:00:22,460 Anything that could happen to a rock'n'roll band 3 00:00:22,460 --> 00:00:24,940 has happened to Fleetwood Mac. 4 00:00:27,500 --> 00:00:29,980 5 decades of hits and sell-out world tours, 5 00:00:29,980 --> 00:00:33,260 over 60 million albums sold worldwide 6 00:00:33,260 --> 00:00:35,380 but at a huge cost. 7 00:00:37,300 --> 00:00:39,300 It breaks my heart what happened. 8 00:00:39,300 --> 00:00:41,980 Multiple break-ups... 9 00:00:41,980 --> 00:00:44,300 I'm not "looking for love", I'm looking out for love. 10 00:00:44,300 --> 00:00:45,380 ..fallouts, 11 00:00:45,380 --> 00:00:46,540 fist fights, 12 00:00:46,540 --> 00:00:48,100 legendary indulgence... 13 00:00:48,100 --> 00:00:50,300 We were like little kids in a toy shop. 14 00:00:50,300 --> 00:00:52,740 ..long-term dependence... 15 00:00:52,740 --> 00:00:54,540 I thought it was going to kill me. 16 00:00:54,540 --> 00:00:56,020 ..and yet... 17 00:00:56,020 --> 00:00:59,660 18 00:00:59,660 --> 00:01:04,060 19 00:01:04,060 --> 00:01:07,620 ..they're still selling out stadiums. 20 00:01:07,620 --> 00:01:11,620 They've been to hell and back but four decades on it's not over yet. 21 00:01:17,100 --> 00:01:20,340 CHEERING AND APPLAUSE 22 00:01:22,500 --> 00:01:25,780 Fleetwood Mac are one of the biggest bands in the world 23 00:01:25,780 --> 00:01:29,860 but, right from the start, that stardom came at a price. 24 00:01:29,860 --> 00:01:31,500 Back at the beginning, 25 00:01:31,500 --> 00:01:34,780 it was a blues band. 26 00:01:34,780 --> 00:01:37,020 BLUES NUMBER PLAYS 27 00:01:43,180 --> 00:01:46,100 Fleetwood Mac were conceived in the heady blues explosion 28 00:01:46,100 --> 00:01:47,820 of 1960s London, 29 00:01:47,820 --> 00:01:52,060 in a scene that would spawn some of our greatest rock legends. 30 00:01:52,060 --> 00:01:54,420 Fleetwood Mac had their own secret weapon - 31 00:01:54,420 --> 00:01:57,940 standing behind Mick Fleetwood and John McVie in this first line-up - 32 00:01:57,940 --> 00:01:59,620 guitarist Peter Green. 33 00:01:59,620 --> 00:02:01,980 Peter picked up a guitar and just... 34 00:02:01,980 --> 00:02:07,500 blossomed immediately into this monster, very individualistic 35 00:02:07,500 --> 00:02:08,700 guitar player. 36 00:02:08,700 --> 00:02:11,660 We're now going to do our latest single... 37 00:02:11,660 --> 00:02:14,300 called Oh Well. 38 00:02:24,620 --> 00:02:29,940 He simply, for me, is the best thing that ever came out of England. 39 00:02:29,940 --> 00:02:31,500 The touch he had, 40 00:02:31,500 --> 00:02:33,780 the songs that he wrote - Oh Well. 41 00:02:50,380 --> 00:02:52,100 About the shape I'm in 42 00:02:52,100 --> 00:02:55,220 And my legs are thin 43 00:02:55,220 --> 00:02:57,260 What I think of you 44 00:02:57,260 --> 00:02:59,660 That you want me to... 45 00:03:01,860 --> 00:03:05,460 When it came to the band looking for a name, 46 00:03:05,460 --> 00:03:07,300 I think it was Peter's 47 00:03:07,300 --> 00:03:10,660 very strong desire not to become... 48 00:03:15,340 --> 00:03:19,180 ..Jeff Beck, Jimmy Page, you know. He just didn't want that. 49 00:03:21,620 --> 00:03:23,660 He wanted to be in a band. 50 00:03:23,660 --> 00:03:26,500 Peter said, "This band's called Fleetwood Mac." 51 00:03:28,020 --> 00:03:31,620 Front man Peter Green had named the band after his rhythm section 52 00:03:31,620 --> 00:03:35,020 but, despite his retiring nature, the band got bigger. 53 00:03:35,020 --> 00:03:39,540 And in 1969, with songs like Albatross going to number one, 54 00:03:39,540 --> 00:03:41,620 they outsold The Beatles. 55 00:03:41,620 --> 00:03:45,980 Peter's response was to try and give away the royalties 56 00:03:45,980 --> 00:03:48,340 to the hits he kept writing. 57 00:03:48,340 --> 00:03:53,780 And the full moon looks... 58 00:03:58,820 --> 00:04:00,820 If you listen to the words, 59 00:04:00,820 --> 00:04:03,620 it's a man crying out for help. 60 00:04:07,940 --> 00:04:10,540 He obviously had the beginnings 61 00:04:10,540 --> 00:04:13,940 of demons creeping into his, er, world. 62 00:04:17,460 --> 00:04:20,260 It breaks my heart what happened. 63 00:04:20,260 --> 00:04:22,900 While on tour in Germany, 64 00:04:22,900 --> 00:04:26,220 Peter Green was met by local scenesters - 65 00:04:26,220 --> 00:04:29,780 Rainer Langhans and the alluring Uschi Obermaier - 66 00:04:29,780 --> 00:04:32,100 who were planning a Bavarian Woodstock 67 00:04:32,100 --> 00:04:34,420 and invited him back to their commune. 68 00:04:34,420 --> 00:04:39,060 I think we'd just done the gig and then these two people 69 00:04:39,060 --> 00:04:41,220 dangled this lady in front of him - 70 00:04:41,220 --> 00:04:42,820 she was very pretty - 71 00:04:42,820 --> 00:04:45,100 and they went away to this schloss, 72 00:04:45,100 --> 00:04:50,820 and that's where he did acid and... all it took was a couple of tabs... 73 00:04:50,820 --> 00:04:53,060 and he never came back. 74 00:04:54,860 --> 00:04:58,300 MUSIC: "The Green Manilishi (With The Two Pronged Crown)" 75 00:05:05,620 --> 00:05:08,140 Mick and John carried on without Peter 76 00:05:08,140 --> 00:05:12,860 and in 1970 were joined by John's wife, blues singer Christine McVie. 77 00:05:12,860 --> 00:05:16,460 But they were less lucky with guitarists and front men. 78 00:05:16,460 --> 00:05:19,420 In 1971, on a US tour, 79 00:05:19,420 --> 00:05:21,580 Jeremy Spencer left his hotel 80 00:05:21,580 --> 00:05:24,420 to visit a book store on Hollywood Boulevard 81 00:05:24,420 --> 00:05:28,180 and was recruited by a religious cult - The Children of God. 82 00:05:28,180 --> 00:05:31,860 The children of God 83 00:05:31,860 --> 00:05:33,620 84 00:05:33,620 --> 00:05:35,940 In 1972, guitarist Danny Kirwan, 85 00:05:35,940 --> 00:05:39,940 who shared the fateful German acid trip with Peter Green, 86 00:05:39,940 --> 00:05:42,540 exited the band after smashing his guitar 87 00:05:42,540 --> 00:05:44,820 against a dressing room wall in LA. 88 00:05:44,820 --> 00:05:47,180 In 1973, 89 00:05:47,180 --> 00:05:50,500 they released a new album with guitarist Bob Weston, 90 00:05:50,500 --> 00:05:54,180 who promptly had an affair with Mick's wife, model Jenny Boyd, 91 00:05:54,180 --> 00:05:56,620 and was asked to leave. 92 00:05:56,620 --> 00:05:58,620 By 1974, Fleetwood Mac - 93 00:05:58,620 --> 00:06:03,540 who had relocated to LA in the hope of breaking into America - 94 00:06:03,540 --> 00:06:06,780 were just another British rock band doing the rounds, 95 00:06:06,780 --> 00:06:08,780 down to just the rhythm section, 96 00:06:08,780 --> 00:06:11,300 a female songwriter reluctant to front the band 97 00:06:11,300 --> 00:06:15,260 and their latest guitarist, Bob Welch. 98 00:06:15,260 --> 00:06:21,340 Bob Welch was our guitar player and made several great albums with us. 99 00:06:21,340 --> 00:06:26,500 And he, at very short notice, at the end of a tour, 100 00:06:26,500 --> 00:06:31,100 the last gig, he decided, "I'm gone. I'm done. Out." 101 00:06:33,340 --> 00:06:37,100 Meanwhile, a young American 102 00:06:37,100 --> 00:06:39,300 folk/rock duo called Buckingham Nicks 103 00:06:39,300 --> 00:06:42,300 had also moved to Hollywood in search of musical fame. 104 00:06:42,300 --> 00:06:47,060 105 00:06:48,180 --> 00:06:51,980 Coming from the growing genre of confessional songwriting, 106 00:06:51,980 --> 00:06:55,100 the couple had seen their debut album garner critical acclaim 107 00:06:55,100 --> 00:06:56,460 but not much else. 108 00:06:56,460 --> 00:07:00,580 Dropped by their label eight years after becoming an item, 109 00:07:00,580 --> 00:07:02,500 they were back to square one - 110 00:07:02,500 --> 00:07:05,900 sharing a single room and waiting on tables. 111 00:07:05,900 --> 00:07:09,900 I'd get home from my waitress job and we'd have dinner and then 112 00:07:09,900 --> 00:07:12,940 we'd start working at nine at night, and we'd work till three, 113 00:07:12,940 --> 00:07:15,180 go to bed, get back up and he'd work on the music 114 00:07:15,180 --> 00:07:17,260 and I'd go and be a waitress. 115 00:07:17,260 --> 00:07:24,620 So that's really what went on through 1974 till the last day of 1974. 