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I listen to Fleetwood Mac every day
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because artists like that
unlock the doors of perception.
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They connect you to a creative soul.
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In terms of being able to do music
across a multiplicity of genres,
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they're kind of incomparable.
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For me, it's the marriage
of those tones,
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both of the voices
but of the instruments.
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And what I love about Fleetwood Mac
is that no song
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is really a show-off song
for anyone.
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Everyone kind of gets their moment.
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They're the perfect example of
letting go
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and just, just
letting your thing flow.
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Where it leads, if you let it flow,
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is these songs that came out of
these different marriages.
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Well, Fleetwood Mac were invented
by Peter Green,
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who was a blues guitarist
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and part of the British
blues guitar explosion of the time.
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A kind of Clapton-y, Yardbirds
thing was going on around there,
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and he started Fleetwood Mac
and it's very much his baby.
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Peter Green recruited Mick Fleetwood
on drums and John McVie on bass,
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and they were the name -
Fleetwood Mac.
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They were huge.
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At one point they were selling
more than the Beatles
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and the Rolling Stones combined,
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and had a really big
hard-core blues following.
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00:02:02,520 --> 00:02:04,440
Albatross changed that slightly
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in that they became
slightly more mainstream.
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00:02:07,600 --> 00:02:12,800
But in doing that, it lost them
a lot of those hard-core blues fans,
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but it gained them
a lot of new fans.
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00:02:15,320 --> 00:02:17,760
INSTRUMENTAL MUSIC: Albatross
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It sounds incredible,
even all these years later.
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It's just got that
classic Americana...
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..kind of dream pop,
dream-like vibe.
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00:03:47,960 --> 00:03:52,160
But it also wouldn't feel out
of place on kind of...
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almost like a '90s chill-out album
as well.
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To have established a blues fan base
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and to then present them with this,
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I can't imagine it was well-received
by all of their fans.
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It certainly would
confound expectations.
40
00:05:06,200 --> 00:05:08,680
Certainly, I think, a lot of people
would be surprised
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00:05:08,680 --> 00:05:11,280
if they heard
the entire back catalogue.
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00:05:11,280 --> 00:05:15,000
I used to listen to a lot of kind of
rock and roll and punk music,
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00:05:15,000 --> 00:05:17,120
and there's a Fleetwood Mac song,
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I think it's called Somebody's Going
to Get Their Head Kicked in Tonight.
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That's certainly the kind of,
the chorus of the main line.
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# Somebody's going to
get their head kicked in tonight. #
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And I just...
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I don't think
when I first heard that song
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I realised it was Fleetwood Mac
that sang it.
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00:05:33,440 --> 00:05:36,080
Then when I realised it was
and it was the same people
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that sing, like, Everywhere,
I was just like,
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"What? That doesn't make sense."
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So, yeah, there's
lots of surprising gems
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in the Fleetwood Mac back catalogue.
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00:05:46,240 --> 00:05:51,320
We're now going to do our
latest single, called Oh Well.
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00:06:36,640 --> 00:06:39,360
# I can't help
about the shape I'm in
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# I can't sing, I ain't pretty
and my legs are thin
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00:06:41,720 --> 00:06:44,240
# But don't ask me
what I think of you
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00:06:44,240 --> 00:06:46,880
# I might not give the answer
that you want me to... #
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00:07:16,760 --> 00:07:20,400
Guitars are
the coolest...instrument.
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00:07:20,400 --> 00:07:22,320
Look at those guys!
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Look at them, they're having fun.
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00:07:26,560 --> 00:07:29,040
They don't care that you're there.
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00:07:30,080 --> 00:07:33,600
The way he's playing, the way his
fingers are, and they look so cool.
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00:07:33,600 --> 00:07:36,960
# Now, when I talked to God
I knew he'd understand
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00:07:36,960 --> 00:07:39,760
# He said, stick by me
and I'll be your guiding hand
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00:07:39,760 --> 00:07:41,920
# But don't ask me
what I think of you
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00:07:41,920 --> 00:07:45,000
# I might not give the answer
that you want me to. #
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00:07:45,000 --> 00:07:50,040
It was very, erm, intense kind of
12-bar, it has to be 12-bar.
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00:07:50,040 --> 00:07:53,800
The anorak crowd, the sort of
hard-core blues guys were like,
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00:07:53,800 --> 00:07:55,760
"Oh, you're a sell-out."
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00:07:55,760 --> 00:08:01,720
And with "Oh Well" as well,
they're already losing fans,
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00:08:01,720 --> 00:08:05,000
haemorrhaging hard-core blues fans.
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00:08:20,160 --> 00:08:25,560
They lost almost all
of their fan base in the UK
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00:08:25,560 --> 00:08:29,160
and then they lose
their main songwriter.
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So they don't just lose their crowd,
they lose their main guy.
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00:08:33,640 --> 00:08:37,440
Apparently, two band members,
Peter Green being one of them,
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had a bad acid trip in Germany,
this is the folklore of it.
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00:08:42,160 --> 00:08:44,920
And after that, Peter Green
did not feel right.
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00:08:44,920 --> 00:08:47,880
So at this point, obviously, Peter
Green just needs a really good rest.
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00:08:47,880 --> 00:08:52,000
So Peter leaves
and you still have Mick and John,
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Fleetwood and Mac,
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00:08:54,120 --> 00:08:56,680
who obviously want to continue
as a band.
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00:08:56,680 --> 00:09:00,000
And so you have this kind of
almost barren period
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00:09:00,000 --> 00:09:04,040
where they're not making music,
they're constantly searching
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00:09:04,040 --> 00:09:06,320
and trying out new members.
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00:09:06,320 --> 00:09:10,040
Then in comes Christine,
John's wife,
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00:09:10,040 --> 00:09:11,400
who comes in on merit
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00:09:11,400 --> 00:09:15,800
because she's an incredibly
accomplished songwriter,
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00:09:15,800 --> 00:09:17,720
great keyboard player.
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00:09:17,720 --> 00:09:22,960
Which led to this craziest luck
ever with Mick Fleetwood going
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00:09:22,960 --> 00:09:26,720
into a studio in Los Angeles
to check out the studio,
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00:09:26,720 --> 00:09:30,560
and the producer, like, puts on
a reel to show him what he can do,
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"This is what I last...
This is my latest thing."
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00:09:33,400 --> 00:09:37,520
Apparently, Mick Fleetwood
heard a record by a duo called
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00:09:37,520 --> 00:09:40,720
Buckingham Nicks,
so he asked them out for dinner.
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He invited Lindsey Buckingham,
the guitarist,
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to join Fleetwood Mac
and Lindsey Buckingham said,
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00:09:46,920 --> 00:09:49,600
"Well, actually, I'm going out with
Stevie Nicks,"
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00:09:49,600 --> 00:09:52,880
who is the other partner in
the duo, "We come as a package.
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00:09:52,880 --> 00:09:55,120
"We don't go anywhere
without each other."
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00:09:55,120 --> 00:09:57,920
So, unbeknownst to Mick Fleetwood,
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00:09:57,920 --> 00:10:00,760
suddenly he's got Stevie Nicks
in the band.
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00:10:00,760 --> 00:10:02,320
And probably this was a sort of,
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00:10:02,320 --> 00:10:05,640
"Is she going to work? Is this going
to work? What are we going to do?"
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00:10:05,640 --> 00:10:08,480
But actually, suddenly,
the magic happens.
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00:10:08,480 --> 00:10:12,160
# Have mercy, baby
on a poor girl like me
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00:10:15,240 --> 00:10:20,560
# You know, I'm falling, falling
Falling at your feet
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00:10:23,400 --> 00:10:27,400
# I'm tingling right through
my head to my toes
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00:10:29,680 --> 00:10:33,560
# So help me, help me, help me
make the feeling go
111
00:10:36,360 --> 00:10:39,960
# Cos when the loving starts
and the lights go down
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00:10:39,960 --> 00:10:43,680
# And there's not
another living soul around
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00:10:43,680 --> 00:10:46,920
# You woo me until the sun comes up
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# And you say that you love me
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00:10:53,280 --> 00:10:54,640
# Have pity, baby
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00:10:54,640 --> 00:10:57,240
# Just when I thought it was over
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00:10:59,520 --> 00:11:04,160
# You got me running, running,
running for cover
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00:11:07,320 --> 00:11:11,600
# I'm begging you
for a little sympathy
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00:11:13,840 --> 00:11:18,480
# And if you use me again
it'll be the end of me
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00:11:21,080 --> 00:11:25,000
# Cos when the loving starts
and the lights go down
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00:11:25,000 --> 00:11:28,320
# There's not another little... #
Oh, look at that!
