0:00:02 > 0:00:05MUSIC: "The Chain" by Fleetwood Mac
0:00:18 > 0:00:21Anything that could happen to a rock'n'roll band
0:00:21 > 0:00:24has happened to Fleetwood Mac.
0:00:26 > 0:00:295 decades of hits and sell-out world tours,
0:00:29 > 0:00:32over 60 million albums sold worldwide
0:00:32 > 0:00:34but at a huge cost.
0:00:36 > 0:00:38It breaks my heart what happened.
0:00:38 > 0:00:40Multiple break-ups...
0:00:40 > 0:00:43I'm not "looking for love", I'm looking out for love.
0:00:43 > 0:00:44..fallouts,
0:00:44 > 0:00:45fist fights,
0:00:45 > 0:00:47legendary indulgence...
0:00:47 > 0:00:49We were like little kids in a toy shop.
0:00:49 > 0:00:51..long-term dependence...
0:00:51 > 0:00:53I thought it was going to kill me.
0:00:53 > 0:00:55..and yet...
0:00:55 > 0:00:58# Don't stop thinking about tomorrow
0:00:58 > 0:01:03# Don't stop, it'll soon be here... #
0:01:03 > 0:01:06..they're still selling out stadiums.
0:01:06 > 0:01:10They've been to hell and back but four decades on it's not over yet.
0:01:16 > 0:01:19CHEERING AND APPLAUSE
0:01:21 > 0:01:24Fleetwood Mac are one of the biggest bands in the world
0:01:24 > 0:01:28but, right from the start, that stardom came at a price.
0:01:28 > 0:01:30Back at the beginning,
0:01:30 > 0:01:33it was a blues band.
0:01:33 > 0:01:36BLUES NUMBER PLAYS
0:01:42 > 0:01:45Fleetwood Mac were conceived in the heady blues explosion
0:01:45 > 0:01:46of 1960s London,
0:01:46 > 0:01:51in a scene that would spawn some of our greatest rock legends.
0:01:51 > 0:01:53Fleetwood Mac had their own secret weapon -
0:01:53 > 0:01:57standing behind Mick Fleetwood and John McVie in this first line-up -
0:01:57 > 0:01:58guitarist Peter Green.
0:01:58 > 0:02:01Peter picked up a guitar and just...
0:02:01 > 0:02:06blossomed immediately into this monster, very individualistic
0:02:06 > 0:02:07guitar player.
0:02:07 > 0:02:10We're now going to do our latest single...
0:02:10 > 0:02:13called Oh Well.
0:02:23 > 0:02:29He simply, for me, is the best thing that ever came out of England.
0:02:29 > 0:02:30The touch he had,
0:02:30 > 0:02:32the songs that he wrote - Oh Well.
0:02:49 > 0:02:51# I can't help it About the shape I'm in
0:02:51 > 0:02:54# I can't sing, I ain't pretty And my legs are thin
0:02:54 > 0:02:56# But don't ask me What I think of you
0:02:56 > 0:02:58# I might not give the answer That you want me to... #
0:03:00 > 0:03:04When it came to the band looking for a name,
0:03:04 > 0:03:06I think it was Peter's
0:03:06 > 0:03:09very strong desire not to become...
0:03:14 > 0:03:18..Jeff Beck, Jimmy Page, you know. He just didn't want that.
0:03:20 > 0:03:22He wanted to be in a band.
0:03:22 > 0:03:25Peter said, "This band's called Fleetwood Mac."
0:03:27 > 0:03:30Front man Peter Green had named the band after his rhythm section
0:03:30 > 0:03:34but, despite his retiring nature, the band got bigger.
0:03:34 > 0:03:38And in 1969, with songs like Albatross going to number one,
0:03:38 > 0:03:40they outsold The Beatles.
0:03:40 > 0:03:45Peter's response was to try and give away the royalties
0:03:45 > 0:03:47to the hits he kept writing.
0:03:47 > 0:03:52# Now, when the day goes to sleep And the full moon looks... #
0:03:57 > 0:03:59If you listen to the words,
0:03:59 > 0:04:02it's a man crying out for help.
0:04:07 > 0:04:09He obviously had the beginnings
0:04:09 > 0:04:13of demons creeping into his, er, world.
0:04:16 > 0:04:19It breaks my heart what happened.
0:04:19 > 0:04:21While on tour in Germany,
0:04:21 > 0:04:25Peter Green was met by local scenesters -
0:04:25 > 0:04:28Rainer Langhans and the alluring Uschi Obermaier -
0:04:28 > 0:04:31who were planning a Bavarian Woodstock
0:04:31 > 0:04:33and invited him back to their commune.
0:04:33 > 0:04:38I think we'd just done the gig and then these two people
0:04:38 > 0:04:40dangled this lady in front of him -
0:04:40 > 0:04:41she was very pretty -
0:04:41 > 0:04:44and they went away to this schloss,
0:04:44 > 0:04:49and that's where he did acid and... all it took was a couple of tabs...
0:04:49 > 0:04:52and he never came back.
0:04:53 > 0:04:57MUSIC: "The Green Manilishi (With The Two Pronged Crown)"
0:05:04 > 0:05:07Mick and John carried on without Peter
0:05:07 > 0:05:11and in 1970 were joined by John's wife, blues singer Christine McVie.
0:05:11 > 0:05:15But they were less lucky with guitarists and front men.
0:05:15 > 0:05:18In 1971, on a US tour,
0:05:18 > 0:05:20Jeremy Spencer left his hotel
0:05:20 > 0:05:23to visit a book store on Hollywood Boulevard
0:05:23 > 0:05:27and was recruited by a religious cult - The Children of God.
0:05:27 > 0:05:30# Ah, we're on the way The children of God
0:05:30 > 0:05:32# We're on the way. #
0:05:32 > 0:05:34In 1972, guitarist Danny Kirwan,
0:05:34 > 0:05:38who shared the fateful German acid trip with Peter Green,
0:05:38 > 0:05:41exited the band after smashing his guitar
0:05:41 > 0:05:43against a dressing room wall in LA.
0:05:43 > 0:05:46In 1973,
0:05:46 > 0:05:49they released a new album with guitarist Bob Weston,
0:05:49 > 0:05:53who promptly had an affair with Mick's wife, model Jenny Boyd,
0:05:53 > 0:05:55and was asked to leave.
0:05:55 > 0:05:57By 1974, Fleetwood Mac -
0:05:57 > 0:06:02who had relocated to LA in the hope of breaking into America -
0:06:02 > 0:06:05were just another British rock band doing the rounds,
0:06:05 > 0:06:07down to just the rhythm section,
0:06:07 > 0:06:10a female songwriter reluctant to front the band
0:06:10 > 0:06:14and their latest guitarist, Bob Welch.
0:06:14 > 0:06:20Bob Welch was our guitar player and made several great albums with us.
0:06:20 > 0:06:25And he, at very short notice, at the end of a tour,
0:06:25 > 0:06:30the last gig, he decided, "I'm gone. I'm done. Out."
0:06:32 > 0:06:36Meanwhile, a young American
0:06:36 > 0:06:38folk/rock duo called Buckingham Nicks
0:06:38 > 0:06:41had also moved to Hollywood in search of musical fame.
0:06:41 > 0:06:46# You may not be as strong as me... #
0:06:47 > 0:06:51Coming from the growing genre of confessional songwriting,
0:06:51 > 0:06:54the couple had seen their debut album garner critical acclaim
0:06:54 > 0:06:55but not much else.
0:06:55 > 0:06:59Dropped by their label eight years after becoming an item,
0:06:59 > 0:07:01they were back to square one -
0:07:01 > 0:07:04sharing a single room and waiting on tables.
0:07:04 > 0:07:08I'd get home from my waitress job and we'd have dinner and then
0:07:08 > 0:07:11we'd start working at nine at night, and we'd work till three,
0:07:11 > 0:07:14go to bed, get back up and he'd work on the music
0:07:14 > 0:07:16and I'd go and be a waitress.
0:07:16 > 0:07:23So that's really what went on through 1974 till the last day of 1974.
0:07:23 > 0:07:26It was about a year and three months from when it came out
0:07:26 > 0:07:29till the day that Mick Fleetwood called us.
