All language subtitles for Fleetwood_Mac_A_Musical_History

I listen to Fleetwood Mac every day

because artists like that
unlock the doors of perception.

They connect you to a creative soul.

In terms of being able to do music
across a multiplicity of genres,

they're kind of incomparable.

For me, it's the marriage
of those tones,

both of the voices
but of the instruments.

And what I love about Fleetwood Mac
is that no song

is really a show-off song
for anyone.

Everyone kind of gets their moment.

They're the perfect example of
letting go

and just, just
letting your thing flow.

Where it leads, if you let it flow,

is these songs that came out of
these different marriages.

Well, Fleetwood Mac were invented
by Peter Green,

who was a blues guitarist

and part of the British
blues guitar explosion of the time.

A kind of Clapton-y, Yardbirds
thing was going on around there,

and he started Fleetwood Mac
and it's very much his baby.

Peter Green recruited Mick Fleetwood
on drums and John McVie on bass,

and they were the name -
Fleetwood Mac.

They were huge.

At one point they were selling
more than the Beatles

and the Rolling Stones combined,

and had a really big
hard-core blues following.

Albatross changed that slightly

in that they became
slightly more mainstream.

But in doing that, it lost them
a lot of those hard-core blues fans,

but it gained them
a lot of new fans.

INSTRUMENTAL MUSIC: Albatross

It sounds incredible,
even all these years later.

It's just got that
classic Americana...

..kind of dream pop,
dream-like vibe.

But it also wouldn't feel out
of place on kind of...

almost like a '90s chill-out album
as well.

To have established a blues fan base

and to then present them with this,

I can't imagine it was well-received
by all of their fans.

It certainly would
confound expectations.

Certainly, I think, a lot of people
would be surprised

if they heard
the entire back catalogue.

I used to listen to a lot of kind of
rock and roll and punk music,

and there's a Fleetwood Mac song,

I think it's called Somebody's Going
to Get Their Head Kicked in Tonight.

That's certainly the kind of,
the chorus of the main line.

# Somebody's going to
get their head kicked in tonight. #

And I just...

I don't think
when I first heard that song

I realised it was Fleetwood Mac
that sang it.

Then when I realised it was
and it was the same people

that sing, like, Everywhere,
I was just like,

"What? That doesn't make sense."

So, yeah, there's
lots of surprising gems

in the Fleetwood Mac back catalogue.

We're now going to do our
latest single, called Oh Well.

# I can't help
about the shape I'm in

# I can't sing, I ain't pretty
and my legs are thin

# But don't ask me
what I think of you

# I might not give the answer
that you want me to... #

Guitars are
the coolest...instrument.

Look at those guys!

Look at them, they're having fun.

They don't care that you're there.

The way he's playing, the way his
fingers are, and they look so cool.

# Now, when I talked to God
I knew he'd understand

# He said, stick by me
and I'll be your guiding hand

# But don't ask me
what I think of you

# I might not give the answer
that you want me to. #

It was very, erm, intense kind of
12-bar, it has to be 12-bar.

The anorak crowd, the sort of
hard-core blues guys were like,

"Oh, you're a sell-out."

And with "Oh Well" as well,
they're already losing fans,

haemorrhaging hard-core blues fans.

They lost almost all
of their fan base in the UK

and then they lose
their main songwriter.

So they don't just lose their crowd,
they lose their main guy.

Apparently, two band members,
Peter Green being one of them,

had a bad acid trip in Germany,
this is the folklore of it.

And after that, Peter Green
did not feel right.

So at this point, obviously, Peter
Green just needs a really good rest.

So Peter leaves
and you still have Mick and John,

Fleetwood and Mac,

who obviously want to continue
as a band.

And so you have this kind of
almost barren period

where they're not making music,
they're constantly searching

and trying out new members.

Then in comes Christine,
John's wife,

who comes in on merit

because she's an incredibly
accomplished songwriter,

great keyboard player.

Which led to this craziest luck
ever with Mick Fleetwood going

into a studio in Los Angeles
to check out the studio,

and the producer, like, puts on
a reel to show him what he can do,

"This is what I last...
This is my latest thing."

Apparently, Mick Fleetwood
heard a record by a duo called

Buckingham Nicks,
so he asked them out for dinner.

