Lindsey Buckingham Quotes
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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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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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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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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 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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The first couple shows I did by myself, I was looking around wondering where the rest of my band was.
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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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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 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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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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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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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 left Fleetwood Mac to make myself happy, and fortunately, it worked.
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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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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 was playing a Fender Telecaster when I first joined.
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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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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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I feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.
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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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If things are crazy in the studio, usually the road is times 10.