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#76
09-15-2011, 12:21 PM
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From Splice Today, September 14, 2011
http://www.splicetoday.com/music/don-t-lose-the-magic Don't Lose the Magic, by Noah Berlatsky Lindsey Buckingham's latest album is pretty good and all, but it can't match the drug-fueled mania of his best work. Fleetwood Mac is firmly associated with middle-of-the-road 1970s radio rock. In addition, every song Stevie Nicks has ever written meanders into the same plodding New Agey groove. And, in addition to that, Christine McVie writes extremely accessible melodic pop. Put these factors together, and the result is that if you’re not watching for it, it’s possible to listen to Fleetwood Mac and miss the fact that Lindsey Buckingham is completely ****ing off his head on cocaine. Buckingham’s spastic is-he-really-not-well-or-is-that-genius is on display throughout Fleetwood Mac’s oeuvre. You can see it most consistently on 1979’s Tusk, where on songs like “What Makes You Think You’re the One,” Buckingham alternates between shouts and whispers while the music staggers along like a constipated calliope being buffeted by high winds. But if you really want the full force of Buckingham’s chemically-induced derangement, you need to check out his first couple of solo albums. Law and Order, from 1981 is one of the most freakishly ADD albums in existence. Buckingham’s hindbrain spends the entire 36 minutes trying to crawl out through his nostrils. The first song, “Bwana,” starts with jungle noises and a hint of bongo before that’s abandoned and we get Buckingham shouting, mewling, and yodeling up and down his range almost at random until the back half of the song gets into what sounds like a series of raucous kazoo solos, because jungles are well known for kazoos. Other highlights include a slowed down, cabaret-singer-on-a-bender version of “September Song,” and “That’s How We Do It in L.A.” where Buckingham spits bile so enthusiastically he appears to be in danger of burning a whole through his tonsils. The whole thing has a queasy fey energy, like a truckload of fairies strung out on… well, strung out on cocaine. Go Insane, Buckingham’s next album from 1984, is his New Wave exercise, which makes it marginally more stylistically grounded. It’s still pretty nuts though, with drum loops jerking as Buckingham uncorks spiky guitar blasts that scrape and wail and wander into the corner to die. On the title track, a chorus of multi-track Buckinghams intone menacingly about his loss of mental health. It’s the music Hal from 2001 might perform if he were to ingest a staggering amount of coke. In light of these predecessors, Buckingham’s just released latest effort, The Seeds We Sow, is surprisingly restrained. Specifically, it’s an entirely decent collection of polished tuneful folksy tunes, with mesmerizing guitar playing. At times it seems like he’s turned into Sufjan Stevens or Devandra Banhardt—and in so doing, he demonstrates convincingly why classic Lindsey Buckingham was a much, much more entertaining performer than Sufjan Stevens and Devandra Banhardt put together. Fey and pretty is okay, but fey and bat**** crazy is better. There are some signs of the old Lindsey. “Rock Away Blind,” for example, shifts dynamics in a way that suggests the manic dementia of old. “End of Time” has an over-carbonated drumbeat threatening to bash its way out of the lyrical guitar line and catchy chorus. “One Take” sounds like it could be a Tusk outtake. Best of all is the electric version of “Seeds We Sow.” For the concluding track on the album, Buckingham abandons the drifty hippie persona, and uncorks squiggling keyboards, unhinged multi-tracked choruses, and pilled-up drums. The song is a burping, staggering, quivering mess—finishing up with a totally badass rock star guitar solo. Eat your heart out, Eddie Van Halen. So the man hasn’t exactly lost it. Still, Seeds We Sow comes across as a serious album with bizarre touches, rather than as a catastrophic train wreck. The set is anchored by a number of definitively pretty songs—“Gone Too Far,” “End of Time,” the acoustic “Seeds We Sow”—which suggests that Buckingham has some vague interest in entertaining his audience rather than being primarily focused on tearing the bugs out of his own skull. Seeds We Sow is a really fine album—better than anything Bob Dylan or Neil Young has done for the past couple of decades. But it’s doesn’t scale the pinnacles of cracked sublimity the way Buckingham used to. Maybe he’s just not as young as he used to be. Probably, though, it has something to do with getting off the coke. 
