Lindsey Buckingham Quotes
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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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If you are gonna participate in a band, you've got to be a band member in good standing, and you've got to think about the needs of the whole.
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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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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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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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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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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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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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You could say that Fleetwood Mac is a bit of a dysfunctional family, but we are a family.
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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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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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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'm trying to break down preconceptions about what pop music is.
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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, my process is like painting. With Fleetwood Mac, it's more like movie making.
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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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If things are crazy in the studio, usually the road is times 10.
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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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Sometimes you can do the work in the moment, and you don't know whether it's going to really have meaning once time has elapsed.
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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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When I work alone, and I'm in my studio, and I'm playing a lot of the stuff myself, I think the style of it becomes something a little different.
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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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I can't judge myself by 'God Only Knows.' No one writes songs as good as that.