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Lindsey Buckingham: "Like everything else on RUMOURS, it was very, very autobiographical. I remember writing it in a bunch of Holiday Inn's, It was at a time when both Christine and Stevie wanted to move on. It was a feeling they encouraged in one another" ..... "a bitch of a record to make" ..... "It moves along like a train building up speed, a lot of people thought the rhythms were kind of weird. I remember trying to show Mick Fleetwood a drum part for the song. But it wasn't his style, so he did it his own way. As it turned out, his was was better." (Rolling Stone)

Lindsey Buckingham: That came very quickly. I remember sitting down and putting that to-gether when we were taking a break in Florida. We rented a house to startrehearsing before Rumours, and it was an immediate song. It was a very present thing in terms of the response it got from the band. The drumbeatthat Mick did in the verse was actually his version of trying to do some-thing that I asked him to do that he couldn t do. What he did was better.I d been listening to Street Fighting Man, and Charlie Watts does thiskind of offbeat rhythm. Mick, either he didn t want to do that, or hecouldn t get it, so he came up with his own version. (Songwriters Talk About The Creative Process)

Mick Fleetwood: "'Go Your Own Way's' rhythm was a tom-tom structure that Lindsey demoed by hitting Kleenex boxes or something. I never quite got to grips with what he wanted, so the end result was my mutated interpretation. It became a major part of the song, a completely back-to-front approach that came, I'm ashamed to say, from capitalising on my own ineptness. There was some conflict about the 'crackin' up, shackin' up' line, which Stevie felt was unfair, but Lindsey felt strongly about. It was basically, On your bike, girl!'"
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(Lindsey Buckingham)

Produced:
Engineered:
Recorded at:
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VIDEO

Stevie Nicks: "This is a story about a Welsh witch." (1980:Fleetwood Mac Live album introduction)

Stevie Nicks: "This legend of Rhiannon is about the song of the birds that take away pain and relieve suffering. That's what music is to me. I don't want any pain.... It's not a rock & roll song." (1979:Rolling Stone)

Stevie Nicks: "I read the name of it in a... in a, just a novel, and really liked it and thought, 'that's really a beautiful name.' Sat down, tap, tap, tap... about 10 minutes later wrote Rhiannon. We think that she was, in fact, Queen and that her memory became the myth. I definitely feel that there's a presence..." (mid '70's)

Stevie Nicks: "I wrote it in October of the year we joined Fleetwood Mac, in '74. So I wrote it around Halloween, before New Year's Eve. I don't really know... when I wrote Rhiannon, I didn't know the whole story of Rhiannon, I didn't know any of it, really... I just knew the name. And now, down through the years I have found out the whole thing and so have a lot of other people, and I think that it offers more than just a song, you know, the idea of Rhiannon is the legend of the song of the birds of Rhiannon. Which is the three-- the white, the green, and the golden bird of Rhiannon, which are like a pain pill, kind of. If you're in trouble or hurt or something, it says in the translations'down the glorious pathway came the birds,' and they're singing this song, and if you're hurt or in trouble or something, you'll hear this song and sort of black out and then when you wake up, the birds will be gone, but you'll be alright. And that-- it's just a... whenever I write anybody that is not feeling well, or that I'm worried about, or that needs some spiritual thing, I say something about the birds of Rhiannon... I'll start out, I'll say 'there is a story that tells of three birds that sing you to sleep, or sing you better.' And it works. I use it all the time. I think about it all the time and I think that everybody that knows about it does. So it became much more than just a song. Because it's an idea, it's a real kind of romantic idealistic idea of music being able to take away your sorrow." (1986:Startrack Profiles)
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Both "Rhiannon" and "Monday Morning" were written during the Buckingham Nicks days, and performed live by the duo although not recorded. The early version of Rhiannon was played much faster. (Wikipedia)
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(Stevie Nicks)

Stevie Nicks lead vocals
Lindsey Buckingham guitar, background vocals
Christine McVie keyboards, background vocals
John McVie bass
Mick Fleetwood drums

Produced: Fleetwood Mac, Keith Olsen
Engineered: Keith Olsen
Recorded at: Sound City Studios, Van Nuys, California, USA, Feb 1975
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VIDEO

