Buckingham: Favorite & Best

[John Run]

I thought I would create a thread where we could name and discuss our favorite Buckingham work and what you believe to be his best or most technically challenging work. The favorite can be what you feel or hear as being your favorite thing Lindsey has been involved in (Written, Played, Produced Arranged or any 1 or more of those), yet may not be a technical masterwork...

Please discuss

[David]

I thought I would create a thread where we could name and discuss our favorite Buckingham work and what you believe to be his best or most technically challenging work. The favorite can be what you feel or hear as being your favorite thing Lindsey has been involved in (Written, Played, Produced Arranged or any 1 or more of those), yet may not be a technical masterwork...

Please discussWell, this is hard. I think the arrangement & the engineering on "You make Loving fun" was extremely difficult to get, but they did so masterfully. Everything had to be just right in order for the whole to work: complementary voicings, compression, levels, FX, etc. In that regard, it's sort of a precursor to the success of "Gypsy" in 1981/82.

It also happens to be my favorite!

[chiliD]

This thread is about 9 years too late...I'm too deep into my "I can't stand Buckingham" phase to comment.

[shackin'up]

Normally I'd say That I know I'm not Wrong would be his best work, but today I prefer Shut Us Down, because it's challenging, gutsy, vulnerable and combines technically challenging guitarwork with poppy, catchy melodylines.

The rawness, vibe and groove of Johnny Stew is something I can't get enough of either........And there's Shuffle riff, an addictive riff under great melodychanges. Still it's a poprocker with catchy hooks. Not one but several.

[John Run]

This thread is about 9 years too late...I'm too deep into my "I can't stand Buckingham" phase to comment.

I was almost going to put as a disclaimer on the thread that Chili could not answer, as over the past few months he had become the Anti-Buckingham and could find nothing pleasing about his music....I chose not to because I thought you might miss the the tongue and cheek nature of the blurb....

Actually Chili the reason I created the thread was due to fact that I thought that after weeks of deconstructing and breaking down Buckingham in a negative manner, I thought it would be fascinating to move the discussion to a more positive discourse and see the insights that people come up with, knowing that the most recent discussions would frame the input.

[shackin'up]

I was almost going to put as a disclaimer on the thread that Chili could not answer, as over the past few months he had become the Anti-Buckingham and could find nothing pleasing about his music....I chose not to because I thought you might miss the the tongue and cheek nature of the blurb....

Actually Chili the reason I created the thread was due to fact that I thought that after weeks of deconstructing and breaking down Buckingham in a negative manner, I thought it would be fascinating to move the discussion to a more positive discourse and see the insights that people come up with, knowing that the most recent discussions would frame the input.

I made some jokes two hours ago-not of the most highclass-but nevertheless meant funny and not in any offense- but the humour was not appreciated. I deleted them because I don't want to hurt peoples feelings, but it's just so overly clear that he wants to trigger Lindseyfans in their fandom to shoot them down as brainless earless dumbasses, that if he's conquered with his own methods ( read: provoking) you're immediately put on his ignorelist.

He is classy enough to PM that in these words:

" pea-brain

Go **** yourself, asshole.

You've been put on "ignore" mode."


P*ssing on Lindsey in the Lindsey forum can lead to some counterbehaviour. All tongue-in-cheek with winks and laugh-emoticons. Doesn't work. He's touchy.

[chiliD]

I was almost going to put as a disclaimer on the thread that Chili could not answer, as over the past few months he had become the Anti-Buckingham and could find nothing pleasing about his music....I chose not to because I thought you might miss the the tongue and cheek nature of the blurb....

It's not that I "find nothing pleasing about his music"...I just think that people over-rate his guitar playing. Which apparently is akin to being Anti-George Bush. I still listen to his music quite often...more often than one would suspect. Just because I don't rate his guitar playing to God-like status is in no way a reflection of my enjoyment of listening to his music.

I still think Out Of The Cradle is one of the best albums of any artist of all-time. I think he was on his way to equalling or even MAYBE topping it with Gift Of Screws until it was railroaded into a less-than-satisfying Say You Will.

[shackin'up]

It's not that I "find nothing pleasing about his music"...I just think that people over-rate his guitar playing.


:shrug: :shrug: :shrug:

thread 9 years too late......"I can't stand Buckingham-phase". And the total thrashing of the man the last two months. I don't know how to read Chili's comments anymore.

