All language subtitles for Fleetwood Mac - Dont Stop

MUSIC: "The Chain" by Fleetwood Mac

Anything that could happen
to a rock'n'roll band

has happened to Fleetwood Mac.

5 decades
of hits and sell-out world tours,

over 60 million albums
sold worldwide

but at a huge cost.

It breaks my heart what happened.

Multiple break-ups...

I'm not "looking for love",
I'm looking out for love.

..fallouts,

fist fights,

legendary indulgence...

We were like little kids
in a toy shop.

..long-term dependence...

I thought it was going to kill me.

..and yet...

# Don't stop thinking about tomorrow

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

..they're still selling out
stadiums.

They've been to hell and back but
four decades on it's not over yet.

CHEERING AND APPLAUSE

Fleetwood Mac are one of the biggest
bands in the world

but, right from the start,
that stardom came at a price.

Back at the beginning,

it was a blues band.

BLUES NUMBER PLAYS

Fleetwood Mac were conceived
in the heady blues explosion

of 1960s London,

in a scene that would spawn
some of our greatest rock legends.

Fleetwood Mac
had their own secret weapon -

standing behind Mick Fleetwood and
John McVie in this first line-up -

guitarist Peter Green.

Peter picked up a guitar and just...

blossomed immediately into
this monster, very individualistic

guitar player.

We're now going to do
our latest single...

called Oh Well.

He simply, for me, is the best thing
that ever came out of England.

The touch he had,

the songs that he wrote - Oh Well.

# I can't help it
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... #

When it came to the band
looking for a name,

I think it was Peter's

very strong desire not to become...

..Jeff Beck, Jimmy Page, you know.
He just didn't want that.

He wanted to be in a band.

Peter said, "This band's
called Fleetwood Mac."

Front man Peter Green had named
the band after his rhythm section

but, despite his retiring nature,
the band got bigger.

And in 1969, with songs like
Albatross going to number one,

they outsold The Beatles.

Peter's response was to try
and give away the royalties

to the hits he kept writing.

# Now, when the day goes to sleep
And the full moon looks... #

If you listen to the words,

it's a man crying out for help.

He obviously had the beginnings

of demons creeping into
his, er, world.

It breaks my heart what happened.

While on tour in Germany,

Peter Green was met
by local scenesters -

Rainer Langhans and the alluring
Uschi Obermaier -

who were planning
a Bavarian Woodstock

and invited him
back to their commune.

I think we'd just done the gig
and then these two people

dangled this lady in front of him -

she was very pretty -

and they went away to this schloss,

and that's where he did acid and...
all it took was a couple of tabs...

and he never came back.

MUSIC: "The Green Manilishi
(With The Two Pronged Crown)"

Mick and John carried on
without Peter

and in 1970 were joined by John's
wife, blues singer Christine McVie.

But they were less lucky
with guitarists and front men.

In 1971, on a US tour,

Jeremy Spencer left his hotel

to visit a book store
on Hollywood Boulevard

and was recruited by a religious
cult - The Children of God.

# Ah, we're on the way
The children of God

# We're on the way. #

In 1972, guitarist Danny Kirwan,

who shared the fateful
German acid trip with Peter Green,

exited the band
after smashing his guitar

against a dressing room wall in LA.

In 1973,

they released a new album
with guitarist Bob Weston,

who promptly had an affair with
Mick's wife, model Jenny Boyd,

and was asked to leave.

By 1974, Fleetwood Mac -

who had relocated to LA in the hope
of breaking into America -

were just another British rock band
doing the rounds,

down to just the rhythm section,

a female songwriter
reluctant to front the band

and their latest guitarist,
Bob Welch.

Bob Welch was our guitar player and
made several great albums with us.

And he, at very short notice,
at the end of a tour,

the last gig, he decided,
"I'm gone. I'm done. Out."

Meanwhile, a young American

folk/rock duo
called Buckingham Nicks

had also moved to Hollywood
in search of musical fame.

# You may not be as strong as me... #

Coming from the growing genre
of confessional songwriting,

the couple had seen their debut
album garner critical acclaim

but not much else.

Dropped by their label eight years
after becoming an item,

they were back to square one -

sharing a single room
and waiting on tables.

I'd get home from my waitress job
and we'd have dinner and then

we'd start working at nine
at night, and we'd work till three,

go to bed, get back up
and he'd work on the music

and I'd go and be a waitress.

So that's really what went on through
1974 till the last day of 1974.

It was about a year and three months
from when it came out

till the day
that Mick Fleetwood called us.

MICK: Met a guy in a supermarket

who I knew vaguely. He said,
"What are you doing?"

I said, "Actually,
I'm looking for a studio."

He said, "I've started working
at Sound City."

