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MUSIC: "The Chain" by Fleetwood Mac | 0:00:02 | 0:00:05 | |
Anything that could happen to a rock'n'roll band | 0:00:18 | 0:00:21 | |
has happened to Fleetwood Mac. | 0:00:21 | 0:00:24 | |
5 decades of hits and sell-out world tours, | 0:00:26 | 0:00:29 | |
over 60 million albums sold worldwide | 0:00:29 | 0:00:32 | |
but at a huge cost. | 0:00:32 | 0:00:34 | |
It breaks my heart what happened. | 0:00:36 | 0:00:38 | |
Multiple break-ups... | 0:00:38 | 0:00:40 | |
I'm not "looking for love", I'm looking out for love. | 0:00:40 | 0:00:43 | |
..fallouts, | 0:00:43 | 0:00:44 | |
fist fights, | 0:00:44 | 0:00:45 | |
legendary indulgence... | 0:00:45 | 0:00:47 | |
We were like little kids in a toy shop. | 0:00:47 | 0:00:49 | |
..long-term dependence... | 0:00:49 | 0:00:51 | |
I thought it was going to kill me. | 0:00:51 | 0:00:53 | |
..and yet... | 0:00:53 | 0:00:55 | |
# Don't stop thinking about tomorrow | 0:00:55 | 0:00:58 | |
# Don't stop, it'll soon be here... # | 0:00:58 | 0:01:03 | |
..they're still selling out stadiums. | 0:01:03 | 0:01:06 | |
They've been to hell and back but four decades on it's not over yet. | 0:01:06 | 0:01:10 | |
CHEERING AND APPLAUSE | 0:01:16 | 0:01:19 | |
Fleetwood Mac are one of the biggest bands in the world | 0:01:21 | 0:01:24 | |
but, right from the start, that stardom came at a price. | 0:01:24 | 0:01:28 | |
Back at the beginning, | 0:01:28 | 0:01:30 | |
it was a blues band. | 0:01:30 | 0:01:33 | |
BLUES NUMBER PLAYS | 0:01:33 | 0:01:36 | |
Fleetwood Mac were conceived in the heady blues explosion | 0:01:42 | 0:01:45 | |
of 1960s London, | 0:01:45 | 0:01:46 | |
in a scene that would spawn some of our greatest rock legends. | 0:01:46 | 0:01:51 | |
Fleetwood Mac had their own secret weapon - | 0:01:51 | 0:01:53 | |
standing behind Mick Fleetwood and John McVie in this first line-up - | 0:01:53 | 0:01:57 | |
guitarist Peter Green. | 0:01:57 | 0:01:58 | |
Peter picked up a guitar and just... | 0:01:58 | 0:02:01 | |
blossomed immediately into this monster, very individualistic | 0:02:01 | 0:02:06 | |
guitar player. | 0:02:06 | 0:02:07 | |
We're now going to do our latest single... | 0:02:07 | 0:02:10 | |
called Oh Well. | 0:02:10 | 0:02:13 | |
He simply, for me, is the best thing that ever came out of England. | 0:02:23 | 0:02:29 | |
The touch he had, | 0:02:29 | 0:02:30 | |
the songs that he wrote - Oh Well. | 0:02:30 | 0:02:32 | |
# I can't help it About the shape I'm in | 0:02:49 | 0:02:51 | |
# I can't sing, I ain't pretty And my legs are thin | 0:02:51 | 0:02:54 | |
# But don't ask me What I think of you | 0:02:54 | 0:02:56 | |
# I might not give the answer That you want me to... # | 0:02:56 | 0:02:58 | |
When it came to the band looking for a name, | 0:03:00 | 0:03:04 | |
I think it was Peter's | 0:03:04 | 0:03:06 | |
very strong desire not to become... | 0:03:06 | 0:03:09 | |
..Jeff Beck, Jimmy Page, you know. He just didn't want that. | 0:03:14 | 0:03:18 | |
He wanted to be in a band. | 0:03:20 | 0:03:22 | |
Peter said, "This band's called Fleetwood Mac." | 0:03:22 | 0:03:25 | |
Front man Peter Green had named the band after his rhythm section | 0:03:27 | 0:03:30 | |
but, despite his retiring nature, the band got bigger. | 0:03:30 | 0:03:34 | |
And in 1969, with songs like Albatross going to number one, | 0:03:34 | 0:03:38 | |
they outsold The Beatles. | 0:03:38 | 0:03:40 | |
Peter's response was to try and give away the royalties | 0:03:40 | 0:03:45 | |
to the hits he kept writing. | 0:03:45 | 0:03:47 | |
# Now, when the day goes to sleep And the full moon looks... # | 0:03:47 | 0:03:52 | |
If you listen to the words, | 0:03:57 | 0:03:59 | |
it's a man crying out for help. | 0:03:59 | 0:04:02 | |
He obviously had the beginnings | 0:04:07 | 0:04:09 | |
of demons creeping into his, er, world. | 0:04:09 | 0:04:13 | |
It breaks my heart what happened. | 0:04:16 | 0:04:19 | |
While on tour in Germany, | 0:04:19 | 0:04:21 | |
Peter Green was met by local scenesters - | 0:04:21 | 0:04:25 | |
Rainer Langhans and the alluring Uschi Obermaier - | 0:04:25 | 0:04:28 | |
who were planning a Bavarian Woodstock | 0:04:28 | 0:04:31 | |
and invited him back to their commune. | 0:04:31 | 0:04:33 | |
I think we'd just done the gig and then these two people | 0:04:33 | 0:04:38 | |
dangled this lady in front of him - | 0:04:38 | 0:04:40 | |
she was very pretty - | 0:04:40 | 0:04:41 | |
and they went away to this schloss, | 0:04:41 | 0:04:44 | |
and that's where he did acid and... all it took was a couple of tabs... | 0:04:44 | 0:04:49 | |
and he never came back. | 0:04:49 | 0:04:52 | |
MUSIC: "The Green Manilishi (With The Two Pronged Crown)" | 0:04:53 | 0:04:57 | |
Mick and John carried on without Peter | 0:05:04 | 0:05:07 | |
and in 1970 were joined by John's wife, blues singer Christine McVie. | 0:05:07 | 0:05:11 | |
But they were less lucky with guitarists and front men. | 0:05:11 | 0:05:15 | |
In 1971, on a US tour, | 0:05:15 | 0:05:18 | |
Jeremy Spencer left his hotel | 0:05:18 | 0:05:20 | |
to visit a book store on Hollywood Boulevard | 0:05:20 | 0:05:23 | |
and was recruited by a religious cult - The Children of God. | 0:05:23 | 0:05:27 | |
# Ah, we're on the way The children of God | 0:05:27 | 0:05:30 | |
# We're on the way. # | 0:05:30 | 0:05:32 | |
In 1972, guitarist Danny Kirwan, | 0:05:32 | 0:05:34 | |
who shared the fateful German acid trip with Peter Green, | 0:05:34 | 0:05:38 | |
exited the band after smashing his guitar | 0:05:38 | 0:05:41 | |
against a dressing room wall in LA. | 0:05:41 | 0:05:43 | |
In 1973, | 0:05:43 | 0:05:46 | |
they released a new album with guitarist Bob Weston, | 0:05:46 | 0:05:49 | |
who promptly had an affair with Mick's wife, model Jenny Boyd, | 0:05:49 | 0:05:53 | |
and was asked to leave. | 0:05:53 | 0:05:55 | |
By 1974, Fleetwood Mac - | 0:05:55 | 0:05:57 | |
who had relocated to LA in the hope of breaking into America - | 0:05:57 | 0:06:02 | |
were just another British rock band doing the rounds, | 0:06:02 | 0:06:05 | |
down to just the rhythm section, | 0:06:05 | 0:06:07 | |
a female songwriter reluctant to front the band | 0:06:07 | 0:06:10 | |
and their latest guitarist, Bob Welch. | 0:06:10 | 0:06:14 | |
Bob Welch was our guitar player and made several great albums with us. | 0:06:14 | 0:06:20 | |
And he, at very short notice, at the end of a tour, | 0:06:20 | 0:06:25 | |
the last gig, he decided, "I'm gone. I'm done. Out." | 0:06:25 | 0:06:30 | |
Meanwhile, a young American | 0:06:32 | 0:06:36 | |
folk/rock duo called Buckingham Nicks | 0:06:36 | 0:06:38 | |
had also moved to Hollywood in search of musical fame. | 0:06:38 | 0:06:41 | |
# You may not be as strong as me... # | 0:06:41 | 0:06:46 | |
Coming from the growing genre of confessional songwriting, | 0:06:47 | 0:06:51 | |
the couple had seen their debut album garner critical acclaim | 0:06:51 | 0:06:54 | |
but not much else. | 0:06:54 | 0:06:55 | |
Dropped by their label eight years after becoming an item, | 0:06:55 | 0:06:59 | |
they were back to square one - | 0:06:59 | 0:07:01 | |
sharing a single room and waiting on tables. | 0:07:01 | 0:07:04 | |
I'd get home from my waitress job and we'd have dinner and then | 0:07:04 | 0:07:08 | |
we'd start working at nine at night, and we'd work till three, | 0:07:08 | 0:07:11 | |
go to bed, get back up and he'd work on the music | 0:07:11 | 0:07:14 | |
and I'd go and be a waitress. | 0:07:14 | 0:07:16 | |
So that's really what went on through 1974 till the last day of 1974. | 0:07:16 | 0:07:23 | |
It was about a year and three months from when it came out | 0:07:23 | 0:07:26 | |
till the day that Mick Fleetwood called us. | 0:07:26 | 0:07:29 | |
