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, 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 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 remember being a kid - if a new member joined a group, I just didn't like that at all.
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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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The thought of being on my own really terrified me. But then I realized being alone is really a cleansing thing.
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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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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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All of my style came from listening to records.
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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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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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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 can't judge myself by 'God Only Knows.' No one writes songs as good as that.
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A house full of new furniture doesn't mean a whole lot.
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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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One of the things about Fleetwood Mac, you gotta say, is that it's not very often that you get everyone to want the same thing at the same time.
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There have been several occasions during the course of Fleetwood Mac over the years where we've had to undermine whatever the business axioms might be to sort of keep aspiring as an artist in the long term, and the 'Tusk' album was one of those times.
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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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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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'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.
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If things are crazy in the studio, usually the road is times 10.
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'Tusk' was clearly a line in the sand that I drew.
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We're not one of those bands that throws the names of all their songs in a hat and pulls them out right before they go on stage.
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I left Fleetwood Mac to make myself happy, and fortunately, it worked.