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#77
09-15-2011, 01:42 PM
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I am ok with not having acoustic End of Time everywhere, but I think it's a disservice to SWS as a whole, not to make the electric version of the title track available to all. Sleeping Around the Corner is also in need of widespread exposure, because these two give you a wider palette on which to accurately judge Lindsey's work this time around. You need the full context. Michele
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#78
09-15-2011, 06:07 PM
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__________________
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#80
09-15-2011, 06:30 PM
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AssignmentX - another really nice one
http://www.assignmentx.com/2011/cd-r...-seeds-we-sow/
CD Review: Lindsey Buckingham – SEEDS WE SOW An exceptional set of great, ambient pop songs from one of Fleetwood Mac’s most influential musical architects Grade: A- By A.C. FERRANTE / Editor in Chief Posted: September 15th, 2011 / 08:48 AM Distributor: Buckingham Records Suggested Retail Price: $9.99 When Lindsey Buckingham joined Fleetwood Mac in 1974 (with Stevie Nicks), the end result was a transformation of a rock solid band into a pop music powerhouse. Buckingham was an expert and visionary musical architect who had a vision that not even the band probably fully grasped at the time and his contributions resulted in some of the finest pop songs ever (I defy you no to start singing along to “Go Your Own Way” when it comes on the radio). While Buckingham still tours with Mac, the band hasn’t released a new album since 2002, but Buckingham has been very busy as a solo artist releasing the great acoustically textured UNDER THE SKIN in 2006 and followed by the more rocking GIFT OF SCREWS in 2008. Now, Buckingham returns with his latest solo release, the exceptional SEEDS WE SOW which lands stylistically between his last two solo releases. It’s a showcase for his incredibly nimble guitar work and his crystalline vocals. The songs, as always, are as catchy as ever and cover a broad spectrum of relationship highs and lows. The balance between soft, introspective songs like “Seeds We Sow” and “Stars Are Crazy” give way to full-blown pop treatments as on “That’s the Way Love Goes” and “Illumination” Lyrically, Buckingham is quite playful on this set of tunes. “Seeds We Sow” has the line “Sweet things pretty things are dying/In the penny arcade of Edgar Allan Poe” while “One Take” deals with bad celebrity behavior commenting, “No I have no reputation and I’m not on any list/That’s because I’ve got a publicist who covers up the avarice of where I put my fist.” Stand-out tracks include the beautiful “Rock Away Blind” which begins with an elegant guitar picking intro and then builds into a crescendo complemented by Buckingham’s soulful vocals. Like the best of his work, the song is filled with beautiful nuances and continues to build and grow until the song shifts gears into an incredible guitar solo toward the song’s end. “In Our Own Time” also mixes acoustic guitar with a propulsive beat about a love that still bubbling beneath the surface. It also contains the wonderful line: “ I had the same old dream she was hiding outside my door/She used to come from time to time but not anymore.” “When She Comes Down” is a mid-tempo gem that evokes “Down on Rodeo” from Buckingham’s UNDER THE SKIN. And “Gone Too Far” is just a great pop song about the end of a relationship – as good as anything he’s done solo or with Fleetwood Mac. On first listen SEEDS WE SOW feels like it’s relying on too many slow or mid-tempo songs, but on repeated listens, you start realize how expertly placed each song is on this album. Buckingham has always been a stickler for sequencing (you can see that evidenced in the Mac days that even with three different singer/songwriters sharing the spotlight, there was always a cohesive whole to each album) and here there is a flow and mood he’s expertly created with care and tact. Music nowadays rarely offers these kind of rewards, where new textures or appreciation for music arises out of digging deep into the music. Part of this comes from Buckingham’s unique voice which soulful, bright and powerful and his supreme guitar skills. Both enhance and complement all of the songs on this release. SEEDS WE SOW ends with the beautiful “She Smiles Sweetly” – a cover of the little heard 1960s Rolling Stones song. And dare I saw, this is a case where Buckingham does it more justice than the Stones originally did. Buckingham recorded this song on a previously unreleased version of his GIFT OF SCREWS album. It’s similar, but this time it’s been stripped down to just Buckingham and his acoustic guitar. It’s