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00:11:28,320 --> 00:11:30,520
# You woo me
until the sun comes up... #
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00:11:30,520 --> 00:11:32,840
And they're so different voices,
as well.
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00:11:32,840 --> 00:11:36,760
You know, Christine and Stevie's
voices are worlds apart.
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00:11:36,760 --> 00:11:38,120
But together...
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00:11:39,280 --> 00:11:40,760
..it's so special.
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00:11:42,600 --> 00:11:45,840
So much of the success of
the songwriting has come from
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00:11:45,840 --> 00:11:51,520
Stevie and Christine. Their talent
as performers and musicians,
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00:11:51,520 --> 00:11:54,680
you know, no arguments there.
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00:11:54,680 --> 00:11:57,600
But in terms of what went on,
in terms of the songwriting,
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00:11:57,600 --> 00:12:01,560
I don't think they get the credit
that they're due for how much
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00:12:01,560 --> 00:12:04,480
of the success of Fleetwood Mac
is due to them.
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00:12:04,480 --> 00:12:08,480
# Baby, baby, hope you're
gonna stay away
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00:12:11,040 --> 00:12:15,920
# Cos I'm getting weaker, weaker,
weaker every day
135
00:12:19,520 --> 00:12:22,920
# I guess I'm not as strong
as I used to be
136
00:12:25,280 --> 00:12:29,600
# And if you use me again
it'll be the end of me
137
00:12:32,560 --> 00:12:35,920
# Cos when the loving starts
and the lights go down
138
00:12:35,920 --> 00:12:39,760
# And there's not another
living soul around
139
00:12:39,760 --> 00:12:42,880
# You woo me until the sun comes up
140
00:12:42,880 --> 00:12:46,440
# And you say that you love me
141
00:12:46,440 --> 00:12:50,160
# Yes, when the loving starts
and the lights go down
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00:12:50,160 --> 00:12:53,840
# There's not another
living soul around
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00:12:53,840 --> 00:12:56,640
# You woo me until the sun comes up
144
00:12:56,640 --> 00:12:59,840
# And you say that you love me
145
00:13:01,280 --> 00:13:03,840
# Say that you love me
146
00:13:05,080 --> 00:13:08,840
# Say that you love me. #
147
00:13:08,840 --> 00:13:11,720
Rhiannon is written by Stevie Nicks,
148
00:13:11,720 --> 00:13:14,520
and I really think
it's a phenomenal song.
149
00:13:14,520 --> 00:13:18,480
It only reached 46 in the UK charts,
I believe,
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which is a shockingly low
chart position.
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00:13:21,400 --> 00:13:25,960
In the Rolling Stone magazine vote
of the 500 top songs,
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it comes in at 488, which I think
is a very respectful place
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00:13:29,520 --> 00:13:32,880
when you think of how many songs
there are in the world.
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00:13:32,880 --> 00:13:36,640
But what I like about this song,
Stevie Nicks always introduces it
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as being about a Welsh witch.
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This is a song about a Welsh witch.
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# Rhiannon rings like a bell
through the night
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00:13:48,640 --> 00:13:52,640
# And wouldn't you love to love her?
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00:13:52,640 --> 00:13:55,320
# She rules her life
like a bird in flight
160
00:13:55,320 --> 00:13:59,160
# And who will be her lover?
161
00:13:59,160 --> 00:14:03,080
# All your life
you've never seen a woman
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00:14:03,080 --> 00:14:05,880
# Taken by the wind
163
00:14:05,880 --> 00:14:09,160
# Would you stay
if she promised you heaven?
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00:14:09,160 --> 00:14:11,880
# Will you ever win?
165
00:14:12,880 --> 00:14:19,480
# She is like a cat in the dark
and then she is the darkness
166
00:14:19,480 --> 00:14:22,200
# She rules her life
like a fine skylark
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00:14:22,200 --> 00:14:26,040
# And when the sky is starless
168
00:14:26,040 --> 00:14:33,080
# Once in a million years
a lady like her rises
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00:14:33,080 --> 00:14:34,720
# Rhiannon... #
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00:14:34,720 --> 00:14:37,600
At the time, she was very much into
Welsh mythology
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00:14:37,600 --> 00:14:41,920
and was starting to learn about
the goddess of horses,
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00:14:41,920 --> 00:14:46,880
which is very prominent
in Welsh folklore.
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00:14:46,880 --> 00:14:48,800
But it's the way she's written it.
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00:14:50,280 --> 00:14:52,440
She writes in
a stream of consciousness,
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00:14:52,440 --> 00:14:54,600
which really only
Stevie Nicks could do.
176
00:14:54,600 --> 00:14:58,520
She doesn't finish her phrases,
so she writes words that fit
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00:14:58,520 --> 00:15:03,480
the musical phrase
more than they fit the sense,
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00:15:03,480 --> 00:15:06,080
but it works
because that's how she writes.
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00:15:06,080 --> 00:15:08,520
It's ingrained,
it's part of her DNA,
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00:15:08,520 --> 00:15:10,000
she's not faking it.
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00:15:10,000 --> 00:15:13,920
She's discovered what works
for her voice.
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00:15:13,920 --> 00:15:16,520
# She rings like a bell
through the night
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00:15:16,520 --> 00:15:19,480
# And wouldn't you love to love her?
184
00:15:20,720 --> 00:15:23,120
# She rules her life
like a bird in flight
185
00:15:23,120 --> 00:15:25,960
# And who will be her lover?
186
00:15:27,320 --> 00:15:34,080
# Once in a million years
a lady like her rises
187
00:15:34,080 --> 00:15:40,320
# Rhiannon, you cry when she's gone
and your life knows no answer
188
00:15:40,320 --> 00:15:43,840
# And your life knows no answer. #
189
00:15:48,320 --> 00:15:50,200
Stevie Nicks was the only member
of the band
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00:15:50,200 --> 00:15:52,480
who didn't play an instrument,
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00:15:52,480 --> 00:15:54,880
so she wrote in a different way
to everybody else.
192
00:15:54,880 --> 00:15:56,880
But she has this stage presence.
193
00:15:56,880 --> 00:16:01,640
She's 5'1" and she has that thing
of suddenly she's the focal point.
194
00:16:01,640 --> 00:16:04,320
I don't think they predicted
the success she would have,
195
00:16:04,320 --> 00:16:06,440
just as being an icon,
just as being herself.
196
00:16:06,440 --> 00:16:09,160
Yes, you can't mistake her
for anybody else.
197
00:16:11,240 --> 00:16:15,360
# Taken by, taken by the sky
198
00:16:18,120 --> 00:16:22,200
# Taken by, taken by the sky
199
00:16:24,680 --> 00:16:29,920
# Taken by, taken by the sky
200
00:16:31,040 --> 00:16:34,320
# No, ohh. #
201
00:16:49,480 --> 00:16:53,160
Lindsey Buckingham's guitar-playing
is so extraordinary,
202
00:16:53,160 --> 00:16:55,120
so ahead of its time.
203
00:16:55,120 --> 00:17:00,640
Creating those sounds without
a pick - he was a finger player -
204
00:17:00,640 --> 00:17:02,640
but also strums.
205
00:17:02,640 --> 00:17:04,440
It's just mind-blowing.
206
00:17:19,280 --> 00:17:22,280
John's like, you know, he just
stands in the background there
207
00:17:22,280 --> 00:17:26,240
and does his thing brilliantly
and is so intrinsically important
208
00:17:26,240 --> 00:17:28,560
to the sound of that band.
209
00:17:28,560 --> 00:17:32,640
John and Mick, you know, those
two are the... They're the roots
210
00:17:32,640 --> 00:17:35,720
of Fleetwood Mac,
they're the foundations, really,
211
00:17:35,720 --> 00:17:37,480
and the quiet foundations.
212
00:17:37,480 --> 00:17:39,600
Just get on with
what they're doing.
213
00:17:50,600 --> 00:17:52,480
The notion of something beautiful
214
00:17:52,480 --> 00:17:56,720
coming out of something
so horrendous is Rumours.
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00:17:56,720 --> 00:18:01,160
This was a band who,
the success of the Mac was growing,
216
00:18:01,160 --> 00:18:03,080
they were a hugely popular band.
