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Speaker 1: Too Much Information is a production of I Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that gives you the secret history and little known fascinating

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Speaker 1: facts about your favorite movies, music, TV shows and more.

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Speaker 1: My name is Jordan Runt Tuck and on Alex Hegel

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Speaker 1: and what are we talking about today? Today we are

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Speaker 1: talking about Rumors, one of the best selling albums, most

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Speaker 1: memed albums, most over possibly over discussed albums, and we're

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Speaker 1: here to continue to discuss it. I know, you know,

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Speaker 1: I was reluctant to tackle this, but you know, I

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Speaker 1: know it's so well trod territory, but so much of

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Speaker 1: the focus of the discussion before has been about the

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Speaker 1: relationships and all the in personal drama in the band,

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Speaker 1: and there's so much more that went into the making

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Speaker 1: of this great album. But give me a taste, Give

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Speaker 1: me a taste. What do you what do you got? Well,

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Speaker 1: we're gonna get in't it. We can't give it all

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Speaker 1: the way up front, but we got I mean, we've

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Speaker 1: got so many things. For example, the balls on the

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Speaker 1: cover of the album, Mick Fleetwood's balls. There's a story there. Yeah,

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Speaker 1: that's what I wanted. That was literally you read my mind.

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Speaker 1: That was what I wanted you to talk about was

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Speaker 1: Mick Fleetwoods Balls. So if you want to know more

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Speaker 1: about Fleetwoods Balls, stay tuned. We'll be right there. But no,

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Speaker 1: I mean it, make sure to tweet at us, make

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Speaker 1: sure between at as using the hashtag Mick Fleetwood's Balls

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Speaker 1: presented by Tide. It really is. I mean, you know,

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Speaker 1: despite all the soap opera that when you know that,

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Speaker 1: when in the discussion of it, it really is a

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Speaker 1: perfectly produced pop album. I mean it's pretty, you know,

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Speaker 1: unimpeachably great. How do you feel about this record? I

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Speaker 1: can see you'd be more of a Tusk fan. I'm

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Speaker 1: definitely more of a Tusk fan because Tusk is weirder.

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Speaker 1: But this album is also, despite having being so overexposed

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Speaker 1: at this point, it is also very weird. I mean,

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Speaker 1: it's a record by what three quarters of like a

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Speaker 1: blues rock band who imported a couple of Americans, one

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Speaker 1: of whom doesn't play guitar with a pick. Uh. It's

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Speaker 1: like just a bizarre formula for a record that became

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Speaker 1: so ubiquitous. Yeah, I think a lot of that go

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Speaker 1: away when people talk about the everybody's having sex with

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Speaker 1: each other and all the cocaine. But you know, the

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Speaker 1: music still holds up. As one dude skateboarding on TikTok

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Speaker 1: reminded us all this past magical year, isn't that great?

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Speaker 1: Fleetwood Mac continuing to bring us all together even in

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Speaker 1: times of great crisis. Except for the actual band, they

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Speaker 1: are very much not still together. Was fired summarily. Sorry, well,

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Speaker 1: we've got a lot to tackle. So without further ado,

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Speaker 1: here's everything you don't know about Fleetwood Max. So Jordan's

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Speaker 1: I know that Fleetwood Mac, maybe more than any other

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Speaker 1: rock band with the exception of Maybe the Fall, has

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Speaker 1: a lengthy membership list and a history that rivals some

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Speaker 1: of the smaller Russian novels. So if you could give

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Speaker 1: us just a top down view of the world of

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Speaker 1: Fleetwood Mac, I guess the starting point is ninety seven,

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Speaker 1: when it was founded as a vehicle for the great

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Speaker 1: Peter Green, who really was sort of the only serious

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Speaker 1: challenger to Eric Clapton as the greatest British blues guitarists

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Speaker 1: in the sixties. I think BB King once said that

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Speaker 1: Peter Green was the only guitarist who ever gave him

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Speaker 1: the cold sweats, which is obviously incredible praise coming from

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Speaker 1: from BB King, You're gonna get a lot of angry

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Speaker 1: people tweeting you about Jeff Beck and uh, probably Jimmy Page.

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Speaker 1: But I do think I do agree with you. I

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Speaker 1: think Peter Green is consistently one of the great and

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Speaker 1: I don't mean this pejoratively, but blues formalists. He was like,

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Speaker 1: I want to play traditional blues, you know, I mean

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Speaker 1: for anyone who has never heard the Peter Green ara

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Speaker 1: Fleet with mag and we definitely check it out. Songs

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Speaker 1: like Man of the World Albatross is this gorgeous instrumental song.

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Speaker 1: It's really amazing to get an idea for like what

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Speaker 1: they're The sound originally sounded like, you know, pre Lindsey

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Speaker 1: Buckingham and Stevie they did the original version of Black

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Speaker 1: Magic Woman later popularized by Santana, So if you can

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Speaker 1: kind of imagine that that's what Fleet with Mac used

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Speaker 1: to sound like in the pre Stevie Lindsay pop days.

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Speaker 1: Peter Green an absolute genius, but a troubled one. As

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Speaker 1: a genius is off and our fame really didn't sit

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Speaker 1: well with him, and he kind of uh he he

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Speaker 1: dabbled in LSD is one dabble in LSD. I think

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Speaker 1: that's the accepted word. But he did not dabble. He

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Speaker 1: went for basically exacerbated his underlying anxiety with with fame

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Speaker 1: and kind of what was happening to him. He began

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Speaker 1: to exhibit I guess what could best be described as

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Speaker 1: paranoid behaviors. He grew a beard and donned robes and

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Speaker 1: large crucifixes, and began to talk at length about giving

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Speaker 1: his money away. His mental health deteriorated even further when

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Speaker 1: when Fleetwood Mac played in Germany and they visited a

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Speaker 1: German hippie commune and his drink was spiked with a

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Speaker 1: heroic dose of LSD and untold other psychedelics. And according

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Speaker 1: to band insiders, I cannot believe people used to do

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Speaker 1: that to each other, Like the dead Um I was

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Speaker 1: reading the other night about least thing about John Bonham

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Speaker 1: used to give people bumps of heroin while like cocaine

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Speaker 1: was going on. He'd be like and then they'd be like, oh,

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Speaker 1: I feel like I'm going to die, and he'd be like,

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Speaker 1: ha ha, that was heroin. What a funny prank I

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Speaker 1: played on you. People were this, These musicians were savages

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Speaker 1: back it was. It did not help his his underlying

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Speaker 1: I guess what I'll call anxiety, and he quit the

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Speaker 1: band soon after and drifted into um professional obscurity and

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Speaker 1: a lot of you know, dealt with the whole array

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Speaker 1: of mental health crisis. Is He ended up getting help

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Speaker 1: and made music again in the eighties and nineties, and

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Speaker 1: he eventually died sadly in the summer of But he

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Speaker 1: is an absolutely amazing guitarist. His work is beautiful. I

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Speaker 1: definitely recommend checking it out. But he's sort of the

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Speaker 1: godfather of Fleetwood Mac, and it's really setting the tone

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Speaker 1: for what is sort of quite obviously i'd say, a

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Speaker 1: cursed enterprise. Yeah, at least the guitar chair. Yeah, the

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Speaker 1: guitar chair. You know, if you've ever seen Spinal Tap,

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Speaker 1: there's a joke about the band not being able to

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Speaker 1: keep a drummer. Well, it's kind of the case with

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Speaker 1: guitarists and Fleetwood Mac guitar let's guitarists lightning round. So

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Speaker 1: after Peter Green, who did a bunch of acid and quit?

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Speaker 1: Who who comes in after Peter Green? We have Jeremy Spencer,

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Speaker 1: who what kind of drugs did Jeremy Spencer do? Um,

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Speaker 1: I don't know what drugs he did, but he left

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Speaker 1: the group shortly before and we're talking like hours before

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Speaker 1: a gig in Los Angeles when he was approached on

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Speaker 1: the street by a member of an organization called the

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Speaker 1: Children of God, which is a religious also organization, and

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Speaker 1: not coult to avoid getting sued. Uh. So that was one. Uh.

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Speaker 1: There were a number of other guitarists, a guy by

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Speaker 1: the name of Danny Kerwin who also suffered from severe

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Speaker 1: mental issues. He was a show that he was playing

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Speaker 1: where he smashed his head against the wall at a

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Speaker 1: show until he began to bleed, and then he refused

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Speaker 1: to play on stage that night at the show, and

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Speaker 1: his steady sat in the audience and just jeered at

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Speaker 1: his bandmates the whole time. Uh. It's a powerful move.

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Speaker 1: Is a powerful energy to that move. I cannot think

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Speaker 1: of another person who quit the band on stage and

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Speaker 1: joined the audience to boo the band that they had

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Speaker 1: just quit. Yeah, that that is. It's quite a power move. Yeah.

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Speaker 1: Um yeah. Danny Kerman's replacement, Bob Weston and Dirt a

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Speaker 1: really brief, unhappy tenure before leaving the group in four.

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Speaker 1: That's three. What are we on four were I think

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Speaker 1: we're on four. And then there's Bob Welch, who was

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Speaker 1: in there. I I think less than two years he was.

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Speaker 1: There are so many people who cycled through this guitar

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Speaker 1: chair that I almost corrected you on Bob Weston by saying, oh, no,

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Speaker 1: that was Bob Welch, just a different guy with the

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Speaker 1: Bob departed Fleetwood Mac guitarists category w E. There's just

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Speaker 1: so many uh. And so by the end of the

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Speaker 1: seventy four amid this parade of brilliant yet unstable guitarists,

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Speaker 1: really the only constant were the rhythm sections. Was drummer

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Speaker 1: Mick Fleetwood and basist John mcviegeh the Fleetwood Mac from

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Speaker 1: which the band take their name. And John McBee was

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Speaker 1: married to a great British blues singer with the credible

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Speaker 1: name of Christine Perfect. And when she married John, she

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Speaker 1: became Christine mcvige. And she used to always joke, you know,

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Speaker 1: I used to be perfect and then I met John,

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Speaker 1: and then you like you do it, you do a

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Speaker 1: smash cut over to John mcviege and his eyes are

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Speaker 1: just rolling so far back in his head that only

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Speaker 1: the whites show. I you know, Lindsay and Stevie are

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Speaker 1: like the golden couple of Fleetwood Mac. But whenever I

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Speaker 1: am looking at old footage of them, I always go

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Speaker 1: right to John mcvigh because he's completely over it. Attitude

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Speaker 1: is so perfect. He I don't know, I love him.

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Speaker 1: He's my spirit animal. He's just seems dour and it's

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Speaker 1: just like a bass So he's a great basis, but

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Speaker 1: it's just, you know, seems like a grave digger. He's

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Speaker 1: just like the punch punch the cloak today. Anyway, I

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Speaker 1: love if. If in all, in all archival footage Ifleetwood Mac,

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Speaker 1: you gotta go back and see what John McVeigh is

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Speaker 1: doing in the background, because it's probably grimacing. I don't know,

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Speaker 1: like mc fleetwood is also a pretty big grimace or

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Speaker 1: too well, he's insane. He's just he always a sea

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Speaker 1: footage of him, like making a cartoon werewolf faces. I mean,

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Speaker 1: but we'll get into the cocaine later. But good lord,

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Speaker 1: so this is this is prior. I just I feel

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Speaker 1: like it's important to note that all this drama and

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Speaker 1: interpersonal strife and drugs and cults and witchcraft, it was

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Speaker 1: all pre dates Lindsay and Stevie, So again a slightly

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Speaker 1: cursed enterprise. So at the end of the nineteen seventy

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Speaker 1: four they're looking for a new guitarists to replace Bob

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Speaker 1: Welsh and they find Lindsey Buckingham. Mick Fleetwood invites him

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Speaker 1: to join the band and Lindsay says, well, you're gonna

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Speaker 1: have to take my girlfriend too, and that was Stevie Nicks.

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Speaker 1: Should we get into Yeah, also an extremely powerful move,

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Speaker 1: I mean everything, maybe a heartbringer of what of what's

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Speaker 1: to come with, like how how it is to deal

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Speaker 1: with Lindsey Buckingham of not being in a position of

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Speaker 1: power but assuming and negotiating as though he is a

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Speaker 1: talk about fake until you make it. Man, this band

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Speaker 1: who's like already a million seller comes to you and

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Speaker 1: they're like, oh, we'd like to offer you. He's like, cool,

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Speaker 1: you gotta take my old lady too. I don't know

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Speaker 1: why I think he talks about they were they weren't

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Speaker 1: a millions, They weren't a million because Lindsay, well, there's

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Speaker 1: famously the history. Well are we getting into their their record? Yeah,

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Speaker 1: tell us a little bit about Stevie and Lindsay. Well,

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Speaker 1: Stevie Nicks was just a teenager. When she and Lindsay

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Speaker 1: got together and started making music in nineteen sixty six,

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Speaker 1: she was a senior and he was a junior, so

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Speaker 1: there was nothing kind of untoward going on there. But

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Speaker 1: if you have a keen memory, a Proustian sense memory

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Speaker 1: of your high school year relationships, her being a senior

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Speaker 1: in him being a junior will color their entire relationship

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Speaker 1: in a certain ways. Um, they met at a young

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Speaker 1: Life meeting, which seems sort of bizarre when you consider

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Speaker 1: the cocaine and the and the kimonos. And they got

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Speaker 1: around a piano and they played California Dreaming, which is

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Speaker 1: the most California. You're already in California and you have

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Speaker 1: to get it's the most theater kid California ever. Sorry.

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Speaker 1: Interview with the Source, Stevie would actually say of Lindsay,

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Speaker 1: I thought he was a darling. Let's save for this

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Speaker 1: for a moment. Yeah, I just hold that in your head.

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Speaker 1: I need you to hold that energy because it'll go awry.

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Speaker 1: So around the same time, it's just like getting Yeah,

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Speaker 1: he's not yet a voting age. Bucking him starts performing

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Speaker 1: in a group initially called the Fritz Rabine memorial band.

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Speaker 1: I don't know what that's a reference to. What is

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Speaker 1: that a reference to? Have no idea, I don't know what.

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Speaker 1: Maybe I might be nothing. Californians are weird, later shortened

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Speaker 1: to just Fritz thankfully. They played talent shows. Yeah, Fritz

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Speaker 1: is good. They played talent shows at their alma motto,

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Speaker 1: which was menlo Atherton High School, as well as student

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Speaker 1: dances and family parties across suburban San Jose. When their

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Speaker 1: lead singer dropped out, bucking him actually flashes back in

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Speaker 1: another I'm gonna keep referencing Proust because I give this

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Speaker 1: little I low culture juxtaposition. In a moment of Prustian

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Speaker 1: sense memory, he flashes back to that young life theater

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Speaker 1: kid piano duet from years earlier, and at the wise

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Speaker 1: and old age of nineteen or whatever. He says, I'm

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Speaker 1: gonna call Stevie back and we're gonna just make this,

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Speaker 1: make that duo our thing, And they actually got pretty far.

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Speaker 1: They opened for Santana the second time Santana pops up

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Speaker 1: in the Fleetwood Mac story. They opened up for Steve

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Speaker 1: Miller Band, They opened up for the Icon Tina to

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Speaker 1: turn a review, and they opened up for Chicago, which

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Speaker 1: is just fine. I feel like everyone opened up for

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Speaker 1: Chicago around this time period. But then so we get

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Speaker 1: to Buckingham Knicks, of one of the most famous album covers.

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Speaker 1: The two were platonic mostly throughout this Fritz era, the

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Speaker 1: Fritz era of bucking Him Knicks, but they both decided

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Speaker 1: they wanted something a little more out of music, and

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Speaker 1: they also start to, you know, make a different kind

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Speaker 1: of music together. I'm so sorry I said that, but

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Speaker 1: we're keeping it um. And then they may the relatively

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Speaker 1: big decision to jump ship to l A to try

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Speaker 1: and make it as a name as Buckingham Knicks. And

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Speaker 1: to hear Stevie tell it, it sounds like she was

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Speaker 1: kind of the one who actually was like, oh, I

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Speaker 1: guess I'll go out and like get a job. And

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Speaker 1: I think she was like cleaning studio producer and engineers

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Speaker 1: like homes for for money and working as a waitress

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Speaker 1: and stuff and basically to allow Lindsay the time to

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Speaker 1: just sort of sit at home and pontificate. And she why,

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Speaker 1: she tells it, she would like come home from a

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Speaker 1: long day at work and he was like sprawled out

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Speaker 1: on the floor smoking a joint, like dreaming on melodies

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Speaker 1: and stuff. Um, so maybe when I get a job

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Speaker 1: this week, honey, No, So I babe got this idea

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Speaker 1: for a fingerpick and pattern. So they're recording with with

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Speaker 1: this engineering producer called Keith Olsen at a famed Sound

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Speaker 1: City studios in in Los Angeles and they completed their

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Speaker 1: debut Buckingham Knicks Loved now ignored at the time, but

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Speaker 1: it features in the story because Mick fleetwould stop by

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Speaker 1: the same studio to scope it out for potential use

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Speaker 1: for Fleetwood Mac and Um. The engineer, Keith Olsen was

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Speaker 1: showing him around and basically wanted to demonstrate what the

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Speaker 1: room sounded like on record, and he played this tape

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Speaker 1: he was working on, which was bucking m Nicks, and

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Speaker 1: he played it and Nick Fleetwood has really taken with

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Speaker 1: the guitar work on it, Lindsey Buckeyhames guitar work, and

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Speaker 1: so he asked to be in touch. He asked the

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Speaker 1: engineer to put him in touch with his guitarist, Lindsey Buckingham,

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Speaker 1: and that's how Fleetwood Mac finds Lindsay Buckingham for the

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Speaker 1: first time. And then that's when Lindsay says, you know

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Speaker 1: what I'll join you if you let me bring Stevie too.

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Speaker 1: And Stevie really, I mean we're talking to a matter

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Speaker 1: of weeks here was thinking about giving up on music.

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Speaker 1: I mean, she was ready to throw in the towel

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Speaker 1: and just go back to school. And she was kids.

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Speaker 1: She told she would say years later that when she

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Speaker 1: showed up to her Fleetwood Mac auditions, she came in

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Speaker 1: her waitress outfit because she came right from her day job.

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Speaker 1: I mean, the reversal of fortunes was you know, this

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Speaker 1: was December nineteen seventy four. I think they all met

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Speaker 1: up for the first time in a Mexican restaurant and

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Speaker 1: then by mid nineteen five, they're they're touring and the

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Speaker 1: album the White Albums what everyone calls it, but the

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Speaker 1: Fleetwood macaponymous album Rhannon and Say They Love Me and

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Speaker 1: all those great songs entered the charts. Really their life changed,

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Speaker 1: and you know, Overnights kind of a cliche, but it

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Speaker 1: wasn't far off. Yeah, and uh, you know seventy six

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Speaker 1: we're talking. They're like, they're enormously popular, but the same

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Speaker 1: thing that always happens happens, which is like a band

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Speaker 1: that gets enormously popular and has to tour bunch together.

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Speaker 1: Stuff starts happening, and it's always worse when there's multiple

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Speaker 1: couples in the band. And this is when we start

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Speaker 1: getting into the juicy, non merit, non musical stuff. Almost

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Speaker 1: said non marital, but there's plenty of juicy non marital stuff.

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Speaker 1: So what's the first what's the first relationship that starts

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Speaker 1: to go? Jordan's okay, Well, the first relationships that starts

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Speaker 1: to go is John McGee and Christine McGee the White

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Speaker 1: Album tours. Really, I think what what finished them off?

