I love to be in the studio. That's what I like to do best.
I'm trying to break down preconceptions about what pop music is.
I don't know what 'genius' even means. It's just a matter of keeping your eye on the ball.
You just get out there and be what you want to be. That's part of evolving and part of staying true to yourself - part of remaining alive in a real authentic, long-term sense creatively: not listening to what other people tell you to be.
That's one of the real downfalls of celebrity. You're something that's about you at some point, and that gets latched onto and pumped into the machinery. Then you start having a million other people telling you who you are, and what you should be doing and why, and it's easy to lose your way.
As autobiographical as say the stuff on 'Rumours' was, I don't think we thought of it as such when we were writing it.
I actually like Taylor Swift. I admire what she's been able to do on some levels.
I seldom look back.
I have an amazing wife and three beautiful children, and that certainly makes you less obsessive about your art as a musician - which I've always felt was more like painting than anything.
There have been times when I've feared for my own well-being in the great scheme of things because, historically, the track record has not been kind to the guitar players in this band.
I'm very fortunate.
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.
If things are crazy in the studio, usually the road is times 10.
Lyrically, you know, most of the things on 'Rumours' were very autobiographical and very much conversations the three writers were having with other members of the band.
When you make music, and even if it's commercially successful, it doesn't mean that it's going to hold up. It takes time to sort of take stock of what you've done and whether it's got legs and whether it's going to really have a place.
Defining something being a Fleetwood Mac song is calling it a Fleetwood Mac song, you know? Nothing becomes Fleetwood Mac until that's what you call it.
I do think my lyrics have gotten... not necessarily more poetic, but more open to interpretation; they're less literal.
I couldn't put any kind of label on my production aesthetic.
I guess you can look at Fleetwood Mac as the 'Pirates Of The Caribbean' movies and my solo career as indie films.
If you look at the whole time I was in the band, I only did, like, three solo albums - two, really. 'Out Of The Cradle,' I had already left because we'd done 'Tango In The Night,' and it was sort of the logical extension of crazy in terms of everyone getting ready to hit the wall with their habits.
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.
'Tango' was a good experience, looking back on it, and it seems to hold up pretty well.
You could almost say I'm someone who doesn't practice age.
Creating a set list is like making a running order for an album. Certain things get pitted against one another that make more sense. One song sets another one off, or it might diminish it. You're just constantly looking for the next thing that's gonna make sense in a particular place.
You're not going to reinvent the wheel every time you go out, because that would disappoint the audience.
