Lindsey Buckingham Gets Anthologised By Rhino
starting a new thread for the reviews. there were couple i think put into some existing threads (the original anthology thread?), but seems that it may be easier to have all the reviews at a single place.
Lindsey Buckingham Gets Anthologised By Rhino
CHARLES DONOVAN 25 Oct 2018
Photo courtesy of Grandstand Media
Coinciding with Lindsey Buckingham's sudden exile from Fleetwood Mac comes this three-disc round-up, Solo Anthology: The Best of Lindsey Buckingham.
SOLO ANTHOLOGY: THE BEST OF LINDSEY BUCKINGHAM
Rhino / Warners
5 October 2018
Can't the members of Fleetwood Mac ever bury their differences and forge a lasting friendship? Even in their dotage, they fall out with each other at the most terrible junctures – on the eve of tours or just after the completion of albums. At one point, it seemed as if we might get another studio album from the classic lineup. It would have been the first since 1987's Tango in the Night. Christine McVie had finally come back into the fold. Before quitting, she had held down the fort during the troubled era of Behind the Mask (1990) and Time (1995), when first Lindsey Buckingham fled, followed by Stevie Nicks. After live reunion album, The Dance (1997), McVie retired to England, peeping out briefly to issue a so-so solo album in the early 2000s. It was left to Nicks and Buckingham to front the good-ish double-album, 2003's Say You Will. Then, no sooner was McVie back behind the piano and ready to record, Nicks proved reluctant to enter the studio. Consequently, a 2017 studio album came out under the band-name Lindsey Buckingham Christine McVie, even though Mick Fleetwood and John McVie played on it.
Now it's Buckingham's turn to be out in the cold, and there are conflicting reports as to why. Slowly, the PR-buffed narrative about scheduling issues is giving way to one of malice, toxicity, ill will, and bad blood, of insurmountable dislike and antipathy, and Nicks giving the band a him-or-me ultimatum. A lawsuit looms while Fleetwood Mac tour with a lineup plumped out by musical everyman, Neil Finn, plus Heartbreaker, Mike Campbell. Oh dear. The sorry mess does, however, mean that Buckingham is suitably placed for touring behind and promoting this three-disc (six on vinyl) anthology and by all accounts, a solo album will follow.
Although their musical proficiency exceeds hers, it's never been easy for either Buckingham or McVie to mount solo careers that come close to the success of Nicks'. With Stevie Nicks, you're not just buying into the music, after all. There's the mystique, the oblique poetry with all its hocus-pocus and romance, the beauty, the drama, the shawls and winsome gypsy-witch apparel, the wind machines. You're buying into a whole concept. But, and I say this as someone tremendously fond of the '69-'74 McVie/Kirwan/Welch era, there can be no doubting or overestimating the role Buckingham had in pushing Fleetwood Mac into its blockbuster era, not just because of his contributions as a singer/songwriter/instrumentalist but also because the band consented, creatively at least, to be led by him as he took a greater and greater role in production.
Buckingham brought a fierce, slightly erotic, tightly coiled, and flamboyant energy to the band's sound and image and an instantly recognizable, intricate guitar style. It enhanced the other members. Overnight, Christine McVie's songwriting contributions were stronger, as if her talent was expanding to match Buckingham's. Her songs on the albums between Future Games (1970) and Heroes Are Hard to Find (1974) had certainly been amicable, but none of them had been a "You Make Loving Fun" or even a "Say You Love Me". It's extraordinary to think that the Rumours lineup made just five studio albums - the same number made by the Welch lineup in a small fraction of the time.
Neither the McVie nor the Buckingham persona can carry a solo album with the vigor of the Nicks persona; they've never been marketable video stars in quite the same way, but are more like musicians who became stars. Now, six albums into his solo career comes the first official Buckingham anthology (a promo-only retrospective was issued in the 1990s), its third disc comprising live cuts. This is an artist-approved collection, compiled by Buckingham himself (mercifully, nowhere on the package does the word 'curated' appear). The CD comes in a quadruple-fold presentation, with a front-cover collage that indicates just how different to Nicks he is. There's no glamour-shot of his face, but instead close-ups of instruments, recording equipment and mixing desks – this is someone for whom the recording studio is like a personal fiefdom-cum-science lab. There's a chilly masculinity about the artwork; it has the feel of an upmarket car parts advert or a men's magazine layout. It goes hand in hand with the rather prosaic, no-frills title.