[Chester]

The instrumental introduction to This is the Time has got to be the most challenging thing he has ever written. He usually doesn't go that close to the "guitar god" kind of playing but this is awfully close.

[DavidMn]

Well, I'm certainly no expert on the technical side, but I really love what he did with Love Minus Zero. You And I Part 1 is another favorite.

[chiliD]

:shrug: :shrug: :shrug:

thread 9 years too late......"I can't stand Buckingham-phase". And the total thrashing of the man the last two months. I don't know how to read Chili's comments anymore.

Then don't read them...

...and for GOD's sake stop replying to them.

[MacMan]

I still think Out Of The Cradle is one of the best albums of any artist of all-time.

This. I completely agree with... Great album! In many ways I look at it as a continuation of Tango In The Night...

[David]

This. I completely agree with... Great album! In many ways I look at it as a continuation of Tango In The Night...I don't like that one--I like your signature better, Peter. The jouissance went out of Lindsey's solo work at that point, & he began to think of himself as a late-phase Jean-Luc godard, constantly trying to call attention to the medium & making that the message.

Although I do like Soul Drifter & Say We'll Meet Again & one of the others, I can't remember the title.

[chiliD]

This. I completely agree with... Great album! In many ways I look at it as a continuation of Tango In The Night...

I can hear that. But, then I kind of think that Lindsey already HAD his OotC concept finished when Tango came along...just look at his contributions to Tango...he just wrote new songs to replace the ones he used on the Fleetwood Mac album:

Tango replaced by on Cradle

Big Love > Doing What I Can
Family Man > Surrender The Rain
Caroline > This Is The Time
You & I, Part 2 > Soul Drifter

[MacMan]

I can hear that. But, then I kind of think that Lindsey already HAD his OotC concept finished when Tango came along...just look at his contributions to Tango...he just wrote new songs to replace the ones he used on the Fleetwood Mac album:

Tango replaced by on Cradle

Big Love > Doing What I Can
Family Man > Surrender The Rain
Caroline > This Is The Time
You & I, Part 2 > Soul Drifter


Yep, the one I can recall without going back to listen again is "Doing What I Can". It's Big Love, but sped up.

[MacMan]

I don't like that one--I like your signature better, Peter.

Thanks Dave. And I should say that sonically, OOTC to me sounds exceptionally good! It seems so clear.

[shackin'up]

Then don't read them...

...and for GOD's sake stop replying to them.

You've put ME on ignore, I don't have a reason for it, so don't patronise me in where I respond to. I think you're cool and you said that just a short while ago about me too. So you can provoke my preooccupations and I'll do that to yours. What's wrong with that. It can lead to dramatic and fun threads. Just be aware of the tongue-in-cheek-parts, like JohnRun pointed out.

[John Run]

The technically best pieces of Buckingham Guitar work for me is the two intros on Out of The Cradle. Don't Look Down and This Is The Time. I would put that up against anything else he has down as far as guitar proficiency goes.

My favorite is the production and arrangement of Gypsy. The almost symphonic sound of the backgound voices, merged with the strat tuned and processed into something like a violin on the verses and finally the exceedingly simple, yet delicate sounding solo, that sounds so great to end the piece. A great production that sounds timeless to these years.

Out of the Cradle is the master work of course for Buckingham. Although I do see the songs that Chili mentions as an extension of Tango, I hear many of the songs in a context of the Acoustic/Electric, hook filled mode of Buckingham Nicks, Fleetwood Mac, and Rumours. Many of the songs are the most obviously pop-crafted tunes Lindsey had written since that time and have many similar underpinnings. The main difference is the early 90's drum and percussion sounds and vocal fx's. Which in some cases do not hold up as well as the rest of the album over the course of time.

[David]

You've put ME on ignore, I don't have a reason for it, so don't patronise me in where I respond to. I think you're cool and you said that just a short while ago about me too. So you can provoke my preooccupations and I'll do that to yours. What's wrong with that. It can lead to dramatic and fun threads. Just be aware of the tongue-in-cheek-parts, like JohnRun pointed out.As Frank Lentricchia recommended several years ago (in regard to the Pomo Wars in university classrooms), "Teach the conflict!"

[David]

Out of the Cradle is the master work of course for Buckingham. Although I do see the songs that Chili mentions as an extension of Tango, I hear many of the songs in a context of the Acoustic/Electric, hook filled mode of Buckingham Nicks, Fleetwood Mac, and Rumours. Many of the songs are the most obviously pop-crafted tunes Lindsey had written since that time and have many similar underpinnings.Bollocks! "Bwana" has every bit of the popcraft that the stuff on Cradle has.

