The Ledge - Producer Credit

The Ledge (http://ledge.fleetwoodmac.net/index.php)

- Lindsey Buckingham (http://ledge.fleetwoodmac.net/forumdisplay.php?f=6)

- - Producer Credit (http://ledge.fleetwoodmac.net/showthread.php?t=42789)

I wonder, as the "architect of the sound" why Lindsey never received producer credit for the Rumours and Tusk albums (for Tusk there was the acknowledgement "special thanks from the band to Lindsey Buckingham")? When I watch documentaries, it appears that Lindsey was "producing" as much or more than Ken Caillat and Richard Dashut. Lindsey has commented that his input into the production of Sara and Gypsy was substantial (even to the extent that he would have used certain techniques, chords or riffs on his own songs). I wonder if this added to the friction in the band? I assume if Lindsey received producer (or co-producer) credit, his share of profits would have increased.

I don't know why he wasn't but I remember seeing or reading an interview with Richard Dashut in which he said he didn't know why Lindsey didn't get one for Rumours. He basically said that he should have got one because of the role he played in it all.

I always thought that the "special thanks from the band to Lindsey Buckingham" was a very strange credit. It's like it was a sarcastic comment from the others in the band or something.

My question: Why hasn't Lindsey produced other artists' music outside of his own and the Mac?

He's done a bit. He produced an album by The Triffids in 1987 as well as doing some stuff with John Stewart.

I always assumed he'd not done much outside his own stuff/The Mac because he just likes to spend his time working alone in his studio. I'd like to see him produced more stuff (he can produce an album for me!) but not if it gets in the way of his solo stuff or more Mac.

Here is an interesting site with lots of credits for albums he's been involved with in one way or another:

http://albumcredits.com/Profile/3792...le/Albums/3792

Quote:

Originally Posted by Peestie (Post 866327)

Lindsey has said he didn't know why he didn't get a credit for Rumours too.

Michele

Quote:

Originally Posted by StephenC (Post 866332)

I always thought that the "special thanks from the band to Lindsey Buckingham" was a very strange credit. It's like it was a sarcastic comment from the others in the band or something.

I always thought it was a sweet gesture. I know there was a lot of bad blood after he left, but maybe they were trying to reach back out to him in their own way. I certainly think it was a deserved dedication, as I feel LB never did get/still hasn't gotten the proper credit he deserves for all his tireless work. But at the same time, I think people are starting to see the light.

Vivfox just posted what I think is a great article in the Rumours section at
http://www.ledge.fleetwoodmac.net/sh...ad.php?t=42864.

The video director, Bob Higgins, said that Lindsey had so much input into the camera work that he could be labeled a "producer." Ha, I'm proud of the guy, as long as it doesn't get into the realm of "I'm ready for my close up, Mr. DeMille."

When I got one of the concert packages, I did not have the meet and greet with Mick, so they had to find something for me to do while the other people on the tour were meeting Mick on stage and so they put me with Bob Higgins. He ran out of things to show me pretty quickly and the conversation between us (or lack thereof) was getting awkward after 15 minutes. I wish I had known enough just to ask him to talk to me about Lindsey's camera instructiions.

Here's the LB excerpt from the article.

Quote:

Higgins on how he dovetails with the differences between rhe four Mac principals. He replied: “Everyone knows how much I adore Stevie, which is why she rarely feels a need to ask for anything... except for one of my outfits!

Mick and John have little creative input in the video side of the show, which is their choice. In fact, the only thing I’ve ever done for John is buy him sailing magazines!

“In stark contrast, Lindsey is such a specifist and he’s involved all the way along in the production design to the point where he could be labelled the producer.

“Lindsey calls me a jazz musician because as a director I like to improvise, but he explained to me that this show is more like a play. It’s very scripted in my head now and it works. Before every show we have to measure by laser the inclination and distance of Lindsey’s camera. He’s very specific and even more so about the angle of the shot, because he knows precisely what he wants the audience to see.

“The amazing thing is that even though he puts so much of himself into his incredible guitar playing and singing, he’s also keeping an eye on the screens. He’d notice if it’s not right but I have the math that keeps us consistent.

“For some people, his attention to the most minute detail could be frustrating, but once you get over yourself you realise that he’s absolutely right. ‘LB Approved’ is the standard by which everything here is gauged.

“It’s no secret that this band has a very dramatic personal history and many of the songs are diaries. So I listened back to all the songs and read all the books, so that when there’s the ‘hostility’ part of a number, my cutting is harder-edged, and when the song is more kind, I soften it up and use dissolves.”

One example is the soft wipe that brings Lindsey and Stevie together on the 16’ x 20’ side i-Mag screens, as if the physical distance between them has disappeared. As an idea it’s fairly archaic, but it’s perfect for this pair.