Whish is the studio in the valley.

And we drove to Sound City

and walked into the studio.

And Keith Olson was an engineer

and I literally just was saying,

"Well, what does the room sound
like?" Keith put Buckingham Nicks,

the master tape, on, which he'd
produced with Lindsey and Stevie,

just for something to play.

And that's where I heard
Lindsey's guitar playing.

ELECTRIC GUITAR SOLO PLAYS

I just happened to walk in to
Studio A. I walked in

right in the middle of this
blistering guitar solo at the end

and here's this really tall,
skinny guy

in the room just kind of...

doing this and I really didn't know
who it was.

And then a week later I got a call
form Mick and he said,

"Our guitarist Bob Welch is leaving
and would you like to join the band?"

I didn't think about Stevie one way
or the other

because I was looking for a guitar
player. Stevie's, quote,

"never forgiven me". It was like,
"Oh, you didn't want me,

"you wanted Lindsey, right?" Which,
right at the beginning, was true.

And very quickly we realised that
they were totally joined at the hip.

And I said, "Well, I'll have to...
I'll have to talk to my girlfriend

"about that but, if we do,

"you're going to have to take
my girlfriend too."

A meeting was arranged that would
define the future of Fleetwood Mac.

So we all met
at a Mexican restaurant

on Third Street in Los Angeles

and we all got on
like a house on fire.

Everyone thought that it was a little
unique that there were two women.

It was certainly unique
that there were two couples.

And the only criteria with Christine
was, "We have to meet,

"because I just want to know
that I get on with her

"because there can be nothing worse
that two cat-calling women

"that don't get on in a band."
And she was right.

CHRISTINE: In the musical environment
I hadn't worked with another girl.

When I met her,
I instantly liked her,

not because she was like me,
quite the contrary -

we were totally unalike,
me and Stevie.

We were complete opposites

at opposite ends
of the personality spectrum.

STEVIE: I said, "You know, I think

"this woman Christine McVie is
pretty fantastic

"and this would give me
somebody to hang out with."

In 1975, the new line-up gathered
at Sound City

to record their first album together
and figure out how to marry

a laid-back British blues trio

to a folk/rock duo
with Californian ambition.

LINDSEY: We had songs

that were probably being tooled up

to be maybe
another Buckingham Nicks album.

Some of those songs went on to
the first album they recorded

with Fleetwood Mac, and Rhiannon
was one of them.

She writes on the piano in a very,
very rudimentary manner.

It's very much like this.
It's...

MIMICS PIANO KEYS IN RHIANNON

My tendency is to add rhythm
and to rock it up so just...

bringing that thumb style that I have

which is sort of somewhere
between classical and folk.

PLAYS RHIANNON

I didn't know anything
about Wales at the time

but I always thought
it was kind of like a Welsh

country song, you know?

PLAYS BASS LINE

# Rhiannon rings
like the bells in the night

# And wouldn't you love to love her?

# She goes through 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... #

MICK: We rehearsed before we went
in the studio and my sense was,

"My God, we're home and dry."
Lindsey's a great performer

and Stevie was IMMEDIATELY
in charge of her arena.

The whole spell that she put over
audiences with all the movement

and all the lovely stuff.

# ..Oh, now you know

# That your dreams unwind
Love's a state of mind... #

CHRIS SALEWICZ: She had
the two voices,

one of which is the kind of
archetypal West Coast,

female singer/songwriter, er, er,
lilt - very sweet, very girly.

# ..Still a state of mind

# I know, I know

# Dreams unwind
Love is all you find... #

But then there's also the almost
Janis Joplin-like blues belting,

both of which she uses to fine effect
in Rhiannon,

which, of course,
was her stage tour de force.

# ..Take me like the wind now
Take me with the sky

# Take me like the wind, baby
Take me with the sky... #

KEN CAILLAT: I'll never forget that
one. It was a 1976 performance

and she was just screaming Rhiannon.
I can remember

her vocal cords
were just stretching out,

you know, the muscles were stretching
and she went

a complete octave above
where anybody could take that song.

# ..All that's left, all that's left
Rhiannon

# All that's left, all that's left
All that's left

# R-r-r-rhiannon

# Can't leave her
Rhiannon, you can't leave her

# You're a dreamer, you're a dreamer

IMPROVISED BLUESY LYRIC

# ..Dreamer, dreamer

# A-a-a-ah... #

The woman who had been the plus one
in the new line-up

gave the band the hit single

that propelled their album
up the US charts.

MUSIC: "The Chain" by Fleetwood Mac

The band also realised
that the key to their success

was a luxurious, simple sound.

"Less is more"

dictated the sound

of the then Stevie and Lindsey
incarnation of Fleetwood Mac.