How have you been John? It's been awhile since you've posted. Everything okay? It's nice to have you back & hope you stick around! :thumbsup:

[John Run]

Bollocks! "Bwana" has every bit of the popcraft that the stuff on Cradle has.

How have you been John? It's been awhile since you've posted. Everything okay? It's nice to have you back & hope you stick around! :thumbsup:


David, I am well. I have made the occasional post over the past few months, but I have always been here in the shadows. I felt it was time to look at Buckingham's work in a slightly different light so I figured I would start a new thread.

[madformac]

Normally I'd say That I know I'm not Wrong would be his best work, but today I prefer Shut Us Down, because it's challenging, gutsy, vulnerable and combines technically challenging guitarwork with poppy, catchy melodylines.

The rawness, vibe and groove of Johnny Stew is something I can't get enough of either........And there's Shuffle riff, an addictive riff under great melodychanges. Still it's a poprocker with catchy hooks. Not one but several.

I'm sorry Gerald but I'm going to have to agree with you! All those songs are amongst my favorites.

But I agree with Chili too in the fact that Out Of The Cradle was his best work as a whole. It's the complete package. The album is so well crafted,. the songs are brilliant, the acoustics are so very clear (the crispest album I've ever heard) the track order is perfect and the feelings and flow are great.

[chiliD]

...the track order is perfect...

One of the rare albums where I haven't found an alternate running order that I think is better than the "as is" one, that's for sure (Mystery To Me is another).

[mylittledemon]

I thought I would create a thread where we could name and discuss our favorite Buckingham work and what you believe to be his best or most technically challenging work. The favorite can be what you feel or hear as being your favorite thing Lindsey has been involved in (Written, Played, Produced Arranged or any 1 or more of those), yet may not be a technical masterwork...

Please discuss

Good question John Boy. My personal favorite Buckingham work has to be separated in three categories...1) What I believe to be Lindsey's best song as far as appeal to the non-fans 2) My favorite song of Lindsey's based on tecnical ability (aka his guitar riffing) and lastly, 3) Just my favorite song of his in general........

1) This would have to be Go Your Own Way. I think just about everyone enjoys this song at some point. It's just classic radio. Classic lyrics and classic guitar work.

2) My favorite song of Lindsey's based on technical ability would be Big Love from The Dance. It's just an incredible piece and shows what his skill level is at.

3) The last song, my favorite is general, would be I'm So Afraid. I love the dark aspect of the song. Either the 1980 Live album version or The Dance.


Now dont get me wrong...these were tough choices to side with the "mainstays" of his material. I'd side with Chili in saying that Out of the Cradle is brilliant...but the only thing that blew me away on that album, guitar-wise, was the solo on "This is the Time."

[chiliD]

I'd side with Chili in saying that Out of the Cradle is brilliant...but the only thing that blew me away on that album, guitar-wise, was the solo on "This is the Time."

That opening "intro to Don't Look Down", to me, is the best guitar work on the album. In dissecting the album, the solo on "This Is The Time" was recorded at 1/2 speed and when played back at normal speed gives the impression that he's playing at lightning speed...when he really isn't. (deception, plain ol' studio trickery deception!)

[cliffdweller]

I thought I would create a thread where we could name and discuss our favorite Buckingham work and what you believe to be his best or most technically challenging work. The favorite can be what you feel or hear as being your favorite thing Lindsey has been involved in (Written, Played, Produced Arranged or any 1 or more of those), yet may not be a technical masterwork...

Please discuss


Ooooh, cool thread.

Favorite: Go Your Own Way. I know, I know, easy choice but really this song encompasses everything amazing about Linds...the fire and intensity of the lyrics, the urgency of the chord progressions, the layered guitars, searing solo at the end...this song is just definitive Lindsey angst for me. And it's one of the only Fleetwood Mac songs I could put on repeat for hours.

Best: Red Rover. Technically, it sounds like this song has literally hundreds of sonic layers within one song, and I think the vocals on this one are some of his best in YEARS. Amazing song, great studio work.

[John Run]

[QUOTE=mylittledemon]
3) The last song, my favorite is general, would be I'm So Afraid. I love the dark aspect of the song. Either the 1980 Live album version or The Dance.
/QUOTE]


You know this version of I'M So Afraid always has left me a little cold. I do like it, but as far versions go I have always appreciated the under the radar Mirage Tour version. A really, good good take on this song, for those who have not heard it.

