Lindsey Buckingham Quotes
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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 feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.
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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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'Tango' was a good experience, looking back on it, and it seems to hold up pretty well.
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I left Fleetwood Mac to make myself happy, and fortunately, it worked.
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If things are crazy in the studio, usually the road is times 10.
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One of the things about Fleetwood Mac is, when we're not together, we don't talk a lot or keep in touch. We keep a healthy distance.
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I guess you can look at Fleetwood Mac as the 'Pirates Of The Caribbean' movies and my solo career as indie films.
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We really were poised to make 'Rumours 2,' and that could've been the beginning of kind of painting yourself into a corner in terms of living up to the labels that were being placed on you as a band.
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The only way I've been able to keep my sanity is to pull back when I feel like it's time to pull back.
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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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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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I didn't take lessons, and I don't know my scales.
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I was playing a Fender Telecaster when I first joined.
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Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.
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I don't know what 'genius' even means. It's just a matter of keeping your eye on the ball.
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When you become successful on the level that Fleetwood Mac did, it gives you financial freedom, which should allow you to follow your impulses. But oddly enough, they become much harder to follow.
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My personal life is fairly barren.
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I'm very fortunate.
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Studio D has a lot of symbolism for me.
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I seldom look back.
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Confounding people's expectations was a way to maintain integrity.
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You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms.
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After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work out.