YOUNG & RESTLESS

A few years ago, somebody from Rolling Stone interviewed my brother Jeff for a story they did about me, and he said to the writer, “You know, Lindsey was always such a loner.” And I remember thinking, “Jesus, was I?” Because I don't remember it that way. But there must have been some emotional connection to music that made it imperative that I make it a part of my life. I couldn't tell you why that is, but it must have something to do with needing to carve out some sort of sanctum for myself somewhere, and music was the way I did that....I was always fascinated with guitars, and I don't even know why. I remember that my brother Jeff and my father were real sports fanatics, and since I didn't enjoy that at all, that left a lot of time for me to sit around and play records over and over again until I learned them.
San Diego Union Tribune, March 1993

It was a very singular, solitary thing - starting to play at a young age. At that time, perhaps the reason that I didn't share it was because when you play guitar at seven, there's no one else around [chuckle] to really get a group together with. So I just learned and listened and played until I was about 18. I think subconsciously I was preparing for a career, but I don't think I really thought seriously about being an entertainer until I joined a rock'n'roll band when I was 18 when I got out of high school.
Special of the Week with Robert W. Morgan, 1980

One of my brothers was a world record holder in competitive swimming and a silver medalist in the '68 Olympics. So I was involved in that kind of competition as well, and one didn't really challenge the other until I got out of high school. And then the conflict between wanting to rehearse after school with the band, and having to go to practice or something was too much. But I was glad for that time.
BackBeat with Laura Gross, 1982

[Upon calling his swim coach to quit the team to focus on music] He said something along the lines of "Well, you're a loser. You're always gonna be a loser." And he hung up on me. That was the end of sports for me.
VH1 Behind the Music, 2001

[What was your first concert?] It wasn't a rock concert. Maybe the Smothers Brothers. I remember I did see Barbra Streisand when I was about thirteen. She must have been around nineteen then. When I was a little older, I went to shows at the Fillmore in San Francisco, but even then I was this kind of zoned-out individual who wasn't partaking of a culture in the broad way that most of my friends were. It was a rare occasion when I would find myself sitting on the floor of the Fillmore.
Rolling Stone, May 2003

The first [music] concert I saw was probably the Beatles' last show at Candlestick Park.
Los Angeles Times, March 1993

I've been playing guitar since I was about 7 years old, but I was never in a band until I was about 18. I got out of high school. During that summer I started playing in a band, as a four piece, four guys. The next fall we all were at the same college, and Stevie was also there, and had been there the year before. We said, "Well hey, she's got a great voice, let's see if she'd like to join the band." And she did. She really didn't have anything going. And uh, that's how it all began. I was playing bass in this band and she was singing. And the group, which was called Fritz, actually did quite well locally. We used to do a lot of Fillmore things, and you know, play grad nights. You know, it was fairly low key stuff. But, uh, we were making some decent money for kids who were all living at home and really didn't have any expenses.
The Source Special, 1981

I was just a young kid who thought it was really neat that we were in a band.
Rolling Stone, March 1977

BUCKINGHAM NICKS

[S]tevie and I kinda got selected out of that group (Fritz) as the ones who were perceived as having the most potential. We had not gotten romantically involved until that time, though, and when Fritz broke up, we kind of got together on a lot of different levels. We met (producer) Keith Olsen who eventually brought us down here to L.A. to make the Buckingham Nicks album, and one thing led to another. It was kind of a tough time, actually. After the album went down the toilet, we had managers who were trying to get us to play steakhouses and that sort of stuff...which we figured was a dead end, so we didn't want to do that. We also had to deal with a record company that didn't seem to have any idea of what the music on the album was about.
BAM, May 1992

I had mononucleosis for quite a while. This is another weird thing...my family doctor for years...I knew something wasn't right, so I went in and he said, "Oh, you've got Mono." So I was just hanging out actually at my parents' house. And I would go back once every couple of weeks and get another test - "you still got it, you still got it." So months and months went by - eight months maybe - long time. So I said, "Well, this is weird." So I went to another doctor and he said, "No, you don't have Mono." So I don't know where along the line I dropped it.... It makes you wonder.... It was a fertile period creatively because I had nothing to do but sit around and watch Merv Griffin in the afternoon. We got a lot of good musical things worked out that went on Stevie's and my album.
Up Close, 1997

I started working with tape recorders when I was 18, doing sound on sound and going crazy with it. When I was 21, my two brothers and I inherited a house in San Francisco, and we each got something like $10,000. That allowed me to live without having to work for about two years, and it also allowed me to buy an Ampex four track tape recorder. I started doing overdubs and that's really where the basis of what I'm doing now comes from.
Hit Parader, April 1982

We did the Buckingham Nicks album, which we were very excited about at the time. We didn't realize that it took a lot more than having what we thought was a good album to really do well. You know, there is so much politics involved, it's amazing.
The Source Special, 1982

It was very disheartening. There was a gentleman from Texas who was hearing the single, Don't Let Me Down Again, in Texas. And he thought we were biggies just from the airplay we were getting in Texas. And he couldn't believe it when he came back to L.A. and it was like, shattering to him to realize that we were just starving over here.
Special of the Week with Robert W. Morgan, 1980

We had a funny experience with that album when we were in New York the one time. Polydor, the label we were on, didn't seem to understand that album at all. I don't know if you guys will remember the song, but um, the head of A&R at Polydor - and you're talking about the head of Artists and Repertoire - so he should know songs, he should know us...he's sitting behind his desk and he says, "You guys are doing the wrong thing here. I think you should be doing something more like this!" And he puts on a 45 and it was Jim Stafford's Spiders and Snakes! Novelty! That's our company folks! Do you believe that? [laughs]
John Boy and Billy Show, 1992

Well, our musical activities weren’t bringing in abundant amounts of money so, rather than get involved in scenes we couldn’t relate to, we took jobs....Stevie worked as a waitress in this place called Clementines in Beverly Hills, and I worked for an agency - getting on the phone and soliciting advertisements. It wasn’t the most spectacular of lifestyles, but that, along with the odd session, got us by - and we managed to eat for a couple of years, following the failure of the album.
Rock Family Trees, 1977

That was very embarrassing...As you can tell, I'm pretty soft-spoken and everything. And uh, I got this job trying to sell advertising space. I'd have to get up at five in the morning [laughs] to call back east [laughs], right? "Hi, this is..." and you'd give a fake name, and you'd give the name of the directory. And uh, you'd say, "Would you like to renew this year?" And half the people would say, "Oh sure, if we had it last year," and you write them down. But there had not been a directory the year before, so [laughs] it was such a scam [laughs], I couldn't believe it! [laughs] I couldn't take that for more than about a month. I just got too traumatized...I wasn't cut out for that kind of thing.
Special of the Week with Robert W. Morgan, 1980

[In 1974] I went out on the road with Don Everly's band. This was after the Everly Brothers had split up, and Don was doing a short club tour with a backup band that Warren Zevon had got together for him. That tour was a real thrill for me because I'd always been a big Everly fan - and I got to sing Phil's part on So Sad to Watch Good Love Go Bad. As well as that, I stayed in Nashville for a while, and he introduced me to people like Roy Orbison, Ike Everly, and Merle Travis...he and I played guitars together, and that was something I'll always remember.
Rock Family Trees, 1977

The Don Everly experience was a good one for a while. But you know, I didn't make any money off it. The one thrilling experience...I got to sing Phil's part. I still get chills thinking about that.
The Source Special, 1981

Along comes Mick Fleetwood. He happens to hear the Buckingham Nicks album and asks us to join on the spot. It was very timely, we weren't quite sure what we were going to do from there. It wasn't an easy decision. We believed in what we had going as a twosome, but we thought it over and we realized that we probably had a great deal to learn from these people. They could help us and we could help them, and uh...we did it.
Words & Music, 1992

Someone in Birmingham, Alabama called out of the blue and asked us to headline a show there. Stevie and I had gone there twice in the previous year to open shows, and apparently our album had sold very well there. So we went to Birmingham and discovered we'd sold out an auditorium. Just blew our minds because we were totally unknown in L.A., couldn't get a gig at a club or anywhere. And here were 6,000 people out there going nuts! We played three dates around there, the great Buckingham Nicks Inaugural-Farewell Tour. We announced we were joining Fleetwood Mac and everybody went "Whaa?" I dunno, we had no idea what we were getting into.
Crawdaddy, November 1976

I mean, [it] was just a bizarre contrast to what we were dealing with in Los Angeles, where we were starving. We weren't much a part of the scene in L.A. during the early '70s. We played the Starwood and a few other clubs, but not in a situation of prestige at all. One time, I was right in the middle of a song, and the club manager walked up onstage and turned down my amp. We had to deal with all that sort of stuff. But we went down south and opened for Poco, and they absolutely loved us. We never really found out what would've happened with that scene, because right about that time, Mick Fleetwood stepped in and asked us to join. We thought about it for a week, and then we went, "Oh, OK. Let's do it."
BAM, May 1992