He invited Lindsey Buckingham,
the guitarist,

to join Fleetwood Mac
and Lindsey Buckingham said,

"Well, actually, I'm going out with
Stevie Nicks,"

who is the other partner in
the duo, "We come as a package.

"We don't go anywhere
without each other."

So, unbeknownst to Mick Fleetwood,

suddenly he's got Stevie Nicks
in the band.

And probably this was a sort of,

"Is she going to work? Is this going
to work? What are we going to do?"

But actually, suddenly,
the magic happens.

# Have mercy, baby
on a poor girl like me

# You know, I'm falling, falling
Falling at your feet

# I'm tingling right through
my head to my toes

# So help me, help me, help me
make the feeling go

# Cos when the loving starts
and the lights go down

# And there's not
another living soul around

# You woo me until the sun comes up

# And you say that you love me

# Have pity, baby

# Just when I thought it was over

# You got me running, running,
running for cover

# I'm begging you
for a little sympathy

# And if you use me again
it'll be the end of me

# Cos when the loving starts
and the lights go down

# There's not another little... #
Oh, look at that!

# You woo me
until the sun comes up... #

And they're so different voices,
as well.

You know, Christine and Stevie's
voices are worlds apart.

But together...

..it's so special.

So much of the success of
the songwriting has come from

Stevie and Christine. Their talent
as performers and musicians,

you know, no arguments there.

But in terms of what went on,
in terms of the songwriting,

I don't think they get the credit
that they're due for how much

of the success of Fleetwood Mac
is due to them.

# Baby, baby, hope you're
gonna stay away

# Cos I'm getting weaker, weaker,
weaker every day

# I guess I'm not as strong
as I used to be

# And if you use me again
it'll be the end of me

# Cos when the loving starts
and the lights go down

# And there's not another
living soul around

# You woo me until the sun comes up

# And you say that you love me

# Yes, when the loving starts
and the lights go down

# There's not another
living soul around

# You woo me until the sun comes up

# And you say that you love me

# Say that you love me

# Say that you love me. #

Rhiannon is written by Stevie Nicks,

and I really think
it's a phenomenal song.

It only reached 46 in the UK charts,
I believe,

which is a shockingly low
chart position.

In the Rolling Stone magazine vote
of the 500 top songs,

it comes in at 488, which I think
is a very respectful place

when you think of how many songs
there are in the world.

But what I like about this song,
Stevie Nicks always introduces it

as being about a Welsh witch.

This is a song about a Welsh witch.

# Rhiannon rings like a bell
through the night

# And wouldn't you love to love her?

# She rules her life
like a bird in flight

# And who will be her lover?

# All your life
you've never seen a woman

# Taken by the wind

# Would you stay
if she promised you heaven?

# Will you ever win?

# She is like a cat in the dark
and then she is the darkness

# She rules her life
like a fine skylark

# And when the sky is starless

# Once in a million years
a lady like her rises

# Rhiannon... #

At the time, she was very much into
Welsh mythology

and was starting to learn about
the goddess of horses,

which is very prominent
in Welsh folklore.

But it's the way she's written it.

She writes in
a stream of consciousness,

which really only
Stevie Nicks could do.

She doesn't finish her phrases,
so she writes words that fit

the musical phrase
more than they fit the sense,

but it works
because that's how she writes.

It's ingrained,
it's part of her DNA,

she's not faking it.

She's discovered what works
for her voice.

# She rings like a bell
through the night

# And wouldn't you love to love her?

# She rules her life
like a bird in flight

# And who will be her lover?

# Once in a million years
a lady like her rises

# Rhiannon, you cry when she's gone
and your life knows no answer

# And your life knows no answer. #

Stevie Nicks was the only member
of the band

who didn't play an instrument,

so she wrote in a different way
to everybody else.

But she has this stage presence.

She's 5'1" and she has that thing
of suddenly she's the focal point.

I don't think they predicted
the success she would have,

just as being an icon,
just as being herself.

Yes, you can't mistake her
for anybody else.

# Taken by, taken by the sky

# Taken by, taken by the sky

# Taken by, taken by the sky

# No, ohh. #

Lindsey Buckingham's guitar-playing
is so extraordinary,

so ahead of its time.

Creating those sounds without
a pick - he was a finger player -

but also strums.