217
00:18:03,080 --> 00:18:06,280
But as they were becoming
more and more successful,
218
00:18:06,280 --> 00:18:08,520
the band were imploding, really.
219
00:18:08,520 --> 00:18:10,920
You know, relationships
were breaking down.
220
00:18:10,920 --> 00:18:16,200
Rumours is really a break-up album
between Buckingham and Nicks
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00:18:16,200 --> 00:18:19,400
and also John and Christine,
222
00:18:19,400 --> 00:18:23,880
and Mick Fleetwood was breaking up
with his wife in England.
223
00:18:23,880 --> 00:18:29,240
Almost every song
is about someone in the band.
224
00:18:29,240 --> 00:18:33,120
And they are playing on, and
singing on, songs about each other,
225
00:18:33,120 --> 00:18:35,800
bringing lyrics in at the
last minute because they know
226
00:18:35,800 --> 00:18:37,840
the person in the room
will know it's about them,
227
00:18:37,840 --> 00:18:39,680
and obviously it's complete chaos
228
00:18:39,680 --> 00:18:42,640
and yet those tensions
are the things that make it.
229
00:18:42,640 --> 00:18:44,520
And some of those songs
are quite mellifluous
230
00:18:44,520 --> 00:18:47,400
and they're quite soothing and then
you realise what they're about -
231
00:18:47,400 --> 00:18:49,160
they're about a band
hating each other.
232
00:18:49,160 --> 00:18:52,360
And then to just air that
about each other, it's...
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00:18:52,360 --> 00:18:56,600
It's a lot of tolerance on each side
to allow it, you know,
234
00:18:56,600 --> 00:18:59,000
and not throw around tools
and just walk out.
235
00:19:02,080 --> 00:19:06,920
# Loving you isn't
the right thing to do
236
00:19:08,840 --> 00:19:13,680
# How can I ever change things
that I feel?
237
00:19:15,640 --> 00:19:20,680
# If I could, baby
I'd give you my world
238
00:19:22,400 --> 00:19:27,160
# How can I
when you won't take it from me?
239
00:19:29,840 --> 00:19:33,800
# You can go your own way
240
00:19:33,800 --> 00:19:36,520
# Go your own way
241
00:19:36,520 --> 00:19:40,400
# You can call it
another lonely day. #
242
00:19:40,400 --> 00:19:44,640
Stevie Nicks is looking daggers
at Lindsey Buckingham because
243
00:19:44,640 --> 00:19:48,800
she wanted a line removed -
"packing up, shacking up" -
244
00:19:48,800 --> 00:19:53,480
which is Lindsey Buckingham
responding to the shock
245
00:19:53,480 --> 00:19:55,280
of Stevie Nicks leaving him.
246
00:19:57,280 --> 00:20:02,160
# Packing up, shacking up
is all you wanna do
247
00:20:04,040 --> 00:20:09,440
# If I could, baby
I'd give you my world
248
00:20:11,040 --> 00:20:16,240
# Open up
Everything's waiting for you
249
00:20:18,440 --> 00:20:22,640
# You can go your own way
250
00:20:22,640 --> 00:20:25,520
# Go your own way
251
00:20:25,520 --> 00:20:30,920
# You can call it another lonely day
252
00:20:32,600 --> 00:20:36,440
# You can go your own way
253
00:20:36,440 --> 00:20:38,480
# Go your own way
254
00:21:07,200 --> 00:21:11,320
# You can go your own way
255
00:21:11,320 --> 00:21:14,160
# Go your own way
256
00:21:14,160 --> 00:21:18,560
# You can call it another lonely day
257
00:21:18,560 --> 00:21:21,080
# Another lonely day
258
00:21:21,080 --> 00:21:24,960
# You can go your own way
259
00:21:24,960 --> 00:21:28,240
# Go your own way
260
00:21:28,240 --> 00:21:30,400
# You can call it another... #
261
00:21:30,400 --> 00:21:33,320
It's a really brilliantly
arranged song.
262
00:21:33,320 --> 00:21:36,280
Backing vocals, for me,
are one of the most magical parts
263
00:21:36,280 --> 00:21:40,680
of making a record and Fleetwood Mac
are an absolute flag in the sand
264
00:21:40,680 --> 00:21:45,160
for how to do backing vocals and
how to sing together as a group.
265
00:21:45,160 --> 00:21:47,840
And the song's got such
a beautiful example of those.
266
00:21:48,920 --> 00:21:53,840
# You can call it another lonely day
267
00:21:53,840 --> 00:21:55,880
# Oh, yeah, oh, yeah
268
00:21:55,880 --> 00:22:00,280
# You can call it
another lonely day. #
269
00:22:25,560 --> 00:22:30,320
Fleetwood Mac have found their way
into my songs.
270
00:22:30,320 --> 00:22:35,360
There's one particular song, Dreams,
which was...
271
00:22:35,360 --> 00:22:39,480
A friend of mine had put on
a mix tape and the tape got stuck
272
00:22:39,480 --> 00:22:41,840
in the tape player in my first car.
273
00:22:41,840 --> 00:22:44,720
It was the first song
on the first side,
274
00:22:44,720 --> 00:22:47,920
so when it went round,
when it clicked both sides,
275
00:22:47,920 --> 00:22:49,640
it came back to that again.
276
00:22:49,640 --> 00:22:54,440
And I must have heard that song
hundreds and hundreds of times.
277
00:22:54,440 --> 00:23:00,480
I went from loving this song
to absolutely hating it,
278
00:23:00,480 --> 00:23:05,000
like really getting on my nerves,
to loving it again.
279
00:23:05,000 --> 00:23:06,400
That's never happened before.
280
00:23:06,400 --> 00:23:09,320
It's always - you love it,
then you hate it,
281
00:23:09,320 --> 00:23:12,440
then it's, "I'm never going to
hear that again."
282
00:23:12,440 --> 00:23:14,440
"Thunder only happens
when it's raining,
283
00:23:14,440 --> 00:23:18,200
"raining, raining, raining," and
it's probably somehow eked out
284
00:23:18,200 --> 00:23:20,120
Why Does It Always Rain On Me?
285
00:23:20,120 --> 00:23:22,560
Maybe. Who knows?!
286
00:23:26,040 --> 00:23:30,240
# Now there you go again, you say
287
00:23:30,240 --> 00:23:34,000
# You want your freedom
288
00:23:34,000 --> 00:23:38,000
# Well, who am I to keep you down?
289
00:23:41,840 --> 00:23:48,680
# It's only right that you should
play the way you feel it
290
00:23:48,680 --> 00:23:53,960
# But listen carefully to the sound
291
00:23:53,960 --> 00:23:56,040
# Of your loneliness
292
00:23:56,040 --> 00:23:59,920
# Like a heartbeat drives you mad
293
00:23:59,920 --> 00:24:05,240
# In the stillness of remembering
what you had
294
00:24:06,800 --> 00:24:10,640
# And what you lost
295
00:24:10,640 --> 00:24:14,360
# And what you had
296
00:24:14,360 --> 00:24:16,920
# Ooh, what you lost
297
00:24:19,480 --> 00:24:25,360
# Thunder only happens
when it's raining
298
00:24:27,200 --> 00:24:32,800
# Players only love you
when they're playing
299
00:24:34,440 --> 00:24:39,920
# Say women they will come
and they go
300
00:24:42,800 --> 00:24:48,440
# When the rain washes you clean
you'll know. #
301
00:24:51,040 --> 00:24:53,800
Dreams is a really fascinating song
to me because I don't
302
00:24:53,800 --> 00:24:57,600
really understand why
I love it so much.
303
00:24:57,600 --> 00:24:59,840
Because it's a groove.
304
00:24:59,840 --> 00:25:03,680
It really comes down to the
testament of Stevie Nicks' voice.
305
00:25:03,680 --> 00:25:06,680
And someone else doing it,
it could've been really dull.
306
00:25:06,680 --> 00:25:09,160
# Well, here I go again
307
00:25:09,160 --> 00:25:13,240
# I see crystal visions
308
00:25:14,520 --> 00:25:18,600
# I keep my visions to myself
309
00:25:21,960 --> 00:25:29,240
# It's only me who wants to wrap
around your dreams and
310
00:25:29,240 --> 00:25:33,400
# Have you any dreams
you'd like to sell? #
311
00:25:33,400 --> 00:25:37,200
Great songs come from below
the neck, they come from your gut,
312
00:25:37,200 --> 00:25:39,800
where all these memories and
emotional memories are trapped,
313
00:25:39,800 --> 00:25:42,400
and this is where
your emotional life is.