When we joined Fleetwood Mac,

it was kind of an exercise
in paring down.

It was a kick
and a snare and a bass.

So keep it simple and just...and let
the voices and Lindsey's guitars

layer the rest of it.

We didn't even know
what a harmony was with Peter Green

and then, bingo!

The blend of the vocals - you know,
Chris's voice is slightly husky

and Stevie's and Lindsey's -
that blend was...

Wow!

It was like,
"Yeah, this is gonna happen."

# Listen to the wind blow

# Watch the sun rise. #

In 1977, as the band started writing
songs for their next album,

they were primed by their label
for even bigger success...

with one catch.

MICK:
Going in to the making of Rumours,

all of us, like a convergence -
Stevie and Lindsey, John and Chris

and me and Jenny, my then wife -

all five band members were going in
to, you know, an emotional hiccup,

to say the least.

When we joined Fleetwood Mac,

everything was rocky
between me and Lindsey.

We had just our own sense of, um,
displacement.

I think we all kind of made
a little silent vow,

let's fix these relationships
for right now,

because we cannot break up.

We just can't. If we do,
there will be no Fleetwood Mac.

PIANO PLAYS: "Don't Stop"

MICK: That's Rumours.

That's the canopy that led us in to
the making of that album.

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

And within that framework
was this incredible...

you know,
cross talk of laser beams of emotion

going from one personality
to the other.

# Don't stop thinking about tomorrow

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

# It'll be here better than before

# Yesterday's gone
Yesterday's gone... #

Don't Stop, you know,
is certainly Chris saying,

"I love you but I'm not
in love with you," to John.

You go back and you read them
and you go, "Oh! Well, OK."

# ..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... #

Somebody's playing a song and
everybody in the room's going...

"That's about me, right?" You know?
And, "Of course it's about you!"

But what you have to do
is you have to let that go

because if you don't let that go

you can never play these songs
for anybody.

# ..Don't stop
thinking about tomorrow

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

My songs were all about Lindsey and
Lindsey's songs were all about me.

You had to blow it off
and play the song.

It was an exercise in denial,
it really was. That was the only way

we could get through it. You had to
put your feelings over here

and get on with what needed
to be done in the rest of the room.

# ..Ooh... #

I don't think we were
really aware of it at the time

until it was more or less completed,

and then John, I think,

made some reference to it sounding
like a bunch of rumours.

I think that's how we ended up
calling the album that.

And the end result
was just very moving

when you listened to it back-to-back.
Everything strung together

as it was, like something of a diary.

CHRIS SALEWICZ: John McVie liked a
drink and I think he always had done

and
he was part of that whole tradition

of English rock'n'rollers from
the '60s, from John Mayall's era,

who just liked to go out
and get slaughtered basically.

And, you know, living in LA,

you know, he was still a member
of John Mayall's brain damage club.

I'm a legend in my own mind.

I was over the top.

Way over the top, you know.

Beyond the pale, as it were, and...
she couldn't handle it any more.

And it happened when we were doing
something down in Florida,

um, that I got the word.

BAND PLAYS: "You Make Loving Fun"

Basically we weren't a unit any more

and she'd rather be with
our lighting director than me.

# Sweet wonderful you... #

If the album gave Christine
a chance to say to John

"don't stop thinking about
tomorrow", it also gave her a chance

to tell her lighting director
that he'd made loving fun...

# Ooh, you make loving fun... #

..but Lindsey and Stevie
weren't exactly singing along.

KEN CAILLAT: They were both sitting
on stools next to each other

singing into two microphones. We
had to stop the tape or something.

Suddenly they were screaming at each
other, "Damn you! Go to hell!"

And I, honestly, was embarrassed.
I didn't know what to do.

I rewound the tape as fast
as I could.

The moment I hit play,

they were back into singing
You Make Loving Fun again,

which I thought was very ironic.

Rumours was recorded
at the Record Plant in San Francisco

and one afternoon Stevie
found a hidden corner of the studio

to privately gather her thoughts

on her failing relationship
with Lindsey.

I was just hanging out in the rest
of the Record Plant and Sly Stone

had a studio there and the people
that owned the studio let me in.

I went in there with my Fender

and I spent the afternoon in there
and I wrote Dreams.

THEY PLAY: "Dreams"

And, um, they really liked it.

So we recorded it the next day

and this was before the final blow-up
of me and Lindsey. But we were close,

but we hadn't had
that final blow-up yet.

# Now, here you go again

# You say you want your freedom... #

"Now, there you go again
You say you want your freedom

"Who am I to keep you down?"

Um, I really was the one
that wanted my freedom...

at that point,

um, because I just wasn't happy
in the relationship any more.

The relationship, in my opinion,
had become too dark,

and too obsessive

and too heavy.