Least favored of all his solo albums is, surprisingly, the debut, 1981's Law and Order, represented here by just one track, the gorgeous US Top Ten hit, "Trouble". It's one of Buckingham's most Mac-like songs which, in its mood and arrangement, was like a foreshadowing of "Gypsy". In fact, as much as "Trouble" was a foretaste of the Fleetwood Mac album that followed it (Mirage), so Buckingham's second album, Go Insane, and its title track (his second biggest hit), were a prefiguring of Tango In the Night. It's details like this that become apparent as the anthology unfolds, providing ample evidence to support the argument that Buckingham was the chief sonic architect of the band from which he's now been ejected.
It's fortunate indeed that he did land a few songs from his solo albums in the Hot 100 because otherwise he might be best known for "Holiday Road", the irritatingly ingratiating soundtrack song from National Lampoon's Vacation (1983), which uses a rather saccharine melodic phrase Buckingham eventually recycled, to far better effect, on the closing track of Tango in the Night, "You And I, Part II". Here, it appears in both studio and live renditions. It's a rare example of Buckingham's gift for 1950s and 1960s rock 'n' roll pastiche, refashioned with up-to-date production techniques (and his trademark vocal layering), getting the better of him and coming off glib. Something about its relentless cheeriness doesn't quite ring true; it's a rictus grin of a song. Better by far were the songs on Buckingham's second solo album, Go Insane, represented here by its two singles and a couple of album tracks. For "Slow Dancing", there was a video that attempted to get some of the Stevie Nicks action, utilizing wind-swept, Gothic imagery, lots of candles and a heavily styled, rather sensual-looking Buckingham.
Buckingham's post-Tango albums, Out of the Cradle, Under the Skin, Gift of Screws, and Seeds We Sow were all solid, critically-favored works. Cradle lends the anthology its first track, "Don't Look Down", which neatly introduces all the Buckingham trademarks, including the alternating of soft and bellowed vocals, the sharp, punchy rhythms, the guitar calisthenics, the air of tension and anxiety. "Surrender the Rain", from the same album, has more of that glittery guitar style that feels like standing in a downpour of stars. And if you think you've heard "Doing What I Can" before, that's because it repurposes the accompaniment of Fleetwood Mac's 1987 hit, "Big Love". Jumping to the second disc, in addition to one or two other bits of soundtrack work, you'll find two previously unreleased tracks ("Hunger" and "Ride This Road), and one entry from the Buckingham McVie album.
An ace up of the sleeve of Solo Anthology is the part which, on other compilations, is so often the throwaway, tacked on to lure completists but barely listened to more than once; the live disc. In Buckingham's case, it has several things going for it. One is the mesmerizing way he can, without the support of a band or any additional musicians, create riveting versions of songs which you might have thought wouldn't work without all that intricate and multi-layered production. But they do. Another is the fact that its inclusion means he's able to dip not only into the Mac songbook ("Never Going Back Again") but also the 1973 Buckingham Nicks album (when is that reissue finally going to happen?). It also reveals something that Buckingham, like McVie, does have an advantage over Nicks; he is a self-contained musical entity, with command of musical instruments. Whereas a Stevie Nicks song only becomes viable with the intervention of other musicians, both Buckingham and McVie are fully-rounded musicians.
From his instrumental prowess to the array of different voices in which he can sing, from his production expertise to his inspiring commitment to remaining energetic and creative, there's a great deal to admire about Lindsey Buckingham. His solo albums may not be as seductive as Nicks' or as friendly as McVie's, and it's nothing short of a tragedy to see the promise of that final Fleetwood Mac studio album evaporating before our eyes, but the material assembled here, with excellent remastering from Stephen Marcussen, tells a compelling story. Buckingham has always maintained that his bandmates balked at the left-turn he steered them in for Tusk, and wrested back control from him for the far more mild-mannered Mirage.
But history has vindicated him, now that Tusk has a critical admiration it was denied at the time of its original release. Buckingham's solo albums are where to go if you want more of that eccentricity and although sometimes his work is more interesting than it is loveable, this well-structured, non-chronological collection is a long overdue roundup of his best moments. If you've ever needed evidence as to why both times Buckingham has left Fleetwood Mac it's taken two people to replace him, then you'll find an abundance of it here.