[mylittledemon]

[QUOTE=mylittledemon]

You know this version of I'M So Afraid always has left me a little cold. I do like it, but as far versions go I have always appreciated the under the radar Mirage Tour version. A really, good good take on this song, for those who have not heard it.


It is a great version too John. I think that Sisters of the Moon from that show is phenomenal as well.

[David]

It is a great version too John. I think that Sisters of the Moon from that show is phenomenal as well.The best version of ISA he played in California on that tour was at Irvine Meadows. I'll see if I can dig up an audio of that. He got a standing ovation (this was back in the day when Lindsey didn't get standing ovations).

[jbrownsjr]

Normally I'd say That I know I'm not Wrong would be his best work, but today I prefer Shut Us Down, because it's challenging, gutsy, vulnerable and combines technically challenging guitarwork with poppy, catchy melodylines.

The rawness, vibe and groove of Johnny Stew is something I can't get enough of either........And there's Shuffle riff, an addictive riff under great melodychanges. Still it's a poprocker with catchy hooks. Not one but several.

the person or the song?:laugh:

[jbrownsjr]

I love the crazy stylings and timbres of the guitar solos of Mary Lee Jones...It's a very cool quick song

[David]

I love the crazy stylings and timbres of the guitar solos of Mary Lee Jones...
You do NOT you liar!!!

:mad: :shocked: :thumbsup: :( :blob1: :wavey: :shrug:

[jbrownsjr]

You do NOT you liar!!!

:mad: :shocked: :thumbsup: :( :blob1: :wavey: :shrug:

i kid u not my friend...this song is smokin!

[shackin'up]

I love the crazy stylings and timbres of the guitar solos of Mary Lee Jones...It's a very cool quick song

Yeah Stew and Mary lee are my faves of law and order too.

[jbrownsjr]

Yeah Stew and Mary lee are my faves of law and order too.

the first time i heard them i was like.... wtf was that!!!:laugh:

[chiliD]

Yeah Stew and Mary lee are my faves of law and order too.

Every couple of years, another song from Law & Order gets added to "my faves from the album". At first, I thought the album stunk (except for "Bwana", "Trouble" & "Shadows Of The West")...but then after the first initial repeated listens (about 10 times around), I added "Johnny Stew" & "That's How We Do It In L.A."...then a few years later, after hearing the original version of "It Was I", I gained new appreciation for Lindsey's cover. A couple of years after that, I started NOT skipping "Satisfied Mind". Then I heard the SNL live version of "Mary Lee Jones" again recently...went back to the studio version and found that I didn't dislike it nearly as much as I initially did, to the point that I started actually LIKING it. So, I guess that just leaves "Love From Here, Love From There" & "September Song" as the only ones on the album that I tend to skip. ("September Song" just sounds like he recorded it while severely inebriated at 4am...too bad, because it had so much unrealized potential) :nod:

But, then...I almost forgot...I don't like Lindsey Buckingham. :distress: How'd I forget THAT?!? ;)

[jbrownsjr]

Every couple of years, another song from Law & Order gets added to "my faves from the album". At first, I thought the album stunk (except for "Bwana", "Trouble" & "Shadows Of The West")...but then after the first initial repeated listens (about 10 times around), I added "Johnny Stew" & "That's How We Do It In L.A."...then a few years later, after hearing the original version of "It Was I", I gained new appreciation for Lindsey's cover. A couple of years after that, I started NOT skipping "Satisfied Mind". Then I heard the SNL live version of "Mary Lee Jones" again recently...went back to the studio version and found that I didn't dislike it nearly as much as I initially did, to the point that I started actually LIKING it. So, I guess that just leaves "Love From Here, Love From There" & "September Song" as the only ones on the album that I tend to skip. ("September Song" just sounds like he recorded it while severely inebriated at 4am...too bad, because it had so much unrealized potential) :nod:

But, then...I almost forgot...I don't like Lindsey Buckingham. :distress: How'd I forget THAT?!? ;)

it's not that u dont like him... it's just that he can be a flaming asshole

[trackaghost]

Then I heard the SNL live version of "Mary Lee Jones" again recently...went back to the studio version and found that I didn't dislike it nearly as much as I initially did, to the point that I started actually LIKING it.


Mr D, you are mistaken. Lindsey only performed Bwana and Trouble on SNL, although I'd love to hear a live version of Mary Lee Jones. Oh yes.