0:07:32 > 0:07:34- MICK:- Met a guy in a supermarket
0:07:34 > 0:07:36who I knew vaguely. He said, "What are you doing?"
0:07:36 > 0:07:38I said, "Actually, I'm looking for a studio."
0:07:38 > 0:07:41He said, "I've started working at Sound City."
0:07:41 > 0:07:44Whish is the studio in the valley.
0:07:44 > 0:07:46And we drove to Sound City
0:07:46 > 0:07:49and walked into the studio.
0:07:49 > 0:07:52And Keith Olson was an engineer
0:07:52 > 0:07:54and I literally just was saying,
0:07:54 > 0:07:58"Well, what does the room sound like?" Keith put Buckingham Nicks,
0:07:58 > 0:08:01the master tape, on, which he'd produced with Lindsey and Stevie,
0:08:01 > 0:08:04just for something to play.
0:08:04 > 0:08:08And that's where I heard Lindsey's guitar playing.
0:08:08 > 0:08:13ELECTRIC GUITAR SOLO PLAYS
0:08:13 > 0:08:17I just happened to walk in to Studio A. I walked in
0:08:17 > 0:08:22right in the middle of this blistering guitar solo at the end
0:08:22 > 0:08:24and here's this really tall, skinny guy
0:08:24 > 0:08:26in the room just kind of...
0:08:26 > 0:08:29doing this and I really didn't know who it was.
0:08:31 > 0:08:35And then a week later I got a call form Mick and he said,
0:08:35 > 0:08:39"Our guitarist Bob Welch is leaving and would you like to join the band?"
0:08:39 > 0:08:42I didn't think about Stevie one way or the other
0:08:42 > 0:08:46because I was looking for a guitar player. Stevie's, quote,
0:08:46 > 0:08:49"never forgiven me". It was like, "Oh, you didn't want me,
0:08:49 > 0:08:53"you wanted Lindsey, right?" Which, right at the beginning, was true.
0:08:53 > 0:08:58And very quickly we realised that they were totally joined at the hip.
0:08:58 > 0:09:04And I said, "Well, I'll have to... I'll have to talk to my girlfriend
0:09:04 > 0:09:06"about that but, if we do,
0:09:06 > 0:09:09"you're going to have to take my girlfriend too."
0:09:12 > 0:09:17A meeting was arranged that would define the future of Fleetwood Mac.
0:09:18 > 0:09:21So we all met at a Mexican restaurant
0:09:21 > 0:09:23on Third Street in Los Angeles
0:09:23 > 0:09:25and we all got on like a house on fire.
0:09:25 > 0:09:29Everyone thought that it was a little unique that there were two women.
0:09:29 > 0:09:33It was certainly unique that there were two couples.
0:09:35 > 0:09:39And the only criteria with Christine was, "We have to meet,
0:09:39 > 0:09:42"because I just want to know that I get on with her
0:09:42 > 0:09:47"because there can be nothing worse that two cat-calling women
0:09:47 > 0:09:50"that don't get on in a band." And she was right.
0:09:50 > 0:09:55CHRISTINE: In the musical environment I hadn't worked with another girl.
0:09:55 > 0:09:58When I met her, I instantly liked her,
0:09:58 > 0:10:01not because she was like me, quite the contrary -
0:10:01 > 0:10:03we were totally unalike, me and Stevie.
0:10:03 > 0:10:05We were complete opposites
0:10:05 > 0:10:07at opposite ends of the personality spectrum.
0:10:07 > 0:10:09- STEVIE:- I said, "You know, I think
0:10:09 > 0:10:12"this woman Christine McVie is pretty fantastic
0:10:12 > 0:10:15"and this would give me somebody to hang out with."
0:10:17 > 0:10:20In 1975, the new line-up gathered at Sound City
0:10:20 > 0:10:25to record their first album together and figure out how to marry
0:10:25 > 0:10:27a laid-back British blues trio
0:10:27 > 0:10:30to a folk/rock duo with Californian ambition.
0:10:30 > 0:10:32LINDSEY: We had songs
0:10:32 > 0:10:35that were probably being tooled up
0:10:35 > 0:10:38to be maybe another Buckingham Nicks album.
0:10:38 > 0:10:41Some of those songs went on to the first album they recorded
0:10:41 > 0:10:43with Fleetwood Mac, and Rhiannon was one of them.
0:10:43 > 0:10:46She writes on the piano in a very, very rudimentary manner.
0:10:46 > 0:10:49It's very much like this. It's...
0:10:49 > 0:10:52MIMICS PIANO KEYS IN RHIANNON
0:10:56 > 0:11:00My tendency is to add rhythm and to rock it up so just...
0:11:00 > 0:11:03bringing that thumb style that I have
0:11:03 > 0:11:05which is sort of somewhere between classical and folk.
0:11:05 > 0:11:07PLAYS RHIANNON
0:11:12 > 0:11:14I didn't know anything about Wales at the time
0:11:14 > 0:11:17but I always thought it was kind of like a Welsh
0:11:17 > 0:11:18country song, you know?
0:11:21 > 0:11:23PLAYS BASS LINE
0:11:28 > 0:11:31# Rhiannon rings like the bells in the night
0:11:31 > 0:11:34# And wouldn't you love to love her?
0:11:35 > 0:11:38# She goes through life like a bird in flight
0:11:38 > 0:11:41# And who will be her lover?
0:11:42 > 0:11:46# All your life you've never seen A woman
0:11:46 > 0:11:49# Taken by the wind
0:11:49 > 0:11:51# Would you stay... #
0:11:51 > 0:11:56MICK: We rehearsed before we went in the studio and my sense was,
0:11:56 > 0:12:00"My God, we're home and dry." Lindsey's a great performer
0:12:00 > 0:12:06and Stevie was IMMEDIATELY in charge of her arena.
0:12:09 > 0:12:13The whole spell that she put over audiences with all the movement
0:12:13 > 0:12:15and all the lovely stuff.
0:12:15 > 0:12:17# ..Oh, now you know
0:12:17 > 0:12:22# That your dreams unwind Love's a state of mind... #
0:12:22 > 0:12:25CHRIS SALEWICZ: She had the two voices,
0:12:25 > 0:12:27one of which is the kind of archetypal West Coast,
0:12:27 > 0:12:34female singer/songwriter, er, er, lilt - very sweet, very girly.
0:12:34 > 0:12:36# ..Still a state of mind
0:12:36 > 0:12:40# I know, I know
0:12:40 > 0:12:45# Dreams unwind Love is all you find... #
0:12:45 > 0:12:49But then there's also the almost Janis Joplin-like blues belting,
0:12:49 > 0:12:52both of which she uses to fine effect in Rhiannon,
0:12:52 > 0:12:54which, of course, was her stage tour de force.
0:12:54 > 0:12:58# ..Take me like the wind now Take me with the sky
0:13:01 > 0:13:07# Take me like the wind, baby Take me with the sky... #
0:13:07 > 0:13:12KEN CAILLAT: I'll never forget that one. It was a 1976 performance
0:13:12 > 0:13:15and she was just screaming Rhiannon. I can remember
0:13:15 > 0:13:18her vocal cords were just stretching out,
0:13:18 > 0:13:21you know, the muscles were stretching and she went
0:13:21 > 0:13:25a complete octave above where anybody could take that song.
0:13:25 > 0:13:30# ..All that's left, all that's left Rhiannon
0:13:30 > 0:13:36# All that's left, all that's left All that's left
0:13:36 > 0:13:39# R-r-r-rhiannon
0:13:39 > 0:13:44# Can't leave her Rhiannon, you can't leave her
0:13:44 > 0:13:48# You're a dreamer, you're a dreamer
0:13:48 > 0:13:54IMPROVISED BLUESY LYRIC
0:13:54 > 0:13:57# ..Dreamer, dreamer
0:13:57 > 0:14:02# A-a-a-ah... #
0:14:05 > 0:14:08The woman who had been the plus one in the new line-up
0:14:08 > 0:14:10gave the band the hit single
0:14:10 > 0:14:12that propelled their album up the US charts.
0:14:12 > 0:14:17MUSIC: "The Chain" by Fleetwood Mac
0:14:17 > 0:14:20The band also realised that the key to their success
0:14:20 > 0:14:23was a luxurious, simple sound.
