I actually like Taylor Swift. I admire what she's been able to do on some levels.

As autobiographical as say the stuff on 'Rumours' was, I don't think we thought of it as such when we were writing it.

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.

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.

I don't know what 'genius' even means. It's just a matter of keeping your eye on the ball.

I'm trying to break down preconceptions about what pop music is.

I love to be in the studio. That's what I like to do best.

A house full of new furniture doesn't mean a whole lot.

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'm in the position where I don't have to make commercial music to feed myself, so I have the luxury of being more experimental, if that's what I choose to do. I guess I've earned the right by being in the business for a while and paying the dues and taking the lumps.

I'm not really concerned with the outer success.

I can't judge myself by 'God Only Knows.' No one writes songs as good as that.

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.

There have been several occasions during the course of Fleetwood Mac over the years where we've had to undermine whatever the business axioms might be to sort of keep aspiring as an artist in the long term, and the 'Tusk' album was one of those times.

You know, I was never totally thrilled with being a Fleetwood Mac member, but surprisingly, I was having such a good time reuniting with John, Mick, and Stevie.

When you become successful on the level that Fleetwood Mac did, it gives you financial freedom, which should allow you to follow your impulses. But oddly enough, they become much harder to follow.

When Stevie and I joined the band, we were in the midst of breaking up, as were John and Christine. By the time Rumours was being recorded, things got worse in terms of psychology and drug use. It was a large exercise in denial - in order for me to get work done.

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

When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process.

Those 12 years, they were ambiguous at best.

This time, there were no drugs involved. The hours were completely normal daytime hours. I think we were able to appreciate the interplay, where before we had taken it for granted.

The writing is all done, so it's all about verbalizing everything from point A to point B, and certainly there's a bit of politics involved, so it's a different thing.

The 12 years I was in Fleetwood Mac before were not particularly happy years. I was not in a very good place, psychologically, when I left. I didn't have a lot of confidence in what I was doing.

That's one strength that Stevie has. She's really not a strong instrumentalist in any way. Her instrument is her voice and her words. And it keeps her focused on the very center of that.