LB song lists - solo and mac

[elle]

Originally Posted by Nico

Should there be a category for just his cover songs?

let's do that. maybe our first poll can be a poll of his released [solo?] covers since there should be about 10 i think?

Originally Posted by Josh2003

How about the songs he "co-wrote" with another writer, by simply taking their song and reworking it to his liking? (I would argue that these should really be considered "covers"):

Shut Us Down
Stars Are Crazy
What's the World Coming To

Am I missing others? I'm sure I am.

sure! i'll add original authors and co-writers in the first post so we can separate them out and see how many we have.

[elle]

it turns out that there are 10 Buckingham/Dashut co-written songs (unless i'm missing some).

they range from extremely great (most of the solo songs) to extremely crappy (most of their mac co-writes, imho)... i'll put these in a separate poll and see which comes out as a favorite. it will be mix of solo and FM songs.

solo:
Street Of Dreams (Buckingham, Dashut)
Surrender The Rain / Spoken Introduction (Buckingham, Dashut)
This Is The Time (Buckingham, Dashut)
Turn It On (Buckingham, Dashut)
Wrong (Buckingham, Richard Dashut)
You Do Or You Don't (Buckingham, Dashut)

mac:
Book Of Love (Buckingham, Richard Dashut)
Empire State (Buckingham, Richard Dashut)
Family Man (Buckingham, Richard Dashut)
Oh Diane (Buckingham, Richard Dashut)

[Nico]

Just an aside: those songs he "re-worked" are so Lindsey that the originals wish they could but they can't.

Wow, what a range in quality with those Buckingham/Dashut songs. I wonder how large a role Richard played in all of these.

[bombaysaffires]

this makes me wonder... how close are he and Richard anymore these days?

[elle]

Originally Posted by Nico

Just an aside: those songs he "re-worked" are so Lindsey that the originals wish they could but they can't.

Wow, what a range in quality with those Buckingham/Dashut songs. I wonder how large a role Richard played in all of these.

yes, i was stunned too when i saw the list. but it can be clearly divided to the Mirage era songs and OOTC era songs - maybe it depended on the drug of choice they were taking at the time?

also, seems that in some of these songs Richard just co-wrote the lyrics...

Originally Posted by bombaysaffires

this makes me wonder... how close are he and Richard anymore these days?

good question... no idea. do they even live in the same city these days?

[michelej1]

I don't know if it was the UTS or GOS tour, but I was at a show when Richard and Steve were in the audience. They had been there two nights in a row. Lindsey said they were his partners in crime and partially to blame for what he's done.

Michele

[CADreaming]

Originally Posted by elle

also, seems that in some of these songs Richard just co-wrote the lyrics...

good question... no idea. do they even live in the same city these days?

I think Richard lives in Vegas now. Seems like I remember during the SYW tour reading a Vegas review that they dedicated a song to him and mentioned he was getting married.

[michelej1]

Originally Posted by CADreaming

I think Richard lives in Vegas now. Seems like I remember during the SYW tour reading a Vegas review that they dedicated a song to him and mentioned he was getting married.

These are my reviews from the Luxor in 2007. Richard was at both shows.
http://www.fmlegacy.com/main.html

Richard Dashut in the house!

I hadn’t read any reviews from the 2nd leg of Lindsey’s tour and no news is good news right? So, I went to the concert hoping that maybe something might have been added from OOTC. No such luck.

The setlist was the same as last year, with Save Me a Place and Bleed to Love Her as the closing songs. Lindsey is still in fine voice and hasn't lost an ounce of the energy exhibited in earlier shows. Little has changed since the other shows I reviewed. I think Go Insane and ISA may have even been more stirring tonight than usual.

The more interviews I’ve been reading, the more I realize how unhappy Lindsey was with the OOTC tour. That’s something I’d never known about all these years. I’d always realized he’d lost money on the tour, but I didn’t suspect that so many of the venues themselves seem to provide a disappointing memory for him. Well, only time will tell, but this tour around Lindsey seems really happy with the set, the venues and the reception he's been getting. To show it, he came out smiling from the beginning.

During the first shows, he started the opening songs looking very serious. Just a few months ago, during Not Too Late, Lindsey almost reminded me of a classical performer, concentrating only on the technique, focused intently on his strings. But tonight, he came out smiling and looking somehow lighthearted from the beginning. The mood of the opening notes was quiet, but his spirit seemed to be soaring even early on.

As he changed guitars, I saw that Ray Lindsey was no longer there as his assistant.

As the night heated up and the songs got more raucous, Lindsey responded to the men and the women yelling cat calls at him. They said, “we love you. You’re so sexy. You’re the man.” He cocked his head, laughed, raised an eyebrow in mock surprise. Acknowledging some of the amorous solicitations, Neale said, “What happens in Vegas . . .”

When people scream that they love Lindsey, Neale wonders, “What’s not to love?” Indeed.

The new songs had the normal introductions. For UTS Lindsey said it was written for someone who he has known a long time, who seemed to be having trouble moving from step A to step B. He said that he thinks everything you need to advance is inside of you, “under the skin.”

I noticed that he was playful on Tusk, stretching and repeating lyrics, “just tell me that you love me. Telllll me.”

He is more playful still on Holiday Road, when he gets to the woof, woof parts and chants, “Bark like a dog” into the mic several times, urging, “bark for me. Bark for me.” I don’t know. It’s starting to sound somewhat illicit. Afterwards, he asks, “Did we gain or lose dignity?”

Before he introduced the band, he pointed out that he had collaborators on Holiday Road who are in the audience tonight. Richard Dashut and Steve Ross. He has them stand up. He said they’d gone a long way together [all told, Lindsey lived with Richard longer than he’d lived with Stevie] and he hadn’t seen them in a long time. He’s thrilled that they’re there and he chides them, “It’s your fault I’m up here.”

