Not that detailed, but Mick's book is where I have found the more info. This is what he wrote about the songs:
Christine McVie came through too, with some of her most wonderful songs "Everywhere," which glistened like gemstone even in Chris's original demo; "Little Lies," destined to be a hit single on both sides of the Atlantic; and "Isn't It Midnight," which she cowrote with Lindsey and her new husband, Eddie Quintela (who Chris married in October 1986).
Lindsey Buckingham dipped into his postponed solo album for four new songs for Fleetwood Mac: "Big Love," "Caroline," "Tango in the Night" (which originated in the live versions of "So Afraid"), and "Family Man." Lindsey and Christine also cowrote two more album tracks: "Mystified" and "You and I," which came in two parts. We used Part 11 to close the album, and Part I appeared on the reverse of the first single, "Big Love."
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Stevie finally showed up in January 1987; we'd been working six months, and it was the only time the whole band was in the studio together. We had been sending copies of our working tapes to Stevie's home in Arizona. On her part, she was dreading that Lindsey, in his producing capacity, would be sarcastic toward her, but he made an effort not to be as much of a martinet as he was with the rest of us. He was under some strain with this project, and lost his patience occasionally, but with Stevie we wanted him to be more objective and professional. He tried to make her feel great in the studio, and they got on well. (The love-hate saga between those two will never end.)
Complicating matters slightly in the spring of 1987 was Stevie's admission to the Betty Ford Center in Palm Springs to get her life under control. This was done through an "intervention" by friends, members of her family, and the management company. Stevie spent twenty-eight days in a successful treatment for alcohol problems, but she didn't like being coerced into entering this facility, and Frontline was fired shortly thereafter. (Later she told me that the treatment made her change her way of thinking, and was worth it.)
So the little time we had with Stevie was somewhat disoriented, but she did come through with good songs. `'Seven Wonders" was written by songwriter Sandy Stewart and augmented with new words by Stevie in the studio. "Welcome to the Room, Sara" was a graphic depiction of her experience at the Betty Ford Center, where she had checked in under the pseudonym Sara Anderson. (This song is extremely moving when understood in that context.) "When I See You Again" continued Stevie's string of touching songs of farewell, and was used on Tango in favor of a fourth up-tempo number that Stevie brought in called "What Has Rock ~ Roll Ever Done for You?"
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