We were getting salaries. We were seeing some money for the first time in our lives since we moved to Los Angeles. I mean, it was a thrill. And you know, it was a healthy thing. Stevie and I were starting to get in a rut a little bit musically. And uh, I don’t think anything better could have happened to us. It really shook the whole thing up a little bit and changed everything around....Certainly if Stevie and I had managed to get another deal those songs would definitely have gone on another Buckingham Nicks album. But who’s to say whether we would have gotten a deal or not. It was one of those things. It’s such an if-y thing. And the Fleetwood Mac proposition seemed like such a non-chancy thing. Even if the album didn’t do well, at least we had something tangible, and a way to make some money to survive. And at that point, survival was really as important as anything.
The Source Special, 1982

FLEETWOOD MAC: THE SEVENTIES

Fleetwood Mac was a group of five very strong individuals who never really should have been able to work together at all and somehow did. It was an emotionally charged situation from start to finish, because you had these couples who had broken up and somehow summoned up the character to separate their priorities and keep going. It screwed us all up a little bit, but I wouldn't have missed it for the world. It was better music through chemistry.
San Diego Tribune, March 1993

This is the most unlikely group of people to meld into anything that has any unity at all.
VH1's Behind the Music, 1997

Mick went through so many incarnations with the group; he must have had an extreme amount of faith in his own ability, and in destiny, just to see the band through to the point where it became so successful. So he was going to be the spiritual father of the group no matter who was calling the shots musically. Even if I was saying "This is what we're going to do today in the studio," it was filtered through Mick's sensibilities. I always had a great amount of respect for that. John McVie was a lot more enigmatic; I never really got to know him. I don't think he ever tried to do anything but be the bass player; he played so well with Mick - they are a great rhythm section. Christine McVie was the Earth: feet on the ground. Always pretty much on an even keel. Her songs are never flights of fancy; they have a certain sense of being meat-and-potatoes, which I think was great. Stevie Nicks - if Christine was the Earth, I guess Stevie was the sky. Out there somewhere. Stevie's chiffon twirling image was a very strong thing for the group. The sense of the ethereal that she brought to her songs. And her voice. She brought quite a bit into the situation, obviously. She and I together brought a lot.
San Jose Mercury Press, 1993

I mean, Stevie and I had this great two-part thing going - kind of an Ian and Sylvia tension. As singers, Stevie and I both are on the nasal side, which works really well in a two-part Appalachian kind of harmony style. And Christine has this very round, flutey voice that warmed up the whole thing. It’s probably even a voicing that you could put down to some theory. It was just apparent right away that it was something that really worked.
Guitar World, September 1997

We don't have a specific formula for doing things. We leave ourselves open to try things. If one person brings up an idea, we will usually try it. Sometimes we'll work on it a couple of days. You never know whether it is going to work until you hear it. Sometimes the things you're the surest will work, don't.
San Antonio Express, February 1982

It’s weird... I don’t feel like I’m doing anything differently than I’ve been doing for a long time, it’s just the way people see you changes, you know? We’re still just going along - as insecure as ever [laughs].
Rosebud film, 1976

[Can you explain the appeal of the band?] Well, I mean, there is a certain amount of honesty - just a certain sense of humanness, you know? I know people respond to that in Stevie’s songs a lot. And people can just feel things, not only through the lyrics, but just through just the atmosphere of the tracks and everything. They feel a kinship to things that they have experienced and felt themselves, because it feels real and it feels honest and it feels human. What comes out, comes out without a reason - just does because...we can’t help it [laughs].
Special of the Week with Robert W. Morgan, 1981

After Stevie and I joined the group, for the next several years I had to pretty much throw out everything I was about. Stevie had a different way about her. She had the freedom to create something of her own. Being the musician, for a long time I had to play Bob Welch tunes, Peter Green tunes -- people who had left the group. In a sense, I was like a lounge player in a group, which was not an easy thing. Philosophically, though, it provided me with a slow progression. It wasn't an easy progression, but it was a solid one.
unknown article, 1992

I had to adapt my guitar style to what already existed (in the band) and give up a certain amount of what I was about as a guitarist. That was not such a great thing, but you find yourself in a position and you have made a choice and you play team ball...I had moments of being fulfilled. I learned a lot and wouldn't have missed any of that. [But] I always felt more ambivalent about the kind of success we had than anyone else in the group did.
Philadelphia Daily News, March 1993

Being the only guitarist puts a lot of pressure on me because I feel like I can’t leave any holes. But I’ve never really played with another guitarist, so I’m not really too sure of what I’m missing. I’d like to try it sometimes. It might help me relax a little bit. Obviously you can’t reproduce Say You Love Me, which has a twelve-string and all those overdubs on it, so you try something different and hope for the best.
BAM, January 1981

I'm not a great guitarist, and I'm certainly not a great writer, but the thing I do best for Fleetwood Mac is to provide ideas.
Los Angeles Times, November 1981

When Peter (Green) was in the group, he was the leader of the group. He was always the guy who, more or less, chose the direction that everything was gonna go. But after he left the group, from that time until the time that we joined, I don’t really think there was a certain one member in the group who could be said to be the idea man - the one who had the real, definite concept of how the music should sound. And uh...when we joined, that was just one thing that had come naturally to me for years. I’d been working with tape recorders since I was about 17 years old, and uh...understanding the possibilities of the technology with the possibilities of the music gives you a very strong foundation from which to work in the studio. And that’s just something that I enjoy doing, and they seemed to enjoy having me do it. I think they needed it.
GRT Retrospective, November 1981

Even when we first joined, Stevie and I were in some sort of a transition, as were John and Christine. And there was never a point where there wasn't this underpinning of psychological torment and musical soap opera.
Baltimore SunSpot, August 1997

[I] was called upon to fill in the male emotions that the girls weren't covering, you know: angry or whatever -- the more aggressive side of things. Maybe I was writing for that more, or maybe that's just the way I felt.
Arizona Republic, April 1993

When Eric Clapton hangs out with Mick or us he’s always saying, “God, I wish I was in a band again.” That’s because the burden is all on him. It’s just not the same when, as a leader, you’re paying people a certain amount each week to play with you. The balance of power is not the same, and it drains you. Bob Welch had a couple of successful solo albums, but now I think he misses being in a group where people will give you honest feedback, tell you when you’ve got your head up your ass. You need that thing when other people in the band have as much at stake as you do.We could certainly all do solo albums, but that wouldn’t be the death of Fleetwood Mac. There are still good creative ties and I think we all still enjoy - and need - the feedback we get from the group situation. I can’t imagine not feeling that way anytime soon.
BAM, January 1981

Well, we play a lot looser than a lot bands. That comes as a shock to some people who like our records because, in general, those are pretty well crafted. But playing onstage is completely different than playing in the studio. Also, the looseness is something that’s developed as we’ve become more comfortable with each other as musicians over the years. Spreading out, giving each other more room has been sort of a natural progression for us. And that’s something, because we’re talking about a band of five individuals who have huge egos in one sense or another. It’s not one of those groups where one person dominates the whole thing, so we have to all give a little, which is healthy.
BAM, January 1981

I was very much not in favor of any kind of extravagance at all [on tour]. But there was a prevailing sense in the 70s in general, but certainly in '79 [it] was the very end of a time when the business sort of felt like that - the kind of concerts that were put on, that you could do no wrong, that budgets didn't matter. The subculture of drugs was kind of considered the norm. That affected the way everybody did things. And that whole year was very grueling.
BBC2 radio show, August 1997

[With] those five people [it] was better music through chemistry - I always thought it was that way. None of us was really taught. I have never taken a lesson. I taught myself, and Mick is pretty much the same way. On a musical level, it really teaches you to trust your instincts and to stay close to the heart as much as you can and to try to be true to yourself. And on a broader level, any situation like that (being in the band), has its ups and downs and it just teaches you to be tough and to survive and to keep going for what you think is important.
Rockline, 1992

FLEETWOOD MAC: THE EIGHTIES

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. Obviously, having two couples - and soon enough, ex-couples - added a lot more tension and some great subject matter to the mix. But the problems really kicked in when you started adding five managers and five lawyers to the equation. Once Stevie was singled out and selected as the star of the band, the machinery of the rock business kicked in, and things really got stupid. By the time of Tango, you could hardly fit all these people in one room for a band meeting. It was a heartbreaking thing to watch, until it became almost comical.
Rolling Stone, June 1992

