Buckingham: Favorite & Best

[David]

Originally Posted by chiliD

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

They better not choke you before you join my band!

[David]

Originally Posted by chiliD

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?

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]

Originally Posted by chiliD

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]

Originally Posted by seteca

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]

Originally Posted by David

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]

Originally Posted by chiliD

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]

Originally Posted by seteca

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]

Originally Posted by David

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?

[The Nisse]

Originally Posted by seteca

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]

Originally Posted by chiliD

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?

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.

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

[David]

Originally Posted by The Nisse

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. I heard the most gorgeous piece of music a few weeks ago, and danged if I remember what the name was.

[David]

Originally Posted by wondergirl9847

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!

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]

Originally Posted by Richard B

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..