#91
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Come on people, blow out your ears and listen with an open mind, open to unexpected sounds.
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#92
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#93
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That is the great thing about LB. Like Stephen Sondheim, arguably the best and quirkiest musical writer and producer on Broadway, LB's music delights in placing a beautiful musical flourish in a mostly obscure place, making the listener search for it as opposed to putting it obviously up front
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#94
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i find all these "neo-con" / "bush's war" interpretations to be ridiculous.
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"They love each other so much, they think they hate each other." Imagine paying $1000 to hear "Don't Dream It's Over" instead of "Go Your Own Way" Fleetwood Mac helped me through a time of heartbreak. 12 years later, they broke my heart. |
09-14-2008, 08:11 PM |
strandinthewind |
This message has been deleted by strandinthewind.
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#95
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Last edited by ajmccarrell; 09-15-2008 at 12:32 PM.. |
#96
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So what's the deal with the vinyl thing? I was so excited to listen to it on the overpriced turntable I've used, like, 4 times at the most.
Guess it was too good to be true...
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"Reality leaves a lot to the imagination." ~ JL |
#97
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And Tusk? Easily Lindsey's artistic triumph and this new album is the closest he's got to that in a long time. |
#98
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The Miami Herald Posted on Mon, Sep. 15, 2008
-- HOWARD COHEN
• ROCK LINDSEY BUCKINGHAM Gift of Screws Reprise ** On his 2006 album, Under the Skin, Lindsey Buckingham confessed he cares what people think of his efforts to never repeat the wildly successful formula of Fleetwood Mac's 1977 landmark, Rumours. ``Reading the paper saw a review / Said I was a visionary, but nobody knew / Now that's been a problem.'' OK Lindsey, you're a genius. Now, must you be so self-indulgent in trying to prove it? Technically, Gift of Screws has some of Buckingham's best-written, catchiest solo songs. That's what makes this album's failings so frustrating. The hook-filled Love Runs Deeper and The Right Place to Fade could be Fleetwood Mac hits from the Go Your Own Way period. But Buckingham overproduces everything. Where his earliest music had room to breathe, now he stifles it with avalanches of vocal, guitar and percussion overdubs. He sings in a breathy, exaggerated manner. As a result, simple rock songs turn arty and insufferable. Worse, for an artist for whom repetition is anathema, he seems locked into that finger-picking flamenco style on guitar he employed to such rousing effect on 1997's live renditions of Big Love and Go Insane. Now, on tracks like the spiraling irritant Time Precious Time, the sound has degenerated into pinpricks on the brain. There's a great album here buried under all this fussiness. Pod Picks:Love Runs Deeper, The Right Place to Fade, Did You Miss Me. http://www.miamiherald.com/entertain...ry/686490.html |
#99
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From one of local papers in Ottawa Ontario Canada
September 14, 2008 Lindsey re-giftsGift of Screws is a 'cobbled-together bunch of leftovers' By DARRYL STERDAN, SUN MEDIA LINDSEY BUCKINGHAM Gift of Screws Pop-Rock Sun Rating: 2 1/2 out of 5 Sometimes, you have to look a gift horse in the mouth -- if you don't want to get screwed, that is. Fleetwood Mac guitarist Lindsey Buckingham's fifth solo CD seems like one of those occasions. As he admits in a press release: "This album is a distillation of a number of periods of time, some false starts to make albums, certainly some songs that go back a number of years, that took a while to find a home here, combined with brand-new songs and a whole other outlook." Translation: It's a cobbled-together bunch of leftovers, demos and fleshed-out ideas -- some cut at home and on the road in the wake of his 2006 CD Under the Skin, with others dating back perhaps as far as 2001, when the album title Gift of Screws became a rumour in the Lindseysphere. But even if it's mostly secondhand news, it's not all bad news. Buckingham also claims this disc rocks more than his last one. And it does -- on the cuts that feature Mac bassist John McVie and drummer Mick Fleetwood. The rest of the time, it's all about Lindsey, his spiderwebby vocals and his precise, intricate guitar work. Sure, it has its moments. But frankly, most of these tracks sound more like technical exercises and home-studio experiments than songs. So unless you want to pay to hear Buckingham dump out his hard drive, you might want to go your own way. --- Great Day 3:12 Over a bare-bones beatbox