0:14:23 > 0:14:25"Less is more"
0:14:25 > 0:14:28dictated the sound
0:14:28 > 0:14:32of the then Stevie and Lindsey incarnation of Fleetwood Mac.
0:14:32 > 0:14:34When we joined Fleetwood Mac,
0:14:34 > 0:14:36it was kind of an exercise in paring down.
0:14:36 > 0:14:39It was a kick and a snare and a bass.
0:14:39 > 0:14:45So keep it simple and just...and let the voices and Lindsey's guitars
0:14:45 > 0:14:47layer the rest of it.
0:14:47 > 0:14:51We didn't even know what a harmony was with Peter Green
0:14:51 > 0:14:52and then, bingo!
0:14:52 > 0:14:57The blend of the vocals - you know, Chris's voice is slightly husky
0:14:57 > 0:15:02and Stevie's and Lindsey's - that blend was...
0:15:03 > 0:15:04Wow!
0:15:04 > 0:15:07It was like, "Yeah, this is gonna happen."
0:15:10 > 0:15:14# Listen to the wind blow
0:15:14 > 0:15:19# Watch the sun rise. #
0:15:21 > 0:15:26In 1977, as the band started writing songs for their next album,
0:15:26 > 0:15:31they were primed by their label for even bigger success...
0:15:31 > 0:15:33with one catch.
0:15:35 > 0:15:37MICK: Going in to the making of Rumours,
0:15:37 > 0:15:43all of us, like a convergence - Stevie and Lindsey, John and Chris
0:15:43 > 0:15:46and me and Jenny, my then wife -
0:15:46 > 0:15:52all five band members were going in to, you know, an emotional hiccup,
0:15:52 > 0:15:54to say the least.
0:15:54 > 0:15:55When we joined Fleetwood Mac,
0:15:55 > 0:15:57everything was rocky between me and Lindsey.
0:16:01 > 0:16:07We had just our own sense of, um, displacement.
0:16:09 > 0:16:13I think we all kind of made a little silent vow,
0:16:13 > 0:16:16let's fix these relationships for right now,
0:16:16 > 0:16:18because we cannot break up.
0:16:18 > 0:16:21We just can't. If we do, there will be no Fleetwood Mac.
0:16:21 > 0:16:26PIANO PLAYS: "Don't Stop"
0:16:29 > 0:16:31MICK: That's Rumours.
0:16:31 > 0:16:35That's the canopy that led us in to the making of that album.
0:16:35 > 0:16:38# If you wake up and don't want to smile... #
0:16:38 > 0:16:43And within that framework was this incredible...
0:16:43 > 0:16:46you know, cross talk of laser beams of emotion
0:16:46 > 0:16:50going from one personality to the other.
0:16:50 > 0:16:55# Don't stop thinking about tomorrow
0:16:55 > 0:16:59# Don't stop, it'll soon be here
0:16:59 > 0:17:02# It'll be here better than before
0:17:02 > 0:17:07# Yesterday's gone Yesterday's gone... #
0:17:07 > 0:17:12Don't Stop, you know, is certainly Chris saying,
0:17:12 > 0:17:15"I love you but I'm not in love with you," to John.
0:17:15 > 0:17:19You go back and you read them and you go, "Oh! Well, OK."
0:17:22 > 0:17:26# ..All I want is to see you smile
0:17:26 > 0:17:29# If it takes just a little while
0:17:31 > 0:17:34# I know you don't believe that it's true
0:17:34 > 0:17:38# I never meant any harm to you... #
0:17:38 > 0:17:41Somebody's playing a song and everybody in the room's going...
0:17:41 > 0:17:45"That's about me, right?" You know? And, "Of course it's about you!"
0:17:45 > 0:17:49But what you have to do is you have to let that go
0:17:49 > 0:17:51because if you don't let that go
0:17:51 > 0:17:53you can never play these songs for anybody.
0:17:53 > 0:17:58# ..Don't stop thinking about tomorrow
0:17:58 > 0:18:02# Don't stop, it'll soon be here... #
0:18:02 > 0:18:05My songs were all about Lindsey and Lindsey's songs were all about me.
0:18:05 > 0:18:07You had to blow it off and play the song.
0:18:07 > 0:18:10It was an exercise in denial, it really was. That was the only way
0:18:10 > 0:18:13we could get through it. You had to put your feelings over here
0:18:13 > 0:18:16and get on with what needed to be done in the rest of the room.
0:18:17 > 0:18:20# ..Ooh... #
0:18:20 > 0:18:24I don't think we were really aware of it at the time
0:18:24 > 0:18:26until it was more or less completed,
0:18:26 > 0:18:27and then John, I think,
0:18:27 > 0:18:30made some reference to it sounding like a bunch of rumours.
0:18:30 > 0:18:34I think that's how we ended up calling the album that.
0:18:34 > 0:18:37And the end result was just very moving
0:18:37 > 0:18:40when you listened to it back-to-back. Everything strung together
0:18:40 > 0:18:43as it was, like something of a diary.
0:18:48 > 0:18:52- CHRIS SALEWICZ:- John McVie liked a drink and I think he always had done
0:18:52 > 0:18:54and he was part of that whole tradition
0:18:54 > 0:18:58of English rock'n'rollers from the '60s, from John Mayall's era,
0:18:58 > 0:19:02who just liked to go out and get slaughtered basically.
0:19:02 > 0:19:04And, you know, living in LA,
0:19:04 > 0:19:07you know, he was still a member of John Mayall's brain damage club.
0:19:07 > 0:19:09I'm a legend in my own mind.
0:19:12 > 0:19:13I was over the top.
0:19:13 > 0:19:15Way over the top, you know.
0:19:17 > 0:19:21Beyond the pale, as it were, and... she couldn't handle it any more.
0:19:21 > 0:19:27And it happened when we were doing something down in Florida,
0:19:27 > 0:19:30um, that I got the word.
0:19:30 > 0:19:36BAND PLAYS: "You Make Loving Fun"
0:19:36 > 0:19:39Basically we weren't a unit any more
0:19:39 > 0:19:44and she'd rather be with our lighting director than me.
0:19:45 > 0:19:49# Sweet wonderful you... #
0:19:49 > 0:19:52If the album gave Christine a chance to say to John
0:19:52 > 0:19:57"don't stop thinking about tomorrow", it also gave her a chance
0:19:57 > 0:20:00to tell her lighting director that he'd made loving fun...
0:20:00 > 0:20:04# Ooh, you make loving fun... #
0:20:04 > 0:20:08..but Lindsey and Stevie weren't exactly singing along.
0:20:08 > 0:20:11- KEN CAILLAT:- They were both sitting on stools next to each other
0:20:11 > 0:20:15singing into two microphones. We had to stop the tape or something.
0:20:15 > 0:20:18Suddenly they were screaming at each other, "Damn you! Go to hell!"
0:20:18 > 0:20:22And I, honestly, was embarrassed. I didn't know what to do.
0:20:22 > 0:20:24I rewound the tape as fast as I could.
0:20:24 > 0:20:25The moment I hit play,
0:20:25 > 0:20:28they were back into singing You Make Loving Fun again,
0:20:28 > 0:20:30which I thought was very ironic.
0:20:30 > 0:20:35Rumours was recorded at the Record Plant in San Francisco
0:20:35 > 0:20:38and one afternoon Stevie found a hidden corner of the studio
0:20:38 > 0:20:40to privately gather her thoughts
0:20:40 > 0:20:42on her failing relationship with Lindsey.
0:20:42 > 0:20:46I was just hanging out in the rest of the Record Plant and Sly Stone
0:20:46 > 0:20:50had a studio there and the people that owned the studio let me in.
0:20:50 > 0:20:51I went in there with my Fender
0:20:51 > 0:20:54and I spent the afternoon in there and I wrote Dreams.
0:20:54 > 0:20:57THEY PLAY: "Dreams"
0:20:58 > 0:21:02And, um, they really liked it.
0:21:02 > 0:21:04So we recorded it the next day
0:21:04 > 0:21:08and this was before the final blow-up of me and Lindsey. But we were close,
0:21:08 > 0:21:11but we hadn't had that final blow-up yet.
