Lindsey Buckingham Quotes
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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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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 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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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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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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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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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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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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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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'Tango' was a good experience, looking back on it, and it seems to hold up pretty well.
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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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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 don't know what 'genius' even means. It's just a matter of keeping your eye on the ball.
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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 seldom look back.
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My personal life is fairly barren.
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I'm very fortunate.
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Confounding people's expectations was a way to maintain integrity.
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Studio D has a lot of symbolism for me.
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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.
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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.