116 00:07:24,620 --> 00:07:27,700 It was about a year and three months from when it came out 117 00:07:27,700 --> 00:07:29,980 till the day that Mick Fleetwood called us. 118 00:07:33,500 --> 00:07:35,340 MICK: Met a guy in a supermarket 119 00:07:35,340 --> 00:07:37,780 who I knew vaguely. He said, "What are you doing?" 120 00:07:37,780 --> 00:07:39,900 I said, "Actually, I'm looking for a studio." 121 00:07:39,900 --> 00:07:42,300 He said, "I've started working at Sound City." 122 00:07:42,300 --> 00:07:45,540 Whish is the studio in the valley. 123 00:07:45,540 --> 00:07:47,420 And we drove to Sound City 124 00:07:47,420 --> 00:07:50,060 and walked into the studio. 125 00:07:50,060 --> 00:07:53,540 And Keith Olson was an engineer 126 00:07:53,540 --> 00:07:55,460 and I literally just was saying, 127 00:07:55,460 --> 00:07:59,260 "Well, what does the room sound like?" Keith put Buckingham Nicks, 128 00:07:59,260 --> 00:08:02,740 the master tape, on, which he'd produced with Lindsey and Stevie, 129 00:08:02,740 --> 00:08:05,020 just for something to play. 130 00:08:05,020 --> 00:08:09,460 And that's where I heard Lindsey's guitar playing. 131 00:08:09,460 --> 00:08:14,900 ELECTRIC GUITAR SOLO PLAYS 132 00:08:14,900 --> 00:08:18,540 I just happened to walk in to Studio A. I walked in 133 00:08:18,540 --> 00:08:23,100 right in the middle of this blistering guitar solo at the end 134 00:08:23,100 --> 00:08:25,260 and here's this really tall, skinny guy 135 00:08:25,260 --> 00:08:27,460 in the room just kind of... 136 00:08:27,460 --> 00:08:30,060 doing this and I really didn't know who it was. 137 00:08:32,340 --> 00:08:36,380 And then a week later I got a call form Mick and he said, 138 00:08:36,380 --> 00:08:40,380 "Our guitarist Bob Welch is leaving and would you like to join the band?" 139 00:08:40,380 --> 00:08:43,380 I didn't think about Stevie one way or the other 140 00:08:43,380 --> 00:08:47,060 because I was looking for a guitar player. Stevie's, quote, 141 00:08:47,060 --> 00:08:50,500 "never forgiven me". It was like, "Oh, you didn't want me, 142 00:08:50,500 --> 00:08:54,900 "you wanted Lindsey, right?" Which, right at the beginning, was true. 143 00:08:54,900 --> 00:08:58,980 And very quickly we realised that they were totally joined at the hip. 144 00:08:58,980 --> 00:09:04,900 And I said, "Well, I'll have to... I'll have to talk to my girlfriend 145 00:09:04,900 --> 00:09:07,460 "about that but, if we do, 146 00:09:07,460 --> 00:09:10,540 "you're going to have to take my girlfriend too." 147 00:09:13,620 --> 00:09:18,100 A meeting was arranged that would define the future of Fleetwood Mac. 148 00:09:19,780 --> 00:09:22,340 So we all met at a Mexican restaurant 149 00:09:22,340 --> 00:09:24,460 on Third Street in Los Angeles 150 00:09:24,460 --> 00:09:26,860 and we all got on like a house on fire. 151 00:09:26,860 --> 00:09:30,700 Everyone thought that it was a little unique that there were two women. 152 00:09:30,700 --> 00:09:34,100 It was certainly unique that there were two couples. 153 00:09:36,060 --> 00:09:40,420 And the only criteria with Christine was, "We have to meet, 154 00:09:40,420 --> 00:09:43,740 "because I just want to know that I get on with her 155 00:09:43,740 --> 00:09:48,020 "because there can be nothing worse that two cat-calling women 156 00:09:48,020 --> 00:09:51,100 "that don't get on in a band." And she was right. 157 00:09:51,100 --> 00:09:56,220 CHRISTINE: In the musical environment I hadn't worked with another girl. 158 00:09:56,220 --> 00:09:58,980 When I met her, I instantly liked her, 159 00:09:58,980 --> 00:10:02,340 not because she was like me, quite the contrary - 160 00:10:02,340 --> 00:10:04,620 we were totally unalike, me and Stevie. 161 00:10:04,620 --> 00:10:06,300 We were complete opposites 162 00:10:06,300 --> 00:10:08,820 at opposite ends of the personality spectrum. 163 00:10:08,820 --> 00:10:10,820 STEVIE: I said, "You know, I think 164 00:10:10,820 --> 00:10:13,540 "this woman Christine McVie is pretty fantastic 165 00:10:13,540 --> 00:10:16,220 "and this would give me somebody to hang out with." 166 00:10:18,660 --> 00:10:21,900 In 1975, the new line-up gathered at Sound City 167 00:10:21,900 --> 00:10:26,260 to record their first album together and figure out how to marry 168 00:10:26,260 --> 00:10:28,380 a laid-back British blues trio 169 00:10:28,380 --> 00:10:31,620 to a folk/rock duo with Californian ambition. 170 00:10:31,620 --> 00:10:33,540 LINDSEY: We had songs 171 00:10:33,540 --> 00:10:36,140 that were probably being tooled up 172 00:10:36,140 --> 00:10:39,380 to be maybe another Buckingham Nicks album. 173 00:10:39,380 --> 00:10:42,380 Some of those songs went on to the first album they recorded 174 00:10:42,380 --> 00:10:44,780 with Fleetwood Mac, and Rhiannon was one of them. 175 00:10:44,780 --> 00:10:47,740 She writes on the piano in a very, very rudimentary manner. 176 00:10:47,740 --> 00:10:50,260 It's very much like this. It's... 177 00:10:50,260 --> 00:10:53,220 MIMICS PIANO KEYS IN RHIANNON 178 00:10:57,180 --> 00:11:01,140 My tendency is to add rhythm and to rock it up so just... 179 00:11:01,140 --> 00:11:04,060 bringing that thumb style that I have 180 00:11:04,060 --> 00:11:06,780 which is sort of somewhere between classical and folk. 181 00:11:06,780 --> 00:11:07,940 PLAYS RHIANNON 182 00:11:13,140 --> 00:11:15,620 I didn't know anything about Wales at the time 183 00:11:15,620 --> 00:11:18,180 but I always thought it was kind of like a Welsh 184 00:11:18,180 --> 00:11:19,580 country song, you know? 185 00:11:21,820 --> 00:11:24,700 PLAYS BASS LINE 186 00:11:29,020 --> 00:11:32,860 like the bells in the night 187 00:11:32,860 --> 00:11:35,500 188 00:11:36,660 --> 00:11:39,700 like a bird in flight 189 00:11:39,700 --> 00:11:42,460 190 00:11:43,580 --> 00:11:47,420 A woman 191 00:11:47,420 --> 00:11:50,780 192 00:11:50,780 --> 00:11:52,060 193 00:11:52,060 --> 00:11:57,180 MICK: We rehearsed before we went in the studio and my sense was, 194 00:11:57,180 --> 00:12:01,020 "My God, we're home and dry." Lindsey's a great performer 195 00:12:01,020 --> 00:12:07,300 and Stevie was IMMEDIATELY in charge of her arena. 196 00:12:10,100 --> 00:12:14,220 The whole spell that she put over audiences with all the movement 197 00:12:14,220 --> 00:12:16,580 and all the lovely stuff. 198 00:12:16,580 --> 00:12:18,940 199 00:12:18,940 --> 00:12:23,300 Love's a state of mind... 200 00:12:23,300 --> 00:12:26,140 CHRIS SALEWICZ: She had the two voices, 201 00:12:26,140 --> 00:12:28,860 one of which is the kind of archetypal West Coast, 202 00:12:28,860 --> 00:12:35,540 female singer/songwriter, is, is, lilt - very sweet, very girly. 203 00:12:35,540 --> 00:12:37,820 204 00:12:37,820 --> 00:12:41,100 205 00:12:41,100 --> 00:12:46,100 Love is all you find... 206 00:12:46,100 --> 00:12:50,580 But then there's also the almost Janis Joplin-like blues belting, 207 00:12:50,580 --> 00:12:53,260 both of which she uses to fine effect in Rhiannon, 208 00:12:53,260 --> 00:12:55,860 which, of course, was her stage tour de force. 209 00:12:55,860 --> 00:12:59,700 Take me with the sky 210 00:13:02,540 --> 00:13:08,620 Take me with the sky... 211 00:13:08,620 --> 00:13:13,060 KEN CAILLAT: I'll never forget that one. It was a 1976 performance 212 00:13:13,060 --> 00:13:16,860 and she was just screaming Rhiannon. I can remember 213 00:13:16,860 --> 00:13:18,980 her vocal cords were just stretching out, 214 00:13:18,980 --> 00:13:22,260 you know, the muscles were stretching and she went 215 00:13:22,260 --> 00:13:26,380 a complete octave above where anybody could take that song. 216 00:13:26,380 --> 00:13:31,740 Rhiannon 217 00:13:31,740 --> 00:13:37,140 All that's left 218 00:13:37,140 --> 00:13:40,940 219 00:13:40,940 --> 00:13:45,860 Rhiannon, you can't leave her 220 00:13:45,860 --> 00:13:49,740 221 00:13:49,740 --> 00:13:54,980 IMPROVISED BLUESY LYRIC 222 00:13:54,980 --> 00:13:58,260 223 00:13:58,260 --> 00:14:03,580 224 00:14:06,380 --> 00:14:09,740 The woman who had been the plus one in the new line-up 225 00:14:09,740 --> 00:14:11,340 gave the band the hit single 226 00:14:11,340 --> 00:14:13,780 that propelled their album up the US charts. 227 00:14:13,780 --> 00:14:18,460 MUSIC: "The Chain" by Fleetwood Mac 228 00:14:18,460 --> 00:14:21,820 The band also realised that the key to their success 229 00:14:21,820 --> 00:14:24,700 was a luxurious, simple sound. 