0:21:11 > 0:21:14# Now, here you go again
0:21:14 > 0:21:18# You say you want your freedom... #
0:21:18 > 0:21:21"Now, there you go again You say you want your freedom
0:21:21 > 0:21:22"Who am I to keep you down?"
0:21:22 > 0:21:27Um, I really was the one that wanted my freedom...
0:21:27 > 0:21:28at that point,
0:21:28 > 0:21:32um, because I just wasn't happy in the relationship any more.
0:21:32 > 0:21:36The relationship, in my opinion, had become too dark,
0:21:36 > 0:21:37and too obsessive
0:21:37 > 0:21:39and too heavy.
0:21:39 > 0:21:42I just was looking for some spring air.
0:21:42 > 0:21:45I was just looking to breathe again.
0:21:45 > 0:21:51# Thunder only happens when it's raining
0:21:53 > 0:21:59# Players only love you when they're playing
0:22:01 > 0:22:06# They say, women, they will come and they will go
0:22:09 > 0:22:15# When the rain washes you clean you'll know... #
0:22:15 > 0:22:18I think the thing about Stevie Nicks is her style of writing
0:22:18 > 0:22:23is much more pastoral, whimsical, West Coast hippie, really.
0:22:23 > 0:22:28And Lindsey Buckingham's style is a much tougher,
0:22:28 > 0:22:32almost punkier sound actually.
0:22:37 > 0:22:40Lindsey, of course, had a riposte to Stevie's take on their relationship.
0:22:40 > 0:22:45Complete with a dramatic opening and a rollicking backbeat.
0:22:45 > 0:22:48Um, I had this idea.
0:22:48 > 0:22:55It was actually taken from Street Fighting Man by the Rolling Stones.
0:22:55 > 0:23:00Where Charlie Watson's going, "Um, um, pah, boom, boom, boom."
0:23:00 > 0:23:05And Mick didn't wanna... he couldn't quite get that
0:23:05 > 0:23:07- and he did his own thing. - DRUMS BEAT WITH FOOT
0:23:07 > 0:23:10He did a four-four and he went, "Um, pah, boom, boom..."
0:23:10 > 0:23:13DRUMS BEAT
0:23:18 > 0:23:22# Loving you Isn't the right thing to do
0:23:24 > 0:23:29# How can I ever change the things that I feel? #
0:23:29 > 0:23:35Go Your Own Way - it's a bittersweet testimony
0:23:35 > 0:23:37from a partner to another partner.
0:23:37 > 0:23:40Well, I always looked at Go Your Own Way as Lindsey's Dreams.
0:23:40 > 0:23:43# When you won't take it from me... #
0:23:43 > 0:23:49My Dreams was my kind of airy-fairy, spirituality, sang,
0:23:49 > 0:23:51"When the rain washes you clean, you'll know."
0:23:51 > 0:23:54In other words, we're all gonna come out of this.
0:23:54 > 0:23:57And, Lindsey, you and I will come out of this and we'll be friends.
0:23:57 > 0:23:59And it'll be OK.
0:23:59 > 0:24:02And Lindsey's Dreams, which was Go Your Own Way,
0:24:02 > 0:24:03was angry and nasty.
0:24:03 > 0:24:05# Go your own way! #
0:24:05 > 0:24:09And in my opinion, extremely disrespectful,
0:24:09 > 0:24:11to say "shacking up".
0:24:13 > 0:24:18# Packing up Shacking up's all you want to do. #
0:24:20 > 0:24:24And me, lady-like, prudey Stevie,
0:24:24 > 0:24:28which I am, was very offended,
0:24:28 > 0:24:33by him saying "shacking up is all you want to do".
0:24:33 > 0:24:36Because I was not in any kind of a shacking-up mood.
0:24:36 > 0:24:37I was not shacking up with anybody.
0:24:37 > 0:24:40# Go your own way
0:24:40 > 0:24:45# You can call it another lonely day... #
0:24:45 > 0:24:51It may be a rather truthful and blunt observation.
0:24:51 > 0:24:57But...you know, that's the way you write songs.
0:25:06 > 0:25:09When I was hired to do the job, I didn't understand.
0:25:09 > 0:25:12Lindsey'd always refused to sing his lyrics.
0:25:12 > 0:25:16And I found out later that the reason he wasn't singing the lyrics
0:25:16 > 0:25:18was because he knew it'd make Stevie mad.
0:25:18 > 0:25:21Lindsey and I broke up, like, on the last day.
0:25:23 > 0:25:26And we had a big fight. I don't remember what the fight was about.
0:25:26 > 0:25:29But we were getting ready to go home
0:25:29 > 0:25:33and I basically said to him, "Well, I'll pack the car and you drive it.
0:25:33 > 0:25:36"I'm flying home and you drive."
0:25:36 > 0:25:37And we were done.
0:25:38 > 0:25:39Done.
0:25:53 > 0:25:57Dreams gave the band their first number-one single in America,
0:25:57 > 0:26:00as Rumours hit the ground running,
0:26:00 > 0:26:02selling 200,000 copies a day.
0:26:02 > 0:26:06Adult-oriented rock had truly arrived.
0:26:06 > 0:26:13The success of that album was as much about people investing in us,
0:26:13 > 0:26:17as people, and realising that a lot of this music was actually
0:26:17 > 0:26:19cross-dialogues to each other.
0:26:19 > 0:26:22You know, Lindsey Buckingham and Stevie Nicks are just tearing apart...
0:26:22 > 0:26:25they're pulling down the curtains of the bedroom.
0:26:25 > 0:26:29They're opening the doors wide. What's really going on in here?
0:26:29 > 0:26:31All the group's neuroses are laid bare.
0:26:31 > 0:26:34It's that blend of the British blues sensibility
0:26:34 > 0:26:39with this almost neurotic and actually absolutely heartfelt
0:26:39 > 0:26:40lyric writing.
0:26:40 > 0:26:42There's a darkness to it.
0:26:42 > 0:26:48Where that's been this band's saving grace, you know?
0:26:48 > 0:26:53Where...it started in my mind with Peter Green.
0:26:53 > 0:27:00It's accessible and it's sort of pop music, but not.
0:27:04 > 0:27:08There was one song on Rumours that wasn't released as a single,
0:27:08 > 0:27:11but became a show-stopper and a kind of anthem for the band.
0:27:11 > 0:27:13The Chain.
0:27:17 > 0:27:22It's ironic because it is a song about keeping together
0:27:22 > 0:27:27and somehow finding the tools and the vocabulary to not only do it
0:27:27 > 0:27:29in the moment, but to keep doing it.
0:27:29 > 0:27:32I mean, it's like nobody, no matter how bad it got,
0:27:32 > 0:27:34nobody didn't want to be in the band.
0:27:34 > 0:27:36Nobody wanted to get out of the band.
0:27:36 > 0:27:39So, it was like, you know, the band was number-one priority.
0:27:39 > 0:27:43So it's like...the relationships did not override the band.
0:27:43 > 0:27:48# Chain... Keep us together
0:27:48 > 0:27:51# Run in the shadows
0:27:51 > 0:27:55# Chain... Keep us together
0:27:55 > 0:27:57# Running in the shadows
0:27:57 > 0:27:58# Chain... #
0:27:58 > 0:28:02Rumours made Fleetwood Mac the biggest band in the world.
0:28:02 > 0:28:05They even had their own star on Hollywood Boulevard.
0:28:05 > 0:28:10But like Peter Green before, success sat uneasily with front man Lindsey,
0:28:10 > 0:28:14who felt the band were in danger of becoming dinosaurs.
0:28:14 > 0:28:17He probably would have left Fleetwood Mac.
0:28:17 > 0:28:21He came up to my house. We spent a couple of days talking
0:28:21 > 0:28:24about what he wanted to do.
0:28:24 > 0:28:29It was all about Lindsey's thing of - we've gotta go forward.
0:28:29 > 0:28:33PUNK MUSIC
0:28:33 > 0:28:36After Rumours in 1977,
0:28:36 > 0:28:39a new wave of young bands had arrived.
0:28:39 > 0:28:42And Lindsey, listening to the Clash and Talking Heads,
0:28:42 > 0:28:44was desperate for the band to experiment.