There's always been a sense of formality about what we do. There's always been a sense of go in and do the music but not necessarily hang out all the time. It's been that way since Stevie and I were in the band. You've got three English people and two Americans, so there's a certain cultural gap there anyway. It's a strange situation having broken up with someone eleven years ago and still work with them all the time. So I'm not going to be calling Stevie up and saying, “Hey, how you doing?” so much. It's inherent in the situation. It's not like we don't speak with each other, but we never really did. When the work isn't happening, there's less reason. [Are the five of you buddies?] Not so much. I hate to say that, but that's accurate.
Creem, 1987

I want to put this in the least negative way, but the cultural differences almost guaranteed that we would get to know one another as friends only to a certain point.
Unknown magazine article, 1992

By the time we finished that tour [Tusk], there was a bit of a backlash within the band.... It took a bit of the wind out of my sails creatively. And so you get to the Mirage time and I'm sort of going, "Ah well, I don't know. What are we ...what do you want to do?"....I was almost withdrawing from the responsibility of writing at that time and it was all out of a sense of sort of having given up the ghost a little bit. [Oh Diane?] I hate that. I mean, it's such a cliché. That album has a lot of fairly generic music on it, for me. There's a couple of good things on there, but it's probably my least favorite.
BBC2 radio show, August 1997

[M]iragewas in my eyes a very reactionary album. The group's collective will dictated that we return to a slightly more conservative format. I don't think we can ever go back to the kind of spirit or eclectic mood that was created on the Tusk album. I don't think the other members of the group would want that and I don't think that's my place to impose it on them.
Song Hits, May 1985

Any question about Fleetwood Mac is totally up in the air right now. We have to sit down on neutral ground and discuss, like adults, what’s going on.
Scene, September 1984

There will be a lot of pressure in the next few months to do another Fleetwood Mac album, and I would like to do another if we can make another major statement. We’re going to have a meeting this month, and I’m very curious to see what the group’s overall sensibility is at this point.
Los Angeles Times, August 1984

Everyone has to compromise; that's what it is in a group like this. You have to be serious about selling records. Hopefully you can do it with some degree of taste and some degree of artistry. I've got a nice house I want to keep, but at the same time, I don't want to be a whore.
Detroit Free Press, September 1982

I myself find that [Mick’s May, 1984 declaration of bankruptcy] hard to understand. Certainly, it seems to have left a bad taste in the mouths of not only the public, but it also didn’t make me feel too good. I don’t see Mick very much. We were never a band that would hang out together when we weren’t working, especially after the two couples broke up. I don’t know. I mean that’s the thing. He’s probably waiting around for another Mac album to pull him out, and that gives me an odd feeling.
Scene, September 1984

I don’t doubt [there will be another Fleetwood Mac album], but I’m not really too sure when...and I’m not too sure how, either. I think the timing of it is important, but it also needs to be done for the right reasons. I don’t think it should be done totally for monetary reasons.... I don’t really know what the sort of collective taste or direction of the band would be at this point. That’s one of the things that is a little confusing. I spent many years on the road with Mick trying to play him groups and music that I thought was interesting. And just keeping in touch with what’s going on is pretty important. It’s not a question of emulating anything, but just knowing what’s going on around you and keeping your eyes open. I don’t think that any of them are listening to anything new these days. So it makes me wonder what they would be comfortable with... That’s something else we’d have to discuss and try to define to some degree. I mean, obviously, one of the things that made Fleetwood Mac what it is, is the fact that we never really wanted the same things anyway. But there was always an overall sensibility that was shared, at least to a point.
BBC Rock Hour, 1984

I’m not sure what the collective direction of the group is. For years, I tried to get Mick and everyone to listen to the Talking Heads and groups that I thought were interesting at that time, and no one was interested. I think that they were totally threatened by it. So, now, I have no idea what Mick or any of the people like. That scares me a lot, because you can only do so much!
Music Connection, September 1984

It's hard to explain our relationship sometimes. There is a strong, almost psychic bond, but we are not even really friends (in the sense) that we spend a lot of time together. Mostly, we are a group of individuals who happen to sort of play well together. We aren't even all in the studio at the same time. The only time we are a real band is on stage.
Los Angeles Times, June 1987

My production role didn’t grow steadily. The style of production just became more visible. I mean, if you were to ask Richard (Dashut) or any of those guys, “Who produced Rumours?” they’d all say, “Lindsey was the guy with the vision.” I didn’t ask for a production credit on Rumours and I didn’t get it. Richard feels bad about that. There were band politics involved in that. Even on Tusk, you may notice, it says like “special thanks for....” Come on! I don’t think I had any less of a hand in what you could call production on Rumours than I did on Tango. It was just a different thing. By the time we got to Tango, the constructions are more obvious than they are on Mirage. Because there was less of a band presence to work with. So it became more adorned. You had to make up for a natural interplay of musicians that wasn’t really there.
Guitar World, September 1997

The whole experience of Fleetwood Mac has been a sense of responding to other people’s needs, sometimes ahead of my own, and I’m proud of that. But it’s also good to be selfish at times, and to express ourselves for ourselves.
Pop Teen, Winter 1984

Speaking for myself, and I know certainly for Stevie and for Mick, to do solo albums has really just created a safety valve in a way. I mean, you gotta understand. Working with the same five people for seven years - there’s a lot of pressure - and you find yourself in the same microcosm all the time...it tends to make you a little bit crazy.
Two on the Town, 1982

I think that in the past - I’m not trying to pat myself on the back - but I think that I’ve always been...had a very strong sense of altruism towards the group in general, which is what a group should be, you know? If you are in there, and you are responsible to a great degree for what is going on musically, then you should be there to support your co-workers with what you have to offer. Right now...I think I’m looking at things with slightly less altruism...and that’s about all I really can say about it. That’s all I’d want to say right now about that.
Off the Record, 1984

There has been pressure on me to go into the studio - you know, like, this week kind of thing. Everybody looks at me going, "Well?" There's pressure from the band's lawyer - who is not my lawyer - and from the band. Mick and John basically. Stevie doesn't care. She's in the middle of working on an album, but she could say, "Sure, I'll do an album now." Her commitment represents maybe three weeks in the studio, recording the basic tracks and then doing her vocals, which is all she ever does anyway. If I were to commit to doing an album right now, you're talking six or seven months, every day, unless I put my commitment to Fleetwood Mac on the same level that Stevie's going to do, which is, "Find yourself another producer and I'll come in and lay down my parts," which I just can't imagine myself doing. It would just seem so perfunctory.
Illinois Entertainer, November 1984

I’ve heard rumors that if I was not ready to do an album in the next three or four months, or at least talk about it, they were going to seek out somebody else. Like Pete Townshend. That’s probably an idle rumor that’s somehow gotten around. But at the same time I can’t say that doesn’t more or less coincide with the kind of psychology I’ve seen go on in the group at certain times. If something needs to get done, they’ll get it done one way or another. And if Lindsey doesn’t want to play ball, then fuck him. They’ll fire him and get somebody else. That’s the way the band works.
Rolling Stone, October 1984

Like a lot of people, I suspect, I'm real interested to see how it works out.
Detroit Free Press, November 1984

At the beginning of Tango, we hadn't spent a lot of time together. So, because there was no real central organizing force, people on the periphery started to get into the picture. Lawyers started to construct a situation that would get this thing off the ground, and their perception of a creative situation to inject something "new" was to bring in a young guy from New York to engineer/produce. It took us a week to realize this guy was in a little over his head.
Rock Lives by Timothy White, 1989

The band said, "Well, if you want to continue working on your solo album, we'll just bring in cameo producers, and you can just come in and play guitar." And I thought, "That sounds terrible!" That's not what Fleetwood Mac has ever been about. Whatever problems we may have had, that was the worst idea that I had heard yet. So I moved some songs like Big Love over to being a Fleetwood Mac song.
The Pioneer Press, March 1993

I decided, if we're going to do this, then let's really do this. This could very well be the last Fleetwood Mac album, so let's make it a killer....This album has some of the coherency of Rumours. It feels like a story, it works as a whole. And it has some of the charms of Tusk, with some of the rough edges polished up just a bit. On a production level, it's beyond anything we've done....
Rolling Stone, March 1987

I surrendered my own songs to the situation in order to preserve our sense of family.
Billboard, May 1992

Tangowas one of the toughest things I've ever been involved with. I probably saw Stevie 10 days during the whole project, which got me to thinking about the fracturing that had taken place within the band. It was a bit upsetting to me.
Daily News, 1992

It was a mess. Whatever was going on in people's personal lives, I can't really say. I was never the one up all night creating shenanigans and high-jinks anyway - I was the one who went up to my room to work on songs. But for whatever reasons, there was no camaraderie left. Just getting people in the same room to create more semblance of a group became a huge hassle.
Rolling Stone, June 1992