Don't Stop" reflects Christine McVie's feelings after her separation from Fleetwood Mac's bass guitarist, John McVie, after eight years of marriage. "'Don't Stop' was just a feeling. It just seemed to be a pleasant revelation to have that 'yesterday's gone'." (Wikipeidia)
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Christine McVie: "It might have, I guess, been directed more toward John, but I'm just definitely not a pessimist." (The Fleetwood Mac Story: Rumours and Lies)

Lindsey Buckingham: "Christine actually wrote most of the lyrics about splitting up with John, and how he wasn't as devastated by it as she was." (1992)

John McVie: "I never put that together. I've been playing it for years and it wasn't until somebody told me, 'Chris wrote that about you.' Oh really?" (2015:Mojo)
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(Christine McVie)

Christine McVie lead vocals, acoustic piano, tack piano, Vox Continental
Lindsey Buckingham electric guitars, lead vocals
John McVie bass guitar
Mick Fleetwood drums
Stevie Nicks tambourine, backing vocals

Produced: Fleetwood Mac, Richard Dashut, Ken Caillat
Engineered: Ken Caillat, Richard Dashut
Recorded at: 1976
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VIDEO

Stevie Nicks: ""When we were first recording the Rumours record we spent two months in Sausalito at the Record Plant, and as far as I'm concerned that's when we actually recorded the record. It took another eight months after that, but the tracks were all done there. Um, while they're doing all kinds of stuff and there's nothing for me to do, I went next door to Sly Stone's studio within the building, this big, like, black and red room with a kind of a stairway that went down into this, like, kind of tunnel thing wherepeople would set up and play around this like light house sort of setup. And I took my little Fender Rhodes piano in there and I wrote Dreams. And I spent about an hour in there, and then I went back in to Fleetwood Mac and actually was brave enough to just play, play it for them, cause I really thought it was good, [smiles] and uh, and they liked it and we recorded it that night. That is the story of Dreams."" (1998:VH1 Storytellers)

Stevie Nicks: ""I always put something at the end that says there's hope. You know, 'When the rain washes you clean you'll know.' And that's an old Indian [Native American] custom... that if it rains, something like that, when somebody dies... if it rains, their spirit is set free."" (In The Studio)

Stevie Nicks: "Lindsey writes Go Your Own Way and I write Dreams... I write philosophically, he writes angry! So yes, a lot of the stuff that, you know, little sentences or stuff that he would say would upset me. However, as a songwriter, I have to respect that he's gonna write about what's happening to him, and so am I. So I could never say to him, you know, back off! Stop writing songs about me, because that was his life then and that's when the best songs are written and it doesn't really matter who breaks up with who at that point, that's when everybody writes the best songs... and that's what happened on Rumours! I mean, maybe we would have killed each other if we hadn't have been able to write those songs, you know ... if we hadn't have been able to put that energy into the music and rise above it that way, then maybe we would have just gone totally freaked out on each other." (1998:BBC Special)
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Stevie Nicks: "One day when I wasn't required in the main studio. I took a Fender Rhodes piano and went into another studio that was said to belong to Sly Stone, of Sly and the Family Stone. It was a black-and-red room, with a sunken pit in the middle where there was a piano, and a big black-velvet bed with Victorian drapes. ..... I sat down on the bed with my keyboard in front of me. I found a drum pattern, switched my little cassette player on and wrote 'Dreams' in about 10 minutes. Right away I liked the fact that I was doing something with a dance beat, because that made it a little unusual for me.

They weren't nuts about it. But I said 'Please! Please record this song, at least try it'. Because the way I play things sometimes... you really have to listen." (Blender)

Cris Morris: (Recording assistant) "all (they) kept was the drum track and live vocal from Stevie the guitars and bass were added later in Los Angeles." (Blender)

Christine McVie: "Dreams developed in a bizarre way. When Stevie first played it for me on the piano, it was just three chords and one note in the left hand. I thought, This is really boring, but the Lindsey genius came into play and he fashioned three sections out of identical chords, making each section sound completely different. He created the impression that there's a thread running through the whole thing." (Rolling Stone)
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The members of Fleetwood Mac were experiencing emotional upheavals while recording the Rumours album. Mick Fleetwood was going through a divorce. John McVie was separating from his wife Christine McVie. Lindsey Buckingham and Stevie Nicks were ending their eight-year relationship. Nicks wrote the song in early 1976 at the Record Plant studio in Sausalito, California. (Wikipedia)
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(Stevie Nicks)