230 00:14:24,700 --> 00:14:26,900 "Less is more" 231 00:14:26,900 --> 00:14:29,100 dictated the sound 232 00:14:29,100 --> 00:14:33,500 of the then Stevie and Lindsey incarnation of Fleetwood Mac. 233 00:14:33,500 --> 00:14:35,420 When we joined Fleetwood Mac, 234 00:14:35,420 --> 00:14:37,820 it was kind of an exercise in paring down. 235 00:14:37,820 --> 00:14:40,300 It was a kick and a snare and a bass. 236 00:14:40,300 --> 00:14:46,580 So keep it simple and just...and let the voices and Lindsey's guitars 237 00:14:46,580 --> 00:14:48,380 layer the rest of it. 238 00:14:48,380 --> 00:14:52,300 We didn't even know what a harmony was with Peter Green 239 00:14:52,300 --> 00:14:53,900 and then, bingo! 240 00:14:53,900 --> 00:14:58,140 The blend of the vocals - you know, Chris's voice is slightly husky 241 00:14:58,140 --> 00:15:03,020 and Stevie's and Lindsey's - that blend was... 242 00:15:04,180 --> 00:15:05,660 Wow! 243 00:15:05,660 --> 00:15:08,580 It was like, "Yeah, this is gonna happen." 244 00:15:11,780 --> 00:15:15,220 245 00:15:15,220 --> 00:15:19,900 246 00:15:22,460 --> 00:15:27,700 In 1977, as the band started writing songs for their next album, 247 00:15:27,700 --> 00:15:32,060 they were primed by their label for even bigger success... 248 00:15:32,060 --> 00:15:34,180 with one catch. 249 00:15:36,500 --> 00:15:38,780 MICK: Going in to the making of Rumours, 250 00:15:38,780 --> 00:15:44,260 all of us, like a convergence - Stevie and Lindsey, John and Chris 251 00:15:44,260 --> 00:15:47,380 and me and Jenny, my then wife - 252 00:15:47,380 --> 00:15:53,500 all five band members were going in to, you know, an emotional hiccup, 253 00:15:53,500 --> 00:15:55,020 to say the least. 254 00:15:55,020 --> 00:15:56,460 When we joined Fleetwood Mac, 255 00:15:56,460 --> 00:15:58,700 everything was rocky between me and Lindsey. 256 00:16:02,060 --> 00:16:08,220 We had just our own sense of, um, displacement. 257 00:16:10,940 --> 00:16:14,820 I think we all kind of made a little silent vow, 258 00:16:14,820 --> 00:16:17,380 let's fix these relationships for right now, 259 00:16:17,380 --> 00:16:19,180 because we cannot break up. 260 00:16:19,180 --> 00:16:22,260 We just can't. If we do, there will be no Fleetwood Mac. 261 00:16:22,260 --> 00:16:27,100 PIANO PLAYS: "Don't Stop" 262 00:16:30,740 --> 00:16:32,860 MICK: That's Rumours. 263 00:16:32,860 --> 00:16:36,700 That's the canopy that led us in to the making of that album. 264 00:16:36,700 --> 00:16:39,740 and don't want to smile... 265 00:16:39,740 --> 00:16:44,460 And within that framework was this incredible... 266 00:16:44,460 --> 00:16:47,900 you know, cross talk of laser beams of emotion 267 00:16:47,900 --> 00:16:51,580 going from one personality to the other. 268 00:16:51,580 --> 00:16:55,980 269 00:16:55,980 --> 00:17:00,020 270 00:17:00,020 --> 00:17:03,580 271 00:17:03,580 --> 00:17:07,980 Yesterday's gone... 272 00:17:07,980 --> 00:17:13,100 Don't Stop, you know, is certainly Chris saying, 273 00:17:13,100 --> 00:17:15,940 "I love you but I'm not in love with you," to John. 274 00:17:15,940 --> 00:17:20,300 You go back and you read them and you go, "Oh! Well, OK." 275 00:17:23,620 --> 00:17:27,500 276 00:17:27,500 --> 00:17:30,380 277 00:17:32,100 --> 00:17:35,140 that it's true 278 00:17:35,140 --> 00:17:39,060 279 00:17:39,060 --> 00:17:42,460 Somebody's playing a song and everybody in the room's going... 280 00:17:42,460 --> 00:17:46,300 "That's about me, right?" You know? And, "Of course it's about you!" 281 00:17:46,300 --> 00:17:50,820 But what you have to do is you have to let that go 282 00:17:50,820 --> 00:17:52,660 because if you don't let that go 283 00:17:52,660 --> 00:17:54,860 you can never play these songs for anybody. 284 00:17:54,860 --> 00:17:59,020 thinking about tomorrow 285 00:17:59,020 --> 00:18:02,940 286 00:18:02,940 --> 00:18:06,420 My songs were all about Lindsey and Lindsey's songs were all about me. 287 00:18:06,420 --> 00:18:08,460 You had to blow it off and play the song. 288 00:18:08,460 --> 00:18:11,540 It was an exercise in denial, it really was. That was the only way 289 00:18:11,540 --> 00:18:14,460 we could get through it. You had to put your feelings over here 290 00:18:14,460 --> 00:18:17,220 and get on with what needed to be done in the rest of the room. 291 00:18:18,220 --> 00:18:21,500 292 00:18:21,500 --> 00:18:25,540 I don't think we were really aware of it at the time 293 00:18:25,540 --> 00:18:27,540 until it was more or less completed, 294 00:18:27,540 --> 00:18:28,780 and then John, I think, 295 00:18:28,780 --> 00:18:31,660 made some reference to it sounding like a bunch of rumours. 296 00:18:31,660 --> 00:18:35,300 I think that's how we ended up calling the album that. 297 00:18:35,300 --> 00:18:38,340 And the end result was just very moving 298 00:18:38,340 --> 00:18:41,660 when you listened to it back-to-back. Everything strung together 299 00:18:41,660 --> 00:18:44,140 as it was, like something of a diary. 300 00:18:49,860 --> 00:18:53,060 CHRIS SALEWICZ: John McVie liked a drink and I think he always had done 301 00:18:53,060 --> 00:18:55,220 and he was part of that whole tradition 302 00:18:55,220 --> 00:18:59,620 of English rock'n'rollers from the '60s, from John Mayall's era, 303 00:18:59,620 --> 00:19:03,420 who just liked to go out and get slaughtered basically. 304 00:19:03,420 --> 00:19:05,260 And, you know, living in LA, 305 00:19:05,260 --> 00:19:08,540 you know, he was still a member of John Mayall's brain damage club. 306 00:19:08,540 --> 00:19:10,660 I'm a legend in my own mind. 307 00:19:13,060 --> 00:19:14,900 I was over the top. 308 00:19:14,900 --> 00:19:16,580 Way over the top, you know. 309 00:19:18,140 --> 00:19:22,820 Beyond the pale, as it were, and... she couldn't handle it any more. 310 00:19:22,820 --> 00:19:28,180 And it happened when we were doing something down in Florida, 311 00:19:28,180 --> 00:19:31,060 um, that I got the word. 312 00:19:31,060 --> 00:19:37,460 BAND PLAYS: "You Make Loving Fun" 313 00:19:37,460 --> 00:19:40,380 Basically we weren't a unit any more 314 00:19:40,380 --> 00:19:44,980 and she'd rather be with our lighting director than me. 315 00:19:45,900 --> 00:19:50,660 316 00:19:50,660 --> 00:19:53,500 If the album gave Christine a chance to say to John 317 00:19:53,500 --> 00:19:58,180 "don't stop thinking about tomorrow", it also gave her a chance 318 00:19:58,180 --> 00:20:01,540 to tell her lighting director that he'd made loving fun... 319 00:20:01,540 --> 00:20:05,660 320 00:20:05,660 --> 00:20:09,340 ..but Lindsey and Stevie weren't exactly singing along. 321 00:20:09,340 --> 00:20:12,700 KEN CAILLAT: They were both sitting on stools next to each other 322 00:20:12,700 --> 00:20:16,180 singing into two microphones. We had to stop the tape or something. 323 00:20:16,180 --> 00:20:19,540 Suddenly they were screaming at each other, "Damn you! Go to hell!" 324 00:20:19,540 --> 00:20:23,140 And I, honestly, was embarrassed. I didn't know what to do. 325 00:20:23,140 --> 00:20:25,140 I rewound the tape as fast as I could. 326 00:20:25,140 --> 00:20:26,580 The moment I hit play, 327 00:20:26,580 --> 00:20:29,860 they were back into singing You Make Loving Fun again, 328 00:20:29,860 --> 00:20:31,940 which I thought was very ironic. 329 00:20:31,940 --> 00:20:36,180 Rumours was recorded at the Record Plant in San Francisco 330 00:20:36,180 --> 00:20:39,580 and one afternoon Stevie found a hidden corner of the studio 331 00:20:39,580 --> 00:20:41,460 to privately gather her thoughts 332 00:20:41,460 --> 00:20:43,860 on her failing relationship with Lindsey. 333 00:20:43,860 --> 00:20:47,540 I was just hanging out in the rest of the Record Plant and Sly Stone 334 00:20:47,540 --> 00:20:51,180 had a studio there and the people that owned the studio let me in. 335 00:20:51,180 --> 00:20:52,740 I went in there with my Fender 336 00:20:52,740 --> 00:20:55,380 and I spent the afternoon in there and I wrote Dreams. 