314
00:25:42,400 --> 00:25:44,880
It's not up here, it's down here.
315
00:25:44,880 --> 00:25:49,880
And if you're going through
really harsh emotional stuff,
316
00:25:49,880 --> 00:25:51,680
it's very easy to go down.
317
00:25:53,040 --> 00:25:56,240
Them going through
these crazy relationships
318
00:25:56,240 --> 00:25:59,720
in the making of that record
is exactly what makes that record.
319
00:26:00,720 --> 00:26:06,040
# Thunder only happens
when it's raining
320
00:26:08,480 --> 00:26:14,040
# Players only love you
when they're playing
321
00:26:15,600 --> 00:26:21,920
# Say women they will come
and they will go, oh, oh
322
00:26:23,960 --> 00:26:30,320
# When the rain washes you clean
you'll know
323
00:26:30,320 --> 00:26:32,000
# Ohh
324
00:26:32,000 --> 00:26:37,320
# Thunder only happens
when it's raining
325
00:26:39,280 --> 00:26:44,960
# Players only love you
when they're playing
326
00:26:45,960 --> 00:26:47,320
# Well
327
00:26:47,320 --> 00:26:52,320
# Women they will come
and they will go
328
00:26:55,000 --> 00:27:01,480
# When the rain washes you clean
you'll know. #
329
00:27:01,480 --> 00:27:04,360
So you've got these kind of
call and response songs going on
330
00:27:04,360 --> 00:27:08,080
between Stevie and Lindsey,
and then on the other side
331
00:27:08,080 --> 00:27:12,120
with John and Christine, Christine's
off doing her, you know,
332
00:27:12,120 --> 00:27:15,720
I guess therapy
of getting it all out through song.
333
00:27:15,720 --> 00:27:18,760
And she comes back with
this brilliantly, kind of bouncy,
334
00:27:18,760 --> 00:27:22,480
breezy song about, you know,
tomorrow's just another day.
335
00:27:22,480 --> 00:27:25,760
It's amazing to think that
these songs came out of that.
336
00:27:25,760 --> 00:27:28,080
The thing for me is like,
is she saying it to herself
337
00:27:28,080 --> 00:27:30,520
or is she saying it to John?
338
00:27:30,520 --> 00:27:32,560
You know, "Don't stop thinking
about tomorrow,"
339
00:27:32,560 --> 00:27:34,720
to herself or to John?
340
00:27:34,720 --> 00:27:37,040
Or to the entire band?
Let's be fair!
341
00:27:46,400 --> 00:27:49,880
# If you wake up
and don't want to smile
342
00:27:49,880 --> 00:27:52,480
# If it takes just a little while
343
00:27:53,960 --> 00:27:57,160
# Open your eyes and look at the day
344
00:27:57,160 --> 00:28:01,120
# You'll see things
in a different way
345
00:28:01,120 --> 00:28:05,240
# Don't stop thinking
about tomorrow
346
00:28:05,240 --> 00:28:09,000
# Don't stop, it'll soon be here
347
00:28:09,000 --> 00:28:12,480
# It'll be better than before
348
00:28:12,480 --> 00:28:16,360
# Yesterday's gone, yesterday's gone
349
00:28:24,520 --> 00:28:27,880
# Why not think about the times
to come?
350
00:28:27,880 --> 00:28:31,680
# And not about the things
that you've done
351
00:28:31,680 --> 00:28:35,600
# If your life was bad to you
352
00:28:35,600 --> 00:28:39,320
# Just think what tomorrow will do
353
00:28:39,320 --> 00:28:42,840
# Don't stop thinking about tomorrow
354
00:28:42,840 --> 00:28:47,200
# Don't stop, it'll soon be here
355
00:28:47,200 --> 00:28:50,400
# It'll be better than before
356
00:28:50,400 --> 00:28:54,040
# Yesterday's gone,
yesterday's gone. #
357
00:28:56,200 --> 00:29:00,320
Lyrically, it's just a masterclass
in really saying
358
00:29:00,320 --> 00:29:05,720
exactly what you're talking about,
you're not being that veiled.
359
00:29:05,720 --> 00:29:08,840
But you're saying sometimes
quite cliched things
360
00:29:08,840 --> 00:29:12,960
in a way that speaks of
something new, that speaks of
361
00:29:12,960 --> 00:29:16,040
something rawer than just
a regular cliche.
362
00:29:17,040 --> 00:29:21,080
# All I want is to see you smile
363
00:29:21,080 --> 00:29:24,400
# If it takes just a little while
364
00:29:24,400 --> 00:29:28,360
# I know you don't believe
that it's true
365
00:29:28,360 --> 00:29:31,800
# I never meant any harm to you
366
00:29:31,800 --> 00:29:35,480
# Don't stop thinking about tomorrow
367
00:29:35,480 --> 00:29:37,160
# Don't stop
368
00:29:37,160 --> 00:29:39,360
# It'll soon be here
369
00:29:39,360 --> 00:29:43,040
# It'll be better than before
370
00:29:43,040 --> 00:29:46,800
# Yesterday's gone, yesterday's gone
371
00:29:46,800 --> 00:29:50,520
# Don't stop thinking about tomorrow
372
00:29:50,520 --> 00:29:54,480
# Don't stop, it'll soon be here
373
00:29:54,480 --> 00:29:57,960
# It'll be better than before
374
00:29:57,960 --> 00:30:01,960
# Yesterday's gone, yesterday's gone
375
00:30:01,960 --> 00:30:04,520
# Ooh
376
00:30:04,520 --> 00:30:08,240
# Don't you look back. #
377
00:30:10,160 --> 00:30:14,960
Before I knew what The Chain was
as a song, that bass riff I knew
378
00:30:14,960 --> 00:30:18,880
from watching Formula 1,
or my dad watching Formula 1.
379
00:30:18,880 --> 00:30:23,160
And then it was only years later
discovering that it was part of
380
00:30:23,160 --> 00:30:26,640
this epic kind of almost opera,
from Rumours, The Chain.
381
00:30:26,640 --> 00:30:30,400
It's my favourite Fleetwood Mac song
because it's so...
382
00:30:30,400 --> 00:30:32,000
When you hear it for the first time,
383
00:30:32,000 --> 00:30:34,400
it takes you here, there
and everywhere,
384
00:30:34,400 --> 00:30:36,720
it's so unexpected
as to where it goes.
385
00:30:36,720 --> 00:30:40,960
For me, I think it's one of
the best songs ever made.
386
00:30:46,200 --> 00:30:48,960
# Listen to the wind blow
387
00:30:48,960 --> 00:30:53,360
# Watch the sun rise
388
00:30:58,240 --> 00:31:00,680
# Running in the shadows
389
00:31:00,680 --> 00:31:04,920
# Damn your love, damn your lies
390
00:31:07,920 --> 00:31:10,960
# And if you don't love me now
391
00:31:10,960 --> 00:31:13,960
# You will never love me again
392
00:31:13,960 --> 00:31:17,280
# I can still hear you saying
393
00:31:17,280 --> 00:31:19,680
# You would never break the chain
394
00:31:19,680 --> 00:31:21,160
# Never break the chain
395
00:31:21,160 --> 00:31:22,680
# And if you don't love me now
396
00:31:22,680 --> 00:31:24,120
# If you don't love me now
397
00:31:24,120 --> 00:31:26,480
# You will never love me again
398
00:31:26,480 --> 00:31:29,680
# I can still hear you saying
399
00:31:29,680 --> 00:31:32,200
# You would never break the chain
400
00:31:32,200 --> 00:31:34,280
# Never break the chain
401
00:31:47,960 --> 00:31:50,600
# Listen to the wind blow
402
00:31:50,600 --> 00:31:54,200
# Down comes the night
403
00:32:00,160 --> 00:32:02,880
# Running in the shadows
404
00:32:02,880 --> 00:32:07,720
# Damn your love, damn your lies
405
00:32:12,640 --> 00:32:15,080
# Break the silence
406
00:32:15,080 --> 00:32:18,040
# Damn the dark, damn the light
407
00:32:18,040 --> 00:32:19,840
# Light, the light
408
00:32:22,240 --> 00:32:24,760
# And if you don't love me now... #
409
00:32:24,760 --> 00:32:28,920
It's just the most haunting sound,
and the choice of the key
410
00:32:28,920 --> 00:32:32,880
and the choice of the words of being
"silent in the night
411
00:32:32,880 --> 00:32:37,520
"as the sun comes up" and saying,
"If you don't love me now,
412
00:32:37,520 --> 00:32:40,200
"you'll never love me again,"
it's...