-MICK: -Met a guy in a supermarket | 0:07:32 | 0:07:34 | |
who I knew vaguely. He said, "What are you doing?" | 0:07:34 | 0:07:36 | |
I said, "Actually, I'm looking for a studio." | 0:07:36 | 0:07:38 | |
He said, "I've started working at Sound City." | 0:07:38 | 0:07:41 | |
Whish is the studio in the valley. | 0:07:41 | 0:07:44 | |
And we drove to Sound City | 0:07:44 | 0:07:46 | |
and walked into the studio. | 0:07:46 | 0:07:49 | |
And Keith Olson was an engineer | 0:07:49 | 0:07:52 | |
and I literally just was saying, | 0:07:52 | 0:07:54 | |
"Well, what does the room sound like?" Keith put Buckingham Nicks, | 0:07:54 | 0:07:58 | |
the master tape, on, which he'd produced with Lindsey and Stevie, | 0:07:58 | 0:08:01 | |
just for something to play. | 0:08:01 | 0:08:04 | |
And that's where I heard Lindsey's guitar playing. | 0:08:04 | 0:08:08 | |
ELECTRIC GUITAR SOLO PLAYS | 0:08:08 | 0:08:13 | |
I just happened to walk in to Studio A. I walked in | 0:08:13 | 0:08:17 | |
right in the middle of this blistering guitar solo at the end | 0:08:17 | 0:08:22 | |
and here's this really tall, skinny guy | 0:08:22 | 0:08:24 | |
in the room just kind of... | 0:08:24 | 0:08:26 | |
doing this and I really didn't know who it was. | 0:08:26 | 0:08:29 | |
And then a week later I got a call form Mick and he said, | 0:08:31 | 0:08:35 | |
"Our guitarist Bob Welch is leaving and would you like to join the band?" | 0:08:35 | 0:08:39 | |
I didn't think about Stevie one way or the other | 0:08:39 | 0:08:42 | |
because I was looking for a guitar player. Stevie's, quote, | 0:08:42 | 0:08:46 | |
"never forgiven me". It was like, "Oh, you didn't want me, | 0:08:46 | 0:08:49 | |
"you wanted Lindsey, right?" Which, right at the beginning, was true. | 0:08:49 | 0:08:53 | |
And very quickly we realised that they were totally joined at the hip. | 0:08:53 | 0:08:58 | |
And I said, "Well, I'll have to... I'll have to talk to my girlfriend | 0:08:58 | 0:09:04 | |
"about that but, if we do, | 0:09:04 | 0:09:06 | |
"you're going to have to take my girlfriend too." | 0:09:06 | 0:09:09 | |
A meeting was arranged that would define the future of Fleetwood Mac. | 0:09:12 | 0:09:17 | |
So we all met at a Mexican restaurant | 0:09:18 | 0:09:21 | |
on Third Street in Los Angeles | 0:09:21 | 0:09:23 | |
and we all got on like a house on fire. | 0:09:23 | 0:09:25 | |
Everyone thought that it was a little unique that there were two women. | 0:09:25 | 0:09:29 | |
It was certainly unique that there were two couples. | 0:09:29 | 0:09:33 | |
And the only criteria with Christine was, "We have to meet, | 0:09:35 | 0:09:39 | |
"because I just want to know that I get on with her | 0:09:39 | 0:09:42 | |
"because there can be nothing worse that two cat-calling women | 0:09:42 | 0:09:47 | |
"that don't get on in a band." And she was right. | 0:09:47 | 0:09:50 | |
CHRISTINE: In the musical environment I hadn't worked with another girl. | 0:09:50 | 0:09:55 | |
When I met her, I instantly liked her, | 0:09:55 | 0:09:58 | |
not because she was like me, quite the contrary - | 0:09:58 | 0:10:01 | |
we were totally unalike, me and Stevie. | 0:10:01 | 0:10:03 | |
We were complete opposites | 0:10:03 | 0:10:05 | |
at opposite ends of the personality spectrum. | 0:10:05 | 0:10:07 | |
-STEVIE: -I said, "You know, I think | 0:10:07 | 0:10:09 | |
"this woman Christine McVie is pretty fantastic | 0:10:09 | 0:10:12 | |
"and this would give me somebody to hang out with." | 0:10:12 | 0:10:15 | |
In 1975, the new line-up gathered at Sound City | 0:10:17 | 0:10:20 | |
to record their first album together and figure out how to marry | 0:10:20 | 0:10:25 | |
a laid-back British blues trio | 0:10:25 | 0:10:27 | |
to a folk/rock duo with Californian ambition. | 0:10:27 | 0:10:30 | |
LINDSEY: We had songs | 0:10:30 | 0:10:32 | |
that were probably being tooled up | 0:10:32 | 0:10:35 | |
to be maybe another Buckingham Nicks album. | 0:10:35 | 0:10:38 | |
Some of those songs went on to the first album they recorded | 0:10:38 | 0:10:41 | |
with Fleetwood Mac, and Rhiannon was one of them. | 0:10:41 | 0:10:43 | |
She writes on the piano in a very, very rudimentary manner. | 0:10:43 | 0:10:46 | |
It's very much like this. It's... | 0:10:46 | 0:10:49 | |
MIMICS PIANO KEYS IN RHIANNON | 0:10:49 | 0:10:52 | |
My tendency is to add rhythm and to rock it up so just... | 0:10:56 | 0:11:00 | |
bringing that thumb style that I have | 0:11:00 | 0:11:03 | |
which is sort of somewhere between classical and folk. | 0:11:03 | 0:11:05 | |
PLAYS RHIANNON | 0:11:05 | 0:11:07 | |
I didn't know anything about Wales at the time | 0:11:12 | 0:11:14 | |
but I always thought it was kind of like a Welsh | 0:11:14 | 0:11:17 | |
country song, you know? | 0:11:17 | 0:11:18 | |
PLAYS BASS LINE | 0:11:21 | 0:11:23 | |
# Rhiannon rings like the bells in the night | 0:11:28 | 0:11:31 | |
# And wouldn't you love to love her? | 0:11:31 | 0:11:34 | |
# She goes through life like a bird in flight | 0:11:35 | 0:11:38 | |
# And who will be her lover? | 0:11:38 | 0:11:41 | |
# All your life you've never seen A woman | 0:11:42 | 0:11:46 | |
# Taken by the wind | 0:11:46 | 0:11:49 | |
# Would you stay... # | 0:11:49 | 0:11:51 | |
MICK: We rehearsed before we went in the studio and my sense was, | 0:11:51 | 0:11:56 | |
"My God, we're home and dry." Lindsey's a great performer | 0:11:56 | 0:12:00 | |
and Stevie was IMMEDIATELY in charge of her arena. | 0:12:00 | 0:12:06 | |
The whole spell that she put over audiences with all the movement | 0:12:09 | 0:12:13 | |
and all the lovely stuff. | 0:12:13 | 0:12:15 | |
# ..Oh, now you know | 0:12:15 | 0:12:17 | |
# That your dreams unwind Love's a state of mind... # | 0:12:17 | 0:12:22 | |
CHRIS SALEWICZ: She had the two voices, | 0:12:22 | 0:12:25 | |
one of which is the kind of archetypal West Coast, | 0:12:25 | 0:12:27 | |
female singer/songwriter, er, er, lilt - very sweet, very girly. | 0:12:27 | 0:12:34 | |
# ..Still a state of mind | 0:12:34 | 0:12:36 | |
# I know, I know | 0:12:36 | 0:12:40 | |
# Dreams unwind Love is all you find... # | 0:12:40 | 0:12:45 | |
But then there's also the almost Janis Joplin-like blues belting, | 0:12:45 | 0:12:49 | |
both of which she uses to fine effect in Rhiannon, | 0:12:49 | 0:12:52 | |
which, of course, was her stage tour de force. | 0:12:52 | 0:12:54 | |
# ..Take me like the wind now Take me with the sky | 0:12:54 | 0:12:58 | |
# Take me like the wind, baby Take me with the sky... # | 0:13:01 | 0:13:07 | |
KEN CAILLAT: I'll never forget that one. It was a 1976 performance | 0:13:07 | 0:13:12 | |
and she was just screaming Rhiannon. I can remember | 0:13:12 | 0:13:15 | |
her vocal cords were just stretching out, | 0:13:15 | 0:13:18 | |
you know, the muscles were stretching and she went | 0:13:18 | 0:13:21 | |
a complete octave above where anybody could take that song. | 0:13:21 | 0:13:25 | |
# ..All that's left, all that's left Rhiannon | 0:13:25 | 0:13:30 | |
# All that's left, all that's left All that's left | 0:13:30 | 0:13:36 | |
# R-r-r-rhiannon | 0:13:36 | 0:13:39 | |
# Can't leave her Rhiannon, you can't leave her | 0:13:39 | 0:13:44 | |
# You're a dreamer, you're a dreamer | 0:13:44 | 0:13:48 | |
IMPROVISED BLUESY LYRIC | 0:13:48 | 0:13:54 | |
# ..Dreamer, dreamer | 0:13:54 | 0:13:57 | |
# A-a-a-ah... # | 0:13:57 | 0:14:02 | |
The woman who had been the plus one in the new line-up | 0:14:05 | 0:14:08 | |
gave the band the hit single | 0:14:08 | 0:14:10 | |
that propelled their album up the US charts. | 0:14:10 | 0:14:12 | |
MUSIC: "The Chain" by Fleetwood Mac | 0:14:12 | 0:14:17 | |
The band also realised that the key to their success | 0:14:17 | 0:14:20 | |
was a luxurious, simple sound. | 0:14:20 | 0:14:23 | |