337 00:20:55,380 --> 00:20:58,300 THEY PLAY: "Dreams" 338 00:20:59,820 --> 00:21:03,180 And, um, they really liked it. 339 00:21:03,180 --> 00:21:04,980 So we recorded it the next day 340 00:21:04,980 --> 00:21:09,620 and this was before the final blow-up of me and Lindsey. But we were close, 341 00:21:09,620 --> 00:21:12,100 but we hadn't had that final blow-up yet. 342 00:21:12,100 --> 00:21:14,940 343 00:21:14,940 --> 00:21:19,820 344 00:21:19,820 --> 00:21:22,100 "Now, there you go again You say you want your freedom 345 00:21:22,100 --> 00:21:23,620 "Who am I to keep you down?" 346 00:21:23,620 --> 00:21:27,940 Um, I really was the one that wanted my freedom... 347 00:21:27,940 --> 00:21:29,940 at that point, 348 00:21:29,940 --> 00:21:33,180 um, because I just wasn't happy in the relationship any more. 349 00:21:33,180 --> 00:21:36,900 The relationship, in my opinion, had become too dark, 350 00:21:36,900 --> 00:21:38,380 and too obsessive 351 00:21:38,380 --> 00:21:40,100 and too heavy. 352 00:21:40,100 --> 00:21:43,140 I just was looking for some spring air. 353 00:21:43,140 --> 00:21:46,100 I was just looking to breathe again. 354 00:21:46,100 --> 00:21:52,580 when it's raining 355 00:21:54,780 --> 00:22:00,100 when they're playing 356 00:22:01,980 --> 00:22:06,820 and they will go 357 00:22:10,220 --> 00:22:16,540 you'll know... 358 00:22:16,540 --> 00:22:19,940 I think the thing about Stevie Nicks is her style of writing 359 00:22:19,940 --> 00:22:24,500 is much more pastoral, whimsical, West Coast hippie, really. 360 00:22:24,500 --> 00:22:29,660 And Lindsey Buckingham's style is a much tougher, 361 00:22:29,660 --> 00:22:32,980 almost punkier sound actually. 362 00:22:38,020 --> 00:22:41,900 Lindsey, of course, had a riposte to Stevie's take on their relationship. 363 00:22:41,900 --> 00:22:46,660 Complete with a dramatic opening and a rollicking backbeat. 364 00:22:46,660 --> 00:22:49,780 Um, I had this idea. 365 00:22:49,780 --> 00:22:56,380 It was actually taken from Street Fighting Man by the Rolling Stones. 366 00:22:56,380 --> 00:23:01,900 Where Charlie Watson's going, "Um, um, pah, boom, boom, boom." 367 00:23:01,900 --> 00:23:06,260 And Mick didn't wanna... he couldn't quite get that 368 00:23:06,260 --> 00:23:08,580 and he did his own thing. DRUMS BEAT WITH FOOT 369 00:23:08,580 --> 00:23:11,580 He did a four-four and he went, "Um, boom, boom, boom..." 370 00:23:11,580 --> 00:23:14,500 DRUMS BEAT 371 00:23:18,940 --> 00:23:23,540 Isn't the right thing to do 372 00:23:25,780 --> 00:23:30,860 the things that I feel? 373 00:23:30,860 --> 00:23:36,140 Go Your Own Way - it's a bittersweet testimony 374 00:23:36,140 --> 00:23:38,820 from a partner to another partner. 375 00:23:38,820 --> 00:23:41,900 Well, I always looked at Go Your Own Way as Lindsey's Dreams. 376 00:23:41,900 --> 00:23:44,620 377 00:23:44,620 --> 00:23:50,460 My Dreams was my kind of airy-fairy, spirituality, sang, 378 00:23:50,460 --> 00:23:52,780 "When the rain washes you clean, you'll know." 379 00:23:52,780 --> 00:23:55,260 In other words, we're all gonna come out of this. 380 00:23:55,260 --> 00:23:58,620 And, Lindsey, you and I will come out of this and we'll be friends. 381 00:23:58,620 --> 00:24:00,300 And it'll be OK. 382 00:24:00,300 --> 00:24:03,140 And Lindsey's Dreams, which was Go Your Own Way, 383 00:24:03,140 --> 00:24:04,660 was angry and nasty. 384 00:24:04,660 --> 00:24:06,820 385 00:24:06,820 --> 00:24:10,460 And in my opinion, extremely disrespectful, 386 00:24:10,460 --> 00:24:12,820 to say "shacking up". 387 00:24:14,020 --> 00:24:19,220 Shacking up's all you want to do. 388 00:24:21,060 --> 00:24:25,540 And me, lady-like, prudey Stevie, 389 00:24:25,540 --> 00:24:29,740 which I am, was very offended, 390 00:24:29,740 --> 00:24:34,460 by him saying "shacking up is all you want to do". 391 00:24:34,460 --> 00:24:37,260 Because I was not in any kind of a shacking-up mood. 392 00:24:37,260 --> 00:24:38,860 I was not shacking up with anybody. 393 00:24:38,860 --> 00:24:41,940 394 00:24:41,940 --> 00:24:46,700 another lonely day... 395 00:24:46,700 --> 00:24:52,180 It may be a rather truthful and blunt observation. 396 00:24:52,180 --> 00:24:58,060 But...you know, that's the way you write songs. 397 00:25:07,780 --> 00:25:10,780 When I was hired to do the job, I didn't understand. 398 00:25:10,780 --> 00:25:13,420 Lindsey'd always refused to sing his lyrics. 399 00:25:13,420 --> 00:25:17,100 And I found out later that the reason he wasn't singing the lyrics 400 00:25:17,100 --> 00:25:19,740 was because he knew it'd make Stevie mad. 401 00:25:19,740 --> 00:25:22,220 Lindsey and I broke up, like, on the last day. 402 00:25:24,020 --> 00:25:27,260 And we had a big fight. I don't remember what the fight was about. 403 00:25:27,260 --> 00:25:30,300 But we were getting ready to go home 404 00:25:30,300 --> 00:25:34,820 and I basically said to him, "Well, I'll pack the car and you drive it. 405 00:25:34,820 --> 00:25:36,980 "I'm flying home and you drive." 406 00:25:36,980 --> 00:25:38,220 And we were done. 407 00:25:39,580 --> 00:25:40,780 Done. 408 00:25:54,460 --> 00:25:58,900 Dreams gave the band their first number-one single in America, 409 00:25:58,900 --> 00:26:00,900 as Rumours hit the ground running, 410 00:26:00,900 --> 00:26:03,580 selling 200,000 copies a day. 411 00:26:03,580 --> 00:26:07,620 Adult-oriented rock had truly arrived. 412 00:26:07,620 --> 00:26:14,140 The success of that album was as much about people investing in us, 413 00:26:14,140 --> 00:26:18,420 as people, and realising that a lot of this music was actually 414 00:26:18,420 --> 00:26:20,100 cross-dialogues to each other. 415 00:26:20,100 --> 00:26:23,820 You know, Lindsey Buckingham and Stevie Nicks are just tearing apart... 416 00:26:23,820 --> 00:26:26,660 they're pulling down the curtains of the bedroom. 417 00:26:26,660 --> 00:26:30,340 They're opening the doors wide. What's really going on in here? 418 00:26:30,340 --> 00:26:32,660 All the group's neuroses are laid bare. 419 00:26:32,660 --> 00:26:35,540 It's that blend of the British blues sensibility 420 00:26:35,540 --> 00:26:40,260 with this almost neurotic and actually absolutely heartfelt 421 00:26:40,260 --> 00:26:41,900 lyric writing. 422 00:26:41,900 --> 00:26:43,780 There's a darkness to it. 423 00:26:43,780 --> 00:26:49,060 Where that's been this band's saving grace, you know? 424 00:26:49,060 --> 00:26:54,180 Where...it started in my mind with Peter Green. 425 00:26:54,180 --> 00:27:01,580 It's accessible and it's sort of pop music, but not. 426 00:27:05,860 --> 00:27:09,220 There was one song on Rumours that wasn't released as a single, 427 00:27:09,220 --> 00:27:12,420 but became a show-stopper and a kind of anthem for the band. 428 00:27:12,420 --> 00:27:14,580 The Chain. 429 00:27:18,860 --> 00:27:23,100 It's ironic because it is a song about keeping together 430 00:27:23,100 --> 00:27:28,660 and somehow finding the tools and the vocabulary to not only do it 431 00:27:28,660 --> 00:27:30,660 in the moment, but to keep doing it. 432 00:27:30,660 --> 00:27:33,260 I mean, it's like nobody, no matter how bad it got, 433 00:27:33,260 --> 00:27:35,140 nobody didn't want to be in the band. 434 00:27:35,140 --> 00:27:37,180 Nobody wanted to get out of the band. 435 00:27:37,180 --> 00:27:40,500 So, it was like, you know, the band was number-one priority. 436 00:27:40,500 --> 00:27:44,580 So it's like...the relationships did not override the band. 437 00:27:44,580 --> 00:27:49,700 Keep us together 438 00:27:49,700 --> 00:27:52,700 439 00:27:52,700 --> 00:27:56,380 Keep us together 440 00:27:56,380 --> 00:27:58,620 441 00:27:58,620 --> 00:27:59,780 442 00:27:59,780 --> 00:28:03,020 Rumours made Fleetwood Mac the biggest band in the world. 443 00:28:03,020 --> 00:28:06,340 They even had their own star on Hollywood Boulevard. 444 00:28:06,340 --> 00:28:11,620 But like Peter Green before, success sat uneasily with front man Lindsey, 445 00:28:11,620 --> 00:28:15,460 who felt the band were in danger of becoming dinosaurs. 446 00:28:15,460 --> 00:28:18,260 He probably would have left Fleetwood Mac. 447 00:28:18,260 --> 00:28:22,860 He came up to my house. We spent a couple of days talking 448 00:28:22,860 --> 00:28:25,260 about what he wanted to do. 449 00:28:25,260 --> 00:28:30,300 It was all about Lindsey's thing of - we've gotta go forward. 450 00:28:30,300 --> 00:28:33,980 PUNK MUSIC 451 00:28:33,980 --> 00:28:37,500 After Rumours in 1977, 452 00:28:37,500 --> 00:28:40,580 a new wave of young bands had arrived. 