Stevie Nicks lead vocals, backing vocals Lindsey Buckingham electric/acoustic guitar, backing vocals John McVie bass Mick Fleetwood drums, congas, producer Christine McVie Fender Rhodes electric piano, Hammond organ, backing vocals Produced: Fleetwood Mac, Richard Dashut, Ken Caillat
Engineered: Ken Caillat, Richard Dashut
Recorded at: 1976
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The song was inspired by an affair McVie had with Curry Grant (the band's lighting technician). "To avoid flare-ups", she told her then-husband John McVie that the song was about her dog; he found out later what it was really about. ..... Early tracking of the song was done, according to McVie, in the absence of Lindsey Buckingham, which allowed her the freedom to "build the song on my own". The recording sessions were saturated with cocaine use. (Wikipedia)
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(Christine McVie)

Christine McVie lead vocals, electric piano, clavinet, Hammond B3 organ
Lindsey Buckingham guitars, tom toms, backing vocals
John McVie bass guitar
Mick Fleetwood drums, wind chimes, castanets, clavinet pedal
Stevie Nicks tambourine, backing vocals

Produced: Fleetwood Mac, Richard Dashut, Ken Caillat
Engineered: Ken Caillat, Richard Dashut
Recorded at: 1976
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VIDEO

Stevie Nicks: "I knew that Sara would be very popular because I loved writing that song... I remember the night I wrote it. I sat up with a very good friend of mine whose name is Sara, who was married to Mick Fleetwood. She likes to think it's completely about her, but it's really not completely about her. It's about me, about her, about Mick, about Fleetwood Mac. Its about all of us at that point. There's little bits about each one of us in that song and when it had all the other verses it really covered a vast bunch of people. Sara was the kind of song you could fall in love with, because I fell in love with it..."

Don Henley: "I believe to the best of my knowledge she became pregnant by me. And she named the kid Sara, and she had an abortion and then wrote the song of the same name to the spirit of the aborted baby. I was building my house at the time, and there's a line in the song that says 'And when you build your house, call me.'" (1991:GQ)
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(Stevie Nicks)

Stevie Nicks lead vocals, tack piano
Lindsey Buckingham acoustic guitars, backing vocals
Christine McVie keyboards, backing vocals
John McVie bass
Mick Fleetwood drums

Produced: Fleetwood Mac, Richard Dashut, Ken Caillat
Engineered: Richard Dashut, Ken Caillat
Recorded at: The Village Recorder, Los Angeles, California, USA, 1978 1979

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Christine McVie: "The idea of the lyric is: If I had the chance, I'd do it differently next time. But since I can't, just carry on lying to me and I'll believe, even though I know you're lying."
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Some think Christine wrote Little Lies about her relationship with Dennis Wilson of the Beach Boys. Her frustration with his habits could have fueled the wishful regret that continues throughout Little Lies. (The Penguin)
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(Christine McVie, Eddy Quintela)

Christine McVie lead/backing vocals, synthesizers
Lindsey Buckingham guitars, Fairlight CMI, backing vocals
John McVie bass guitar
Mick Fleetwood drums, percussion
Stevie Nicks backing vocals

Produced: Lindsey Buckingham, Richard Dashut
Engineered: ??
Recorded at: Rumbo Recorders, Los Angeles, California, USA, 1986
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Stevie Nicks: "It was written in 1973 at a point where Lindsey and I had driven to Aspen for him to rehearse for two weeks with Don Everly. Lindsey wasgoing to take Phil s place. So they rehearsed and left, and I made a choiceto stay in Aspen. I ?gured I d stay there and one of my girlfriends wasthere. We stayed there for almost three months while Lindsey was on theroad, and this is right after the Buckingham Nicks record had beendropped. And it was horrifying to Lindsey and I because we had a taste of the big time, we recorded in a big studio, we met famous people, we madewhat we consider to be a brilliant record and nobody liked it [laughs]. What are we gonna do now? I had been a waitress and a cleaning lady and I didn t mind any of this. I was perfectly delighted to work andsupport us so that Lindsey could produce and work and ?x our songsand make our music. But I had gotten to a point where it was like, I mnot happy. I am tired of this. But I don t know if we can do any betterthan this. If nobody likes this, then what are we going to do? So duringthat two months, I made a decision to continue. So Landslide was thedecision. When you see my re?ection in the snow-covered hills it s theonly time in my life that I ve lived in the snow. But looking up at those Rocky Mountains and going, Okay, we can do it. I m sure we can do it.Okay, Lindsey, we re going to the top. In one of my journal entries, itsays, I took Lindsey and said, We re going to the top! And that s what we did. Within a year, Mick Fleetwood called us and we were in Fleetwood Mac making eight hundred dollars a week apiece [laughs]. Washing hundred-dollar bills through the laundry. It was hysterical. It was like wewere rich overnight.