Man, it makes me feel teary because I feel I know Richard. Many of the Fleetwood Mac comrades are anonymous to us fans, but I’ve seen so much footage of Richard that I consider him one of the gang. I miss him. I think of the pie fight footage and of the song “Ricky” very often and always with fondness. Warner Bros. seems to be insisting that Lindsey have a producer on his next album. Well who better than Richard, assuming they're still on warm terms. They certainly both looked more than friendly tonight.

Lindsey goes on to introduce the band. He asks Neale if he’s ok. He says that Neale seems to have been having trouble all night and wonders, “Have you been imbibing?” When he introduces Taku, he doesn’t say anything about either keeping or losing him for the rest of the tour as he was doing last year. So, I suppose Taku’s continued presence is a done deal.

Before introducing Brett, he goes over to him and they exchange whispers. From the other side Neale says, “oh no. This can’t be good.” Lindsey seems to be asking Brett whether he has permission to say something or not. I don’t know what Brett’s answer is, but Lindsey then wonders if he should give the audience Brett’s room number. He makes a few jokes about Brett’s love life and Brett says, “Lindsey you’re using your outside voice. You’re going to get me in trouble.”

When it’s time for the encore, Lindsey and Neale confer as if Lindsey doesn’t know what he’s going to do next. Oh brother, who are they kidding? Lindsey asks Neale to speak up. So Neale squeaks, “Save me, save me” sounding a little like the insect with a man’s head in the movie, “The Fly.” That’s the band’s cue to regroup to perform SMAP.

As the band bows together and the others prepare to leave the stage, Brett gestures that there will be one more song, leaving Lindsey alone for Bleed to Love Her.

When the show started, they told us not to approach the stage. However at the end of I’m So Afraid, one woman went up to stand in front of Lindsey. After that, dozens got out of their seats and crowded in front of the stage. The Luxor security staff seemed to consist of only 2 people: a timid woman and an elderly man. They made no effort to shepherd people back to their seats. I did notice that at this concert and all of the others I’ve attended, the one thing they do like to crack down is the photos. Even at the end of the show, when security generally becomes lax, they still come up to people and tell them to put their cameras away. I wonder if this is a restriction that Lindsey’s people like to enforce, since I don’t see it done quite this way at other concerts. Usually, they start off telling you no cameras, but during the last half hour of the event, no one cares too much anymore.

Ah well, even though I miss a lot of photo opportunities myself, I know there’s always someone on the internet who has captured Lindsey in all of his glory. That will be something to hold on to when this long-awaited Lindsey odyssey comes to its end.

http://www.fmlegacy.com/main.html [excerpted]

Lindsey introduces Richard Dashut and Steve Ross in the audience again tonight. He asks them to stand and they are farther back than they were on Friday. Lindsey says, “I see you got the cheap seats tonight.” He points out that they were his co-conspirators on Holiday Road. Curran is right about Richard being a link to FM’s history. I think of him all the way back when long before Mick made that fateful New Year’s Eve call, all the way back when Stevie wanted to record bird sounds in the park.

After prompting from Neale, Lindsey announces to Richard that the "calamari in the wallet" thing didn't go over too well and explains that it is an inside joke.

Of Taku Lindsey says that he started as a percussionist, but they’ve asked him to do things that he’s never done before. Taku makes the “woof woof” sound as an example of something he hadn’t done before joining their band. Lindsey says, “that’s just the beginning. That’s just scratching the surface.”

As Lindsey introduces Brett, Brett starts banging the piano with his elbow (something he used to do during Don’t Stop, an antic which I don’t particularly like). Lindsey says, “Didn’t Dave Clark used to do that?” Then, he and Brett start bantering back and forth and Lindsey declares that Brett has made Lindsey lose his pace. Now that they are off the subject at hand, he turns back to Neale and says, “Do you have anything else to say?” Neale says, “I like Stephen King, walks on the beach and sunsets.”

Lindsey turns back to Brett and finishes introducing him. He muses that Brett will probably announce his room number later that evening. Brett says that they have been up for 3 straight days and wants clarification that what happens in Vegas really does stay in Vegas.

Then, as Brett espouses about how wonderful it is to work with Lindsey, Lindsey walks behind him and lays on the floor behind a pair of speakers. Brett explains that Lindsey hates that part of the show and lures him back out. Lindsey says that he hid because he just can’t stand to take a compliment. Oh please! Brett wasn’t introducing Lindsey when the tour started. He began doing it in the middle of the tour and keeps it up to this day. I can only assume that Lindsey forces Brett to praise him, as a condition of Brett’s continued employment.

The encores are SMAP and BTLH. One woman at the foot of the stage asks Lindsey to sing something else and he responds, “We can’t do that tonight. But we’ll do it during the next leg of the tour. Do you promise you’ll be there?” I didn’t hear the lady’s answer, but I promise that I’ll be there!

Leaving Las Vegas . . .

[lbfan]

I always thought "Wrong" was a really angry song, perhaps his angriest since "Not That Funny."

I am somewhat amazed that lesser known artists (such as Cory Sipper) get "co-writer" credit when it is basically a cover. Meanwhile, LB takes no song writing credit when he covers Bob Dylan or Donovan even though the amount of changes are very similar. LB had more input and influence on the Stevie Nicks songs than he had on "Stars" or "Shut Us Down" (by my untrained ear) and yet takes no songwriting credit (especially the Tango era). However, I am sure that the lesser known artists get $ and some recognition, so it has to be a "win" or them in the long run.