0:28:47 > 0:28:50In 1979, Fleetwood Mac released an elaborately packaged double album
0:28:50 > 0:28:54and spent the industry's biggest recording budget to date...
0:28:55 > 0:28:57..on this.
0:28:57 > 0:29:00MUSIC: "The Ledge" by Fleetwood Mac
0:29:06 > 0:29:08# Countin' on my fingers Countin' on my toes... #
0:29:08 > 0:29:11NEWSREEL: ..four billion dollar-a-year record industry
0:29:11 > 0:29:13experienced an 11% drop in sales.
0:29:13 > 0:29:15Executives felt that one of the albums
0:29:15 > 0:29:19that could bring buyers back into the stores would be Fleetwood Mac's
0:29:19 > 0:29:21next release.
0:29:21 > 0:29:25Tusk was a different-sounding record than Rumours.
0:29:25 > 0:29:29I was all ready to go in and make another Rumours.
0:29:29 > 0:29:32But Lindsey had different ideas.
0:29:32 > 0:29:38He... Every idea that I suggested, sound-wise, he wanted the opposite.
0:29:38 > 0:29:42# Countin' on my fingers Countin' on my toes
0:29:42 > 0:29:45# Runnin' through my fingers Watchin' how it grows... #
0:29:45 > 0:29:48The record company wanted us to really just make another Rumours.
0:29:48 > 0:29:51And Lindsey was really offended by that.
0:29:51 > 0:29:56And Lindsey is one of those people that will go up on the cross
0:29:56 > 0:29:58to make a point, and die.
0:30:00 > 0:30:02Lindsey was this volatile character.
0:30:02 > 0:30:04He was kind of a whacked-out guy.
0:30:04 > 0:30:09I remember one day, and this was when he had this big kind of afro,
0:30:09 > 0:30:11I looked up and all his hair was gone.
0:30:11 > 0:30:14Just all...all irregular.
0:30:14 > 0:30:15And I said, "What happened?"
0:30:15 > 0:30:18And he said, "I was just in my shower and I freaked out.
0:30:18 > 0:30:22"And I just cut it all off." And he really said, "Yeah, cut it all out."
0:30:22 > 0:30:25And I said, "OK, well, we're all long hair and beards
0:30:25 > 0:30:27"and you look pretty strange here."
0:30:27 > 0:30:30But that was the kind of thing he would do.
0:30:30 > 0:30:32He would just freak out.
0:30:34 > 0:30:38You know, you've gotta just do what is in your heart.
0:30:38 > 0:30:42And I was quite excited about trying some new approaches.
0:30:42 > 0:30:50SHE SINGS PASSIONATELY
0:30:51 > 0:30:57# Yeah, but you'll never catch me. #
0:30:57 > 0:31:00Stevie, that's great...
0:31:00 > 0:31:02It took 13 months in one place.
0:31:02 > 0:31:06So we weren't moving around. So it was a long, long 13 months.
0:31:06 > 0:31:09We were recording at Village Recorders in Santa Monica
0:31:09 > 0:31:13and we were recording six days a week. We were all there every day.
0:31:13 > 0:31:17And, you know, we just got through it. And it was really horrible.
0:31:17 > 0:31:20With a certain amount of trepidation, I did get the band into
0:31:20 > 0:31:24the idea of trying some new processes
0:31:24 > 0:31:27and some different sensibilities.
0:31:27 > 0:31:31I remember one day he wanted to get an aggressive-sounding vocal
0:31:31 > 0:31:36and he had me tape the microphone on the tile floor
0:31:36 > 0:31:38and he got down in the push up position
0:31:38 > 0:31:42and sang into this microphone, sitting on the floor.
0:31:42 > 0:31:46I still wouldn't mind trying that square one Stevie uses on stage.
0:31:46 > 0:31:48- All right. - Two... What, this one, you want?
0:31:48 > 0:31:50- Yeah.- All right.
0:31:50 > 0:31:53It's like Lindsey with the microphone on the tile floor,
0:31:53 > 0:31:57like laying on the floor, with his head flat on the floor,
0:31:57 > 0:32:02going, "Ooh, ooh, ooh-ooh, ooh, ooh.
0:32:02 > 0:32:04"Ooh-ooh, ooh, ooh."
0:32:04 > 0:32:07And we're just all like, "OK.
0:32:07 > 0:32:09"That was great. Take two."
0:32:09 > 0:32:14JAUNTILY And he goes, "Ooh-ooh, ooh, ooh, ooh.
0:32:14 > 0:32:16"Ooh-ooh, ooh, ooh, ooh."
0:32:16 > 0:32:18"OK. Take three."
0:32:21 > 0:32:24And then he's taking the whole thing and then he's slowing it down.
0:32:24 > 0:32:28And then he's recording that and then he's speeding it back up.
0:32:28 > 0:32:32And then he's putting it through a Leslie organ speaker.
0:32:32 > 0:32:35And it was just hard for the rest of us
0:32:35 > 0:32:38because we kind of... we weren't always involved.
0:32:38 > 0:32:42GUITAR PLAYS
0:32:43 > 0:32:47We had a great little anteroom, little lounge room outside of it.
0:32:47 > 0:32:52And we would just be in the lounge, drinking coffee,
0:32:52 > 0:32:57watching television, eating, and waiting for Lindsey to say,
0:32:57 > 0:33:00"OK, come on in now. There's something for you to do."
0:33:02 > 0:33:05There we are! Coffee's made!
0:33:05 > 0:33:07You've gotta see, we lose track of time in here.
0:33:07 > 0:33:12I called my mother last night for the first time since Christmas.
0:33:12 > 0:33:16- You thought it had been a month.- I thought it had been a month, right.
0:33:16 > 0:33:21- Not literally a month. - You do lose complete track of time.
0:33:21 > 0:33:23Cos your days and your nights aren't set up right.
0:33:23 > 0:33:27The most elaborate and expensive production was saved
0:33:27 > 0:33:30for the album's title track.
0:33:30 > 0:33:34The track, Tusk, came out of a riff that Lindsey always used to play
0:33:34 > 0:33:35at sound check.
0:33:35 > 0:33:37HE PLAYS RIFF
0:33:45 > 0:33:51And I came back and said, "What about a hundred-piece brass band
0:33:51 > 0:33:52"playing the riff?"
0:33:52 > 0:33:55And we're all like, "OK."
0:33:55 > 0:33:58"OK, if you can pull this off, Mick, then great."
0:34:01 > 0:34:04And...it was a weird one, you know?
0:34:04 > 0:34:07It was Mick's idea to put the USC marching band on there,
0:34:07 > 0:34:09which was a stroke of genius.
0:34:14 > 0:34:19We put the 120-piece brass band with Fleetwood Mac
0:34:19 > 0:34:22and recorded it at Dodger Stadium.
0:34:23 > 0:34:29# Why don't you ask him What's going on?
0:34:29 > 0:34:34# Why don't ask him Who's the latest on his throne?
0:34:34 > 0:34:38It really was an extraordinary day and we did film it, thank goodness,
0:34:38 > 0:34:42and I got to twirl, cos my mom was a majorette.
0:34:42 > 0:34:44So my mom taught me to twirl when I was really little.
0:34:44 > 0:34:46So I did a little of that.
0:34:49 > 0:34:52We're honorary members of the USC marching band.
0:34:57 > 0:35:00# ..Tusk!
0:35:00 > 0:35:03# Just say that you love me...
0:35:11 > 0:35:12# Tusk! #
0:35:12 > 0:35:17The extravagant Tusk disappointed the record company by only managing
0:35:17 > 0:35:19a quarter of Rumours' sales figures.
0:35:19 > 0:35:23But as a live act, Fleetwood Mac were still a draw
0:35:23 > 0:35:27and were accordingly booked onto a huge 18-month world tour.
0:35:27 > 0:35:32I saw the Tusk tour in San Francisco at the Cow Palace
0:35:32 > 0:35:36and the audience, it was kind of kids in the front rows.
0:35:36 > 0:35:39They're screaming, they think it's fantastic to be there.
0:35:39 > 0:35:42It's like a teenage rock'n'roll show.
