Lindsey Buckingham

“I was lucky enough to meet someone when I was about 46 and had my first child when I was 48, so I got started late, but I also got all that other stuff out of the way and was at a point where I could be a consistent presence at home.”

“They tried to get me to use a pick when I first joined the band. They had certain things they thought were appropriate. I tried to adapt as much as I could.”

“There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.”

“What happens with artists, or people who start off doing things for the right reasons, is that you slowly start to paint yourself into a corner by doing what people outside of the creative world are asking you to do, and I think that's antithetical to being an artist.”

“We really were poised to make 'Rumours 2,' and that could've been the beginning of kind of painting yourself into a corner in terms of living up to the labels that were being placed on you as a band.”

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

“I honestly think part of the appeal of 'Rumours' was that it was sort of heroic. We managed to push through in the face of so much personal adversity.”

“'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.”

“I remember being a kid - if a new member joined a group, I just didn't like that at all.”

“The most disappointing thing to me after 'Tusk' was the politics in the band. They said, 'We're not going to do that again.' I felt dead in the water from that. On 'Mirage,' I was treading water, saying, 'Okay, whatever,' and taking a passive role.”

“You can look at 'Rumours' and say, 'Well, the album is bright, and it's clean, and it's sunny.' But everything underneath is so dark and murky. What was going on between us created a resonance that goes beyond the music itself.”

“If you talk about the 'Tango in the Night' album, the reason I didn't do that tour was because the album took about 10 months, and it was such an uncreative atmosphere.”

“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.”

“Warner Bros. never really got behind the solo work. They always kind of drew a blank. I think they always were thinking, 'Well, this is nice, but let's get back to what's really important.'”

“I think when you work alone - the way I do it, anyway - you could sort of liken it to painting, where there's sort of a one-on-one with the canvas.”

“You have to look at what 'Rumours' was, what drove the subject matter. You had two couples who were broken up or breaking up. And probably, you could say, success we had achieved was the catalyst for those breakups.”

“When I was a kid, and Elvis Presley broke through to a middle class, white audience, it was a sociological phenomenon that lasted through the Beatles and even a bit through Fleetwood Mac.”

“When I work alone, my process is like painting. With Fleetwood Mac, it's more like movie making.”

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

“Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.”