I just was looking for
some spring air.

I was just looking to breathe again.

# Thunder only happens
when it's raining

# Players only love you
when they're playing

# They say, women, they will come
and they will go

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

I think the thing about Stevie Nicks
is her style of writing

is much more pastoral, whimsical,
West Coast hippie, really.

And Lindsey Buckingham's style is a
much tougher,

almost punkier sound actually.

Lindsey, of course, had a riposte to
Stevie's take on their relationship.

Complete with a dramatic opening
and a rollicking backbeat.

Um, I had this idea.

It was actually taken from Street
Fighting Man by the Rolling Stones.

Where Charlie Watson's going,
"Um, um, pah, boom, boom, boom."

And Mick didn't wanna...
he couldn't quite get that

and he did his own thing.
DRUMS BEAT WITH FOOT

He did a four-four and he went,
"Um, pah, boom, boom..."

DRUMS BEAT

# Loving you
Isn't the right thing to do

# How can I ever change
the things that I feel? #

Go Your Own Way -
it's a bittersweet testimony

from a partner to another partner.

Well, I always looked at
Go Your Own Way as Lindsey's Dreams.

# When you won't take it from me...
#

My Dreams was my kind of airy-fairy,
spirituality, sang,

"When the rain washes you clean,
you'll know."

In other words, we're all
gonna come out of this.

And, Lindsey, you and I will come out
of this and we'll be friends.

And it'll be OK.

And Lindsey's Dreams,
which was Go Your Own Way,

was angry and nasty.

# Go your own way! #

And in my opinion,
extremely disrespectful,

to say "shacking up".

# Packing up
Shacking up's all you want to do. #

And me, lady-like, prudey Stevie,

which I am, was very offended,

by him saying "shacking up
is all you want to do".

Because I was not in any kind
of a shacking-up mood.

I was not shacking up with anybody.

# Go your own way

# You can call it
another lonely day... #

It may be a rather truthful
and blunt observation.

But...you know, that's the way
you write songs.

When I was hired to do the job,
I didn't understand.

Lindsey'd always refused
to sing his lyrics.

And I found out later that the reason
he wasn't singing the lyrics

was because he knew
it'd make Stevie mad.

Lindsey and I broke up,
like, on the last day.

And we had a big fight. I don't
remember what the fight was about.

But we were getting ready to go home

and I basically said to him, "Well,
I'll pack the car and you drive it.

"I'm flying home and you drive."

And we were done.

Done.

Dreams gave the band their first
number-one single in America,

as Rumours hit the ground running,

selling 200,000 copies a day.

Adult-oriented rock
had truly arrived.

The success of that album was as
much about people investing in us,

as people, and realising that a lot
of this music was actually

cross-dialogues to each other.

You know, Lindsey Buckingham and
Stevie Nicks are just
tearing apart...

they're pulling down
the curtains of the bedroom.

They're opening the doors wide.
What's really going on in here?

All the group's neuroses
are laid bare.

It's that blend of
the British blues sensibility

with this almost neurotic and
actually absolutely heartfelt

lyric writing.

There's a darkness to it.

Where that's been this band's
saving grace, you know?

Where...it started in my mind
with Peter Green.

It's accessible and it's
sort of pop music, but not.

There was one song on Rumours
that wasn't released as a single,

but became a show-stopper
and a kind of anthem for the band.

The Chain.

It's ironic because it is a song
about keeping together

and somehow finding the tools and
the vocabulary to not only do it

in the moment, but to keep doing it.

I mean, it's like nobody,
no matter how bad it got,

nobody didn't want to be in the band.

Nobody wanted to get out of the band.

So, it was like, you know,
the band was number-one priority.

So it's like...the relationships
did not override the band.

# Chain...
Keep us together

# Run in the shadows

# Chain...
Keep us together

# Running in the shadows

# Chain... #

Rumours made Fleetwood Mac
the biggest band in the world.

They even had their own star
on Hollywood Boulevard.

But like Peter Green before, success
sat uneasily with front man Lindsey,

who felt the band were in danger
of becoming dinosaurs.

He probably would have
left Fleetwood Mac.

He came up to my house.
We spent a couple of days talking

about what he wanted to do.

It was all about Lindsey's thing of
- we've gotta go forward.

PUNK MUSIC

After Rumours in 1977,

a new wave of young bands
had arrived.

And Lindsey, listening
to the Clash and Talking Heads,

was desperate for the band
to experiment.

In 1979, Fleetwood Mac released an
elaborately packaged double album

and spent the industry's biggest
recording budget to date...

..on this.

MUSIC: "The Ledge"
by Fleetwood Mac

# Countin' on my fingers
Countin' on my toes... #

NEWSREEL: ..four billion
dollar-a-year record industry

experienced an 11% drop in sales.