0:35:42 > 0:35:44SCREAMING
0:35:52 > 0:35:56BAND PLAYS
0:36:09 > 0:36:13On the extensive Tusk tour, things got indulgent.
0:36:13 > 0:36:17Perhaps because Fleetwood Mac had sacked their previous manager
0:36:17 > 0:36:18and were newly managed by...
0:36:18 > 0:36:20their drummer.
0:36:20 > 0:36:23Mick was managing the band.
0:36:23 > 0:36:30Mick's a dreamer and he's not an accountant, let's leave it at that.
0:36:30 > 0:36:35We went through a really bad experience with, let's put it...
0:36:35 > 0:36:39- our now ex-manager. You remember that, Mum, don't you?- I do, indeed.
0:36:39 > 0:36:42We never had another manager.
0:36:42 > 0:36:46- Good thing too.- And here it sits.
0:36:46 > 0:36:47This is the manager.
0:36:47 > 0:36:51You know, I think there was a tendency to get the biggest plane
0:36:51 > 0:36:52we could get to travel in
0:36:52 > 0:36:57and all for reasons of wanting things to be great.
0:36:57 > 0:37:01It costs between 25,000 and 30,000 dollars a day
0:37:01 > 0:37:03just to keep Fleetwood Mac on the road.
0:37:03 > 0:37:07But the investments in luxury jets and the separate limousines
0:37:07 > 0:37:09that emphasise their individual styles
0:37:09 > 0:37:11are the group's own decision.
0:37:11 > 0:37:15SCREAMING
0:37:17 > 0:37:22We all make reference to this thing called the bubble, you know?
0:37:22 > 0:37:27The Fleetwood Mac canopy, where a world within a world,
0:37:27 > 0:37:34as Lindsey would say, existed. Some of it very insane really.
0:37:36 > 0:37:38The Tusk tour was legendary for its success.
0:37:38 > 0:37:42And one of the things I noticed was that, backstage,
0:37:42 > 0:37:45in the same way that at that point people were getting into drinking
0:37:45 > 0:37:47Perrier water, instead of tap water,
0:37:47 > 0:37:50Fleetwood Mac had bottles of oxygen.
0:37:50 > 0:37:55Even their air came out of tanks.
0:38:04 > 0:38:11We at that point were, for sure, like little kids in a toy shop.
0:38:19 > 0:38:21I just remember things got larger.
0:38:21 > 0:38:24We were doing the US festival with the Eagles.
0:38:24 > 0:38:26250,000 people.
0:38:26 > 0:38:29SCREAMING
0:38:33 > 0:38:35It just grew.
0:38:39 > 0:38:42I mean, the excess around Fleetwood Mac is well known.
0:38:42 > 0:38:46There seemed to be a lot of alcohol and Peruvian marching powder.
0:38:46 > 0:38:50But I think this was all fuel to keep them all going.
0:38:50 > 0:38:55Cos I could tell, even in '76, when I met them in LA, they were exhausted.
0:38:55 > 0:38:59Already! They were absolutely knackered.
0:38:59 > 0:39:00They needed fuel.
0:39:00 > 0:39:02SCREAMING
0:39:14 > 0:39:17To make matters even more complicated,
0:39:17 > 0:39:23behind Lindsey's back, Stevie and Mick had started seeing each other.
0:39:23 > 0:39:26# Wait a minute, baby
0:39:26 > 0:39:29# Stay with me a while
0:39:31 > 0:39:33# Said you'd give me light
0:39:33 > 0:39:37# But you never told me about the fire... #
0:39:37 > 0:39:42Stevie and myself had a great relationship
0:39:42 > 0:39:45but it was not in the open.
0:39:45 > 0:39:53It was not, you know, open... It was a very private affair really.
0:39:53 > 0:39:57And then...Mick fell in love with my best friend, Sara.
0:39:59 > 0:40:03And my best friend, Sara, moved in with Mick and left her husband.
0:40:03 > 0:40:08The awkwardness, no doubt, the dastardly deed
0:40:08 > 0:40:14was that Sara was and still is a great friend of Stevie's.
0:40:14 > 0:40:21And it was the classic, you know, intergalactic...mess.
0:40:23 > 0:40:25And out of that came, certainly that song, Sara.
0:40:25 > 0:40:27# Said, Sara
0:40:29 > 0:40:31# You're the poet in my heart
0:40:33 > 0:40:35# Never change
0:40:37 > 0:40:40# Never stop... #
0:40:40 > 0:40:42So there we were recording Tusk
0:40:45 > 0:40:49with Lindsey, who never really got over this relationship with me,
0:40:49 > 0:40:53and now Mick has done this thing and he's living with my friend, Sara.
0:40:53 > 0:40:55And she's banished from the studio.
0:40:55 > 0:40:58And so I lost Mick and my friend Sara in one fell swoop.
0:40:58 > 0:41:00SCREAMING AND RIFF
0:41:07 > 0:41:10Being in Fleetwood Mac, to this day, is very tense.
0:41:10 > 0:41:12It's a tense situation.
0:41:12 > 0:41:17Always. Was from the very beginning and is now.
0:41:17 > 0:41:20In my solo career I'm not tense.
0:41:20 > 0:41:23I'm not uptight.
0:41:23 > 0:41:25Because I don't have any reason to be uptight.
0:41:28 > 0:41:33In 1981, Stevie, who was becoming a star in her own right,
0:41:33 > 0:41:36launched a parallel solo career.
0:41:36 > 0:41:41Her first album, Bella Donna, eclipsed Fleetwood Mac's Mirage,
0:41:41 > 0:41:43topping US and UK charts,
0:41:43 > 0:41:47and conjured three hit singles, including the spellbinding
0:41:47 > 0:41:49Edge Of Seventeen.
0:41:49 > 0:41:53# Just like the white winged dove Sings a song
0:41:53 > 0:41:55# Sounds like she's singing
0:41:55 > 0:41:58# Ooh, baby, ooh Said ooh
0:41:58 > 0:42:01# Just like the white winged dove Sings a song
0:42:01 > 0:42:03# Sounds like she's singing
0:42:03 > 0:42:07# Ooh, baby, ooh Said ooh... #
0:42:07 > 0:42:10She was the ultimate West Coast hippie dream girl.
0:42:10 > 0:42:15You know, in her hotel room, there'd be a lot of scarves and silk objects
0:42:15 > 0:42:18draped over every possible lamp and light bulb, everywhere.
0:42:19 > 0:42:21# ..Nothing else mattered... #
0:42:23 > 0:42:27Stevie has a real fondness for accessories
0:42:27 > 0:42:30and playing with things and becoming characters on stage.
0:42:33 > 0:42:34It just evolved.
0:42:34 > 0:42:37Top hat, think she had a cane at one point
0:42:37 > 0:42:41and then chiffon and it grew and she developed it.
0:42:43 > 0:42:46When she puts on a shawl she literally becomes another character.
0:42:50 > 0:42:55She's so petite on stage and they were doing larger and larger arenas
0:42:55 > 0:42:59so she wanted something that would really show
0:42:59 > 0:43:02that she's there, that she's moving and it would be dramatic.
0:43:02 > 0:43:07# ..Ooh, baby, ooh Said ooh
0:43:07 > 0:43:10# Just like the white winged dove Sings a song
0:43:10 > 0:43:12# Sounds like she's singing
0:43:12 > 0:43:15# Ooh, baby, ooh, Said ooh... #
0:43:15 > 0:43:18If you go to concerts you'll see many, many people dressed like her.
0:43:18 > 0:43:21In various stages of her career.
0:43:21 > 0:43:25They're dressed to the nines, like Stevie-ites all over the place.
0:43:25 > 0:43:29People remember, "Oh, my God, do you remember we were in the audience
0:43:29 > 0:43:32"and you see thousands of Stevie Nicks!" you know?
0:43:32 > 0:43:34HE MIMICS HER
0:43:35 > 0:43:40Thank you for being with us on this very special night. Good night.
0:43:42 > 0:43:44The cult of Stevie Nicks grew.
0:43:44 > 0:43:48But was laced with rumours about her growing dependence
0:43:48 > 0:43:51on a particular brand of stardust.