[John Run]

The best version of ISA he played in California on that tour was at Irvine Meadows. I'll see if I can dig up an audio of that. He got a standing ovation (this was back in the day when Lindsey didn't get standing ovations).


I have heard a number of '82 versions, but would love to here this if you can dig it up.

[chiliD]

Mr D, you are mistaken. Lindsey only performed Bwana and Trouble on SNL, although I'd love to hear a live version of Mary Lee Jones. Oh yes.

I've HEARD a live "Mary Lee Jones"...just recently. I just assumed it was from the SNL appearance. Hmmm...:shrug:...now I have to find where that was from.

[wondergirl9847]

A LIVE Mary Lee Jones?!!??!! :eek: Where and when in the frick would he have played that? It's not a fave song of mine by a mile, but I'm very interested to find out more about this.

[mylittledemon]

But, then...I almost forgot...I don't like Lindsey Buckingham. :distress: How'd I forget THAT?!? ;)


HAHA! Can someone just choke ChiliD already?

[chiliD]

HAHA! Can someone just choke ChiliD already?


Get in line...there's a three-hour wait. :lol:

[mylittledemon]

Get in line...there's a three-hour wait. :lol:


HAHA...i imagine its like that scene in Airplane where every lines up to slap that crazy bitch, even the nun! classic!

[chiliD]

HAHA...i imagine its like that scene in Airplane where every lines up to slap that crazy bitch, even the nun! classic!

Not really, there's only one person in front of you, but he probably would rather I die than post here anymore...so it would take him three hours to let go.

Right, Gerald? :shrug: :thumbsup:

[David]

Get in line...there's a three-hour wait. :lol:They better not choke you before you join my band! :mad: :mad: :mad: :mad: :mad: :thumbsup: :shocked: :( :distress:

[David]

Not really, there's only one person in front of you, but he probably would rather I die than post here anymore...so it would take him three hours to let go.

Right, Gerald? :shrug: :thumbsup:if you guys only met each other & hung out, you'd be amazed just how nice each one is. then you would hug & grin & get a little teary-eyed & then you'd both go drink beer or something. Meanwhile, I'd go to the library to get some Beethoven research done because I don't want to drink beer.

[seteca]

In dissecting the album, the solo on "This Is The Time" was recorded at 1/2 speed and when played back at normal speed gives the impression that he's playing at lightning speed...when he really isn't. (deception, plain ol' studio trickery deception!)

That "Instrumental Introduction" being played on a headless electric Hohner...(I think?).

I think the original recording was probably played at even less than 1/2 the speed of the final track - you can tell by the artificial way the ringing notes decay and by the fact that the notes you hear are completely out of standard tuning. The latter is the tell-tale sign of an analogue recording being severely speeded up resulting in pitch degradation. (Nowadays you can get away with speeding up recordings by factors of ten and still preserving pretty much perfect pitch if the recording and process are carried out digitally.)

And it's not the only time he's done it either. I won't mention other songs because I don't want to break any hearts but he's done this on A LOT of solos pretty much from the mid-80s onwards (up to and including certain songs on Say You Will.)

As long as the listener enjoys what he/she is hearing, then I guess as an artist it doesn't matter what method you use to achieve that final sound you have in mind, so all credit to him artistically, but I must admit (even as a diehard LB fan) that I find it slightly annoying if someone's technical proficiency as a guitarist is intentionally faked.

[mylittledemon]

I won't mention other songs because I don't want to break any hearts but he's done this on A LOT of solos pretty much from the mid-80s onwards (up to and including certain songs on Say You Will.)
.


Yeah like the solo on "Come" from SYW. Blatantly manipulated, but it works. It sounds great.

[chiliD]

if you guys only met each other & hung out, you'd be amazed just how nice each one is. then you would hug & grin & get a little teary-eyed & then you'd both go drink beer or something. Meanwhile, I'd go to the library to get some Beethoven research done because I don't want to drink beer.

Unless the beer swilling was done at a sushi bar...right?

[mylittledemon]

Unless the beer swilling was done at a sushi bar...right?


Oh man...talk about seeing me projectile vomit! Such abuse of beer would not be tolerated by yours truly.

[jbrownsjr]

That "Instrumental Introduction" being played on a headless electric Hohner...(I think?).

