You didn't hear a "version." You heard a 1982 tour rehearsal with a few seconds of the Macsters clowning around with Stevie's big hit. Taking nothing away from Waddy here, whose sixteenth notes are classic. But Fleetwood Mac never genuinely tracked that song. Frankly, I'd have trouble thinking of anything more remote from their style than Edge. Had she brought them that song for a Mac album, it would probably be unrecognizable from what it is.

I don't doubt that he was once her best producer, I'm just not confident that he is *still* her best producer. That's why I referred to examples from 2003, rather than the wonderful "Gypsy" from 1982. I suppose the most recent song that you could judge is "Without You" from 2013.

Yet oddly enough Christine didn't appear to have any issues working with Lindsey on their album together.

With Stevie's most recent disillusion of her demos being better than anything a professional could do, I'd be shocked if she were not the driving force behind Without You remaining so simple with just guitar and vocals. I don't know.

Oddly enough, except for Dreams, Stevie had more chart success as a solo artist by The Wild Heart than she ever had with Fleetwood Mac.

Yeah and there is a mile long line of guitarists that sound just like Vito. Nothing against him at all. Yeah he's probably the best technical player and musician, but I could pick Lindsey's style and tone out a mile away.

Nice try on the Edge of 17 argument. That was audio from the Mirage Tour rehearsals and they were goofing around off the cuff. You're comparing apple's to oranges.

Yeah she's filling arenas due to that albums success! Ok....

Actually she's not really filling arenas at all on her own these days unless it's a co-bill with somebody else.

I enjoyed the BuckMcVie album and tour. The songs were catchy. From a production perspective, it sounds more like a follow-up to Tango In The Night than an album released in 2017. Admittedly, the 80s are back in fashion.

I think the constant eggshell situation between Lindsey and Stevie was really the driving wedge in the final outcome of the last material they worked on together. This includes SYW, The EP and Soldiers Angel.

You really can't make a suggestion to Stevie without it being taken as a personal attack and as a producer I don't know what you can do at that point except try and make the most with what you've got. Lindsey is no saint either, but there's a broken link in their working dialogue. This isn't the case with him and Christine which is why I think we hear more mac magic on BuckVie than anything else.

I was never impressed with Soldiers Angel. The simplicity of Lindsey's part has a dramatic effect, but it always seemed a little half baked to me...Yet Stevie at that time regarded it as her most favorite thing she had recorded recently and was thrilled with Lindsey's work.

Reality check: Bella Donna and The Wild Heart are the foundation for her becoming the first woman inducted into the Hall of Fame for a second time. She actually had greater chart success without Lindsey.

Stevie with Fleetwood Mac (1975-87)
R: 11
D: 1
S: 7
G: 12
7W: 19
AVERAGE: 10

Stevie solo (1981-90)
SDMHA: 3
L&L: 6
Eo17: 11
SB: 5
IAF: 14
TTM: 4
ICW: 16
ROF: 16
AVERAGE 9.375

Maybe it’s more a matter of without a dynamic front woman, a killer rhythm section, and two other mainstream writers, nobody would care about Lindsey.

Oh good God, right Steve. Sure.

David, pass the popcorn.

Because in 1995 anybody gave a sh*t about Stevie Nicks until she reunited with that nobody guitarist in 1997.

Yeah she REALLY packed Boston Commons back in 96 and the makeshift stage in Tampa. Yeah her legacy as a solo artist was really shining brightly up until 97....people were covering "Nightbird" left and right on the radio.

She was about ten degrees away from opening for Seals & Croft pre 97.

Say whatever you want, but FM gave her a new platform to secure her own legacy over the past 20 years.

And even less people cared about Lindsey when he opened for Tina Turner in 1993.

Ok then what in the world is your point Steve? Wow... talking in circles.

LB's contributions to her FM songs was a huge influence on her success and ability to launch her solo career. Had she not had success with FM, she wouldn't have nearly as many doors opened for her. If you can't recognize that, then I don't know what kind of trip you're on.

I'm not saying one is better than the other. I'm saying there is a link. Neither of them would be where they are had Mick not caught wind of Buckingham Nicks. Also, who who arranged Stevie's songs on Buckingham Nicks - Lindsey with the help of Keith Olsen.

But at the end of the day, it wasn't Christine, Mick, or John playing musical director for her songs. A large majority was Lindsey at the head of the bus.

One thing is for sure - she's not getting in the rock hall twice because of Rick Vito's work on her Behind the Mask songs.

Quantifying, quantifying . . . always quantifying. It's the sociologist in you.

This numerical list is interesting for another reason: Stevie's two highest-charting solo songs weren't written by her (Stop Dragging and Talk to Me). Two others are co-writing credits (If Anyone Falls and I Can't Wait), Leather and Lace has Don Henley's stamp, even though he isn't credited, and Seventeen is of course the signature sixteenth notes—Wachtel's idea. Her highest-charting single off Shangri-La was written by other people (although her excellent Planets was a big hit in the clubs). Her highest-charting single off Street Angel was written by other people. Her highest-charting single off Timespace was written by other people.

Stevie's iconic songs—her classics—are largely from Fleetwood's catalogue. I'm going to suggest, in sum, that her Fleetwood Mac work outpaces her solo work in terms of both musical imprint and audience appeal.