Live Solo Acoustic Album Out November 13!

[elle]

http://www.examiner.com/review/linds...new-live-album

Lindsey Buckingham still going his own way on new live album

ALBUM REVIEW NOVEMBER 15, 2012
BY: PETER ROCHESubscribe

Lindsey Buckingham: One Man Show
Credits: iTunes

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RATING FOR LINDSEY BUCKINGHAM: ONE MAN SHOW

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Lindsey Buckingham’s been going his own way ever since he traded in his swimming trunks for guitar. He’s been involved with Fleetwood Mac for thirty-five years, writing and orchestrating now classic albums like Rumours and Tusk with Stevie Nicks and Christine McVie.

But Buckingham has always reserved his more unusual gems for solo albums like Law and Order (1981), Out of the Cradle (1992), and Under the Skin (2006). These albums still boast Lindsey’s uncanny pop sensibility—but their best bits are usually found in the darker, more introspective songs or quirky alterna-tunes that exploit technology (drum machines and synthesizers) or subvert established forms (folk ballads, twelve-bar blues, etc.).

Buckingham released an excellent in-concert disc—Live at the Bass Performance Hall—a couple years back, but it wasn’t until 2011 that he gave longtime backup musicians Neale Heywood and Brett Tuggle a break and struck out alone. Now available exclusively on iTunes, Lindsey Buckingham: One Man Show captures the architect of Mac at a creative peak as he regales Des Moines, Iowa fans with just his voice and guitars.

The digital album offers a baker’s dozen tracks from throughout Buckingham’s prodigious career, from the sparkling instrumental “Stephanie” (from the 1973 Buckingham Nicks LP) to the brooding—then uplifting—title track from last year’s terrific Seeds We Sow. He even tosses in obligatory Mac fave “Go Your Own Way” by playing along with a recording of the song’s subtle (but crucial) contrapuntal rhythm guitar. The technique is used sparingly here, occurring only in spots where Buckingham needs the freedom to embark on one of his sensation lead guitar breaks.

“Thank you for being part of this experiment I’m doing,” Lindsey greets the crowd at Hoyt Sherman Place.

The finger-plucker explains the intimate, coffeehouse-styled shows comprise the next step in the evolution of his solo work—the modest “small machine” (versus Mac’s arena-rock colossus) wherein he funnels his innermost angst and outermost joys. Later, Buckingham surmises his independent work couldn’t have happened without Fleetwood Mac’s success, and notes how both worlds now coexist harmoniously.

The shimmery “Not Too Late” finds the auteur questioning his motives after mulling a newspaper review. “Cast Away Dreams” bemoans another aspect of professional musicianship—extended touring—and the lasting effects on one’s home life.

“Gone away…no I cannot stay,” croons Lindsey. “I hope you understand.”

Originally destined for a solo album in the late 1990’s, “Bleed to Love Her” first appeared on Mac reunion disc The Dance before receiving proper studio treatment on 2003’s Say You Will. Here, the lovelorn piece vibrates with Buckingham’s syncopated finger-picking, and his voice builds to a spine-tingling crescendo.
Buckingham uses the body of his guitar as a percussion instrument on the sinister “Come,” then unleashes an appropriately distorted torrent of solo notes beneath his own thick (electronically triggered) rhythm chords. “So Afraid” employs more of what late acoustic guitarist Michael Hedges described as a“heavy mental” approach, with bass strings growling and treble strings echoing in bold musical measures that sound anything but unplugged.

Lindsey also indulges with three signature pieces. Bouncy Rumours chestnut “Never Going Back Again” benefits from a pretty, delicate new introduction, while artificial harmonics, clinical strumming, and hell-raising vocals transform “Go Insane” into a haunting elegy.

Having already received an acoustic makeover in past concert sets (from its synth-pop beginning on Mac’s Tango in the Night), “Big Love” pulsates schizophrenically as Buckingham veers from a whisper to full-on primal screams.

“I was looking out for love,” he says of the song’s inception. “Not looking for love, but looking out for it—pushing back, defending.

“Now it’s a meditation on the power and importance of change.”

Law and Order hit “Trouble” is re-imagined for the One Man encore, with Lindsey engaging some clever vocal inflections filling the sound with strings that buzz and reverberate in the mix.