It's just mind-blowing.

John's like, you know, he just
stands in the background there

and does his thing brilliantly
and is so intrinsically important

to the sound of that band.

John and Mick, you know, those
two are the... They're the roots

of Fleetwood Mac,
they're the foundations, really,

and the quiet foundations.

Just get on with
what they're doing.

The notion of something beautiful

coming out of something
so horrendous is Rumours.

This was a band who,
the success of the Mac was growing,

they were a hugely popular band.

But as they were becoming
more and more successful,

the band were imploding, really.

You know, relationships
were breaking down.

Rumours is really a break-up album
between Buckingham and Nicks

and also John and Christine,

and Mick Fleetwood was breaking up
with his wife in England.

Almost every song
is about someone in the band.

And they are playing on, and
singing on, songs about each other,

bringing lyrics in at the
last minute because they know

the person in the room
will know it's about them,

and obviously it's complete chaos

and yet those tensions
are the things that make it.

And some of those songs
are quite mellifluous

and they're quite soothing and then
you realise what they're about -

they're about a band
hating each other.

And then to just air that
about each other, it's...

It's a lot of tolerance on each side
to allow it, you know,

and not throw around tools
and just walk out.

# Loving you isn't
the right thing to do

# How can I ever change things
that I feel?

# If I could, baby
I'd give you my world

# How can I
when you won't take it from me?

# You can go your own way

# Go your own way

# You can call it
another lonely day. #

Stevie Nicks is looking daggers
at Lindsey Buckingham because

she wanted a line removed -
"packing up, shacking up" -

which is Lindsey Buckingham
responding to the shock

of Stevie Nicks leaving him.

# Packing up, shacking up
is all you wanna do

# If I could, baby
I'd give you my world

# Open up
Everything's waiting for you

# You can go your own way

# Go your own way

# You can call it another lonely day

# You can go your own way

# Go your own way

# You can go your own way

# Go your own way

# You can call it another lonely day

# Another lonely day

# You can go your own way

# Go your own way

# You can call it another... #

It's a really brilliantly
arranged song.

Backing vocals, for me,
are one of the most magical parts

of making a record and Fleetwood Mac
are an absolute flag in the sand

for how to do backing vocals and
how to sing together as a group.

And the song's got such
a beautiful example of those.

# You can call it another lonely day

# Oh, yeah, oh, yeah

# You can call it
another lonely day. #

Fleetwood Mac have found their way
into my songs.

There's one particular song, Dreams,
which was...

A friend of mine had put on
a mix tape and the tape got stuck

in the tape player in my first car.

It was the first song
on the first side,

so when it went round,
when it clicked both sides,

it came back to that again.

And I must have heard that song
hundreds and hundreds of times.

I went from loving this song
to absolutely hating it,

like really getting on my nerves,
to loving it again.

That's never happened before.

It's always - you love it,
then you hate it,

then it's, "I'm never going to
hear that again."

"Thunder only happens
when it's raining,

"raining, raining, raining," and
it's probably somehow eked out

Why Does It Always Rain On Me?

Maybe. Who knows?!

# Now there you go again, you say

# You want your freedom

# Well, who am I to keep you down?

# It's only right that you should
play the way you feel it

# But listen carefully to the sound

# Of your loneliness

# Like a heartbeat drives you mad

# In the stillness of remembering
what you had

# And what you lost

# And what you had

# Ooh, what you lost

# Thunder only happens
when it's raining

# Players only love you
when they're playing

# Say women they will come
and they go

# When the rain washes you clean
you'll know. #

Dreams is a really fascinating song
to me because I don't

really understand why
I love it so much.

Because it's a groove.

It really comes down to the
testament of Stevie Nicks' voice.

And someone else doing it,
it could've been really dull.

# Well, here I go again

# I see crystal visions

# I keep my visions to myself

# It's only me who wants to wrap
around your dreams and

# Have you any dreams
you'd like to sell? #

Great songs come from below
the neck, they come from your gut,

where all these memories and
emotional memories are trapped,

and this is where
your emotional life is.

It's not up here, it's down here.

And if you're going through
really harsh emotional stuff,

it's very easy to go down.

Them going through
these crazy relationships

in the making of that record
is exactly what makes that record.

