"Our managers were trying to get us on the steakhouse circuit," Buckingham says, laughing at the recollection of Buckingham-Nicks at the crossroads. "But we actually had some regional success. ... After weighing the pros and cons and the $200 a week they were offering us, we just opted to do it. We had no idea what to expect."


"We looked back on the success of the 'Fleetwood Mac' album, and, under most circumstances, most couples would have just said, 'Later,' " Buckingham said. "But this thing had become such a large thing, had taken on such a life of its own, that I had to go through this exercise in denial in terms of not really being over Stevie and having to do for her everyday and work for her everyday. That went on for years.

"We had to persevere on a professional level. But it was very difficult to persevere on a personal level. You had to sort of kill off parts of yourself; you had to categorize your feelings and wrap them up and put a little ribbon on them."


"What's nice about this record," Buckingham says, "is that you have enough stuff that has a comfort level for people and then you have a lot of edges and other things that expand the landscape and really move away from anything safe and anything pop. That's a lot of what's valid about what we're doing these days. We've taken the best elements of 'Rumours' and the best elements of 'Tusk' and put them together."

He seems to take pride in working with his former lover again.

"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."

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