Lindsey Buckingham Quotes
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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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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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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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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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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 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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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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I'm trying to break down preconceptions about what pop music is.
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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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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 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 just find things that work and embellish them.
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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 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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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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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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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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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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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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The first couple shows I did by myself, I was looking around wondering where the rest of my band was.
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I'm not ashamed of my personal life.
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The thought of being on my own really terrified me. But then I realized being alone is really a cleansing thing.