# Thunder only happens
when it's raining

# Players only love you
when they're playing

# Say women they will come
and they will go, oh, oh

# When the rain washes you clean
you'll know

# Ohh

# Thunder only happens
when it's raining

# Players only love you
when they're playing

# Well

# Women they will come
and they will go

# When the rain washes you clean
you'll know. #

So you've got these kind of
call and response songs going on

between Stevie and Lindsey,
and then on the other side

with John and Christine, Christine's
off doing her, you know,

I guess therapy
of getting it all out through song.

And she comes back with
this brilliantly, kind of bouncy,

breezy song about, you know,
tomorrow's just another day.

It's amazing to think that
these songs came out of that.

The thing for me is like,
is she saying it to herself

or is she saying it to John?

You know, "Don't stop thinking
about tomorrow,"

to herself or to John?

Or to the entire band?
Let's be fair!

# If you wake up
and don't want to smile

# If it takes just a little while

# Open your eyes and look at the day

# You'll see things
in a different way

# Don't stop thinking
about tomorrow

# Don't stop, it'll soon be here

# It'll be better than before

# Yesterday's gone, yesterday's gone

# Why not think about the times
to come?

# And not about the things
that you've done

# If your life was bad to you

# Just think what tomorrow will do

# Don't stop thinking about tomorrow

# Don't stop, it'll soon be here

# It'll be better than before

# Yesterday's gone,
yesterday's gone. #

Lyrically, it's just a masterclass
in really saying

exactly what you're talking about,
you're not being that veiled.

But you're saying sometimes
quite cliched things

in a way that speaks of
something new, that speaks of

something rawer than just
a regular cliche.

# All I want is to see you smile

# If it takes just a little while

# I know you don't believe
that it's true

# I never meant any harm to you

# Don't stop thinking about tomorrow

# Don't stop

# It'll soon be here

# It'll be better than before

# Yesterday's gone, yesterday's gone

# Don't stop thinking about tomorrow

# Don't stop, it'll soon be here

# It'll be better than before

# Yesterday's gone, yesterday's gone

# Ooh

# Don't you look back. #

Before I knew what The Chain was
as a song, that bass riff I knew

from watching Formula 1,
or my dad watching Formula 1.

And then it was only years later
discovering that it was part of

this epic kind of almost opera,
from Rumours, The Chain.

It's my favourite Fleetwood Mac song
because it's so...

When you hear it for the first time,

it takes you here, there
and everywhere,

it's so unexpected
as to where it goes.

For me, I think it's one of
the best songs ever made.

# Listen to the wind blow

# Watch the sun rise

# Running in the shadows

# Damn your love, damn your lies

# And if you don't love me now

# You will never love me again

# I can still hear you saying

# You would never break the chain

# Never break the chain

# And if you don't love me now

# If you don't love me now

# You will never love me again

# I can still hear you saying

# You would never break the chain

# Never break the chain

# Listen to the wind blow

# Down comes the night

# Running in the shadows

# Damn your love, damn your lies

# Break the silence

# Damn the dark, damn the light

# Light, the light

# And if you don't love me now... #

It's just the most haunting sound,
and the choice of the key

and the choice of the words of being
"silent in the night

"as the sun comes up" and saying,
"If you don't love me now,

"you'll never love me again,"
it's...

just utterly heartbreaking.

Look at the way Stevie Nicks
is looking at him.

# Never break the chain. #

Oh, it's just so cruel
the way she's looking at him.

I mean, one could say you could see
the pain in their eyes,

even on this reunion.

It's as if they're solving
their relationship problems

in front of an audience.

This is another thing
that I love about this band.

This is about six different songs,
that didn't work as whole songs,

that they just cut up
and spliced together.

I always used to be going round,
kind of going...

SHE IMITATES 'THE CHAIN' RIFF

..when I was little
and I didn't know what the song was.

And then when I came to get to know
the album when I was much older,

I was like, "No way!"

# Chain

# Keep us together

# Chain

# Keep us together

# Running in the shadow

# Chain

# Keep us together

# Chain

# Keep us together

# Chain

# Keep us together. #

CHEERING AND APPLAUSE

Rumours sold 45 million copies -
how do you follow that up?

Especially how do you follow that up
when the band has just

gone through what it's gone through
to make that record

and then the success that it has?

