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Strong emotions, from the past, from the future.”Įmotions that she wasted no time putting into her second solo album, 1983’s The Wild Heart. “When I’m writing my songs, or just writing in my journal, I feel like the spirits are right here in the room with me, helping guide my hand,” Nicks told me one night, reclining on plush sofa cushions at her candlelit Hollywood Castle home. The album still didn’t sell even a tenth of what Rumours had done, but the Mac were back – like Tusk and coke and infidelity and deep pockets had never intervened.

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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. Buckingham had sacrificed himself for Mac’s giant success for long enough, he now decided.