453 00:28:40,580 --> 00:28:43,660 And Lindsey, listening to the Clash and Talking Heads, 454 00:28:43,660 --> 00:28:45,700 was desperate for the band to experiment. 455 00:28:48,140 --> 00:28:51,660 In 1979, Fleetwood Mac released an elaborately packaged double album 456 00:28:51,660 --> 00:28:55,220 and spent the industry's biggest recording budget to date... 457 00:28:56,860 --> 00:28:58,300 ..on this. 458 00:28:58,300 --> 00:29:01,860 MUSIC: "The Ledge" by Fleetwood Mac 459 00:29:07,060 --> 00:29:09,660 Countin' on my toes... 460 00:29:09,660 --> 00:29:12,260 NEWSREEL: ..four billion dollar-a-year record industry 461 00:29:12,260 --> 00:29:14,980 experienced an 11% drop in sales. 462 00:29:14,980 --> 00:29:16,940 Executives felt that one of the albums 463 00:29:16,940 --> 00:29:20,580 that could bring buyers back into the stores would be Fleetwood Mac's 464 00:29:20,580 --> 00:29:22,460 next release. 465 00:29:22,460 --> 00:29:26,700 Tusk was a different-sounding record than Rumours. 466 00:29:26,700 --> 00:29:30,020 I was all ready to go in and make another Rumours. 467 00:29:30,020 --> 00:29:33,540 But Lindsey had different ideas. 468 00:29:33,540 --> 00:29:39,700 He... Every idea that I suggested, sound-wise, he wanted the opposite. 469 00:29:39,700 --> 00:29:43,020 Countin' on my toes 470 00:29:43,020 --> 00:29:46,220 Watchin' how it grows... 471 00:29:46,220 --> 00:29:49,900 The record company wanted us to really just make another Rumours. 472 00:29:49,900 --> 00:29:52,540 And Lindsey was really offended by that. 473 00:29:52,540 --> 00:29:57,460 And Lindsey is one of those people that will go up on the cross 474 00:29:57,460 --> 00:29:59,620 to make a point, and die. 475 00:30:01,340 --> 00:30:03,620 Lindsey was this volatile character. 476 00:30:03,620 --> 00:30:05,620 He was kind of a whacked-out guy. 477 00:30:05,620 --> 00:30:10,140 I remember one day, and this was when he had this big kind of afro, 478 00:30:10,140 --> 00:30:12,700 I looked up and all his hair was gone. 479 00:30:12,700 --> 00:30:15,060 Just all...all irregular. 480 00:30:15,060 --> 00:30:16,700 And I said, "What happened?" 481 00:30:16,700 --> 00:30:19,580 And he said, "I was just in my shower and I freaked out. 482 00:30:19,580 --> 00:30:23,380 "And I just cut it all off." And he really said, "Yeah, cut it all out." 483 00:30:23,380 --> 00:30:26,580 And I said, "OK, well, we're all long hair and beards 484 00:30:26,580 --> 00:30:28,780 "and you look pretty strange here." 485 00:30:28,780 --> 00:30:31,140 But that was the kind of thing he would do. 486 00:30:31,140 --> 00:30:33,260 He would just freak out. 487 00:30:35,220 --> 00:30:39,020 You know, you've gotta just do what is in your heart. 488 00:30:39,020 --> 00:30:43,860 And I was quite excited about trying some new approaches. 489 00:30:43,860 --> 00:30:51,220 SHE SINGS PASSIONATELY 490 00:30:52,860 --> 00:30:57,980 491 00:30:57,980 --> 00:31:01,220 Stevie, that's great... 492 00:31:01,220 --> 00:31:03,700 It took 13 months in one place. 493 00:31:03,700 --> 00:31:07,180 So we weren't moving around. So it was a long, long 13 months. 494 00:31:07,180 --> 00:31:10,060 We were recording at Village Recorders in Santa Monica 495 00:31:10,060 --> 00:31:14,420 and we were recording six days a week. We were all there every day. 496 00:31:14,420 --> 00:31:18,700 And, you know, we just got through it. And it was really horrible. 497 00:31:18,700 --> 00:31:21,900 With a certain amount of trepidation, I did get the band into 498 00:31:21,900 --> 00:31:25,220 the idea of trying some new processes 499 00:31:25,220 --> 00:31:27,940 and some different sensibilities. 500 00:31:27,940 --> 00:31:32,820 I remember one day he wanted to get an aggressive-sounding vocal 501 00:31:32,820 --> 00:31:37,340 and he had me tape the microphone on the tile floor 502 00:31:37,340 --> 00:31:39,820 and he got down in the push up position 503 00:31:39,820 --> 00:31:43,180 and sang into this microphone, sitting on the floor. 504 00:31:43,180 --> 00:31:47,100 I still wouldn't mind trying that square one Stevie uses on stage. 505 00:31:47,100 --> 00:31:49,780 All right. Two... What, this one, you want? 506 00:31:49,780 --> 00:31:51,420 Yeah. All right. 507 00:31:51,420 --> 00:31:54,420 It's like Lindsey with the microphone on the tile floor, 508 00:31:54,420 --> 00:31:58,660 like laying on the floor, with his head flat on the floor, 509 00:31:58,660 --> 00:32:03,220 going, "Ooh, ooh, ooh-ooh, ooh, ooh. 510 00:32:03,220 --> 00:32:05,300 "Ooh-ooh, ooh, ooh." 511 00:32:05,300 --> 00:32:08,620 And we're just all like, "OK. 512 00:32:08,620 --> 00:32:10,660 "That was great. Take two." 513 00:32:10,660 --> 00:32:15,300 JAUNTILY And he goes, "Ooh-ooh, ooh, ooh, ooh. 514 00:32:15,300 --> 00:32:17,460 "Ooh-ooh, ooh, ooh, ooh." 515 00:32:17,460 --> 00:32:18,820 "OK. Take three." 516 00:32:22,700 --> 00:32:25,660 And then he's taking the whole thing and then he's slowing it down. 517 00:32:25,660 --> 00:32:29,020 And then he's recording that and then he's speeding it back up. 518 00:32:29,020 --> 00:32:32,980 And then he's putting it through a Leslie organ speaker. 519 00:32:32,980 --> 00:32:36,300 And it was just hard for the rest of us 520 00:32:36,300 --> 00:32:39,620 because we kind of... we weren't always involved. 521 00:32:39,620 --> 00:32:42,900 GUITAR PLAYS 522 00:32:44,500 --> 00:32:48,420 We had a great little anteroom, little lounge room outside of it. 523 00:32:48,420 --> 00:32:53,500 And we would just be in the lounge, drinking coffee, 524 00:32:53,500 --> 00:32:58,260 watching television, eating, and waiting for Lindsey to say, 525 00:32:58,260 --> 00:33:01,220 "OK, come on in now. There's something for you to do." 526 00:33:03,740 --> 00:33:06,300 There we are! Coffee's made! 527 00:33:06,300 --> 00:33:08,820 You've gotta see, we lose track of time in here. 528 00:33:08,820 --> 00:33:13,260 I called my mother last night for the first time since Christmas. 529 00:33:13,260 --> 00:33:17,540 You thought it had been a month. I thought it had been a month, right. 530 00:33:17,540 --> 00:33:21,980 Not literally a month. You do lose complete track of time. 531 00:33:21,980 --> 00:33:25,020 Cos your days and your nights aren't set up right. 532 00:33:25,020 --> 00:33:28,820 The most elaborate and expensive production was saved 533 00:33:28,820 --> 00:33:31,100 for the album's title track. 534 00:33:31,100 --> 00:33:35,220 The track, Tusk, came out of a riff that Lindsey always used to play 535 00:33:35,220 --> 00:33:36,340 at sound check. 536 00:33:36,340 --> 00:33:38,420 HE PLAYS RIFF 537 00:33:45,980 --> 00:33:52,380 And I came back and said, "What about a hundred-piece brass band 538 00:33:52,380 --> 00:33:53,860 "playing the riff?" 539 00:33:53,860 --> 00:33:56,380 And we're all like, "OK." 540 00:33:56,380 --> 00:33:59,380 "OK, if you can pull this off, Mick, then great." 541 00:34:02,380 --> 00:34:05,860 And...it was a weird one, you know? 542 00:34:05,860 --> 00:34:08,660 It was Mick's idea to put the USC marching band on there, 543 00:34:08,660 --> 00:34:10,300 which was a stroke of genius. 544 00:34:15,700 --> 00:34:20,740 We put the 120-piece brass band with Fleetwood Mac 545 00:34:20,740 --> 00:34:23,540 and recorded it at Dodger Stadium. 546 00:34:24,700 --> 00:34:30,100 What's going on? 547 00:34:30,100 --> 00:34:35,700 Who's the latest on his throne? 548 00:34:35,700 --> 00:34:39,340 It really was an extraordinary day and we did film it, thank goodness, 549 00:34:39,340 --> 00:34:43,140 and I got to twirl, cos my mom was a majorette. 550 00:34:43,140 --> 00:34:45,780 So my mom taught me to twirl when I was really little. 551 00:34:45,780 --> 00:34:47,060 So I did a little of that. 552 00:34:50,780 --> 00:34:53,020 We're honorary members of the USC marching band. 553 00:34:58,660 --> 00:35:01,060 554 00:35:01,060 --> 00:35:04,060 555 00:35:12,020 --> 00:35:13,620 556 00:35:13,620 --> 00:35:18,180 The extravagant Tusk disappointed the record company by only managing 557 00:35:18,180 --> 00:35:20,660 a quarter of Rumours' sales figures. 