I mean, they could've quite easily
just walked away

and broke up as a band,
but they didn't.

For me, what happened after Rumours
is possibly more interesting,

as a creative writer, because
they went against the grain

and they did Tusk,
which is critically acclaimed

but not a huge commercial success.

So when Tusk came out,
I can remember the industry

almost glorifying in pulling
them apart and saying,

"Oh, doesn't work,
it's the end of them."

But like all great legendary bands,
in retrospect,

the audience catches up with
their work.

Tusk is interesting because
they're really being pulled

in different directions and some
of it does sound like punk rock.

Again, it's a band literally
being pulled apart

because they really can't stand
each other at that point.

But also,
they don't know where...

musically, where they're going.

Mick Fleetwood, the drummer,
is managing them at this point.

So they are allowed to do
what the hell they like

and they're spending
extraordinary amounts of money,

not just on studio time,
but on poodles and things.

You hear stories of them painting...

"Paint the whole place pink!"

You know, "Let's bring in
a grand piano."

It's just a ridiculous amount
of expense and excess.

# Why don't you ask him
if he's going to stay?

# Why don't you ask him
if he's going away?

# Why don't you tell me
what's going on?

# Why don't you tell me
who's on the phone? #

I don't know where the idea
came from, for Mick.

He just loves a lot of drums.

So he had the University College
of California, I think it was,

their marching band, not only play
on the end of the track,

but for the video they were
in the LA Dodgers' stadium,

Stevie was twirling her baton.

You might notice a cardboard
cut-out of John,

that's because Stevie and him
had a fall-out

so he didn't want to come that day.

I just love the bombasticness of it.

Kind of, "I tell you what we're
going to do, we're going to fill

"the LA Dodgers' stadium with
a marching band and shoot a video.

"That's what we're going to do!"

And they could, because they were
the biggest band in the world

at that time, in terms of
how many records they were selling

and how many hits they'd had
off that record.

So I think they were almost
testing everyone as well

and just seeing what
they could get away with.

# Tusk!

# Just say that you love me

# Hiyee

# Don't say that you...

# Tusk. #

I know that the album Tusk certainly
took some of the millions of fans

that they had acquired
through the success of Rumours

by surprise
because it's very different.

To me, though,
this immediately sounds cooler

than anything on Rumours.

And while it might not have had
the same initial level of, like,

just staggering success,
I think with the passage of time,

it's kind of maybe borne out
as being cooler.

# Wait a minute, baby

# Stay with me awhile

# Said you'd give me light

# But you never told me
about the fire

# Drowning

# In the sea of love

# Where everyone

# Would love to drown

# But now it's gone

# It doesn't matter any more

# When you build your house

# Call me

# And he was just like

# A great dark wing

# Within the wings of a storm

# Well, I think I had met my match

# He was singing

# And undoing

# Ooh

# Undoing

# Aa-aa-aa-ah

# Laces

# Undoing the laces

# In the sea of love

# Every one of us

# Would just love to drown

# But now it's gone

# It doesn't matter what for

# But if you build your house

# Then call me. #

It's another really good example
of Stevie's writing credentials.

She's just a style, you know,
she's Stevie Nicks,

she's this image icon, beautiful.

But she evolved,
she took on different looks,

she took on different personas.

And I think, for me, you got a sense
of how she was feeling personally,

through what she wore
and how she held herself on stage.

# And it all comes down to you

# Well, you know that it does, well

# Lightning strikes

# Maybe once, maybe twice

# Oh, and it lights up the night

# And you see your gypsy. #

Oh, her voice, man.

It's such an '80s video.

# You see your gypsy. #

Look how cool they look.

It was in the era of
big music videos, MTV.

# To the gypsy

# That remains

# Her face says freedom

# With a little fear

# I have no fear

# I have only love

# And if I was a child

# And the child was enough

# Enough for me to love

# Enough to love. #

This is the Fleetwood Mac
of my childhood.

And one of the things that's
so phenomenal and so interesting

about Fleetwood Mac is, if you look
at their kind of biggest hits,

most of them have been written
by the two women in the band.

So to have these two really strong
female songwriters

is really unusual. We have so many
great female vocalists,

but it's not so typical that
they're also writing the material.