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Speaker 1: I mean, they have been deteriorating for years, but they

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Speaker 1: they split up around the same time that Lindsay and

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Speaker 1: Stevie also started to Uh, Lindsay and Stevie started breaking

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Speaker 1: up a little bit later, because Christine would later say, yeah,

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Speaker 1: John and I just didn't talk during the sessions for rumors,

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Speaker 1: unless it was like something like what key is this

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Speaker 1: song in? They just didn't, whereas Stevie and Lindsay were

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Speaker 1: still in the like fighting screaming at each other in

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Speaker 1: the middle of it takes phase of the breakup. So

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Speaker 1: that was that, and also the interpersonal relationship that I

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Speaker 1: don't think it's discussed enough in the Rumors debacle. Is

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Speaker 1: Mick Fleetwood the only guy in Fleetwood Mac that isn't

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Speaker 1: dating somebody else in Fleetwood Mac at the moment, but

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Speaker 1: his marriage is disintegrating. His wife is Jenny Boyd, who

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Speaker 1: is the sister of Pattie Boyd, who is George Harrison's

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Speaker 1: wife who is having an affair with Eric Clapton. Pattie

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Speaker 1: Boyd inspired George Harrison's song Something inspired Layla inspired Wonderful Tonight,

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Speaker 1: and then Jenny Boyd inspired you know, some of the

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Speaker 1: feelings on Rumors. So the boy's sisters really are, you know,

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Speaker 1: two of the biggest muses in music history. I should say, yeah,

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Speaker 1: it's wild, such a such a wealth of music comes

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Speaker 1: from those two women. And the funny thing to me

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Speaker 1: about this whole album thing is that a lot of

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Speaker 1: times in bands with there's a couple in a band,

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Speaker 1: like the person who's not in a couple in the

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Speaker 1: band is kind of forced into like a child like

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Speaker 1: mom and dad are fighting again. But in this band,

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Speaker 1: it was just a different archetypes of angry mom and

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Speaker 1: dad divorcing that we're just in this whole thing. There's

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Speaker 1: the guy who's having a fair and that's bringing up

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Speaker 1: the marriage. There's the really demonstrative couple who's fighting all

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Speaker 1: the time. There's the like old waspy couple who just

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Speaker 1: isn't looking or speaking to each other, but still leaves

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Speaker 1: in the same car at the end of the night. Truly,

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Speaker 1: every archetype of unhappiness goes into making this band, but

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Speaker 1: not financially it isn't. Yeah, I mean, the record company

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Speaker 1: is basically saying, you know what, your album is really

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Speaker 1: starting to sell. The White album started selling a million

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Speaker 1: copies at this point, and over my head, Rhiannon and

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Speaker 1: say that You Love Me, we're all hit singles at

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Speaker 1: this point, and Warner Brothers the record label saying, you know,

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Speaker 1: stardom's yours for the taking, go and make the best

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Speaker 1: album you've ever made. So that's really what compels them

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Speaker 1: to put on a brave face and hold up in

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Speaker 1: the studio because they want to capitalize on everything that's

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Speaker 1: happening and again try to make the best album they've

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Speaker 1: ever made. And you know, I mean much has been

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Speaker 1: said about how you know the heartache is palpable on

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Speaker 1: the grooves of this record. I mean that turmoil just

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Speaker 1: surfaces in these brutally honest lyrics, and it's become this

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Speaker 1: like you know, musical soap opera. This he said, she said,

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Speaker 1: romantic confessional. And again, the thing that's so amazing that

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Speaker 1: this record is that these people are singing these songs

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Speaker 1: about each other to their faces. Also, it's not like

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Speaker 1: they're improv They're not improvising these songs for each other.

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Speaker 1: This isn't like, well, let's see what like you came

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Speaker 1: up with today, like the process of I mean you

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Speaker 1: I thought about this recently because of the get A

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Speaker 1: documentary where it does show like the actual craft that

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Speaker 1: goes into making a record, like these guys were sitting

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Speaker 1: down and singing really horrifying personal stuff in a very

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Speaker 1: dispassionate way. I mean, like, oh, well, how am I

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Speaker 1: supposed to sing the third on this note where you

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Speaker 1: accuse me of being a slut? Like they had to

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Speaker 1: sit down and tear apart all of these songs in

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Speaker 1: a really like workman like way, and that's probably where

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Speaker 1: her being just gacked out of their mind was really helpful. Yes,

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Speaker 1: So the band in February, they go up to Saslito, California,

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Speaker 1: to the record plant, to make this album, and Lindsey

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Speaker 1: Buckingham really is the one who took the lead on

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Speaker 1: the sessions because you know, as you said earlier, three

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Speaker 1: fifths of this group had a blues background, and that's

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Speaker 1: more about you know, live performance, and Lindsay really had

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Speaker 1: an ear towards making a good record like that was

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Speaker 1: kind of the name of the game with this was

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Speaker 1: was not just great songs and good performances, but they

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Speaker 1: wanted to make a record it sounded as perfect as

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Speaker 1: you could. Uh So he was kind of the one

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Speaker 1: who took the lead on this, and he enlisted the

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Speaker 1: help of Richard dash It and a guy named Ken

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Speaker 1: Calais who happens to be pop singer Colby Calai's father.

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Speaker 1: I know you remember Bubbly, Sure don't You don't know?

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Speaker 1: I don't I who is that? Why do I know that?

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Speaker 1: A pop singer? Like I don't know the name. I

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Speaker 1: know the name, but no, I don't remember that song.

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Speaker 1: You could, you could stick in the sound as sound,

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Speaker 1: a sound bite of it, and then I would continue

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Speaker 1: to not recognize it. I could, but I don't want

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Speaker 1: to be sued. So the band for this actually has

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Speaker 1: a basically a blank check from Warner Brothers. And this

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Speaker 1: is also the height of the record industry. I mean,

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Speaker 1: this is like I used Crosby, Stills and Nash is

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Speaker 1: my yardstick for all of music industry excess. But this

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00:20:52,760 --> 00:20:55,719
Speaker 1: record is emblematic of that. Chris Stone, who was one

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Speaker 1: of the record plants owners, said in seven he called

396
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Speaker 1: the experience that Fleetwood Mac brought to the record plan excess.

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Speaker 1: At its most excessive, the band would come in at

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Speaker 1: seven at night, have a big feast party till one

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Speaker 1: in the morning, and then when they were so whacked

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Speaker 1: out they couldn't do anything, they'd start recording. Um, which

401
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Speaker 1: I don't know how old they all are. I guess

402
00:21:20,960 --> 00:21:23,720
Speaker 1: Lindsay and Stevie are pretty young, mixed on the older side,

403
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Speaker 1: but like like late twenties to early thirties. Yeah, I

404
00:21:27,840 --> 00:21:30,600
Speaker 1: still don't want to do anything on that schedule, like

405
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Speaker 1: eat a bunch and then have to work. One of

406
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Speaker 1: the most offensive part to you not just getting gacked

407
00:21:38,080 --> 00:21:41,240
Speaker 1: out two in the morning, but it's the big meal

408
00:21:41,359 --> 00:21:44,480
Speaker 1: before you record. Yeah, I mean, like imagine sitting down

409
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Speaker 1: and having to play drums after you eat like a

410
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Speaker 1: bunch of l a like, like, I don't know what

411
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Speaker 1: are they eating Mexican food, turkey legs, Like what is

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Speaker 1: what does make? What does make? I was thinking like hummus,

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Speaker 1: I don't know, California maybe tofu yeah. Um. Anyway, And

414
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Speaker 1: like a lot of things in l A around this

415
00:22:02,520 --> 00:22:06,760
Speaker 1: particular period of time, it's Don Henley's fault. Yeah. Stevie,

416
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Speaker 1: who later when she and uh Lindsay were done breaking up,

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Speaker 1: had had a brief relationship with Don Henley and she

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00:22:14,240 --> 00:22:16,399
Speaker 1: later said that he was the one who taught her

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Speaker 1: how to spend money. And she said she was talking.

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Speaker 1: I did an interview with uncut and she said he

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Speaker 1: was responsible and I blame him every day. The Eagles

422
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Speaker 1: had spending money down They had lear jets and the

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Speaker 1: presidential suites long before we did. So I learned from

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Speaker 1: the best, and once you learned to live like that,

425
00:22:32,520 --> 00:22:35,520
Speaker 1: there's no going back. It's like, get me a lear jet.

426
00:22:35,520 --> 00:22:36,879
Speaker 1: I need to go to l A. I don't care

427
00:22:36,920 --> 00:22:39,600
Speaker 1: if it costs fifteen grand I need to go now.

428
00:22:40,680 --> 00:22:44,080
Speaker 1: That's bone chilling. The flip side of that is Joe

429
00:22:44,160 --> 00:22:46,520
Speaker 1: Walsh talking about waking up for one of his vendors

430
00:22:46,520 --> 00:22:48,240
Speaker 1: and being like, oh, why have a Why do I

431
00:22:48,240 --> 00:22:51,199
Speaker 1: have a hotel? Receipt from Paris in my pocket, like

432
00:22:51,240 --> 00:22:54,199
Speaker 1: I guess I was in Paris for the weekend. Like

433
00:22:54,440 --> 00:22:57,680
Speaker 1: I mean, God love him. Glad you guys had a

434
00:22:57,720 --> 00:23:00,119
Speaker 1: good time. The rest of us aren't speaking of spend

435
00:23:00,240 --> 00:23:04,480
Speaker 1: money in ridiculous amounts. This brings us to the cocaine

436
00:23:04,560 --> 00:23:07,640
Speaker 1: use during these sessions. It's while studying the recording of rumors,

437
00:23:07,960 --> 00:23:11,399
Speaker 1: it's impossible to avoid the topic of absolutely rampant cocaine use.

438
00:23:11,600 --> 00:23:14,320
Speaker 1: It's really a sixth member of the band, right. Mick

439
00:23:14,320 --> 00:23:16,639
Speaker 1: Fleetwood worked out once that if he laid all the

440
00:23:16,680 --> 00:23:19,960
Speaker 1: cocaine that he'd ever snorted into a single line, it

441
00:23:19,960 --> 00:23:24,000
Speaker 1: would stretch for seven miles, which kind of sounds low

442
00:23:24,040 --> 00:23:27,560
Speaker 1: to me. I want to check that. Well, there's a

443
00:23:27,640 --> 00:23:30,880
Speaker 1: there's also like didn't Bowie like have a recycled line

444
00:23:30,880 --> 00:23:33,800
Speaker 1: about snorting half of Columbia or something? So it's like,

445
00:23:34,040 --> 00:23:36,600
Speaker 1: all it might have been Elton John, any of them.

446
00:23:36,640 --> 00:23:39,000
Speaker 1: All of these guys just have like these easily at

447
00:23:39,080 --> 00:23:43,760
Speaker 1: hand comparisons quantifying their cocaine abuse. Apparently it was seven miles,

448
00:23:44,160 --> 00:23:47,440
Speaker 1: idn't thought longer, but um, good for him. They would

449
00:23:47,480 --> 00:23:49,760
Speaker 1: kind of justify in later years by saying, you know,

450
00:23:49,800 --> 00:23:52,000
Speaker 1: for the work schedule that they were on. It was

451
00:23:52,200 --> 00:23:55,320
Speaker 1: more of a necessity trying to just combat fatigue during

452
00:23:55,320 --> 00:23:58,439
Speaker 1: these you know, really grueling multi hour sessions. Not to

453
00:23:58,520 --> 00:24:02,600
Speaker 1: mention just archerous emotions that were flying around. I mean,

454
00:24:02,680 --> 00:24:06,119
Speaker 1: you know, Stevie said an interview with Mojo in you

455
00:24:06,240 --> 00:24:08,600
Speaker 1: felt so bad about what was happening that you just

456
00:24:08,640 --> 00:24:11,160
Speaker 1: did a line to cheer yourself up, which I mean,

457
00:24:11,280 --> 00:24:14,479
Speaker 1: you know, it's kind of given the fraud, pressure cooker

458
00:24:14,520 --> 00:24:18,000
Speaker 1: of an environment that they were in, it's sort of understandable.

459
00:24:18,400 --> 00:24:20,760
Speaker 1: It played such a major role cocaine did in the

460
00:24:20,760 --> 00:24:23,840
Speaker 1: production of Rumors that the bands seriously considered thanking their

461
00:24:23,880 --> 00:24:28,280
Speaker 1: drug dealer on the album credits, and apparently mcfleetwood says

462
00:24:28,320 --> 00:24:31,320
Speaker 1: in his ninety nine memoir Fleetwood My Life and Adventures

463
00:24:31,320 --> 00:24:35,720
Speaker 1: and Fleetwood Mac said, unfortunately the dealer got snuffed executed

464
00:24:36,000 --> 00:24:38,679
Speaker 1: before the album came out, so they didn't end up.

465
00:24:38,920 --> 00:24:45,040
Speaker 1: I'm surprised they didn't like put a tribute. Well, Black

466
00:24:45,080 --> 00:24:48,359
Speaker 1: Sabbath did that around the same time. They Yeah, in

467
00:24:48,480 --> 00:24:53,200
Speaker 1: volume four, you can see them thank the great Coke Cola,

468
00:24:54,800 --> 00:24:58,240
Speaker 1: because that was their idea of a subtle joke. But yeah,

469
00:24:58,320 --> 00:25:01,359
Speaker 1: My favorite anecdote from this is that these guys kept

470
00:25:01,359 --> 00:25:03,919
Speaker 1: their coking like these little velvet baggies like probably not

471
00:25:03,960 --> 00:25:07,399
Speaker 1: on not similar to like a cram royal bag. And

472
00:25:07,760 --> 00:25:11,119
Speaker 1: they would have the engine the I guess it was

473
00:25:11,160 --> 00:25:14,400
Speaker 1: the engineers Ken Kelly who they would have Ken Klain

474
00:25:14,480 --> 00:25:17,680
Speaker 1: and Richard Dash were like co producers and engineers. They

475
00:25:17,760 --> 00:25:19,960
Speaker 1: treated them like interns. They were like bringing the bag

476
00:25:20,800 --> 00:25:25,000
Speaker 1: and um. So at one point ken clay Is decides

477
00:25:25,040 --> 00:25:27,240
Speaker 1: to mess with them a little bit and um on

478
00:25:27,240 --> 00:25:30,320
Speaker 1: one once he's when he's summoned, he brings it in

479
00:25:30,320 --> 00:25:32,920
Speaker 1: a bag that he has, unbeknownst to the band, replaced

480
00:25:33,000 --> 00:25:35,639
Speaker 1: all the cocaine with talcum powder and does this like

481
00:25:35,760 --> 00:25:40,159
Speaker 1: elaborate like given high and like you know, spills the

482
00:25:40,359 --> 00:25:44,480
Speaker 1: cocaine all over the room and just you watch the

483
00:25:44,520 --> 00:25:47,720
Speaker 1: blood drain out of the band's face and then um,

484
00:25:47,800 --> 00:25:50,720
Speaker 1: they realized they've been pranked and did not murder him

485
00:25:51,000 --> 00:25:53,639
Speaker 1: this day. But my god, it also Mike Fleetwood's like

486
00:25:53,680 --> 00:25:57,520
Speaker 1: a big dude. Can you imagine like all six four

487
00:25:57,760 --> 00:26:02,160
Speaker 1: of like an angry gang glee wild eyed British man,

488
00:26:02,280 --> 00:26:04,800
Speaker 1: like rising up from a drum set after holding two

489
00:26:04,840 --> 00:26:08,760
Speaker 1: sticks because he thinks you've spilled his cocaine braver men

490
00:26:08,800 --> 00:26:13,919
Speaker 1: than I am. As you meditate on that, we'll be

491
00:26:14,000 --> 00:26:17,080
Speaker 1: right back with more too much information after these messages.

492
00:26:27,080 --> 00:26:30,680
Speaker 1: But the famously happy go lucky atmosphere behind the recording

493
00:26:30,720 --> 00:26:34,920
Speaker 1: of Rumors didn't just extend to cocaine based humor. Christine

494
00:26:34,920 --> 00:26:36,680
Speaker 1: got a little in on the action at one point.

495
00:26:36,920 --> 00:26:39,840
Speaker 1: That's right, Christie mcfeeds hold their manager that they were

496
00:26:39,880 --> 00:26:45,200
Speaker 1: breaking up as an April Fool's Day prank. Now again,

497
00:26:45,400 --> 00:26:47,879
Speaker 1: this wasn't even this, This is not as quite as

498
00:26:47,960 --> 00:26:51,320
Speaker 1: lighthearted as it sounds. She called their attorney to tell

499
00:26:51,359 --> 00:26:53,200
Speaker 1: her that the band was breaking up and they would

500
00:26:53,200 --> 00:26:56,200
Speaker 1: not be finishing the album. And she she was running

501
00:26:56,200 --> 00:26:58,560
Speaker 1: through the speech she was going to give him all day,

502
00:26:58,880 --> 00:27:02,600
Speaker 1: really working it out, ringing every emotion, every tortured emotion

503
00:27:02,680 --> 00:27:05,199
Speaker 1: from every word. And so she called this attorney and

504
00:27:05,240 --> 00:27:09,040
Speaker 1: told him to call the head of Warner Brothers Records

505
00:27:09,320 --> 00:27:12,160
Speaker 1: to let them know that this was what was going down,

506
00:27:12,160 --> 00:27:15,119
Speaker 1: and then the band were done. So she hangs up,

507
00:27:15,320 --> 00:27:17,640
Speaker 1: and everyone in the group's trying to like figuring out

508
00:27:17,680 --> 00:27:20,360
Speaker 1: when to call their attorney back because they don't want

509
00:27:20,400 --> 00:27:23,159
Speaker 1: him to actually call the head of Warner Brothers, you know,

510
00:27:23,280 --> 00:27:25,159
Speaker 1: ten minutes, like just long enough for him to like

511
00:27:25,240 --> 00:27:27,919
Speaker 1: work out what he's gonna tell the head of Warner

512
00:27:27,920 --> 00:27:31,199
Speaker 1: Brothers that they're their new biggest stars. Is done. And

513
00:27:31,240 --> 00:27:33,879
Speaker 1: then um, she called him back and reminded him that

514
00:27:33,920 --> 00:27:36,320
Speaker 1: it was April for a staple Fool's Day, and they

515
00:27:36,320 --> 00:27:39,480
Speaker 1: all had a big laugh, which we're probably fairly rare

516
00:27:39,560 --> 00:27:44,120
Speaker 1: during these sessions. That's borderline sociopathic. I'm sorry, It's just

517
00:27:44,160 --> 00:27:46,720
Speaker 1: a mean thing to do to someone. It's not quite

518
00:27:46,760 --> 00:27:49,679
Speaker 1: George Clearney sending Julia Roberts twenty bucks and saying, I

519
00:27:49,720 --> 00:27:52,080
Speaker 1: hear you get twenty a picture now, and you're just

520
00:27:52,119 --> 00:27:54,840
Speaker 1: telling someone this their income stream is about to dry up,

521
00:27:54,880 --> 00:27:58,439
Speaker 1: and that whatever they seem fun, they looked like they

522
00:27:58,480 --> 00:28:01,200
Speaker 1: had a fun time. Everybody had a fun time making rumors.

523
00:28:01,240 --> 00:28:03,200
Speaker 1: If there's one thing to take away from this podcast,

524
00:28:03,240 --> 00:28:05,480
Speaker 1: it's that Rumors was a laugh a minute pill ride.

