Confounding people's expectations was a way to maintain integrity.
Lindsey Buckingham
Most people don't know who the hell I am. But that's not really important.
They tried to get me to use a pick when I first joined the band. They had certain things they thought were appropriate. I tried to adapt as much as I could.
My personal life is fairly barren.
Years on, Christine and John still have a deep love for each other, as do Stevie and I - we've been working together since I was 17.
It's always been based around the song, and guitar-playing in the service of the song... The sensibility is about songs. I like to think of it as kind of 'refined primitive.'
One thing I admire about the Eagles is they always seem to know what they want. They always seem to know why they want it. They always seem to want it at the same time.
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.
'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.
I have an amazing wife and three beautiful children, and that certainly makes you less obsessive about your art as a musician - which I've always felt was more like painting than anything.
'Tusk' was clearly a line in the sand that I drew.
I feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.
When I was in a band after high school and in college, I didn't even play the guitar. I played the bass because I couldn't play lead, and I didn't have the gear.
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.
After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.
I'm very fortunate.
There is a real joy to be able to get up and react to each other and appreciate the whole being greater than the sum of the parts, just the chemistry of the group.
That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.
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.
The want to return to the fold doesn't mean you can repeat history.
I'm not that knowledgeable with the guitar - I just find ways that are pretty creative, but it's all within the framework and the limitations of what I can do.
I put out an album once every four or five years and it's kind of like starting over every time.
That's basically what's going on now: Everything is propaganda.
There were a number of false starts where I was trying to make solo albums. They would get constantly folded into group efforts. In retrospect, I can say fair enough, that you call yourself a band member, and you've got to step up to the plate when the need arises.
The most disappointing thing to me after 'Tusk' was the politics in the band. They said, 'We're not going to do that again.' I felt dead in the water from that. On 'Mirage,' I was treading water, saying, 'Okay, whatever,' and taking a passive role.
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.
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.
Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.
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.
I was playing a Fender Telecaster when I first joined.
There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.
All of my style came from listening to records.
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.
Arcade Fire seems to be doing very well; certainly, Phoenix is doing very well.
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.
But by taking the time away, getting myself off the treadmill, and just slowing down and learning, I felt I had so much more to give back. And maybe that was something that needed to happen for all of us.
Even though I had pushed through the Tango album, it was just not a very good environment to be in on a daily basis. In many ways, this is the best time of my life.
I also learned to be more confident, to trust my instincts more.
I didn't take lessons, and I don't know my scales.
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.
I just find things that work and embellish them.
I'm also married for the first time, and I have two kids. So there's some kind of good karma right now.
Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.
It's really touching that we can come back after so long and care about making an album that says as much as this one does. And after all this time, we really do care about each other.
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.
That's one strength that Stevie has. She's really not a strong instrumentalist in any way. Her instrument is her voice and her words. And it keeps her focused on the very center of that.
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.
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.
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.
Those 12 years, they were ambiguous at best.