incredible, and if you didn’t know it was a Stones tune, you would swear Buckingham wrote it himself because he truly makes it his own. For die-hard Buckingham fans (like myself), there are handful of B-sides/bonus tracks also available for SEEDS WE SOW. Perhaps the best of the bunch is “Sleeping Around the Corner” which is only available on the iTunes download of SEEDS WE SOW (you can purchase it separately as well). This is a pretty awesome track which feels like TUSK era Fleetwood Mac with its crunchy guitar sounds. It’s listed as the “electric” version, so there must be an acoustic version of this floating around as well. It will be interesting to see if this track resurfaces for a future Mac album or not. It’s a shame Buckingham didn’t feel it worthy of inclusion in the actual sequencing of the album, but I’m sure there are many reasons. The Amazon.com download exclusives (which also can be purchased separately) include an electric version of “Seeds We Sow” which rocks a lot more, but somehow loses the intimacy of the softer, finished version. Similarly, the acoustic version of “End of Time” is not as powerful as the more produced version on the actual album. It’s interesting to listen to Buckingham deconstruct his songs, and in some cases bring a completely different feel and sonic palette to the same music. It’s a testament to his perfection nature – and it’s nice that he’s allowing fans a glimpse into the process with these bonus tracks. SEEDS WE SOW is one of the best albums of 2011. Buckingham is still at the top of his game, and instead of the long wait in between solo releases (like it was in the 1980s and 1990s), he’s pushing forward at a much faster pace with music that is just as good, if not better than when he first made his mark with Mac in the 1970s.
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#81
09-16-2011, 09:28 PM
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Buckingham ‘Goes Insane’ Again on New Album
The Cleveland Sound - http://www.theclevelandsound.com/?p=8883
Buckingham ‘Goes Insane’ Again on New Album September 15th, 2011 | Published in TCS Reviews “I can go crazy without even trying,” sings Lindsey Buckingham on the new Seeds We Sow. “I’m just another madman—I turn it off, I turn it on.” Madman or not, even casual listeners know the off-beat Buckingham has been Fleetwood Mac’s X-factor ever since joining the former blues-rock outfit (with then-paramour Stevie Nicks) in the early seventies. The singer-guitarist brought his quirky pop-rock sensibilities to bear on the reconfigured group’s eponymous 1975 album with songs like “I’m So Afraid,” World Turning,” and “Monday Morning.” His “Second Hand News” and “Never Going Back Again” were just two of many gems gracing the acclaimed follow-up, Rumours. Mega-hit “Go Your Own Way” still frequents the airwaves—as well as Mac concert set lists. His impeccable songwriting skills aside, Buckingham was always the kind of guy who—for whatever reason—struggled against type. He played left field when record execs wanted him in right, defiantly orchestrating and delivering Tusk in 1980 when Warner Bros. had ordered the equivalent of Rumours II. The first solo effort, Law and Order, featured both sides of Buckingham, containing WTF-zingers like jungle song “Bwana” as well as more straightforward, radio-ready fare like “Trouble.” Lindsey also contributed to popular 80’s movie soundtracks like Back to the Future. He wasn’t as prolific as Kenny Loggins in that regard—but the compact “Holiday Road” (National Lampoon’s Vacation) was arguably more original than fifties-knockoff “Footloose.” Lindsey ducked in and out of Mac throughout the 80s-90s, coproducing Mirage and Tango in the Night—but excusing himself from Behind the Mask (notwithstanding his contribution to the title track). Solo discs Go Insane and Out of the Cradle were artistic triumphs—if not the commercial smashes Liddy Buck and his label had hoped for. Come 1997, the fleet-fingered guitarist was back in the Mac, appearing again with Nicks, Chris and John McVie, and Mick Fleetwood on the well-received MTV event (and live album) The Dance. Songs written by Buckingham 1998-2001 turned up on the next Mac record, Say You Will, instead of another planned solo project. But Lindsey had an opportunity to sublimate his ego and find creative catharsis thereafter, releasing and touring behind the excellent Under the Skin and Gift of Screws. The former album showcased Buckingham’s inimitable vocals and finger-style on stripped-down acoustic arrangements (“Not Too Late,” “Down On Rodeo”), while the latter featured smatterings of electrified rock and roll (“Love Runs Deeper,” “Right Place to Fade”) alongside sparkling new nuggets of eclecticism (“Great Day,” “Wait for You”). Buckingham then reteamed with Mac for an extensive tour surveying