525
00:28:06,160 --> 00:28:10,480
Speaker 1: But that happy go lucky atmosphere doesn't just extend to

526
00:28:10,520 --> 00:28:14,360
Speaker 1: the pranks. It also extends to the songs such as

527
00:28:14,440 --> 00:28:17,160
Speaker 1: You Make Loving Fun, which is one of my least

528
00:28:17,359 --> 00:28:20,679
Speaker 1: least favorite song titles of all time. Imagine saying that

529
00:28:20,720 --> 00:28:25,040
Speaker 1: to someone you love, I mean, you're married. That's not

530
00:28:25,160 --> 00:28:27,600
Speaker 1: like that wasn't part of your vows or if I if,

531
00:28:27,640 --> 00:28:31,080
Speaker 1: I if if I now disregarding that my wife is

532
00:28:31,119 --> 00:28:34,560
Speaker 1: a Fleetwood macfan, if you were to say to that

533
00:28:34,600 --> 00:28:38,040
Speaker 1: to someone you were with like Darlin you make loving fun.

534
00:28:39,080 --> 00:28:44,320
Speaker 1: What I mean says that. It just says that a

535
00:28:44,360 --> 00:28:46,959
Speaker 1: whole era of like you know, calling someone you know,

536
00:28:47,000 --> 00:28:49,880
Speaker 1: you're my teddy bear, it was an all of us.

537
00:28:50,480 --> 00:28:52,880
Speaker 1: I don't know that there was whatever. It's a great song.

538
00:28:53,040 --> 00:28:55,400
Speaker 1: It's a great song. It's a great song. Dumb title.

539
00:28:55,600 --> 00:28:58,680
Speaker 1: It's a great song. But but Christie McVeigh wrote this

540
00:28:58,800 --> 00:29:01,520
Speaker 1: song about a new relationship that she was in with

541
00:29:01,600 --> 00:29:04,400
Speaker 1: Flutwood Max Lighting Tech, but in order to keep the

542
00:29:04,400 --> 00:29:07,760
Speaker 1: peace in the very small studio live room, she told

543
00:29:07,760 --> 00:29:10,520
Speaker 1: her now ex husband John that the song was about

544
00:29:10,520 --> 00:29:14,120
Speaker 1: her dog, which I gotta say. The lighting designer is

545
00:29:14,160 --> 00:29:16,120
Speaker 1: probably the guy who came out the best in all

546
00:29:16,160 --> 00:29:17,880
Speaker 1: of this, except for the band who got rich. But

547
00:29:17,960 --> 00:29:20,200
Speaker 1: like he's talking about punching out of your weight class

548
00:29:20,280 --> 00:29:25,200
Speaker 1: a lighting designer suddenly getting involved with the keyboardist vocalist

549
00:29:25,240 --> 00:29:28,680
Speaker 1: of the band, especially when that woman is like nineteen seventies,

550
00:29:28,720 --> 00:29:32,200
Speaker 1: like Christine mcvege, like that man, truly, Pete Davidson of

551
00:29:32,720 --> 00:29:37,160
Speaker 1: the l A seventies music industry, Good Lord. But according

552
00:29:37,200 --> 00:29:40,680
Speaker 1: to Ken Kelly's memoir, John eventually figured out the true

553
00:29:40,720 --> 00:29:43,360
Speaker 1: meaning of this song and boycotted the sessions for a

554
00:29:43,360 --> 00:29:46,680
Speaker 1: few days. At least that's his version. John himself told

555
00:29:46,680 --> 00:29:51,000
Speaker 1: a different story in an interview from with Mojo. He

556
00:29:51,120 --> 00:29:53,320
Speaker 1: claimed that it took him years to figure out that

557
00:29:53,360 --> 00:29:56,680
Speaker 1: this song was about his wife's rebound relationship. So yeah,

558
00:29:56,760 --> 00:29:58,840
Speaker 1: I don't know. We're getting into like the led Zeppelin problem,

559
00:29:58,840 --> 00:30:01,120
Speaker 1: which is that all these people were extremely picked up

560
00:30:01,120 --> 00:30:03,160
Speaker 1: and all of them are like low grade ego maniacal,

561
00:30:03,280 --> 00:30:06,000
Speaker 1: so they're all kind of unreliable narrators. Which do you

562
00:30:06,040 --> 00:30:07,240
Speaker 1: think it is? Which do you think it is? Do

563
00:30:07,320 --> 00:30:09,000
Speaker 1: you think he caught onto it or do you think

564
00:30:09,000 --> 00:30:11,480
Speaker 1: it took him years and follow up? Which one makes

565
00:30:11,560 --> 00:30:14,520
Speaker 1: him look worse. I think he must have caught on

566
00:30:14,560 --> 00:30:17,440
Speaker 1: because the lighting designer, his name is Curry Grant, he

567
00:30:17,600 --> 00:30:20,880
Speaker 1: was like around during the sessions, and in Ken Call's

568
00:30:20,920 --> 00:30:23,720
Speaker 1: memoir he's talking about these like, you know, almost like

569
00:30:23,720 --> 00:30:26,360
Speaker 1: a rom com style, like him sneaking in the back

570
00:30:26,400 --> 00:30:30,640
Speaker 1: door to like see Christine briefly and wall John's in

571
00:30:30,680 --> 00:30:32,600
Speaker 1: the control room or something. I mean, it was like

572
00:30:32,640 --> 00:30:35,840
Speaker 1: he was definitely around, So I've got a guess that.

573
00:30:36,000 --> 00:30:37,560
Speaker 1: But but then again, I mean this was a guess

574
00:30:37,560 --> 00:30:40,440
Speaker 1: at the same time that um that John apparently rigged

575
00:30:40,520 --> 00:30:43,680
Speaker 1: up basically like a wine bottle i V. I think

576
00:30:43,720 --> 00:30:45,680
Speaker 1: he had like a wine bottle upset down with like

577
00:30:45,720 --> 00:30:48,200
Speaker 1: a chord coming out of it that he could presumably

578
00:30:48,240 --> 00:30:51,720
Speaker 1: stick into his mouth. Um, I hope it wasn't intravenous.

579
00:30:51,880 --> 00:30:54,400
Speaker 1: Jesus God. I was gonna say, if there's one dude

580
00:30:54,440 --> 00:30:59,680
Speaker 1: who I like, don't trust, like self rigging up an ivy,

581
00:31:00,040 --> 00:31:03,240
Speaker 1: it's John McVie. I mean the wine bottle I V.

582
00:31:03,520 --> 00:31:06,200
Speaker 1: And the cocaine probably didn't help matters. So I mean,

583
00:31:06,240 --> 00:31:08,040
Speaker 1: I think the jury still out on whether or not

584
00:31:08,240 --> 00:31:10,560
Speaker 1: the clock that you make Loving Fun was not about

585
00:31:10,640 --> 00:31:13,720
Speaker 1: Christine mcvie's dog but about her new boyfriend. Yeah. Maybe

586
00:31:13,760 --> 00:31:16,120
Speaker 1: just like seven days later or seven years later, he

587
00:31:16,160 --> 00:31:20,760
Speaker 1: woke up and was like, wait, it's like the song

588
00:31:20,800 --> 00:31:24,760
Speaker 1: I've been doing on stage for seven years now. And

589
00:31:24,760 --> 00:31:29,040
Speaker 1: wait a minute, wait the guy on the spotlight, but

590
00:31:29,600 --> 00:31:34,200
Speaker 1: funny little side fact about You Make Loving Fun. Cyndi Lauper,

591
00:31:34,240 --> 00:31:36,200
Speaker 1: when she was first getting her start as a singer,

592
00:31:36,280 --> 00:31:40,160
Speaker 1: was commissioned in seven to record sound alike covers for

593
00:31:40,240 --> 00:31:43,640
Speaker 1: like budget releases and um, I guess. She later said

594
00:31:43,680 --> 00:31:46,800
Speaker 1: that she was paid twelve dollars to sound like someone else.

595
00:31:47,400 --> 00:31:49,920
Speaker 1: And the only session that she ever did during that

596
00:31:49,920 --> 00:31:52,240
Speaker 1: era that was actually released was a version of You

597
00:31:52,280 --> 00:31:54,800
Speaker 1: Make Loving Fun. And that's the first song she ever

598
00:31:54,840 --> 00:31:56,959
Speaker 1: released that Cyndy Lapper's first release, and it was so

599
00:31:57,080 --> 00:31:59,000
Speaker 1: rare that she actually didn't even have a copy of it.

600
00:31:59,040 --> 00:32:00,640
Speaker 1: I think a fan on that to give her a

601
00:32:00,680 --> 00:32:03,120
Speaker 1: copy of it, like years and years later. So there

602
00:32:03,200 --> 00:32:06,520
Speaker 1: is a fun little side fact about Cyndi Lauper and

603
00:32:06,560 --> 00:32:08,840
Speaker 1: You Make Loving Fun. Just when you think that this

604
00:32:08,920 --> 00:32:12,680
Speaker 1: band can't ensnare anyone else, they pull in Cyndi Lauper

605
00:32:12,800 --> 00:32:15,240
Speaker 1: like they're They're not even just pulling in people from

606
00:32:15,240 --> 00:32:17,680
Speaker 1: the West Coast of America. Now they've got their fingers

607
00:32:17,680 --> 00:32:21,800
Speaker 1: in New York too. Um. Lindsay and Stevie have a

608
00:32:21,840 --> 00:32:25,760
Speaker 1: pretty interesting moment in this. You know, Mick mixed breakup

609
00:32:25,840 --> 00:32:28,280
Speaker 1: is pretty unilateral. His wife just as like I'm going

610
00:32:28,320 --> 00:32:31,160
Speaker 1: to leave you and was for his best friend. By

611
00:32:31,160 --> 00:32:34,600
Speaker 1: the way, yea again for his best friend. And John

612
00:32:34,600 --> 00:32:37,000
Speaker 1: and Christine are just like not talking to each other,

613
00:32:37,160 --> 00:32:39,920
Speaker 1: but she has moved on. John is in a committed

614
00:32:39,920 --> 00:32:43,560
Speaker 1: relationship with alcohol, but Lindsay and Stevie are still in

615
00:32:43,560 --> 00:32:46,760
Speaker 1: the like high school junior senior having knocked down drag

616
00:32:46,800 --> 00:32:50,120
Speaker 1: out arguments in front of everyone else. And Ken Klay

617
00:32:50,200 --> 00:32:52,880
Speaker 1: has this recollection of them doing the background vocals to

618
00:32:52,920 --> 00:32:55,000
Speaker 1: You Make Loving Fun, and they're just on two stools

619
00:32:55,040 --> 00:32:58,600
Speaker 1: in front of a pair of microphones and during every

620
00:32:58,640 --> 00:33:01,680
Speaker 1: moment of playback while they were tracking that anytime they

621
00:33:01,760 --> 00:33:05,040
Speaker 1: weren't singing, they would just immediately go screaming at each other,

622
00:33:05,520 --> 00:33:10,520
Speaker 1: like them guys, all right, we got check levels. You

623
00:33:10,560 --> 00:33:14,280
Speaker 1: ask you can go to hell. H you were moving

624
00:33:14,280 --> 00:33:18,800
Speaker 1: out when we get back to l A. You just

625
00:33:19,040 --> 00:33:21,360
Speaker 1: I mean, it's truly get to like, you can't write

626
00:33:21,360 --> 00:33:27,080
Speaker 1: this stuff, you know. Um, And they nailed it. You're right,

627
00:33:27,120 --> 00:33:31,320
Speaker 1: they still nailed it. You're absolutely right. Consummate professionalism. But

628
00:33:31,400 --> 00:33:34,400
Speaker 1: let's get let's get away from let's get away from

629
00:33:34,440 --> 00:33:38,960
Speaker 1: the damn vocalists. Three vocalists for a band, too many vocalists.

630
00:33:40,000 --> 00:33:43,400
Speaker 1: Let's let's let's put this spotlight back on our dear

631
00:33:43,480 --> 00:33:47,200
Speaker 1: sweet mc fleetwood for a second. Yes, well, I guess

632
00:33:47,320 --> 00:33:50,120
Speaker 1: we got to talk a little bit about the vocalist

633
00:33:50,200 --> 00:33:56,760
Speaker 1: because no, so we're gonna talk about sweet mc fleetwood

634
00:33:56,800 --> 00:33:59,840
Speaker 1: and his drumming on Go Your Own Way, which written

635
00:33:59,880 --> 00:34:02,800
Speaker 1: by Lindsey Buckingham, one of the truly great Kissoff songs

636
00:34:02,840 --> 00:34:05,680
Speaker 1: of all time. It was written at a house that

637
00:34:05,760 --> 00:34:09,839
Speaker 1: the band rented in Florida, between legs number one, right,

638
00:34:10,400 --> 00:34:13,080
Speaker 1: it was between legs of their Fleetwood mac tor and

639
00:34:13,160 --> 00:34:16,200
Speaker 1: Mick Fleetwood. Remember that the house, and I'm quoting had

640
00:34:16,200 --> 00:34:19,680
Speaker 1: a distinctly bad vibe to it, as if it were haunted,

641
00:34:20,120 --> 00:34:23,239
Speaker 1: which did nothing to help matters. I don't want to

642
00:34:23,239 --> 00:34:27,680
Speaker 1: shame Mick Fleetwood more than life already has. But you know,

643
00:34:27,760 --> 00:34:30,040
Speaker 1: if you lose six guitarists and it's like that, you

644
00:34:30,120 --> 00:34:32,680
Speaker 1: might be a redneck. If you lose six guitarists in

645
00:34:32,719 --> 00:34:35,600
Speaker 1: a year and you're writing songs in a house that

646
00:34:35,719 --> 00:34:39,719
Speaker 1: you think is haunted, it might be you, Mick. Ten

647
00:34:39,800 --> 00:34:42,000
Speaker 1: years of bad luck and bad vibes in a van.

648
00:34:42,800 --> 00:34:45,480
Speaker 1: You look who the common denominator is. Oh I I

649
00:34:45,560 --> 00:34:49,400
Speaker 1: would not Mick Fleetwood is a ball of joyous energy.

650
00:34:49,440 --> 00:34:53,120
Speaker 1: I would not blame him for six guitars leaving. No,

651
00:34:53,200 --> 00:34:57,320
Speaker 1: it's John mcviege. We all know it's John McVie. Sorry,

652
00:34:58,200 --> 00:35:00,640
Speaker 1: but go your own way was uh, I think the

653
00:35:00,680 --> 00:35:03,200
Speaker 1: first song that was written for Rumors, first song Lindsey

654
00:35:03,239 --> 00:35:06,239
Speaker 1: Buckingham wrote for Rumors at least, and um, he picked

655
00:35:06,320 --> 00:35:08,040
Speaker 1: up an electric guitar and sort of chugging out this

656
00:35:08,120 --> 00:35:10,760
Speaker 1: chord progression. You know. He described it as a stream

657
00:35:10,800 --> 00:35:13,000
Speaker 1: of consciousness. In the first phrase that he hit was

658
00:35:13,120 --> 00:35:16,680
Speaker 1: loving you isn't the right thing to do, which, um,

659
00:35:16,719 --> 00:35:19,800
Speaker 1: you know, kind of quickly opens itself up to a

660
00:35:19,960 --> 00:35:25,240
Speaker 1: stream of bile about his his ex girlfriend Stevie Nicks.

661
00:35:25,280 --> 00:35:28,920
Speaker 1: So he's working out the song and he uh, he's

662
00:35:29,000 --> 00:35:32,080
Speaker 1: driving into the session to record it, and he hears

663
00:35:32,080 --> 00:35:34,400
Speaker 1: Street Fighting Man by the Rolling Stones and has a

664
00:35:34,440 --> 00:35:37,359
Speaker 1: really distinctive kind of rolling drum beat, and he goes

665
00:35:37,440 --> 00:35:39,680
Speaker 1: over to Mick Fleetwood and tells him he wants to

666
00:35:39,680 --> 00:35:43,960
Speaker 1: sound like Street Fighting Man. Mcfleetwood is dyslexic and we'd

667
00:35:44,160 --> 00:35:47,319
Speaker 1: describe it in later years. He couldn't nail it. He said.

668
00:35:47,320 --> 00:35:50,200
Speaker 1: His own ineptness contributed to the fact that he had

669
00:35:50,239 --> 00:35:54,040
Speaker 1: this like really disorienting, unsettled beat for this song that

670
00:35:54,120 --> 00:35:56,520
Speaker 1: Lindsay was working on, and it worked and they just

671
00:35:56,560 --> 00:35:58,040
Speaker 1: kind of went for it. It ended up being a

672
00:35:58,080 --> 00:36:00,800
Speaker 1: perfect fit for the track. Uh. He later said in

673
00:36:00,760 --> 00:36:02,839
Speaker 1: an interview, I never quite got to grips with what

674
00:36:02,880 --> 00:36:06,160
Speaker 1: he wanted, so the end result was my mutated interpretation.

675
00:36:06,520 --> 00:36:08,800
Speaker 1: It became a major part of the song, a complete

676
00:36:08,800 --> 00:36:11,680
Speaker 1: back to front approach that came I'm ashamed to say

677
00:36:11,880 --> 00:36:15,920
Speaker 1: from capitalizing on my own ineptness, but really, I mean,

678
00:36:15,960 --> 00:36:17,799
Speaker 1: to me, it makes the song. Yeah, I think he's

679
00:36:17,800 --> 00:36:19,719
Speaker 1: short selling himself there. I mean. The other thing too,

680
00:36:19,760 --> 00:36:21,840
Speaker 1: is that like Lindsay supposedly came in and was just

681
00:36:21,920 --> 00:36:24,360
Speaker 1: kind of like clumsily like bashing this out on the

682
00:36:24,440 --> 00:36:28,360
Speaker 1: drums and being like this is what I want. Like

683
00:36:28,160 --> 00:36:33,560
Speaker 1: we're like, I'm a living god, this is what I want,

684
00:36:33,719 --> 00:36:36,239
Speaker 1: and make Fleetwood's like, oh, well, uh, you know you're

685
00:36:36,239 --> 00:36:39,640
Speaker 1: not a drummer. But okay, so I'm just imagining like

686
00:36:39,840 --> 00:36:43,880
Speaker 1: full on Afro era Lindsey Buckingham in a kimono, high

687
00:36:43,880 --> 00:36:46,640
Speaker 1: on coke, standing over a drum set, like bashing out

688
00:36:46,640 --> 00:36:49,359
Speaker 1: a drumbeat and like yelling at Mike like, did you

689
00:36:49,400 --> 00:36:52,759
Speaker 1: get it yet? But that's not even the craziest thing

690
00:36:52,800 --> 00:36:55,320
Speaker 1: Lindsay did during the making of this album. He uh,

691
00:36:55,480 --> 00:36:58,400
Speaker 1: you know, it extended to the engineers and it was

692
00:36:58,640 --> 00:37:01,160
Speaker 1: unsurprisingly it was a guitar our solo that brought it

693
00:37:01,160 --> 00:37:02,879
Speaker 1: out of him. So why don't you tell us that story?

694
00:37:02,960 --> 00:37:07,319
Speaker 1: Jordan's yes, uh so. Perhaps the most extraordinary part of

695
00:37:07,320 --> 00:37:10,200
Speaker 1: this song, aside from just the pure venom of the lyrics,

696
00:37:10,640 --> 00:37:13,800
Speaker 1: is this searing guitar solo. Apparently it was the guitar

697
00:37:13,880 --> 00:37:17,080
Speaker 1: solo that finally won over the original Fleetwood mac guitar.