"Less is more" | 0:14:23 | 0:14:25 | |
dictated the sound | 0:14:25 | 0:14:28 | |
of the then Stevie and Lindsey incarnation of Fleetwood Mac. | 0:14:28 | 0:14:32 | |
When we joined Fleetwood Mac, | 0:14:32 | 0:14:34 | |
it was kind of an exercise in paring down. | 0:14:34 | 0:14:36 | |
It was a kick and a snare and a bass. | 0:14:36 | 0:14:39 | |
So keep it simple and just...and let the voices and Lindsey's guitars | 0:14:39 | 0:14:45 | |
layer the rest of it. | 0:14:45 | 0:14:47 | |
We didn't even know what a harmony was with Peter Green | 0:14:47 | 0:14:51 | |
and then, bingo! | 0:14:51 | 0:14:52 | |
The blend of the vocals - you know, Chris's voice is slightly husky | 0:14:52 | 0:14:57 | |
and Stevie's and Lindsey's - that blend was... | 0:14:57 | 0:15:02 | |
Wow! | 0:15:03 | 0:15:04 | |
It was like, "Yeah, this is gonna happen." | 0:15:04 | 0:15:07 | |
# Listen to the wind blow | 0:15:10 | 0:15:14 | |
# Watch the sun rise. # | 0:15:14 | 0:15:19 | |
In 1977, as the band started writing songs for their next album, | 0:15:21 | 0:15:26 | |
they were primed by their label for even bigger success... | 0:15:26 | 0:15:31 | |
with one catch. | 0:15:31 | 0:15:33 | |
MICK: Going in to the making of Rumours, | 0:15:35 | 0:15:37 | |
all of us, like a convergence - Stevie and Lindsey, John and Chris | 0:15:37 | 0:15:43 | |
and me and Jenny, my then wife - | 0:15:43 | 0:15:46 | |
all five band members were going in to, you know, an emotional hiccup, | 0:15:46 | 0:15:52 | |
to say the least. | 0:15:52 | 0:15:54 | |
When we joined Fleetwood Mac, | 0:15:54 | 0:15:55 | |
everything was rocky between me and Lindsey. | 0:15:55 | 0:15:57 | |
We had just our own sense of, um, displacement. | 0:16:01 | 0:16:07 | |
I think we all kind of made a little silent vow, | 0:16:09 | 0:16:13 | |
let's fix these relationships for right now, | 0:16:13 | 0:16:16 | |
because we cannot break up. | 0:16:16 | 0:16:18 | |
We just can't. If we do, there will be no Fleetwood Mac. | 0:16:18 | 0:16:21 | |
PIANO PLAYS: "Don't Stop" | 0:16:21 | 0:16:26 | |
MICK: That's Rumours. | 0:16:29 | 0:16:31 | |
That's the canopy that led us in to the making of that album. | 0:16:31 | 0:16:35 | |
# If you wake up and don't want to smile... # | 0:16:35 | 0:16:38 | |
And within that framework was this incredible... | 0:16:38 | 0:16:43 | |
you know, cross talk of laser beams of emotion | 0:16:43 | 0:16:46 | |
going from one personality to the other. | 0:16:46 | 0:16:50 | |
# Don't stop thinking about tomorrow | 0:16:50 | 0:16:55 | |
# Don't stop, it'll soon be here | 0:16:55 | 0:16:59 | |
# It'll be here better than before | 0:16:59 | 0:17:02 | |
# Yesterday's gone Yesterday's gone... # | 0:17:02 | 0:17:07 | |
Don't Stop, you know, is certainly Chris saying, | 0:17:07 | 0:17:12 | |
"I love you but I'm not in love with you," to John. | 0:17:12 | 0:17:15 | |
You go back and you read them and you go, "Oh! Well, OK." | 0:17:15 | 0:17:19 | |
# ..All I want is to see you smile | 0:17:22 | 0:17:26 | |
# If it takes just a little while | 0:17:26 | 0:17:29 | |
# I know you don't believe that it's true | 0:17:31 | 0:17:34 | |
# I never meant any harm to you... # | 0:17:34 | 0:17:38 | |
Somebody's playing a song and everybody in the room's going... | 0:17:38 | 0:17:41 | |
"That's about me, right?" You know? And, "Of course it's about you!" | 0:17:41 | 0:17:45 | |
But what you have to do is you have to let that go | 0:17:45 | 0:17:49 | |
because if you don't let that go | 0:17:49 | 0:17:51 | |
you can never play these songs for anybody. | 0:17:51 | 0:17:53 | |
# ..Don't stop thinking about tomorrow | 0:17:53 | 0:17:58 | |
# Don't stop, it'll soon be here... # | 0:17:58 | 0:18:02 | |
My songs were all about Lindsey and Lindsey's songs were all about me. | 0:18:02 | 0:18:05 | |
You had to blow it off and play the song. | 0:18:05 | 0:18:07 | |
It was an exercise in denial, it really was. That was the only way | 0:18:07 | 0:18:10 | |
we could get through it. You had to put your feelings over here | 0:18:10 | 0:18:13 | |
and get on with what needed to be done in the rest of the room. | 0:18:13 | 0:18:16 | |
# ..Ooh... # | 0:18:17 | 0:18:20 | |
I don't think we were really aware of it at the time | 0:18:20 | 0:18:24 | |
until it was more or less completed, | 0:18:24 | 0:18:26 | |
and then John, I think, | 0:18:26 | 0:18:27 | |
made some reference to it sounding like a bunch of rumours. | 0:18:27 | 0:18:30 | |
I think that's how we ended up calling the album that. | 0:18:30 | 0:18:34 | |
And the end result was just very moving | 0:18:34 | 0:18:37 | |
when you listened to it back-to-back. Everything strung together | 0:18:37 | 0:18:40 | |
as it was, like something of a diary. | 0:18:40 | 0:18:43 | |
-CHRIS SALEWICZ: -John McVie liked a drink and I think he always had done | 0:18:48 | 0:18:52 | |
and he was part of that whole tradition | 0:18:52 | 0:18:54 | |
of English rock'n'rollers from the '60s, from John Mayall's era, | 0:18:54 | 0:18:58 | |
who just liked to go out and get slaughtered basically. | 0:18:58 | 0:19:02 | |
And, you know, living in LA, | 0:19:02 | 0:19:04 | |
you know, he was still a member of John Mayall's brain damage club. | 0:19:04 | 0:19:07 | |
I'm a legend in my own mind. | 0:19:07 | 0:19:09 | |
I was over the top. | 0:19:12 | 0:19:13 | |
Way over the top, you know. | 0:19:13 | 0:19:15 | |
Beyond the pale, as it were, and... she couldn't handle it any more. | 0:19:17 | 0:19:21 | |
And it happened when we were doing something down in Florida, | 0:19:21 | 0:19:27 | |
um, that I got the word. | 0:19:27 | 0:19:30 | |
BAND PLAYS: "You Make Loving Fun" | 0:19:30 | 0:19:36 | |
Basically we weren't a unit any more | 0:19:36 | 0:19:39 | |
and she'd rather be with our lighting director than me. | 0:19:39 | 0:19:44 | |
# Sweet wonderful you... # | 0:19:45 | 0:19:49 | |
If the album gave Christine a chance to say to John | 0:19:49 | 0:19:52 | |
"don't stop thinking about tomorrow", it also gave her a chance | 0:19:52 | 0:19:57 | |
to tell her lighting director that he'd made loving fun... | 0:19:57 | 0:20:00 | |
# Ooh, you make loving fun... # | 0:20:00 | 0:20:04 | |
..but Lindsey and Stevie weren't exactly singing along. | 0:20:04 | 0:20:08 | |
-KEN CAILLAT: -They were both sitting on stools next to each other | 0:20:08 | 0:20:11 | |
singing into two microphones. We had to stop the tape or something. | 0:20:11 | 0:20:15 | |
Suddenly they were screaming at each other, "Damn you! Go to hell!" | 0:20:15 | 0:20:18 | |
And I, honestly, was embarrassed. I didn't know what to do. | 0:20:18 | 0:20:22 | |
I rewound the tape as fast as I could. | 0:20:22 | 0:20:24 | |
The moment I hit play, | 0:20:24 | 0:20:25 | |
they were back into singing You Make Loving Fun again, | 0:20:25 | 0:20:28 | |
which I thought was very ironic. | 0:20:28 | 0:20:30 | |
Rumours was recorded at the Record Plant in San Francisco | 0:20:30 | 0:20:35 | |
and one afternoon Stevie found a hidden corner of the studio | 0:20:35 | 0:20:38 | |
to privately gather her thoughts | 0:20:38 | 0:20:40 | |
on her failing relationship with Lindsey. | 0:20:40 | 0:20:42 | |
I was just hanging out in the rest of the Record Plant and Sly Stone | 0:20:42 | 0:20:46 | |
had a studio there and the people that owned the studio let me in. | 0:20:46 | 0:20:50 | |
I went in there with my Fender | 0:20:50 | 0:20:51 | |
and I spent the afternoon in there and I wrote Dreams. | 0:20:51 | 0:20:54 | |
THEY PLAY: "Dreams" | 0:20:54 | 0:20:57 | |
And, um, they really liked it. | 0:20:58 | 0:21:02 | |
So we recorded it the next day | 0:21:02 | 0:21:04 | |
and this was before the final blow-up of me and Lindsey. But we were close, | 0:21:04 | 0:21:08 | |
but we hadn't had that final blow-up yet. | 0:21:08 | 0:21:11 | |