the group’s thirty-plus years of hits. But the muse kept knocking at the Buckingham residence, prompting Lindsey back to work in his home studio. Where his last two efforts examined the passage of time and importance of love in an increasingly fast-paced world, the musician’s latest disc explores mortality and karma. The themes pervading Seeds We Sow never stray far from the idea of reciprocity, that one only gets what he gives—and even then, you can’t take it with you. Sure, notions of fate flutter unseen throughout the lyrics, but Buckingham recognizes freewill as the wild card thwarting utter human helplessness. We don’t have to play victim for manifest destiny. Whatever happens happens, yes—but people still have a say in things. We can choose to be better, to forgive or pay it forward, to own past mistakes, and relish (or suffer from) the consequences of our decisions. Just as you sow you shall reap, so sayeth the proverb. The songs of Seeds are sprinkled liberally with Buckingham’s unique fingerstyle guitar, which at times is so quick—or plucked on upper frets via capo—that the intricate strains resemble something more characteristic of keyboard instruments. His right thumb coaxes syncopated rhythms while his nimble fingers tickle enchanting melodies from the treble strings, resulting in shimmery, beguiling passages beneath his vocals. Bass isn’t terribly audible on the album—notwithstanding the low (probably synthesizer) augmentation on the frenetic “One Take,” but acoustic drums and rhythm box underpin a majority of the tunes. “In Our Own Time” examines how people have plundered the planet, with Mother Nature possibly “gone for good,” receding into bursts of orchestral strings in the chorus. The title track also hints at mankind’s detrimental impact on the environment: Sweet pretty things are dying / In the penny arcade of Edgar Allen Poe / Medicine Men have gone off spying / Oh the seeds we sow. But the plaintive tune (not unlike “Time Precious Time” from Gift of Screws) paints in broader strokes, likening humans to “soldiers of fortune” who squander their time as much as nature’s bounty. The more upbeat, accessible tunes are fittingly sequenced at the album’s core. “Illumination” is the foot-stomping psychoanalysis of a deceiver wherein Buckingham layers his dense, ear candy vocals in a play on the term “process of elimination.” “That’s the Way Love Goes” begins like a lullaby, with Lindsey calmly offering to “take your pain away”—but then the listener is blindsided with his off-kilter refrain about discovering a lover’s secrets in “in the dungeons.” It’s here Buckingham also busts out his familiar Rick Turner guitar for a pair of crisp, high-energy solos. “Rock Away Blind” takes the opposite approach, with the narrator averting his gaze from his lover’s dirty laundry even when it’s spotted with “clues” of deception. Still, the chorus is decidedly optimistic—even exuberant—coming from someone who sounds like he’s been kidding himself about a few things. On its surface, “One Take” reads like the confessional of a celebrity (or politician, maybe) who admits he’s a “soldier in the badlands” out to usurp the middle class, making “a killing” while his publicist sweeps up the mess. The stuttering guitar lines, hiccupping drums, and interjections of That’s right! intensify the creepy narcissism—then Buckingham weaves his way out on one of the wildest guitar solos he’s ever committed to tape (or hard drive). The disc has its ballads, too. “Stars are Crazy” reflects on a romance that may have ended prematurely, Lindsey’s exquisite arpeggios pinging like notes from a harp. “When She Comes Down” is a bittersweet piece combining the best elements of John Waite’s sentimental hit “Missing You” and Liddy’s own wanderlust (“Underground”) and longing (“Bleed to Love Her”). “End of Time” suggests the sands of the hourglass are quickly running out on us—yet there’s a sense of wanting to forgive (and be forgiven) permeating Buckingham’s verses. Whether the olive branch is being extended to specific party (Nicks? Fleetwood Mac?) or to people in general we’ll never know—but the musical message is quiet and introspective without being sullen: Swing low sweet chariot / Give us back our youth / When they finally come to bury us / Maybe then we’ll tell the truth. Seeds concludes with a lovely take on the Rolling Stones’ “She Smiled Sweetly,” a deep cut from their 1967 Between the Buttons LP. It’s not the first time Buckingham has covered Jagger / Richards—he submitted a version of “I Am Waiting” on Under the Skin—but it’s quite possibly his loveliest Stones interpretation yet. The mp3 version of Seeds We Sow includes alternate versions of “End of Time” and “Seeds We Sow.” Interestingly, the album’s catalog number (on Buckingham’s own label) is an anagram for THE BARD. True enough.