# You see your gypsy

# Ooh

# Ohhh

# Lightning strikes

# Maybe once, maybe twice

# And all it comes down to you

# Ooh

# Ohhh

# And it all comes down to you

# Lightning strikes. #

The thing I love about Landslide,
that I love about all of

Stevie's songs,
is that they're so personal.

She wrote this before
she'd signed to Fleetwood Mac.

She was 27 years old, she'd spent
a lot of time working as

a waitress and a cleaner,
desperate for the break,

and it just wasn't coming. I
think her dad even said to her,

"Give it another six months and
then, you know, get a proper job,"

type thing, or we'll put you
through college.

And three months into that
six months, Fleetwood Mac happens

and this is one of the songs
that she then takes to them.

# I took my love and I took it down

# I climbed a mountain
and I turned around

# And I saw my reflection
in the snow-covered hills

# Till the landslide brought me down

# Oh, mirror in the sky
What is love?

# Can the child within my heart
rise above?

# Can I sail through
the changing ocean tides?

# Can I handle the seasons
of my life?

# Mm-mm

# I don't know

# Mm-mm

# Mm-mm

# Well, I've been 'fraid of changing

# Cos I built my life around you

# But time makes you bolder

# Children get older

# And I'm getting older, too

# So... #

I've had the great pleasure
of meeting Stevie Nicks

and she's an extraordinary person.

Extremely down-to-earth.

And I said to her, "How do you
manage being Stevie Nicks?"

And she says... GRUFFLY: "Well,
I decide if I'm Stevie Nicks or not.

"If I walk down a corridor,

"I'm looking at the floor,
no-one even sees me.

"If I walk down the corridor as
Stevie Nicks, everybody sees me!"

# ..I've been afraid of changing

# Cos I

# I built my life around you

# But time makes you bolder

# Children get older

# And I'm getting older too

# I'm getting older too

# So take this love

# Take it down

# Oh, if you climb a mountain
and you turn around

# If you see my reflection
in the snow-covered hills

# Well, the landslide
will bring it down, down

# And if you see my reflection

# In the snow-covered

# Hills

# Well, maybe

# The landslide will bring it down

# Well, well, the landslide
will bring it down. #

CHEERING AND APPLAUSE

Tango In The Night
is one of those ones

where it's an extremely
commercial album.

There's so many hits, hits, hits
on that record.

Apparently it was Lindsey
Buckingham, it was his demos first

and then he took it to the band and
the band kind of reconvened again.

But they can pull it out the bag.

They know what a good record
sounds like.

They're very happy to spend
a long time in the studio,

getting it to that point.

It still doesn't sound like
they've made up.

They're still slightly at war.
Tango In The Night kind of

came out again through
a real dark period for the band.

You know, there was a lot of
dependency on drugs and things

within some of the band members,

they were having a really
hard time with that.

And there is a kind of darker feel
to this, I think.

Even those kind of galloping drums

that you get through
some of the songs.

There's a real kind of urgency
to it, I think.

# If I could turn the page

# In time then I'd rearrange

# Just a day or two

# Close my, close my, close my eyes

# But I couldn't find a way

# So I'll settle for one day

# To believe in you

# Tell me, tell me, tell me lies

# Tell me lies
Tell me sweet little lies

# Tell me lies
Tell me, tell me lies

# Oh, no, no, you can't disguise

# You can't disguise
No, you can't disguise

# Tell me lies
Tell me sweet little lies

# Although I'm not making plans

# I hope that you understand
There's a reason why

# Close your, close your,
close your eyes

# No more broken hearts

# We're better off apart
Let's give it a try

# Tell me, tell me, tell me lies

# Tell me lies
Tell me sweet little lies

# Tell me lies
Tell me, tell me lies

# Oh, no, no, you can't disguise

# You can't disguise
No, you can't disguise. #

There's that big sound
and there's still the use of

the West Coast-style harmonies,
you know, that musicality,

and all sorts of elements
which make it more interesting

than it first seems.
It's very well-crafted.

That's the Christine McVie thing,

she's really good at
writing pop songs,

so the stuff she writes has
that real pop element to it,

then you have Stevie Nicks
being a little gothy sort of

Kate Bush-esque in the corner,
and you have Lindsey Buckingham

doing his rock stuff,
and somehow it all works.