As far as I’m concerned, it (drug problems within the band) reached critical mass sometime in the mid Eighties. It was a factor in why I left the band after Tango In The Night in 1987. But not the only factor. I felt as if I’d been treading creative water since Tusk.
Guitar World, September 1997

As far as being creative, it kept getting worse and worse, as did the way the individuals in the band conducted their lives. Drugs affect everything, because your priority becomes to do drugs. It was tough in the end. Stevie, you really couldn’t talk to her, you couldn’t make eye contact. It was hard to recognize someone I had known and lived with a few years before, and there were a lot of hurtful things going on.
Guitar World Acoustic, No. 25, December 1997

All the tracks that are on Tango in the Night of mine were for a solo record. There was a lot of pressure all of sudden for Fleetwood Mac to make another album, and I said, "Ooookay, let's do that." And um...I just felt that I would be letting people down at this point if I didn't at least do this. By the time we got to Tango in '86 when we did that album, that was really about as bad as the creative atmosphere ever got. I mean you can talk about the crazy times during Rumours or Tusk or whatever, but there was a great sense of optimism and focus and forward momentum - a sense of that from everybody collectively and individually. By the time we got to Tango, that was a low ebb for everyone personally in the band, for everyone's habits having gotten the better of them.

There were a lot of things that weren't working properly in the band. There were things to be compensated for because of that. So in a way that's probably the most producerly album we ever did. And we did pretty well. We had to scramble a bit.

Tango actually oddly is probably the second best selling album we ever did. It sold quite a bit worldwide. One of the reasons I do enjoy that album now is because there was a reason to rally.
BBC2 radio show, August 1997

The songs [on Tango in the Night] look back over a period of time that in retrospect seems almost dreamlike.
New York Times, May 1987

Tango In The Nighttook about eighteen months to record. The bulk of it was cut in the home studio that used to be my garage in the Hollywood hills. Most of the vocal parts were recorded track by track. The voices used in the textured vocal choirs were mostly mine. I used a Fairlight machine that samples real sounds and blends them orchestrally. Constructing such elaborate layering is a lot like painting a canvas and is best done in solitude.
New York Times, May 1987

I think we've done a really good job with Tango. I would be more than happy to leave (the band) on this note. I couldn't say that about Mirage. That was a very ambiguous piece of work to me, and after we toured with that album, there were a lot of loose ends in the group emotionally, financially and otherwise. But for me, the new album has brought a lot of things back together in a very positive way and improved everybody's state of mind. [Is this the end?] I don't think anything needs to be hinted at one way or the other. It remains to be seen what will happen. I'm just saying that I would be comfortable now saying, "It's been fun." In the past three or four months, I've written 60 songs for my next solo album. I think I'm coming into the most creative time of my life right now. That's a nice feeling. And it's a nice feeling to come to the point where you're thinking about life after Fleetwood Mac but you know you've been a team player and haven't stepped over any bodies.
Chicago Times, July 1987

I sometimes wonder what would have happened if we had chosen another path, because...the last 12 years have been wonderful, I wouldn’t have given them up for anything, but...always compromises in a group. Always things you have to put aside. I mean, a lot of the last 12 years have been one big lesson in adaptation. There’s a lot of force and feeling about music [of my own] that had to be put away in order to be that team player, in order to do the best I could do within the group, and to not be self-serving only in the group. And I’ve done that. So now, you know, you feel yourself sort of coming out the other side and there’s a whole other realm of things to pick back up; there’s a whole realm of new things that have been learned in the last 12 years. So yes, I feel totally fresh with the idea of making music and probably will continue to do so for a while. I mean, I feel like a little kid. I feel like I’m just starting out - it’s nice.
Off the Record, 1987

Yeah, everyone was up at the house. We had a Winnebago parked in the driveway. It was a major scene up there. That album took close to a year to make, and I think we saw Stevie for about three weeks out of that time. And these weeks weren't the greatest three weeks. Nobody was in a good place, really....We just did whatever we could, really. We had to take little bits of Stevie just singing off the cuff and make a whole vocal track out of that, because that's all we'd get out of her. I played a lot of the bass parts on that.
Guitar World, September 1997

That was a very producerly album...too much so maybe. I don't think it hurt my credibility as a producer, but...it was a difficult thing to finish. And again, it was the indicator for me that it was time to take a hike.
Words & Music, A Retrospective, 1992

[T]he reason I didn't do that tour was because the album took about ten months and it was such an uncreative atmosphere. You take that on the road and it multiplies times ten. That album was a very producerly album because I was trying to compensate for the lack of real interaction that was going on, which was directly attributable to the way everyone was conducting their lives. That's why I split.
San Francisco Chronicle, October 1997

There’s going to be a lot of pressure to tour in the up and coming months [laughs]. It hasn’t really been brought up...yet [laughs]. We’ll wait and see. You know, the abstinence has spoken for itself...the silence [chuckle] is as meaningful as if there had been quite a bit of talk about it. And certainly there’s gonna be pressure from the record company. There’s gonna be pressure from the group. And I think, a couple of months down the line, when this thing has really taken hold, that uh...there’s going to be some sort of global pressure to tour. And I...[chuckle]...it’s gonna be a lot of pressure, a lot of pressure. We’re just gonna have to wait and see how it goes [chuckle].
Off the Record, 1987

They tried to twist my arm to play the tour. Four against one. Being the one who picked the raw material and fashioned it in the studio for what they call "the Fleetwood Mac sound," I think they felt a little fear of losing that whole element. So I don’t blame them for any tactics they might have used. It was natural. I was trying to be a nice guy but I really didn’t want to do the tour. I said "no," then I said, "Oh, OK." They said, "Good, let’s all go out to dinner and have fun." I didn’t even show up at the restaurant - that’s how close I was to not doing it even though I’d said OK. Then I sat around for a few more weeks, and talked to a lot of people about it - even a psychologist, that’s how torn up I was - and finally said I could not do it. It wasn’t just the touring. I had to jump this bridge and take a little responsibility for my own happiness and creativity, because it’s a little bit overdue.
Q, September 1992

It was tough telling them; not a happy day.
Q, September 1992

I think the final snapshot I have is from that period of time, making Tango up at my house. We had a Winnebago parked in front because we didn’t want the whole house to be used for a lounge, so to speak. I had a girlfriend then who was very threatened by the whole situation, and that didn’t really work very well, either. But the snapshot would be us trying to get things done in an atmosphere where there was just a lot of crazy stuff going on and not a lot of focus, and not a lot of unity and certainty. And no sense of us wanting to do this for...for the reasons we originally got into it for. That’s my last snapshot of 1987. And then a little 10-year vacation.
Rolling Stone, October 1997

I’ve gotta tell you, the last 12 years, I think I’ve probably blocked out some of the more painful aspects. It seems like a big, long dream from which I’m just now awakening. I feel younger now that I have in years. I feel more new than I have in years.
Creem, September 1987

I never regretted any of the decision that was made to remove myself from that situation for the length of time that I did, or to do it at all. I mean, it was something of a survival move for me.
Best Buy promotional CD, 1997

FLEETWOOD MAC: THE DANCE

When I left Fleetwood in '87, it really was as a physical and emotional survival move. The situation then was not a very kind one for creativity, not a very nurturing one. But during the 10 years since then, I’ve been able to re-focus my energy and idealism. To bring that back into the chemistry of the group now, and to have the support of the other people, has just been tremendous.
Guitar World, September 1997

[W]e were attracted to a painting by Matisse called The Dance that's just five people holding hands dancing in a circle. It's a very well known painting and there was a history to it that was very much analagous to our situation. And it just had...the feeling of the painting very much reflected how we were feeling when we first got into rehearsal. And so we tried to paraphrase, if you will, that painting in a photograph where we were sort of loosely in a circle of our own...atop the rubble of [laughs] 20 years of history, I'd say.
Boston WZLX 100.7 radio interview, August 15, 1997

The priorities had gotten a little screwed up. A lot of people were having personal problems, and it wasn't a nurturing atmosphere creatively. It was very unfocused. Now that a lot of it doesn't exist, I don't know, I have to say I'm enjoying just sharing the situation with these people.
Philadelphia Inquirer, September 1997

[B]ecause of the way everyone was conducting themselves, and perhaps just because of the collective tension of those 12 years, the creative atmosphere was almost nil for me. If you look at theTango in the Night album, there were so many areas we had to buoy up through production means, in order to make up for the lack of real interaction happening.
The Oregonian, August 1997

