#106
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I have written quite a few times about the engineering choices that Lindsey has made on SYW, UTS, and now GOS. These are choices that Lindsey is making. I can't say I agree with them, but they are his choices on his album. It happens to work for me on GOS. On UTS it did not. SYW which contains some great songs, lost a lot of its impact for me because of the engineering choices he and Mark Needham made. A co-producer to work with Lindsey who is an engineer, I think would be a benefit, but lets face it, Lindsey is the artist and if this is his creative vision then no co-producer or engineer is going to alter that.
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#107
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Lindsey Buckingham's 'Gift' is a keeper
Kansas City Star The story behind his new album is all about Lindsey Buckingham’s loyalty to Fleetwood Mac. He wrote enough material for a solo album he intended to release as “Gift of Screws” early this decade. Instead, all but three of those songs ended up on “Say You Will,” a Fleetwood Mac album released in 2003. Five years and one solo album later – the rather sedate “Under the Skin” – Buckingham has released an updated version of “Screws” (due in stores today), and it sounds like the time and remodeling could have been a stroke of good fortune: This is arguably his best solo album yet. Over the course of 10 songs (40 minutes) he delivers all the techniques, traits and impulses that have made him respected and admired by fans who think he's so under-respected: the rampant alt-punk moments in “Tusk”; the bright-glossy pop sounds of “Law and Order”; his undying fondness for the Beach Boys and the Wilson brothers; and the avant-pop/rock moments in the epic and deranged “Go Insane.” If there was ever the slightest debate over who had the biggest creative engine in the Mac, this ought to settle it once and for all. Buckingham is as much a guitar virtuoso as he is a songwriter and rock star, and “Screws” is a loaded with memorable and diverse guitar moments. The opener, “Great Day,” ends with one of those: a lead that sounds like it’s trying to uncage itself to save its life. From there, he glides into “Tim Precious Time,” which rides a long, easy wave of acoustic guitar arpeggios. Then comes “Did You Miss Me,” a nuts-and-bolts California pop song that would have been a great summer radio hit (it resembles “Trouble” from “Law and Order”). Unlike “Skin,” which never really shifted from its low-key, sepia-tone mood, “Screws” never stands still. “I Wanna Wait For You” has the kind of blues vibe we heard way back in “World Turning” or “The Chain.” "Treason" is a lovely, ambient hymn, in the vein of "That's All for Everyone," from "Tusk." Any Fleetwood Mac resemblances aren’t necessarily accidental: Mick Fleetwood and John McVie stand in as the rhythm section on a couple of songs, including “Love Runs Deeper,” a big, percussive and melodic rock anthem, like“Go Your Own Way.” The big swerve comes late, in the incendiary title track, where Buckingham taps into his punk fetish and goes a little insane. The song is a hurricane of drums, guitars, jackhammer rhythms, manic vocals and strident lyrics, adapted from the poetry of Emily Dickinson: “Way down here / Everybody needs / Authority makes us bleed, bleed, bleed,” he screams and then cackles maniacally. And it feels so refreshing to hear him sound so visceral and unhinged again. Timothy Finn, The Star |
#108
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Honestly, I've always wondered if Needham had no choice. I know I've had tracks where I've accidently let the click bleed. Then like I'm stuck with an organ pad or some track with some cool organic licks I could never do again if I tried a million times that has a click. On analog that would be even harder if not impossible to fix, right? Anyway, maybe it is LB's "artistic choice." Everybody's a critic, so I'll be one, too: It's a bad choice. It's an opinion. ~Jamie |
#109
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#110
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Last edited by Betsy; 09-16-2008 at 11:27 AM.. |
#111
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I did not think there were still people left who think only actors can understand films and only goalgetters can perceive a good game and only novelists know how to interprete a book.
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What we need is some cow meat here |
#112
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" Last edited by jbrownsjr; 09-15-2008 at 03:37 PM.. |
#113
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You're constantly asking us to limewire the new album so that the whole world can get it for free: you embraced the modern age when it comes to the industry: we are the home-distributors of today. Now there's a mainsteam artist who adds that democratic view in his sound: hometape qualities. He even tried to express his sympathy for this worldwide movement in his selfshot documentary on his Basshall DVD. Are you deaf and blind, dude, or don´t you WANT to hear it, because you´re waiting for Rumours II for 31 years. Well who am I to keep you down....
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.......................................................................................... Last edited by shackin'up; 09-15-2008 at 04:18 PM.. |
#114
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Hooray. A poster with a brain.
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#115
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He's had quite a few reviews in British newspapers, all of the ones I've seen are positive.
Here's one: 'You may not have heard of Lindsey Buckingham but you'll be familiar with his work. He's the man behind Fleetwood Mac's Rumours album as well as the follow up Tusk, a sprawling experimental record that could not have been more different to its predecessor. Buckingham's obscurity is a shame as his solo albums have consistently welded the pop nous of Rumours to the restless nature of Tusk. Nearing 60 now he has made one of the albums of his life. Love runs deeper is a surging rush of guitar pop that benefits from a big chorus and a thrilling avalanche of massed accoustic guitars, an approach that also works on The right place to fade. Well worth investigating.' A second one: The major powerhouse and songwriter behind FM's golden era, Buckingham's knack for blending experimentation and killer hooks finds sharp focus on his fifth solo album. Buckingham unleashes incendiary guitar licks aplenty. Clash meets Beach Boys style rocking fun and mixes a feel for exotic topicality with seasoned sensitivity and political committment.' |
#116
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shackin up is all you wanna do
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#117
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How can I when you won't take it from me?
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#118
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metronomes are all you wanna do
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
#119
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#120
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Even a cow could spot bad recording technique. I just think some people will defend mediocre effort no matter what.
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