Stevie Nicks on the album that terrified Fleetwood Mac: “I tried to make it very clear”
For all the tumult in Fleetwood Mac’s history, there was a reason the band’s most well-known lineup—Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie, and Mick Fleetwood—stuck together through trials and tribulations for over a decade.
It was a self-titled album that would mark the arrival of this five-piece – the 1975 edition, that is, not to be confused with 1968’s debut which saw Mick Fleetwood, Jeremy Spencer, John McVie, and Bob Brunning join forces for what would become known as Peter Green’s – and the original – Fleetwood Mac.
In 1977, Rumours—the group’s second outing—would prove their most pivotal, extensively lauded even still almost 50 years on as one of the greatest albums of all time. The 11-track record became a defining moment in rock history, cementing Fleetwood Mac’s place in the pantheon of legendary acts. While change might have been the only consistent in the history of Fleetwood Mac, it’s the sound of Rumours that rings on and echoes through the decades since its release. It’s the sound of Rumours that became synonymous with the band’s namesake for many. And arguably, it’s the sound of Rumours that planted them firmly as an evergreen favourite with each passing generation the world over.
Three more albums followed before Lindsey Buckingham departed in 1987, but if we pause for a moment to reflect on just the first two albums from this classic lineup, the songwriting prowess of Stevie Nicks is undeniable. From ‘Rhiannon’ and ‘Landslide’ on Fleetwood Mac (1975) to ‘Dreams’ and ‘Gold Dust Woman’ on Rumours, Nicks firmly stepped into the spotlight as a songwriter—one that continued to shine through the years, both as a band member and a solo artist. This was particularly evident in Rumours’ only full band-credited track, the monolith that is ‘The Chain’.
Her contributions to the group would offer just a glimpse of her capabilities, which came to full fruition on her debut album as a solo artist in 1981. The title track, which opens Bella Donna, immediately introduces the listener to both her fears and dreams of living the life of a musician but also those that come to the fore when taking such a leap of faith – Nicks, in this instance, hoping to land into her own artistry. The push-and-pull of this apprehension and aspiration grapples with the title itself, which means “beautiful woman” in Italian but also refers to a deadly herb in tales of witches and witchcraft, often a poisonous ingredient in their deadly brews – in other words, a move that can kill you if you’re not careful.
With the ten-track collection including the likes of ‘Stop Draggin’ My Heart Around’ – a duet with Tom Petty and the Heartbreakers – the anthemic ‘Edge of Seventeen’, and ‘Leather and Lace’ which saw her collaborate with Don Henley, Nicks really had nothing to fear in terms of her ability to display musical excellence. At this point, however, you could understand why feelings of concern might actually flip to her Fleetwood Mac bandmates.
As Nicks put it, “I think that Fleetwood Mac was terrified at first that I was going to go and just do the solo career.”
She certainly had the command, mastery, and ingenuity if she wanted to. Her love for the band prevailed though as she recalled: “I loved my band…I was never going to do that. I tried to make it very clear to them that they didn’t even have to worry about that because I adored being in Fleetwood Mac.”
It’s here that my mind casts back to the unrest surrounding the Nicks-penned ‘Silver Springs’ and its exclusion from Rumours—despite objections from its writer. In what could be perceived as a direct snub, the track appeared as a B-side to ‘Go Your Own Way’—written by Nicks’ on-again, off-again romantic and musical partner Lindsey Buckingham—before finally receiving its deserved recognition on The Dance, the 1997 live album that marked the band’s return to the stage together. Perhaps this ten-year break, coupled with the growing threat of Nicks’ solo career, paved the way for a newfound respect, giving credit where it was due—some might even say, long overdue.
