I don't practice per se. I learned to play on my own, taught myself how to play. I've never really had a lesson, and I don't read music. So all the stuff that I do doesn't come from the normal set of disciplines that they teach you where you sit down and run through scales for a particular number of minutes a day.

Lindsey Buckingham

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.

Lindsey Buckingham

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.'

Lindsey Buckingham

'Tusk' was clearly a line in the sand that I drew.

Lindsey Buckingham

The first couple shows I did by myself, I was looking around wondering where the rest of my band was.

Lindsey Buckingham

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.

Lindsey Buckingham

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.

Lindsey Buckingham

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.

Lindsey Buckingham

Sometimes I wish we were the Eagles. That's one thing they've always been able to do is want the same thing for the same reasons.

Lindsey Buckingham

Arcade Fire seems to be doing very well; certainly, Phoenix is doing very well.

Lindsey Buckingham

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.

Lindsey Buckingham

When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.

Lindsey Buckingham

There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.

Lindsey Buckingham

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.

Lindsey Buckingham

Fleetwood Mac was one big lesson in adaptation for me. There were five very different personalities, and I suppose that made it great for a while.

Lindsey Buckingham

I feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.

Lindsey Buckingham

I left Fleetwood Mac to make myself happy, and fortunately, it worked.

Lindsey Buckingham

When people just decide they're going to reconvene, there's no guarantee that they're going to have any of that chemistry. Sometimes people try to do that, and it's a struggle to try to recreate what once was.

Lindsey Buckingham

Studio D has a lot of symbolism for me.

Lindsey Buckingham

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.

Lindsey Buckingham

Lindsey Buckingham Quotes

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.

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.'

'Tusk' was clearly a line in the sand that I drew.

The first couple shows I did by myself, I was looking around wondering where the rest of my band was.

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.

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.

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.

Sometimes I wish we were the Eagles. That's one thing they've always been able to do is want the same thing for the same reasons.

Arcade Fire seems to be doing very well; certainly, Phoenix is doing very well.

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.

There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.

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.

Fleetwood Mac was one big lesson in adaptation for me. There were five very different personalities, and I suppose that made it great for a while.

I feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.

I left Fleetwood Mac to make myself happy, and fortunately, it worked.

When people just decide they're going to reconvene, there's no guarantee that they're going to have any of that chemistry. Sometimes people try to do that, and it's a struggle to try to recreate what once was.

Studio D has a lot of symbolism for me.

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.