I think the original recording was probably played at even less than 1/2 the speed of the final track - you can tell by the artificial way the ringing notes decay and by the fact that the notes you hear are completely out of standard tuning. The latter is the tell-tale sign of an analogue recording being severely speeded up resulting in pitch degradation. (Nowadays you can get away with speeding up recordings by factors of ten and still preserving pretty much perfect pitch if the recording and process are carried out digitally.)

And it's not the only time he's done it either. I won't mention other songs because I don't want to break any hearts but he's done this on A LOT of solos pretty much from the mid-80s onwards (up to and including certain songs on Say You Will.)

As long as the listener enjoys what he/she is hearing, then I guess as an artist it doesn't matter what method you use to achieve that final sound you have in mind, so all credit to him artistically, but I must admit (even as a diehard LB fan) that I find it slightly annoying if someone's technical proficiency as a guitarist is intentionally faked.

it's defintely a fine line

[jbrownsjr]

if you guys only met each other & hung out, you'd be amazed just how nice each one is. then you would hug & grin & get a little teary-eyed & then you'd both go drink beer or something.

naked? :shocked:

[The Nisse]

That "Instrumental Introduction" being played on a headless electric Hohner...(I think?).

I think the original recording was probably played at even less than 1/2 the speed of the final track - you can tell by the artificial way the ringing notes decay and by the fact that the notes you hear are completely out of standard tuning. The latter is the tell-tale sign of an analogue recording being severely speeded up resulting in pitch degradation. (Nowadays you can get away with speeding up recordings by factors of ten and still preserving pretty much perfect pitch if the recording and process are carried out digitally.)

And it's not the only time he's done it either. I won't mention other songs because I don't want to break any hearts but he's done this on A LOT of solos pretty much from the mid-80s onwards (up to and including certain songs on Say You Will.)

As long as the listener enjoys what he/she is hearing, then I guess as an artist it doesn't matter what method you use to achieve that final sound you have in mind, so all credit to him artistically, but I must admit (even as a diehard LB fan) that I find it slightly annoying if someone's technical proficiency as a guitarist is intentionally faked.

But why does he choose to do things that way? I mean, he's played the introduction to 'Don't Look Down' and 'Come' live - don't know about the introduction to 'This Is the Time'. So he can do it at "regular speed"..

[shackin'up]

Not really, there's only one person in front of you, but he probably would rather I die than post here anymore...so it would take him three hours to let go.

Right, Gerald? :shrug: :thumbsup:

I repaired what hit you between the eyes by deleting them within two hours.
I still think I was outragingly funny, but to each his own.
That reportation towards the moderator and your more than gross PM is something that can help me to let it go, if you're big enough to repair that one too.
I'm expecting a PM, or something like that.

By the way: OOTC is my fourth fave solowork from Lindsey, including GOS. So beware of what you're repairing, when that's behind us I'll join in again.:lol:

And SETECA: what an incredible joy it is to hear from you again. With a friggin' brilliant post also.

:woohoo:

[David]

But why does he choose to do things that way? I mean, he's played the introduction to 'Don't Look Down' and 'Come' live - don't know about the introduction to 'This Is the Time'. So he can do it at "regular speed"..I don't think he ever played the "time" introduction live on his tour.

To me it sounds like a gigue, a Baroque form--brisque & contrapuntal & in 6/8. Maybe it's Lindsey's own variation on La Folia, the old Spanish melody that hundreds of composers incorporated into their own works. Or maybe he grabbed the idea for it from some old Bach partita. I can't specifically identify the melody, but it has figures & motives that don't sound like anything Lindsey concocted out of thin air.

[wondergirl9847]

If he's playing the intro to This is the Time fast or slow, I think it's a gorgeous melody, regardless. :)

He's said before he listens to classical on Sunday mornings (not sure if that's STILL true or not, but he probably does listen to it at some point), so I can see him being influenced by classical. I love to listen to our local classical station, especially music using flutes and gorgeous violins. :nod: I heard the most gorgeous piece of music a few weeks ago, and danged if I remember what the name was. :(

[David]

If he's playing the intro to This is the Time fast or slow, I think it's a gorgeous melody, regardless.It sure is. I just wanna know who wrote it! :thumbsup:
I heard the most gorgeous piece of music a few weeks ago, and danged if I remember what the name was. :(Christy, what you heard was the "Fantasia on a Theme by Thomas Tallis" by Ralph Vaughan Williams:

www.agentsmith.com/rvw/guides/tfguide.html

"Why fum'th in fight the Gentiles spite, in fury raging stout ?
Why tak'th in hand the people fond, vain things to bring about ?
The Kings arise, the Lords devise, in counsels met thereto,
against the Lord with false accord, against His Christ they go."

www.agentsmith.com/rvw/guides/tallis.html

[Richard B]

Everyone has mentioned some great stuff from Lindsey. Law & Order and OOTC are my definitive choices.

