Little Lindsey Mentions

[michelej1]

[I've been reading a lot of old articles and I just wanted to post the little excerpts where Lindsey's name came up in passing]


From 1984 article in Musician about the dB's

By 1983, when the dB's finally signed with Bearsville, Stamey was having second thoughts. While the band contacted potential producers, from Tony Visconti to Lindsey Buckingham, he opted for a solo career. "I wanted to be less collaborative," Stamey recalls. "I had a different line on things rhythmically; the sound was not appealing to me." Holsapple and Holder cite Stamey's desire to have full control over the playing of his songs, which runs against the band's "democratic" approach. "Chris said he felt it was time for someone to leave the band and he was the only volunteer," Holder says. The four remain friends. Stamey has since released a mini-album, Instant Excitement, on Hoboken independent Coyote Records.

Rolling Stone Review of Clapton's Behind The Sun, April 1985:

It's also possible that, like an outsider stumbling upon a scene of private sorrow, Collins was afraid to intrude or tamper with the material. In contrast to the buoyant mood of Money and Cigarettes, Clapton's originals on the new album are filled with heartbreak and love's failure. (While recording Behind the Sun, he temporarily split up with his wife, Patti.)

Maybe that's why Templeman and Waronker stepped in with their light and happy songs – all written by someone named Jerry Lynn Williams. But Templeman's Doobie-proven cosmetic approach to production – the heap of synthesizers, conked-out congas, gooey cooing and tired Totos – almost buries the artist himself. Even when local nut Lindsey Buckingham shows up on rhythm guitar on 'Something's Happening', his contribution is negligible. Of course, it's possible that in these days of easy-listening radio and heavy promotion, Clapton may have a hit anyway. On his last tour, it was apparent that the soppy ballads like 'Wonderful Tonight' that have so disappointed Clapton's original rock fans have earned him a whole new young (and, surprisingly, very female) audience. And he'll probably be able to fill arenas by virtue of his greatest hits for a few years now.

December 1995 Mojo article on Bryan Ferry:

"Working in 48-track studios you could go on endlessly adding instruments," Bryan says. "You didn't run out of space. And that was a huge difference for me and lots of artists like me — if there are any. You hear of people who just got lost in that whole studio world and went on for years making records, really creative people like Lindsey Buckingham. The same thing happened to them in the '80s. Trying to do masterworks," Bryan chuckles to himself.

Ferry still commands fierce personal loyalty within his own camp. For the last four years he's been back with his original management team. There remains, however, hints of discontent within the wider Roxy ranks. I ask Phil Manzanera if Roxy would ever consider re-forming.

[michelej1]

[From a Crawdaddy 1998 article discussing Brian Wilson's Influence on music

I want to argue that Brian's two most ambitious projects of the decade have been overrated by Paul and those whose hopes have overwhelmed their ears. I want to argue that Brian's collaboration with Van Dyke Parks on Orange Crate Art and his soundtrack for the documentary I Just Wasn't Made for These Times are welcome reminders of Brian's best music, but not the thing itself. I want to argue that a list of the 10 Best Beach Boys Albums of the '90s looks like this:

1. Lindsey Buckingham: Out of the Cradle (Reprise, 1992)2. Matthew Sweet: Blue Sky on Mars (Zoo, 1997)
3. P.M. Dawn: Jesus Wept (Gee Street, 1995)
4. The Wilsons: The Wilsons (Mercury, 1997)
5. Brian Wilson: I Just Wasn't Made for These Times (MCA, 1995)
6. Jellyfish: Spilt Milk (Charisma, 1993)
7. The Queers: Don't Back Down (Lookout, 1996)
8. Brian Wilson & Van Dyke Parks: Orange Crate Art (Warner Bros., 1995)
9. The High Llamas: Hawaii (Alpaca Park/V2, 1996)
10. Eric Matthews: The Lateness of the Hour (Sub Pop, 1997),

[michelej1]

April 2003, Rocks Back Pages

DIG THIS! Fave Raves and Rabid Enthusiasms for April 2003

SOUNDTRACK OF THE MONTH

1 The White Stripes: 'The Hardest Button To Button', from Elephant (XL, 7th April)
They're back at last, raw'n'alive in a tiny London studio, and this gothic stomper about a ****ed-up family is all the proof you need that ye Whites are still firing from both barrels. Few things are as exciting in this world as Jack cranking up Jimmy Page-style and Meg coming in with cymbals flailing. (According to MOJO, Jack is apparently playing through an octave pedal on this track. I thought you'd find that helpful.) Not sure that the Stripes will ever top De Stijl – superior in mine humble opinion to White Blood Cells – but wherever they're heading I'll follow 'em all the way.
Nicky Parade

2 Goldfrapp: 'Crystalline Green', from Black Cherry (Mute, end of April)
So here's a heads-up on the best album of the year so far. Black Cherry is a total damn masterpiece from the geniuses (Alison Goldfrapp and Will Gregory) who made 2001's Felt Mountain, the big surprise being just how far – and how successfully – they've departed from the Shirley-Bassey-meets-Stereolab formula of the earlier classic. 'Crystalline Green' (like the first single 'Train', the playfully sexy 'Twist', and the trashy electroclash of 'Strict Machine') is funky glam electro-pop with a twist of pure dreamy beauty – the opening track on a riveting sonic journey that takes the duo into a new pop league.
Djuna Parnes

3 Lucinda Williams: 'Sweet Side', from World Without Tears (Lost Highway, mid-April)
It consists of just two strummed acoustic chords and a smear of Delta slide, but Lucinda's heartrending ode to a damaged lover – seeing the beaten boy in the emotionally crippled man – moves me to tears. "You had the blues ever since you were six/Your tennis shoes and your pick-up sticks..." If Eminem could get vulnerable enough to write one song as powerful as this I might forgive all the megalomaniacal bellyaching about the pressures of his own notoriety. (Having said that, 8 Mile's Oscar-winning 'Lose Yourself' is pretty bloody awesome!)
Barney Hoskyns

4 Hot Hot Heat: 'Bandages' (single, Sub Pop/B Unique)
Doncha just love bands that write songs as songs not just riffs: a beginning, a middle, a middle-eight and an end. Hot Heat Heat are just such a band. Like a lo-fi version of late '70s quirky New Wavers (XTC, Mumps, Yachts, Split Enz or, dare I whisper it, Boomtown Rats), HHH have a yelping, wide-eyed energy that constantly threatens to shake their song structures apart. Everything I've heard so far (this single, two B-Sides plus a track on MOJO's punk CD covermount) bode well for a classic Farfisa-driven power pop LP (due early April). Yet to see these Canucks live, but listening to this conjures up visions of mucho skinny-tied-pogoing and head shaking. But will the piano player wear pyjamas, you ask...
William Higham


5. Fleetwood Mac: 'Red Rover', from Say You Will (Reprise, end of April)People are already talking about the new Mac opus as another Tusk. Which, frankly, it isn't, because it doesn't include anything on a par with 'Brown Eyes' or 'Beautiful Child' – or indeed 'Tusk' itself. But it does boast this, the greatest thing Lindsey Buckingham has done in many a year. The Buckingham pipes are still a bit bleating, but the heady melodicism and thrilling hyper-syncopation of this track are really intoxicating. Wondrous stuff.
Ed Doheny