558 00:35:20,660 --> 00:35:24,460 But as a live act, Fleetwood Mac were still a draw 559 00:35:24,460 --> 00:35:28,740 and were accordingly booked onto a huge 18-month world tour. 560 00:35:28,740 --> 00:35:33,460 I saw the Tusk tour in San Francisco at the Cow Palace 561 00:35:33,460 --> 00:35:37,220 and the audience, it was kind of kids in the front rows. 562 00:35:37,220 --> 00:35:40,500 They're screaming, they think it's fantastic to be there. 563 00:35:40,500 --> 00:35:43,500 It's like a teenage rock'n'roll show. 564 00:35:43,500 --> 00:35:45,740 SCREAMING 565 00:35:53,900 --> 00:35:57,740 BAND PLAYS 566 00:36:10,660 --> 00:36:14,180 On the extensive Tusk tour, things got indulgent. 567 00:36:14,180 --> 00:36:18,060 Perhaps because Fleetwood Mac had sacked their previous manager 568 00:36:18,060 --> 00:36:19,860 and were newly managed by... 569 00:36:19,860 --> 00:36:21,500 their drummer. 570 00:36:21,500 --> 00:36:24,820 Mick was managing the band. 571 00:36:24,820 --> 00:36:31,220 Mick's a dreamer and he's not an accountant, let's leave it at that. 572 00:36:31,220 --> 00:36:36,660 We went through a really bad experience with, let's put it... 573 00:36:36,660 --> 00:36:40,620 our now ex-manager. You remember that, Mum, don't you? I do, indeed. 574 00:36:40,620 --> 00:36:43,620 We never had another manager. 575 00:36:43,620 --> 00:36:46,980 Good thing too. And here it sits. 576 00:36:46,980 --> 00:36:48,620 This is the manager. 577 00:36:48,620 --> 00:36:52,180 You know, I think there was a tendency to get the biggest plane 578 00:36:52,180 --> 00:36:53,780 we could get to travel in 579 00:36:53,780 --> 00:36:58,740 and all for reasons of wanting things to be great. 580 00:36:58,740 --> 00:37:02,340 It costs between 25,000 and 30,000 dollars a day 581 00:37:02,340 --> 00:37:04,820 just to keep Fleetwood Mac on the road. 582 00:37:04,820 --> 00:37:08,540 But the investments in luxury jets and the separate limousines 583 00:37:08,540 --> 00:37:10,660 that emphasise their individual styles 584 00:37:10,660 --> 00:37:12,820 are the group's own decision. 585 00:37:12,820 --> 00:37:15,900 SCREAMING 586 00:37:18,620 --> 00:37:23,460 We all make reference to this thing called the bubble, you know? 587 00:37:23,460 --> 00:37:28,220 The Fleetwood Mac canopy, where a world within a world, 588 00:37:28,220 --> 00:37:34,860 as Lindsey would say, existed. Some of it very insane really. 589 00:37:37,740 --> 00:37:39,860 The Tusk tour was legendary for its success. 590 00:37:39,860 --> 00:37:42,980 And one of the things I noticed was that, backstage, 591 00:37:42,980 --> 00:37:46,460 in the same way that at that point people were getting into drinking 592 00:37:46,460 --> 00:37:48,460 Perrier water, instead of tap water, 593 00:37:48,460 --> 00:37:51,420 Fleetwood Mac had bottles of oxygen. 594 00:37:51,420 --> 00:37:56,620 Even their air came out of tanks. 595 00:38:05,580 --> 00:38:12,220 We at that point were, for sure, like little kids in a toy shop. 596 00:38:20,140 --> 00:38:22,220 I just remember things got larger. 597 00:38:22,220 --> 00:38:25,700 We were doing the US festival with the Eagles. 598 00:38:25,700 --> 00:38:27,780 250,000 people. 599 00:38:27,780 --> 00:38:30,900 SCREAMING 600 00:38:34,580 --> 00:38:36,180 It just grew. 601 00:38:40,500 --> 00:38:43,620 I mean, the excess around Fleetwood Mac is well known. 602 00:38:43,620 --> 00:38:46,980 There seemed to be a lot of alcohol and Peruvian marching powder. 603 00:38:46,980 --> 00:38:51,420 But I think this was all fuel to keep them all going. 604 00:38:51,420 --> 00:38:56,740 Cos I could tell, even in '76, when I met them in LA, they were exhausted. 605 00:38:56,740 --> 00:38:59,940 Already! They were absolutely knackered. 606 00:38:59,940 --> 00:39:01,020 They needed fuel. 607 00:39:01,020 --> 00:39:03,620 SCREAMING 608 00:39:15,140 --> 00:39:18,340 To make matters even more complicated, 609 00:39:18,340 --> 00:39:24,780 behind Lindsey's back, Stevie and Mick had started seeing each other. 610 00:39:24,780 --> 00:39:27,340 611 00:39:27,340 --> 00:39:30,620 612 00:39:32,060 --> 00:39:34,420 613 00:39:34,420 --> 00:39:38,620 the fire... 614 00:39:38,620 --> 00:39:43,620 Stevie and myself had a great relationship 615 00:39:43,620 --> 00:39:46,300 but it was not in the open. 616 00:39:46,300 --> 00:39:54,180 It was not, you know, open... It was a very private affair really. 617 00:39:54,180 --> 00:39:58,260 And then...Mick fell in love with my best friend, Sara. 618 00:40:00,140 --> 00:40:04,340 And my best friend, Sara, moved in with Mick and left her husband. 619 00:40:04,340 --> 00:40:09,420 The awkwardness, no doubt, the dastardly deed 620 00:40:09,420 --> 00:40:15,620 was that Sara was and still is a great friend of Stevie's. 621 00:40:15,620 --> 00:40:22,420 And it was the classic, you know, intergalactic...mess. 622 00:40:24,060 --> 00:40:26,580 And out of that came, certainly that song, Sara. 623 00:40:26,580 --> 00:40:28,580 624 00:40:30,260 --> 00:40:32,620 625 00:40:34,700 --> 00:40:36,700 626 00:40:38,420 --> 00:40:41,100 627 00:40:41,100 --> 00:40:43,740 So there we were recording Tusk 628 00:40:46,220 --> 00:40:50,060 with Lindsey, who never really got over this relationship with me, 629 00:40:50,060 --> 00:40:54,140 and now Mick has done this thing and he's living with my friend, Sara. 630 00:40:54,140 --> 00:40:56,340 And she's banished from the studio. 631 00:40:56,340 --> 00:40:59,620 And so I lost Mick and my friend Sara in one fell swoop. 632 00:40:59,620 --> 00:41:01,820 SCREAMING AND RIFF 633 00:41:08,700 --> 00:41:11,260 Being in Fleetwood Mac, to this day, is very tense. 634 00:41:11,260 --> 00:41:13,620 It's a tense situation. 635 00:41:13,620 --> 00:41:17,940 Always. Was from the very beginning and is now. 636 00:41:17,940 --> 00:41:21,660 In my solo career I'm not tense. 637 00:41:21,660 --> 00:41:23,980 I'm not uptight. 638 00:41:23,980 --> 00:41:26,340 Because I don't have any reason to be uptight. 639 00:41:29,940 --> 00:41:34,500 In 1981, Stevie, who was becoming a star in her own right, 640 00:41:34,500 --> 00:41:37,140 launched a parallel solo career. 641 00:41:37,140 --> 00:41:42,060 Her first album, Bella Donna, eclipsed Fleetwood Mac's Mirage, 642 00:41:42,060 --> 00:41:44,580 topping US and UK charts, 643 00:41:44,580 --> 00:41:48,540 and conjured three hit singles, including the spellbinding 644 00:41:48,540 --> 00:41:50,380 Edge Of Seventeen. 645 00:41:50,380 --> 00:41:54,220 Sings a song 646 00:41:54,220 --> 00:41:56,100 647 00:41:56,100 --> 00:41:59,460 Said ooh 648 00:41:59,460 --> 00:42:02,740 Sings a song 649 00:42:02,740 --> 00:42:04,820 650 00:42:04,820 --> 00:42:08,420 Said ooh... 651 00:42:08,420 --> 00:42:11,780 She was the ultimate West Coast hippie dream girl. 652 00:42:11,780 --> 00:42:16,340 You know, in her hotel room, there'd be a lot of scarves and silk objects 653 00:42:16,340 --> 00:42:19,580 draped over every possible lamp and light bulb, everywhere. 654 00:42:20,700 --> 00:42:22,660 655 00:42:24,140 --> 00:42:28,060 Stevie has a real fondness for accessories 656 00:42:28,060 --> 00:42:31,060 and playing with things and becoming characters on stage. 657 00:42:34,340 --> 00:42:35,620 It just evolved. 658 00:42:35,620 --> 00:42:38,620 Top hat, think she had a cane at one point 659 00:42:38,620 --> 00:42:42,260 and then chiffon and it grew and she developed it. 660 00:42:44,020 --> 00:42:47,220 When she puts on a shawl she literally becomes another character. 661 00:42:51,300 --> 00:42:56,900 She's so petite on stage and they were doing larger and larger arenas 662 00:42:56,900 --> 00:42:59,940 so she wanted something that would really show 663 00:42:59,940 --> 00:43:03,100 that she's there, that she's moving and it would be dramatic. 664 00:43:03,100 --> 00:43:08,700 Said ooh 665 00:43:08,700 --> 00:43:11,340 Sings a song 666 00:43:11,340 --> 00:43:13,220 667 00:43:13,220 --> 00:43:16,500 Said ooh... 668 00:43:16,500 --> 00:43:19,820 If you go to concerts you'll see many, many people dressed like her. 669 00:43:19,820 --> 00:43:22,620 In various stages of her career. 670 00:43:22,620 --> 00:43:26,660 They're dressed to the nines, like Stevie-ites all over the place. 671 00:43:26,660 --> 00:43:30,300 People remember, "Oh, my God, do you remember we were in the audience 672 00:43:30,300 --> 00:43:33,180 "and you see thousands of Stevie Nicks!" you know? 673 00:43:33,180 --> 00:43:35,580 HE MIMICS HER 674 00:43:36,940 --> 00:43:41,140 Thank you for being with us on this very special night. Good night. 