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#82
09-16-2011, 09:43 PM
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a whole lot too. Quote:
Today I was listening to a podcast for new parents, "Daddy on Board." I knew the host, Clayton Morris had listened to SWS, but I didn't expect him to mention it on that parenting podcast. He totally gave the album a plug. But he told people to listen to it on Spotify. He should have told them to buy it. Michele
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#83
09-23-2011, 12:03 PM
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Corpus Christi Caller.com
http://www.caller.com/news/2011/sep/...o-his-own-way/ CORPUS CHRISTI — When Lindsey Buckingham and Stevie Nicks joined Fleetwood Mac on New Year's Eve 1974, they had no idea how their relationship would affect the group's musical direction. They were a couple at the time, and their eventual breakup, as well as the dissolution of the marriage between fellow band members John and Christine McVie, ended up being the inspiration for many of the songs on the band's masterwork, 1977's Rumours. Buckingham's finest moment on that album was the blistering pop/rock of "Go Your Own Way," a fiery kiss-off to Nicks. That song was just one of the highlights of the group's many successful albums. After several multiplatinum discs and sold-out tours, Buckingham announced he was leaving Fleetwood Mac, only to return for a much-hyped reunion in 1997. Whether he was in the band or not, he still released several solo albums that displayed his own brand of quirky pop music more sharply than it did on past Mac projects. He returns with another batch of challenging yet melodic songs on Seeds We Sow (Mind Kit Records). Amazingly, Buckingham's voice seems to have transcended time, as his vocals sound as if they could have graced some of Fleetwood Mac's best 70s work. But it's obvious that he's a little worse for the emotional wear and tear and he cleverly juxtaposes his take on the disturbing state of the world against a lovely, deceptively engaging melody on "End of Time." While that is far and away the best song here, several of the other performances are layered with Buckingham's multi-tracked voice and assured, meticulous guitar lines. "Illumination" is a song that finds Buckingham displaying his gray haired wisdom in a lyrically clever way. "In Our Own Time" and "That's The Way Love Goes" are melodic cautionary tales in a similar vein and they perfectly balance the less innocuous reflections like the eerie "When She Comes Down." All the songs are originals except for an acoustic cover of the Rolling Stones' "She Smiled Sweetly" that sounds as if Buckingham ran through this tune in a casual, offhand way and liked the end result. On the other end of the spectrum is "Stars Are Crazy," the one track that sounds like it could have been on Rumours, as it tears through the emotional wreckage of what's left of a relationship. In a sense, that song brings it all full-circle for Buckingham, as Seeds We Sow still echoes with the signature musical imprint of one of rock's most influential architects.
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#84
09-24-2011, 08:20 AM
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http://www.associatedcontent.com/art...ds.html?cat=33
Music Review: Lindsey Buckingham--"Seeds We Sow" (2011) Caston Countz, Yahoo! Contributor Network Music Review: Lindsey Buckingham--"Seeds We Sow" (2011) Caston Countz, Yahoo! Contributor Network Sep 22, 2011 For some reason, Lindsey Buckingham's solo career has flown under the radar. As he released his third studio recording in 6 years, he seems to get better with age…. "Seeds We Sow" is his first album away from Warner's umbrella as he created his own label, "Mind Kit Records". It was also recorded in his home studio, which in this case is a good thing. For those who are used to listening to Buckingham however, it is a huge departure from anything he has recorded. Many of the songs have been stripped down to his voice, his guitar, and drums. I've read critics complain that it's under produced, but the vibe created with this music/lyric marriage is perfect. He even took an old Rolling Stone deep cut (She Smiles Sweetly) and made it his own. The sonic experiments that were a big part of the first two albums have now melded into a "less is more" credo that blows away much of the chaff. However, a good listen with headphones shows us that although the production is intentionally sloppy at times, there are still signs of the ear candy that he is known for. Because of this skimmed down production, we are not pushed away but instead are drawn into the musical conversation. Lyrically, this is a continuation of the mature themes of, "Gift of Screws" (2008), and "Under the Skin" (2006). He has always been a bit cryptic as it sounds as if he writes the music first, but what beautiful music it is. His signature finger picking style is always enjoyable, but there are moments here that it's almost breathtaking as in the song, "Stars Are Crazy". For those who are Fleetwood Mac fans, give a listen to "Illumination" and "One Take". However, don't be mistaken, he took the template laid down with, "Tusk" and over a sometimes near brilliant solo career, continues to give us mature, solid music. I highly recommend for those who like Buckingham's style of songwriting and singing, to pick up, "Seeds We Sow"…put on the headphones and settle in for a beautiful ride.