So for me, I was coming back to the situation with no baggage. And I could appreciate in a reborn sense how much greater the whole was than the sum of the parts. I think for other people, for Stevie and Mick in particular, they were just conducting their lives differently in terms of their habits. Stevie and Mick were people that I didn't really recognize in '87 when I left. And then when I came back Stevie was sort of like the person I used to live with, and Mick was this person I had so much affection and common ground I shared with.
The Oregonian, August 1997

Everyone's approaching the conflicts that will inevitably come up, and they're approaching them differently, you know? There are no camps. It's all done from much more of an adult standpoint now. I think everyone's enjoying it. Maybe more than ever, really.
Baltimore SunSpot, August 1997

I realized I'd moved along in the 10 years I'd been gone, and that everyone else, especially Stevie and Mick, are different people than they were in '87. So there was this more pure, kind of sweet, truthful interaction that maybe had not been there during the whole 12 years that I'd been in the band before. There was a sense of something that was improving everybody's lives and transcended the financial or any cynical view that you could have of it.
The Oregonian, August 1997

Why people want this is less about the music. It's more about as the world continues to roll on in an increasingly faceless and heartless manner, this group of people represents a certain little pocket of heart.
Star Tribune, October 1997

[I] care about the people in this band. I enjoy being around then, now more than ever. Fleetwood Mac is a complicated scheme - a careful balancing act. But when we get it right, there's nothing quite like it.
Cleveland Plain Dealer, November 1997

FLEETWOOD MAC: REUNIFICATION

I feel like we're in Act III of this incredible drama.
New York Newsday, May 2003

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. 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. Our chemistry is what made us a great band to begin with. That it’s still potent after 16 years apart is pretty amazing.
Interview, June 2003

We could never have planned this....Destiny funneled all of us into this spot. It was meant to be.
New York Newsday, May 2003

When we were touring behind The Dance album, you could see that Christine wasn’t very happy on the road. When it got to the point where we were making a decision about doing more dates -- going to other places in the world and then maybe coming back and doing more stuff in the States -- she really just pulled the plug. She didn’t want to do it. And I have to say, I was maybe the only person who wasn’t giving her a hard time about that ... I understood her need to do what she wanted to do, even though she was being pressured to continue. In some ways, I probably helped enable her to make that decision, which didn’t exactly make me very popular at that time. But she just had to pull out, the same way I had to in '87. There was a kinship between us in terms of having to make a decision for your own survival. With the band coming back without her, you could say, “Oh, there’s a large piece missing” -- and in some ways there is. But it also opened up new possibilities for setting an overall tone for the album.

I think it allowed us to make, certainly, a much ballsier album, and allowed Stevie and myself to at least begin rediscovering our dynamic as a two-part vocal group. Now, I don’t think that’s so well represented on the new album, because a lot of the stuff that’s mine was already set, and a lot of her songs were already written along certain lines as well. When we do this again -- and I hope we, in a year or so -- and we write songs from the ground up, I hope we do them as two-part harmony songs. So, really, there’s been a whole realm that’s opened up by virtue of Christine not being here.
Guitar World Acoustic, April 2003

[You, Mick and John do seem to be having an awfully good time on this record!] That's true! I think Mick would say that his playing here is probably the best he’s ever done. To some degree, Stevie, left to her own devices -- not necessarily on her solo albums, but in the context of Fleetwood Mac -- is, if not a more masculine presence, then certainly a more aggressive presence than when she’s tempered by what Christine would bring to her songs. But I think the biggest difference has been for John, who’s really playing great stuff here. Obviously, Stevie and I pushed each other’s buttons over the years, and although we functioned in the band well enough, it wasn’t always as comfortable as it could have been. There was always this tension.

And that was also true with John and Christine. All those years go by and still there’s some residue there. So suddenly she's not there, and it’s like half of what he probably spent his energy on at any given time in the studio, he doesn’t have to do anymore. I felt that he had a really satisfying experience doing this. Because of that, he and Mick seemed like they were able to catch up on a lot of stuff that they should have talked about years ago. There was a lot of healing going on, and that was good for John.
Guitar World Acoustic, April 2003

It was interesting to watch John and Mick talk, for example, without Christine there. John was able to be a little looser, with no baggage or buttons to be pushed. It was really neat to see some business get taken care of that might’ve been 30 years old.
Guitar One, June 2003

[John] is a master at what he does. He's a great bass player. Somewhere between McCartney and Mingus. He's way up there in terms of what he's been influenced by and what he tries to funnel into a pop genre.
Acoustic Guitar, October 2003

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. You know, I was never totally thrilled with being a Fleetwood Mac member, but surprisingly, I was having such a good time reuniting with John, Mick, and Stevie. A lot of healing went on, along with some things that weren’t exactly healing, too. There’s a checks-and-balances system that we don’t have as solo artists, but it comes with some aggravation -- Stevie and I are always going to butt heads from time to time.
Interview, June 2003

[And his friendship with Stevie – would he say it’s stronger now than it’s been for a while?] In some ways it is. But right now it’s a little tricky. Towards the end of the album we had some problems with the running order, and there were some issues with that that got Stevie and I into some over-the-phone conflicts. She was in Hawaii on location, and I was here in LA trying to master the album. It got difficult. You know, it’s been hard for Stevie to feel good about what we’ve accomplished with this record. And I really hope she will at some point. She’s yet to say: "Good work on my songs Lindsey," even though that was basically what we were working on for the last year. She wasn’t that way at the start of the record, and she wasn’t that way in the middle of it. But I don’t really know what goes on with that. It’s all off and on.
Classic Rock, June 2003

So, in that sense, in the way that I'm almost disgustingly warm and fuzzy, she's probably slightly defiant. But she's great. I think all she needs to do is find her rhythm.
San Diego Union Tribune, April 2003

I hope it goes on because it's been a long time getting to this, and I feel that we really got to some things on a musical level that are fresh.... I would be completely happy to continue with this, never to pursue anything solo again. Because it's a hell of a lot easier.
LA Times, April 2003

If you look at what I dealt with when I tried to deliver the solo album, it's scary, how the same group of songs will suddenly be embraced and thought of as being wonderful when it's called Fleetwood Mac. When it's Lindsey Buckingham, it's not so easy. I'm 53. I try to strike a balance between my family life and my work. I feel I'm at the height of my creative powers. But I don't want to fight that fight anymore than I have to. I don't want to have to deal with a corporate world that is more or less insensitive to what I'm doing. I will go out and make solo albums if we can't hold Fleetwood Mac together for political reasons, or for personal reasons. As long as I have a deal. Even if they only sell that 300,000 or 400,000, which is what I was selling before. But if not, why not share the whole thing with everybody? This is a group of people that I love dearly, and maybe for the first time in years we can acknowledge that. It's one of the greatest rhythm sections in the world. But it's a volatile group of people. We've all got large egos. All I can do is try not to make the mistakes I've made before with the band members.
Acoustic Guitar, October 2003

The tradeoff is not just visibility. It's not just the work. It's about the people coming out the other side of what we started in '75 -- or, to me and Stevie, in '73. All of us coming out less damaged than anyone might have expected. In many ways, this is the happiest time of my life. There are so many things going well for me now, and it feels like a karmic [thing]. I really worked to not put out the negative energy to derail it all.
The Oregonian, July 2003

There's still a great deal of love between all of us - maybe more real love than ever, because, before it was pushed down by other things, by competitiveness, by the lifestyles we were living in the '70s and '80s as a microcosm of the music industry, and other outside forces. Now, it's very close to the surface. You could get any one of us to break down in tears if you said the right thing.
New York Newsday, May 23, 2003

Look, I hope that everyone else feels this way, and I guess it would depend on how the politics and the chemistry and everything else goes on the road, but I would like to think that this is just the first of at least a few more Fleetwood Mac albums. It’s kind of profound, if you think about it: A group that already has such a body of work, and that’s taken quite a long time to come back, has redefined itself in a way not just by resting on its laurels, or doing something predictable. Plus, we’re all in our fifties, so that’s quite possibly uncharted territory. We’re bringing in the maturity, the self-confidence and the self-esteem that maybe wasn’t there in the Seventies. You can be a famous person and still be as insecure as anyone. We have all become more whole as people.
Guitar World Acoustic, April 2003

I think since we've been on the road, it's been the most in-my-face that there is this long-term sense of accomplishment. I've had my own maybe slightly skewed and, at times, bad attitude about the band or what aspects of it represented and what its limitations were, especially after Tusk....At that point, I was starting to make solo albums when I could and seeing the band, in some ways, as more of a corruption than anything else for a while. But, you know, we've come around from all of that, and I think one of the things I was able to do during all the time that I took off was not only get a lot of healing done of myself and my perceptions of other people, but was to appreciate how much ground we're covering as a band. It's nice to be back doing this and wanting to be here.
Phoenix New Times, July 17, 2003