For them (Dixie Chicks) to have done it and brought it back is a great honor to me.I am very good friends with them, and hope very much to do a record with Natalie at some point in my life. I have to show you what they sentme [brings out a lovely painted bowl engraved with the lyrics of Land-slide in a spiral]. It s all perfect. The neatest part of the song is all insidethe bowl. So beautiful, and so special. When I m a hundred and one walk-ing around the house, that will still be just like that. It will be an in-spiration to me, to see that somebody cared enough to do this. These girls are very precious to me. I think sometimes if I d have ever had a daughter,I would want her to be Natalie. She s very special to me. I love her and I care about her in a way that s very motherly. I think she s about the best singer out there. I thought that the first time I heard her sing. I was in Phoenix, and it was the middle of the night, and I had FM radio on, and on came There s Your Trouble. I wrote it down, and went straight to therecord store the next day. So I made the decision then, and it was yearsbefore I ever met them, that I wanted to work with her someday. So it wasvery karma-inspired that they would pick up Landslide and want to doit. I think that Sheryl Crow is the one who suggested it to them. (Songwriters Talk About The Creative Process)
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(Stevie Nicks)

Stevie Nicks lead vocals
Lindsey Buckingham guitar

Produced: Fleetwood Mac, Keith Olsen
Engineered: Keith Olsen, David Devore
Recorded at: Sound City Studios, Van Nuys, California, USA
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VIDEO

It is alleged that the song was about McVie's turbulent three-year relationship with Dennis Wilson, who struggled with alcoholism throughout their time together.
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Christine McVie: "Well we'd split up before all that (Wilson's death) but yes, obviously, I've had to ask myself the same question. Why do people stay with people? 'Cos they love them, I guess. And I loved him for a while. he was very charismatic, great looking, very charming, very cute -- if you can call a guy with a beard and voice like Satan'cute'. He used to draw people into his life, strangers off planes and off the streets, and they'd become his best friends. I think I mothered him, to be honest. He used to go off and I wouldn't see him for days, and days, and then he'd come back and I'd mother him and get him all nice and sober and then he'd go off and go crazy again. It's one of those things. Opposites attract." (2003:Word)
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(Christine McVie, Robbie Patton)

Christine McVie lead/backing vocals, piano, Yamaha CP30 electric piano
Lindsey Buckingham lead/backing vocals, twelve-string acoustic/electric guitar
John McVie bass guitar
Mick Fleetwood drums, tambourine, congas

Produced: Lindsey Buckingham, Fleetwood Mac, Ken Caillat, Richard Dashut
Engineered: Richard Dashut, Ken Caillat
Recorded at: Le Ch teau, H rouville, France, 1981
.....(Overdubs: Larrabee Sound Studios & The Record Plant, Los Angeles, Cal., USA)
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Mick Fleetwood: Tusk, the song, was actually born during Fleetwood Mac sound checks with Lindsey (Buckingham) playing the basic riff on stage on his guitar. He would work on it, playing it as we jammed. Then we went into the studio and Lindsey brought out the riff and crafted the beginnings of a song. This was during the making of Tusk, the album. Like things often happen in the studio, the song drifted off the radar and was put aside. Lindsey wasn t satisfied with where the song was going, so it was relegated to not being on the front line to be on the album.

We had a break during our recording and I went to Fleur du Cap in Bras, a fishing town in northem France. My father had just passed away and my mother was there with my sister. A few days after I arrived, after a horrendous night with a brandy bottle, I was awakened one morning by what I came to realize was a brass band. I had a terrible hangover but gave up on sleep and went out onto the veranda to listen to the band and watch people following them as if they were the Pied Piper. The band walked around the perimeter of the town and every twenty minutes or so kids, men, women, people in wheelchairs, followed the band.