675 00:43:43,340 --> 00:43:45,500 The cult of Stevie Nicks grew. 676 00:43:45,500 --> 00:43:49,460 But was laced with rumours about her growing dependence 677 00:43:49,460 --> 00:43:51,900 on a particular brand of stardust. 678 00:43:51,900 --> 00:43:55,420 679 00:43:55,420 --> 00:43:58,420 680 00:43:58,420 --> 00:44:01,420 681 00:44:07,300 --> 00:44:12,100 The cocaine became very prevalent during Rumours 682 00:44:12,100 --> 00:44:14,540 and, um, everybody was doing it. 683 00:44:14,540 --> 00:44:20,220 There used to be a bag, the community bag of cocaine, on the console. 684 00:44:20,220 --> 00:44:23,220 When we got into Tusk, into the recording of Tusk, 685 00:44:23,220 --> 00:44:27,900 and the thing happened with me and Mick and Sara, that was really a drag and, of course, 686 00:44:27,900 --> 00:44:33,820 every time something really bad happened, everybody started doing more coke. Just to get through. 687 00:44:33,820 --> 00:44:37,580 And, um, so it got, you know, it was way... It was out of control. 688 00:44:37,580 --> 00:44:40,180 689 00:44:40,180 --> 00:44:42,380 690 00:44:42,380 --> 00:44:45,500 of love...? 691 00:44:45,500 --> 00:44:49,500 I didn't stop doing coke until I went to Betty Ford in 1985. 692 00:44:49,500 --> 00:44:53,620 So our cocaine-addict selves went pretty much from the beginning 693 00:44:53,620 --> 00:44:58,500 of 1977 till - for me, anyway - until 1985. 694 00:44:58,500 --> 00:45:02,740 I don't know when everybody else stopped because nobody else went to rehab but me, 695 00:45:02,740 --> 00:45:07,420 so I have a documented timeline on me but I don't really know what everybody else did. 696 00:45:07,420 --> 00:45:10,980 Um... But it, you know, it was totally out of hand. 697 00:45:10,980 --> 00:45:14,300 And it... I thought it was going to kill me. 698 00:45:18,620 --> 00:45:22,700 In the mid-'80s Fleetwood Mac burnt out and fell apart and were silent 699 00:45:22,700 --> 00:45:27,620 for a full five years. But in 1987, still carrying relationship and substance problems, 700 00:45:27,620 --> 00:45:31,260 they reconvened uneasily for Tango In The Night. 701 00:45:32,540 --> 00:45:35,500 702 00:45:35,500 --> 00:45:40,260 Just a day or two 703 00:45:42,380 --> 00:45:46,020 close my eyes... 704 00:45:46,020 --> 00:45:50,860 That was the culmination, for me, of individual lifestyles 705 00:45:50,860 --> 00:45:55,900 having gone beyond the point to which there was anything you could defend about it 706 00:45:55,900 --> 00:46:01,540 helping creativity, being anything other than destructive of the creative process. 707 00:46:03,020 --> 00:46:06,380 Tell me sweet little lies 708 00:46:07,460 --> 00:46:10,820 Tell me, tell me lies... 709 00:46:10,820 --> 00:46:15,340 Stevie, her solo career had pulled her off in various directions, 710 00:46:15,340 --> 00:46:20,980 but even so, she wasn't, she just was not present mentally or physically when she WAS there. 711 00:46:20,980 --> 00:46:26,060 And she wasn't there very much. I mean, that album probably took eight months or so, a little longer, 712 00:46:26,060 --> 00:46:30,100 to record, and we probably saw her all of two weeks, the whole time. 713 00:46:30,100 --> 00:46:32,980 714 00:46:32,980 --> 00:46:34,980 715 00:46:34,980 --> 00:46:39,460 That was when I was on Klonopin, which is a tranquilliser, 716 00:46:39,460 --> 00:46:44,500 and that was after coke, that was after I went to Betty Ford. I was off the coke, I was fine. 717 00:46:44,500 --> 00:46:47,820 And a psychiatrist decided that what I really needed 718 00:46:47,820 --> 00:46:52,580 was to be on Klonopin cos it would calm me down, it would keep me from going back to coke. 719 00:46:52,580 --> 00:46:56,420 And this drug was more deadly than the coke, for me. 720 00:46:56,420 --> 00:47:01,220 And so what Lindsey was dealing with on Tango In The Night 721 00:47:01,220 --> 00:47:05,500 was the fact that when you're on tranquillisers, you really can't be depended on. 722 00:47:05,500 --> 00:47:07,860 So I would get there late, 723 00:47:07,860 --> 00:47:09,740 or I wouldn't get there at all. 724 00:47:09,740 --> 00:47:11,540 So that was hard for him. 725 00:47:11,540 --> 00:47:14,460 AUDIENCE WHISTLES AND CHEERS 726 00:47:21,700 --> 00:47:23,740 The biggest hit on Tango In The Night 727 00:47:23,740 --> 00:47:26,620 was a very personal testimony from Lindsey, 728 00:47:26,620 --> 00:47:29,580 a driven musical leader of the band, 729 00:47:29,580 --> 00:47:33,460 with relationship issues that had taken him into a dark place. 730 00:47:37,740 --> 00:47:40,780 731 00:47:40,780 --> 00:47:43,620 732 00:47:44,740 --> 00:47:48,100 733 00:47:48,100 --> 00:47:51,220 734 00:47:51,220 --> 00:47:55,820 735 00:47:55,820 --> 00:48:00,260 'That IS an important song to me, because if you look at the lyric, 736 00:48:00,260 --> 00:48:04,940 'it DID describe accurately the person I was in 1987.' 737 00:48:04,940 --> 00:48:08,820 738 00:48:08,820 --> 00:48:13,660 I had a lot of, uh, relationships which were less than ideal, 739 00:48:13,660 --> 00:48:19,060 and, and probably much of that being my doing, you know? 740 00:48:19,060 --> 00:48:23,420 741 00:48:23,420 --> 00:48:27,180 That song, Big Love, is about being up on the hill 742 00:48:27,180 --> 00:48:32,100 and looking out for love. But that's the point - I'm not looking for love, I'm looking OUT for love. 743 00:48:32,100 --> 00:48:34,620 I'm sort of defending against love, you know? 744 00:48:34,620 --> 00:48:39,180 745 00:48:42,220 --> 00:48:46,740 746 00:48:46,740 --> 00:48:50,660 Tango In The Night was Fleetwood Mac's biggest seller since Rumours 747 00:48:50,660 --> 00:48:53,260 and breathed new life into their career. 748 00:48:53,260 --> 00:48:56,420 But there was one dance partner dragging his feet. 749 00:48:58,140 --> 00:49:02,260 I didn't really wanna be a part of that kind of excess. 750 00:49:02,260 --> 00:49:08,140 And usually my experience has been if you have that in the studio, it's usually about times ten on the road. 751 00:49:08,140 --> 00:49:11,340 So that's when I exited the band. 752 00:49:23,820 --> 00:49:27,460 I remember him quitting when we had a meeting at Christine's house. 753 00:49:27,460 --> 00:49:32,140 Because the tour had been booked. Because the album ended up coming out really good. 754 00:49:32,140 --> 00:49:35,140 It was a big tour. 755 00:49:35,140 --> 00:49:38,660 And he just sat there in the chair and said, "I can't go." 756 00:49:39,700 --> 00:49:41,820 "I don't wanna go." 757 00:49:41,820 --> 00:49:45,420 And we all just, like, "Well, you HAVE to go because we can't... 758 00:49:45,420 --> 00:49:48,580 "As an artist, you cannot put all the promoters out of business." 759 00:49:52,260 --> 00:49:56,340 It was certainly a negative thing to do, as far as the band was concerned, 760 00:49:56,340 --> 00:50:00,100 and they were very hurt by it. But I just felt I needed to somehow reclaim 761 00:50:00,100 --> 00:50:02,620 my sanity and my own sense of individuality. 762 00:50:02,620 --> 00:50:05,180 When Lindsey said, "I'm not going," 763 00:50:05,180 --> 00:50:09,100 I think I got up and ran across the room and tried to strangle him. 764 00:50:09,100 --> 00:50:13,780 And then he chased me out of the house, through Christine's driveway and... 765 00:50:13,780 --> 00:50:16,860 we had a huge fight. And, uh... 766 00:50:17,980 --> 00:50:20,540 ..that was that. He was done. 767 00:50:20,540 --> 00:50:23,060 CROWD CHEERS 768 00:50:25,580 --> 00:50:27,740 769 00:50:30,540 --> 00:50:33,700 We don't want them back 770 00:50:33,700 --> 00:50:35,380 771 00:50:35,380 --> 00:50:37,700 772 00:50:37,700 --> 00:50:41,380 By the end of the '80s things had definitely moved on. 773 00:50:41,380 --> 00:50:43,580 774 00:50:43,580 --> 00:50:46,580 I'd rather jack... 775 00:50:46,580 --> 00:50:48,740 The band carried on without Lindsey 776 00:50:48,740 --> 00:50:54,300 but The Reynolds Girls and a younger generation now saw Fleetwood Mac as out-of-touch oldies, 777 00:50:54,300 --> 00:50:59,420 an image not helped by Mick's unfortunate foray into presenting 778 00:50:59,420 --> 00:51:03,620 on 1989's disastrous outing of the Brits. 