Buckingham’s solitary gambit works because the material (so strong and refreshingly different to begin with) really shines without all the bell and whistles. Stripped down to bare essentials, the songs more readily reveal their emotional essences—adorable and ugly—for the candid scrutiny of a one-take, untouched console recording.

https://itunes.apple.com/us/album/on...ow/id573048858

www.lindseybuckingham.com

[elle]

not sure where's the best place for this interview, but since it's supporting OMS release and not much new didn't want to make a separate thread:

http://wncx.cbslocal.com/2012/12/03/...hing-commerce/

MUSIC NEWS
Lindsey Buckingham: “You Have To Take Risks… Even At The Risk Of Diminishing Commerce”
December 3, 2012 10:16 PM

Buckingham/Nicks, Fleetwood Mac, Lindsey Buckingham, One Man Show
Lindsey Buckingham has just released One Man Show, a solo acoustic live album, taken from his first tour in that format. The track listing spans his career; it includes “Trouble” from his solo debut, 1981’s Law And Order, his 1984 hit “Go Insane,” “Seeds We Sow” from his 2011 album of the same name and a number of Fleetwood Mac classics, including “Never Going Back Again,” “Big Love,” “So Afraid” and “Go Your Own Way.” There’s even “Stephanie,” from the Buckingham/Nicks album that he did with Stevie Nicks before they joined Fleetwood Mac.

Buckingham famously quit Fleetwood Mac in 1987, just after the release of Tango In The Night, partially because he wanted to focus on his own records. Since rejoining the band in 1997, he’s remained prolific on his own, releasing three solo albums and touring frequently (One Man Show is his third live release during the same time period).

He tells CBS Local, “Doing the amount of solo work that I’ve done in the past decade, it clearly is kind of the antidote to the experiences I was repeatedly having in Fleeetwood Mac for years, where I would try to work on a solo album and get it out, and (the solo songs) would either be co-opted because of group pressure, or it would be set aside. And that’s fair enough too, because if you’re in a band, you’ve got to be a band member in good standing and you have to keep the big picture in mind.”

He says that these days, he has hit a good balance between working solo and being in the band. And, he points out, his solo work is ultimately good for Fleetwood Mac: “It allows me to bring back something into the band that I might not have otherwise. I keep growing as an artist, and keep pushing my limits a bit, in a way which I couldn’t do in Fleetwood Mac.”

He points out that there’s a big difference between what he does on his own, and what he does with the group. “What I do as a solo artist is kind of tapping into the left side of the palate, the more esoteric side of things. So I think inherent in that is losing a greater portion of the people who might be Fleetwood Mac fans for different reasons. Obviously it’s the difference between playing in an arena and playing in a theater.”

He’s fine with playing to smaller crowds on his own. “That’s always part of the equation when you get to a certain level of popularity, there’s kind of a corporate mentality that kicks in,” and he mentions the need to uphold the band’s “brand.” “(But) it isn’t necessarily the best adage to follow as an artist. You have to kind of remember who you are, and you have to be taking risks, even at the risk of diminishing commerce. That’s sort of the equation I’ve been living for many years and have somehow managed to strike a balance between what I call ‘the big machine’ and ‘the small machine.’ At this point they support each other, and it’s a good place to be. “

One Man Show is availble now, exclusively at iTunes.

– Brian Ives, CBS Local

[bluefox4000]

I for one hope he puts out more Albums like this.....but digs more with the track listing. I like the album, but that track list made me face palm Oh well. Come on Lindsey, dig Deep.

Mick

[michelej1]

Originally Posted by bluefox4000

I for one hope he puts out more Albums like this.....but digs more with the track listing. I like the album, but that track list made me face palm Oh well. Come on Lindsey, dig Deep.

Mick

I agree. I'm extremely disappointed in the song selections. He said he was seeing what works. If he does another acoustic tour and hasn't made drastic changes to the setlist, it's over. It's OVER.

Michele

[CADreaming]

Originally Posted by michelej1

I agree. I'm extremely disappointed in the song selections. He said he was seeing what works. If he does another acoustic tour and hasn't made drastic changes to the setlist, it's over. It's OVER.

Michele

Oh, like he hasn't heard that before.

[michelej1]

Originally Posted by CADreaming

Oh, like he hasn't heard that before.

I was mimicking Stevie, but not her talking to Lindsey. I was copying her talking to Christine. When she was telling Christine she better not let Lindsey sing duet on Hold Me in the limo. Hilarious.

Michele

[CADreaming]

Originally Posted by michelej1

I was mimicking Stevie, but not her talking to Lindsey. I was copying her talking to Christine. When she was telling Christine she better not let Lindsey sing duet on Hold Me in the limo. Hilarious.

Michele

LOL!!! Oh, yeah - funny stuff!

[PenguinHead]

Originally Posted by michelej1

I agree. I'm extremely disappointed in the song selections. He said he was seeing what works. If he does another acoustic tour and hasn't made drastic changes to the setlist, it's over. It's OVER.

