"So in the wake of "Tusk,' because it was a double album and it only sold 5 or 6 million, there was a backlash within the band that dictated, "Well, we're not going to go that route anymore.' It made it difficult for me to move forward. By the time "Tango in the Night' and "Mirage' came along, I didn't know why I was doing what I was doing, other than maybe I hadn't played out the hand with these people yet, that karmically it wasn't time for me to go.

"And 1987 was a time when everyone was conducting their lives in a way which, um, was not particularly conducive to creativity or focus. We saw Stevie for three weeks out of a year. You really had to scramble to make things happen.

"And there were issues with people in the band. To use Stevie as a specific example, there were issues regarding us that I hadn't been able to put to rest, even though we had broken up in '77. The reason I couldn't resolve those completely was that she was in my face every day, and vice versa. Usually if you make a break with someone, you don't have to do that.

"So there was this exercise in denial going on in terms of categorizing your feelings and trying to call up the better part of yourself on a work level. It was only after I distanced myself from the whole scene that I could recharge.

"Now I can understand that everyone did what they had to do and we all did the best we could under the circumstances. That allows you to interact and have the Fleetwood Mac chemistry rise to a purer level than we were ever able to do when all of that other stuff was going on.”

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