# Now, here you go again | 0:21:11 | 0:21:14 | |
# You say you want your freedom... # | 0:21:14 | 0:21:18 | |
"Now, there you go again You say you want your freedom | 0:21:18 | 0:21:21 | |
"Who am I to keep you down?" | 0:21:21 | 0:21:22 | |
Um, I really was the one that wanted my freedom... | 0:21:22 | 0:21:27 | |
at that point, | 0:21:27 | 0:21:28 | |
um, because I just wasn't happy in the relationship any more. | 0:21:28 | 0:21:32 | |
The relationship, in my opinion, had become too dark, | 0:21:32 | 0:21:36 | |
and too obsessive | 0:21:36 | 0:21:37 | |
and too heavy. | 0:21:37 | 0:21:39 | |
I just was looking for some spring air. | 0:21:39 | 0:21:42 | |
I was just looking to breathe again. | 0:21:42 | 0:21:45 | |
# Thunder only happens when it's raining | 0:21:45 | 0:21:51 | |
# Players only love you when they're playing | 0:21:53 | 0:21:59 | |
# They say, women, they will come and they will go | 0:22:01 | 0:22:06 | |
# When the rain washes you clean you'll know... # | 0:22:09 | 0:22:15 | |
I think the thing about Stevie Nicks is her style of writing | 0:22:15 | 0:22:18 | |
is much more pastoral, whimsical, West Coast hippie, really. | 0:22:18 | 0:22:23 | |
And Lindsey Buckingham's style is a much tougher, | 0:22:23 | 0:22:28 | |
almost punkier sound actually. | 0:22:28 | 0:22:32 | |
Lindsey, of course, had a riposte to Stevie's take on their relationship. | 0:22:37 | 0:22:40 | |
Complete with a dramatic opening and a rollicking backbeat. | 0:22:40 | 0:22:45 | |
Um, I had this idea. | 0:22:45 | 0:22:48 | |
It was actually taken from Street Fighting Man by the Rolling Stones. | 0:22:48 | 0:22:55 | |
Where Charlie Watson's going, "Um, um, pah, boom, boom, boom." | 0:22:55 | 0:23:00 | |
And Mick didn't wanna... he couldn't quite get that | 0:23:00 | 0:23:05 | |
-and he did his own thing. -DRUMS BEAT WITH FOOT | 0:23:05 | 0:23:07 | |
He did a four-four and he went, "Um, pah, boom, boom..." | 0:23:07 | 0:23:10 | |
DRUMS BEAT | 0:23:10 | 0:23:13 | |
# Loving you Isn't the right thing to do | 0:23:18 | 0:23:22 | |
# How can I ever change the things that I feel? # | 0:23:24 | 0:23:29 | |
Go Your Own Way - it's a bittersweet testimony | 0:23:29 | 0:23:35 | |
from a partner to another partner. | 0:23:35 | 0:23:37 | |
Well, I always looked at Go Your Own Way as Lindsey's Dreams. | 0:23:37 | 0:23:40 | |
# When you won't take it from me... # | 0:23:40 | 0:23:43 | |
My Dreams was my kind of airy-fairy, spirituality, sang, | 0:23:43 | 0:23:49 | |
"When the rain washes you clean, you'll know." | 0:23:49 | 0:23:51 | |
In other words, we're all gonna come out of this. | 0:23:51 | 0:23:54 | |
And, Lindsey, you and I will come out of this and we'll be friends. | 0:23:54 | 0:23:57 | |
And it'll be OK. | 0:23:57 | 0:23:59 | |
And Lindsey's Dreams, which was Go Your Own Way, | 0:23:59 | 0:24:02 | |
was angry and nasty. | 0:24:02 | 0:24:03 | |
# Go your own way! # | 0:24:03 | 0:24:05 | |
And in my opinion, extremely disrespectful, | 0:24:05 | 0:24:09 | |
to say "shacking up". | 0:24:09 | 0:24:11 | |
# Packing up Shacking up's all you want to do. # | 0:24:13 | 0:24:18 | |
And me, lady-like, prudey Stevie, | 0:24:20 | 0:24:24 | |
which I am, was very offended, | 0:24:24 | 0:24:28 | |
by him saying "shacking up is all you want to do". | 0:24:28 | 0:24:33 | |
Because I was not in any kind of a shacking-up mood. | 0:24:33 | 0:24:36 | |
I was not shacking up with anybody. | 0:24:36 | 0:24:37 | |
# Go your own way | 0:24:37 | 0:24:40 | |
# You can call it another lonely day... # | 0:24:40 | 0:24:45 | |
It may be a rather truthful and blunt observation. | 0:24:45 | 0:24:51 | |
But...you know, that's the way you write songs. | 0:24:51 | 0:24:57 | |
When I was hired to do the job, I didn't understand. | 0:25:06 | 0:25:09 | |
Lindsey'd always refused to sing his lyrics. | 0:25:09 | 0:25:12 | |
And I found out later that the reason he wasn't singing the lyrics | 0:25:12 | 0:25:16 | |
was because he knew it'd make Stevie mad. | 0:25:16 | 0:25:18 | |
Lindsey and I broke up, like, on the last day. | 0:25:18 | 0:25:21 | |
And we had a big fight. I don't remember what the fight was about. | 0:25:23 | 0:25:26 | |
But we were getting ready to go home | 0:25:26 | 0:25:29 | |
and I basically said to him, "Well, I'll pack the car and you drive it. | 0:25:29 | 0:25:33 | |
"I'm flying home and you drive." | 0:25:33 | 0:25:36 | |
And we were done. | 0:25:36 | 0:25:37 | |
Done. | 0:25:38 | 0:25:39 | |
Dreams gave the band their first number-one single in America, | 0:25:53 | 0:25:57 | |
as Rumours hit the ground running, | 0:25:57 | 0:26:00 | |
selling 200,000 copies a day. | 0:26:00 | 0:26:02 | |
Adult-oriented rock had truly arrived. | 0:26:02 | 0:26:06 | |
The success of that album was as much about people investing in us, | 0:26:06 | 0:26:13 | |
as people, and realising that a lot of this music was actually | 0:26:13 | 0:26:17 | |
cross-dialogues to each other. | 0:26:17 | 0:26:19 | |
You know, Lindsey Buckingham and Stevie Nicks are just tearing apart... | 0:26:19 | 0:26:22 | |
they're pulling down the curtains of the bedroom. | 0:26:22 | 0:26:25 | |
They're opening the doors wide. What's really going on in here? | 0:26:25 | 0:26:29 | |
All the group's neuroses are laid bare. | 0:26:29 | 0:26:31 | |
It's that blend of the British blues sensibility | 0:26:31 | 0:26:34 | |
with this almost neurotic and actually absolutely heartfelt | 0:26:34 | 0:26:39 | |
lyric writing. | 0:26:39 | 0:26:40 | |
There's a darkness to it. | 0:26:40 | 0:26:42 | |
Where that's been this band's saving grace, you know? | 0:26:42 | 0:26:48 | |
Where...it started in my mind with Peter Green. | 0:26:48 | 0:26:53 | |
It's accessible and it's sort of pop music, but not. | 0:26:53 | 0:27:00 | |
There was one song on Rumours that wasn't released as a single, | 0:27:04 | 0:27:08 | |
but became a show-stopper and a kind of anthem for the band. | 0:27:08 | 0:27:11 | |
The Chain. | 0:27:11 | 0:27:13 | |
It's ironic because it is a song about keeping together | 0:27:17 | 0:27:22 | |
and somehow finding the tools and the vocabulary to not only do it | 0:27:22 | 0:27:27 | |
in the moment, but to keep doing it. | 0:27:27 | 0:27:29 | |
I mean, it's like nobody, no matter how bad it got, | 0:27:29 | 0:27:32 | |
nobody didn't want to be in the band. | 0:27:32 | 0:27:34 | |
Nobody wanted to get out of the band. | 0:27:34 | 0:27:36 | |
So, it was like, you know, the band was number-one priority. | 0:27:36 | 0:27:39 | |
So it's like...the relationships did not override the band. | 0:27:39 | 0:27:43 | |
# Chain... Keep us together | 0:27:43 | 0:27:48 | |
# Run in the shadows | 0:27:48 | 0:27:51 | |
# Chain... Keep us together | 0:27:51 | 0:27:55 | |
# Running in the shadows | 0:27:55 | 0:27:57 | |
# Chain... # | 0:27:57 | 0:27:58 | |
Rumours made Fleetwood Mac the biggest band in the world. | 0:27:58 | 0:28:02 | |
They even had their own star on Hollywood Boulevard. | 0:28:02 | 0:28:05 | |
But like Peter Green before, success sat uneasily with front man Lindsey, | 0:28:05 | 0:28:10 | |
who felt the band were in danger of becoming dinosaurs. | 0:28:10 | 0:28:14 | |
He probably would have left Fleetwood Mac. | 0:28:14 | 0:28:17 | |
He came up to my house. We spent a couple of days talking | 0:28:17 | 0:28:21 | |
about what he wanted to do. | 0:28:21 | 0:28:24 | |
It was all about Lindsey's thing of - we've gotta go forward. | 0:28:24 | 0:28:29 | |
PUNK MUSIC | 0:28:29 | 0:28:33 | |
After Rumours in 1977, | 0:28:33 | 0:28:36 | |
a new wave of young bands had arrived. | 0:28:36 | 0:28:39 | |
And Lindsey, listening to the Clash and Talking Heads, | 0:28:39 | 0:28:42 | |
was desperate for the band to experiment. | 0:28:42 | 0:28:44 | |