698
00:37:17,120 --> 00:37:19,080
Speaker 1: As Peter Green, I guess up at the lapt point

699
00:37:19,320 --> 00:37:21,640
Speaker 1: he wasn't all that sure about Lindsey Buckingham, which I

700
00:37:21,640 --> 00:37:25,160
Speaker 1: mean fair, But this fiery guitar solo had some real

701
00:37:25,280 --> 00:37:30,200
Speaker 1: heat behind it. According to Ken Kelly's memoir, making Rumors,

702
00:37:30,400 --> 00:37:34,640
Speaker 1: Lindsay was so high strung, strong out whatever version of

703
00:37:34,680 --> 00:37:38,600
Speaker 1: strong you want to call it, that he strangled him

704
00:37:38,719 --> 00:37:42,680
Speaker 1: during sessions for this guitar solo. I guess Lindsay laid

705
00:37:42,680 --> 00:37:45,239
Speaker 1: down a version they were tracking different versions of it.

706
00:37:45,920 --> 00:37:47,879
Speaker 1: He heard it back, said he didn't like it, told

707
00:37:47,960 --> 00:37:50,719
Speaker 1: Ken the record over it. Uh. He went back out there,

708
00:37:50,880 --> 00:37:53,279
Speaker 1: did another take on the solo, went back in and

709
00:37:53,360 --> 00:37:55,480
Speaker 1: listened to it back. Didn't like it, so let's go

710
00:37:55,480 --> 00:37:57,840
Speaker 1: with the last one. And everyone was like, well, you

711
00:37:57,920 --> 00:38:02,239
Speaker 1: told Kennon deleted. He it over it. And this is

712
00:38:02,239 --> 00:38:05,319
Speaker 1: when I'd like to go directly to uh, to Ken's book.

713
00:38:06,120 --> 00:38:11,000
Speaker 1: You did what, Lindsey demanded. His face turned bright red

714
00:38:11,320 --> 00:38:14,120
Speaker 1: and the veins in his neck began to throb. Then

715
00:38:14,120 --> 00:38:16,919
Speaker 1: he put his guitar down and charged in the control room,

716
00:38:17,080 --> 00:38:19,000
Speaker 1: approaching me from the front. While I was in my

717
00:38:19,040 --> 00:38:23,120
Speaker 1: control booth seat. Lindsey placed both hands around my neck.

718
00:38:23,440 --> 00:38:26,720
Speaker 1: You're an idiot, Lindsey screamed at me, his hands tightening

719
00:38:26,760 --> 00:38:29,200
Speaker 1: around my throat. Lindsey had pushed me all the way

720
00:38:29,239 --> 00:38:31,280
Speaker 1: back in my seat and his hands could have crushed

721
00:38:31,280 --> 00:38:34,799
Speaker 1: my windpipe. At that moment, time slowed down for me.

722
00:38:35,120 --> 00:38:38,120
Speaker 1: I didn't feel fear or anger. I just thought that

723
00:38:38,160 --> 00:38:44,040
Speaker 1: Lindsay was being a really stupid uh. And then I guess,

724
00:38:44,280 --> 00:38:47,200
Speaker 1: you know, everyone in the room although the bands look Lindsey,

725
00:38:47,280 --> 00:38:50,600
Speaker 1: what what the hell? And you know record scratch. He

726
00:38:50,640 --> 00:38:53,160
Speaker 1: looks up and realized that his bandmates are all looking

727
00:38:53,200 --> 00:38:56,280
Speaker 1: at him and you know, it's worth saying. These bandmates

728
00:38:56,280 --> 00:38:58,399
Speaker 1: have all done some pretty terrible things to each other,

729
00:38:58,880 --> 00:39:03,120
Speaker 1: like this is finally a too yeah, And I guess

730
00:39:03,120 --> 00:39:06,279
Speaker 1: they all demanded he apologized to Ken, and I guess

731
00:39:06,320 --> 00:39:08,080
Speaker 1: Lindsey like left the room and got him a beer

732
00:39:08,480 --> 00:39:12,640
Speaker 1: and tried to smooth things over, which you know, I

733
00:39:12,800 --> 00:39:15,640
Speaker 1: didn't quite do it in Ken's book. He continued and said,

734
00:39:16,320 --> 00:39:18,160
Speaker 1: of course Lindsey could have sent one of the road

735
00:39:18,160 --> 00:39:20,200
Speaker 1: crew to get me a beer, but he wanted to

736
00:39:20,200 --> 00:39:22,040
Speaker 1: get out of the studio, and I was happy to

737
00:39:22,040 --> 00:39:24,719
Speaker 1: see him leave. I didn't really believe that Lindsay was

738
00:39:24,760 --> 00:39:27,120
Speaker 1: sorry that he tried to choke me. Maybe he was

739
00:39:27,160 --> 00:39:29,319
Speaker 1: sorry he'd done it in front of other people, but

740
00:39:29,600 --> 00:39:31,840
Speaker 1: somehow I think he thought he had the right to

741
00:39:31,880 --> 00:39:36,359
Speaker 1: mistreat people. I just love that. I love that Ken,

742
00:39:36,640 --> 00:39:41,080
Speaker 1: that he talks about entering a state of like latest

743
00:39:41,160 --> 00:39:45,399
Speaker 1: Nirvana and and with like no thought for his own life.

744
00:39:45,440 --> 00:39:47,880
Speaker 1: But all he can think of is Lindsay, you idiot,

745
00:39:48,440 --> 00:39:52,879
Speaker 1: Keep stupid, idiot. That's so great. Good for King makes

746
00:39:52,880 --> 00:39:56,960
Speaker 1: me want to listen to his daughter's music. Um, but

747
00:39:58,000 --> 00:40:01,480
Speaker 1: Lindsay succeeded in choking that guitar solo out of Ken

748
00:40:01,520 --> 00:40:07,440
Speaker 1: KLA's throat. Yes, I mean Ken later assembled what was

749
00:40:07,480 --> 00:40:11,160
Speaker 1: the final guitar solo from six different lead guitar takes,

750
00:40:11,239 --> 00:40:12,640
Speaker 1: and I guess he had all the tapes up of

751
00:40:12,680 --> 00:40:14,719
Speaker 1: the control board and he fade them in and out

752
00:40:14,719 --> 00:40:16,680
Speaker 1: one at a time, which is kind of why it

753
00:40:16,719 --> 00:40:19,399
Speaker 1: all sounds like this kind of dream like, like one

754
00:40:19,600 --> 00:40:21,799
Speaker 1: melody line would come in and then another one would

755
00:40:21,840 --> 00:40:24,160
Speaker 1: come in after that. So Ken, despite the fact that

756
00:40:24,200 --> 00:40:27,480
Speaker 1: Lindsay tried to strangle him, worked his magic and uh

757
00:40:27,719 --> 00:40:30,760
Speaker 1: brought forth a really incredible guitar sound for him. Yeah,

758
00:40:30,920 --> 00:40:33,320
Speaker 1: which is you know, the job of every studio engineer

759
00:40:33,360 --> 00:40:35,160
Speaker 1: in the world is to each tack from the band

760
00:40:35,200 --> 00:40:38,680
Speaker 1: and then polish their turns into gold. Anyway, so how

761
00:40:38,680 --> 00:40:44,200
Speaker 1: did Stevie feel about this song? Not great? Uh, perhaps

762
00:40:44,320 --> 00:40:47,600
Speaker 1: unsurprisingly the line packing up shacking up is all you

763
00:40:47,640 --> 00:40:50,480
Speaker 1: want to do, you know, it's not just a lazy rhyme,

764
00:40:50,560 --> 00:40:54,160
Speaker 1: it's not just reductive, but it's me And Stevie asked

765
00:40:54,200 --> 00:40:57,000
Speaker 1: him to get rid of that, and of course he

766
00:40:57,080 --> 00:41:00,439
Speaker 1: did not, and she said rolling stone. She later said,

767
00:41:00,480 --> 00:41:03,200
Speaker 1: I very much resented him. He knew that it wasn't true.

768
00:41:03,880 --> 00:41:05,880
Speaker 1: It was just an angry thing that he said, and

769
00:41:06,000 --> 00:41:08,440
Speaker 1: every time those words would come on stage, I wanted

770
00:41:08,480 --> 00:41:11,080
Speaker 1: to go over and kill him. He knew it, so

771
00:41:11,120 --> 00:41:13,839
Speaker 1: he really pushed my buttons through that. It was like,

772
00:41:14,000 --> 00:41:16,880
Speaker 1: I'll make you suffer for leaving me and I did.

773
00:41:17,040 --> 00:41:19,120
Speaker 1: I think the thing that's really insidious about this is that,

774
00:41:19,160 --> 00:41:22,080
Speaker 1: like how much of this was really covered when they

775
00:41:22,120 --> 00:41:25,799
Speaker 1: were talking about it. You know, she wasn't able to

776
00:41:25,880 --> 00:41:28,880
Speaker 1: give her side of this story at the time, so

777
00:41:29,480 --> 00:41:32,560
Speaker 1: she just had to suffer through this song accusing her

778
00:41:32,560 --> 00:41:36,560
Speaker 1: of all of this stuff becoming one of their major hits.

779
00:41:37,040 --> 00:41:39,960
Speaker 1: I don't know, it's gross, man, It's sad, but a

780
00:41:40,080 --> 00:41:43,560
Speaker 1: nicer A nicer anecdote involves another person that that the

781
00:41:43,640 --> 00:41:49,840
Speaker 1: rumors Fleetwood Mac universe in the extended Universes, which is

782
00:41:49,920 --> 00:41:53,480
Speaker 1: kind of out of left field. Sly Stone Baby, Um,

783
00:41:53,560 --> 00:41:57,680
Speaker 1: that is right. Yeah. Stevie Nicks wrote her hit song

784
00:41:57,800 --> 00:42:00,440
Speaker 1: I Think the fleet Back's only number one song, Dreams

785
00:42:00,920 --> 00:42:04,080
Speaker 1: in sly Stones Bed. We'll talk more about in the second,

786
00:42:04,080 --> 00:42:07,840
Speaker 1: but first Dreams really was kind of her answer song

787
00:42:07,960 --> 00:42:09,879
Speaker 1: to go your Own Way. I mean she would call

788
00:42:10,080 --> 00:42:13,040
Speaker 1: Dreams and go your Own Way twins songs because they

789
00:42:13,120 --> 00:42:17,920
Speaker 1: kind of chronicle the struggle to untangle uh, their toxic relationship,

790
00:42:17,960 --> 00:42:20,759
Speaker 1: their toxic partnership from each other. And she would later

791
00:42:20,800 --> 00:42:22,960
Speaker 1: say and and uh in the liner notes to the

792
00:42:23,040 --> 00:42:27,120
Speaker 1: Rumors Deluxe reissue in even though Go Your Own Way

793
00:42:27,239 --> 00:42:29,640
Speaker 1: was a little angry, it was also honest. So then

794
00:42:29,680 --> 00:42:32,680
Speaker 1: I wrote Dreams, and because I'm the schifani chick who

795
00:42:32,680 --> 00:42:36,239
Speaker 1: believes in fairies and angels and Lindsay is a hardcore guy,

796
00:42:36,520 --> 00:42:39,640
Speaker 1: it comes out differently. Lindsay saying go ahead and day

797
00:42:39,680 --> 00:42:41,920
Speaker 1: other men, and go and live your crappy life, and

798
00:42:42,000 --> 00:42:44,879
Speaker 1: I'm singing about the rain washing you clean. We're coming

799
00:42:44,880 --> 00:42:47,640
Speaker 1: at it from opposite angles, but really saying the exact

800
00:42:47,680 --> 00:42:50,719
Speaker 1: same thing. It's true both songs about moving on. One

801
00:42:50,760 --> 00:42:53,279
Speaker 1: of them is bitter and resentful and mud slinging, and

802
00:42:53,320 --> 00:42:55,440
Speaker 1: the other is a little more zen about it one

803
00:42:55,440 --> 00:42:58,959
Speaker 1: way I'm putting it. But but sessions at the record

804
00:42:59,000 --> 00:43:02,680
Speaker 1: Plan and Saclito, we're usually pretty tedious. I mean, it's

805
00:43:02,680 --> 00:43:05,920
Speaker 1: a famous story about the engineers taking like five days

806
00:43:05,960 --> 00:43:08,560
Speaker 1: they get a good drum sound, And that really wasn't

807
00:43:08,600 --> 00:43:10,600
Speaker 1: Stevie's thing at all. I mean, she wasn't really into

808
00:43:10,600 --> 00:43:12,480
Speaker 1: the technical side of things, and so there wasn't a

809
00:43:12,480 --> 00:43:14,560
Speaker 1: lot for her to do. She's, like, you know, foremost

810
00:43:14,560 --> 00:43:19,200
Speaker 1: a singer songwriter. So when all the studio technical stuff

811
00:43:19,239 --> 00:43:22,640
Speaker 1: was going on, uh, she was pretty bored. And to

812
00:43:22,719 --> 00:43:27,160
Speaker 1: keep the boredom at bay, she went into a room nearby.

813
00:43:27,239 --> 00:43:30,080
Speaker 1: It was an unused studio that had been built for

814
00:43:30,200 --> 00:43:34,120
Speaker 1: Sly Stone, who was a you know northern California guy. Um,

815
00:43:34,160 --> 00:43:36,319
Speaker 1: you know, in addition to sly and the family Stone

816
00:43:36,320 --> 00:43:40,680
Speaker 1: who's a big, big time producer as well, Um sent

817
00:43:40,760 --> 00:43:44,960
Speaker 1: the stage set the stage for what they called Slies Pit.

818
00:43:45,360 --> 00:43:48,080
Speaker 1: Yes it was. It was a sort of It was

819
00:43:48,080 --> 00:43:51,120
Speaker 1: a black and red room with a sunken pit in

820
00:43:51,160 --> 00:43:53,919
Speaker 1: the middle, and there was a big black velvet bed

821
00:43:53,960 --> 00:43:56,680
Speaker 1: with Victorian drapes, and I guess there was like a

822
00:43:56,760 --> 00:43:59,239
Speaker 1: Fender Rhodes in there too. And so she was just

823
00:43:59,320 --> 00:44:02,560
Speaker 1: sitting there, bring her her knitting, I think she would say,

824
00:44:02,640 --> 00:44:06,040
Speaker 1: and then crotchet and writing her journals and sketch out

825
00:44:06,120 --> 00:44:09,239
Speaker 1: song lyrics and sketch pictures and stuff. And she would

826
00:44:09,239 --> 00:44:11,399
Speaker 1: just kind of hanging there and and it was kind

827
00:44:11,400 --> 00:44:13,880
Speaker 1: of her little hotaway when um, you know, when they

828
00:44:13,920 --> 00:44:17,279
Speaker 1: were doing all the technical stuff in in the studio room. Uh,

829
00:44:17,320 --> 00:44:20,240
Speaker 1: and it was in there that she she wrote Dreams.

830
00:44:20,680 --> 00:44:23,040
Speaker 1: She would later say on an interview with Blender, I

831
00:44:23,080 --> 00:44:25,120
Speaker 1: sat down on the bed with my keyboard in front

832
00:44:25,120 --> 00:44:27,640
Speaker 1: of me, I found the drum pattern, switched my little

833
00:44:27,680 --> 00:44:30,720
Speaker 1: cassette player on and wrote Dreams in about ten minutes.

834
00:44:31,280 --> 00:44:33,959
Speaker 1: And it's got this really simple like when she first

835
00:44:34,000 --> 00:44:35,880
Speaker 1: presented it to the band, it was this three chord

836
00:44:36,000 --> 00:44:38,839
Speaker 1: riff that you know, it was kind of like, kind

837
00:44:38,880 --> 00:44:42,440
Speaker 1: of hypnotic in a way. Um. Stevie would later say

838
00:44:42,440 --> 00:44:44,200
Speaker 1: that the band weren't all that crazy about it when

839
00:44:44,200 --> 00:44:46,440
Speaker 1: she first heard it because it was it was almost boring.

840
00:44:46,480 --> 00:44:49,560
Speaker 1: It was really just three chords, and um, I think

841
00:44:49,680 --> 00:44:52,800
Speaker 1: Christine mcbeel later said that she did think it was boring,

842
00:44:53,440 --> 00:44:58,200
Speaker 1: but Lindsay right. Lindsay worked with Stevie on it, which

843
00:44:58,200 --> 00:45:00,360
Speaker 1: you mean again, there is something to be said about

844
00:45:00,360 --> 00:45:03,160
Speaker 1: how much they worked on each other's songs, even when

845
00:45:03,160 --> 00:45:07,040
Speaker 1: they were, you know, about each other. Stevie would later

846
00:45:07,080 --> 00:45:09,040
Speaker 1: say in an interview with with The Daily Mail that

847
00:45:09,080 --> 00:45:12,640
Speaker 1: she played him the cassette demo of Dreams, and even

848
00:45:12,640 --> 00:45:14,359
Speaker 1: though Lindsay was mad at me at the time, he

849
00:45:14,480 --> 00:45:17,160
Speaker 1: played it and looked up at me and smiled. What

850
00:45:17,200 --> 00:45:19,520
Speaker 1: was going on between us was sad. We were couples

851
00:45:19,520 --> 00:45:22,279
Speaker 1: who couldn't make it through, but as musicians we still

852
00:45:22,360 --> 00:45:24,279
Speaker 1: respected each other, and I think that that is the

853
00:45:24,280 --> 00:45:28,319
Speaker 1: main point. Lindsay fashioned these three separate sections out of

854
00:45:28,520 --> 00:45:32,120
Speaker 1: identical chords, but he made every section sound different, and

855
00:45:32,160 --> 00:45:34,680
Speaker 1: like I was saying earlier, it's really kind of a

856
00:45:34,719 --> 00:45:37,360
Speaker 1: boring song on like a skeletal level, because it's just

857
00:45:37,400 --> 00:45:39,520
Speaker 1: a couple of chords in there that repeat over and over.

858
00:45:40,000 --> 00:45:43,040
Speaker 1: He made it so that each section sounded sonically very

859
00:45:43,040 --> 00:45:45,759
Speaker 1: different and kept your attention and kept it interesting. To me.

860
00:45:45,880 --> 00:45:48,400
Speaker 1: It's interesting that the band's nickname for it was Spinners

861
00:45:48,560 --> 00:45:51,640
Speaker 1: because they when she first played it for them, it

862
00:45:51,719 --> 00:45:53,800
Speaker 1: reminded them of a song by the R and B

863
00:45:53,880 --> 00:45:56,719
Speaker 1: group soul group the Spinners, and I guess people have

864
00:45:56,840 --> 00:45:59,200
Speaker 1: sort of over the years tried to figure out which

865
00:45:59,200 --> 00:46:01,160
Speaker 1: Spinners song that it is, and I was just on

866
00:46:01,200 --> 00:46:04,080
Speaker 1: a message board and people think it's I'll be around

867
00:46:04,600 --> 00:46:09,240
Speaker 1: because the chord progressions are not They're not entirely the same,

868
00:46:09,560 --> 00:46:12,759
Speaker 1: but the tempos are a little bit closer and the

869
00:46:12,840 --> 00:46:15,760
Speaker 1: melodies are both kind of moved around the pentatonic scale,

870
00:46:15,920 --> 00:46:20,719
Speaker 1: so apparently if you're interested, maybe uh, you can make

871
00:46:20,719 --> 00:46:22,560
Speaker 1: a judgment on it. In the same way that the

872
00:46:22,600 --> 00:46:25,280
Speaker 1: rest of Fleetwood Mac did about whether or not Dreams

873
00:46:25,360 --> 00:46:28,240
Speaker 1: is I'll be around by the Spinners. I didn't realize

874
00:46:28,280 --> 00:46:30,879
Speaker 1: that the drum sound on Dreams was like an eight

875
00:46:30,880 --> 00:46:33,680
Speaker 1: bar loop that they just had, so it almost sounds

876
00:46:33,719 --> 00:46:36,359
Speaker 1: like a proto like techno kind of thing. That's why

877
00:46:36,400 --> 00:46:39,240
Speaker 1: it sounds so like hypnotic is. It's just the same

878
00:46:39,280 --> 00:46:41,280
Speaker 1: thing over and over again. I didn't realize that until

879
00:46:41,280 --> 00:46:45,520
Speaker 1: researching for this, and it's six part vocals. It's I mean,

880
00:46:45,560 --> 00:46:48,839
Speaker 1: it is really I think more than go your own way.