Michele

When I saw the headline "Lindsey Buckingham: You Have to Take Risks..." I thought it was going to be an article about the writer taking issue with Lindsey's lack of risks in regard to the set list for his live album! Silly me.

It's one thing to perform certain songs to death in live performances, but it's another thing to rehash and sell those same songs over and over (in various versions).
He has a strong core fan base who support him, and are largely responsible for the sales of his records and concert tours. It's not unreasonable to think that they (we) probably already have several live versions of most of songs featured on his recent live album release.

Does he ever think of that? Or feel the slightest embarrassment of reselling the same songs to the same audience? Maybe the little machine can let go of the big machine songs. They will never go away, so no one is missing them!

I wonder if financial returns are at a higher rate with particular songs that get released in live form. That would explain the motivation as to why we get such an exclusively small group of songs that seem to be "must haves" in any compilation or live album. "Have we got anymore dreams to sell?"

[elle]

http://b1027.com/why-lindsey-bucking...t-his-own-way/

Why Lindsey Buckingham Went His Own Way
By Crash 17 hours ago

(Gaye Gerard/Getty Images)

After Fleetwood Mac decided not to tour in 2012, Lindsey Buckingham packed his bags and hit the road with just his tour manager, a roadie and sound engineer — and the result is his new album, One Man Show. He says, “It just turned out to be a really satisfying thing for me… I’m really quite proud of it.”

Although they recorded every night of the tour, Buckingham says the September 1st show in Des Moines, Iowa really stuck out. The only thing that needed to be done in post-production was to to tighten the pace between songs.

Available exclusively on iTunes, One Man Show contains 13 songs spanning Buckingham’s career, including such Fleetwood Mac staples as “Never Going Back Again,” “Big Love,” “I’m So Afraid” and “Go Your Own Way.”

Buckingham and the Mac will begin rehearsals for their spring tour on February 15th in Los Angeles.

[Stormwind]

Originally Posted by elle

http://b1027.com/why-lindsey-bucking...t-his-own-way/

Why Lindsey Buckingham Went His Own Way
By Crash 17 hours ago

(Gaye Gerard/Getty Images)

After Fleetwood Mac decided not to tour in 2012, Lindsey Buckingham packed his bags and hit the road with just his tour manager, a roadie and sound engineer — and the result is his new album, One Man Show. He says, “It just turned out to be a really satisfying thing for me… I’m really quite proud of it.”

Although they recorded every night of the tour, Buckingham says the September 1st show in Des Moines, Iowa really stuck out. The only thing that needed to be done in post-production was to to tighten the pace between songs.

Available exclusively on iTunes, One Man Show contains 13 songs spanning Buckingham’s career, including such Fleetwood Mac staples as “Never Going Back Again,” “Big Love,” “I’m So Afraid” and “Go Your Own Way.”

Buckingham and the Mac will begin rehearsals for their spring tour on February 15th in Los Angeles.

He definitely went his own way
Reviews are favourable and that is a proof of Lindsey's force on his own .

[michelej1]

By Ralph Greco, Short & Sweet NYC, January 11, 2013

http://www.shortandsweetnyc.com/2013...-one-man-show/

“Cast Away Dreams” from his fourth studio album, Under the Skin, opens Lindsey Buckingham’s new live solo album, One Man Show. “Bleed to Love Her,” one of those tunes that sees Fleetwood Mac’s guitar player/vocalist/songwriter/producer using his fantastic finger-picking technique (and odd vocal warble) follows. There’s more (and better) finger picking and a nice Lindsey vocal on “Not Too Late,” probably the best of these opening tunes here. But really, the man’s working up to expert finger picking on the instrumental song, “Stephanie.”

We’re into echoey electric and sexy vocals on “Come,” the first of the Fleetwood Mac tunes here and the first to feature some double-track rhythm so Lindsey can get in some live lead playing. There’s a super cool, dramatic, slower take on Lindsey’s second solo album’s title track “Go Insane” and perfect echoey finger picking on “Never Going Back Again.” But we’re soon back to the complete crazy kinetic finger picking and those famous, slightly orgasmic ooh’s and ah’s of the usual Lindsey live solo Fleetwood Mac concert staple, “Looking Out For Love.” Again, we get some leading over a live looped rhythm guitar on “So Afraid” (not the best tune here) and a distorted, over-driven (with both looped rhythm and vocal backing) take on the infamous “Go Your Own Way.”

For me, it’s Lindsey’s quiet take on “Trouble,” from his first solo album, and the title track from his last album, Seeds We Sow, that make this night recorded in Des Moines, IA not so very long ago, super special.