In 1979, Fleetwood Mac released an elaborately packaged double album | 0:28:47 | 0:28:50 | |
and spent the industry's biggest recording budget to date... | 0:28:50 | 0:28:54 | |
..on this. | 0:28:55 | 0:28:57 | |
MUSIC: "The Ledge" by Fleetwood Mac | 0:28:57 | 0:29:00 | |
# Countin' on my fingers Countin' on my toes... # | 0:29:06 | 0:29:08 | |
NEWSREEL: ..four billion dollar-a-year record industry | 0:29:08 | 0:29:11 | |
experienced an 11% drop in sales. | 0:29:11 | 0:29:13 | |
Executives felt that one of the albums | 0:29:13 | 0:29:15 | |
that could bring buyers back into the stores would be Fleetwood Mac's | 0:29:15 | 0:29:19 | |
next release. | 0:29:19 | 0:29:21 | |
Tusk was a different-sounding record than Rumours. | 0:29:21 | 0:29:25 | |
I was all ready to go in and make another Rumours. | 0:29:25 | 0:29:29 | |
But Lindsey had different ideas. | 0:29:29 | 0:29:32 | |
He... Every idea that I suggested, sound-wise, he wanted the opposite. | 0:29:32 | 0:29:38 | |
# Countin' on my fingers Countin' on my toes | 0:29:38 | 0:29:42 | |
# Runnin' through my fingers Watchin' how it grows... # | 0:29:42 | 0:29:45 | |
The record company wanted us to really just make another Rumours. | 0:29:45 | 0:29:48 | |
And Lindsey was really offended by that. | 0:29:48 | 0:29:51 | |
And Lindsey is one of those people that will go up on the cross | 0:29:51 | 0:29:56 | |
to make a point, and die. | 0:29:56 | 0:29:58 | |
Lindsey was this volatile character. | 0:30:00 | 0:30:02 | |
He was kind of a whacked-out guy. | 0:30:02 | 0:30:04 | |
I remember one day, and this was when he had this big kind of afro, | 0:30:04 | 0:30:09 | |
I looked up and all his hair was gone. | 0:30:09 | 0:30:11 | |
Just all...all irregular. | 0:30:11 | 0:30:14 | |
And I said, "What happened?" | 0:30:14 | 0:30:15 | |
And he said, "I was just in my shower and I freaked out. | 0:30:15 | 0:30:18 | |
"And I just cut it all off." And he really said, "Yeah, cut it all out." | 0:30:18 | 0:30:22 | |
And I said, "OK, well, we're all long hair and beards | 0:30:22 | 0:30:25 | |
"and you look pretty strange here." | 0:30:25 | 0:30:27 | |
But that was the kind of thing he would do. | 0:30:27 | 0:30:30 | |
He would just freak out. | 0:30:30 | 0:30:32 | |
You know, you've gotta just do what is in your heart. | 0:30:34 | 0:30:38 | |
And I was quite excited about trying some new approaches. | 0:30:38 | 0:30:42 | |
SHE SINGS PASSIONATELY | 0:30:42 | 0:30:50 | |
# Yeah, but you'll never catch me. # | 0:30:51 | 0:30:57 | |
Stevie, that's great... | 0:30:57 | 0:31:00 | |
It took 13 months in one place. | 0:31:00 | 0:31:02 | |
So we weren't moving around. So it was a long, long 13 months. | 0:31:02 | 0:31:06 | |
We were recording at Village Recorders in Santa Monica | 0:31:06 | 0:31:09 | |
and we were recording six days a week. We were all there every day. | 0:31:09 | 0:31:13 | |
And, you know, we just got through it. And it was really horrible. | 0:31:13 | 0:31:17 | |
With a certain amount of trepidation, I did get the band into | 0:31:17 | 0:31:20 | |
the idea of trying some new processes | 0:31:20 | 0:31:24 | |
and some different sensibilities. | 0:31:24 | 0:31:27 | |
I remember one day he wanted to get an aggressive-sounding vocal | 0:31:27 | 0:31:31 | |
and he had me tape the microphone on the tile floor | 0:31:31 | 0:31:36 | |
and he got down in the push up position | 0:31:36 | 0:31:38 | |
and sang into this microphone, sitting on the floor. | 0:31:38 | 0:31:42 | |
I still wouldn't mind trying that square one Stevie uses on stage. | 0:31:42 | 0:31:46 | |
-All right. -Two... What, this one, you want? | 0:31:46 | 0:31:48 | |
-Yeah. -All right. | 0:31:48 | 0:31:50 | |
It's like Lindsey with the microphone on the tile floor, | 0:31:50 | 0:31:53 | |
like laying on the floor, with his head flat on the floor, | 0:31:53 | 0:31:57 | |
going, "Ooh, ooh, ooh-ooh, ooh, ooh. | 0:31:57 | 0:32:02 | |
"Ooh-ooh, ooh, ooh." | 0:32:02 | 0:32:04 | |
And we're just all like, "OK. | 0:32:04 | 0:32:07 | |
"That was great. Take two." | 0:32:07 | 0:32:09 | |
JAUNTILY And he goes, "Ooh-ooh, ooh, ooh, ooh. | 0:32:09 | 0:32:14 | |
"Ooh-ooh, ooh, ooh, ooh." | 0:32:14 | 0:32:16 | |
"OK. Take three." | 0:32:16 | 0:32:18 | |
And then he's taking the whole thing and then he's slowing it down. | 0:32:21 | 0:32:24 | |
And then he's recording that and then he's speeding it back up. | 0:32:24 | 0:32:28 | |
And then he's putting it through a Leslie organ speaker. | 0:32:28 | 0:32:32 | |
And it was just hard for the rest of us | 0:32:32 | 0:32:35 | |
because we kind of... we weren't always involved. | 0:32:35 | 0:32:38 | |
GUITAR PLAYS | 0:32:38 | 0:32:42 | |
We had a great little anteroom, little lounge room outside of it. | 0:32:43 | 0:32:47 | |
And we would just be in the lounge, drinking coffee, | 0:32:47 | 0:32:52 | |
watching television, eating, and waiting for Lindsey to say, | 0:32:52 | 0:32:57 | |
"OK, come on in now. There's something for you to do." | 0:32:57 | 0:33:00 | |
There we are! Coffee's made! | 0:33:02 | 0:33:05 | |
You've gotta see, we lose track of time in here. | 0:33:05 | 0:33:07 | |
I called my mother last night for the first time since Christmas. | 0:33:07 | 0:33:12 | |
-You thought it had been a month. -I thought it had been a month, right. | 0:33:12 | 0:33:16 | |
-Not literally a month. -You do lose complete track of time. | 0:33:16 | 0:33:21 | |
Cos your days and your nights aren't set up right. | 0:33:21 | 0:33:23 | |
The most elaborate and expensive production was saved | 0:33:23 | 0:33:27 | |
for the album's title track. | 0:33:27 | 0:33:30 | |
The track, Tusk, came out of a riff that Lindsey always used to play | 0:33:30 | 0:33:34 | |
at sound check. | 0:33:34 | 0:33:35 | |
HE PLAYS RIFF | 0:33:35 | 0:33:37 | |
And I came back and said, "What about a hundred-piece brass band | 0:33:45 | 0:33:51 | |
"playing the riff?" | 0:33:51 | 0:33:52 | |
And we're all like, "OK." | 0:33:52 | 0:33:55 | |
"OK, if you can pull this off, Mick, then great." | 0:33:55 | 0:33:58 | |
And...it was a weird one, you know? | 0:34:01 | 0:34:04 | |
It was Mick's idea to put the USC marching band on there, | 0:34:04 | 0:34:07 | |
which was a stroke of genius. | 0:34:07 | 0:34:09 | |
We put the 120-piece brass band with Fleetwood Mac | 0:34:14 | 0:34:19 | |
and recorded it at Dodger Stadium. | 0:34:19 | 0:34:22 | |
# Why don't you ask him What's going on? | 0:34:23 | 0:34:29 | |
# Why don't ask him Who's the latest on his throne? | 0:34:29 | 0:34:34 | |
It really was an extraordinary day and we did film it, thank goodness, | 0:34:34 | 0:34:38 | |
and I got to twirl, cos my mom was a majorette. | 0:34:38 | 0:34:42 | |
So my mom taught me to twirl when I was really little. | 0:34:42 | 0:34:44 | |
So I did a little of that. | 0:34:44 | 0:34:46 | |
We're honorary members of the USC marching band. | 0:34:49 | 0:34:52 | |
# ..Tusk! | 0:34:57 | 0:35:00 | |
# Just say that you love me... | 0:35:00 | 0:35:03 | |
# Tusk! # | 0:35:11 | 0:35:12 | |
The extravagant Tusk disappointed the record company by only managing | 0:35:12 | 0:35:17 | |
a quarter of Rumours' sales figures. | 0:35:17 | 0:35:19 | |
But as a live act, Fleetwood Mac were still a draw | 0:35:19 | 0:35:23 | |
and were accordingly booked onto a huge 18-month world tour. | 0:35:23 | 0:35:27 | |
I saw the Tusk tour in San Francisco at the Cow Palace | 0:35:27 | 0:35:32 | |
and the audience, it was kind of kids in the front rows. | 0:35:32 | 0:35:36 | |
They're screaming, they think it's fantastic to be there. | 0:35:36 | 0:35:39 | |
It's like a teenage rock'n'roll show. | 0:35:39 | 0:35:42 | |
SCREAMING | 0:35:42 | 0:35:44 | |
BAND PLAYS | 0:35:52 | 0:35:56 | |
On the extensive Tusk tour, things got indulgent. | 0:36:09 | 0:36:13 | |