881
00:46:48,880 --> 00:46:52,840
Speaker 1: This is like the Stevie's revenge against Lindsay was ultimately

882
00:46:52,880 --> 00:46:57,040
Speaker 1: having better songs um which is again a hot take,

883
00:46:57,200 --> 00:47:00,360
Speaker 1: but like I think it probably kills Lindsay him a

884
00:47:00,400 --> 00:47:03,480
Speaker 1: little bit that Dreams is what people think of when

885
00:47:03,480 --> 00:47:05,680
Speaker 1: they think of rumors and not go your own way,

886
00:47:06,000 --> 00:47:08,160
Speaker 1: especially after this song blew up on TikTok, you know,

887
00:47:08,200 --> 00:47:10,600
Speaker 1: and like it was just memed to death. I mean,

888
00:47:10,600 --> 00:47:14,040
Speaker 1: I'm sure Lindsay, yeah, I don't know. I would venture

889
00:47:14,120 --> 00:47:16,239
Speaker 1: guess that part of that bites at him. That her

890
00:47:16,360 --> 00:47:19,160
Speaker 1: song became like iconic, not to Go your Own Way,

891
00:47:19,160 --> 00:47:22,440
Speaker 1: He's an iconic, but hers popped back into the psychgeist

892
00:47:22,560 --> 00:47:25,439
Speaker 1: more recently. I don't know, maybe I'm projecting well also

893
00:47:25,480 --> 00:47:27,959
Speaker 1: at the time, I mean Dreams was I think Mac's

894
00:47:28,000 --> 00:47:29,920
Speaker 1: only number one song and Go your Own Way and

895
00:47:30,000 --> 00:47:34,120
Speaker 1: hit number ten, but I'm sure that must have ten.

896
00:47:34,200 --> 00:47:36,800
Speaker 1: Ain't one baby, that was the god This is a

897
00:47:36,960 --> 00:47:42,919
Speaker 1: NASCAR if you ate first your Last, that's hilarious, that's

898
00:47:42,920 --> 00:47:45,880
Speaker 1: a bit. I want to see Stevie Nicks parading or

899
00:47:45,960 --> 00:47:48,359
Speaker 1: number one for Dreams in front of Lindsey Bucking. I'm

900
00:47:48,360 --> 00:47:53,960
Speaker 1: going if you ain't first your Last? Whoa dude donuts

901
00:47:53,960 --> 00:48:00,800
Speaker 1: on his front lawn? Oh man, We're gonna a quick break,

902
00:48:01,000 --> 00:48:03,520
Speaker 1: but we'll be right back with more too much information

903
00:48:03,560 --> 00:48:21,240
Speaker 1: in just a moment. Well, while we're on on Stevie's

904
00:48:19,480 --> 00:48:24,000
Speaker 1: greatest song, Oh yeah, did you know that gold Dust

905
00:48:24,040 --> 00:48:29,400
Speaker 1: Woman features the sound of Mick Fleetwood's shattering glass like

906
00:48:29,600 --> 00:48:32,360
Speaker 1: on his own or just no one told him to

907
00:48:32,360 --> 00:48:35,280
Speaker 1: do it. He just that's just kind of no people,

908
00:48:35,560 --> 00:48:38,480
Speaker 1: they did tell him to do it. So this is

909
00:48:38,520 --> 00:48:41,200
Speaker 1: the genesis of the song. It's you know, Stevie's other big,

910
00:48:41,440 --> 00:48:43,960
Speaker 1: you know, standout moment on rumors. The song title comes

911
00:48:44,000 --> 00:48:48,160
Speaker 1: from gold Dust Lane in the town of Wickenburg, Arizona,

912
00:48:48,239 --> 00:48:52,680
Speaker 1: where Stevie spent time as a child. Yeah. Well, I

913
00:48:52,680 --> 00:48:54,640
Speaker 1: don't know any place with a road called gold dust

914
00:48:54,719 --> 00:48:57,200
Speaker 1: Land can't be that depressing. The other thing about this

915
00:48:57,239 --> 00:49:00,520
Speaker 1: song that will not surprise you is, uh, the rather

916
00:49:00,880 --> 00:49:04,160
Speaker 1: paper thin metaphor behind the title. Yeah. I mean you

917
00:49:04,200 --> 00:49:07,560
Speaker 1: were used the word dust around Fleetwood Mac and the

918
00:49:07,640 --> 00:49:11,399
Speaker 1: assumption would be that cocaine if somehow involved um. And

919
00:49:11,640 --> 00:49:14,520
Speaker 1: in an interview that Stevie gave, I guess she was

920
00:49:14,560 --> 00:49:18,560
Speaker 1: doing an interview with Courtney Love for Spin and she

921
00:49:18,640 --> 00:49:22,080
Speaker 1: confirmed that gold dust was a metaphor for cocaine. She said,

922
00:49:22,320 --> 00:49:24,799
Speaker 1: everybody was doing a little bit, you know. We never

923
00:49:24,840 --> 00:49:27,440
Speaker 1: bought it or anything. It was just around And I

924
00:49:27,480 --> 00:49:29,520
Speaker 1: think I had a real serious flash of what the

925
00:49:29,600 --> 00:49:32,080
Speaker 1: stuff could be or what it could do to you.

926
00:49:32,440 --> 00:49:35,200
Speaker 1: And I really imagine that it could overtake everything, never

927
00:49:35,239 --> 00:49:37,719
Speaker 1: thinking a million a million years that it would overtake me.

928
00:49:38,200 --> 00:49:39,640
Speaker 1: I must have met a couple of people that I

929
00:49:39,680 --> 00:49:41,359
Speaker 1: thought did too much coke, and I must have been

930
00:49:41,360 --> 00:49:44,040
Speaker 1: impressed by that because it made it into the whole story.

931
00:49:44,920 --> 00:49:48,680
Speaker 1: She met them at work, So according to Stevie, this

932
00:49:48,719 --> 00:49:52,040
Speaker 1: is basically about cocaine abusers before she really got heavily

933
00:49:52,080 --> 00:49:55,120
Speaker 1: into it herself. Um. The take that was chosen for

934
00:49:55,320 --> 00:49:59,279
Speaker 1: release on Rumors was apparently recorded at four in the

935
00:49:59,320 --> 00:50:01,920
Speaker 1: morning after just a long night of attempting it in

936
00:50:01,960 --> 00:50:04,760
Speaker 1: the studio, and in the final takes, Stevie, I guess

937
00:50:04,840 --> 00:50:08,319
Speaker 1: wrapped a black scarf around her head to kind of

938
00:50:08,360 --> 00:50:11,040
Speaker 1: like really veil her senses to the you know, the

939
00:50:11,040 --> 00:50:13,640
Speaker 1: world around her and really inhabit this character and get

940
00:50:13,680 --> 00:50:19,200
Speaker 1: inside this song. And to acentuate Stevie's lyrics, Uh, Mick

941
00:50:19,239 --> 00:50:24,399
Speaker 1: Fleetwood broke panes of glass, Um, I guess. Uh. Ken

942
00:50:24,480 --> 00:50:28,359
Speaker 1: call A later said that Mick was wearing goggles and

943
00:50:28,440 --> 00:50:31,919
Speaker 1: coveralls and he just he said, he was just went nuts.

944
00:50:31,920 --> 00:50:34,200
Speaker 1: It was just bashing glass with like a big hammer.

945
00:50:34,440 --> 00:50:36,360
Speaker 1: And he tried to do it on QE like on

946
00:50:36,480 --> 00:50:38,600
Speaker 1: rhythm and the song, but I guess he was just

947
00:50:38,640 --> 00:50:41,279
Speaker 1: getting a little too over zealous and wasn't quite hitting it.

948
00:50:41,360 --> 00:50:43,279
Speaker 1: So finally Kim was like, you know what, just just

949
00:50:43,280 --> 00:50:45,120
Speaker 1: just break the damn glass. We'll fit it in the song.

950
00:50:45,320 --> 00:50:46,960
Speaker 1: We'll do it in post we'll do it in post.

951
00:50:47,400 --> 00:50:49,800
Speaker 1: Here's another fun fact for you. The sheet of glass

952
00:50:50,080 --> 00:50:53,200
Speaker 1: that Mick Fleetwood broke in the master take of this

953
00:50:53,400 --> 00:50:55,480
Speaker 1: song actually went on to be the same sheet of

954
00:50:55,520 --> 00:50:58,040
Speaker 1: glass that gets broken as the intro for Stone called

955
00:50:58,080 --> 00:51:01,080
Speaker 1: Steve Austin's Walking music and then wub you have. I

956
00:51:01,200 --> 00:51:03,560
Speaker 1: really hope you're not kidding right now now, of course

957
00:51:03,600 --> 00:51:09,080
Speaker 1: I'm making that up. It's the same sheet of glass,

958
00:51:09,160 --> 00:51:11,920
Speaker 1: like I was on this message board and this glass

959
00:51:12,000 --> 00:51:14,680
Speaker 1: message board that would know that's that's on the Steve

960
00:51:14,719 --> 00:51:17,359
Speaker 1: Hoffman forums for sure. You know, I think the man,

961
00:51:17,400 --> 00:51:19,320
Speaker 1: there's so much. Every time you start learning about the

962
00:51:19,400 --> 00:51:21,400
Speaker 1: making this album, it just becomes like they were just

963
00:51:21,560 --> 00:51:24,960
Speaker 1: it's like inter enhanced interrogation techniques, like being in a

964
00:51:25,000 --> 00:51:27,080
Speaker 1: place where you don't know whether it's day or night,

965
00:51:27,440 --> 00:51:30,879
Speaker 1: being flipped to like a completely nocturnal schedule. I mean,

966
00:51:30,880 --> 00:51:34,200
Speaker 1: it's like there, it's like they were in Vegas. How

967
00:51:34,280 --> 00:51:38,759
Speaker 1: deranged are you after months of being like completely nocturnal

968
00:51:39,440 --> 00:51:41,560
Speaker 1: under like emotion. I mean, I'm surprised they weren't like

969
00:51:41,760 --> 00:51:47,000
Speaker 1: confessing to kidnapping the Lindbird baby. Just make it stop.

970
00:51:47,040 --> 00:51:50,439
Speaker 1: I'll sign whatever, I'll do whatever. Let me go back

971
00:51:50,480 --> 00:51:53,279
Speaker 1: to the light. Well, the whole Vegas thing about you know,

972
00:51:53,320 --> 00:51:55,239
Speaker 1: no windows, no clocks, now anything. I mean that was

973
00:51:55,320 --> 00:51:57,480
Speaker 1: kind of a selling point in the seventies of like,

974
00:51:57,760 --> 00:52:00,520
Speaker 1: you know, all musicians kind of kept those hours anyway,

975
00:52:00,520 --> 00:52:03,320
Speaker 1: and it was kind of you know, it made it easier.

976
00:52:03,480 --> 00:52:05,719
Speaker 1: It would be depressing to see the sun coming up

977
00:52:06,080 --> 00:52:08,279
Speaker 1: and knowing that, you know, you still had hours to

978
00:52:08,320 --> 00:52:10,880
Speaker 1: go to get the take or whatever and you still

979
00:52:11,040 --> 00:52:12,840
Speaker 1: needed to do it. I mean, I kind of understand

980
00:52:12,880 --> 00:52:17,960
Speaker 1: it in the way. Um. I mean, I I tell

981
00:52:17,960 --> 00:52:20,799
Speaker 1: you you mentioned earlier that they spent five days getting

982
00:52:20,840 --> 00:52:23,759
Speaker 1: drum sounds, which sounds about accurate. But if we do

983
00:52:23,840 --> 00:52:26,480
Speaker 1: an episode on Tusk, we'll get into this. But also,

984
00:52:26,800 --> 00:52:30,560
Speaker 1: as legends of Lindsay being a whacka do on during

985
00:52:30,600 --> 00:52:33,360
Speaker 1: the making of Tusk, the seeds were sowned during the

986
00:52:33,400 --> 00:52:35,399
Speaker 1: making of this record. So yeah, let's talk a little

987
00:52:35,400 --> 00:52:37,560
Speaker 1: bit about what Lindsay put the good people of the

988
00:52:37,640 --> 00:52:43,120
Speaker 1: Record Plant through. Yes, apparently the band required four days,

989
00:52:43,640 --> 00:52:47,720
Speaker 1: nine pianos, and three tuners to find a suitable instrument

990
00:52:47,760 --> 00:52:51,320
Speaker 1: for Christine McVie. And we mentioned the the five days

991
00:52:51,360 --> 00:52:54,240
Speaker 1: on drum sounds, But I think my favorite story about

992
00:52:54,320 --> 00:52:57,839
Speaker 1: Lindsay's maddening pursuit of sonic perfection was for the song

993
00:52:57,960 --> 00:53:01,480
Speaker 1: never Going Back Again. That song began under the working

994
00:53:01,520 --> 00:53:04,760
Speaker 1: title Brushes and it was just really simple acoustic guitar

995
00:53:04,800 --> 00:53:08,320
Speaker 1: tune that he played with snare roles by Mick Fleetwood,

996
00:53:08,360 --> 00:53:10,520
Speaker 1: which is kind of where it got its working title.

997
00:53:10,560 --> 00:53:13,880
Speaker 1: He's using brushes on the snare and the band added

998
00:53:13,920 --> 00:53:17,000
Speaker 1: vocals and further instrumentation and it got more layered and

999
00:53:17,000 --> 00:53:19,600
Speaker 1: got more developed, and um, I guess it was one

1000
00:53:19,600 --> 00:53:21,800
Speaker 1: of the last songs that Lindsey wrote for the album.

1001
00:53:22,200 --> 00:53:23,839
Speaker 1: The first song that he wrote was Going Your Own

1002
00:53:23,880 --> 00:53:26,279
Speaker 1: Way about breaking up with Stevie. This was the last

1003
00:53:26,280 --> 00:53:28,279
Speaker 1: one he wrote, which is kind of more about a

1004
00:53:28,360 --> 00:53:31,759
Speaker 1: rebound relationship and moving on. Said later it was a

1005
00:53:31,880 --> 00:53:35,600
Speaker 1: you know, a suite if naive song. But Ken Kelly,

1006
00:53:35,719 --> 00:53:37,719
Speaker 1: the same guy who spent five days getting a drum

1007
00:53:37,760 --> 00:53:41,880
Speaker 1: sound and it was also strangled by Lindsey Buckingham for

1008
00:53:41,880 --> 00:53:44,560
Speaker 1: a guitar solo. Man deserved a purple heart for making

1009
00:53:44,600 --> 00:53:49,560
Speaker 1: this album. He was asked to change Lindsey Buckingham's guitar

1010
00:53:49,680 --> 00:53:54,080
Speaker 1: strings every twenty minutes. When he asked, he asked them

1011
00:53:54,120 --> 00:53:56,799
Speaker 1: to do it because what he supposedly says and never

1012
00:53:56,840 --> 00:53:59,120
Speaker 1: And you understand this because like, if you listen to

1013
00:53:59,160 --> 00:54:01,400
Speaker 1: that song, it's so bright the sound of the guitar,

1014
00:54:01,520 --> 00:54:05,200
Speaker 1: and that's like fresh string sounds, but you know it's

1015
00:54:05,239 --> 00:54:09,640
Speaker 1: all fingerpicking, so you're getting more like oil and and uh,

1016
00:54:10,400 --> 00:54:15,360
Speaker 1: every string is getting touched more by Lindsey Buckingham's disgusting hands,

1017
00:54:15,400 --> 00:54:19,000
Speaker 1: so you lose brightness really quickly from that. So apparently

1018
00:54:19,080 --> 00:54:23,920
Speaker 1: he started saying Buckingham's darkness infects the brightness of That's

1019
00:54:23,960 --> 00:54:26,640
Speaker 1: the main takeaway here. So Kela says, you know, I

1020
00:54:26,719 --> 00:54:28,560
Speaker 1: noticed that anytime he played there was a big difference

1021
00:54:28,560 --> 00:54:31,560
Speaker 1: in how bright the strings sounded after like twenty minutes.

1022
00:54:31,560 --> 00:54:33,840
Speaker 1: So he said, can we start just restringing your guitar

1023
00:54:33,960 --> 00:54:37,480
Speaker 1: every twenty minutes? And he put he drafted the studio

1024
00:54:37,520 --> 00:54:40,440
Speaker 1: text into doing this and says, I'm sure the roadies

1025
00:54:40,440 --> 00:54:43,520
Speaker 1: wanted to kill me. Restringing the guitar three times every

1026
00:54:43,520 --> 00:54:46,120
Speaker 1: hour was a bit, but Lindsay had lots of parts

1027
00:54:46,160 --> 00:54:49,440
Speaker 1: on the song and each one sounded magnificent. But then

1028
00:54:49,280 --> 00:54:52,720
Speaker 1: there was a oh, the coda to this when Lindsay

1029
00:54:52,760 --> 00:54:55,520
Speaker 1: goes to sing because the song is capod uh. And

1030
00:54:55,560 --> 00:54:57,839
Speaker 1: so when Lindsay goes to sing, he realized he played

1031
00:54:57,880 --> 00:55:01,000
Speaker 1: all of his guitar parts in the wrong key. So

1032
00:55:01,200 --> 00:55:04,440
Speaker 1: after a whole day of tracking three guitar parts per

1033
00:55:04,520 --> 00:55:08,600
Speaker 1: song with string changes three times on the hour, they

1034
00:55:08,680 --> 00:55:11,160
Speaker 1: wiped all of it to do the whole thing the

1035
00:55:11,200 --> 00:55:13,759
Speaker 1: next day over again in the right key. What a

1036
00:55:13,920 --> 00:55:17,719
Speaker 1: cost three studio tags a day? Whatever the day rate

1037
00:55:17,800 --> 00:55:19,479
Speaker 1: for is it? I mean you could buy a car

1038
00:55:19,600 --> 00:55:21,920
Speaker 1: for that much money. It's like Steely Dan being like,

1039
00:55:22,440 --> 00:55:25,759
Speaker 1: we bought this studio for a week to audition guitarists

1040
00:55:25,800 --> 00:55:28,479
Speaker 1: to play one solo, and none of them got it right.

1041
00:55:28,600 --> 00:55:31,440
Speaker 1: So we're starting over next week. You know, Like I

1042
00:55:31,560 --> 00:55:34,319
Speaker 1: love this phase of the music industry because man, these

1043
00:55:34,320 --> 00:55:39,120
Speaker 1: people were just burning money. Yeah. But now let's talk

1044
00:55:39,160 --> 00:55:41,480
Speaker 1: about one of the well, the more more low budget

1045
00:55:41,600 --> 00:55:45,200
Speaker 1: Oh yeah, okay, yeah, well crank the studio budget dial

1046
00:55:45,280 --> 00:55:48,440
Speaker 1: to the absolute other end to talk about secondhand News. Yes,

1047
00:55:48,520 --> 00:55:50,680
Speaker 1: second hand News one of my all time favorite tracks

1048
00:55:50,719 --> 00:55:53,560
Speaker 1: on the album. Did you know that the percussion sound

1049
00:55:53,560 --> 00:55:57,719
Speaker 1: on that song is a leather chair or a pleather chair,

1050
00:55:57,760 --> 00:56:01,799
Speaker 1: I should say, in the studio. That's what that sound is.

