I always made the joke that I would have loved to have been a fly on the wall when Warner Brothers first put 'Tusk' on and listened to it in their boardroom as a follow-up to 'Rumours.'

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.

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

After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.

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.

You come off the kind of commercial success that 'Rumours' had, and you see that there are limitations to that as well as freedoms.