STEVIE NICKS

She romanticizes her own romanticism. That's what makes her Stevie.
Guitar World, June 2003

[I met Stevie] in high school. She’s a year older than me - I graduated in ’67 and she was in the class of ’66. She first arrived at my school when I was a junior, and she just kind of flew in somewhat flamboyantly and became popular at school. I think she was working on being a bohemian type even then, with the poetry and all of that. I had met her briefly at some social occasions. She was aware that I played guitar, and I was aware that she played guitar and sang. We had some rapport, but that was about it. Then she went on to junior college, I stayed on in high school, and we didn’t really hook up again until the next year. We got together in a band called Fritz; I played bass and she sang.
Guitar World, September 1997

She played me one of her songs which I was quick to critique...Nothing's changed since then [laughs]. I think there was kind of a mutual attraction even then, even though it was not acknowledged.
VH1's Behind the Music, 2001

We were in this band in the Bay Area for a number of years in the late 60s before we got romantically involved and moved to L.A. We knew each other musically before we knew each other in the biblical sense.
Creem, February 1985

Stevie and I started going together just about the time Fritz broke up which was 1971. I had just turned 21 years old. We said, "Hey listen, we both have a similar background, we sing great together, we’re in love [laughs], let’s, uh, let’s try to do something on our own."
Source Special, 1982

We had a lot of problems by the time we joined, as did John and Chris. So it was one of the things that Stevie and Chris had in common. What drew them together was the need to commiserate. Without that catalyst, maybe it would have been drawn out longer. Or maybe we would have worked it out.
Microsoft Music Central, August 1997

As excellent lovers as we may have been, we were never particularly good friends. We were both very competitive people. She had her way of looking at things and I had mine, and they didn’t always support each other, so....
Nightwatch with Charlie Rose, 1984

Stevie and I, even when we were lovers, we were never really best friends. We used to compete with each other back then. We’ve always competed ever since...probably ever since we started going together back in - what year was that?...’71, I suppose. There was always that tension there on a musical level.
BBC Rock Hour, 1984

Stevie and I were breaking up, although in a more drawn-out, ambiguous way than Christine and John. With Christine and John it was over really quick. Whereas Stevie and I were more like, “Well I don’t know....” There were times when we were sleeping together and times when we were officially something else. But there was a definite moving apart.
Guitar World, September 1997

Once you feel someone moving away, your tendency is to try to grab at it for a while, and that actually makes it even worse.
VH1's Behind the Music, 2001

[F]or Stevie, someone like Don Henley is good for her. It's strange; it's one thing to accept not being with someone and it's another to see them with someone else, especially someone like Don, right? A big star in another group. I could see it coming and I really thought it was gonna bum me out, but it was really a good thing just to see her sitting with him. It actually made me happy. I thought there was something to fear but there wasn't. So the whole breakup has forced me to redefine my whole individuality - musically as well. I'm no longer thinking of Stevie and me as a duo. That thought used to freak me out but now it's made me come back stronger, to be Lindsey Buckingham.
Crawdaddy, November 1976

[Reaction to Stevie's affair with Mick Fleetwood] Stevie and I broke up and never really got together again. I mean, it was not my business what she did. VH1's Behind the Music, 2001

I can’t say That’s Enough For Me isn't about Stevie, but then it wasn’t consciously written about her...it’s never quite as obvious a thing. It wasn’t that way on Rumours either...I mean...that would certainly be more about Stevie than anyone else I could think about, although it wasn’t a question of being hung up on that feeling. It’s just something that you feel from time to time.
Innerview with Jim Ladd, 1979

On the road you’re seeing them every day and sometimes it was hard to rise above that. You try to be adult about it: these things happen - let’s make the music. Things get patched over, but I couldn’t totally get myself healed about Stevie until I left the band. In the meantime, you keep putting Band-Aids on it.
Q, September 1992

Stevie has never been very happy, and I don’t think the success of her album has made her any happier. In fact, it may have made her less happy. She’s flexing some kind of emotional muscles that she feels she can flex now that she’s in a more powerful position. There’s a certain amount of leeway in how you can interpret Stevie’s behavior, I’d say, but at the same time, there’s no denying that her (solo) success is making her feel she can pull things that she wouldn’t have felt comfortable pulling before. And most of them aren’t particularly worthwhile, but she’s venting something - loneliness, unhappiness or something.
Record, September 1982

We don’t see each other at all, really. I think there’s an inherent care and love there that will never really go away, but it’s not practiced at all. There is very little common ground anymore.
Rock, November 1984

It's a strange situation having broken up with someone eleven years ago and still work with them all the time. So I'm not going to be calling Stevie up and saying, "Hey, how you doing?" so much. It's inherent in the situation.
Rock Express, June 1987

We were working on such a fundamental level with each other, giving over the most vulnerable parts of ourselves to people we’ve been so close to before. Really, getting through the whole 12 years was like an exercise in denial for me.
Guitar World Acoustic, No. 25, December 1997

It wasn't until I left (the band) that I could face all the issues with Stevie. None of it was ever resolved, but I don't think we were focused enough to know what needed to be resolved.
USA Today, August 1997

The spectre of Stevie probably disabled several longterm relationships I had.
VH1's Behind the Music, 2001

[When will Buckingham Nicks come out on CD?] We've just taken our time, I guess. It doesn't seem like the time has been right....I would have to talk to her first and that doesn't happen very often either! [laughs]
KGSR Austin, TX radio interview, March 1993

[Twisted] was a nice thing. I hadn't seen her in so long, and she was singing much better than I can remember. It was very reminiscent of what we used to do together, before things got out of control. What was apparent to me is that we are not the same people we were in '87, that we'd all grown a bit.
Chicago Tribune, August 1997

She’s a totally different person. I can look at her and recognize the person I used to live with, which is not at all what she was in ’87.
Virtual Venue, Summer 1997

When I left in 1987 there was a lot of stuff still unresolved between Stevie and me. That sounds strange when we had split up ten years earlier but most couples in that position don't carry on seeing each other all the time. Being in a band is almost like living with someone. Stevie hit a wall in her personal life but she came through it and I've grown, too. Maybe there are things that still aren't resolved but when I'm singing to her there's now someone real there.
The Times, February 1998

[Judging by the looks you exchanged with Stevie during those (Dance taping) shows, there's still a little tension there.] No matter what, some of that chemistry will always be there. It's just getting channeled into the performance without being so destructive or without being such a personal assault.
Rolling Stone, August 1997

I think some people are probably getting the impression that we are back together or something along those lines. Which is certainly not true. Not yet, anyway. You never know. I don’t foresee that at all. But, you know, things....
Rolling Stone,October 1997

[Is Lindsey really thinking of getting back together with Stevie, as one major mag reported - and is Stevie outraged at the idea?] God, that was totally tongue-in-cheek on my part - and I assume Stevie’s response was, too [laughs].
Guitar World Acoustic, December 1997

Sure, we're playing it out. But when I quit the band, Stevie and I still had unresolved issues. It's kinda nice to be getting along again.
Q, December 1997

There are some sweet moments and when we go back on it seems natural to hold hands but there are parameters as to how far that can go.
The Times, February 1998

There's a sense of the rekindling of spirit in healing of wounds. I can look Stevie in the eye now, and in 1987 when I left, her eyes especially, and maybe mine, too, were kind of blurry. I can look at her now and acknowledge there's still a love there - a love for two kids who came down from Northern California and tried to make something happen, and did make it happen. We're still here, and that becomes very sweet.
Atlanta Journal and Constitution, November 1997

When I was a young boy my family used to come to this area every Easter vacation. And uh, much later when Stevie and I were just trying to get our careers going we came here a lot to visit her parents so there is a common bond we share with this place and there is also a sense of the eternal return to this place I think. And I...what I want to say is that...after all of this time that's gone by with us and all of the incredible pleasure and the incredible pain that is, that - you know - we have all experienced in the last 20 some odd years that we find ourselves here again - in this place tonight. Returning at a time when everything again becomes possible. So I'm going to dedicate these two songs to Stevie tonight [Big Love & Go Insane].
In concert in Phoenix. September, 2000

After all of this time, we've managed to get to a point where we're comfortable. There's nothing we can't talk about. We've all been down our own particular roads that have gotten us to that point and so it's nice after all this time for both of us to have a good portion of the child remaining within us.
Rolling Stone Online, January 2001

[Asked whether he thinks people still tend to assume that he and Nicks’s lyrics are about each other, he responds thus:] I’m sure they do. And in Stevie’s case at least some of them may be about me. I suspect some of them are. Then again [laughs], there are songs that Stevie has written all throughout our relationship which I assumed were about me, then discovered that they weren’t or that they were hybrids. I can be as confused about that as the general listener, believe me.
Classic Rock, June 2003