1051
00:56:02,239 --> 00:56:05,560
Speaker 1: Secondhand news. I mean, man, what a classic opener. I mean,

1052
00:56:05,760 --> 00:56:07,759
Speaker 1: you know, the the opening lines, I know there's nothing

1053
00:56:07,800 --> 00:56:11,000
Speaker 1: to say, someone has taken my place. What a perfect

1054
00:56:11,080 --> 00:56:13,320
Speaker 1: way to just set the mood for the entire album,

1055
00:56:13,360 --> 00:56:18,000
Speaker 1: and such a great song rom the perspective of everyone involved. Yeah,

1056
00:56:18,080 --> 00:56:22,400
Speaker 1: it was inspired by another of Lindsay's sort of rebound

1057
00:56:22,440 --> 00:56:27,000
Speaker 1: relationships after attempting to move on from Stevie Nicks. He

1058
00:56:27,000 --> 00:56:28,960
Speaker 1: will never move on from Stevie Nicks, who were kidding

1059
00:56:30,080 --> 00:56:34,919
Speaker 1: not after Silver Springs Baby, But actually those words were

1060
00:56:34,960 --> 00:56:37,400
Speaker 1: not there at the start of the sessions for this,

1061
00:56:37,520 --> 00:56:41,000
Speaker 1: I guess he kept the songs instrumental at this early stage,

1062
00:56:41,719 --> 00:56:45,120
Speaker 1: probably not wanting to antagonize Stevie, so in the early

1063
00:56:45,120 --> 00:56:47,920
Speaker 1: phase he kept the lyrics to himself and started as

1064
00:56:47,960 --> 00:56:50,399
Speaker 1: this like kind of almost like a Celtic March kind

1065
00:56:50,400 --> 00:56:52,520
Speaker 1: of thing. And they were thinking that the song sounded

1066
00:56:52,520 --> 00:56:54,920
Speaker 1: a little too folky, and they wanted to add kind

1067
00:56:54,960 --> 00:56:58,560
Speaker 1: of a dancy R and B groove to it, and

1068
00:56:58,840 --> 00:57:03,919
Speaker 1: they were inspired by the Bigs jive talking that, which

1069
00:57:03,960 --> 00:57:07,680
Speaker 1: actually was inspired by the Bigs driving over a bridge

1070
00:57:07,800 --> 00:57:09,640
Speaker 1: in Miami on the way to the studio. You know,

1071
00:57:09,640 --> 00:57:12,040
Speaker 1: when the tires kind of go. It was like metal.

1072
00:57:12,239 --> 00:57:14,360
Speaker 1: You can kind of hear that, and that's what inspired

1073
00:57:14,440 --> 00:57:17,320
Speaker 1: jive talking. That's what inspired the kind of like rolling

1074
00:57:17,360 --> 00:57:20,920
Speaker 1: percussive effect, almost like a proto disco groove. So, if

1075
00:57:20,920 --> 00:57:24,400
Speaker 1: you're keeping track on your beautiful mind style collage of

1076
00:57:24,480 --> 00:57:27,360
Speaker 1: rumors at home, we have now pulled the b GS

1077
00:57:27,520 --> 00:57:33,040
Speaker 1: and the city of Miami into this web. Continue as

1078
00:57:33,080 --> 00:57:36,440
Speaker 1: you were. So to get this kind of percussive groove,

1079
00:57:36,800 --> 00:57:39,440
Speaker 1: they pounded the seat of a Nauga Hide chair. Nauga

1080
00:57:39,520 --> 00:57:42,920
Speaker 1: Hide is like cheap faked leather and uh ken kel

1081
00:57:42,960 --> 00:57:45,720
Speaker 1: A later said Lindsay was the accent king, which is

1082
00:57:45,840 --> 00:57:48,960
Speaker 1: very generous considering this man once try to strangle him.

1083
00:57:49,280 --> 00:57:51,960
Speaker 1: He could accent with guitars, he could accent with Tom

1084
00:57:51,960 --> 00:57:55,200
Speaker 1: Tom drums, and he could accent with Nauga Hide chairs.

1085
00:57:55,800 --> 00:57:57,520
Speaker 1: So it just goes to show you, I mean, how

1086
00:57:57,600 --> 00:58:00,360
Speaker 1: far the band would go to get the ound that

1087
00:58:00,440 --> 00:58:03,600
Speaker 1: Lindsay hurt in his head, from change guitar strings every

1088
00:58:03,600 --> 00:58:06,600
Speaker 1: twenty minutes, to playing on a chair that happened to

1089
00:58:06,640 --> 00:58:10,960
Speaker 1: be nearby, and sometimes they would even venture outside of

1090
00:58:10,960 --> 00:58:14,640
Speaker 1: the studio, isn't that right, Higel? Yeah, absolutely, When we

1091
00:58:14,760 --> 00:58:18,600
Speaker 1: progress onto Songbird, they actually at some point decided they

1092
00:58:18,640 --> 00:58:24,000
Speaker 1: wanted to see the Daylight, which seems like it came

1093
00:58:24,000 --> 00:58:28,439
Speaker 1: out of nowhere. But when it comes to Songbird, Kelly says,

1094
00:58:28,440 --> 00:58:31,160
Speaker 1: I'm gonna try something different with this one, and he

1095
00:58:31,200 --> 00:58:33,680
Speaker 1: had actually recorded an now with Joni Mitchell at the

1096
00:58:33,680 --> 00:58:37,440
Speaker 1: Berkeley Community Theater. He explained this to Music Radar in

1097
00:58:37,480 --> 00:58:39,640
Speaker 1: an interview at one point, and he says, I thought

1098
00:58:39,640 --> 00:58:43,560
Speaker 1: about doing something similar to a kind of concert recital recording,

1099
00:58:44,240 --> 00:58:48,400
Speaker 1: and perhaps maybe they just exhausted by this point, but

1100
00:58:49,160 --> 00:58:52,480
Speaker 1: the band said, Okay, let's try that. But the Berkeley

1101
00:58:52,480 --> 00:58:56,919
Speaker 1: Community Theater was unavailable. So Colle goes to the university

1102
00:58:57,080 --> 00:58:59,920
Speaker 1: and says, I'd like to book the auditorium, complete with

1103
00:59:00,040 --> 00:59:03,640
Speaker 1: an orchestra shell and a nine foot Steinway, and he really,

1104
00:59:03,960 --> 00:59:06,080
Speaker 1: you know, set and setting for this, he really goes

1105
00:59:06,160 --> 00:59:08,760
Speaker 1: the extra mile. Um when she shows up to record,

1106
00:59:09,360 --> 00:59:12,480
Speaker 1: he requested that a bouquet roses be placed on her

1107
00:59:12,520 --> 00:59:18,120
Speaker 1: piano and three colored spotlights shining down on them from above. Which, Yeah,

1108
00:59:18,160 --> 00:59:22,200
Speaker 1: after you're trapped in this cocaine hell with all of

1109
00:59:22,240 --> 00:59:25,960
Speaker 1: your exes and their exes, to come into like an auditorium,

1110
00:59:26,000 --> 00:59:28,959
Speaker 1: that's like lit in this beautiful tableau, and he says

1111
00:59:29,000 --> 00:59:31,560
Speaker 1: when she first saw it that she nearly broke into tears,

1112
00:59:31,600 --> 00:59:34,760
Speaker 1: and I can easily understand that. Then, of course things

1113
00:59:34,760 --> 00:59:39,840
Speaker 1: went insane, and they spent eighteen hours to record this

1114
00:59:39,920 --> 00:59:43,640
Speaker 1: song in this auditorium. They stayed until seven o'clock the

1115
00:59:43,680 --> 00:59:46,960
Speaker 1: next morning, because they can do nothing easily. That's the thing.

1116
00:59:47,080 --> 00:59:50,120
Speaker 1: They can take Fleetwood Mac and take something as relaxed

1117
00:59:50,120 --> 00:59:53,200
Speaker 1: and beautiful as a solo piano recording and turned it

1118
00:59:53,200 --> 00:59:55,960
Speaker 1: into a death march. And she's but she did it

1119
00:59:55,960 --> 00:59:58,440
Speaker 1: in one take. That's that's the really incredible thing about

1120
00:59:58,440 --> 01:00:00,280
Speaker 1: this song is that that's the take. Well, I think

1121
01:00:00,320 --> 01:00:02,640
Speaker 1: that's why it took so many hours. She was like,

1122
01:00:02,680 --> 01:00:04,439
Speaker 1: I was like, it was supposed to be a complete take.

1123
01:00:04,800 --> 01:00:08,000
Speaker 1: And I guess Lindsey Buckingham was playing acoustic guitar, I think,

1124
01:00:08,080 --> 01:00:10,320
Speaker 1: on the same stage, and maybe it was just a

1125
01:00:10,320 --> 01:00:12,360
Speaker 1: combination getting them both to do it, you know, to

1126
01:00:12,440 --> 01:00:16,040
Speaker 1: get the same take at once. Apparently, the live performance

1127
01:00:16,080 --> 01:00:19,840
Speaker 1: was captured by fifteen microphones placed around the empty auditorium,

1128
01:00:19,840 --> 01:00:23,360
Speaker 1: which nearly one for every hour. I don't know much

1129
01:00:23,360 --> 01:00:25,880
Speaker 1: about audio engineering, but that sounds excessive to me. Is

1130
01:00:25,920 --> 01:00:28,000
Speaker 1: that it's like a lot. I mean, I'm sure they

1131
01:00:28,000 --> 01:00:31,280
Speaker 1: had like two or three on the piano, two or

1132
01:00:31,320 --> 01:00:34,240
Speaker 1: three on the guitar, but that's still a lot of

1133
01:00:34,440 --> 01:00:40,000
Speaker 1: damn microphones for for what is three elements of a song? Anyway,

1134
01:00:40,040 --> 01:00:44,240
Speaker 1: But we haven't even gotten to the weirdest weird is

1135
01:00:44,240 --> 01:00:45,920
Speaker 1: weird the word I want to use. I don't know.

1136
01:00:46,880 --> 01:00:49,959
Speaker 1: Just having it called oh Daddy's makes it feel weird

1137
01:00:50,040 --> 01:00:54,240
Speaker 1: to me. But yeah, Oh Daddy's maybe my least favorite

1138
01:00:54,240 --> 01:00:57,400
Speaker 1: song on the album. But one little talk about this, Yeah,

1139
01:00:57,440 --> 01:01:00,360
Speaker 1: I enjoyed this. Apparently at the very end of the song,

1140
01:01:00,440 --> 01:01:03,720
Speaker 1: you can hear Christine McBee pounding the keyboard in frustration

1141
01:01:03,800 --> 01:01:07,920
Speaker 1: if you listen closely. But first, the really pressing question

1142
01:01:08,720 --> 01:01:11,880
Speaker 1: is mc Fleetwood the big Daddy? Let's get into this

1143
01:01:12,080 --> 01:01:14,800
Speaker 1: there There are mixed stories about who inspired Oh Daddy,

1144
01:01:15,040 --> 01:01:17,360
Speaker 1: and it's widely believed to be about Mick Fleetwood, who

1145
01:01:17,400 --> 01:01:19,280
Speaker 1: at the time was the only father in the band.

1146
01:01:19,960 --> 01:01:22,880
Speaker 1: And he's just sort of the big daddy of Fleetwood Mac.

1147
01:01:23,000 --> 01:01:25,400
Speaker 1: You know, he's he's the Fleetwood of Fleetwood back. He's

1148
01:01:25,400 --> 01:01:27,920
Speaker 1: like nine ft tall. He's just like he was kind

1149
01:01:27,960 --> 01:01:30,480
Speaker 1: of the de facto manager. He was just you know,

1150
01:01:30,600 --> 01:01:32,800
Speaker 1: he's he's the big Daddy Fleetwood Mac. It makes sense.

1151
01:01:33,160 --> 01:01:37,640
Speaker 1: But apparently both Lindsey Buckingham's former girlfriend Carol Anne Harris

1152
01:01:38,000 --> 01:01:41,080
Speaker 1: and Stevie Nix's biographer have written that the song was

1153
01:01:41,120 --> 01:01:44,840
Speaker 1: originally written about Christine mcvie's new boyfriend, Curry Grant, the

1154
01:01:44,880 --> 01:01:48,240
Speaker 1: band's lighting designer, who spent all of the sessions trying

1155
01:01:48,240 --> 01:01:51,480
Speaker 1: not to be killed by John McVie, um just putting

1156
01:01:51,480 --> 01:01:55,320
Speaker 1: on different hats and like coming in and disguises Peter

1157
01:01:55,400 --> 01:01:59,640
Speaker 1: Seller's routines. So that that's the two different theories about

1158
01:01:59,640 --> 01:02:03,240
Speaker 1: who is the big Daddy of Oh Daddy. But apparently

1159
01:02:03,280 --> 01:02:06,080
Speaker 1: when they were recording the song, poor Ken kel a uh,

1160
01:02:06,120 --> 01:02:08,160
Speaker 1: there was a problem with the tape machine and the

1161
01:02:08,160 --> 01:02:12,480
Speaker 1: tape snapped and right when she was singing oh Daddy

1162
01:02:12,520 --> 01:02:14,800
Speaker 1: on the tape, so all you heard was oh Addy.

1163
01:02:15,480 --> 01:02:17,880
Speaker 1: So for months they called the song oh Addy just

1164
01:02:18,000 --> 01:02:20,160
Speaker 1: as kind of an in joke to rib poor Ken.

1165
01:02:20,200 --> 01:02:22,000
Speaker 1: And then they go back in and I think they

1166
01:02:22,000 --> 01:02:25,680
Speaker 1: did just do puncheons for that part when they dropped

1167
01:02:25,680 --> 01:02:31,080
Speaker 1: the d um, and then she later tried to strangle him,

1168
01:02:31,120 --> 01:02:33,040
Speaker 1: but anyway, went on the on the track that made

1169
01:02:33,040 --> 01:02:35,880
Speaker 1: it on the album. Near the end of the song, Christine,

1170
01:02:35,920 --> 01:02:37,480
Speaker 1: I guess thought that she made a mistake and they

1171
01:02:37,480 --> 01:02:39,360
Speaker 1: get the band to stop. Just to get their attention,

1172
01:02:39,600 --> 01:02:42,640
Speaker 1: she started hitting just random notes on her keyboard and

1173
01:02:42,680 --> 01:02:45,000
Speaker 1: you can hear it around I think the three minute

1174
01:02:45,000 --> 01:02:47,840
Speaker 1: and second mark on the song, she's just like kind

1175
01:02:47,840 --> 01:02:51,440
Speaker 1: of hitting, you know, elbowing the keyboard. Um, but I

1176
01:02:51,480 --> 01:02:54,480
Speaker 1: guess nobody noticed and they kept right on playing, and uh,

1177
01:02:54,680 --> 01:02:56,680
Speaker 1: ken Kela would say, you know that we finished the

1178
01:02:56,680 --> 01:02:58,320
Speaker 1: take and that one had the magic that we were

1179
01:02:58,360 --> 01:03:00,480
Speaker 1: looking for, so we went with it. But you can

1180
01:03:00,520 --> 01:03:04,080
Speaker 1: hear Christine McVeigh patting her keyboard and frustration, which is

1181
01:03:04,360 --> 01:03:06,320
Speaker 1: probably something I imagined she would like to have done

1182
01:03:06,360 --> 01:03:09,640
Speaker 1: more often during these sessions. Yeah, now we're getting into

1183
01:03:09,800 --> 01:03:14,280
Speaker 1: my favorite bit of rumors minutia, which is Silver Springs.

1184
01:03:14,600 --> 01:03:18,800
Speaker 1: And you know, again, this goes back to the Russian

1185
01:03:18,840 --> 01:03:22,560
Speaker 1: novel thing because you kind of have to know about

1186
01:03:22,800 --> 01:03:26,040
Speaker 1: Fleetwood Maclure to explain this, and apparently it's sort of

1187
01:03:26,040 --> 01:03:29,400
Speaker 1: an open joke in Fleetwood Mac that Stevie can kind

1188
01:03:29,400 --> 01:03:31,000
Speaker 1: of run at the mouth that her stories are a

1189
01:03:31,040 --> 01:03:34,640
Speaker 1: little long winded. And if this even has continued because

1190
01:03:34,680 --> 01:03:38,360
Speaker 1: there's an event, the Music Cares event where she's kind

1191
01:03:38,400 --> 01:03:41,160
Speaker 1: of going on and talking a lot, and at one

1192
01:03:41,160 --> 01:03:44,240
Speaker 1: point Lindsay rolls his eyes and that was like the

1193
01:03:44,280 --> 01:03:47,640
Speaker 1: straw that broke the Camels back during this particular decade,

1194
01:03:48,040 --> 01:03:50,880
Speaker 1: and so he got kicked out of the band subsequently.

1195
01:03:51,360 --> 01:03:54,600
Speaker 1: But you know, as opposed to writing these very can

1196
01:03:55,200 --> 01:03:57,240
Speaker 1: you see it with dreams like as opposed to writing

1197
01:03:57,240 --> 01:04:00,960
Speaker 1: these can say speech boys style pop songs like Stevie,

1198
01:04:01,560 --> 01:04:04,280
Speaker 1: and this is going to sound very cliche cast spells.

1199
01:04:04,760 --> 01:04:07,080
Speaker 1: You know, these songs are more meditative and they kind

1200
01:04:07,120 --> 01:04:10,600
Speaker 1: of their dreaming, and Ken file A later says, Stevie

1201
01:04:10,640 --> 01:04:13,200
Speaker 1: is so prolific. All of her songs were initially about

1202
01:04:13,240 --> 01:04:16,240
Speaker 1: fourteen minutes long, you know, so she would just go

1203
01:04:16,280 --> 01:04:18,080
Speaker 1: on and on and there were stories about her mother

1204
01:04:18,080 --> 01:04:20,840
Speaker 1: and her grandmother and stories about her dog. And so

1205
01:04:20,960 --> 01:04:22,520
Speaker 1: he says it was my job to sit with her

1206
01:04:22,520 --> 01:04:24,600
Speaker 1: and cut them down to three or four minutes, which

1207
01:04:24,640 --> 01:04:27,520
Speaker 1: would drive her to tears. But so she has this

1208
01:04:27,680 --> 01:04:32,720
Speaker 1: song that is explicitly about Lindsay called Silver Springs. They

1209
01:04:32,720 --> 01:04:34,680
Speaker 1: were in Maryland and they were driving in her freeway

1210
01:04:34,720 --> 01:04:37,760
Speaker 1: sign that says silver Spring Maryland, and she loves that name,

1211
01:04:37,960 --> 01:04:40,360
Speaker 1: and she says she would later say, it sounded like

1212
01:04:40,360 --> 01:04:42,880
Speaker 1: a pretty fabulous place to me. You know, you could

1213
01:04:42,920 --> 01:04:46,160
Speaker 1: be my Silver Springs. That's just a whole symbolic thing

1214
01:04:46,200 --> 01:04:49,200
Speaker 1: of what you could have been with me. But one

1215
01:04:49,200 --> 01:04:51,640
Speaker 1: of the things that she wanted to do with this

1216
01:04:51,680 --> 01:04:54,080
Speaker 1: song was signed away her publishing for it to her

1217
01:04:54,160 --> 01:04:56,280
Speaker 1: mom as like a present. She was like, you know,

1218
01:04:56,760 --> 01:04:59,439
Speaker 1: I'm kind of getting more money, and I'm like, set,

1219
01:04:59,480 --> 01:05:02,000
Speaker 1: I want the publishing for this song to go directly

1220
01:05:02,040 --> 01:05:04,960
Speaker 1: to my mom, as like her gift to her mother.