However I have a huge love for his Soundtrack work. I think the Vacation songs were specifically written and developed for the movie. The other list I think are tracks that he just offered up from his archives. Songs that never found a place on his solo albums.

Holiday Road
Dancin' Cross The USA


On The Wrong Side
Shut Us Down
Time Bomb Town

I'd like to add Twist Of Fate (from Adventures in Wild California)

[The Nisse]

Songs that never found a place on his solo albums.

(...)

Shut Us Down

(...)

'Shut Us Down' will eventually be on his next solo album. - So the story goes..

[Peestie]

On The Wrong Side
Shut Us Down
Time Bomb Town



Where are these songs from? I'd like to check them out if possible.

[chiliD]

"On The Wrong Side" is from the With Honors soundtrack
"Shut Us Down" is from the Elizabethtown soundtrack
"Time Bomb Town" is from the Back To The Future soundtrack

[Peestie]

"On The Wrong Side" is from the With Honors soundtrack
"Shut Us Down" is from the Elizabethtown soundtrack
"Time Bomb Town" is from the Back To The Future soundtrack

Thanks Chilli :D

[John Run]

That "Instrumental Introduction" being played on a headless electric Hohner...(I think?).

I think the original recording was probably played at even less than 1/2 the speed of the final track - you can tell by the artificial way the ringing notes decay and by the fact that the notes you hear are completely out of standard tuning. The latter is the tell-tale sign of an analogue recording being severely speeded up resulting in pitch degradation. (Nowadays you can get away with speeding up recordings by factors of ten and still preserving pretty much perfect pitch if the recording and process are carried out digitally.)

And it's not the only time he's done it either. I won't mention other songs because I don't want to break any hearts but he's done this on A LOT of solos pretty much from the mid-80s onwards (up to and including certain songs on Say You Will.)

As long as the listener enjoys what he/she is hearing, then I guess as an artist it doesn't matter what method you use to achieve that final sound you have in mind, so all credit to him artistically, but I must admit (even as a diehard LB fan) that I find it slightly annoying if someone's technical proficiency as a guitarist is intentionally faked.


I don't think you are going to break anyone' s heart. Part up the appeal of buckingham to me is his studio manipulation. I think it is acknowledged by most that he is not a great techinical guitarist. What has always been appealing to me about Lindsey is his studio craft and how the sum of the parts and his creative ways of getting sounds in the studio add up to something better than the individual parts. I think there is a great deal to be said about somone who has the imagination to make something more out of less...

[chiliD]

What has always been appealing to me about Lindsey is his studio craft and how the sum of the parts and his creative ways of getting sounds in the studio add up to something better than the individual parts.

For THAT I'll give him all the props in the world! :D

[seteca]

I don't think you are going to break anyone' s heart. Part up the appeal of buckingham to me is his studio manipulation. I think it is acknowledged by most that he is not a great techinical guitarist. What has always been appealing to me about Lindsey is his studio craft and how the sum of the parts and his creative ways of getting sounds in the studio add up to something better than the individual parts. I think there is a great deal to be said about somone who has the imagination to make something more out of less...

I agree completely, and I as said before, all credit to him as an incredibly talented artist.

However, if I personally saw someone play "Instrumental Introduction to This Is The Time" live exactly as it sounds on the OOTC album, I would definitely label them as a "technically great" guitarist.

It's one of those tracks which obviously boasts technical proficiency (e.g. like Joe Satriani's "Midnight"), so most fans who hear it will say to themselves "Holy ****....he's amazing...!" (i.e. "technically amazing"), and that's what I would personally (as a guitarist) find slightly annoying. Nobody other than LB himself can say for sure why he speeded that track up i.e. was it purely for artistic reasons or did he want to try to put himself across as a better classical guitarist than he is (or both)? And as I said before, I don't really care much either.

Oh, and I wouldn't be able to prove this in a million years, but I would bet a hell of a lot of money that significant chunks of the solo on "Come" were not just speeded up, but played by Neale Heywood. I say this because some of the parts on that solo are completely un-Lindsey-like, and VERY much in the style of Neale Heywood. Check out Neale's lead playing on "This Is The Time (live CenterStage)".