That is when and where I got the crazy idea to get a brass band to play on Lindsey s song. When I got back and went into the studio and told everyone my idea, they thought I was nuts. Lindsey, however, thought it was a cool idea. I immediately went to USC (University of Southem Califomia) and spoke with Dr. Bartner, who was the head of the music program and the marching band.

We played the song at a band meeting and asked them to come up with their own arrangement for their part, which they did. It became a very important experience for them. There were nearly 200 kids in the USC Marching Band and we recorded them live to tape in Dodger Stadium. It was an insane idea but we pulled it off! What s very nice is that it has become a multi-generational tradition that has made this song a staple in the USC Marching Band repertoire ever since. It is played at every game there. From time to time, I ll bang some drums with them during halftime. I keep meeting kids in school now who are still stoked about the song.

In the old days when we performed this song (which we still do) at large venues like the Forum in Los Angeles, we had the band march down the aisles, sometimes accompanied by the Trojans horses. More recently, Radiohead performed with the USC Marching Band on the Grammys telecast and they referenced Fleetwood Mac preceding them. From that quirky moming in Normandie, the song lives on. It could never have seen the light of day otherwise. People react the way I imagined when I saw the people following the band when I was in Bras. My being suitably insane came off I'm quietly happy about that. (2015:Chicken Soup For The Soul)
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Stevie Nicks: "I didn't understand the title, there was nothing beautiful or elegant about the word 'tusk.' It really bought to mind those people stealing ivory. Even then, in 1979 you just thought, the rhinos are being poached and that tusks are being stolen and the elephants are being slaughtered and ivory is being sold on the black market. I don't recall it being (Mick's slang term for the male member), that went right over my prudish little head. I wasn't told that until quite a while after the record was done, and when I did find out I liked the title even less!" (2015:Mojo)
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(Lindsey Buckingham)

Lindsey Buckingham lead vocals, guitar, Kleenex box
Christine McVie electronic organ, backing vocals
Stevie Nicks backing vocals
John McVie bass guitar
Mick Fleetwood drums, percussion, lamb chops
USC Trojan Marching Band percussion, horns

Produced: Fleetwood Mac, Richard Dashut, Ken Caillat
Engineered: Richard Dashut, Ken Caillat
Recorded at: The Village Recorder, Los Angeles, California, USA, 1978-1979
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(Christine McVie)

Christine McVie lead vocals, piano
Lindsey Buckingham vocal harmonies, electric guitar, acoustic guitar, 12-string electric guitar, banjo
John McVie bass guitar
Mick Fleetwood drums, tambourine
Stevie Nicks vocal harmonies

Produced: Fleetwood Mac, Keith Olsen
Engineered: Keith Olsen, David Devore
Recorded at: Sound City Studios, Van Nuys, California, USA, Feb 1975
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VIDEO

Stevie Nicks: "Sandy Stewart, a very good friend of mine, came through Phoenix about... whenever it was... about a year ago, and spent two days. She played all her new demos for me. Amongst these songs was a song called "Seven Wonders." I instantly, the first time I heard it said to Sandy, 'are you gonna do this on your next album?' She said, 'when I wrote it I thought about you.' I said, 'what do you think about Fleetwood Mac?' She said as any wise songwriter would say, 'absolutely. Go ahead.' A couple months later, somebody said, 'you know that 'Seven Wonders' song, is it still available? And I said 'yeah, absolutely.'

[Now you also contributed lyrics to it as well.] Yeah, but the only reason for that was because we thought we had written down exactly as I sing them, the exact words to Seven Wonders. They [Fleetwood Mac] cut the song without me there. Then I went in a couple nights later and sang it one time. Then I sang it three hundred more times but we went back to the original, very first vocal. I sang the words that I had written down and Sandy didn't unfortunately get me the real words before that. She knew about it so I sang those words. Then, I saw the real words and I tried to sing the real words, which are in fact very different. I couldn't do a vocal again like that very first time I walked up to the microphone and sang Seven Wonders. At that point, there's no choice in Fleetwood Mac's eyes-- 'the poetry is cut and your poetry is in or we don't do the song.'

