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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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.
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Most people don't know who the hell I am. But that's not really important.
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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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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 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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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 just find things that work and embellish them.
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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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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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I couldn't put any kind of label on my production aesthetic.
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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 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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You work in a band, and it tends to be more like moviemaking, I think. It tends to be more of a conscious, verbalized and, to some degree, political process.
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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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There is a lot of pressure to top yourself... to come up with a 'Rumours II,' and that seemed like a trap.
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You have to look at what 'Rumours' was, what drove the subject matter. You had two couples who were broken up or breaking up. And probably, you could say, success we had achieved was the catalyst for those breakups.
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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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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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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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When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.
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When you make music, and even if it's commercially successful, it doesn't mean that it's going to hold up. It takes time to sort of take stock of what you've done and whether it's got legs and whether it's going to really have a place.
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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.