A Quote by Lindsey Buckingham

There were a number of false starts where I was trying to make solo albums. They would get constantly folded into group efforts. In retrospect, I can say fair enough, that you call yourself a band member, and you've got to step up to the plate when the need arises.
When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy.
When you're governor, you've got to step up to the plate; you've got to make a proposal for a balanced budget. That's the requirement. And then you've got to sit down and negotiate if the folks that you need to work with disagree with you on points.
Like, when we did Parliament and Funkadelic and Bootsy, it was actually one thing. But there were so many people that you could split them up into different groups. And then, when we went out on tour and they [the record companies] would see us all up there together - we had five, six guitars playing at one time, not including the bass! -, they said: "Wait a minute, that's just one whole group, selling different names!" But it wasn't - we had enough people in the group that each member would have a section to be another group. So now we're finally starting to get them to understand that.
Anything was better than going to work. All those early tours before we made any money were more like vacations. I don't think it was until 2001 that we pulled our heads out of the sand and were like, "What are we doing?" I don't think Chris realized he was in a band until 2001. He all of a sudden woke up one day and realized he was in a band. He thought he was just recording my solo project. Three albums later, we're in Baltimore trying to figure out what to do with ourselves.
You get yourself out there and you work hard, and you hope that word of mouth carries and one day somebody will actually step up to the plate and say, 'I believe that you can do this.'
I'm employee No. 3,467. I'm not a Jon Jones, I'm not a Conor McGregor. Guys like us, we've just got to step up to the plate when they call us and do what they ask and get it done.
My parents always have taught me 'you're good enough'. So, whenever I got bad comments from the judges, or I'd get on the Internet and read what bloggers have written about me, I would get so down, and I would get so sad. The biggest support group was obviously my parents, and I'd call them. And they'd build me up.
I made 'Desert Moon' and when I made those solo albums, I was trying not to be Styx, because I thought, 'That belongs to us.' So, I made different kinds of solo albums that were not dipping my hand back into the magic Styx jar and pulling out all the tricks - because bands, they have tricks, don't they? That's what makes them different.
No one starts as a self-hater. But rack up all of your mistakes and take a large enough number of wrong turns in life and soon you stop trying to forgive yourself. Everywhere you look you find shame or failure staring back.
On your worst days do not look in the mirror and call yourself pretty. Call yourself trying, call yourself surviving, call yourself learning how to get through a day, a week, a month or year. Call yourself still learning.
I think the Thompsons had got a sort of fatal illness about three albums ago and it just took this long to find out that enough was enough. And we became increasingly frustrated by... I don't know, we want to get into the areas that being a pop group never allowed you to get into.
I don't really think of these as projects. I think of them as bands. I have tried to not just convene a group of musicians and make one record or make one gig and just drop it. Each of them develop over time. I have been really fortunate to keep a band like the Sextet together over three very different albums. Each time, the goal got more deep for me in terms of how I wanted to write for those people. So it is really about trying to develop ideas and trying to have a consistent focus on a way to come up with new ideas in music that I want to do.
Louis 'Thunder Thumbs' Johnson was one of the greatest bass players to ever pick up the instrument, as a member of the Brothers Johnson, we shared decades of magical times working together in the studio and touring the world. From my albums 'Body Heat' and 'Mellow Madness,' to their platinum albums 'Look Out for #1,' 'Right On Time,' 'Blam' and 'Light Up the Night,' which I produced, to Michael's solo debut 'Off the Wall,' I considered Louis a core member of my production team. He was a dear and beloved friend and brother, and I will miss his presence and joy of life every day.
I got a call from a group saying they'd like to have a roundtable with the reserve next door, and would I help to set it up. I said, 'Sure, what's the name of the chief?' I asked, 'Do you know any members of the band council?' They didn't.
You almost have to step outside yourself and look at you as if you were someone else you really care about and really want to protect. Would you let someone take advantage of that person? Would you let someone use that person you really care about? Or would you speak up for them? If it was someone else you care about, you'd say something. I know you would. Okay, now put yourself back in that body. That person is you. Stand up and tell 'em, "Enough!
When you do rap albums, you got to train yourself. You got to constantly be in character.
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