Last edited by elle : 10-25-2018 at 07:10 PM.
not a review, but i guess this is the best place for it (and not that i agree with the list, anyway) -
Not Just Fleetwood Mac: Lindsey Buckingham’s Top 10 Solo Songs
BY NICK NADEL
OCTOBER 25, 2018
It’s a weird time to be a Fleetwood Mac fan. First, Lindsey Buckingham gets fired from the long-running band and replaced by Neil Finn of Crowded House and Mike Campbell of The Heartbreakers. Next, the drama intensifies with Lindsey’s claim that Stevie Nicks got him the boot so he’s filed a lawsuit against his ex-bandmates for breach of contract. Are we surprised? Not really. Buckingham’s always followed his own particular muse, whether it’s on his eclectic solo albums (on which he plays most of the instruments) or the joint record he cut last year with former bandmate Christine McVie. With Lindsey embarking on a new tour supporting the release of a collection of his best tunes, the brilliant singer-songwriter-multi-instrumentalist is finally getting the individual credit he deserves. Here are 10 songs that prove Lindsey will be just fine going his own way without The Mac.
Related: “Where Were You When Fleetwood Mac’s ‘Rumours’ Topped the Charts?”
10. “Slow Dancing,” Go Insane (1984)
Buckingham channels a late-night disco vibe with this New Wave head-bopper that deserved nightclub recognition along the lines of Duran Duran and Art of Noise. A treat for fans of the earnest songwriter’s poppier side, “Slow Dancing” suggest an alternate universe where the Fleetwood Mac frontman became an electronic dancehall favorite.
9. “Did You Miss Me,” Gift of Screws (2008)
The 2008 album Gift of Screws features songs Buckingham originally penned for an aborted ‘90s solo outing and for Fleetwood Mac’s 2003 record Say You Will. The result is a mix of Buckingham’s signature propulsive pop-rock tinged with some knock-out acoustic gems. The album was a family affair for Lindsey as son Will and wife Kristen share songwriting duties. The yearning, guitar-driven rocker “Did You Miss Me” especially proves Lindsey can make beautiful music that isn’t about an ex-lover “packin’ and shackin’ up.”
8. “Shut Us Down,” Under the Skin (2006)
Under the Skin found Buckingham returning to his acoustic roots with a low-key stunner of an album that followed Fleetwood Mac’s successful comeback tours and albums. The gorgeous “Shut Us Down,” featured in the Cameron Crowe movie Elizabethtown, recalls Buckingham’s iconic Rumours track “Never Going Back Again” with its intimate guitar picking and raw, emotional vocals.
7. “In Our Own Time,” Seeds We Sow (2011)
Shimmering guitars and soaring harmonies highlight this track from Buckingham’s most recent solo album, which the singer-songwriter recorded and produced in his home studio. The thrilling live versions of the song are a sad reminder of the passion that will be missing from Fleetwood Mac’s upcoming Lindsey-less tour.
6. “Time Bomb Town,” Back to the Future Soundtrack (1985)
Lindsey’s other contribution to a beloved ‘80s movie soundtrack is just as catchy as his classic National Lampoon’s Vacation theme. Playing multiple instruments on the track, Buckingham delivers a moody, calypso-inflected tune perfectly suited to Marty McFly’s wild adventures through time.
5. “Time Precious Time,” Gift of Screws (2008)
This earworm is a showcase for Lindsey’s signature finger-picking style. Amid gorgeous rising and falling melodies, Buckingham sings about time slipping through his fingers until it all builds to an abrupt ending, reminding us that we’re all on a ticking clock and that Lindsey Buckingham can create a haunting masterpiece with little more than his voice and six strings.
4. “Don’t Look Down,” Out of the Cradle (1992)
With its jangly guitar and call-and-response vocals, this catchy song from Lindsey’s third solo album sounds like a lost track from Tusk. Out of the Cradle was Buckingham’s first album after his departure from Fleetwood Mac in 1987. Lyrically, Lindsey delves inward on a folk-rock driven song cycle that sets the tone for future solo albums.
3. “Holiday Road,” National Lampoon’s Vacation Soundtrack (1983)
One of two songs Buckingham performed on the National Lampoon’s Vacation soundtrack (“Dancin’ Across the USA” is the other), “Holiday Road” has become the official theme song of this beloved comedy franchise. The bouncy track inspired numerous cover versions and continues to pop up today in commercials as well as the recent Vacation reboot. It’s also the best song to feature a chorus of barking dogs.
2. “Trouble,” Law and Order (1981)
Law and Order saw Lindsey experimenting with punk and New Wave. Mick Fleetwood performs the drum loop on “Trouble,” and appears in the video alongside former Fleetwood Mac member Bob Welch. But the rest is all Lindsey, including harmonies crafted in his home studio. The result was a Top 10 hit — proof that Lindsey could create breezy, romantic pop without Stevie Nicks or Christine McVie.