Perhaps because Fleetwood Mac had sacked their previous manager | 0:36:13 | 0:36:17 | |
and were newly managed by... | 0:36:17 | 0:36:18 | |
their drummer. | 0:36:18 | 0:36:20 | |
Mick was managing the band. | 0:36:20 | 0:36:23 | |
Mick's a dreamer and he's not an accountant, let's leave it at that. | 0:36:23 | 0:36:30 | |
We went through a really bad experience with, let's put it... | 0:36:30 | 0:36:35 | |
-our now ex-manager. You remember that, Mum, don't you? -I do, indeed. | 0:36:35 | 0:36:39 | |
We never had another manager. | 0:36:39 | 0:36:42 | |
-Good thing too. -And here it sits. | 0:36:42 | 0:36:46 | |
This is the manager. | 0:36:46 | 0:36:47 | |
You know, I think there was a tendency to get the biggest plane | 0:36:47 | 0:36:51 | |
we could get to travel in | 0:36:51 | 0:36:52 | |
and all for reasons of wanting things to be great. | 0:36:52 | 0:36:57 | |
It costs between 25,000 and 30,000 dollars a day | 0:36:57 | 0:37:01 | |
just to keep Fleetwood Mac on the road. | 0:37:01 | 0:37:03 | |
But the investments in luxury jets and the separate limousines | 0:37:03 | 0:37:07 | |
that emphasise their individual styles | 0:37:07 | 0:37:09 | |
are the group's own decision. | 0:37:09 | 0:37:11 | |
SCREAMING | 0:37:11 | 0:37:15 | |
We all make reference to this thing called the bubble, you know? | 0:37:17 | 0:37:22 | |
The Fleetwood Mac canopy, where a world within a world, | 0:37:22 | 0:37:27 | |
as Lindsey would say, existed. Some of it very insane really. | 0:37:27 | 0:37:34 | |
The Tusk tour was legendary for its success. | 0:37:36 | 0:37:38 | |
And one of the things I noticed was that, backstage, | 0:37:38 | 0:37:42 | |
in the same way that at that point people were getting into drinking | 0:37:42 | 0:37:45 | |
Perrier water, instead of tap water, | 0:37:45 | 0:37:47 | |
Fleetwood Mac had bottles of oxygen. | 0:37:47 | 0:37:50 | |
Even their air came out of tanks. | 0:37:50 | 0:37:55 | |
We at that point were, for sure, like little kids in a toy shop. | 0:38:04 | 0:38:11 | |
I just remember things got larger. | 0:38:19 | 0:38:21 | |
We were doing the US festival with the Eagles. | 0:38:21 | 0:38:24 | |
250,000 people. | 0:38:24 | 0:38:26 | |
SCREAMING | 0:38:26 | 0:38:29 | |
It just grew. | 0:38:33 | 0:38:35 | |
I mean, the excess around Fleetwood Mac is well known. | 0:38:39 | 0:38:42 | |
There seemed to be a lot of alcohol and Peruvian marching powder. | 0:38:42 | 0:38:46 | |
But I think this was all fuel to keep them all going. | 0:38:46 | 0:38:50 | |
Cos I could tell, even in '76, when I met them in LA, they were exhausted. | 0:38:50 | 0:38:55 | |
Already! They were absolutely knackered. | 0:38:55 | 0:38:59 | |
They needed fuel. | 0:38:59 | 0:39:00 | |
SCREAMING | 0:39:00 | 0:39:02 | |
To make matters even more complicated, | 0:39:14 | 0:39:17 | |
behind Lindsey's back, Stevie and Mick had started seeing each other. | 0:39:17 | 0:39:23 | |
# Wait a minute, baby | 0:39:23 | 0:39:26 | |
# Stay with me a while | 0:39:26 | 0:39:29 | |
# Said you'd give me light | 0:39:31 | 0:39:33 | |
# But you never told me about the fire... # | 0:39:33 | 0:39:37 | |
Stevie and myself had a great relationship | 0:39:37 | 0:39:42 | |
but it was not in the open. | 0:39:42 | 0:39:45 | |
It was not, you know, open... It was a very private affair really. | 0:39:45 | 0:39:53 | |
And then...Mick fell in love with my best friend, Sara. | 0:39:53 | 0:39:57 | |
And my best friend, Sara, moved in with Mick and left her husband. | 0:39:59 | 0:40:03 | |
The awkwardness, no doubt, the dastardly deed | 0:40:03 | 0:40:08 | |
was that Sara was and still is a great friend of Stevie's. | 0:40:08 | 0:40:14 | |
And it was the classic, you know, intergalactic...mess. | 0:40:14 | 0:40:21 | |
And out of that came, certainly that song, Sara. | 0:40:23 | 0:40:25 | |
# Said, Sara | 0:40:25 | 0:40:27 | |
# You're the poet in my heart | 0:40:29 | 0:40:31 | |
# Never change | 0:40:33 | 0:40:35 | |
# Never stop... # | 0:40:37 | 0:40:40 | |
So there we were recording Tusk | 0:40:40 | 0:40:42 | |
with Lindsey, who never really got over this relationship with me, | 0:40:45 | 0:40:49 | |
and now Mick has done this thing and he's living with my friend, Sara. | 0:40:49 | 0:40:53 | |
And she's banished from the studio. | 0:40:53 | 0:40:55 | |
And so I lost Mick and my friend Sara in one fell swoop. | 0:40:55 | 0:40:58 | |
SCREAMING AND RIFF | 0:40:58 | 0:41:00 | |
Being in Fleetwood Mac, to this day, is very tense. | 0:41:07 | 0:41:10 | |
It's a tense situation. | 0:41:10 | 0:41:12 | |
Always. Was from the very beginning and is now. | 0:41:12 | 0:41:17 | |
In my solo career I'm not tense. | 0:41:17 | 0:41:20 | |
I'm not uptight. | 0:41:20 | 0:41:23 | |
Because I don't have any reason to be uptight. | 0:41:23 | 0:41:25 | |
In 1981, Stevie, who was becoming a star in her own right, | 0:41:28 | 0:41:33 | |
launched a parallel solo career. | 0:41:33 | 0:41:36 | |
Her first album, Bella Donna, eclipsed Fleetwood Mac's Mirage, | 0:41:36 | 0:41:41 | |
topping US and UK charts, | 0:41:41 | 0:41:43 | |
and conjured three hit singles, including the spellbinding | 0:41:43 | 0:41:47 | |
Edge Of Seventeen. | 0:41:47 | 0:41:49 | |
# Just like the white winged dove Sings a song | 0:41:49 | 0:41:53 | |
# Sounds like she's singing | 0:41:53 | 0:41:55 | |
# Ooh, baby, ooh Said ooh | 0:41:55 | 0:41:58 | |
# Just like the white winged dove Sings a song | 0:41:58 | 0:42:01 | |
# Sounds like she's singing | 0:42:01 | 0:42:03 | |
# Ooh, baby, ooh Said ooh... # | 0:42:03 | 0:42:07 | |
She was the ultimate West Coast hippie dream girl. | 0:42:07 | 0:42:10 | |
You know, in her hotel room, there'd be a lot of scarves and silk objects | 0:42:10 | 0:42:15 | |
draped over every possible lamp and light bulb, everywhere. | 0:42:15 | 0:42:18 | |
# ..Nothing else mattered... # | 0:42:19 | 0:42:21 | |
Stevie has a real fondness for accessories | 0:42:23 | 0:42:27 | |
and playing with things and becoming characters on stage. | 0:42:27 | 0:42:30 | |
It just evolved. | 0:42:33 | 0:42:34 | |
Top hat, think she had a cane at one point | 0:42:34 | 0:42:37 | |
and then chiffon and it grew and she developed it. | 0:42:37 | 0:42:41 | |
When she puts on a shawl she literally becomes another character. | 0:42:43 | 0:42:46 | |
She's so petite on stage and they were doing larger and larger arenas | 0:42:50 | 0:42:55 | |
so she wanted something that would really show | 0:42:55 | 0:42:59 | |
that she's there, that she's moving and it would be dramatic. | 0:42:59 | 0:43:02 | |
# ..Ooh, baby, ooh Said ooh | 0:43:02 | 0:43:07 | |
# Just like the white winged dove Sings a song | 0:43:07 | 0:43:10 | |
# Sounds like she's singing | 0:43:10 | 0:43:12 | |
# Ooh, baby, ooh, Said ooh... # | 0:43:12 | 0:43:15 | |
If you go to concerts you'll see many, many people dressed like her. | 0:43:15 | 0:43:18 | |
In various stages of her career. | 0:43:18 | 0:43:21 | |
They're dressed to the nines, like Stevie-ites all over the place. | 0:43:21 | 0:43:25 | |
People remember, "Oh, my God, do you remember we were in the audience | 0:43:25 | 0:43:29 | |
"and you see thousands of Stevie Nicks!" you know? | 0:43:29 | 0:43:32 | |
HE MIMICS HER | 0:43:32 | 0:43:34 | |
Thank you for being with us on this very special night. Good night. | 0:43:35 | 0:43:40 | |
The cult of Stevie Nicks grew. | 0:43:42 | 0:43:44 | |
But was laced with rumours about her growing dependence | 0:43:44 | 0:43:48 | |
on a particular brand of stardust. | 0:43:48 | 0:43:51 | |
# Rock on, gold dust woman | 0:43:51 | 0:43:54 | |
# Take your silver spoon | 0:43:54 | 0:43:57 | |
# Dig your grave... # | 0:43:57 | 0:44:00 | |
The cocaine became very prevalent during Rumours | 0:44:06 | 0:44:11 | |