[wondergirl9847]

Perhaps I need to make a poster that says Neale Rules!

[John Run]

Oh, and I wouldn't be able to prove this in a million years, but I would bet a hell of a lot of money that significant chunks of the solo on "Come" were not just speeded up, but played by Neale Heywood. I say this because some of the parts on that solo are completely un-Lindsey-like, and VERY much in the style of Neale Heywood. Check out Neale's lead playing on "This Is The Time (live CenterStage)".

I would be a little surprised if Neale played on this. Reason being Fleetwood Mac went out of there way to credit even the most minute session contributions on the album such as Dave Palmer's, any left over bass parts from John Pierce, etc. I don't see them not giving credit to Neale as an additional player, if he did in fact play on the album. He got a songwriting credit, but no playing credit. You may be right, but I think the more likely scenario is Lindsey played the solo and then manipulated it to sound something like what they conceived in the writing process...

[David]

I think Lindsey's hearing is diminishing. Say You Will seems to indicate something amiss in the way he hears things.

[chiliD]

I think Lindsey's hearing is diminishing. Say You Will seems to indicate something amiss in the way he hears things.


Probably has something to do with the incessant cries of "Daddy, look, daddy watch me, daddy, look, daddy watch me, daddy look, daddylook, daddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddy daddydaddydaddydaddydaddydaddydaddydaddy".

[mylittledemon]

Probably has something to do with the incessant cries of "Daddy, look, daddy watch me, daddy, look, daddy watch me, daddy look, daddylook, daddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddydaddy daddydaddydaddydaddydaddydaddydaddydaddy".


God help me should this ever occur in my life.

[TomBanks147]

Oh, and I wouldn't be able to prove this in a million years, but I would bet a hell of a lot of money that significant chunks of the solo on "Come" were not just speeded up, but played by Neale Heywood. I say this because some of the parts on that solo are completely un-Lindsey-like, and VERY much in the style of Neale Heywood. Check out Neale's lead playing on "This Is The Time (live CenterStage)".

The "Come" solo has Lindsey wrote all over it.

[seteca]

The "Come" solo has Lindsey wrote all over it.

I would have to say I disagree with "completely written all over it". Some parts, yes, are very much typical Lindsey, but other parts (i.e. the technically harder parts) are like nothing he has ever played.

Ever hear one of your close friends or relatives say something and you just think to yourselves "That's not him/her talking, someone else has said that to him/her and they're just regurgitating it." That's what the "Come" solo sounds like to me. If guitar playing is a form of language, then Lindsey's picked up a very strange accent on that solo.

It was no surprise to me that the solos he played in the live version of the song on the SYW tour sounded absolutely nothing like the solo in the album version (i.e. far less technically proficient and very much in the usual LB style) because I was sure he couldn't play those harder parts.

Again, just want to make it clear that I'm not saying he's any less of a guitar player even if what I said above was the case. In my opinion, the emotion behind a guitar solo, however slow or fast or technical, is what makes someone a good guitarist.

("Music is a form of expression that rings truer than speech..." - LB)

[madformac]

In my opinion, the emotion behind a guitar solo, however slow or fast or technical, is what makes someone a good guitarist.

So thats why you say I'm a good guitarist! (considering I have the technical ability of a lemon) :laugh: :laugh:

[Peestie]

I can hear that. But, then I kind of think that Lindsey already HAD his OotC concept finished when Tango came along...just look at his contributions to Tango...he just wrote new songs to replace the ones he used on the Fleetwood Mac album:

Tango replaced by on Cradle

Big Love > Doing What I Can
Family Man > Surrender The Rain
Caroline > This Is The Time
You & I, Part 2 > Soul Drifter

You don't think that "Tango In The Night" became "This Is The Time"? They have the exact same structure. Soft verses, louder chorus, a quiet "pre-solo" and then a loud guitar solo. Or are you comparing them for other reasons, like mood set?

The rest of them I agree with. :D

[DavidMn]

My personal favorite song of his is You And I, Part 1.

[Villavic]

Thinking in Fleetwood Mac, my favorite Lindsey works are Rumours and Tango. Tusk is too Lindsey imho.

Thinking in solo works, OOTC is definitely his best production, to me.

Singles.. well there are lot of fave songs I like, and the list change with the time, so I prefer just to talk about the albums when you ask about "works"