So they can each take a credit
for a song and yet the songs can

sit together on an album really well
and it doesn't seem, you know, like

they're from completely different
places, and that's quite a talent.

# But I couldn't find a way

# So I'll settle for one day

# To believe in you

# Tell me, tell me, tell me lies

# Tell me lies
Tell me sweet little lies

# Tell me lies
Tell me, tell me lies

# Oh, no, no, you can't disguise

# You can't disguise
No, you can't disguise

# Tell me lies
Tell me sweet little lies

# Tell me lies
Tell me, tell me lies

# Oh, no, no, you can't disguise

# You can't disguise
No, you can't disguise... #

The first time I remember hearing
Fleetwood Mac was Big Love.

I think it could have been on...

And it wasn't hearing it,
it was the video.

I remember seeing the video
somewhere and the sound of it

was very distinct.

I had no idea who they were,
this was like a new band to me,

but they looked older,
so that was interesting.

# Looking out for love

# In the night so still

# Oh, I'll build you a kingdom

# In that house on the hill

# Lookin' out for love

# Big, big love

# Oh, oh, oh, oh

# You said that you love me

# And that you always will

# Oh, you begged me to keep you

# In that house on the hill

# Lookin' out for love

# Big, big love

# Oh, oh, oh, oh... #

The sonics. It was all about
the sonics of it, the sound of it,

and the vocals were
really, really great.

The voices. His voice especially.

# I wake up

# Alone with it all

# I wake up

# But only to fall... #

The interesting thing about
Big Love is you can hear echoes of

all the little bits of their past
in that one song.

There's this little trail-off,

this little bluesy trail-off
that echoes Oh Well.

This bit.

# Da-dah, da-dah
Biddle-diddle-diddle-diddle. #

That biddle-diddle-diddle-durh
at the end is the echo,

and it's like a book-end.

# Oh, oh, oh

# Oh, ah
Ah, ah... #

I always assumed that the grunts
was Stevie or Christine,

but it wasn't, it was Lindsey
pitching his voice up.

# Huh, ah
Huh, ah... #

Which is just slightly bonkers.

# Uh, ah
Uh, ah

# Uh, ah
Uh, ah. #

They've left, they've broken up,
they've got back together.

Whether it's for Bill Clinton

or, you know, an anniversary tour
or whatever.

# In my world, everybody stays

# Nobody wishes for
words they couldn't say

# Bless my soul
Let the night unfurl

# Dancing, spinning, dreaming
Singing in my world... #

And now Lindsey Buckingham's left,

I'd really like to believe that
Mick Fleetwood is in LA just now

just kind of like going to gigs
and checking to see

if there's any new players
that he thinks,

"Here's a good songwriter
I could use."

The door's not closed,
I don't think.

There's not really been much said
about it

but, you know, they've got
some new members in, but...

I don't really care.
I'm watching Stevie.

# But you need some rest
My darling, it's best

# But we've already passed it
I cried

# Ooh-eeh
Listen to me

# My secret love secretly

# Died... #

This band, Fleetwood Mac,
they've survived so much.

50 years, that's unbelievable.

And I think it's nearly over
100 million records they've sold.

Half of that, nearly,
through one record.

That's amazing.
That's a great achievement

for a band who are still out there
touring, and their music,

more importantly, over everything,
still resonates.

They spawn a million bands,
trying to be as good as that.

Trying to... Trying to achieve
that foothold that's their own,

and that's an amazing gift
to give the human race.

# Can you hear me calling
Out your name

# You know that I'm falling
and I don't know what to say

# I'll speak a little louder
I'll even shout

# You know that I'm proud
and I can't get the words out

# Oh, I
I-I

# I want to be with you everywhere

# Oh, I
I-I

# I want to be with you everywhere

# Be with you everywhere

# Something's happening
Happening to me

# My friends say
I'm acting peculiarly

# Come along, baby
We better make a start

# You better make it soon
before you break my heart

# Oh, I
I-I

# I want to be with you everywhere

# Oh, I
I-I

# I want to be with you everywhere

# Be with you everywhere

# Oh, oh, oh, ah

# Oh, oh, oh, ah

# Oh, oh, oh, ah

# Oh, oh, ah... #