and, um, everybody was doing it. | 0:44:11 | 0:44:13 | |
There used to be a bag, the community bag of cocaine, on the console. | 0:44:13 | 0:44:19 | |
When we got into Tusk, into the recording of Tusk, | 0:44:19 | 0:44:22 | |
and the thing happened with me and Mick and Sara, that was really a drag and, of course, | 0:44:22 | 0:44:26 | |
every time something really bad happened, everybody started doing more coke. Just to get through. | 0:44:26 | 0:44:32 | |
And, um, so it got, you know, it was way... It was out of control. | 0:44:32 | 0:44:36 | |
# Well, did she make you cry | 0:44:36 | 0:44:39 | |
# Make you break down | 0:44:39 | 0:44:41 | |
# Shatter your illusions of love...? # | 0:44:41 | 0:44:44 | |
I didn't stop doing coke until I went to Betty Ford in 1985. | 0:44:44 | 0:44:48 | |
So our cocaine-addict selves went pretty much from the beginning | 0:44:48 | 0:44:52 | |
of 1977 till - for me, anyway - till 1985. | 0:44:52 | 0:44:57 | |
I don't know when everybody else stopped because nobody else went to rehab but me, | 0:44:57 | 0:45:01 | |
so I have a documented timeline on me but I don't really know what everybody else did. | 0:45:01 | 0:45:06 | |
Um... But it, you know, it was totally out of hand. | 0:45:06 | 0:45:10 | |
And it... I thought it was going to kill me. | 0:45:10 | 0:45:13 | |
In the mid-'80s Fleetwood Mac burnt out and fell apart and were silent | 0:45:17 | 0:45:21 | |
for a full five years. But in 1987, still carrying relationship and substance problems, | 0:45:21 | 0:45:26 | |
they reconvened uneasily for Tango In The Night. | 0:45:26 | 0:45:30 | |
# If I could turn the page | 0:45:31 | 0:45:34 | |
# In time then I'd rearrange Just a day or two | 0:45:34 | 0:45:39 | |
# Close my, close my, close my eyes... # | 0:45:41 | 0:45:45 | |
That was the culmination, for me, of individual lifestyles | 0:45:45 | 0:45:49 | |
having gone beyond the point to which there was anything you could defend about it | 0:45:49 | 0:45:54 | |
helping creativity, being anything other than destructive of the creative process. | 0:45:54 | 0:46:00 | |
# ..Tell me lies Tell me sweet little lies | 0:46:02 | 0:46:05 | |
-# Tell me lies -Tell me, tell me lies... # | 0:46:06 | 0:46:09 | |
Stevie, her solo career had pulled her off in various directions, | 0:46:09 | 0:46:14 | |
but even so, she wasn't, she just was not present mentally or physically when she WAS there. | 0:46:14 | 0:46:20 | |
And she wasn't there very much. I mean, that album probably took eight months or so, a little longer, | 0:46:20 | 0:46:25 | |
to record, and we probably saw her all of two weeks, the whole time. | 0:46:25 | 0:46:29 | |
# ..I hope that you understand | 0:46:29 | 0:46:32 | |
# There's a reason why... # | 0:46:32 | 0:46:34 | |
That was when I was on Klonopin, which is a tranquilliser, | 0:46:34 | 0:46:38 | |
and that was after coke, that was after I went to Betty Ford. I was off the coke, I was fine. | 0:46:38 | 0:46:43 | |
And a psychiatrist decided that what I really needed | 0:46:43 | 0:46:46 | |
was to be on Klonopin cos it would calm me down, it would keep me from going back to coke. | 0:46:46 | 0:46:51 | |
And this drug was more deadly than the coke, for me. | 0:46:51 | 0:46:55 | |
And so what Lindsey was dealing with on Tango In The Night | 0:46:55 | 0:47:00 | |
was the fact that when you're on tranquillisers, you really can't be depended on. | 0:47:00 | 0:47:04 | |
So I would get there late, | 0:47:04 | 0:47:06 | |
or I wouldn't get there at all. | 0:47:06 | 0:47:08 | |
So that was hard for him. | 0:47:08 | 0:47:10 | |
AUDIENCE WHISTLES AND CHEERS | 0:47:10 | 0:47:13 | |
The biggest hit on Tango In The Night | 0:47:20 | 0:47:22 | |
was a very personal testimony from Lindsey, | 0:47:22 | 0:47:25 | |
a driven musical leader of the band, | 0:47:25 | 0:47:28 | |
with relationship issues that had taken him into a dark place. | 0:47:28 | 0:47:32 | |
# Looking out for love | 0:47:36 | 0:47:39 | |
# In a night so still | 0:47:39 | 0:47:42 | |
# Oh, I'll build you a kingdom | 0:47:43 | 0:47:47 | |
# In that house on the hill | 0:47:47 | 0:47:50 | |
# Looking out for love... # | 0:47:50 | 0:47:54 | |
'That IS an important song to me, because if you look at the lyric, | 0:47:54 | 0:47:59 | |
'it DID describe accurately the person I was in 1987.' | 0:47:59 | 0:48:04 | |
# ..You said that you love me... # | 0:48:04 | 0:48:07 | |
I had a lot of, uh, relationships which were less than ideal, | 0:48:07 | 0:48:12 | |
and, and probably much of that being my doing, you know? | 0:48:12 | 0:48:18 | |
# Looking out for love... # | 0:48:18 | 0:48:22 | |
That song, Big Love, is about being up on the hill | 0:48:22 | 0:48:26 | |
and looking out for love. But that's the point - I'm not looking for love, I'm looking OUT for love. | 0:48:26 | 0:48:31 | |
I'm sort of defending against love, you know? | 0:48:31 | 0:48:33 | |
# ..Just looking out for love | 0:48:33 | 0:48:38 | |
# A big, big love... # | 0:48:41 | 0:48:45 | |
Tango In The Night was Fleetwood Mac's biggest seller since Rumours | 0:48:45 | 0:48:49 | |
and breathed new life into their career. | 0:48:49 | 0:48:52 | |
But there was one dance partner dragging his feet. | 0:48:52 | 0:48:55 | |
I didn't really wanna be a part of that kind of excess. | 0:48:57 | 0:49:01 | |
And usually my experience has been if you have that in the studio, it's usually about times ten on the road. | 0:49:01 | 0:49:07 | |
So that's when I exited the band. | 0:49:07 | 0:49:10 | |
I remember him quitting when we had a meeting at Christine's house. | 0:49:22 | 0:49:26 | |
Because the tour had been booked. Because the album ended up coming out really good. | 0:49:26 | 0:49:31 | |
It was a big tour. | 0:49:31 | 0:49:34 | |
And he just sat there in the chair and said, "I can't go." | 0:49:34 | 0:49:37 | |
"I don't wanna go." | 0:49:38 | 0:49:40 | |
And we all just, like, "Well, you HAVE to go because we can't... | 0:49:40 | 0:49:44 | |
"As an artist, you cannot put all the promoters out of business." | 0:49:44 | 0:49:47 | |
It was certainly a negative thing to do, as far as the band was concerned, | 0:49:51 | 0:49:55 | |
and they were very hurt by it. But I just felt I needed to somehow reclaim | 0:49:55 | 0:49:59 | |
my sanity and my own sense of individuality. | 0:49:59 | 0:50:01 | |
When Lindsey said, "I'm not going," | 0:50:01 | 0:50:04 | |
I think I got up and ran across the room and tried to strangle him. | 0:50:04 | 0:50:08 | |
And then he chased me out of the house, through Christine's driveway and... | 0:50:08 | 0:50:12 | |
we had a huge fight. And, uh... | 0:50:12 | 0:50:16 | |
..that was that. He was done. | 0:50:17 | 0:50:19 | |
CROWD CHEERS | 0:50:19 | 0:50:22 | |
# I'd rather jack | 0:50:24 | 0:50:26 | |
# Golden oldies, Rolling Stones We don't want them back | 0:50:29 | 0:50:32 | |
# I'd rather jack | 0:50:32 | 0:50:34 | |
# Than Fleetwood Mac... # | 0:50:34 | 0:50:36 | |
By the end of the '80s things had definitely moved on. | 0:50:36 | 0:50:40 | |
# ..I'd rather jack | 0:50:40 | 0:50:42 | |
# Than Fleetwood Mac I'd rather jack... # | 0:50:42 | 0:50:45 | |
The band carried on without Lindsey | 0:50:45 | 0:50:47 | |
but The Reynolds Girls and a younger generation now saw Fleetwood Mac as out-of-touch oldies, | 0:50:47 | 0:50:53 | |
an image not helped by Mick's unfortunate foray into presenting | 0:50:53 | 0:50:58 | |
on 1989's disastrous outing of the Brits. | 0:50:58 | 0:51:02 | |
-..The fabulous, the legendary, the sensational... -Four... | 0:51:02 | 0:51:06 | |
-..The Four Tops! -Woo! | 0:51:06 | 0:51:07 | |
-Hi! -Not The Four Tops, | 0:51:08 | 0:51:10 | |
-but thank you! -You don't look like 'em, George! | 0:51:10 | 0:51:13 | |
No, I'm The One Top. The Four Tops have been held up, putting their make-up on. | 0:51:13 | 0:51:16 | |