0:43:51 > 0:43:54# Rock on, gold dust woman
0:43:54 > 0:43:57# Take your silver spoon
0:43:57 > 0:44:00# Dig your grave... #
0:44:06 > 0:44:11The cocaine became very prevalent during Rumours
0:44:11 > 0:44:13and, um, everybody was doing it.
0:44:13 > 0:44:19There used to be a bag, the community bag of cocaine, on the console.
0:44:19 > 0:44:22When we got into Tusk, into the recording of Tusk,
0:44:22 > 0:44:26and the thing happened with me and Mick and Sara, that was really a drag and, of course,
0:44:26 > 0:44:32every time something really bad happened, everybody started doing more coke. Just to get through.
0:44:32 > 0:44:36And, um, so it got, you know, it was way... It was out of control.
0:44:36 > 0:44:39# Well, did she make you cry
0:44:39 > 0:44:41# Make you break down
0:44:41 > 0:44:44# Shatter your illusions of love...? #
0:44:44 > 0:44:48I didn't stop doing coke until I went to Betty Ford in 1985.
0:44:48 > 0:44:52So our cocaine-addict selves went pretty much from the beginning
0:44:52 > 0:44:57of 1977 till - for me, anyway - till 1985.
0:44:57 > 0:45:01I don't know when everybody else stopped because nobody else went to rehab but me,
0:45:01 > 0:45:06so I have a documented timeline on me but I don't really know what everybody else did.
0:45:06 > 0:45:10Um... But it, you know, it was totally out of hand.
0:45:10 > 0:45:13And it... I thought it was going to kill me.
0:45:17 > 0:45:21In the mid-'80s Fleetwood Mac burnt out and fell apart and were silent
0:45:21 > 0:45:26for a full five years. But in 1987, still carrying relationship and substance problems,
0:45:26 > 0:45:30they reconvened uneasily for Tango In The Night.
0:45:31 > 0:45:34# If I could turn the page
0:45:34 > 0:45:39# In time then I'd rearrange Just a day or two
0:45:41 > 0:45:45# Close my, close my, close my eyes... #
0:45:45 > 0:45:49That was the culmination, for me, of individual lifestyles
0:45:49 > 0:45:54having gone beyond the point to which there was anything you could defend about it
0:45:54 > 0:46:00helping creativity, being anything other than destructive of the creative process.
0:46:02 > 0:46:05# ..Tell me lies Tell me sweet little lies
0:46:06 > 0:46:09- # Tell me lies - Tell me, tell me lies... #
0:46:09 > 0:46:14Stevie, her solo career had pulled her off in various directions,
0:46:14 > 0:46:20but even so, she wasn't, she just was not present mentally or physically when she WAS there.
0:46:20 > 0:46:25And she wasn't there very much. I mean, that album probably took eight months or so, a little longer,
0:46:25 > 0:46:29to record, and we probably saw her all of two weeks, the whole time.
0:46:29 > 0:46:32# ..I hope that you understand
0:46:32 > 0:46:34# There's a reason why... #
0:46:34 > 0:46:38That was when I was on Klonopin, which is a tranquilliser,
0:46:38 > 0:46:43and that was after coke, that was after I went to Betty Ford. I was off the coke, I was fine.
0:46:43 > 0:46:46And a psychiatrist decided that what I really needed
0:46:46 > 0:46:51was to be on Klonopin cos it would calm me down, it would keep me from going back to coke.
0:46:51 > 0:46:55And this drug was more deadly than the coke, for me.
0:46:55 > 0:47:00And so what Lindsey was dealing with on Tango In The Night
0:47:00 > 0:47:04was the fact that when you're on tranquillisers, you really can't be depended on.
0:47:04 > 0:47:06So I would get there late,
0:47:06 > 0:47:08or I wouldn't get there at all.
0:47:08 > 0:47:10So that was hard for him.
0:47:10 > 0:47:13AUDIENCE WHISTLES AND CHEERS
0:47:20 > 0:47:22The biggest hit on Tango In The Night
0:47:22 > 0:47:25was a very personal testimony from Lindsey,
0:47:25 > 0:47:28a driven musical leader of the band,
0:47:28 > 0:47:32with relationship issues that had taken him into a dark place.
0:47:36 > 0:47:39# Looking out for love
0:47:39 > 0:47:42# In a night so still
0:47:43 > 0:47:47# Oh, I'll build you a kingdom
0:47:47 > 0:47:50# In that house on the hill
0:47:50 > 0:47:54# Looking out for love... #
0:47:54 > 0:47:59'That IS an important song to me, because if you look at the lyric,
0:47:59 > 0:48:04'it DID describe accurately the person I was in 1987.'
0:48:04 > 0:48:07# ..You said that you love me... #
0:48:07 > 0:48:12I had a lot of, uh, relationships which were less than ideal,
0:48:12 > 0:48:18and, and probably much of that being my doing, you know?
0:48:18 > 0:48:22# Looking out for love... #
0:48:22 > 0:48:26That song, Big Love, is about being up on the hill
0:48:26 > 0:48:31and looking out for love. But that's the point - I'm not looking for love, I'm looking OUT for love.
0:48:31 > 0:48:33I'm sort of defending against love, you know?
0:48:33 > 0:48:38# ..Just looking out for love
0:48:41 > 0:48:45# A big, big love... #
0:48:45 > 0:48:49Tango In The Night was Fleetwood Mac's biggest seller since Rumours
0:48:49 > 0:48:52and breathed new life into their career.
0:48:52 > 0:48:55But there was one dance partner dragging his feet.
0:48:57 > 0:49:01I didn't really wanna be a part of that kind of excess.
0:49:01 > 0:49:07And usually my experience has been if you have that in the studio, it's usually about times ten on the road.
0:49:07 > 0:49:10So that's when I exited the band.
0:49:22 > 0:49:26I remember him quitting when we had a meeting at Christine's house.
0:49:26 > 0:49:31Because the tour had been booked. Because the album ended up coming out really good.
0:49:31 > 0:49:34It was a big tour.
0:49:34 > 0:49:37And he just sat there in the chair and said, "I can't go."
0:49:38 > 0:49:40"I don't wanna go."
0:49:40 > 0:49:44And we all just, like, "Well, you HAVE to go because we can't...
0:49:44 > 0:49:47"As an artist, you cannot put all the promoters out of business."
0:49:51 > 0:49:55It was certainly a negative thing to do, as far as the band was concerned,
0:49:55 > 0:49:59and they were very hurt by it. But I just felt I needed to somehow reclaim
0:49:59 > 0:50:01my sanity and my own sense of individuality.
0:50:01 > 0:50:04When Lindsey said, "I'm not going,"
0:50:04 > 0:50:08I think I got up and ran across the room and tried to strangle him.
0:50:08 > 0:50:12And then he chased me out of the house, through Christine's driveway and...
0:50:12 > 0:50:16we had a huge fight. And, uh...
0:50:17 > 0:50:19..that was that. He was done.
0:50:19 > 0:50:22CROWD CHEERS
0:50:24 > 0:50:26# I'd rather jack
0:50:29 > 0:50:32# Golden oldies, Rolling Stones We don't want them back
0:50:32 > 0:50:34# I'd rather jack
0:50:34 > 0:50:36# Than Fleetwood Mac... #
0:50:36 > 0:50:40By the end of the '80s things had definitely moved on.
0:50:40 > 0:50:42# ..I'd rather jack
0:50:42 > 0:50:45# Than Fleetwood Mac I'd rather jack... #
0:50:45 > 0:50:47The band carried on without Lindsey
0:50:47 > 0:50:53but The Reynolds Girls and a younger generation now saw Fleetwood Mac as out-of-touch oldies,
0:50:53 > 0:50:58an image not helped by Mick's unfortunate foray into presenting
0:50:58 > 0:51:02on 1989's disastrous outing of the Brits.
0:51:02 > 0:51:06- ..The fabulous, the legendary, the sensational...- Four...
0:51:06 > 0:51:07- ..The Four Tops!- Woo!
0:51:08 > 0:51:10- Hi!- Not The Four Tops,
0:51:10 > 0:51:13- but thank you!- You don't look like 'em, George!
0:51:13 > 0:51:16No, I'm The One Top. The Four Tops have been held up, putting their make-up on.