413
00:32:40,200 --> 00:32:42,280
just utterly heartbreaking.
414
00:32:42,280 --> 00:32:45,240
Look at the way Stevie Nicks
is looking at him.
415
00:32:45,240 --> 00:32:46,800
# Never break the chain. #
416
00:32:46,800 --> 00:32:49,800
Oh, it's just so cruel
the way she's looking at him.
417
00:32:49,800 --> 00:32:52,880
I mean, one could say you could see
the pain in their eyes,
418
00:32:52,880 --> 00:32:55,040
even on this reunion.
419
00:32:55,040 --> 00:33:00,080
It's as if they're solving
their relationship problems
420
00:33:00,080 --> 00:33:01,640
in front of an audience.
421
00:33:05,040 --> 00:33:07,360
This is another thing
that I love about this band.
422
00:33:07,360 --> 00:33:13,200
This is about six different songs,
that didn't work as whole songs,
423
00:33:13,200 --> 00:33:16,360
that they just cut up
and spliced together.
424
00:33:47,120 --> 00:33:49,840
I always used to be going round,
kind of going...
425
00:33:49,840 --> 00:33:52,160
SHE IMITATES 'THE CHAIN' RIFF
426
00:33:52,160 --> 00:33:54,400
..when I was little
and I didn't know what the song was.
427
00:33:54,400 --> 00:33:57,120
And then when I came to get to know
the album when I was much older,
428
00:33:57,120 --> 00:33:59,800
I was like, "No way!"
429
00:33:59,800 --> 00:34:02,280
# Chain
430
00:34:02,280 --> 00:34:04,280
# Keep us together
431
00:34:06,040 --> 00:34:08,240
# Chain
432
00:34:08,240 --> 00:34:10,080
# Keep us together
433
00:34:10,080 --> 00:34:12,120
# Running in the shadow
434
00:34:12,120 --> 00:34:14,280
# Chain
435
00:34:14,280 --> 00:34:16,600
# Keep us together
436
00:34:18,320 --> 00:34:20,200
# Chain
437
00:34:20,200 --> 00:34:22,760
# Keep us together
438
00:34:24,760 --> 00:34:26,560
# Chain
439
00:34:26,560 --> 00:34:28,720
# Keep us together. #
440
00:34:28,720 --> 00:34:31,720
CHEERING AND APPLAUSE
441
00:34:31,720 --> 00:34:34,880
Rumours sold 45 million copies -
how do you follow that up?
442
00:34:34,880 --> 00:34:37,760
Especially how do you follow that up
when the band has just
443
00:34:37,760 --> 00:34:41,200
gone through what it's gone through
to make that record
444
00:34:41,200 --> 00:34:44,160
and then the success that it has?
445
00:34:44,160 --> 00:34:46,760
I mean, they could've quite easily
just walked away
446
00:34:46,760 --> 00:34:48,720
and broke up as a band,
but they didn't.
447
00:34:48,720 --> 00:34:53,320
For me, what happened after Rumours
is possibly more interesting,
448
00:34:53,320 --> 00:34:56,360
as a creative writer, because
they went against the grain
449
00:34:56,360 --> 00:35:01,560
and they did Tusk,
which is critically acclaimed
450
00:35:01,560 --> 00:35:04,040
but not a huge commercial success.
451
00:35:04,040 --> 00:35:06,760
So when Tusk came out,
I can remember the industry
452
00:35:06,760 --> 00:35:10,200
almost glorifying in pulling
them apart and saying,
453
00:35:10,200 --> 00:35:13,240
"Oh, doesn't work,
it's the end of them."
454
00:35:13,240 --> 00:35:16,240
But like all great legendary bands,
in retrospect,
455
00:35:16,240 --> 00:35:18,840
the audience catches up with
their work.
456
00:35:18,840 --> 00:35:21,600
Tusk is interesting because
they're really being pulled
457
00:35:21,600 --> 00:35:24,320
in different directions and some
of it does sound like punk rock.
458
00:35:24,320 --> 00:35:26,760
Again, it's a band literally
being pulled apart
459
00:35:26,760 --> 00:35:29,560
because they really can't stand
each other at that point.
460
00:35:29,560 --> 00:35:32,200
But also,
they don't know where...
461
00:35:32,200 --> 00:35:33,840
musically, where they're going.
462
00:35:33,840 --> 00:35:37,000
Mick Fleetwood, the drummer,
is managing them at this point.
463
00:35:37,000 --> 00:35:39,040
So they are allowed to do
what the hell they like
464
00:35:39,040 --> 00:35:41,920
and they're spending
extraordinary amounts of money,
465
00:35:41,920 --> 00:35:44,760
not just on studio time,
but on poodles and things.
466
00:35:44,760 --> 00:35:46,480
You hear stories of them painting...
467
00:35:46,480 --> 00:35:48,240
"Paint the whole place pink!"
468
00:35:48,240 --> 00:35:50,320
You know, "Let's bring in
a grand piano."
469
00:35:50,320 --> 00:35:53,840
It's just a ridiculous amount
of expense and excess.
470
00:35:53,840 --> 00:35:58,800
# Why don't you ask him
if he's going to stay?
471
00:35:58,800 --> 00:36:05,120
# Why don't you ask him
if he's going away?
472
00:36:15,040 --> 00:36:19,920
# Why don't you tell me
what's going on?
473
00:36:19,920 --> 00:36:26,880
# Why don't you tell me
who's on the phone? #
474
00:36:29,800 --> 00:36:32,800
I don't know where the idea
came from, for Mick.
475
00:36:32,800 --> 00:36:34,560
He just loves a lot of drums.
476
00:36:34,560 --> 00:36:39,160
So he had the University College
of California, I think it was,
477
00:36:39,160 --> 00:36:43,440
their marching band, not only play
on the end of the track,
478
00:36:43,440 --> 00:36:46,640
but for the video they were
in the LA Dodgers' stadium,
479
00:36:46,640 --> 00:36:48,800
Stevie was twirling her baton.
480
00:36:48,800 --> 00:36:51,320
You might notice a cardboard
cut-out of John,
481
00:36:51,320 --> 00:36:53,760
that's because Stevie and him
had a fall-out
482
00:36:53,760 --> 00:36:55,680
so he didn't want to come that day.
483
00:36:55,680 --> 00:36:57,480
I just love the bombasticness of it.
484
00:36:57,480 --> 00:37:00,280
Kind of, "I tell you what we're
going to do, we're going to fill
485
00:37:00,280 --> 00:37:03,800
"the LA Dodgers' stadium with
a marching band and shoot a video.
486
00:37:03,800 --> 00:37:05,400
"That's what we're going to do!"
487
00:37:05,400 --> 00:37:08,920
And they could, because they were
the biggest band in the world
488
00:37:08,920 --> 00:37:12,240
at that time, in terms of
how many records they were selling
489
00:37:12,240 --> 00:37:14,280
and how many hits they'd had
off that record.
490
00:37:14,280 --> 00:37:17,280
So I think they were almost
testing everyone as well
491
00:37:17,280 --> 00:37:20,480
and just seeing what
they could get away with.
492
00:37:20,480 --> 00:37:22,760
# Tusk!
493
00:37:22,760 --> 00:37:24,480
# Just say that you love me
494
00:37:24,480 --> 00:37:26,360
# Hiyee
495
00:37:33,640 --> 00:37:35,720
# Don't say that you...
496
00:37:46,440 --> 00:37:48,200
# Tusk. #
497
00:38:10,800 --> 00:38:14,520
I know that the album Tusk certainly
took some of the millions of fans
498
00:38:14,520 --> 00:38:17,640
that they had acquired
through the success of Rumours
499
00:38:17,640 --> 00:38:19,760
by surprise
because it's very different.
500
00:38:19,760 --> 00:38:22,960
To me, though,
this immediately sounds cooler
501
00:38:22,960 --> 00:38:24,520
than anything on Rumours.
502
00:38:24,520 --> 00:38:28,560
And while it might not have had
the same initial level of, like,
503
00:38:28,560 --> 00:38:33,040
just staggering success,
I think with the passage of time,
504
00:38:33,040 --> 00:38:36,400
it's kind of maybe borne out
as being cooler.