that sets a brisk pace, Lindsey layers gently throbbing arpeggios and flamenco flourishes with his acoustic guitar, crowning the affair with echoing vocals. Time Precious Time 4:25 Buckingham fingerpicks at breakneck speed, stitching together a needlepoint backdrop for another echoing vocal line. This one sounds like Peter Gabriel and Robert Fripp. Did You Miss Me 3:55 Finally, an actual song -- a slice of breezy, bittersweet California folk-pop complete with a suitably laid-back beat, a chiming guitar line and an actual chorus. Wait for You 4:58 Fleetwood and McVie boogie on the bottom while Lindsey slings some bluesy juke-joint slide licks and brays like Stevie Nicks. A nice hypnotic groove in search of a bigger hook. Love Runs Deeper 3:56 It starts out an understated, strummy little pop ditty -- then busts open on the chorus into a big Mac-style acoustic rocker. Not brilliant, but not half bad either. Bel Air Rain 3:49 The cascading waterfall of glistening tones that flows from Buckingham's flying fingers is superb. The rainstick and soaring vocals, not so much. Enough with the echo, already. The Right Place to Fade 4:02 Another decent acoustic rocker, with a lilting melody, memorable hooks and (we presume) another visit from McVie and Fleetwood. This one could end up on a Mac album. Gift of Screws 2:52 A scrappy number that walks the line between British Invasion pop and garage-rock. It's not bad -- until Buckingham begins laughing like a hyena in the chorus. Underground 2:58 Dreamy and wistful without being too ethereal, this folk-pop number features a throbbing guitar and some quietly popping percussion. Treason 4:26 After all that frantic fingerpicking, Buckingham finally runs out of steam, lazily strumming his way through this downbeat, Dylanesque folk-rock ballad. Matt |
#100
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The reviews don't matter. I'll be picking it up in person tomorrow! In three years he's gotten out two albums and two DVDS. Not bad, Lindsey. And "I Am Waiting!"
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#101
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My question is: Is anyone making a "mastering pass" at Lindsey's home-made recordings? Because that's where you would clean up a lot of the chintzy stuff that has made SOME of LB's recordings of the last few years sound like the Casio Kid. LB himself may not want this step, but take it from someone who has done a lot of demo work (amateur and professional): MANY of his recordings on UTS were demos, nothing more, and there were some glaring mastering errors that don't reflect artistic choice or musicality. And even the best musicians need some mastering work. Tusk was very loose and organic, and I appreciate that. The easy availability of electronic drums and click tracks wasn't as prevalent back then. I expect it to hear many of these same issues on GOS, since much of it is "home-made" as well. Biggest question in my mind has always been how the metronome ended up on some of the SYW tracks since they went through mixdown? I found that embarrassing for the band, actually. A lot of my engineer friends made tremendous fun of that record, and wondered if since it was analog to start with that the click got on the tapes somehow and couldn't be wiped out. With all that said: Musicality is indeed in "the ear of the beholder." If it doesn't bother you, it doesn't bother you. No big whoop. As a pop craftsman and player, I agree LB's a genius and I expect to love these songs. I just think he's overrated in the studio and should put more stock in equally gifted mixers. ~Jamie |
#102
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The thing that pisses me off about this review, is not the fact that it tends to be on the negative side, but the fact that it's running in pretty much every Sun newspaper in every major Canadian city... So far it's appeared in Wpg, Edmonton and now Ottawa! And I'm sure it'll run in others too.
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#103
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Come on people, If I remember correctly, UTS was under the top 50 records of the year in 2006 in the states (was that Rolling Stone?), even nr 13 in the yearlist off UK's Uncut Magazine. The arrogance of bashing his work as unfinished demo's just says alot about your narrow views. Pathetic.
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#104
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He should have Moncrieff do the mixing and mastering, he's vastly better at it than Mark Needham. Plus, Moncrieff got on my case if I had printed compression, even though it was needed to keep Alex's voice from distorting with all the gear turned down (that girl has some lungs!!!). He said he'd kill my pets if I blended my rhythm and leads again. There's no way he'd let Lindsey get away with this metronome crap. I'm really surprised that he is doing some of this stuff. I mean, the guy really needs to learn how to use his DAW. Real men read instructions. |
#105
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