MUSIC: "Tusk" by Fleetwood Mac | 0:51:16 | 0:51:20 | |
Inspired by Bill Clinton's use of Don't Stop as his campaign theme, | 0:51:23 | 0:51:26 | |
the band staged a full reunion in 1997, | 0:51:26 | 0:51:29 | |
complete with the entire USC Marching Band. | 0:51:29 | 0:51:32 | |
# Tusk... # | 0:51:34 | 0:51:36 | |
The millennium was even kinder to the band. | 0:51:37 | 0:51:40 | |
A younger generation discovered their back catalogue, | 0:51:40 | 0:51:43 | |
Destiny's Child sampling Stevie's Edge Of Seventeen | 0:51:43 | 0:51:46 | |
for Bootylicious... | 0:51:46 | 0:51:48 | |
# Kelly, can you handle this? | 0:51:48 | 0:51:51 | |
# Michelle, can you handle this? | 0:51:51 | 0:51:53 | |
# Beyonce, can you handle this? | 0:51:53 | 0:51:56 | |
# I don't think they can handle this, whoooo...! # | 0:51:56 | 0:51:59 | |
..and pop's intelligentsia noting their influence | 0:51:59 | 0:52:02 | |
on a new crop of young bands. | 0:52:02 | 0:52:04 | |
After their reunion, a weary Christine McVie decided to retreat from America | 0:52:06 | 0:52:11 | |
and the band. | 0:52:11 | 0:52:13 | |
I think that was it, and I just said, | 0:52:13 | 0:52:15 | |
"I just have to go home." | 0:52:15 | 0:52:17 | |
Still took me five years | 0:52:17 | 0:52:20 | |
to finally move back here. But, no, I have had no regrets. | 0:52:20 | 0:52:23 | |
# ..You can go your own way | 0:52:23 | 0:52:28 | |
# Go your own way... # | 0:52:28 | 0:52:30 | |
But the remaining four members released a new album | 0:52:30 | 0:52:34 | |
and staged two sell-out world tours to rave reviews. | 0:52:34 | 0:52:38 | |
# ..You can go your own way | 0:52:38 | 0:52:42 | |
# Go your own way... # | 0:52:42 | 0:52:44 | |
'We'd just come back from New York' | 0:52:44 | 0:52:47 | |
and I don't think the band's played better. | 0:52:47 | 0:52:51 | |
This is a great body of work we've got | 0:52:51 | 0:52:54 | |
and that allows you to sort of... all the other good feelings | 0:52:54 | 0:52:59 | |
and the other more objective and positive aspects of how you feel about the people, to follow. | 0:52:59 | 0:53:04 | |
Perhaps some of that good feeling is down to the fact that Lindsey, in middle age, | 0:53:08 | 0:53:13 | |
has stopped looking OUT for love, and finally found it. | 0:53:13 | 0:53:16 | |
# ..Go your own way... # | 0:53:16 | 0:53:19 | |
I'm so happy that he fell on his feet with a family | 0:53:19 | 0:53:24 | |
and had a whole life outside of a very intense attitude | 0:53:24 | 0:53:29 | |
he has to creativity, his life, what he wants to accomplish. | 0:53:29 | 0:53:34 | |
And, inadvertently, I think it's broadened his scope, amazingly. | 0:53:34 | 0:53:39 | |
This is the best thing that ever happened to me, you know? | 0:53:39 | 0:53:42 | |
I can honestly say, you know, at age 59, | 0:53:42 | 0:53:45 | |
this is the best time of my life. | 0:53:45 | 0:53:48 | |
Two other band members have found | 0:53:49 | 0:53:51 | |
that relocating to a faraway paradise | 0:53:51 | 0:53:54 | |
is one way of surviving Fleetwood Mac. | 0:53:54 | 0:53:57 | |
John McVie lives in Oahu, one of the islands here in Hawaii. | 0:53:57 | 0:54:02 | |
This is Maui, this is my home. | 0:54:02 | 0:54:06 | |
And we thought just to let you know... How cold is it back there?! | 0:54:08 | 0:54:13 | |
HE CHUCKLES | 0:54:13 | 0:54:16 | |
The rhythm section, still together, but we're... | 0:54:16 | 0:54:20 | |
we're not freezing, we're in Hawaii. | 0:54:20 | 0:54:22 | |
We love England, we love Europe, | 0:54:22 | 0:54:24 | |
-but, uh... -Don't like being cold! | 0:54:24 | 0:54:28 | |
-I don't like being cold. -At this age, it's too much! | 0:54:28 | 0:54:31 | |
The arthritis! | 0:54:31 | 0:54:33 | |
Good Lord, I hope you don't use that! | 0:54:39 | 0:54:41 | |
Oh, I'm sure they will, John! | 0:54:41 | 0:54:43 | |
CROWD CHEERS | 0:54:47 | 0:54:50 | |
But back inside the Fleetwood Mac bubble, | 0:54:50 | 0:54:53 | |
every night on tour, the couple who made the band superstars | 0:54:53 | 0:54:57 | |
are still working things through. | 0:54:57 | 0:55:00 | |
# I took this love and I took it down | 0:55:00 | 0:55:03 | |
# Climbed a mountain and I turned around... # | 0:55:05 | 0:55:09 | |
There's still, with Stevie and Lindsey, a healing process | 0:55:09 | 0:55:13 | |
which may very well go on to both of their dying days. | 0:55:13 | 0:55:17 | |
# ..Till the landslide brought me down... # | 0:55:17 | 0:55:21 | |
'I met her when I was about 16. | 0:55:21 | 0:55:24 | |
'She transferred to my high school. I was a junior, she was a senior, she was 17.' | 0:55:24 | 0:55:29 | |
So, it's, it's been...you know, most of my life. | 0:55:29 | 0:55:34 | |
'Lindsey's and my relationship started in '66 | 0:55:34 | 0:55:37 | |
'and went through '77, | 0:55:37 | 0:55:40 | |
'so when we finally broke up at the end of the recording of Rumours,' | 0:55:40 | 0:55:44 | |
it was devastating. | 0:55:44 | 0:55:46 | |
And it was not the way he wanted it to go. | 0:55:46 | 0:55:50 | |
So, there has been a payback all these years. | 0:55:51 | 0:55:55 | |
Sadly, probably the lion's share of those years, there has been distance and animosity, you know, | 0:55:55 | 0:56:00 | |
of some kind, mixed in with everything else, too. It's never been just one thing. | 0:56:00 | 0:56:05 | |
You know, Lindsey and I... | 0:56:05 | 0:56:08 | |
we'll never be, um... | 0:56:08 | 0:56:11 | |
touchy-feely friends. | 0:56:11 | 0:56:13 | |
# ..But time makes you bolder | 0:56:13 | 0:56:17 | |
# Children get older | 0:56:17 | 0:56:20 | |
# I'm getting older too... # | 0:56:20 | 0:56:25 | |
'She's in the process of learning how to trust me again,' | 0:56:25 | 0:56:29 | |
as someone who is her friend. | 0:56:29 | 0:56:31 | |
You know, I've never been to Lindsey's house, and probably never will go to Lindsey's house. | 0:56:31 | 0:56:36 | |
Lindsey's been here once. | 0:56:36 | 0:56:38 | |
'Maybe down the line, in 10 or 15 years, when Lindsey and I are 75, we'll be friends again. | 0:56:38 | 0:56:43 | |
'When Fleetwood Mac is a distant memory.' | 0:56:43 | 0:56:46 | |
And his kids will be grown. He has three really precious children. They'll be gone. | 0:56:46 | 0:56:51 | |
'People say, as time passes,' | 0:56:56 | 0:56:59 | |
the wounds heal. Maybe, you know, later on down the line, all those wounds will heal. | 0:56:59 | 0:57:03 | |
# ..Can I handle the seasons | 0:57:03 | 0:57:08 | |
# Of my life? | 0:57:08 | 0:57:12 | |
# Uh-uh, I don't know... # | 0:57:12 | 0:57:16 | |
From agony to ecstasy, from the pits to the...pinnacle. | 0:57:16 | 0:57:22 | |
It's such a unique dynamic with a group of people. It's nice to still be here doing that. | 0:57:22 | 0:57:27 | |
Fleetwood Mac is bigger, grander, heavier... | 0:57:27 | 0:57:31 | |
..and way more tense. | 0:57:32 | 0:57:34 | |
Hey, we're still talking about it but it's OK, you know, | 0:57:34 | 0:57:37 | |
we're all in our 60s now! | 0:57:37 | 0:57:39 | |
We ain't finished yet! | 0:57:40 | 0:57:43 | |
# ..And if you see my reflection | 0:57:43 | 0:57:47 | |
# In the snow... | 0:57:47 | 0:57:53 | |
# Covered... | 0:57:53 | 0:57:56 | |
# Hills... # | 0:57:56 | 0:58:01 | |
CROWD CHEERS | 0:58:01 | 0:58:03 | |
# ..Well, maybe... | 0:58:03 | 0:58:08 | |
# The landslide will bring it down | 0:58:08 | 0:58:13 | |
# Well, well, the landslide | 0:58:13 | 0:58:19 | |
# Bring it down. # | 0:58:19 | 0:58:24 | |
CROWD CHEERS | 0:58:24 | 0:58:27 | |
# Oh, ooh | 0:58:29 | 0:58:34 | |
# I wanna be with you everywhere | 0:58:35 | 0:58:38 | |
# Oh, ooh | 0:58:38 | 0:58:42 | |
# I wanna be with you everywhere... # | 0:58:43 | 0:58:46 | |
Subtitles by Red Bee Media Ltd | 0:58:50 | 0:58:53 | |
E-mail [email protected] | 0:58:53 | 0:58:56 |