505
00:38:42,800 --> 00:38:45,160
# Wait a minute, baby
506
00:38:46,360 --> 00:38:49,920
# Stay with me awhile
507
00:38:49,920 --> 00:38:52,480
# Said you'd give me light
508
00:38:52,480 --> 00:38:56,760
# But you never told me
about the fire
509
00:39:18,920 --> 00:39:21,920
# Drowning
510
00:39:21,920 --> 00:39:24,120
# In the sea of love
511
00:39:25,440 --> 00:39:28,440
# Where everyone
512
00:39:28,440 --> 00:39:30,680
# Would love to drown
513
00:39:32,880 --> 00:39:35,920
# But now it's gone
514
00:39:35,920 --> 00:39:39,720
# It doesn't matter any more
515
00:39:39,720 --> 00:39:43,760
# When you build your house
516
00:39:43,760 --> 00:39:45,520
# Call me
517
00:40:00,720 --> 00:40:03,760
# And he was just like
518
00:40:03,760 --> 00:40:07,360
# A great dark wing
519
00:40:07,360 --> 00:40:11,360
# Within the wings of a storm
520
00:40:14,320 --> 00:40:18,680
# Well, I think I had met my match
521
00:40:22,040 --> 00:40:25,240
# He was singing
522
00:40:29,240 --> 00:40:33,320
# And undoing
523
00:40:33,320 --> 00:40:36,240
# Ooh
524
00:40:36,240 --> 00:40:39,320
# Undoing
525
00:40:40,520 --> 00:40:43,880
# Aa-aa-aa-ah
526
00:40:43,880 --> 00:40:49,640
# Laces
527
00:40:49,640 --> 00:40:54,680
# Undoing the laces
528
00:41:01,320 --> 00:41:04,880
# In the sea of love
529
00:41:04,880 --> 00:41:07,240
# Every one of us
530
00:41:07,240 --> 00:41:11,880
# Would just love to drown
531
00:41:11,880 --> 00:41:15,000
# But now it's gone
532
00:41:15,000 --> 00:41:18,520
# It doesn't matter what for
533
00:41:18,520 --> 00:41:22,160
# But if you build your house
534
00:41:22,160 --> 00:41:24,320
# Then call me. #
535
00:41:26,000 --> 00:41:31,880
It's another really good example
of Stevie's writing credentials.
536
00:41:31,880 --> 00:41:35,120
She's just a style, you know,
she's Stevie Nicks,
537
00:41:35,120 --> 00:41:38,000
she's this image icon, beautiful.
538
00:41:38,000 --> 00:41:40,600
But she evolved,
she took on different looks,
539
00:41:40,600 --> 00:41:44,320
she took on different personas.
540
00:41:44,320 --> 00:41:50,160
And I think, for me, you got a sense
of how she was feeling personally,
541
00:41:50,160 --> 00:41:53,280
through what she wore
and how she held herself on stage.
542
00:41:54,400 --> 00:41:58,080
# And it all comes down to you
543
00:41:58,080 --> 00:42:01,000
# Well, you know that it does, well
544
00:42:01,000 --> 00:42:03,120
# Lightning strikes
545
00:42:03,120 --> 00:42:08,000
# Maybe once, maybe twice
546
00:42:08,000 --> 00:42:13,480
# Oh, and it lights up the night
547
00:42:13,480 --> 00:42:17,120
# And you see your gypsy. #
548
00:42:17,120 --> 00:42:18,920
Oh, her voice, man.
549
00:42:18,920 --> 00:42:21,040
It's such an '80s video.
550
00:42:21,040 --> 00:42:24,480
# You see your gypsy. #
551
00:42:24,480 --> 00:42:26,720
Look how cool they look.
552
00:42:26,720 --> 00:42:31,680
It was in the era of
big music videos, MTV.
553
00:42:33,040 --> 00:42:36,160
# To the gypsy
554
00:42:36,160 --> 00:42:39,720
# That remains
555
00:42:39,720 --> 00:42:43,520
# Her face says freedom
556
00:42:43,520 --> 00:42:46,520
# With a little fear
557
00:42:46,520 --> 00:42:50,520
# I have no fear
558
00:42:50,520 --> 00:42:54,120
# I have only love
559
00:42:54,120 --> 00:42:57,920
# And if I was a child
560
00:42:57,920 --> 00:43:01,360
# And the child was enough
561
00:43:01,360 --> 00:43:05,000
# Enough for me to love
562
00:43:05,000 --> 00:43:09,760
# Enough to love. #
563
00:43:09,760 --> 00:43:12,240
This is the Fleetwood Mac
of my childhood.
564
00:43:13,640 --> 00:43:18,600
And one of the things that's
so phenomenal and so interesting
565
00:43:18,600 --> 00:43:24,040
about Fleetwood Mac is, if you look
at their kind of biggest hits,
566
00:43:24,040 --> 00:43:26,920
most of them have been written
by the two women in the band.
567
00:43:26,920 --> 00:43:30,080
So to have these two really strong
female songwriters
568
00:43:30,080 --> 00:43:33,400
is really unusual. We have so many
great female vocalists,
569
00:43:33,400 --> 00:43:37,720
but it's not so typical that
they're also writing the material.
570
00:43:37,720 --> 00:43:41,200
# You see your gypsy
571
00:43:42,920 --> 00:43:45,400
# Ooh
572
00:43:45,400 --> 00:43:49,120
# Ohhh
573
00:43:54,520 --> 00:43:56,360
# Lightning strikes
574
00:43:56,360 --> 00:43:59,560
# Maybe once, maybe twice
575
00:43:59,560 --> 00:44:01,840
# And all it comes down to you
576
00:44:01,840 --> 00:44:03,360
# Ooh
577
00:44:03,360 --> 00:44:06,160
# Ohhh
578
00:44:06,160 --> 00:44:08,760
# And it all comes down to you
579
00:44:08,760 --> 00:44:10,680
# Lightning strikes. #
580
00:44:10,680 --> 00:44:13,280
The thing I love about Landslide,
that I love about all of
581
00:44:13,280 --> 00:44:16,040
Stevie's songs,
is that they're so personal.
582
00:44:16,040 --> 00:44:19,400
She wrote this before
she'd signed to Fleetwood Mac.
583
00:44:19,400 --> 00:44:23,920
She was 27 years old, she'd spent
a lot of time working as
584
00:44:23,920 --> 00:44:26,760
a waitress and a cleaner,
desperate for the break,
585
00:44:26,760 --> 00:44:29,760
and it just wasn't coming. I
think her dad even said to her,
586
00:44:29,760 --> 00:44:33,960
"Give it another six months and
then, you know, get a proper job,"
587
00:44:33,960 --> 00:44:35,840
type thing, or we'll put you
through college.
588
00:44:35,840 --> 00:44:39,840
And three months into that
six months, Fleetwood Mac happens
589
00:44:39,840 --> 00:44:43,160
and this is one of the songs
that she then takes to them.
590
00:44:44,320 --> 00:44:47,040
# I took my love and I took it down
591
00:44:50,320 --> 00:44:53,760
# I climbed a mountain
and I turned around
592
00:44:55,240 --> 00:45:02,280
# And I saw my reflection
in the snow-covered hills
593
00:45:02,280 --> 00:45:06,840
# Till the landslide brought me down
594
00:45:08,040 --> 00:45:13,040
# Oh, mirror in the sky
What is love?
595
00:45:14,720 --> 00:45:21,480
# Can the child within my heart
rise above?
596
00:45:21,480 --> 00:45:27,800
# Can I sail through
the changing ocean tides?
597
00:45:27,800 --> 00:45:35,160
# Can I handle the seasons
of my life?
598
00:45:36,520 --> 00:45:38,080
# Mm-mm
599
00:45:38,080 --> 00:45:40,960
# I don't know
600
00:45:40,960 --> 00:45:42,960
# Mm-mm
601
00:45:42,960 --> 00:45:44,720
# Mm-mm
602
00:45:47,960 --> 00:45:53,240
# Well, I've been 'fraid of changing
603
00:45:53,240 --> 00:45:59,160
# Cos I built my life around you
604
00:46:00,960 --> 00:46:04,800
# But time makes you bolder
605
00:46:04,800 --> 00:46:07,960
# Children get older
606
00:46:07,960 --> 00:46:13,720
# And I'm getting older, too
607
00:46:13,720 --> 00:46:15,680
# So... #
608
00:46:16,840 --> 00:46:19,280
I've had the great pleasure
of meeting Stevie Nicks
609
00:46:19,280 --> 00:46:21,440
and she's an extraordinary person.