1. “Go Insane,” Go Insane (1984)
Lindsey scored another hit with this paranoid, synth-heavy jam from his second solo album. While the album delves into his break-up with ex-girlfriend Carol Ann Harris (who penned a tell-all about her time with Fleetwood Mac), Lindsey has claimed that this title track nods to his tumultuous relationship with Stevie Nicks. With its galloping keyboards and vocals that sound like the result of an all-night booze and cocaine bender circa 1984, the track perfectly sums up Buckingham’s solo output – edgy and unpredictable, while still retaining an undeniable pop sheen.
Photo Credit: Honoree Lindsey Buckingham of Fleetwood Mac performs onstage during MusiCares Person of the Year honoring Fleetwood Mac at Radio City Music Hall on January 26, 2018 in New York City. (Photo by Kevin Mazur/Getty Images for NARAS)
That review by Charles Donovan reads like it was written by David from The Ledge. Such a quotable review!
"There were odd sounds in Milwaukee."
Solo Anthology: The Best Of Lindsey Buckingham
Label: Warner Bros. Release Date: 05/10/2018
thats-incentive by Joe Goggins November 5th, 2018
Never more so than now has the label of 'reluctant solo artist' applied to Lindsey Buckingham.
Ever since he found his way in to Fleetwood Mac, off the back of his collaborative LP with Stevie Nicks in 1976, he's worn the look of a man who knew he'd landed his dream job and was in no mood to give it up easily.
Rumours, despite the extracurricular turbulence, came together collaboratively. Thereafter, Buckingham, whether he wanted to or not, had to step into the role of musical director. Tusk was an album of considerable stylistic diversity and yet, it worked, even if the critical reception at the time suggested otherwise; he kept everybody happy, meaning that the album was able to swing from Nicks' balladry on 'Storms' to the weird proto-pop of 'Save Me a Place' and 'That's All for Everyone', with Buckingham suddenly taking his own cues from Talking Heads and The Beach Boys.
By the end of the Eighties, he'd had enough; the painstaking process of keeping the group together during Tango in the Night's tumultuous gestation period led him to leave. He'd turned out a masterpiece under considerable strain. It took two people to replace him.
Sound familiar? Here we are again, with Buckingham once again out, and with another duo stepping into a shoe each - Neil Finn on vocals, and Mike Campbell on guitar. This time, though, it wasn't his decision - Mick Fleetwood salvaged the last vestiges of his old-fashioned English politeness when he rejected the word 'fired' in a recent interview - ‘words like [that] are ugly references as far as I'm concerned’ - but the truth is that Buckingham was booted for wanting to put back the money-spinning megatour in order to play some solo gigs first.
It's worthy pointing out that he's been trying to bring a new Mac album to fruition for years; there are, apparently, stacks of tunes ready to be cut, if only Nicks would play ball. When Christine McVie emerged from exile to rejoin the fold in 2014, Buckingham swiftly snapped back into songwriting mode; the compositions that made up last year's throughly decent Lindsey Buckingham/Christine McVie were surely destined for band status. His patience, you sense, was running out quick.
The logical conclusion is that that's what led him to put out this Solo Anthology now, even if it'd been in the works before the Mac served him his notice; he's out on the road extensively in the U.S. this autumn, and 'Never Going Back Again' has surely never sounded so pointed. It's funny how this collection should feel definitive, and it is in its inclusion of all of Buckingham's most crucial extra-Mac endeavours, but truthfully it still somehow feels like an assembly of odds-and-ends; you can tell this work is what he got to up to when he became frustrated with his band's inertia, fuelled by drugs in their heyday and now, by money.
'Go Insane' and 'Rock Away Blind' both sound, in terms of their instrumental style and production, as if they might have been Tango in the Night offcuts. 'Holiday Road' is a handsome exercise in melancholy, whilst 'Trouble' and 'Show You How' take on the fragility of relationships in a manner that should be corny; Buckingham somehow stays the right side of it.
Most crucial are the moments when he demonstrates to his former colleagues what they're missing when it comes to his six-string calling card, his finger-picking style that's fiendishly difficult to replicate or replace in the present pick-driven climate. He plays the lies of 'Not Too Late' and 'Time Bomb Town' with verve and urgency because he devised the guitar parts to sound that way - it's not a live affectation.
Solo Anthology, spanning as it does three CDs, is not without stodge; Buckingham falls victim to sentiment and cheese from time to time, as 'Stars Are Crazy' or the wildly overwrought 'Treason' will confirm. That said, what runs through this set - collectors-only live tracks included - is a sparkling demonstration of Buckingham's keen ear for melody, his impressive work ethic and - most importantly - his romantic heart. None of this is his best work, because he saved that for the Mac, and yet it's still frequently superb. They might have sacker's remorse by the time they play Wembley next June.
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