What I like about her songwriting is her sense of rhythm. It's superb. Obviously you have to like her lyrics and her voice, but she does a lot with a very little. Sometimes if you examine her melodies, they are not particularly elaborate. She can do repetitive phrases, but it's just how she does it and where she stops doing it, and how I seem to be able to move sections across that - change what's going on beneath it.
Performing Songwriter, May 2003

I don't think there's anyone else who knows what to do with her songs in
the way that I do.... Certain things that you have as instincts and insights
just click with somebody else.
Chicago Sun Times, June 2003

[The closing, six million dollar question goes to Lindsey Buckingham. And, to his credit, he actually tries to answer it honestly. The question I put to him is this; which would he rather have saved - Fleetwood Mac or his relationship with Stevie?] Oh boy. What an interesting question. What a tough question. I'm 53, with a beautiful wife and two beautiful children, so I can't say that my life has gone any other way than the way it was supposed to. [So "Destiny Rules"?] Yes [laughs].
Classic Rock, June 2003

I think what you're seeing now as intensity is certainly there, but it's almost as a reflection, and it's certainly based on friendship.
Arizona Republic, July 20, 2003

[Does your wife get jealous of that relationship with you and Stevie?] Well, I don't think so. You know, it's been such a...I mean, I've known Stevie since I was 16 and we have been through a lot of permutations...It has to be understood that she and I, if anything now, are able to be friends in a way probably that we never have been able to be before, and that's a nice thing. But Stevie is completely blown away by my family. I just had a third, a little girl, about six weeks ago. [Oh really? Congratulations!] Thank you! We just have a very strong bond, my wife and I. And we have a very strong basis for which our marriage came into being and our family came into being. It's really, it's so off the map from anything that Stevie and I really went through...as it should be, really. It's really...the two...she's friends with Kristen and vice versa. I don't think there's anything like that going on.
Arrow 93.1, June 2004

[Asked about coming unglued one night, getting inebriated, and taunting Stevie on stage at a show in 1980 - a show he doesn't remember.] Oh, I wouldn’t doubt that I mimicked Stevie on-stage. And kicked her? That could have happened too.....Stevie and I could never quite find each other after Tusk. You have to understand that this is someone I met when I was 16 [they duetted California Dreaming at a high school party before they were introduced]. I was completely devastated when she took off. And yet, trying to rise above that professionally, I produced hits for her, I had to do a lot of things for her that I really didn’t want to do. If I kicked her on-stage, that was....something coming through the veneer. There has been a lot of darkness. Now, on the road, we’ve had many really good talks. We’ve known each other most of our lives and yet we’re still trying to figure out what’s going on. Obviously, a lot of love as a subtext. But where is that love? How do we get in touch with any of that? For all of us, the decisions we make now are going to determine how we are as people until we die. Stevie and I are trying to look at it...with care. [He grunts a laugh.] It’s significant that someone can end up, you know...not having killed you!
MOJO, December 2003

[So define this relationship for me.] Well, it's not so easy [laughs]. You're asking the wrong guy! [laughs]...you know, I think we've all lost our objectivity here at this point. I don't know. I think that Stevie and I...we have a lot of reference points that go way, way back, you know. I think there was...a love of each other, but there was also a love of the idea of where we were going that unified us. I think we were both too immature to try to want to work through our respective craziness, and it just sort of fell apart, and I think it would have for anyone. That was part of the legacy of Rumours....The subtext or the ghost of what that was still has a voice in some of the things that get said in the band and certainly some of Stevie's songs where she might be addressing me. There is still a part of that that we're trying to work out and be adults, if you will [laughs].
Charlie Rose, September 2003

MICK FLEETWOOD

I met Mick right before New Year's Eve in 1974. Stevie and I were living in LA. We'd done an album on Polydor as a duo, which had come out without making much of a splash, and we were trying to figure out what the hell to do next. Anyway, we were doing demos of new tunes one day at Sound City studio in the San Fernando Valley. At one point I walked towards the control room. I heard a song of ours, Frozen Love, being played very loudly and I saw this giant of a man standing up, grooving to a guitar solo of mine. I thought, "What is goin' on?" and left them to it. That man was Mick. When he heard my guitar something obviously clicked in his mind, because after their guitarist Bob Welch left, I got a call from Mick asking if I wanted to join Fleetwood Mac. Originally they weren't looking for a duo, but I said Stevie and I were a package deal. My first impression was that he was tall. Very English. Very thin. He liked the image of the English country gentlemen, with his watch fobs, tailored pants and beautiful shoes. He was quite an imposing presence, a bit demonic - he's mellowed with age.
The Independent, March 1998

John and Mick have affected me a lot in the past six years. Mick has an exquisite sense of rhythm. He has no idea what he’s doing, technically. But he’s been playing since he was ten and his drumming is totally instinctive by this point. He’s unique. There’s a famous story about the little cowbell break in Oh Well. Mick did that real off the cuff and then when he tried to repeat it, he couldn’t do it! [Laughs] It took him a week of rehearsals to learn what he’d done in an instant. When Stevie and I joined the band our approach to music was much more classical in terms of parts fitting together and being preordained. That’s not how Fleetwood Mac works. It’s much more spontaneous. It’s more like the Stones, in the sense that Charlie Watts is not really a technician, but he creates feelings and has an innate ability to find the right rhythm for a situation. Mick’s like that.
BAM, January 1981

Mick went through so many incarnations with the group; he must have had an extreme amount of faith in his own ability, and in destiny, just to see the band through to the point where it became so successful. So he was going to be the spiritual father of the group no matter who was calling the shots musically. Even if I was saying "This is what we're going to do today in the studio," it was filtered through Mick's sensibilities. I always had a great amount of respect for that.
San Jose Mercury Press, 1993

I didn't feel betrayed by Mick when he later had an affair with Stevie. Quite honestly I'd have been surprised if it hadn't happened. I remember he came over, sat me down and told me, and I went, "Oh, okay." Stevie and I had long since parted company and she'd had several boyfriends in between.
The Independent, March 1998

You see Mick, and all the chemistry comes back, and then all the downside comes back, too.
Rolling Stone, October 1984

I can remember during Rumours, saying ‘Well, things don’t seem to be going exactly the way I would like them to go." And he said, "Well, maybe you don’t want to be in a group."
Rolling Stone, October 1984

When it came time to go into the studio, I just had to stick my neck out. I told Mick that I wanted to put a machine in my house, to work on my things there. I had to pursue things that were in my head, and not be intimidated into thinking they were the wrong things to do.
Rolling Stone, February 1980

I myself find that [Mick’s May, 1984 declaration of bankruptcy] hard to understand. Certainly, it seems to have left a bad taste in the mouths of not only the public, but it also didn’t make me feel too good. I don’t see Mick very much. We were never a band that would hang out together when we weren’t working, especially after the two couples broke up. I don’t know. I mean that’s the thing. He’s probably waiting around for another Mac album to pull him out, and that gives me an odd feeling.
Scene, September 1984

After I left I didn't see much of Mick for about eight years. I felt I needed some distance, and so I let the emotional dust settle.
The Independent, March 1998

I skimmed Mick's book. I found there were a few things in there that weren't accurate. Everyone was very hurt by that. Not by any facts in particular, which I definitely was hurt by, but just the tone of it in general. Just the fact that it was so trashy. Fleetwood Mac may have wound down, but it's a shame to have things come out that sort of add a lack of dignity to it. It doesn't have to be that way. I was very unhappy with a couple of very specific incidents described in there, which were totally untrue. I never responded to it. I didn't think there was any reason to dignify it. But there was one story that had me slapping Stevie when I said I was leaving the band. The next time I saw Stevie after that, she came up to me, and said, “God, I'm really sorry he wrote that.” She was apologizing to me for something he wrote.… So, I don't know. I think that was the product of a lot of late nights Mick spent with a writer, and maybe not keeping as much control over what was said, or certainly what was edited, as should have been. I really don't know. I'm fairly sure that he's sorry he did that. It was unfortunate. But, once again...that's show biz!
BAM, May 1992

[Are you going to write your own book?] I wouldn’t be so pretentious as to think that I had enough to write about right now. Maybe in another 20 years or so, but right now, I’m happy to just make the music.
Rockline, June 1992

[Is Wrong about Mick and his tell-all biography?] I used to dodge that question when it first came out [laughs]...but I've seen Mick since then. He's listened to it and knows what it's about. There was a little bad blood when Mick's book came out, because there were a lot of things in it that were either very hard slants to me, on what my contributions had been, and there were a couple of things in there that were just downright not true. Everyone in the band was disappointed that he put out something trashy that didn't really need to be put out - except maybe for the money. And this was just my way of...just kind of a gentle tongue-in-cheek slap on the hand [laughs].
Austin, TX radio interview, Spring 1993