610
00:46:21,440 --> 00:46:24,360
Extremely down-to-earth.
611
00:46:24,360 --> 00:46:27,920
And I said to her, "How do you
manage being Stevie Nicks?"
612
00:46:27,920 --> 00:46:31,520
And she says... GRUFFLY: "Well,
I decide if I'm Stevie Nicks or not.
613
00:46:31,520 --> 00:46:33,480
"If I walk down a corridor,
614
00:46:33,480 --> 00:46:37,240
"I'm looking at the floor,
no-one even sees me.
615
00:46:37,240 --> 00:46:41,200
"If I walk down the corridor as
Stevie Nicks, everybody sees me!"
616
00:46:41,200 --> 00:46:45,640
# ..I've been afraid of changing
617
00:46:45,640 --> 00:46:47,960
# Cos I
618
00:46:47,960 --> 00:46:52,640
# I built my life around you
619
00:46:54,360 --> 00:46:57,640
# But time makes you bolder
620
00:46:57,640 --> 00:47:01,240
# Children get older
621
00:47:01,240 --> 00:47:06,040
# And I'm getting older too
622
00:47:07,920 --> 00:47:13,640
# I'm getting older too
623
00:47:13,640 --> 00:47:17,280
# So take this love
624
00:47:17,280 --> 00:47:19,600
# Take it down
625
00:47:20,840 --> 00:47:27,480
# Oh, if you climb a mountain
and you turn around
626
00:47:27,480 --> 00:47:34,600
# If you see my reflection
in the snow-covered hills
627
00:47:34,600 --> 00:47:40,520
# Well, the landslide
will bring it down, down
628
00:47:40,520 --> 00:47:44,640
# And if you see my reflection
629
00:47:44,640 --> 00:47:52,400
# In the snow-covered
630
00:47:54,080 --> 00:47:57,040
# Hills
631
00:47:59,280 --> 00:48:01,240
# Well, maybe
632
00:48:03,000 --> 00:48:07,560
# The landslide will bring it down
633
00:48:07,560 --> 00:48:15,560
# Well, well, the landslide
will bring it down. #
634
00:48:18,200 --> 00:48:20,240
CHEERING AND APPLAUSE
635
00:48:24,680 --> 00:48:26,920
Tango In The Night
is one of those ones
636
00:48:26,920 --> 00:48:29,520
where it's an extremely
commercial album.
637
00:48:29,520 --> 00:48:32,480
There's so many hits, hits, hits
on that record.
638
00:48:32,480 --> 00:48:35,680
Apparently it was Lindsey
Buckingham, it was his demos first
639
00:48:35,680 --> 00:48:39,240
and then he took it to the band and
the band kind of reconvened again.
640
00:48:39,240 --> 00:48:41,080
But they can pull it out the bag.
641
00:48:41,080 --> 00:48:43,600
They know what a good record
sounds like.
642
00:48:43,600 --> 00:48:46,120
They're very happy to spend
a long time in the studio,
643
00:48:46,120 --> 00:48:47,400
getting it to that point.
644
00:48:47,400 --> 00:48:49,320
It still doesn't sound like
they've made up.
645
00:48:49,320 --> 00:48:52,080
They're still slightly at war.
Tango In The Night kind of
646
00:48:52,080 --> 00:48:54,760
came out again through
a real dark period for the band.
647
00:48:54,760 --> 00:48:57,600
You know, there was a lot of
dependency on drugs and things
648
00:48:57,600 --> 00:49:00,080
within some of the band members,
649
00:49:00,080 --> 00:49:02,320
they were having a really
hard time with that.
650
00:49:02,320 --> 00:49:06,640
And there is a kind of darker feel
to this, I think.
651
00:49:06,640 --> 00:49:10,200
Even those kind of galloping drums
652
00:49:10,200 --> 00:49:12,440
that you get through
some of the songs.
653
00:49:12,440 --> 00:49:15,880
There's a real kind of urgency
to it, I think.
654
00:49:15,880 --> 00:49:18,600
# If I could turn the page
655
00:49:18,600 --> 00:49:21,680
# In time then I'd rearrange
656
00:49:21,680 --> 00:49:23,520
# Just a day or two
657
00:49:25,160 --> 00:49:30,360
# Close my, close my, close my eyes
658
00:49:30,360 --> 00:49:34,600
# But I couldn't find a way
659
00:49:34,600 --> 00:49:37,200
# So I'll settle for one day
660
00:49:37,200 --> 00:49:39,200
# To believe in you
661
00:49:40,200 --> 00:49:44,600
# Tell me, tell me, tell me lies
662
00:49:45,880 --> 00:49:49,520
# Tell me lies
Tell me sweet little lies
663
00:49:50,680 --> 00:49:53,680
# Tell me lies
Tell me, tell me lies
664
00:49:53,680 --> 00:49:56,680
# Oh, no, no, you can't disguise
665
00:49:58,160 --> 00:50:01,440
# You can't disguise
No, you can't disguise
666
00:50:01,440 --> 00:50:04,520
# Tell me lies
Tell me sweet little lies
667
00:50:09,040 --> 00:50:12,760
# Although I'm not making plans
668
00:50:12,760 --> 00:50:17,400
# I hope that you understand
There's a reason why
669
00:50:19,560 --> 00:50:23,360
# Close your, close your,
close your eyes
670
00:50:25,240 --> 00:50:28,200
# No more broken hearts
671
00:50:29,240 --> 00:50:33,120
# We're better off apart
Let's give it a try
672
00:50:34,560 --> 00:50:38,400
# Tell me, tell me, tell me lies
673
00:50:40,080 --> 00:50:43,040
# Tell me lies
Tell me sweet little lies
674
00:50:44,800 --> 00:50:47,400
# Tell me lies
Tell me, tell me lies
675
00:50:47,400 --> 00:50:50,560
# Oh, no, no, you can't disguise
676
00:50:52,360 --> 00:50:55,120
# You can't disguise
No, you can't disguise. #
677
00:50:55,120 --> 00:50:57,680
There's that big sound
and there's still the use of
678
00:50:57,680 --> 00:51:02,360
the West Coast-style harmonies,
you know, that musicality,
679
00:51:02,360 --> 00:51:05,360
and all sorts of elements
which make it more interesting
680
00:51:05,360 --> 00:51:08,960
than it first seems.
It's very well-crafted.
681
00:51:08,960 --> 00:51:10,400
That's the Christine McVie thing,
682
00:51:10,400 --> 00:51:12,080
she's really good at
writing pop songs,
683
00:51:12,080 --> 00:51:14,720
so the stuff she writes has
that real pop element to it,
684
00:51:14,720 --> 00:51:17,920
then you have Stevie Nicks
being a little gothy sort of
685
00:51:17,920 --> 00:51:20,640
Kate Bush-esque in the corner,
and you have Lindsey Buckingham
686
00:51:20,640 --> 00:51:23,040
doing his rock stuff,
and somehow it all works.
687
00:51:23,040 --> 00:51:25,640
So they can each take a credit
for a song and yet the songs can
688
00:51:25,640 --> 00:51:28,840
sit together on an album really well
and it doesn't seem, you know, like
689
00:51:28,840 --> 00:51:32,400
they're from completely different
places, and that's quite a talent.
690
00:51:34,160 --> 00:51:37,720
# But I couldn't find a way
691
00:51:37,720 --> 00:51:40,880
# So I'll settle for one day
692
00:51:40,880 --> 00:51:42,720
# To believe in you
693
00:51:44,080 --> 00:51:48,200
# Tell me, tell me, tell me lies
694
00:51:49,200 --> 00:51:51,760
# Tell me lies
Tell me sweet little lies
695
00:51:53,640 --> 00:51:56,880
# Tell me lies
Tell me, tell me lies
696
00:51:56,880 --> 00:51:58,480
# Oh, no, no, you can't disguise
697
00:52:01,320 --> 00:52:04,480
# You can't disguise
No, you can't disguise
698
00:52:04,480 --> 00:52:07,600
# Tell me lies
Tell me sweet little lies
699
00:52:08,640 --> 00:52:12,280
# Tell me lies
Tell me, tell me lies
700
00:52:12,280 --> 00:52:15,640
# Oh, no, no, you can't disguise
701
00:52:17,360 --> 00:52:19,760
# You can't disguise
No, you can't disguise... #
702
00:52:19,760 --> 00:52:22,840
The first time I remember hearing
Fleetwood Mac was Big Love.
