Lindsey Buckingham Quotes
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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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I'm also married for the first time, and I have two kids. So there's some kind of good karma right now.
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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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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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I don't read music. I've never had a lesson. I don't know anything about music other than what my inner knowledge is.
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There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.
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You just get out there and be what you want to be. That's part of evolving and part of staying true to yourself - part of remaining alive in a real authentic, long-term sense creatively: not listening to what other people tell you to be.
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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.
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I also learned to be more confident, to trust my instincts more.
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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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If you want to be an artist in the long run, it isn't necessarily a good axiom to repeat formulas over and over until they're used up.
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One thing I admire about the Eagles is they always seem to know what they want. They always seem to know why they want it. They always seem to want it at the same time.
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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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But by taking the time away, getting myself off the treadmill, and just slowing down and learning, I felt I had so much more to give back. And maybe that was something that needed to happen for all of us.
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I'm not ashamed of my personal life.
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You could say that Fleetwood Mac is a bit of a dysfunctional family, but we are a family.
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I'm trying to break down preconceptions about what pop music is.
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That really was a lot of the appeal of 'Rumours.' The music was wonderful, but the music was also authentic because it was two couples breaking up and writing dialogue to each other. It was also appealing because we were rising to the occasion to follow our destiny.
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Some days I would be there at ten in the morning and wouldn't leave till ten at night, and the others would waltz in for a couple of hours and then leave, because I was doing that painting thing. And they were happy to see that being done.
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I don't really think of myself so much as a writer as a stylist, someone who came into writing from the back door and has found it through a certain very specific and personal means.
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'Tango' was a good experience, looking back on it, and it seems to hold up pretty well.
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When I was a kid, and Elvis Presley broke through to a middle class, white audience, it was a sociological phenomenon that lasted through the Beatles and even a bit through Fleetwood Mac.
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It's really touching that we can come back after so long and care about making an album that says as much as this one does. And after all this time, we really do care about each other.
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When I work alone, my process is like painting. With Fleetwood Mac, it's more like movie making.