Lindsey Buckingham Quotes
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I'm not really concerned with the outer success.
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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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The want to return to the fold doesn't mean you can repeat history.
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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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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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'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.
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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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Studio D has a lot of symbolism for me.
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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 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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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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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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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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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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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 was lucky enough to meet someone when I was about 46 and had my first child when I was 48, so I got started late, but I also got all that other stuff out of the way and was at a point where I could be a consistent presence at home.
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I'm not ashamed of my personal life.
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A lot of people who have gone to music school have gotten their individuality stomped out of them. It becomes harder to find those instincts.
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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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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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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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I also learned to be more confident, to trust my instincts more.
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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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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.