Lindsey Buckingham Quotes
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If you look at the whole time I was in the band, I only did, like, three solo albums - two, really. 'Out Of The Cradle,' I had already left because we'd done 'Tango In The Night,' and it was sort of the logical extension of crazy in terms of everyone getting ready to hit the wall with their habits.
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That's one of the real downfalls of celebrity. You're something that's about you at some point, and that gets latched onto and pumped into the machinery. Then you start having a million other people telling you who you are, and what you should be doing and why, and it's easy to lose your way.
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I do think my lyrics have gotten... not necessarily more poetic, but more open to interpretation; they're less literal.
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Sometimes I wish we were the Eagles. That's one thing they've always been able to do is want the same thing for the same reasons.
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Years on, Christine and John still have a deep love for each other, as do Stevie and I - we've been working together since I was 17.
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Even though I had pushed through the Tango album, it was just not a very good environment to be in on a daily basis. In many ways, this is the best time of my life.
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That's one strength that Stevie has. She's really not a strong instrumentalist in any way. Her instrument is her voice and her words. And it keeps her focused on the very center of that.
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I don't practice per se. I learned to play on my own, taught myself how to play. I've never really had a lesson, and I don't read music. So all the stuff that I do doesn't come from the normal set of disciplines that they teach you where you sit down and run through scales for a particular number of minutes a day.
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That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.
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I couldn't put any kind of label on my production aesthetic.
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I have an amazing wife and three beautiful children, and that certainly makes you less obsessive about your art as a musician - which I've always felt was more like painting than anything.
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Fleetwood Mac was one big lesson in adaptation for me. There were five very different personalities, and I suppose that made it great for a while.
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I'm not really concerned with the outer success.
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Most people don't know who the hell I am. But that's not really important.
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When people just decide they're going to reconvene, there's no guarantee that they're going to have any of that chemistry. Sometimes people try to do that, and it's a struggle to try to recreate what once was.
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As autobiographical as say the stuff on 'Rumours' was, I don't think we thought of it as such when we were writing it.
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They tried to get me to use a pick when I first joined the band. They had certain things they thought were appropriate. I tried to adapt as much as I could.
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The want to return to the fold doesn't mean you can repeat history.
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You get to be a certain age - I am 58 - and it becomes tricky not to become a caricature of yourself.
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My foundation is acoustic guitar, and it is finger-picking and all of that and sort of an orchestral style of playing. Lead guitar came later, more out of the necessity to do so because of expectations in a particular situation.
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I was always interested in listening to music - and, of course, when my older brother brought home 'Heartbreak Hotel,' that was it.
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Lyrically, you know, most of the things on 'Rumours' were very autobiographical and very much conversations the three writers were having with other members of the band.
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You're not going to reinvent the wheel every time you go out, because that would disappoint the audience.
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Creating a set list is like making a running order for an album. Certain things get pitted against one another that make more sense. One song sets another one off, or it might diminish it. You're just constantly looking for the next thing that's gonna make sense in a particular place.