1221
01:05:06,000 --> 01:05:10,880
Speaker 1: So by the time they get to sequencing rumors and

1222
01:05:10,920 --> 01:05:14,000
Speaker 1: they have all of these songs, Rhino Records still only

1223
01:05:14,000 --> 01:05:17,840
Speaker 1: hold twenty two minutes aside. So Kela says, you know,

1224
01:05:17,880 --> 01:05:19,880
Speaker 1: we were concerned that we might have too slow of

1225
01:05:19,920 --> 01:05:22,360
Speaker 1: a record. We didn't want to put the needle down

1226
01:05:22,360 --> 01:05:25,480
Speaker 1: on side one and have all slow songs. So they

1227
01:05:25,520 --> 01:05:29,160
Speaker 1: started sequencing test runs and found that they couldn't make

1228
01:05:29,360 --> 01:05:33,360
Speaker 1: a sequence that worked that didn't feel too slow that

1229
01:05:33,520 --> 01:05:40,640
Speaker 1: included Silver Springs. So they act Silver Springs and they bungle,

1230
01:05:40,840 --> 01:05:45,240
Speaker 1: they fumble the touchdown like it's bad enough. They cut

1231
01:05:45,320 --> 01:05:47,120
Speaker 1: this song, but then the way that they go about

1232
01:05:47,160 --> 01:05:50,000
Speaker 1: telling her is so much worse. Take it away, Joy,

1233
01:05:50,120 --> 01:05:54,200
Speaker 1: It's pretty brutal. So they think, oh jeez, Stevie is

1234
01:05:54,200 --> 01:05:56,920
Speaker 1: gonna be really bummed that she's not getting her allotment

1235
01:05:56,960 --> 01:05:59,400
Speaker 1: of songs on this album. So they decide maybe she'll

1236
01:05:59,400 --> 01:06:01,880
Speaker 1: be it'll soften the blow if we do another one

1237
01:06:01,880 --> 01:06:04,760
Speaker 1: of her songs, maybe a quicker song, maybe a shorter song.

1238
01:06:05,320 --> 01:06:09,920
Speaker 1: So the band minus Stevie recorded the instrumental backing too

1239
01:06:10,160 --> 01:06:12,959
Speaker 1: I Don't want to know, which was a song from

1240
01:06:13,000 --> 01:06:15,640
Speaker 1: the Buckingham Knicks era that was just kind of left

1241
01:06:15,680 --> 01:06:17,919
Speaker 1: over and they'd had it for a long time. And

1242
01:06:18,120 --> 01:06:21,040
Speaker 1: so they break the news to Stevie. I think Mick

1243
01:06:21,040 --> 01:06:23,720
Speaker 1: Fleetwood takes her out into the studio parking lot and says,

1244
01:06:24,040 --> 01:06:28,200
Speaker 1: you know, he's taking her out to shoot her, like like,

1245
01:06:28,760 --> 01:06:31,800
Speaker 1: we gotta go out behind the building for this one, Stevie, Like, God,

1246
01:06:31,840 --> 01:06:36,000
Speaker 1: these people so mix us. You know, we can't have

1247
01:06:36,080 --> 01:06:38,680
Speaker 1: this song. I'm sorry that the records too long. It

1248
01:06:38,720 --> 01:06:42,040
Speaker 1: doesn't fit. I'm sorry, Stevie later said, Needless to say,

1249
01:06:42,160 --> 01:06:45,560
Speaker 1: I didn't react well to that. Eventually, I said, well,

1250
01:06:45,560 --> 01:06:48,000
Speaker 1: what song you're gonna put on the album instead? And

1251
01:06:48,040 --> 01:06:50,400
Speaker 1: they said, well, re recorded. I don't want to know,

1252
01:06:51,200 --> 01:06:53,400
Speaker 1: And she said, I think Lindsay thought it would be

1253
01:06:53,480 --> 01:06:56,120
Speaker 1: okay with me because I wrote it, but I wasn't

1254
01:06:56,120 --> 01:07:00,520
Speaker 1: okay with it. She's just classic man, like, we're taking

1255
01:07:00,560 --> 01:07:02,840
Speaker 1: your song off the album, and we also decided which

1256
01:07:02,840 --> 01:07:06,440
Speaker 1: of your songs we're gonna put on. Yeah, so she

1257
01:07:06,440 --> 01:07:09,440
Speaker 1: she went in and recorded that song seriously under dress.

1258
01:07:09,880 --> 01:07:12,680
Speaker 1: Silver Springs was relegated to the B side of Go

1259
01:07:12,880 --> 01:07:16,720
Speaker 1: Your Own Way, which was especially galling considering, you know,

1260
01:07:16,720 --> 01:07:18,960
Speaker 1: the song that meant the world to her is now

1261
01:07:19,000 --> 01:07:23,680
Speaker 1: the B side to drags her through the mound, you know,

1262
01:07:23,760 --> 01:07:26,440
Speaker 1: shacking ups all you want to do, So that really

1263
01:07:26,480 --> 01:07:29,360
Speaker 1: just kind of added insult to injury, and it really

1264
01:07:29,360 --> 01:07:34,440
Speaker 1: it remained a deep cut until fleetwood Ma live album

1265
01:07:34,480 --> 01:07:38,720
Speaker 1: The Dance, which I'm getting goose bumps even thinking about. Everyone,

1266
01:07:38,920 --> 01:07:42,160
Speaker 1: do yourself a favor and google the performance of Silver

1267
01:07:42,240 --> 01:07:47,280
Speaker 1: Springs from The Dance to watch a blood bath non parol,

1268
01:07:47,600 --> 01:07:50,840
Speaker 1: like good lord. It is one of the most harrowing

1269
01:07:50,920 --> 01:07:55,040
Speaker 1: performances I've ever seen in my life. The eye contact. Yeah,

1270
01:07:55,240 --> 01:07:57,760
Speaker 1: oh my god, yeah, it's it's it's beautiful. It's a

1271
01:07:57,760 --> 01:07:59,760
Speaker 1: one of the kind thing. And the capit to that

1272
01:08:00,000 --> 01:08:02,720
Speaker 1: it is that she used to check into hotels on

1273
01:08:02,760 --> 01:08:06,320
Speaker 1: the road under the alias Miss Silver Spring, so she

1274
01:08:06,440 --> 01:08:09,680
Speaker 1: truly never let go of it until one day she

1275
01:08:09,800 --> 01:08:14,760
Speaker 1: murdered him. Moving on, this brings us to I think

1276
01:08:14,800 --> 01:08:16,879
Speaker 1: this is my favorite track on the Album's probably everybody's

1277
01:08:16,880 --> 01:08:19,840
Speaker 1: fad the track on the album, The Chain. Um. The

1278
01:08:19,920 --> 01:08:24,120
Speaker 1: Chain so called because it's really a combination of sort

1279
01:08:24,120 --> 01:08:26,800
Speaker 1: of unrelated songs that the band had worked on that

1280
01:08:26,840 --> 01:08:29,080
Speaker 1: they all linked together, kind of like the Beatles did

1281
01:08:29,160 --> 01:08:31,800
Speaker 1: of the Day in the life. Um. The Chain has

1282
01:08:31,800 --> 01:08:34,840
Speaker 1: its basis and an unreleased Christine mcviee song and then

1283
01:08:34,880 --> 01:08:37,400
Speaker 1: old Buckingham Knicks track Yeah, and it's core is a

1284
01:08:37,479 --> 01:08:40,240
Speaker 1: Christine McVie song called keep Me There, which and the

1285
01:08:40,280 --> 01:08:45,439
Speaker 1: Pantheon of all time draft names was called butter Cookie

1286
01:08:45,920 --> 01:08:48,840
Speaker 1: back in the day. Is it so funny? I love

1287
01:08:48,880 --> 01:08:50,920
Speaker 1: when songs are like that. You know, you get something

1288
01:08:50,960 --> 01:08:54,880
Speaker 1: like the jam that turns into like tiny Dancer or something,

1289
01:08:54,880 --> 01:08:57,519
Speaker 1: and Elton John was calling it like, you know, the

1290
01:08:57,560 --> 01:09:01,400
Speaker 1: Minister's tea Kettle or something dumb like that. Anyway, it's

1291
01:09:01,400 --> 01:09:04,200
Speaker 1: a keyboard driven song because obviously Christine McVie wrote it,

1292
01:09:04,280 --> 01:09:07,599
Speaker 1: but they never really got around to finishing it, and

1293
01:09:07,680 --> 01:09:10,240
Speaker 1: so Buckingham says, what happened, He tells Rolling Stone In

1294
01:09:11,280 --> 01:09:13,719
Speaker 1: He says, we decided that this song needed a bridge,

1295
01:09:14,000 --> 01:09:16,160
Speaker 1: so he cut a bridge and edited it into the

1296
01:09:16,200 --> 01:09:20,080
Speaker 1: rest of the song. So you get to the two

1297
01:09:20,120 --> 01:09:23,080
Speaker 1: halves of keep Me There, which are built then around

1298
01:09:23,600 --> 01:09:26,800
Speaker 1: probably one of the coolest basslines in maybe of all

1299
01:09:26,840 --> 01:09:30,719
Speaker 1: twentieth century pop music. It's so good, and it's John mcvige,

1300
01:09:31,200 --> 01:09:33,920
Speaker 1: you know, it's his shining moment. So they just made

1301
01:09:33,920 --> 01:09:36,400
Speaker 1: that the middle of the song and I guess it

1302
01:09:36,520 --> 01:09:40,479
Speaker 1: just stayed in partial form for a while. Buckingham says,

1303
01:09:40,520 --> 01:09:42,439
Speaker 1: it almost went off the album. Then we went back

1304
01:09:42,439 --> 01:09:44,720
Speaker 1: and decided we liked the bridge, but we didn't like

1305
01:09:44,800 --> 01:09:48,040
Speaker 1: the rest of the song. So it really came together

1306
01:09:48,120 --> 01:09:52,240
Speaker 1: kind of catches catch can. But the interesting thing about

1307
01:09:52,240 --> 01:09:57,040
Speaker 1: the guitar part is that their self pledgiarization recycling continues.

1308
01:09:57,360 --> 01:10:01,920
Speaker 1: Buckingham basically steals a good hard figure from himself from

1309
01:10:01,920 --> 01:10:05,519
Speaker 1: this song called Lola My Love, which is recorded from

1310
01:10:05,560 --> 01:10:09,800
Speaker 1: the Buckingham Nick days, and he recycles that for the

1311
01:10:09,880 --> 01:10:12,800
Speaker 1: chain and then so the ending of the song is

1312
01:10:12,800 --> 01:10:16,040
Speaker 1: actually the only thing that is left from Christine mcveige's

1313
01:10:16,080 --> 01:10:19,400
Speaker 1: original track, which, as you will recall, was called butter Cookie.

1314
01:10:20,520 --> 01:10:22,280
Speaker 1: It comes up with a bunch of much better name

1315
01:10:22,400 --> 01:10:24,559
Speaker 1: the chain because it was a bunch of pieces. And

1316
01:10:24,600 --> 01:10:27,920
Speaker 1: then Jordan's what would you describe as the final link

1317
01:10:28,080 --> 01:10:30,560
Speaker 1: in the chain? Well, I'm glad you asked Highchool. I

1318
01:10:30,560 --> 01:10:33,120
Speaker 1: think that the final link in the chain were the lyrics.

1319
01:10:33,320 --> 01:10:35,680
Speaker 1: Originally the song had no words, because again it's just

1320
01:10:35,760 --> 01:10:38,840
Speaker 1: a bunch of instrumental parts from unrelated demos that were

1321
01:10:38,840 --> 01:10:42,720
Speaker 1: all linked up, and Stevie wrote the words. And uh,

1322
01:10:42,880 --> 01:10:45,639
Speaker 1: I don't even think she necessarily wrote it initially with

1323
01:10:45,880 --> 01:10:48,400
Speaker 1: this song in mine. I think she wrote the lyrics independently,

1324
01:10:48,439 --> 01:10:50,040
Speaker 1: and then she came in and said, you know, I've

1325
01:10:50,080 --> 01:10:52,280
Speaker 1: wrote some lyrics and they might fit for this thing

1326
01:10:52,280 --> 01:10:55,000
Speaker 1: you would doing the other day. So it got all

1327
01:10:55,040 --> 01:10:59,160
Speaker 1: linked up, and uh, it really, I mean, it's just

1328
01:10:59,200 --> 01:11:01,880
Speaker 1: a centerpiece of the band, not only their live set,

1329
01:11:01,960 --> 01:11:04,160
Speaker 1: but just their whole cannon. It really is such an

1330
01:11:04,200 --> 01:11:08,800
Speaker 1: an apt metaphor for this group of people that are

1331
01:11:08,880 --> 01:11:14,080
Speaker 1: just bound together for decades despite all this turmoil. I mean,

1332
01:11:14,280 --> 01:11:16,479
Speaker 1: the chain will keep us together. It's a symbol of

1333
01:11:16,560 --> 01:11:20,519
Speaker 1: strength and togetherness, but it's also imprisonment, you know. I mean,

1334
01:11:20,520 --> 01:11:23,120
Speaker 1: the words to that song are are so brilliant. And

1335
01:11:23,120 --> 01:11:27,040
Speaker 1: The Chain, I believe, is the only track that all

1336
01:11:27,200 --> 01:11:30,120
Speaker 1: five members of the classic Fleetwood Mac era all of

1337
01:11:30,160 --> 01:11:32,360
Speaker 1: a writing credit on. I think that's the only one. So,

1338
01:11:32,400 --> 01:11:35,439
Speaker 1: I mean, it's it's funny that song that's called the Chain,

1339
01:11:35,560 --> 01:11:39,639
Speaker 1: that's sort of about the love hate relationship of everybody

1340
01:11:39,720 --> 01:11:42,240
Speaker 1: kind of being bound together, is something that they all

1341
01:11:42,320 --> 01:11:44,960
Speaker 1: kind of had a hand in creating, which is pretty fitting.

1342
01:11:45,760 --> 01:11:47,400
Speaker 1: And it's got a bass solo, and it's got a

1343
01:11:47,400 --> 01:11:50,720
Speaker 1: great bass solo. Hell yeah, John McVie, at the end

1344
01:11:50,760 --> 01:11:53,720
Speaker 1: of the day, John mcvigh comes out on top, Yes

1345
01:11:53,760 --> 01:11:56,280
Speaker 1: he does. John mcvigh was actually the one who hit

1346
01:11:56,360 --> 01:11:59,200
Speaker 1: upon the title Rumors for this record. They were initially

1347
01:11:59,200 --> 01:12:02,160
Speaker 1: gonna call it Yesterday Days Gone from Don't Stop Thinking

1348
01:12:02,160 --> 01:12:05,320
Speaker 1: About Tomorrow, but John and v suggested rumors because he

1349
01:12:05,400 --> 01:12:08,080
Speaker 1: thought the band were, you know, their songs were basically

1350
01:12:08,160 --> 01:12:10,519
Speaker 1: journals and diaries and they were talking about each other

1351
01:12:10,560 --> 01:12:14,320
Speaker 1: through their music. And that brings us to the album cover.

1352
01:12:15,760 --> 01:12:20,200
Speaker 1: Herbert Worthington's absolutely iconic cover feature Stevie in her which

1353
01:12:20,200 --> 01:12:22,880
Speaker 1: she ran and guys dancing. I think she's dancing with

1354
01:12:22,960 --> 01:12:25,439
Speaker 1: mc fleetwood. Whatever that we want to call that pose.

1355
01:12:25,880 --> 01:12:28,639
Speaker 1: It called some drama. The cover caused some drama because

1356
01:12:28,720 --> 01:12:31,880
Speaker 1: why not every other element of this production drama? As

1357
01:12:31,920 --> 01:12:35,680
Speaker 1: if something would go smooth. No. According to the photographer

1358
01:12:35,680 --> 01:12:40,040
Speaker 1: Herbert Worthington's, Lindsey Buckingham has quote never forgiven me for

1359
01:12:40,160 --> 01:12:42,680
Speaker 1: not being on the Rumors cover. And this is in

1360
01:12:42,800 --> 01:12:45,720
Speaker 1: Ken Kelly's book. I guess Kenny interviewed him. Lindsay came

1361
01:12:45,800 --> 01:12:47,400
Speaker 1: up to me and said, I wish I could have

1362
01:12:47,439 --> 01:12:49,639
Speaker 1: been on my own damn cover. He didn't say damn

1363
01:12:49,680 --> 01:12:54,479
Speaker 1: I hadn't that, but but emphasis mine um and Herbie,

1364
01:12:54,520 --> 01:12:56,840
Speaker 1: I guess tried to explain to Lindsay, you know, the

1365
01:12:56,880 --> 01:12:59,040
Speaker 1: cover idea was about creating a piece of art. It

1366
01:12:59,120 --> 01:13:01,559
Speaker 1: wasn't supposed to just the straight headshots of the group.

1367
01:13:02,120 --> 01:13:05,400
Speaker 1: H Lindsay was not happy about that. I mean, yeah,

1368
01:13:05,479 --> 01:13:08,400
Speaker 1: I I I'm not on his side for this. I'm sorry.

1369
01:13:08,560 --> 01:13:10,360
Speaker 1: Like you've got the guy in the band who's eight

1370
01:13:10,360 --> 01:13:12,280
Speaker 1: feet tall, you've got the woman in the band who

1371
01:13:12,320 --> 01:13:15,800
Speaker 1: looks like an actual fairy, and like the guy who

1372
01:13:15,800 --> 01:13:19,400
Speaker 1: wears kimonos and has like an enormous mount of goofy

1373
01:13:19,439 --> 01:13:21,479
Speaker 1: curly hair. Is like piste off. He didn't get to

1374
01:13:21,479 --> 01:13:23,960
Speaker 1: be on the cover. Like it looks like an oil painting,

1375
01:13:24,000 --> 01:13:26,479
Speaker 1: like it minus the balls thing, but like it's so

1376
01:13:26,560 --> 01:13:30,920
Speaker 1: beautifully arranged, just like imagining like Lindsey bucking I'm standing

1377
01:13:30,920 --> 01:13:34,000
Speaker 1: there like hands on his hips in his kimono, like

1378
01:13:34,200 --> 01:13:36,920
Speaker 1: just dead center just throws it off so much. He

1379
01:13:37,040 --> 01:13:39,280
Speaker 1: look this image of Lindsey Buckingham and his kimono is

1380
01:13:39,360 --> 01:13:41,160
Speaker 1: very strong with you. I want to know more about

1381
01:13:41,280 --> 01:13:44,080
Speaker 1: There's a there's a there's a performance of them doing

1382
01:13:44,160 --> 01:13:46,360
Speaker 1: dreams at one point and it's I think he's playing

1383
01:13:46,479 --> 01:13:49,880
Speaker 1: Less Paul. It's before he's playing the returner guitars. But

1384
01:13:50,400 --> 01:13:53,280
Speaker 1: he is truly wearing a kimono belted at the waist,

1385
01:13:53,520 --> 01:13:56,320
Speaker 1: not unlike Rush in a certain era from them. But

1386
01:13:56,360 --> 01:13:59,759
Speaker 1: I don't know, he's just he's just a he's a striver.

1387
01:14:00,080 --> 01:14:02,320
Speaker 1: He's just a hilarious person to me, someone who takes

1388
01:14:02,360 --> 01:14:07,599
Speaker 1: himself so so seriously. Um anyway, sorry, but you mentioned

1389
01:14:07,800 --> 01:14:11,040
Speaker 1: Mick Fleetwood's balls earlier, as you well should have. There

1390
01:14:11,120 --> 01:14:14,240
Speaker 1: is a story about the pair of wooden balls that

1391
01:14:14,240 --> 01:14:18,919
Speaker 1: are dangling from mc fleetwood's pants. It's definitely a weird detail.

