LB Album Reviews, Blogcritics.org
 

[Having finished his series of reviews of FM albums, David Bowling is now reviwing the solo albums for Blogcritics.org. Hey, I know these reviews aren't very credible to you guys, but I'm glad that someone decided to take this trip down the FM catalog from the sixties to the present, so I keep posting them, just for the archive value]

December 8, 2010 by David Bowling
http://blogcritics.org/music/article...d-mac-law-and/

Lindsey Buckingham released his first solo album October 3, 1981. While it would be a commercial success reaching number 32 on The United States album charts and spawning one top ten single, he would never achieve anywhere near the success of Fleetwood Mac or of his bandmate Stevie Nicks.

Part of Buckingham’s problem is he will always be associated with the pure and sophisticated pop sound of Fleetwood Mac. Ironically he was the experimental outer edge of the group’s sound. While he did produce some pop gems, it was his edginess and guitar excursions that formed the counterpoint to the music of Christine McVie and Stevie Nicks, which gave the group part of their massive appeal.

Law and Order was typical of Buckingham’s approach but outside the Fleetwood Mac confines the music had to stand on its own.

He played just about every instrument on the album’s eleven tracks. George Hawkings and Mick Fleetwood play bass and drums respectively on “Trouble,” and Carol Ann Harris and Christine McVie each provide background harmonies on one track, but that’s it. Buckingham takes care of everything else. He plays his usual suburb guitar but also adds bass, keyboards, drums, percussion, and the vocals. He even co-produced the affair. Sometimes I think he would have been better served not to take on so much and get some outside impute.

While only three of the tracks were cover songs, they were an eclectic group. “It Was I” was a hit for Skip & Flip in 1959, “Satisfied Mind” was a country hit for Porter Wagoner, and “September Song” was a traditional pop song. He took the songs in different directions and while interesting, I would have preferred more of his own compositions.

“Trouble” was a top ten single in The United States and the combination of his acoustic guitar playing and Mick Fleetwood’s drumming made it the album’s most accessible track.

There were a number of other attractive creations. “Mary Lee Jones” is an energetic rocker. “Bwana” was a unique take on Mick Fleetwood’s trip to Africa. “Shadow Of The West,” “Johnny Stew,” and “Love From Here, Love From There” are Buckingham at his hit and miss best.

Law and Order is a representative Lindsey Buckingham album with all its plusses and misses. The best thing about any of his albums was he would always take a chance or two and never let the Fleetwood Mac sound prevent him from exploring new directions.



Read more: http://blogcritics.org/music/article...#ixzz17acp03hH

By David Bowling, 12-15-2010 for Blogcritics.org

http://blogcritics.org/music/article...insane/page-2/

Lindsey Buckingham returned with his second solo album nearly three years after his first. His Fleetwood Mac partner, Stevie Nicks, had established herself as one of the leading solo female rockers in the world with the release of her two solo albums. Her combination of slick production and mainstream/rock songs were the perfect commercial mix. While his solo efforts would never have the vast appeal of hers, they would be interesting and explore musical forms outside of the Fleetwood Mac pop style.

He played virtually all the instruments. His only accompaniment was keyboards by Gordon Fordyce on track one and bass by Bryant Simpson on the second track. Every other sound was produced by Buckingham. While he plays the drums, bass, and percussion instruments, it is his guitar virtuosity that steals the show. He has always been one of the underrated guitarists in rock music and he particularly shines on his solo work.

Go Insane is slick, edgy, and surreal in places. He has always been the experimental edge of The Fleetwood Mac sound and, outside their confines, he lets his creative juices flow freely. While the album was commercially successful, climbing to number 45 on The United States album charts, the nature of the music prevents it from having the massive appeal of Nicks and to a lesser extent Christine McVie.

There is a fair amount of good music here. “Go Insane” was a successful single as it reached number 23 on The American charts. It was the album's most accessible track as it was an anthem type song that treaded the line well between rock and pop. “I Want You” was the first song on the original vinyl release. The alarm clock sound gives notice there will be some experimental sounds to follow. The track goes on to have a funky feel. “Slow Dancing” is a haunting tune but the overdubbed vocals create some nice harmonies. “I Must Go” is a nice pop song taken in a dark direction by its lyrics.


The best song was the album closer, “D. W. Suite,” which was a tribute to Dennis Wilson who had died in a boating accident. It is divided into three parts. Life, death, and redemption run the gamut from melodic to emotional. It was an ambitious creation that came together and worked.

The line between genius and bizarre can be a fine one at times. Lindsey Buckingham stayed on the positive side of the line as his experiments may be a little off center, but they are interesting and reflect his style and inclinations well.

Go Insane is not a replica of the Fleetwood Mac sound. It is a unique listen and an invite to share his musical journey.


Read more: http://blogcritics.org/music/article...#ixzz18FkrsrjX

Rolling Stone gave his Go Insane album four stars!

Out Of The Cradle
 

Music Review: Lindsey Buckingham - Out Of The Cradle (David Bowling)

http://blogcritics.org/music/article...ingham-out-of/


Part of: The Discographer Share
Author: David Bowling — Published: Dec 31, 2010 at 5:38 am

I hadn’t listened to this album in quite a while and so it was with some trepidation that I pulled it from an obscure corner of my music room. It was a nice surprise as it is a creative release which contains a lot of good music.

Out Of The Cradle was released June 16, 1992. This was during the time period Lindsey Buckingham was not a member of Fleetwood Mac. Despite that fact, the music is not a lot different from much of the material he had produced while with the band. He was always the outer creative edge of the group, but Stevie Nicks and Christine McVie’s contributions brought the band back toward the pop/rock mainstream.

Outside of the Fleetwood Mac concept, his music stands on its own. Unfortunately, it would not be a huge commercial success, reaching only number 128 on the United States album pop chart.

Buckingham wrote or co-wrote 14 of the 16 tracks, including three very short connector pieces. They have structures and rhythms that push the limits of pop/rock and can best be called alternative pop for want of a better definition. The songs play to his guitar strengths, as he has always been one of the under appreciated guitarists of the last three-plus decades.

Many of the lyrics also travel in a personal direction, which gives the music authenticity. I’m not sure the two non originals are needed, as they interrupt the flow of the album. The old Kingston Trio song, “All My Sorrow,” is interesting and well done but does not fit the material around it. The Richard Rodgers/Oscar Hammerstein composition, “This Nearly Was Mine,” is an oddity.

The good news is found in his own compositions. Songs such as “Soul Drifter,” “You Do Or You Don’t,” “Street Of Dreams,” and “Doing What I Can” are complex, lyrical, and even melodic despite their edgy nature.

As with his two previous solo releases, he plays most of the instruments himself, including the lead and rhythm guitar parts. He also provides percussion, bass, and keyboards. His only accompanists are bassists Larry Klein and Buell Neidlinger, percussionist Alex Acuna, and organist Mitchell Froom on one track.

Out Of The Cradle has withstood the test of time well. It is a mature album that remains true to his musical vision. It would be 14 years before his next solo effort.

I agree. I know some people think it was already dated when it came out, but unlike a LOT of music from the late 80's and early 90's, OOTC still sounds great today. It doesn't scream any particular era to me. It seems quite ageless, actually.