Lindsey Buckingham Quotes
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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.
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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 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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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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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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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 remember being a kid - if a new member joined a group, I just didn't like that at all.
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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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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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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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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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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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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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A house full of new furniture doesn't mean a whole lot.
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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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I can't judge myself by 'God Only Knows.' No one writes songs as good as that.
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'Tusk' was clearly a line in the sand that I drew.
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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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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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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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All of my style came from listening to records.
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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.'