779 00:51:03,620 --> 00:51:06,860 ..The fabulous, the legendary, the sensational... Four... 780 00:51:06,860 --> 00:51:08,580 ..The Four Tops! Woo! 781 00:51:09,580 --> 00:51:11,380 Hi! Not The Four Tops, 782 00:51:11,380 --> 00:51:14,060 but thank you! You don't look like 'em, George! 783 00:51:14,060 --> 00:51:17,780 No, I'm The One Top. The Four Tops have been held up, putting their make-up on. 784 00:51:17,780 --> 00:51:20,860 MUSIC: "Tusk" by Fleetwood Mac 785 00:51:23,980 --> 00:51:27,620 Inspired by Bill Clinton's use of Don't Stop as his campaign theme, 786 00:51:27,620 --> 00:51:30,780 the band staged a full reunion in 1997, 787 00:51:30,780 --> 00:51:33,740 complete with the entire USC Marching Band. 788 00:51:35,380 --> 00:51:37,180 789 00:51:38,420 --> 00:51:41,140 The millennium was even kinder to the band. 790 00:51:41,140 --> 00:51:44,100 A younger generation discovered their back catalogue, 791 00:51:44,100 --> 00:51:47,580 Destiny's Child sampling Stevie's Edge Of Seventeen 792 00:51:47,580 --> 00:51:49,860 for Bootylicious... 793 00:51:49,860 --> 00:51:52,180 794 00:51:52,180 --> 00:51:54,740 795 00:51:54,740 --> 00:51:57,020 796 00:51:57,020 --> 00:52:00,180 they can handle this, whoooo...! 797 00:52:00,180 --> 00:52:02,940 ..and pop's intelligentsia noting their influence 798 00:52:02,940 --> 00:52:05,460 on a new crop of young bands. 799 00:52:07,140 --> 00:52:12,100 After their reunion, a weary Christine McVie decided to retreat from America 800 00:52:12,100 --> 00:52:13,980 and the band. 801 00:52:13,980 --> 00:52:16,500 I think that was it, and I just said, 802 00:52:16,500 --> 00:52:18,580 "I just have to go home." 803 00:52:18,580 --> 00:52:21,740 Still took me five years 804 00:52:21,740 --> 00:52:24,780 to finally move back here. But, no, I have had no regrets. 805 00:52:24,780 --> 00:52:29,060 806 00:52:29,060 --> 00:52:31,860 807 00:52:31,860 --> 00:52:35,900 But the remaining four members released a new album 808 00:52:35,900 --> 00:52:39,540 and staged two sell-out world tours to rave reviews. 809 00:52:39,540 --> 00:52:43,060 810 00:52:43,060 --> 00:52:45,820 811 00:52:45,820 --> 00:52:48,740 'We'd just come back from New York' 812 00:52:48,740 --> 00:52:52,700 and I don't think the band's played better. 813 00:52:52,700 --> 00:52:55,660 This is a great body of work we've got 814 00:52:55,660 --> 00:53:00,100 and that allows you to sort of... all the other good feelings 815 00:53:00,100 --> 00:53:05,180 and the other more objective and positive aspects of how you feel about the people, to follow. 816 00:53:09,620 --> 00:53:14,340 Perhaps some of that good feeling is down to the fact that Lindsey, in middle age, 817 00:53:14,340 --> 00:53:17,340 has stopped looking OUT for love, and finally found it. 818 00:53:17,340 --> 00:53:20,580 819 00:53:20,580 --> 00:53:25,460 I'm so happy that he fell on his feet with a family 820 00:53:25,460 --> 00:53:30,540 and had a whole life outside of a very intense attitude 821 00:53:30,540 --> 00:53:35,620 he has to creativity, his life, what he wants to accomplish. 822 00:53:35,620 --> 00:53:40,700 And, inadvertently, I think it's broadened his scope, amazingly. 823 00:53:40,700 --> 00:53:43,540 This is the best thing that ever happened to me, you know? 824 00:53:43,540 --> 00:53:46,620 I can honestly say, you know, at age 59, 825 00:53:46,620 --> 00:53:49,220 this is the best time of my life. 826 00:53:50,460 --> 00:53:52,900 Two other band members have found 827 00:53:52,900 --> 00:53:55,380 that relocating to a faraway paradise 828 00:53:55,380 --> 00:53:58,540 is one way of surviving Fleetwood Mac. 829 00:53:58,540 --> 00:54:03,500 John McVie lives in Oahu, one of the islands here in Hawaii. 830 00:54:03,500 --> 00:54:06,860 This is Maui, this is my home. 831 00:54:08,980 --> 00:54:14,420 And we thought just to let you know... How cold is it back there?! 832 00:54:14,420 --> 00:54:17,540 HE CHUCKLES 833 00:54:17,540 --> 00:54:21,460 The rhythm section, still together, but we're... 834 00:54:21,460 --> 00:54:23,540 we're not freezing, we're in Hawaii. 835 00:54:23,540 --> 00:54:25,700 We love England, we love Europe, 836 00:54:25,700 --> 00:54:29,140 but, uh... Don't like being cold! 837 00:54:29,140 --> 00:54:32,620 I don't like being cold. At this age, it's too much! 838 00:54:32,620 --> 00:54:34,700 The arthritis! 839 00:54:40,500 --> 00:54:42,660 Good Lord, I hope you don't use that! 840 00:54:42,660 --> 00:54:44,580 Oh, I'm sure they will, John! 841 00:54:48,540 --> 00:54:51,180 CROWD CHEERS 842 00:54:51,180 --> 00:54:54,060 But back inside the Fleetwood Mac bubble, 843 00:54:54,060 --> 00:54:58,700 every night on tour, the couple who made the band superstars 844 00:54:58,700 --> 00:55:01,180 are still working things through. 845 00:55:01,180 --> 00:55:04,180 and I took it down 846 00:55:06,540 --> 00:55:10,900 and I turned around... 847 00:55:10,900 --> 00:55:14,780 There's still, with Stevie and Lindsey, a healing process 848 00:55:14,780 --> 00:55:18,060 which may very well go on to both of their dying days. 849 00:55:18,060 --> 00:55:22,740 brought me down... 850 00:55:22,740 --> 00:55:25,980 'I met her when I was about 16. 851 00:55:25,980 --> 00:55:30,860 'She transferred to my high school. I was a junior, she was a senior, she was 17.' 852 00:55:30,860 --> 00:55:35,740 So, it's, it's been...you know, most of my life. 853 00:55:35,740 --> 00:55:38,540 'Lindsey's and my relationship started in '66 854 00:55:38,540 --> 00:55:41,340 'and went through '77, 855 00:55:41,340 --> 00:55:45,420 'so when we finally broke up at the end of the recording of Rumours,' 856 00:55:45,420 --> 00:55:47,740 it was devastating. 857 00:55:47,740 --> 00:55:51,220 And it was not the way he wanted it to go. 858 00:55:52,380 --> 00:55:56,300 So, there has been a payback all these years. 859 00:55:56,300 --> 00:56:01,900 Sadly, probably the lion's share of those years, there has been distance and animosity, you know, 860 00:56:01,900 --> 00:56:06,220 of some kind, mixed in with everything else, too. It's never been just one thing. 861 00:56:06,220 --> 00:56:09,540 You know, Lindsey and I... 862 00:56:09,540 --> 00:56:11,980 we'll never be, um... 863 00:56:11,980 --> 00:56:13,940 touchy-feely friends. 864 00:56:13,940 --> 00:56:18,260 865 00:56:18,260 --> 00:56:21,420 866 00:56:21,420 --> 00:56:26,700 867 00:56:26,700 --> 00:56:30,340 'She's in the process of learning how to trust me again,' 868 00:56:30,340 --> 00:56:32,300 as someone who is her friend. 869 00:56:32,300 --> 00:56:37,220 You know, I've never been to Lindsey's house, and probably never will go to Lindsey's house. 870 00:56:37,220 --> 00:56:39,420 Lindsey's been here once. 871 00:56:39,420 --> 00:56:44,740 'Maybe down the line, in 10 or 15 years, when Lindsey and I are 75, we'll be friends again. 872 00:56:44,740 --> 00:56:47,660 'When Fleetwood Mac is a distant memory.' 873 00:56:47,660 --> 00:56:52,500 And his kids will be grown. He has three really precious children. They'll be gone. 874 00:56:57,860 --> 00:57:00,020 'People say, as time passes,' 875 00:57:00,020 --> 00:57:04,700 the wounds heal. Maybe, you know, later on down the line, all those wounds will heal. 876 00:57:04,700 --> 00:57:08,940 877 00:57:08,940 --> 00:57:12,980 878 00:57:12,980 --> 00:57:17,140 879 00:57:17,140 --> 00:57:23,220 From agony to ecstasy, from the pits to the...pinnacle. 880 00:57:23,220 --> 00:57:28,620 It's such a unique dynamic with a group of people. It's nice to still be here doing that. 881 00:57:28,620 --> 00:57:32,060 Fleetwood Mac is bigger, grander, heavier... 882 00:57:33,220 --> 00:57:35,140 ..and way more tense. 883 00:57:35,140 --> 00:57:38,460 Hey, we're still talking about it but it's OK, you know, 884 00:57:38,460 --> 00:57:40,620 we're all in our 60s now! 885 00:57:41,700 --> 00:57:44,260 We ain't finished yet! 886 00:57:44,260 --> 00:57:48,140 887 00:57:48,140 --> 00:57:54,060 888 00:57:54,060 --> 00:57:57,500 889 00:57:57,500 --> 00:58:02,340 890 00:58:02,340 --> 00:58:04,180 CROWD CHEERS 891 00:58:04,180 --> 00:58:08,940 892 00:58:08,940 --> 00:58:14,380 893 00:58:14,380 --> 00:58:19,980 894 00:58:19,980 --> 00:58:25,700 895 00:58:25,700 --> 00:58:28,260 CROWD CHEERS 896 00:58:30,740 --> 00:58:34,860 897 00:58:35,940 --> 00:58:39,020 898 00:58:39,020 --> 00:58:43,220 899 00:58:44,260 --> 00:58:47,220