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#85
10-01-2011, 12:57 PM
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great review
http://www.musicvita.com/music-freak...um-review.html
Lindsey Buckingham - Seeds We Sow Album Review Ever since Lindsey Buckingham made the decision to leave Fleetwood Mac, permanently ;( or so we believed at the time) after the release of the Album ‘Tango in the Night’ (1987) Lindsey has forged onwards with his own solo career, while also going back to his friends in Fleetwood Mac. So much is the love and deep respect he has for his former band. Lindsey Buckingham’s own solo career started while he was still in Fleetwood Mac, with the Album ‘Law and Order’ released in 1981. From his second studio album ‘Go Insane’ released in 1984, it took another eight years to release his third album ‘Out of the Cradle’ released in 1992. He took so much time and effort to make this third album be the best it could possibly be. I am glad to report that ever since the release of that third Album, Lindsey has been releasing albums more regularly. If he has not been releasing albums in a certain time period that is because he has been involved with Fleetwood Mac Albums and Tours. Lindsey’s last studio album ‘Gift of Screws’ (2008) was like his former girlfriend Stevie Nicks latest album ‘In Your Dreams’ (2011) his most rockiest solo set of songs he had released in years. That is also in addition to the previous number of heavy rock songs on Fleetwood Mac’s album ‘Say You Will’ (2003). For this his brand new sixth studio album ‘Seeds We Sow’ we have a Lindsey Buckingham album in a way we have never heard him sound like before. He left his former record company Warner Bros Records, and joined Eagle Records (a division of Eagle Rock Entertainment). He also set up his own label Mind Kit Records to release his own solo albums. The thing about Lindsey Buckingham is that he is not just a very talented Singer-Songwriter; he is also generally the producer of his albums. He has been known to record albums in his own home studio. The key to this new album and the way it sounds is due very much to Lindsey recording in his own studio, and very much going for the classic early 1970’s rock sound for sound acoustics. There are parts of this album that very much sound like a home demo, and in Lindsey Buckingham’s case that is not a bad thing at all. He is fully displaying his own independent credentials on this new album. The album starts with the title album single ‘Seeds we Sow’. Lindsey playing solo acoustic guitar like only Lindsey Buckingham can. There is only one word for this single; ‘Sublime’. Lindsey’s playing of guitar always amazes the listener, and this single is just classic Lindsey Buckingham material. This song would not have been out of place on his ‘Under the Skin’ Album (2006). The next single ‘In Our Own Time’ starts with light touches of instrumentation (just like the way seeds we sow came across) and then goes into a chorus, that just totally (and I mean TOTALLY) amazes you. You are suddenly aware of Lindsey talent as a Producer. He has two or three acoustic guitar parts going on in the chorus. His use of classical counterpoint melodies will have your jaw dropping to the floor in unbelief. What is more, these guitar parts are spread across the stereo field for a sense of sound dimensions coming through the speakers. After the shock of that AMAZING track; you have the single ‘Illumination’ and you yourself are also ILLUMINATED in how this track sounds. If there was ever a reason why analogue sounds better than digital, the proof is in this single. If you want that classic retro sound of 1970’s Rock Recordings you have to do what Lindsey Buckingham does with the ‘Illumination’ track, and DON’T use too many wet sounding reverbs on your recordings. I mean I don’t know the principles of recording a track like this, but