[So that's funny, your embellishments were sort of accidental in the positive sense.] Yeah, completely and in a very positive sense. I mean, there is something in that vocal that's real special. It's because I hadn't really thought about the song much so when I walked in and they had cut the track and I walked out there it was my first experience with singing Seven Wonders. So when you hear it, you know that was really the first time I heard it too." (1988:Rock Stars)
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(Stevie Nicks, Sandy Stewart)

Stevie Nicks lead/backing vocals
Lindsey Buckingham electric guitar, backing vocals
Mick Fleetwood drums, percussion
John McVie bass guitar
Christine McVie synthesizers, backing vocals

Produced: Lindsey Buckingham, Richard Dashut
Engineered: ??
Recorded at: Rumbo Recorders, Los Angeles, California, USA, 1986
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McVie has stated that she composed the song using a portable Hohner electric piano in a small apartment in Malibu, California, where she and then-husband John McVie (Fleetwood Mac's bassist) resided after completing a concert tour to promote the previous album Heroes Are Hard to Find. The words of the song seem though McVie has never confirmed this to refer to her troubled marriage, which would end in divorce in 1976. (Wikipedia)
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(Christine McVie)

Christine McVie - lead vocals, organ, electric piano
Lindsey Buckingham - electric/acoustic guitars, backing vocals
John McVie - bass guitar
Mick Fleetwood - drums, bongos, shaker, cowbell
Stevie Nicks - backing vocals

Produced: Fleetwood Mac, Keith Olsen
Engineered: Keith Olsen
Recorded at: Sound City Studios, Van Nuys, California, USA, Feb 1975
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Stevie Nicks: "The song Gypsy isn't a real happy story. Gypsy is a lot about returning to San Francisco. And Gypsy was written when my best friend [Robin] died of Leukemia and uh... about the fact that she wasn't going to see the rest of this: I still see your bright eyes, it was like she wasn't... going to make it. And uh, I was like the lone gypsy... this was my best friend from when I was 15 and so I was a solo gypsy all of a sudden and it was very sad for me and that's sometimes when I write my very best songs. Robin had been on the road with Fleetwood Mac for five years. As my speech therapist and also management, an incredibly efficient helper. I still miss your bright eyes... that's why we don't do it on stage... it's because it's really too hard for me to sing. Lightning strikes maybe once, maybe twice... that means one time in your life you find a very good friend, and maybe if you're incredibly lucky, you might find a second. It all comes down to you, means but you have to look very hard." (1988:Greatest Hits interview)

Stevie Nicks: "Gypsy is about, um... going back to the gypsy that I was prior to Fleetwood Mac." (Rocks Family Tree)

Stevie Nicks: "The clothes I wear... that doesn't change. I love long dresses. I love velvet. I love high boots. I never change. I love the same eye make-up. I'm not a fad person. I still have everything I had then. That's one part of me... that's where my songs come from. There's a song on the new FM album [Mirage] that says, 'Going back to the velvet underground/back to the floor that I love,' because I always put my bed on the floor." [She quotes from the song again] 'To a room with some lace and paper flowers/back to the gypsy that I was.' And that's San Francisco. That's the velvet underground. Those are the things that I can't give up." (1982:The Record)
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(Stevie Nicks)

Stevie Nicks lead vocals
Lindsey Buckingham guitar, vocals
Christine McVie piano, backing vocals, organ
John McVie bass guitar
Mick Fleetwood drums, percussion

Produced: Lindsey Buckingham, Fleetwood Mac, Ken Caillat, Richard Dashut
Engineered: Richard Dashut, Ken Caillat
Recorded at: Le Ch teau, H rouville, France, 1981
.....(Overdubs: Larrabee Sound Studios & The Record Plant, Los Angeles, Cal., USA)
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(Christine McVie)

Christine McVie lead vocals, backing vocals, synthesizers
Lindsey Buckingham guitars, Fairlight CMI, backing vocals
John McVie bass guitar
Mick Fleetwood drums, percussion
Stevie Nicks backing vocals

Produced: Lindsey Buckingham, Richard Dashut
Engineered: ??
Recorded at: Rumbo Recorders, Los Angeles, California, USA, 1986
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"Big Love" was written by Lindsey Buckingham, and was originally going to be part of his third solo album which he began working on in 1985, but the project became a Fleetwood Mac album instead. (Wikipedia)
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(Lindsey Buckingham)