0:51:16 > 0:51:20MUSIC: "Tusk" by Fleetwood Mac
0:51:23 > 0:51:26Inspired by Bill Clinton's use of Don't Stop as his campaign theme,
0:51:26 > 0:51:29the band staged a full reunion in 1997,
0:51:29 > 0:51:32complete with the entire USC Marching Band.
0:51:34 > 0:51:36# Tusk... #
0:51:37 > 0:51:40The millennium was even kinder to the band.
0:51:40 > 0:51:43A younger generation discovered their back catalogue,
0:51:43 > 0:51:46Destiny's Child sampling Stevie's Edge Of Seventeen
0:51:46 > 0:51:48for Bootylicious...
0:51:48 > 0:51:51# Kelly, can you handle this?
0:51:51 > 0:51:53# Michelle, can you handle this?
0:51:53 > 0:51:56# Beyonce, can you handle this?
0:51:56 > 0:51:59# I don't think they can handle this, whoooo...! #
0:51:59 > 0:52:02..and pop's intelligentsia noting their influence
0:52:02 > 0:52:04on a new crop of young bands.
0:52:06 > 0:52:11After their reunion, a weary Christine McVie decided to retreat from America
0:52:11 > 0:52:13and the band.
0:52:13 > 0:52:15I think that was it, and I just said,
0:52:15 > 0:52:17"I just have to go home."
0:52:17 > 0:52:20Still took me five years
0:52:20 > 0:52:23to finally move back here. But, no, I have had no regrets.
0:52:23 > 0:52:28# ..You can go your own way
0:52:28 > 0:52:30# Go your own way... #
0:52:30 > 0:52:34But the remaining four members released a new album
0:52:34 > 0:52:38and staged two sell-out world tours to rave reviews.
0:52:38 > 0:52:42# ..You can go your own way
0:52:42 > 0:52:44# Go your own way... #
0:52:44 > 0:52:47'We'd just come back from New York'
0:52:47 > 0:52:51and I don't think the band's played better.
0:52:51 > 0:52:54This is a great body of work we've got
0:52:54 > 0:52:59and that allows you to sort of... all the other good feelings
0:52:59 > 0:53:04and the other more objective and positive aspects of how you feel about the people, to follow.
0:53:08 > 0:53:13Perhaps some of that good feeling is down to the fact that Lindsey, in middle age,
0:53:13 > 0:53:16has stopped looking OUT for love, and finally found it.
0:53:16 > 0:53:19# ..Go your own way... #
0:53:19 > 0:53:24I'm so happy that he fell on his feet with a family
0:53:24 > 0:53:29and had a whole life outside of a very intense attitude
0:53:29 > 0:53:34he has to creativity, his life, what he wants to accomplish.
0:53:34 > 0:53:39And, inadvertently, I think it's broadened his scope, amazingly.
0:53:39 > 0:53:42This is the best thing that ever happened to me, you know?
0:53:42 > 0:53:45I can honestly say, you know, at age 59,
0:53:45 > 0:53:48this is the best time of my life.
0:53:49 > 0:53:51Two other band members have found
0:53:51 > 0:53:54that relocating to a faraway paradise
0:53:54 > 0:53:57is one way of surviving Fleetwood Mac.
0:53:57 > 0:54:02John McVie lives in Oahu, one of the islands here in Hawaii.
0:54:02 > 0:54:06This is Maui, this is my home.
0:54:08 > 0:54:13And we thought just to let you know... How cold is it back there?!
0:54:13 > 0:54:16HE CHUCKLES
0:54:16 > 0:54:20The rhythm section, still together, but we're...
0:54:20 > 0:54:22we're not freezing, we're in Hawaii.
0:54:22 > 0:54:24We love England, we love Europe,
0:54:24 > 0:54:28- but, uh...- Don't like being cold!
0:54:28 > 0:54:31- I don't like being cold. - At this age, it's too much!
0:54:31 > 0:54:33The arthritis!
0:54:39 > 0:54:41Good Lord, I hope you don't use that!
0:54:41 > 0:54:43Oh, I'm sure they will, John!
0:54:47 > 0:54:50CROWD CHEERS
0:54:50 > 0:54:53But back inside the Fleetwood Mac bubble,
0:54:53 > 0:54:57every night on tour, the couple who made the band superstars
0:54:57 > 0:55:00are still working things through.
0:55:00 > 0:55:03# I took this love and I took it down
0:55:05 > 0:55:09# Climbed a mountain and I turned around... #
0:55:09 > 0:55:13There's still, with Stevie and Lindsey, a healing process
0:55:13 > 0:55:17which may very well go on to both of their dying days.
0:55:17 > 0:55:21# ..Till the landslide brought me down... #
0:55:21 > 0:55:24'I met her when I was about 16.
0:55:24 > 0:55:29'She transferred to my high school. I was a junior, she was a senior, she was 17.'
0:55:29 > 0:55:34So, it's, it's been...you know, most of my life.
0:55:34 > 0:55:37'Lindsey's and my relationship started in '66
0:55:37 > 0:55:40'and went through '77,
0:55:40 > 0:55:44'so when we finally broke up at the end of the recording of Rumours,'
0:55:44 > 0:55:46it was devastating.
0:55:46 > 0:55:50And it was not the way he wanted it to go.
0:55:51 > 0:55:55So, there has been a payback all these years.
0:55:55 > 0:56:00Sadly, probably the lion's share of those years, there has been distance and animosity, you know,
0:56:00 > 0:56:05of some kind, mixed in with everything else, too. It's never been just one thing.
0:56:05 > 0:56:08You know, Lindsey and I...
0:56:08 > 0:56:11we'll never be, um...
0:56:11 > 0:56:13touchy-feely friends.
0:56:13 > 0:56:17# ..But time makes you bolder
0:56:17 > 0:56:20# Children get older
0:56:20 > 0:56:25# I'm getting older too... #
0:56:25 > 0:56:29'She's in the process of learning how to trust me again,'
0:56:29 > 0:56:31as someone who is her friend.
0:56:31 > 0:56:36You know, I've never been to Lindsey's house, and probably never will go to Lindsey's house.
0:56:36 > 0:56:38Lindsey's been here once.
0:56:38 > 0:56:43'Maybe down the line, in 10 or 15 years, when Lindsey and I are 75, we'll be friends again.
0:56:43 > 0:56:46'When Fleetwood Mac is a distant memory.'
0:56:46 > 0:56:51And his kids will be grown. He has three really precious children. They'll be gone.
0:56:56 > 0:56:59'People say, as time passes,'
0:56:59 > 0:57:03the wounds heal. Maybe, you know, later on down the line, all those wounds will heal.
0:57:03 > 0:57:08# ..Can I handle the seasons
0:57:08 > 0:57:12# Of my life?
0:57:12 > 0:57:16# Uh-uh, I don't know... #
0:57:16 > 0:57:22From agony to ecstasy, from the pits to the...pinnacle.
0:57:22 > 0:57:27It's such a unique dynamic with a group of people. It's nice to still be here doing that.
0:57:27 > 0:57:31Fleetwood Mac is bigger, grander, heavier...
0:57:32 > 0:57:34..and way more tense.
0:57:34 > 0:57:37Hey, we're still talking about it but it's OK, you know,
0:57:37 > 0:57:39we're all in our 60s now!
0:57:40 > 0:57:43We ain't finished yet!
0:57:43 > 0:57:47# ..And if you see my reflection
0:57:47 > 0:57:53# In the snow...
0:57:53 > 0:57:56# Covered...
0:57:56 > 0:58:01# Hills... #
0:58:01 > 0:58:03CROWD CHEERS
0:58:03 > 0:58:08# ..Well, maybe...
0:58:08 > 0:58:13# The landslide will bring it down
0:58:13 > 0:58:19# Well, well, the landslide
0:58:19 > 0:58:24# Bring it down. #
0:58:24 > 0:58:27CROWD CHEERS
0:58:29 > 0:58:34# Oh, ooh
0:58:35 > 0:58:38# I wanna be with you everywhere
0:58:38 > 0:58:42# Oh, ooh
0:58:43 > 0:58:46# I wanna be with you everywhere... #
0:58:50 > 0:58:53Subtitles by Red Bee Media Ltd
0:58:53 > 0:58:56E-mail subtitling@bbc.co.uk