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That, plus the equally sublime McVie and Buckingham co-sung hit, Hold Me, elevated the new album, Mirage, to No.1 in the US. Wistful, swirly and witchy, it gave the band another huge Rumours-style hit. The third, though, Gypsy, was classic Stevie Nicks. Another, Straight Back, sounded like a well-meaning reject from Bella Donna. One of those, That’s Alright, was a hand-me-down from her Buckingham Nicks days.

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Best headphones for music: supercharge your listeningīy 1982, as Fleetwood Mac gradually reconvened to make a new album, Nicks was so busy – planning a musical based on Bella Donna that would be “like the Othello of the eighties” a ballet based on Rhiannon, or possibly a film version with Nicks as the titular heroine a collection of children’s fairy stories, including her own The Golden Fox Of The Last Fox Hunt and an autobiography full of “the love affairs, the heartaches, the tragedies, the incredible happiness” of her life with Fleetwood Mac – that she only had time to contribute three songs.

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Only Nicks’s career did take off, her solo debut, Bella Donna, going to No.1 in America and selling nearly five million copies, and including three hit singles, with the first, Stop Draggin’ My Heart Around, becoming Nicks’s biggest hit song since Dreams four years earlier. Or put another way, if her solo career didn’t take off, she knew she could always go back to Fleetwood Mac. “As I get a little older and a little wiser, there’s still the wild side that doesn’t want any discipline whatsoever in her life, and the part of me that knows the only way I can get to people is not to be so terribly out of control, to balance the two.”

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“There’s the wild side to me and the free side,” she explained in 1982.

When Irving told Nicks that now was her time to strike out on her own, she knew he was right. She was also the biggest female singing star in the world, had recently taken on a new manager, the all-powerful Irving Azoff, also then manager of the Eagles, and destined to become one of the major music biz players of the century. She was 32 in 1980, and ready for “a big new adventure”. Nicks, however, appeared to have other ideas. And a statement that left the door nicely ajar for any future rapprochement. The chemistry is there – that’s what the band was all about in the first place.”

“But if Mick and I see each other, there’s nothing wrong. “Mick was a little bit bitter about me leaving,” the famously strong-headed guitarist put it at the time. His next stop was Solo City – and a US Top 10 hit in his own right, Trouble. He wanted to make art, and Fleetwood Mac was no longer the place for him to do it. It was time for him to go it alone, unbound by such trite demands as hit singles and release deadlines. If Lindsey Buckingham and Stevie Nicks had been the catalyst for Fleetwood Mac’s evolution from has-been British bluesers into Californian soft-rock exemplars – the magic sauce that nurtured the hits and reinvented the Mac’s grizzly old image – it was Buckingham and Nicks who used the early-80s, post- Tusk era to parlay new, more exciting solo careers for themselves.īuckingham had sacrificed himself for Mac’s giant success for long enough, he now decided. The Behind The Mask Mac, now with guitarists Rick Vito (bottom left) and Billy Burnett (right) (Image credit: Alamy)

Mac studio fix foundation the beautiful truth review