Lindsey Buckingham lead vocals, guitar, Fairlight CMI, drum programming
John McVie bass guitar
Christine McVie keyboards, synthesizer
Mick Fleetwood drums

Produced: Lindsey Buckingham, Richard Dashut
Engineered: ??
Recorded at: Rumbo Recorders, Los Angeles, California, USA, 1986
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(Christine McVie, Eddy Quintela)

Christine McVie lead vocals, keyboards, synthesizer
Rick Vito lead guitar, backing vocals
Billy Burnette rhythm guitar, backing vocals
John McVie bass guitar
Mick Fleetwood drums, percussion
Stevie Nicks backing vocals

Produced: Greg Ladanyi
Engineered: ??
Recorded at: ??
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Christine McVie: "The Chain started as the tail end of a jam and we did it all the wrong way around. We kept the end bit and added a new beginning. We used Stevie's lyrics, I created the chorus and Lindsey did the verses. I really don't know how it all came together."
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According to interviews on the writing of Rumours, the final section of "The Chain" beginning with a bass progression was created by John McVie and Mick Fleetwood. Stevie Nicks had written the lyrics separately and thought they would be a good match; she and Christine McVie did some reworking to create the first section of the tune. Other elements were worked in from an early project of Christine's called "Keep Me There". The blues-style piano motif was removed, and the remainder combined with a bridge from yet another piece manually using a razor blade to cut and splice the tapes. To complete the song, Buckingham recycled the intro from an earlier song from a duet with Nicks, "Lola (My Love)", originally released on their self-titled 1973 album.

Due to the spliced nature of the record (the drums and guitar were the only instruments actually recorded in each other's company) and its sporadic composition and assembly from different rejected songs, "The Chain" is one of only a few Fleetwood Mac songs whose authorship is credited to all members of the band at the time.[1] The finished song itself has a basic rock structure, although it has two distinct portions: the main verse and chorus, and the outro. The song shows influences of hard rock, folk, and country, using a dobro to play the guitar riff. (Wikipedia)
**KILL ME**

(Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, Stevie Nicks)

Lindsey Buckingham lead vocals, electric guitars, Dobro Stevie Nicks lead/harmony vocals Christine McVie Harmonium, Hammond organ, harmony vocals John McVie fretless bass guitar Mick Fleetwood drums, tambourine Produced:
Engineered:
Recorded at:
**KILL ME**

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**KILL ME**

(Christine McVie, Eddy Quintela)

Christine McVie lead vocals, keyboards, synthesizer Rick Vito lead guitar, backing vocals Billy Burnette rhythm guitar, backing vocals John McVie bass guitar Mick Fleetwood drums, gong, finger cymbals, wind chimes Stevie Nicks backing vocals Produced: Greg Ladanyi, Fleetwood Mac
Engineered: Greg Ladanyi, Bob Levy, Dennis Mays
Recorded at: The Complex, Los Angeles, Vintage Recorders, Phoenix, Arizona, USA
**KILL ME**

VIDEO

Lindsey Buckingham: I wrote the song about two and a half years ago. It was, in a very ironicway, looking at the kind of thinking that is matter-of-fact and desensi-tized towards certain actions that go on in the world, and the kind of blankness and conformity that goes along with that. And then trying tolook at what does that do for a married couple trying to work out theirproblems. How does it affect them? What is peace really? The whole ideathat there can be any static condition is obviously an illusion. So can thereever really be peace? There can be moments of peace, or long periods of peace, possibly, whether it s in the world or whether it s in a relationship.But it seems to me what peace really means is valuing the ideal of that,and just being mindful of it. Working towards the maintenance of it, eventhough you understand it will not always exist. By the irony of sort of being matter-of-fact about not thinking that way is really what the song is doing. (Songwriters Talk About The Creative Process)
**KILL ME**

(Lindsey Buckingham)

Lindsey Buckingham lead vocals, guitars, percussion
Stevie Nicks lead vocals
John McVie bass
Mick Fleetwood drums, percussion
John Shanks keyboards

Produced: Lindsey Buckingham, John Shanks
Engineered:
Recorded at: (LP) The Bellagio House, Ocean Way Recording, Lindsey's garage, Cornerstone Recording Studios
**KILL ME**