[redtulip]

Critic's picks: Lindsey Buckingham, 'One Man Show,' and Mike Cooley, 'The Fool on Every Corner'
Published: January 14, 2013

By Walter Tunis — Contributing Music Writer

What we have here are two realities of the digital age: a pair of splendidly recorded solo acoustic records by singer/songsmith/guitarists known far more for their work as members of cherished rock troupes than for music issued under their own names. Both works are available almost exclusively as downloads.

The first is Lindsey Buckingham's One Man Show, a near exact replica, right down to the between-song banter, of the program the Fleetwood Mac frontman gave at the Lexington Opera House in November. Regardless of such a steadfast repertoire, this is a blistering set mostly because Buckingham obliterates the concept of what a solo acoustic concert can be.

One Man Show is not some folkie reinvention of Buckingham's music in and out of Fleetwood Mac. It is rather what its title implies: an unaccompanied rock parade that just happens to acoustic. From Buckingham's ageless vocal howl to guitarwork that exerts itself with dizzying exactness, the record is steeped in frenzy.

It doesn't matter if the music stews in the brooding intensity of Go Insane, Never Going Back Again and So Afraid or boils over with the hopped-up drive of Big Love, where the guitar runs sound positively caffeinated. Either way, Buckingham presents One Man Show as a restless joyride.

While Big Mac faves make up roughly half the album, Buckingham fleshes out the remainder with some genuine surprises. From the early '70s comes the pre-Fleetwood Mac instrumental Stephanie, One Man Show's lone statement of solace. But the real treats comes by way of three tunes from Buckingham's underrated 2007 solo album, Under the Skin, highlighted by the bittersweet departure meditation Cast Away Dreams.

As of now, One Man Show is only available through iTunes.

Mike Cooley's The Fool on Every Corner is an altogether calmer beast. As one of the two primary vocalist/guitarists for Drive-By Truckers, Cooley has helped provide a new-generational voice for Southern rock 'n' roll. But unlike Truckers co-chieftain Patterson Hood, who regularly tours and records on his own, Cooley is relatively new when it comes to performance life outside the band.

As such, The Fool on Every Corner is a relaxed and slightly boozy compendium of songs Cooley has written for the Truckers along with one new entry, Drinking Coke and Eating Ice. The resulting record is pulled from solo concerts given last year in Atlanta.

Bolstered by Truckers faves Three Dimes Down, Where the Devil Don't Stay and Shut Up and Get on the Plane, the album bares its barroom spirit readily with a loose, often whispery performance feel that sounds like vintage Willie Nelson, but with a darker, more rural slant.

The Fool on Every Corner will be issued later this month on vinyl but it is readily available now through all major digital music outlets.

Read more here: http://www.kentucky.com/2013/01/14/2...#storylink=cpy

[elle]

Originally Posted by redtulip

Critic's picks: Lindsey Buckingham, 'One Man Show,' and Mike Cooley, 'The Fool on Every Corner'
Published: January 14, 2013

By Walter Tunis — Contributing Music Writer

What we have here are two realities of the digital age: a pair of splendidly recorded solo acoustic records by singer/songsmith/guitarists known far more for their work as members of cherished rock troupes than for music issued under their own names. Both works are available almost exclusively as downloads.

The first is Lindsey Buckingham's One Man Show, a near exact replica, right down to the between-song banter, of the program the Fleetwood Mac frontman gave at the Lexington Opera House in November. Regardless of such a steadfast repertoire, this is a blistering set mostly because Buckingham obliterates the concept of what a solo acoustic concert can be.

One Man Show is not some folkie reinvention of Buckingham's music in and out of Fleetwood Mac. It is rather what its title implies: an unaccompanied rock parade that just happens to acoustic. From Buckingham's ageless vocal howl to guitarwork that exerts itself with dizzying exactness, the record is steeped in frenzy.

It doesn't matter if the music stews in the brooding intensity of Go Insane, Never Going Back Again and So Afraid or boils over with the hopped-up drive of Big Love, where the guitar runs sound positively caffeinated. Either way, Buckingham presents One Man Show as a restless joyride.

While Big Mac faves make up roughly half the album, Buckingham fleshes out the remainder with some genuine surprises. From the early '70s comes the pre-Fleetwood Mac instrumental Stephanie, One Man Show's lone statement of solace. But the real treats comes by way of three tunes from Buckingham's underrated 2007 solo album, Under the Skin, highlighted by the bittersweet departure meditation Cast Away Dreams.

As of now, One Man Show is only available through iTunes.

this was a refreshing read today. i especially loved the bolded parts.