Lindsey Buckingham Quotes
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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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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 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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Studio D has a lot of symbolism for me.
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I'm not really concerned with the outer success.
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The want to return to the fold doesn't mean you can repeat history.
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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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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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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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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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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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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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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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When I was in a band after high school and in college, I didn't even play the guitar. I played the bass because I couldn't play lead, and I didn't have the gear.
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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'm not ashamed of my personal life.
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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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If you are gonna participate in a band, you've got to be a band member in good standing, and you've got to think about the needs of the whole.
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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 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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Back in 1985, I was working on my third solo album when the band came to me and asked me to produce the next Fleetwood Mac project. At that point, I put aside my solo work - which was half finished - and committed myself for the next seventeen months to producing 'Tango in the Night.'
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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.