That’s Stevie not happy with the way that relationship ended. It has so many layers of telling the world what was happening to me without actually saying what was happening! It was really about Mick. The recording speaks of it being cut fairly live. It has its own folky, country thing going on.

It’s a very different mood from the previous song and a very strong song in terms of its form. Lindsey: “This album is a study in contrasts. As simple and pretty as the song was, it turned into a magical, rhythmic, tribal thing with all those ‘oohs’ and ‘aahs.” It’s a fun song to sing.”Ī perfect example of the tastefulness and delicacy of Fleetwood Mac’s playing: everybody contributes just enough to one of Stevie’s most finely poised compositions. I knew I had to edit it down, but I found it hard to get below seven minutes. It’s good in its full 16 minuteness - it’s got all these great verses and it just kinda travels through the world of your relationships.’ They were really complimentary to me and these are two great songwriters. and Don Henley and the both said, ‘You know what, it’s almost not too long. Souther and he kept saying, ‘You do know this relationship with Mick is never going to work, don’t you?’ And I said, ‘Well, when I get out of it, I’ll let you know.” And so there’s bits and pieces of him there talking to me. Mick was the “great dark wing within the wings of a storm,” but when I was going with Mick I was hanging out with J.D. She’s in there, for sure, but it’s written about a lot of other things, too. She likes to think it was all written about her, but it really wasn’t. She kept the coffee going and kept the cassettes coming and made sure we didn’t run out of batteries, and it was a long, long night recording that demo. My friend Sara was there when I wrote it. I always assumed it was addressed to her friend, who was Mick’s wife at the time.” I wasn’t delving into Stevie’s private life at the time, so I was never told what it was actually about. The nine-minute version of this was something we cut but probably never intended it to go out at that length.

If you’re very lyric driven and not overly worried about time and structure, if it’s more freeform, which a lot of Stevie’s things can be, six or more minutes is not hard to get to. Lindsey: “Some of Stevie’s songs were hard to rein in.

It is among the bonus material in this edition. The nine-minute first take, mixed down for listening purposes but not intended for release, is sometimes referred to as the “cleaning lady version,” after the dialogue at the start.

hit and the version used on subsequent CD editions of the album. Stevie’s first song on the album began as a 16-minute home demo, condensed into a nine-minute studio version, further trimmed to a six-and-a-half minute album track and, later, a four-minute single edit, which was a Top 10 U.S. Souther, Sara Fleetwood, and other things

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