Executives felt that
one of the albums

that could bring buyers back into
the stores would be Fleetwood Mac's

next release.

Tusk was a different-sounding
record than Rumours.

I was all ready to go in
and make another Rumours.

But Lindsey had different ideas.

He... Every idea that I suggested,
sound-wise, he wanted the opposite.

# Countin' on my fingers
Countin' on my toes

# Runnin' through my fingers
Watchin' how it grows... #

The record company wanted us
to really just make another Rumours.

And Lindsey was really
offended by that.

And Lindsey is one of those people
that will go up on the cross

to make a point, and die.

Lindsey was this volatile character.

He was kind of a whacked-out guy.

I remember one day, and this was
when he had this big kind of afro,

I looked up and all
his hair was gone.

Just all...all irregular.

And I said, "What happened?"

And he said, "I was just in my
shower and I freaked out.

"And I just cut it all off." And he
really said, "Yeah, cut it all out."

And I said, "OK, well, we're
all long hair and beards

"and you look pretty strange here."

But that was the kind
of thing he would do.

He would just freak out.

You know, you've gotta
just do what is in your heart.

And I was quite excited
about trying some new approaches.

SHE SINGS PASSIONATELY

# Yeah, but you'll never catch me. #

Stevie, that's great...

It took 13 months in one place.

So we weren't moving around.
So it was a long, long 13 months.

We were recording at Village
Recorders in Santa Monica

and we were recording six days a
week. We were all there every day.

And, you know, we just got through
it. And it was really horrible.

With a certain amount of
trepidation, I did get the band into

the idea of trying
some new processes

and some different sensibilities.

I remember one day he wanted to get
an aggressive-sounding vocal

and he had me tape the microphone
on the tile floor

and he got down
in the push up position

and sang into this microphone,
sitting on the floor.

I still wouldn't mind trying that
square one Stevie uses on stage.

All right.
Two... What, this one, you want?

Yeah. All right.

It's like Lindsey with the microphone
on the tile floor,

like laying on the floor,
with his head flat on the floor,

going, "Ooh, ooh, ooh-ooh, ooh, ooh.

"Ooh-ooh, ooh, ooh."

And we're just all like, "OK.

"That was great. Take two."

JAUNTILY
And he goes, "Ooh-ooh, ooh, ooh, ooh.

"Ooh-ooh, ooh, ooh, ooh."

"OK. Take three."

And then he's taking the whole thing
and then he's slowing it down.

And then he's recording that
and then he's speeding it back up.

And then he's putting it through
a Leslie organ speaker.

And it was just hard
for the rest of us

because we kind of...
we weren't always involved.

GUITAR PLAYS

We had a great little anteroom,
little lounge room outside of it.

And we would just be in the lounge,
drinking coffee,

watching television, eating,
and waiting for Lindsey to say,

"OK, come on in now.
There's something for you to do."

There we are! Coffee's made!

You've gotta see,
we lose track of time in here.

I called my mother last night
for the first time since Christmas.

You thought it had been a month. I
thought it had been a month, right.

Not literally a month.
You do lose complete track of time.

Cos your days and your nights
aren't set up right.

The most elaborate and expensive
production was saved

for the album's title track.

The track, Tusk, came out of a riff
that Lindsey always used to play

at sound check.

HE PLAYS RIFF

And I came back and said, "What
about a hundred-piece brass band

"playing the riff?"

And we're all like, "OK."

"OK, if you can pull this off, Mick,
then great."

And...it was a weird one, you know?

It was Mick's idea to put the USC
marching band on there,

which was a stroke of genius.

We put the 120-piece brass band
with Fleetwood Mac

and recorded it at Dodger Stadium.

# Why don't you ask him
What's going on?

# Why don't ask him
Who's the latest on his throne?

It really was an extraordinary day
and we did film it, thank goodness,

and I got to twirl,
cos my mom was a majorette.

So my mom taught me to twirl
when I was really little.

So I did a little of that.

We're honorary members
of the USC marching band.

# ..Tusk!

# Just say that you love me...

# Tusk! #

The extravagant Tusk disappointed
the record company by only managing

a quarter of Rumours' sales figures.

But as a live act,
Fleetwood Mac were still a draw

and were accordingly booked
onto a huge 18-month world tour.

I saw the Tusk tour in San Francisco
at the Cow Palace

and the audience, it was kind of
kids in the front rows.

They're screaming, they think
it's fantastic to be there.

It's like a teenage
rock'n'roll show.

SCREAMING

BAND PLAYS

On the extensive Tusk tour,
things got indulgent.

Perhaps because Fleetwood Mac
had sacked their previous manager

and were newly managed by...

their drummer.

Mick was managing the band.

