Lindsey Buckingham Quotes
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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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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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I'm trying to break down preconceptions about what pop music is.
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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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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 also learned to be more confident, to trust my instincts more.
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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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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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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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The 12 years I was in Fleetwood Mac before were not particularly happy years. I was not in a very good place, psychologically, when I left. I didn't have a lot of confidence in what I was doing.
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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 always made the joke that I would have loved to have been a fly on the wall when Warner Brothers first put 'Tusk' on and listened to it in their boardroom as a follow-up to 'Rumours.'
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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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I had to seal off my feelings about Stevie while seeing her every day and having to help her, too. But you get on with it. What was happening to the band was much bigger than any of that.
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I just find things that work and embellish them.
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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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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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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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When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process.
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The first couple shows I did by myself, I was looking around wondering where the rest of my band was.
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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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Defining something being a Fleetwood Mac song is calling it a Fleetwood Mac song, you know? Nothing becomes Fleetwood Mac until that's what you call it.
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I'm not ashamed of my personal life.
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The rest of the band had a cynical view towards the way 'Tusk' was made and the reasons why I thought it was important to move into new territory. It wasn't just negativity. There was open hostility. Then I got a certain amount of flak because it didn't sell as many as 'Rumours.'