MY GOD!! Can you hear it, and BOY!!!!! Does it make you happy. The chorus of the song ‘That’s the way love goes’ is like being transported to circa 1977 of Fleetwood Mac’s greatest Album ‘Rumours’ The track ‘Stars Are Crazy’ is just as moving a song, as ‘Bel Air Rain’ was from his ‘Gift of Screws’ album (2008).Lindsey’s vocal reaching the highest points of his voice register One track after another; all the songs on this album all have that classic Lindsey Buckingham trademark of incredible acoustic guitar playing. Lindsey does not generally use a finger pick while he is playing guitar. He uses his fingers near the fret board, so gets that very unique acoustic sound in his recordings. This whole album is just beautiful from start to finish. There also seems to be evidence of techniques he was using in his ‘Out of the Cradle’ album (1992). His use of electronic sounds coming in and out of the sound mix. Touches of soft acoustic guitar and rock acoustic guitar working singularly or all together in songs. In the quieter moments of this album there are examples of songs like, ‘Rock Away Blind’, ‘End of Time’, and ‘She Smiled Sweetly’ that match up to his work on the Album ‘Under the Skin’ (2006) The real reason why this whole album comes across very well is because it is HONEST and TRUE to Lindsey’s own heart as a musician. Lindsey is a very unique acoustic and heavy rock guitar player, and these are the principles that really drive this Album. I really believe this is one of the finest solo albums that Lindsey Buckingham has released in his career to date. This is a Hugely Incredible and Totally Recommended Album. Lindsey Buckingham Seeds We Sow Eagle Records/Mind Kit Records 10/10 ********** Roger Howard© 28/09/2011
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#86
10-04-2011, 12:06 AM
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West Coast Music in France, October 3, 2011
http://noted.blogs.com/westcoastmusi...ds-we-sow.html With the release of his 6th solo album SEEDS WE SOW, legendary Fleetwood Mac songwriter and guitarist Lindsey Buckingham has created some of his most personal and intimate lyrics and songs of his storied and award winning career. From the soft melodic pop/rock tinge of "End of Time", the album's most rockin' track, "One Take", and the almost lullaby-esque hushed tones of the closing number, "She Smiles Sweetly", the album showcases Buckingham's full arsenal of skills.
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#87
10-04-2011, 12:44 AM
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__________________
 "Reality leaves a lot to the imagination." ~ JL
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#88
10-06-2011, 10:54 AM
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Houston Press
http://www.houstonpress.com/2011-10-...ey-buckingham/ Lindsey Buckingham, By Dylan Hicks Wednesday, Oct 5 2011 Details 8 p.m. Sunday, October 9, at Verizon Wireless Theater, 520 Texas (Bayou Place), 713-230-1600 or www.livenation.com. Fleetwood Mac's Buckingham began his solo career with 1981's Law and Order, led by the gorgeous single "Trouble" and full of the sort of candied eccentricity that marked his rococo triumphs on the Mac's Tusk. Another highlight is 1992's Out Of the Cradle, whose prodigious melodies and harmonies largely overcome some of L.A.'s blandest tones. Buckingham's new album, Seeds We Sow, displays some of his questionable tendencies — vocals that can rival Darth Vader for breathiness, drum programming that makes one pine for Mick Fleetwood, some overwrought lyrics — but comes through with lovely Beach Man choruses like that on "When She Comes Down," a cool cover of the Stones' "She Smiled Sweetly" and lots of impressive finger-picked guitar. The emphasis will very much be on solo material, but quite likely you'll hear "Go Your Own Way," "Tusk" and a few other Fleetwood Mac favorites.