Mick's a dreamer and he's not an
accountant, let's leave it at that.

We went through a really bad
experience with, let's put it...

our now ex-manager. You remember
that, Mum, don't you? I do, indeed.

We never had another manager.

Good thing too. And here it sits.

This is the manager.

You know, I think there was a
tendency to get the biggest plane

we could get to travel in

and all for reasons of wanting
things to be great.

It costs between 25,000
and 30,000 dollars a day

just to keep Fleetwood Mac
on the road.

But the investments in luxury jets
and the separate limousines

that emphasise
their individual styles

are the group's own decision.

SCREAMING

We all make reference to this thing
called the bubble, you know?

The Fleetwood Mac canopy,
where a world within a world,

as Lindsey would say, existed.
Some of it very insane really.

The Tusk tour was legendary
for its success.

And one of the things I noticed
was that, backstage,

in the same way that at that point
people were getting into drinking

Perrier water, instead of tap water,

Fleetwood Mac had bottles of oxygen.

Even their air came out of tanks.

We at that point were, for sure,
like little kids in a toy shop.

I just remember things got larger.

We were doing the US festival
with the Eagles.

250,000 people.

SCREAMING

It just grew.

I mean, the excess around
Fleetwood Mac is well known.

There seemed to be a lot of alcohol
and Peruvian marching powder.

But I think this was all fuel
to keep them all going.

Cos I could tell, even in '76, when I
met them in LA, they were exhausted.

Already! They were
absolutely knackered.

They needed fuel.

SCREAMING

To make matters even more
complicated,

behind Lindsey's back, Stevie and
Mick had started seeing each other.

# Wait a minute, baby

# Stay with me a while

# Said you'd give me light

# But you never told me about
the fire... #

Stevie and myself had
a great relationship

but it was not in the open.

It was not, you know, open...
It was a very private affair really.

And then...Mick fell in love
with my best friend, Sara.

And my best friend, Sara, moved
in with Mick and left her husband.

The awkwardness, no doubt,
the dastardly deed

was that Sara was and still is
a great friend of Stevie's.

And it was the classic, you know,
intergalactic...mess.

And out of that came,
certainly that song, Sara.

# Said, Sara

# You're the poet in my heart

# Never change

# Never stop... #

So there we were recording Tusk

with Lindsey, who never really got
over this relationship with me,

and now Mick has done this thing
and he's living with my friend, Sara.

And she's banished from the studio.

And so I lost Mick and my friend Sara
in one fell swoop.

SCREAMING AND RIFF

Being in Fleetwood Mac,
to this day, is very tense.

It's a tense situation.

Always. Was from the very beginning
and is now.

In my solo career I'm not tense.

I'm not uptight.

Because I don't have
any reason to be uptight.

In 1981, Stevie, who was becoming
a star in her own right,

launched a parallel solo career.

Her first album, Bella Donna,
eclipsed Fleetwood Mac's Mirage,

topping US and UK charts,

and conjured three hit singles,
including the spellbinding

Edge Of Seventeen.

# Just like the white winged dove
Sings a song

# Sounds like she's singing

# Ooh, baby, ooh
Said ooh

# Just like the white winged dove
Sings a song

# Sounds like she's singing

# Ooh, baby, ooh
Said ooh... #

She was the ultimate West Coast
hippie dream girl.

You know, in her hotel room, there'd
be a lot of scarves and silk objects

draped over every possible
lamp and light bulb, everywhere.

# ..Nothing else mattered... #

Stevie has a real fondness
for accessories

and playing with things
and becoming characters on stage.

It just evolved.

Top hat, think she had
a cane at one point

and then chiffon and it grew
and she developed it.

When she puts on a shawl she
literally becomes another character.

She's so petite on stage and they
were doing larger and larger arenas

so she wanted something
that would really show

that she's there, that she's moving
and it would be dramatic.

# ..Ooh, baby, ooh
Said ooh

# Just like the white winged dove
Sings a song

# Sounds like she's singing

# Ooh, baby, ooh,
Said ooh... #

If you go to concerts you'll see
many, many people dressed like her.

In various stages of her career.

They're dressed to the nines,
like Stevie-ites all over the place.

People remember, "Oh, my God, do you
remember we were in the audience

"and you see thousands
of Stevie Nicks!" you know?

HE MIMICS HER

Thank you for being with us on this
very special night. Good night.

The cult of Stevie Nicks grew.

But was laced with rumours
about her growing dependence

on a particular brand of stardust.

# Rock on, gold dust woman

# Take your silver spoon

# Dig your grave... #

The cocaine became very prevalent
during Rumours

and, um, everybody was doing it.

There used to be a bag,
the community bag of cocaine,
on the console.