1392
01:14:19,000 --> 01:14:21,160
Speaker 1: I mean, it's something I've kind of always wondered about.

1393
01:14:21,640 --> 01:14:24,599
Speaker 1: And those balls almost miss it, Like it almost seems

1394
01:14:24,600 --> 01:14:28,160
Speaker 1: you almost missed them because there's so much poison like staging,

1395
01:14:28,240 --> 01:14:31,040
Speaker 1: and his limbs are so long, and then and then

1396
01:14:31,080 --> 01:14:33,400
Speaker 1: you look down and you're just distracted by this bit

1397
01:14:33,439 --> 01:14:35,680
Speaker 1: of grotiery. You would think that it was just this

1398
01:14:35,800 --> 01:14:38,000
Speaker 1: kind of like spur of the moment, boyish prank, and

1399
01:14:38,040 --> 01:14:40,759
Speaker 1: it's not. These balls actually have kind of a long

1400
01:14:40,840 --> 01:14:44,160
Speaker 1: history with Nick Fleetwood as kind of a good luck talisman.

1401
01:14:44,320 --> 01:14:47,000
Speaker 1: There were known as lavatory chains. There are the things

1402
01:14:47,040 --> 01:14:49,559
Speaker 1: you pulled the flush the toilet and they date back

1403
01:14:49,640 --> 01:14:52,599
Speaker 1: to early Fleetwood Matt gigs, like in the Peter Green

1404
01:14:52,680 --> 01:14:54,920
Speaker 1: days in the sixties. And he said he gave an

1405
01:14:54,920 --> 01:14:57,519
Speaker 1: interview with the Maui Times in two thousand nine and

1406
01:14:57,520 --> 01:14:59,599
Speaker 1: he said that, well, I had a couple of glasses

1407
01:14:59,640 --> 01:15:01,559
Speaker 1: of English jail and I came out of the toilet

1408
01:15:01,600 --> 01:15:04,000
Speaker 1: with these. I guess he just ripped him off the

1409
01:15:04,040 --> 01:15:07,240
Speaker 1: toilet and he just tied them to his pants down

1410
01:15:07,320 --> 01:15:12,600
Speaker 1: between his legs when he was playing, just to be funny,

1411
01:15:12,720 --> 01:15:14,679
Speaker 1: and uh, you know, he was like to say, in truth,

1412
01:15:14,720 --> 01:15:17,519
Speaker 1: they started off as a blues player. The whole ethic

1413
01:15:17,640 --> 01:15:20,080
Speaker 1: of a lot of blues music is slightly suggestive, I

1414
01:15:20,160 --> 01:15:23,080
Speaker 1: might say, and suitably, I walked out on stage with

1415
01:15:23,160 --> 01:15:26,360
Speaker 1: these two laboratory chains, with these two wooden balls hanging down,

1416
01:15:26,800 --> 01:15:30,240
Speaker 1: and it just stuck. And this wasn't his only tribute

1417
01:15:30,240 --> 01:15:34,680
Speaker 1: to uh virility, I suppose you could say, Uh. He

1418
01:15:34,800 --> 01:15:39,200
Speaker 1: also went through performative. Yeah, he went through a long

1419
01:15:39,240 --> 01:15:41,439
Speaker 1: period of placing a dildo on top of his bass

1420
01:15:41,479 --> 01:15:44,400
Speaker 1: drum that he called Harold, and I guess it was

1421
01:15:44,439 --> 01:15:47,720
Speaker 1: like a mascot, almost on par with like the penguins,

1422
01:15:48,240 --> 01:15:51,200
Speaker 1: uh in the pre Buckingham Next days of the band.

1423
01:15:51,400 --> 01:15:55,599
Speaker 1: And I guess uh Harold's career came to a an

1424
01:15:55,640 --> 01:15:58,920
Speaker 1: abrupt end when Fleetwood Mac were touring the American South,

1425
01:15:59,160 --> 01:16:01,600
Speaker 1: and I guess they were really arrested for having a

1426
01:16:01,680 --> 01:16:06,679
Speaker 1: dildo on the trump kit. Um. So so that was that.

1427
01:16:06,880 --> 01:16:10,160
Speaker 1: But the balls, Meanwhile, Mick Fleet would continue to to

1428
01:16:10,160 --> 01:16:12,320
Speaker 1: to wear them as sort of like a good luck

1429
01:16:12,400 --> 01:16:16,559
Speaker 1: charm really, and they made an appearance at pretty much

1430
01:16:16,560 --> 01:16:20,639
Speaker 1: every Fleetwood Mac show and apparently the original set were

1431
01:16:20,760 --> 01:16:22,880
Speaker 1: lost on the road, which I mean would be an

1432
01:16:22,880 --> 01:16:26,600
Speaker 1: amazing you know rock and roll Indiana Jones adventure to

1433
01:16:26,640 --> 01:16:30,559
Speaker 1: try to track down Mick Fleetwood's rumors balls. Um but

1434
01:16:30,680 --> 01:16:33,960
Speaker 1: he makes do these days with with a replica, and

1435
01:16:34,160 --> 01:16:36,439
Speaker 1: he says, I think this is speaking to the MAUI times.

1436
01:16:36,880 --> 01:16:39,519
Speaker 1: I won't say there as old as me, but and

1437
01:16:39,600 --> 01:16:42,840
Speaker 1: it starts getting an X rated commentary here my balls

1438
01:16:42,840 --> 01:16:48,920
Speaker 1: are quite old, weirdow. Sorry, we all we all have

1439
01:16:48,920 --> 01:16:50,880
Speaker 1: our good luck charms. Hey, if you happen to know

1440
01:16:50,920 --> 01:16:53,920
Speaker 1: the whereabouts of the original set of Mick Fleetwood's balls,

1441
01:16:54,000 --> 01:16:57,519
Speaker 1: please tweet at us using the hashtag meet Fleetwood's Balls.

1442
01:16:57,960 --> 01:17:01,200
Speaker 1: I promise you Jordan will enjoy the at This is

1443
01:17:01,240 --> 01:17:06,879
Speaker 1: like unsolved mysteries, like Robert's Stack being like update update,

1444
01:17:07,400 --> 01:17:11,519
Speaker 1: Mick Fleetwood's balls have been found. I wish I had

1445
01:17:11,520 --> 01:17:14,479
Speaker 1: a Bobby Stacks impression on deck where he's like, I

1446
01:17:14,520 --> 01:17:16,719
Speaker 1: don't know if I can pull this out. Three hours

1447
01:17:16,760 --> 01:17:19,360
Speaker 1: after we three hours after we broadcast the episode on

1448
01:17:19,439 --> 01:17:23,280
Speaker 1: Mick Fleetwood's balls, a housewife in Des Moines, Iowa was

1449
01:17:23,479 --> 01:17:26,080
Speaker 1: watching our show and called in. Three hours later, Mick

1450
01:17:26,120 --> 01:17:31,679
Speaker 1: Fleetwood's balls were found and returned to him. Tearful reunion.

1451
01:17:32,120 --> 01:17:39,240
Speaker 1: Fleetwood reduced the tears by balls. Speaking of Mick Fleetwood's balls,

1452
01:17:38,439 --> 01:17:43,240
Speaker 1: Hey uh, any Leebovitz is rolling Stone cover shoot, and

1453
01:17:43,360 --> 01:17:47,000
Speaker 1: Mick Fleetwood's balls actually played a large part in God

1454
01:17:47,000 --> 01:17:50,120
Speaker 1: I'm So sorry. Um so the band when they were

1455
01:17:50,120 --> 01:17:52,320
Speaker 1: going to be on the cover of Rolling Stone. Cameron

1456
01:17:52,320 --> 01:17:54,880
Speaker 1: Crow's doing the story, Annie Leevi, it's shooting the art,

1457
01:17:55,479 --> 01:17:57,960
Speaker 1: and you know it's an open secret in ll A

1458
01:17:58,040 --> 01:18:01,160
Speaker 1: that this band is a catastrophe of interper relationships. So

1459
01:18:01,840 --> 01:18:03,479
Speaker 1: the pitch for the art is to have them in

1460
01:18:03,520 --> 01:18:06,280
Speaker 1: bed with each other, and Fleetwood says in play on,

1461
01:18:06,360 --> 01:18:08,439
Speaker 1: he says, the intention was a spoof on the rumors

1462
01:18:08,479 --> 01:18:12,120
Speaker 1: about our private lives, and yet symbolically the picture showed

1463
01:18:12,160 --> 01:18:15,000
Speaker 1: us exactly as we were all married to each other.

1464
01:18:16,000 --> 01:18:19,479
Speaker 1: Generous read on that, Yeah, yeah, yeah, yeah, but you

1465
01:18:19,520 --> 01:18:22,800
Speaker 1: know she knows her audience. I'll say this. And so

1466
01:18:22,880 --> 01:18:26,280
Speaker 1: the band arrives at her studio and she had left

1467
01:18:26,280 --> 01:18:28,880
Speaker 1: cocaine out for them as a treat. As a treat,

1468
01:18:28,960 --> 01:18:33,480
Speaker 1: yeah exactly, here's the little charcouterie plate, here's some cocaine. Um.

1469
01:18:33,520 --> 01:18:35,240
Speaker 1: But then she says they looked a little freaked out.

1470
01:18:35,240 --> 01:18:38,200
Speaker 1: At first, but then consumed it in like thirty seconds.

1471
01:18:38,439 --> 01:18:41,400
Speaker 1: Then I learned they'd all recently been to rehab, so

1472
01:18:41,439 --> 01:18:45,280
Speaker 1: they were all a little jittery, intense, So great setting

1473
01:18:45,280 --> 01:18:47,479
Speaker 1: for a photo shoot. Band fresh out of rehab is

1474
01:18:47,520 --> 01:18:51,240
Speaker 1: offered cocaine and put in bed together. The original concept

1475
01:18:51,320 --> 01:18:53,360
Speaker 1: for the art called for the two ex couples to

1476
01:18:53,400 --> 01:18:56,840
Speaker 1: embrace each other, but they wisely walked that back a little,

1477
01:18:56,920 --> 01:18:59,320
Speaker 1: and Buckingham says, you know, for Stevie and me, the

1478
01:18:59,360 --> 01:19:02,639
Speaker 1: wounds and timosities were still very fresh, so the idea

1479
01:19:02,680 --> 01:19:05,479
Speaker 1: for the photo wasn't all that funny? Was the Fleetwood

1480
01:19:05,520 --> 01:19:11,400
Speaker 1: Night song on tuss That's like not that funny, is it? Anyway,

1481
01:19:11,600 --> 01:19:13,840
Speaker 1: Nicks put her foot down and she said, Okay, I'll

1482
01:19:13,880 --> 01:19:15,519
Speaker 1: be in bed with all of them, but I can't

1483
01:19:15,520 --> 01:19:18,240
Speaker 1: be in bed next to Lindsay, So I curl up

1484
01:19:18,240 --> 01:19:20,880
Speaker 1: next to Mick for the next three hours while Annie

1485
01:19:20,880 --> 01:19:23,880
Speaker 1: has suspended over us on a platform, and Christine didn't

1486
01:19:23,880 --> 01:19:26,120
Speaker 1: want to be next to John because they had just divorced,

1487
01:19:26,160 --> 01:19:31,560
Speaker 1: so John sits by himself reading Playboy. Now this obviously

1488
01:19:31,760 --> 01:19:37,080
Speaker 1: strange bedfellows make for strange bedfellows because this session, Nix

1489
01:19:37,120 --> 01:19:39,840
Speaker 1: and Buckingham backslides. This is something that I found really

1490
01:19:39,840 --> 01:19:42,200
Speaker 1: hard to believe, but Stevie has quoted us saying that

1491
01:19:42,280 --> 01:19:46,400
Speaker 1: she and Lindsay actually hooked up while in bed for

1492
01:19:46,439 --> 01:19:48,760
Speaker 1: this photo shoot. To read the quote, and I'm not

1493
01:19:48,840 --> 01:19:51,720
Speaker 1: totally sure where it's from. But afterwards, Lindsay and I

1494
01:19:51,800 --> 01:19:54,000
Speaker 1: got to talking about how amazing it was that not

1495
01:19:54,120 --> 01:19:56,639
Speaker 1: so long ago I was a waitress and he didn't

1496
01:19:56,680 --> 01:19:58,599
Speaker 1: have a job, and now we were on the cover

1497
01:19:58,680 --> 01:20:01,439
Speaker 1: of Rolling Stone with this huge record, and we lay

1498
01:20:01,479 --> 01:20:04,799
Speaker 1: there for about two hours talking and making out. Finally

1499
01:20:04,840 --> 01:20:06,960
Speaker 1: Annie had to tell us to leave because she'd rented

1500
01:20:07,000 --> 01:20:10,519
Speaker 1: the room for only so long. Family was just like,

1501
01:20:10,600 --> 01:20:17,080
Speaker 1: get a room. But perhaps even more surprising, you know,

1502
01:20:17,240 --> 01:20:19,640
Speaker 1: Nicks is also in bed with good old Mick Fleetwood,

1503
01:20:19,840 --> 01:20:23,280
Speaker 1: and you know it, uh it sparks something in them.

1504
01:20:23,320 --> 01:20:25,960
Speaker 1: Fleetwood later writes that the shoot caused him to realize

1505
01:20:25,960 --> 01:20:28,439
Speaker 1: that he and Nicks had definitely known each other in

1506
01:20:28,479 --> 01:20:33,000
Speaker 1: previous lives, which is that's some nineteen seventies pick up

1507
01:20:33,080 --> 01:20:36,080
Speaker 1: line if I've ever heard it, Like, oh hey, babe,

1508
01:20:36,120 --> 01:20:38,680
Speaker 1: I think like we might have known each other, but

1509
01:20:38,920 --> 01:20:40,880
Speaker 1: it wasn't a one way thing. Nix. It later admits

1510
01:20:40,880 --> 01:20:44,360
Speaker 1: herself that that particular photo session planted the seed for

1511
01:20:44,560 --> 01:20:47,959
Speaker 1: mix making me, which happened a year later. So they,

1512
01:20:48,120 --> 01:20:51,280
Speaker 1: you know, earnestly embarked on an affair during a late

1513
01:20:51,280 --> 01:20:54,120
Speaker 1: summer break during the band's tour schedule later that year,

1514
01:20:54,840 --> 01:20:57,080
Speaker 1: just before they headed to the South Pacific. So maybe

1515
01:20:57,080 --> 01:21:01,639
Speaker 1: it's a little pre pre South Pacific romance vibes um.

1516
01:21:01,720 --> 01:21:03,880
Speaker 1: Stevie and I used to slip away and go on

1517
01:21:03,920 --> 01:21:07,000
Speaker 1: adventures after gigs, which was an easy way to get away,

1518
01:21:07,160 --> 01:21:10,280
Speaker 1: Mick recalls. They would go to Maui, they go to

1519
01:21:10,320 --> 01:21:13,080
Speaker 1: New Zealand. They would just go driving through the Hollywood Hills,

1520
01:21:13,120 --> 01:21:15,080
Speaker 1: which doesn't sound make Fleetwood at the wheel of an

1521
01:21:15,080 --> 01:21:18,360
Speaker 1: automn automobile does not sound relaxing to me. But they

1522
01:21:18,400 --> 01:21:21,559
Speaker 1: parted eventually, But you know, Mike Fleetwood still looks back

1523
01:21:21,600 --> 01:21:25,280
Speaker 1: on this with pretty admirably rose colored glasses. He says,

1524
01:21:25,400 --> 01:21:27,320
Speaker 1: we just love each other in the true sense of

1525
01:21:27,320 --> 01:21:30,599
Speaker 1: the word, which transcends passion. I will take my love

1526
01:21:30,640 --> 01:21:33,160
Speaker 1: for her as a person to my grave, because Stevie

1527
01:21:33,240 --> 01:21:35,840
Speaker 1: Nicks is the kind of woman who inspires that devotion.

1528
01:21:36,240 --> 01:21:38,720
Speaker 1: I have no regrets and near to she, but we

1529
01:21:38,800 --> 01:21:41,640
Speaker 1: do giggle sometimes and wonder what might have transpired if

1530
01:21:41,640 --> 01:21:44,759
Speaker 1: we'd given that passion the space and time to blossom

1531
01:21:44,800 --> 01:21:47,720
Speaker 1: into something more, Which is like, that's a really that's

1532
01:21:47,760 --> 01:21:51,000
Speaker 1: a really nice quote from Mick Fleetwood that I think

1533
01:21:51,000 --> 01:21:54,000
Speaker 1: that is actually a great note to end of for

1534
01:21:54,120 --> 01:21:59,000
Speaker 1: all of the bile and spite and resentment and just

1535
01:21:59,080 --> 01:22:01,519
Speaker 1: torture us in a per some relationships that went into

1536
01:22:01,520 --> 01:22:04,400
Speaker 1: the making of this album, you have that, you have

1537
01:22:04,520 --> 01:22:07,360
Speaker 1: that beautiful quote, A really nice moment shared between two

1538
01:22:07,400 --> 01:22:10,800
Speaker 1: people didn't work out, but they both appreciate each other

1539
01:22:11,040 --> 01:22:12,880
Speaker 1: and what they had for a brief moment of time

1540
01:22:12,880 --> 01:22:15,640
Speaker 1: for what it was. I think that is beautiful. I

1541
01:22:15,680 --> 01:22:18,960
Speaker 1: think that should be you know, they say, you know,

1542
01:22:19,000 --> 01:22:21,679
Speaker 1: people don't change. I think that is the Hero's journey.

1543
01:22:21,840 --> 01:22:25,519
Speaker 1: They changed, they took, they took something from all this.

1544
01:22:26,120 --> 01:22:28,880
Speaker 1: I think that is. Yeah. If there's two things I

1545
01:22:28,880 --> 01:22:31,240
Speaker 1: want you to take away from this podcast, I want

1546
01:22:31,320 --> 01:22:34,360
Speaker 1: you to take away that Rumors is really Joseph Campbell's

1547
01:22:34,400 --> 01:22:40,840
Speaker 1: The Hero's Journey and hashtag Fleetwood's balls. Uh, this has

1548
01:22:40,880 --> 01:22:45,320
Speaker 1: been too much information about Fleetwood Max Rumors. I'm Alex Hegel,

1549
01:22:45,439 --> 01:22:48,000
Speaker 1: I'm Jordan Runtuck. Thank you so much for listening. We

1550
01:22:48,080 --> 01:22:50,920
Speaker 1: will see you in a few days with more fun

1551
01:22:50,920 --> 01:22:58,439
Speaker 1: and adventure. Too Much Information was a production of I

1552
01:22:58,560 --> 01:23:01,760
Speaker 1: Heart Radio. The show's executive producers are Noel Brown and

1553
01:23:01,840 --> 01:23:04,920
Speaker 1: Jordan run Talk. The supervising producer is Mike John's. The

1554
01:23:04,960 --> 01:23:08,000
Speaker 1: show was researched, written and hosted by Jordan run Talk

1555
01:23:08,040 --> 01:23:11,080
Speaker 1: and Alex Heigel, with original music by Seth Applebaum and

1556
01:23:11,120 --> 01:23:13,719
Speaker 1: the Ghost Funk Orchestra. If you like what you heard,

1557
01:23:13,800 --> 01:23:16,520
Speaker 1: please subscribe and leave us a review. For more podcasts

1558
01:23:16,520 --> 01:23:18,840
Speaker 1: and I heart Radio, visit the I heart Radio app,

1559
01:23:18,960 --> 01:23:21,840
Speaker 1: Apple podcast, or wherever you listen to your favorite shows.