Off The Beaten Track Interviews:

Lonnie Brooks profile coming soon.

This interview was recorded at Nightstage in Cambridge, Massachusetts on March 26, 1988. The interview was coordinated by Kerry Peace, publicist and radio contact for Alligator Records in Chicago, Illinois.

This interview coincided with the release of Lindsey Buckingham's first solo album, Law and Order in 1981. The context of time is an important element in understanding the timing of this event and this interview. Fleetwood Mac's 1977 Rumours was the best selling album in the history of the record business, racking up 16 million copies in sales worldwide. This achievement held steady until the release of Michael Jackson's Thriller in 1982. To this day, the Michael Jackson album holds the record for the most copies sold, in excess of 70 million worldwide, actual certified copies (from markets that track numbers) 51.3 million. Rumours, by comparison, has now sold in excess of 40 million, a certifiable 30.3 million copies. In the grand scheme, depending upon whose statistics you believe, Rumours is now about the fifth or sixth best selling album in record industry history. Not too shabby, as they say.

The next Fleetwood Mac album was a double album entitled Tusk. It was Fleetwood Mac stretching out, taking chances, pushing the envelope. For any other group, it would have been called a success. But, compared to the track record of Rumours, Tusk was an incredible disappointment from a commercial standpoint, especially to their label, Warner Brothers. A measly four million copies sold (note the sarcasm in my voice?). Radio had a hard time finding one appropriate single. Rumours had yielded four!

In the wake of Tusk and its subsequent tour, Fleetwood Mac took seven months off. It was, by far, the longest break the band had taken since Lindsey Buckingham and Stevie Nicks had joined the band at the end of 1974. The break allowed various members the time to relax, take a break and pursue solo and other projects. Mick Fleetwood contributed to a few projects, Stevie Nicks released her first two solo albums, Christine McVie and Lindsey Buckingham each released one solo album. It would be 1982 before the next Fleetwood Mac album, Mirage, would be released.

Buckingham's Law and Order was well received. There were a couple of hits, most notably, Trouble, with That's How We Do It In L.A. released as the secondary single. Noted Hollywood glamour photographer George Hurrell shot the cover. If the technique looks familiar, Hurrell used the same large format "box" camera to shoot Paul & Linda McCartney for the cover of Press To Play. George Hurrell is legendary, known for his portraiture of Hollywood's biggest stars from the golden age.

Law and Order provided Lindsey Buckingham with the creative freedom he was seeking at the time. He could call the shots and do things his own way. He purchased recording gear, rented some space, and made a relatively low budget album. During this interview, Buckingham was quite introspective. He made clear it was the album Buckingham-Nicks from 1973 that opened the door to Fleetwood Mac for he and Stevie Nicks. He is quick to acknowledge the sound of Buckingham-Nicks having a major influence in reshaping the sound of Fleetwood Mac. After Peter Green left the band in 1970, the band had drifted rather aimlessly. Green was a blues afficionado, and early Fleetwood Mac carries his distinct watermark. After his departure, there was no real musical director for the band. Lindsey Buckingham, an excellent guitar player, prolific songwriter and evolving producer, was happy to fill that void. The "new" Fleetwood Mac alienated much of the old guard Fleetwood Mac fans, those who aligned with the blues, but it was largely a moot point. Fleetwood Mac became a juggernaut.

Take a listen as Lindsey Buckingham shares his thoughts and discusses the many elements of these moments in time. He does it with modesty and humor in an amazingly grounded way. Keep in mind as you listen that he was in the most successful recording act in history. You'd never know it from his demeanor. His attitudes were refreshing and informative. 

This interview was conducted at the offices of Elektra/Asylum Records in New York City in August of 1981. Help in coordinating the interview was provided by the incomparable Brad Hunt.