When we got into Tusk,
into the recording of Tusk,

and the thing happened with me
and Mick and Sara, that was
really a drag and, of course,

every time something really bad
happened, everybody started
doing more coke. Just to get through.

And, um, so it got, you know,
it was way... It was out of control.

# Well, did she make you cry

# Make you break down

# Shatter your illusions
of love...? #

I didn't stop doing coke
until I went to Betty Ford in 1985.

So our cocaine-addict selves went
pretty much from the beginning

of 1977 till - for me, anyway -
till 1985.

I don't know when everybody else
stopped because nobody else
went to rehab but me,

so I have a documented timeline on me
but I don't really know
what everybody else did.

Um... But it, you know,
it was totally out of hand.

And it... I thought
it was going to kill me.

In the mid-'80s Fleetwood Mac burnt
out and fell apart and were silent

for a full five years. But in 1987,
still carrying relationship
and substance problems,

they reconvened uneasily
for Tango In The Night.

# If I could turn the page

# In time then I'd rearrange
Just a day or two

# Close my, close my,
close my eyes... #

That was the culmination, for me,
of individual lifestyles

having gone beyond the point
to which there was anything
you could defend about it

helping creativity,
being anything other than destructive
of the creative process.

# ..Tell me lies
Tell me sweet little lies

# Tell me lies
Tell me, tell me lies... #

Stevie, her solo career had pulled
her off in various directions,

but even so, she wasn't,
she just was not present mentally
or physically when she WAS there.

And she wasn't there very much.
I mean, that album probably took
eight months or so, a little longer,

to record, and we probably saw her
all of two weeks, the whole time.

# ..I hope that you understand

# There's a reason why... #

That was when I was on Klonopin,
which is a tranquilliser,

and that was after coke,
that was after I went to Betty Ford.
I was off the coke, I was fine.

And a psychiatrist decided
that what I really needed

was to be on Klonopin cos it
would calm me down, it would
keep me from going back to coke.

And this drug was more deadly
than the coke, for me.

And so what Lindsey was dealing with
on Tango In The Night

was the fact that when
you're on tranquillisers,
you really can't be depended on.

So I would get there late,

or I wouldn't get there at all.

So that was hard for him.

AUDIENCE WHISTLES AND CHEERS

The biggest hit
on Tango In The Night

was a very personal testimony
from Lindsey,

a driven musical leader of the band,

with relationship issues that
had taken him into a dark place.

# Looking out for love

# In a night so still

# Oh, I'll build you a kingdom

# In that house on the hill

# Looking out for love... #

'That IS an important song to me,
because if you look at the lyric,

'it DID describe accurately
the person I was in 1987.'

# ..You said that you love me... #

I had a lot of, uh, relationships
which were less than ideal,

and, and probably much of that
being my doing, you know?

# Looking out for love... #

That song, Big Love,
is about being up on the hill

and looking out for love. But that's
the point - I'm not looking for
love, I'm looking OUT for love.

I'm sort of defending
against love, you know?

# ..Just looking out for love

# A big, big love... #

Tango In The Night was Fleetwood
Mac's biggest seller since Rumours

and breathed new life
into their career.

But there was one dance partner
dragging his feet.

I didn't really wanna be a part
of that kind of excess.

And usually my experience has been
if you have that in the studio, it's
usually about times ten on the road.

So that's when I exited the band.

I remember him quitting when we had
a meeting at Christine's house.

Because the tour had been booked.
Because the album ended up
coming out really good.

It was a big tour.

And he just sat there in the chair
and said, "I can't go."

"I don't wanna go."

And we all just, like, "Well, you
HAVE to go because we can't...

"As an artist, you cannot put all
the promoters out of business."

It was certainly
a negative thing to do,
as far as the band was concerned,

and they were very hurt by it.
But I just felt I needed
to somehow reclaim

my sanity and my own sense
of individuality.

When Lindsey said, "I'm not going,"

I think I got up and ran across the
room and tried to strangle him.

And then he chased me
out of the house,
through Christine's driveway and...

we had a huge fight. And, uh...

..that was that. He was done.

CROWD CHEERS

# I'd rather jack

# Golden oldies, Rolling Stones
We don't want them back

# I'd rather jack

# Than Fleetwood Mac... #

By the end of the '80s
things had definitely moved on.

# ..I'd rather jack

# Than Fleetwood Mac
I'd rather jack... #

The band carried on without Lindsey

but The Reynolds Girls and a younger
generation now saw Fleetwood Mac
as out-of-touch oldies,

an image not helped by Mick's
unfortunate foray into presenting

on 1989's disastrous outing
of the Brits.

..The fabulous, the legendary,
the sensational... Four...

..The Four Tops! Woo!

Hi! Not The Four Tops,

but thank you! You don't
look like 'em, George!

