Lindsey Buckingham Quotes
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If you talk about the 'Tango in the Night' album, the reason I didn't do that tour was because the album took about 10 months, and it was such an uncreative atmosphere.
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It's always been based around the song, and guitar-playing in the service of the song... The sensibility is about songs. I like to think of it as kind of 'refined primitive.'
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After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.
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If everybody wanted to follow the left side of the pallet like I had on 'Tusk,' there would have been no need for me to do solo work.
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There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.
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Certainly, whatever I learn while I'm out solo, I bring back to Fleetwood Mac.
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I honestly think part of the appeal of 'Rumours' was that it was sort of heroic. We managed to push through in the face of so much personal adversity.
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If you go back to 'Louie Louie,' there's the whole element there, where you need to be able to appreciate what 'dumb' is in its profoundness.
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You could almost say I'm someone who doesn't practice age.
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My center is not really my singing so much as my guitar playing.
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Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.
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I actually like Taylor Swift. I admire what she's been able to do on some levels.
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Those 12 years, they were ambiguous at best.
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I'm not that knowledgeable with the guitar - I just find ways that are pretty creative, but it's all within the framework and the limitations of what I can do.
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I'm in the position where I don't have to make commercial music to feed myself, so I have the luxury of being more experimental, if that's what I choose to do. I guess I've earned the right by being in the business for a while and paying the dues and taking the lumps.
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There have been times when I've feared for my own well-being in the great scheme of things because, historically, the track record has not been kind to the guitar players in this band.
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You can look at 'Rumours' and say, 'Well, the album is bright, and it's clean, and it's sunny.' But everything underneath is so dark and murky. What was going on between us created a resonance that goes beyond the music itself.
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The most disappointing thing to me after 'Tusk' was the politics in the band. They said, 'We're not going to do that again.' I felt dead in the water from that. On 'Mirage,' I was treading water, saying, 'Okay, whatever,' and taking a passive role.
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For me, none of the albums after 'Tusk' quite had it. I think we lost something after that.
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I think when you work alone - the way I do it, anyway - you could sort of liken it to painting, where there's sort of a one-on-one with the canvas.
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I liked 'Rumours,' but to me, there was some point where the focus became the sales, not the music.
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Arcade Fire seems to be doing very well; certainly, Phoenix is doing very well.
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You know, I was never totally thrilled with being a Fleetwood Mac member, but surprisingly, I was having such a good time reuniting with John, Mick, and Stevie.
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There were a number of false starts where I was trying to make solo albums. They would get constantly folded into group efforts. In retrospect, I can say fair enough, that you call yourself a band member, and you've got to step up to the plate when the need arises.