703
00:52:22,840 --> 00:52:26,680
I think it could have been on...
704
00:52:26,680 --> 00:52:29,040
And it wasn't hearing it,
it was the video.
705
00:52:29,040 --> 00:52:33,800
I remember seeing the video
somewhere and the sound of it
706
00:52:33,800 --> 00:52:36,640
was very distinct.
707
00:52:36,640 --> 00:52:40,600
I had no idea who they were,
this was like a new band to me,
708
00:52:40,600 --> 00:52:44,360
but they looked older,
so that was interesting.
709
00:52:45,880 --> 00:52:49,320
# Looking out for love
710
00:52:49,320 --> 00:52:51,840
# In the night so still
711
00:52:53,480 --> 00:52:58,280
# Oh, I'll build you a kingdom
712
00:52:58,280 --> 00:53:01,320
# In that house on the hill
713
00:53:01,320 --> 00:53:04,760
# Lookin' out for love
714
00:53:08,840 --> 00:53:12,480
# Big, big love
715
00:53:12,480 --> 00:53:16,440
# Oh, oh, oh, oh
716
00:53:16,440 --> 00:53:19,880
# You said that you love me
717
00:53:19,880 --> 00:53:23,440
# And that you always will
718
00:53:24,720 --> 00:53:28,360
# Oh, you begged me to keep you
719
00:53:28,360 --> 00:53:31,640
# In that house on the hill
720
00:53:31,640 --> 00:53:35,640
# Lookin' out for love
721
00:53:39,920 --> 00:53:44,200
# Big, big love
722
00:53:44,200 --> 00:53:46,760
# Oh, oh, oh, oh... #
723
00:53:46,760 --> 00:53:50,440
The sonics. It was all about
the sonics of it, the sound of it,
724
00:53:50,440 --> 00:53:52,720
and the vocals were
really, really great.
725
00:53:52,720 --> 00:53:55,400
The voices. His voice especially.
726
00:53:55,400 --> 00:53:58,320
# I wake up
727
00:53:58,320 --> 00:54:01,760
# Alone with it all
728
00:54:03,080 --> 00:54:05,520
# I wake up
729
00:54:05,520 --> 00:54:09,400
# But only to fall... #
730
00:54:11,520 --> 00:54:15,240
The interesting thing about
Big Love is you can hear echoes of
731
00:54:15,240 --> 00:54:20,480
all the little bits of their past
in that one song.
732
00:54:20,480 --> 00:54:22,640
There's this little trail-off,
733
00:54:22,640 --> 00:54:27,880
this little bluesy trail-off
that echoes Oh Well.
734
00:54:28,920 --> 00:54:30,520
This bit.
735
00:54:30,520 --> 00:54:33,480
# Da-dah, da-dah
Biddle-diddle-diddle-diddle. #
736
00:54:33,480 --> 00:54:36,760
That biddle-diddle-diddle-durh
at the end is the echo,
737
00:54:36,760 --> 00:54:39,280
and it's like a book-end.
738
00:54:43,640 --> 00:54:46,320
# Oh, oh, oh
739
00:54:46,320 --> 00:54:50,080
# Oh, ah
Ah, ah... #
740
00:54:51,160 --> 00:54:56,920
I always assumed that the grunts
was Stevie or Christine,
741
00:54:56,920 --> 00:55:01,680
but it wasn't, it was Lindsey
pitching his voice up.
742
00:55:01,680 --> 00:55:05,760
# Huh, ah
Huh, ah... #
743
00:55:05,760 --> 00:55:09,720
Which is just slightly bonkers.
744
00:55:09,720 --> 00:55:13,360
# Uh, ah
Uh, ah
745
00:55:13,360 --> 00:55:16,400
# Uh, ah
Uh, ah. #
746
00:55:16,400 --> 00:55:19,360
They've left, they've broken up,
they've got back together.
747
00:55:19,360 --> 00:55:21,080
Whether it's for Bill Clinton
748
00:55:21,080 --> 00:55:23,760
or, you know, an anniversary tour
or whatever.
749
00:55:23,760 --> 00:55:27,320
# In my world, everybody stays
750
00:55:27,320 --> 00:55:31,440
# Nobody wishes for
words they couldn't say
751
00:55:31,440 --> 00:55:35,160
# Bless my soul
Let the night unfurl
752
00:55:35,160 --> 00:55:39,720
# Dancing, spinning, dreaming
Singing in my world... #
753
00:55:39,720 --> 00:55:41,960
And now Lindsey Buckingham's left,
754
00:55:41,960 --> 00:55:46,040
I'd really like to believe that
Mick Fleetwood is in LA just now
755
00:55:46,040 --> 00:55:48,760
just kind of like going to gigs
and checking to see
756
00:55:48,760 --> 00:55:51,200
if there's any new players
that he thinks,
757
00:55:51,200 --> 00:55:53,640
"Here's a good songwriter
I could use."
758
00:55:53,640 --> 00:55:55,560
The door's not closed,
I don't think.
759
00:55:55,560 --> 00:55:57,960
There's not really been much said
about it
760
00:55:57,960 --> 00:56:00,960
but, you know, they've got
some new members in, but...
761
00:56:00,960 --> 00:56:03,200
I don't really care.
I'm watching Stevie.
762
00:56:04,520 --> 00:56:07,760
# But you need some rest
My darling, it's best
763
00:56:07,760 --> 00:56:12,000
# But we've already passed it
I cried
764
00:56:13,320 --> 00:56:17,240
# Ooh-eeh
Listen to me
765
00:56:17,240 --> 00:56:20,760
# My secret love secretly
766
00:56:22,800 --> 00:56:25,160
# Died... #
767
00:56:25,160 --> 00:56:28,840
This band, Fleetwood Mac,
they've survived so much.
768
00:56:28,840 --> 00:56:31,880
50 years, that's unbelievable.
769
00:56:31,880 --> 00:56:35,560
And I think it's nearly over
100 million records they've sold.
770
00:56:35,560 --> 00:56:38,760
Half of that, nearly,
through one record.
771
00:56:38,760 --> 00:56:41,840
That's amazing.
That's a great achievement
772
00:56:41,840 --> 00:56:45,600
for a band who are still out there
touring, and their music,
773
00:56:45,600 --> 00:56:49,160
more importantly, over everything,
still resonates.
774
00:56:49,160 --> 00:56:54,480
They spawn a million bands,
trying to be as good as that.
775
00:56:54,480 --> 00:57:01,480
Trying to... Trying to achieve
that foothold that's their own,
776
00:57:01,480 --> 00:57:05,880
and that's an amazing gift
to give the human race.
777
00:57:05,880 --> 00:57:09,960
# Can you hear me calling
Out your name
778
00:57:09,960 --> 00:57:13,600
# You know that I'm falling
and I don't know what to say
779
00:57:13,600 --> 00:57:17,640
# I'll speak a little louder
I'll even shout
780
00:57:17,640 --> 00:57:21,360
# You know that I'm proud
and I can't get the words out
781
00:57:21,360 --> 00:57:26,080
# Oh, I
I-I
782
00:57:26,080 --> 00:57:30,240
# I want to be with you everywhere
783
00:57:30,240 --> 00:57:34,400
# Oh, I
I-I
784
00:57:34,400 --> 00:57:37,680
# I want to be with you everywhere
785
00:57:37,680 --> 00:57:41,000
# Be with you everywhere
786
00:57:46,600 --> 00:57:49,520
# Something's happening
Happening to me
787
00:57:49,520 --> 00:57:53,120
# My friends say
I'm acting peculiarly
788
00:57:54,480 --> 00:57:57,520
# Come along, baby
We better make a start
789
00:57:57,520 --> 00:58:02,040
# You better make it soon
before you break my heart
790
00:58:02,040 --> 00:58:06,840
# Oh, I
I-I
791
00:58:06,840 --> 00:58:09,880
# I want to be with you everywhere
792
00:58:09,880 --> 00:58:14,480
# Oh, I
I-I
793
00:58:14,480 --> 00:58:17,120
# I want to be with you everywhere
794
00:58:17,120 --> 00:58:21,000
# Be with you everywhere
795
00:58:21,000 --> 00:58:25,040
# Oh, oh, oh, ah
796
00:58:25,040 --> 00:58:28,040
# Oh, oh, oh, ah
797
00:58:28,040 --> 00:58:33,000
# Oh, oh, oh, ah
798
00:58:33,000 --> 00:58:36,040
# Oh, oh, ah... #
95774
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