No, I'm The One Top.
The Four Tops have been held up,
putting their make-up on.

MUSIC: "Tusk" by Fleetwood Mac

Inspired by Bill Clinton's use of
Don't Stop as his campaign theme,

the band staged a full reunion
in 1997,

complete with the entire
USC Marching Band.

# Tusk... #

The millennium was even kinder
to the band.

A younger generation discovered
their back catalogue,

Destiny's Child
sampling Stevie's Edge Of Seventeen

for Bootylicious...

# Kelly, can you handle this?

# Michelle, can you handle this?

# Beyonce, can you handle this?

# I don't think
they can handle this, whoooo...! #

..and pop's intelligentsia
noting their influence

on a new crop of young bands.

After their reunion,
a weary Christine McVie decided
to retreat from America

and the band.

I think that was it, and I just said,

"I just have to go home."

Still took me five years

to finally move back here.
But, no, I have had no regrets.

# ..You can go your own way

# Go your own way... #

But the remaining four members
released a new album

and staged two sell-out world tours
to rave reviews.

# ..You can go your own way

# Go your own way... #

'We'd just come back from New York'

and I don't think the band's
played better.

This is a great body of work
we've got

and that allows you to sort of...
all the other good feelings

and the other more objective and
positive aspects of how you feel
about the people, to follow.

Perhaps some of that good feeling
is down to the fact that Lindsey,
in middle age,

has stopped looking OUT for love,
and finally found it.

# ..Go your own way... #

I'm so happy that he fell
on his feet with a family

and had a whole life outside
of a very intense attitude

he has to creativity, his life,
what he wants to accomplish.

And, inadvertently, I think
it's broadened his scope, amazingly.

This is the best thing that ever
happened to me, you know?

I can honestly say, you know,
at age 59,

this is the best time of my life.

Two other band members have found

that relocating
to a faraway paradise

is one way of surviving
Fleetwood Mac.

John McVie lives in Oahu,
one of the islands here in Hawaii.

This is Maui, this is my home.

And we thought just to let you
know... How cold is it back there?!

HE CHUCKLES

The rhythm section,
still together, but we're...

we're not freezing, we're in Hawaii.

We love England, we love Europe,

but, uh... Don't like being cold!

I don't like being cold.
At this age, it's too much!

The arthritis!

Good Lord, I hope
you don't use that!

Oh, I'm sure they will, John!

CROWD CHEERS

But back inside the
Fleetwood Mac bubble,

every night on tour, the couple
who made the band superstars

are still working things through.

# I took this love
and I took it down

# Climbed a mountain
and I turned around... #

There's still, with Stevie
and Lindsey, a healing process

which may very well go on
to both of their dying days.

# ..Till the landslide
brought me down... #

'I met her when I was about 16.

'She transferred to my high school.
I was a junior, she was a senior,
she was 17.'

So, it's, it's been...you know,
most of my life.

'Lindsey's and my relationship
started in '66

'and went through '77,

'so when we finally broke up at
the end of the recording of Rumours,'

it was devastating.

And it was not the way
he wanted it to go.

So, there has been a payback
all these years.

Sadly, probably the lion's share
of those years, there has been
distance and animosity, you know,

of some kind, mixed in
with everything else, too.
It's never been just one thing.

You know, Lindsey and I...

we'll never be, um...

touchy-feely friends.

# ..But time makes you bolder

# Children get older

# I'm getting older too... #

'She's in the process of learning
how to trust me again,'

as someone who is her friend.

You know, I've never been
to Lindsey's house, and probably
never will go to Lindsey's house.

Lindsey's been here once.

'Maybe down the line, in 10 or 15
years, when Lindsey and I are 75,
we'll be friends again.

'When Fleetwood Mac
is a distant memory.'

And his kids will be grown. He has
three really precious children.
They'll be gone.

'People say, as time passes,'

the wounds heal. Maybe, you know,
later on down the line,
all those wounds will heal.

# ..Can I handle the seasons

# Of my life?

# Uh-uh, I don't know... #

From agony to ecstasy,
from the pits to the...pinnacle.

It's such a unique dynamic
with a group of people. It's nice
to still be here doing that.

Fleetwood Mac is bigger,
grander, heavier...

..and way more tense.

Hey, we're still talking about it
but it's OK, you know,

we're all in our 60s now!

We ain't finished yet!

# ..And if you see my reflection

# In the snow...

# Covered...

# Hills... #

CROWD CHEERS

# ..Well, maybe...

# The landslide will bring it down

# Well, well, the landslide

# Bring it down. #

CROWD CHEERS

# Oh, ooh

# I wanna be with you everywhere

# Oh, ooh

# I wanna be with you everywhere... #