Lindsey Buckingham Quotes
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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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Some days I would be there at ten in the morning and wouldn't leave till ten at night, and the others would waltz in for a couple of hours and then leave, because I was doing that painting thing. And they were happy to see that being done.
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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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A house full of new furniture doesn't mean a whole lot.
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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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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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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.'
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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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'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.
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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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When Stevie and I joined the band, we were in the midst of breaking up, as were John and Christine. By the time Rumours was being recorded, things got worse in terms of psychology and drug use. It was a large exercise in denial - in order for me to get work done.
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Studio D has a lot of symbolism for me.
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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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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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It hasn't always been easy, but you get to a point where you're not doing the solo stuff with any kind of expectation in terms of commercial or a business outcome, you're doing it because you believe in this.
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I was playing a Fender Telecaster when I first joined.
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I can't judge myself by 'God Only Knows.' No one writes songs as good as that.
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We've always had the sensibility that you work on the set, and you structure it, much like a play, where once you've got the lines down and blocking right, you freeze it, and then you go out and do what you're doing night after night. You want to structure something that has form and that builds the right dynamic from start to finish.
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Warner Bros. never really got behind the solo work. They always kind of drew a blank. I think they always were thinking, 'Well, this is nice, but let's get back to what's really important.'
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I left Fleetwood Mac to make myself happy, and fortunately, it worked.
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What happens with artists, or people who start off doing things for the right reasons, is that you slowly start to paint yourself into a corner by doing what people outside of the creative world are asking you to do, and I think that's antithetical to being an artist.
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This time, there were no drugs involved. The hours were completely normal daytime hours. I think we were able to appreciate the interplay, where before we had taken it for granted.
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I remember being a kid - if a new member joined a group, I just didn't like that at all.
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The writing is all done, so it's all about verbalizing everything from point A to point B, and certainly there's a bit of politics involved, so it's a different thing.