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#89
10-08-2011, 09:11 PM
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insanely great record from an insanely gifted man
http://vivoscene.com/featured-articl...-music-review/
Lindsey Buckingham ‘Seeds We Sow’ Music Review October 8th, 2011 | Published in Best New Music, Featured Articles, Rock, Pop & Folk A Vivoscene Music Review by Brian Miller vivoscene rating 9.2 Lindsey Buckingham’s sixth solo album Seeds We Sow is an insanely great record from an insanely gifted man, an artist whose guitar talents are the match of anyone alive and whose songwriting ability is undeservedly regarded as somewhat past his prime. Not so, my friends, not so at all. In fact, the figure who transformed Fleetwood Mac from a talented blues band into the monster group of the 1970s is currently issuing some of his best work ever. This new album won’t sell millions but it deserves a place in your music library, regardless of your age, sex or preponderance of either. Competence on the guitar is fairly commonplace, as is the facility for writing hook-laden material. What distinguished Fleetwood Mac once Lindsey joined the group was the way they came up with songs you couldn’t live without. Frankly, the only reason Lindsey’s solo stuff hasn’t commanded the same response is that several million fans kept wanting the same old same old while Lindsey was compelled to move on. He was the mastermind behind the successor to FMac’s Rumours, competely bewildering their audience with Tusk, which in retrospect moved music forward a good decade or so. Lindsey recently explained it thus to azcentral.com: There was a point in time where I kind of rejected the idea that we had to do any particular thing that was expected of us, and having rejected that, the follow-up to ‘Rumours’ is a good example of making a complete left turn, and in some ways subverting the idea that there would ever be a ‘Rumours II.’ It would have been, for me, fascinating and quite humorous, probably, to be a fly on the wall watching them listen to ‘Tusk’ for the first time in the boardroom at Warner Bros. It was sort of a line in the sand that I drew. And it kind of defined the way I still think.” The album opens with the title track “Seeds We Sow”, and quickly establishes that not only is Buckingham’s fingerpicking still blazingly quick, it is unfailingly melodic, a combination rarely found in guitarists of great technical facility. He exhibits similar flourishes on the brilliantly “Illumination” and its clever wordplay in “the process of illumination”. And “That’s The Way That Love Goes” is both classic Buckingham and classic FMac. If only the drumming on this cut were as spectacular as that of Mick Fleetwood’s (though it’s dammably good), the song would rocket up the music charts. His singing on this track is powerful too, though not in the usual fashion: it’s both delicate and unabashedly passionate, with some great dynamics. Then there’s “Stars Are Crazy” with some crazy-good acoustic guitar, powerful melody,and popsong perfection. If this track were on a 45, you’d sit there transfixed playing it over and over again in a blissed-out trance, thinking to yourself htf does he do that? The centrepiece of the record, though, is “When She Comes Down”, a ballad of anthemic proportions that can get under your skin in a first listen; more majestic than slow, more heartfelt than sentimental, and as sticky as spruce gum (the original sugar-free confection), the song is simultaneously sad and exhilarating. Seeds We Sow was conceived as a solo project between ongoing FMac touring commitments and recently Lindsey offered this perspective on his new album: It was kind of like going down and painting, whereas working with a band, being more collaborative and to some degree more of a political process, you could say that’s a bit more like movie making. If you work alone, one thing you don’t have to do, necessarily, is have a completed song. You don’t have to feel like you have a whole thing to present to a group of people who are then going to judge it, edit it or filter it through their own collective sensibilities. You can kind of have a notion of where you might want to go and, much in the way a painter would be sitting there with a blank canvas and might just start slapping colors on the canvas without knowing where it’s going, things sort of develop and open up and the work kind of leads you, so it becomes a sort of far more subconscious process – and in a certain way, a kind of meditative way of working that a band is not. You start off with something way more abstract, and the process becomes more abstract and more mysterious because of that, I think.” There’s not a weak cut on the album and the closer, a cover of the plaintive Rolling Stones tune “She Smiled Sweetly” derives from the mid 60s album Between The Buttons. Mick Jagger himself claimed the only decent cut on that album was “Back Street Girl”, and derided the rest of the album as ‘more or less rubbish”. Lindsey Buckingham handily puts the lie to any thought that Jagger might have a future in music commentary, as his version of this minor Stones’ ballad is revelatory in its ethereal beauty. It’s a fitting ending to a stunning record that could well be the indie-rock Album of The Year. Watch: “Seeds We Sow” Watch: ‘That’s The Way That Love Goes” Watch: “When She Comes Down” FIND AT AMAZON.COM FIND AT AMAZON.CA
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10-08-2011, 09:20 PM
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