Lindsey - Guitar World Acoustic (November 2006)
GWA Was there any danger of that this time?
BUCKINGHAM There wasn’t in terms of the material getting folded over. There was a little bit of pressure about my carving out a sufficient time frame to do this album, tour it, then finish the other one and, in all likelihood, tour that one too. But I talked to Stevie [Nicks] and everybody about it, and I don’t think anyone at the end of the day begrudged me the time to do what I felt I needed to do. The way they’re looking at it, I think is that at least I’ll get it out of my system: “He’ll be a nicer guy after he finishes this.” [laughs]
GWA You mentioned your tendency to allow many years to pass between solo albums. Is that because you find it hard to let things go? You’re certainly fond of recycling parts of songs. For instance, some sections of “Not That Funny” and “I Know I’m Not Wrong,” both on Tusk, are nearly identical; one of the verses in “You Do or You Don’t” on Out of the Cradle shows up again-words and music-as the bridge in “Bleed to Love Her” from Say You Will…
BUCKINGHAM And the acoustic guitar line in “Eyes of the World” [from 1982’s Mirage] came out of an instrumental piece on Buckingham Nicks [recorded in 1973 before the duo joined Fleetwood Mac]. That’s almost like a running gag, though it’s not meant to be. I’ve never had a problem with taking an element from another song-as long as it’s my song and I’m not gonna get sued for it-and reusing it in a different way, if if it has its own integrity in the new context. It’s like leaving little clues for the people who are really paying attention. Again, I don’t set out intentionally to do this. I hate to admit it, but it’s about expediency. I say, “Oh, that old bit would be cool there.” Some people might think it’s not cool to use it again, but my feeling is, as long as you don’t do it all the time, who cares?
GWA Speaking of Buckingham Nicks, will it ever be reissued? At this point, it’s got to be one of the most famous albums to have never been released on CD.
BUCKINGHAM I know, isn’t it ridiculous? Stevie and I own the 24-track masters, and one of Stevie’s managers has them at her house. I actually didn’t know where they were for a while; that’s one of those little power plays that goes on. It’s become almost an extension of Fleetwood Mac politics, convoluted as they are. Everyone agrees that the record needs to come out, but everyone also agrees that it needs to come out at a time when there can be some kind of event to promote it, and no one knows what that is. Do Stevie and I go out and do dates as a duo? What are we talking about here? So it’s in the ether. But the thing is, we’d better hurry up, because pretty soon it’s going to be a little late.