Lindsey Buckingham Quotes
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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 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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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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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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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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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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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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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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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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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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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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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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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.
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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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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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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'm not ashamed of my personal life.
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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 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.