[But] Mick's a different person now. He's made a few adjustments in his life. And when I saw him when we were compiling the boxed set [released December 1992], he actually apologized for the book, which was something Mick would not normally do.
Arizona Republic, April 1993

We've all done things we're not proud of, and you just move on. You stay in the present. I feel he wrote some of that book while he was drinking, free-associating with some ghostwriter, and he didn't take responsibility for editing it later on down the line. I don't think it was meant maliciously.
Chicago Tribune, August 1997

I met up with Mick and ...he was conducting his life in a totally different way than he had been the last time I had spent any time with him. And I realized, my god, this is someone I have so much in common with and so much to talk about with. It was the real Mick; It was not the Mick behind a whole bunch of other influences.
VH1'sBehind the Music, 1997

We then met up again in 1995 to work on my solo album. It was great seeing him again. He wasn't doing drugs, he was in a totally different space. We had a lot to talk about and all the care and love that had always been there came to the surface.
The Independent, March 1998

This may not be exactly right, but it's my take on where Mick was (in 1996): Even though he was personally in a really good place, that last incarnation of Fleetwood Mac in the studio and on the road, with Dave Mason and Bekka Bramlett, had gone out basically as a nostalgia package. It was with Pat Benatar and REO Speedwagon - stuff you don't like to see the name Fleetwood Mac associated with. I think it was very hard on him. The making of that album was hard on Mick, and his confidence as a player had gone down. Something changed when he and I reconnected. He came back into this situation knowing that he was a kick-ass drummer - one of the best in the business.
Microsoft Music Central, August 1997

[I]t was good to see him blossom and get into the feeling again. What we share as a musical sensibility is the most extreme element of rock'n'roll. We're out there eyeballing on stage and keeping it from being ABBA. He's a stubborn guy, he likes to agendise behind the scenes - which is something that's always infuriated me, but then that's what got Fleetwood Mac together again for the tour. He's a courageous guy, and one of the most intuitive people I've ever met. I think our friendship can only get better and better.
The Independent, March 1998

CHRISTINE MCVIE

Christine McVie was the Earth: feet on the ground. Always pretty much on an even keel. Her songs are never flights of fancy; they have a certain sense of being meat-and-potatoes, which I think was great.
San Jose Mercury Press, 1993

She and I have a real valid kind of rapport between us, something that was there before we even met. It’s like she can play the piano and I can play the guitar just wonderfully along with her. It’s almost like parallel lines during our formative years of music until we met, and it gave us a lot of common ground.
Record Magazine, September 1982

There is certainly a bond there. Maybe not musically, that's too broad. Maybe instrumentally. I think that if she [Christine] and I just sit down and play piano and guitar it all flows together as if we were plugged into the same brain sometimes.
Song Hits, May 1985

You Make Loving Fun might be my favorite song of Christine’s. It seems to cover so much ground on so many levels.... The feel of it is just so great. It’s got a real nice R&B feel to it. It actually took a turn for the ethereal and sweet that you wouldn’t expect from where it was going in the beginning.
Rumours DVD, 2001

Christine was just a great pop writer. She brought a piano sensibility in which brought other European aspects into the thing, which I didn’t do and which Stevie didn’t do, because Stevie isn’t really an instrumentalist, per se. That was just a great balance the way we complimented each other. She brought a romanticism that Stevie also brought, but in a different way. She brought a sensibility just in terms of the interaction with the group. Always had her feet on the ground...very earthy...no nonesense.
Up Close, 1992

[What will you miss most about Christine?] We all miss her grace, dignity, humor and heart, as well as her artistry.
2003 Say You Will Tourbook

MASS ADULATION

[Dealing with the rush of fame in Fleetwood Mac's heyday...] The fact that you go on stage and you are...uh...mass adulation is washing over you. Unconditional adulation. How do you deal with that and come off stage and go home to your wife and worry about the normal things that everyone has to worry about?
VH1's Behind the Music, 1997

I guess we've gotten there now, realized the dream, whatever the dream was. I've thought about it, that this is everything I've ever wanted to do, to be, for the last ten years as a musician. But it's not as weird as I thought it'd be. I feel pretty normal. In a lot of ways I'm still working out a lot of insecurities. Being in this position hasn't automatically given me new confidence, nor am I necessarily getting a lot of validation. In fact, I probably had more confidence five years ago than I do now. It's odd, but having been in L.A. for a while and having a lot of people tell you that you're shitty doesn't help.
Crawdaddy, November 1976

I’ve always been in the background more in terms of publicity or image or whatever. That’s good. I have all the anonymity I want. I can walk about and nobody really bothers me....Stevie wouldn’t really want to (be anonymous). She would always dress up as flamboyantly as possible when she went out, so she’d be noticed. She’s a different kind of person than I am. People are appreciating me for the reasons I want to be appreciated for, and not for my chiffon gown [laughs].
BAM, January 1981

It's very easy to confuse fame and success. I think of success as something that you have to keep cultivating, as you would a garden, and keep thinking of in terms of the longterm.
Charlie Rose, September 2003

[Success] is a double-edged sword, I’d say.... I don’t know, I guess in some ways, because of - if I were to choose the one contribution of mine to the group, it probably wouldn’t be as guitarist, or singer, or writer. It would be as someone who was taking raw material and fashioning it into a sound for the group. And in a sense, that contribution put me, sort of, a little bit more behind the scenes, and a little less understood, at least in the earlier days. And I was kind of able to sit back and watch what was going on a little bit more from the sidelines, and maybe that gave me a little more perspective early on...I’d like to think so anyway. Who knows?
John Boy & Billy Show, 1992

[I]t was never great to be poor, no. But it was maybe great to have a less complicated life, and less..well, less pressure and uh..a less number of walls that can get between any two people at this point. That’s..I mean, anyone that you met and got to know, you knew for themselves and they knew for you, and that was it. And it’s..it’s not hard to get a little bit cautious or a little bit guarded in the circumstance that we’re in, you know? Because we have our own little microcosm that we all function in and we trust each other, but outside of that, it can become a little bit harder to really reach out and feel comfortable.
BackBeat with Laura Gross, 1982

People that you find entering your life see you more as an object than as a person and weren't interested in the person below what the performer represents. And, you know, I think I withdrew from a lot of that because I was very concerned about not buying into the pitfalls that stardom or that level of stardom can hold for you...buying into too much of what is written about you. And the only way for me to do that was to keep looking at my work and to some degree, I kind of drew in.
BBC, November 1998

You should have a respect for your audience and appreciate their appreciation of you, but you cannot dictate your own taste through them, see yourself through their eyes....
BAM, January 1981

[W]hatever appreciation is being offered towards me now is the kind of appreciation that I would like to get. It's more from a musicianship standpoint, hopefully it's from people who appreciate serious things about music. It has nothing to do with costumes or even image - it's more fundamental. It's nice to open a Rolling Stone and see that you have the big picture for a change, but even so, the whole external aspect of the success hasn't really gotten through. I don't feel that it's changed me, because it hasn't barraged me very much at all. It's been slow. It's been honest - that's for sure.
Musician, Player and Listener Magazine, June 1981

I never even put up any of my gold records. If you’re a good craftsman, a good actor, a good anything, you know you can be better and that there’s always another goal to shoot for. It seems more natural for me to keep striving, to keep learning, than to bask in the sunshine of external success.
BAM, January 1981

I don’t think anyone who is signed to a record label is being honest if they say they don’t want to sell records. But, there are..there’s a certain block of people who are not willing to make themselves over in order to do that. I feel that I have to make records on my own terms, and uh, I’m trying to continue doing so.
Entertainment Tonight, 1984

Having been with Fleetwood Mac through the Grammy trip and all, I think awards are basically a promotional device and you have to look at them like that. The important thing is to be involved with your work and be dedicated to your work and try to remain fresh and grow -- and not get caught up in all that other stuff. That's just peripheral, as far as I'm concerned. It's hard to maintain that attitude all the time, though. In this society, you don't necessarily get a lot of pats on the back. Especially now. Radio is very constrictive, very formulized on just about all levels. It's difficult to be original and maintain originality and get the reinforcement a person needs to do that.
Chicago Tribune, September 1985

If you’re any good at all, you know you can be better. You try to keep grounded in your process, in your work. And the challenge of doing that, amidst the madness...some people can do it and some can’t. I’m not saying that I’ve always been able to do that, but I am saying that I’ve always tried to do that. And then eventually, you can define yourself, or a portion of yourself, by the choices that you made.
Classic Albums: Rumours VHS, 1997