I don’t think it needs declaring that I am a Lindsey Buckingham fanatic. If you know me at all well, you know who Lindsey Buckingham is and what the man’s music has meant to my life, my musical taste, and often, my mood.
Months ago, I did a post about Peter Green, the first guitarist for Fleetwood Mac and one of the greatest to ever live. In terms of sheer skill and authority with an instrument, the man has no comparison. He is undoubtedly one of the greatest guitarists to ever live. I wrote that post to pull the man’s story and talents out of musical limbo and to expose new people to his sound. I hope many of you found it enjoyable! This post is a bit different, however.
In 1975, Lindsey Buckingham joined Fleetwood Mac with his then-girlfriend, Stevie Nicks. They helped make rock & roll history with classic songs such as “Landslide,” “Rhiannon,” “Go Your Own Way,” “The Chain,” and so, so many more. Lindsey’s aesthetic was a perfect match for the group, and he helped create some of the most popular, enduring music from the ‘70s.
But those songs aren’t why I love Lindsey Buckingham’s music. They aren’t even a good representation of his full spectrum of skills and approaches to the song as a form. In 1979, he took creative control over the Fleetwood Mac album Tusk, playing every instrument on some of his songs. He became quirky, experimental, and even a little punk. But the record’s sales were not what the execs wanted, so he was forced to find a new avenue for his creativity.
In 1980, he released his first solo album, Law and Order. From that point forward, he’d have a love-hate relationship with Fleetwood Mac, bouncing back and forth between solo work and band work. Inevitably and famously, he quit the band in 1987, following the release of the Tango in the Night album and just prior to hitting the road for a supporting tour.
In the 1987-1997 interim period, Lindsey released only one solo album, Out of the Cradle, in 1992. Fleetwood Mac reunited in 1997, put out a new studio album in 2003, and have toured three times. From 2006 to 2011, Lindsey himself has released three solo albums, a live album, and three live DVDs—not to mention three solo tours (one currently still in progress in the UK).
Many people know Lindsey Buckingham’s sound and style, but few people know some of his more provocative songs. My goal in this post is to share a few of my favorites, provide some context and comments, and maybe pull some new fans to his ever-growing roster!
“The Ledge”
The quintessential quirky Lindsey song is track two off Fleetwood Mac’s 1979 Tusk, “The Ledge.” This song defiantly takes all Lindsey’s talents for crafting a radio hit and chucks them in the trash. The song is a two-minute, cacophonic blitzkrieg of monotonous snare drum, thumping bass, crunchy guitar, and, yes, moans and howls.
“Johnny Stew”
1980’s Law and Order provides this rocking gem with some of the catchiest guitar licks the man has ever put out. A fan favorite, every Lindsey fan is dying for the day he dusts this one off and plays it in concert. Dig the grunts and screams in the bridge.
“Come”
“Go Your Own Way” may be one of the greatest break-up songs ever written, but Lindsey certainly tops it with “Come.” He wrote this song after his break-up with Anne Heche and bitterly declares, “Think of me, sweet darling, every time you don’t come.” From Fleetwood Mac’s 2003 Say You Will. The guitar solo at the end is meant to be played ear-bleedingly loud.
“Go Insane”
The title track from his second solo album, “Go Insane” captures the man’s seeming decent into madness a few years before quitting Fleetwood Mac. Although he has since reworked the song into a beautiful, Spanish-style solo guitar piece, the original is catchy, quirky, and just a little disturbing at times.
“What Makes You Think You’re the One?”
Another Tusk gem, this song is one more brilliant Lindsey break-up piece. Rumor has it, he wrote it during the Rumours sessions in response to Stevie Nicks’s sleeping with drummer Mick Fleetwood. No wonder Stevie’s harmonies are absent on this track . . .
“Gift of Screws”
Pure madness. Mr. Buckingham here takes the words of a troubling, somewhat cryptic Emily Dickinson poem and turns them into a song rife with sexual innuendos, climaxing ultimately in a . . . well, a climax.
“Murrow Turning over in His Grave”
Imagine a song as catchy and rocking as “Black Betty.” Now imagine that song as a nightmarish horror story of corporations controlling the media and entertainment industry. That’s what Lindsey Buckingham offers in “Murrow,” long before the Occupy Wall Street movement. And the guitar solo at the end? About as close to the sound of a human scream as an instrument can get and still sound good.
“That’s How We Do It in LA”
But the man isn’t always crazy and obsessive; sometimes he’s merely eccentric. “That’s How We Do It in LA” is another great track from Law and Order, and it has the distinction of being the only song he’s ever sprinkled with a foreign language. But then again, it’s pretty hard to know what he’s saying even while singing in English on this track. Notice especially the intentionally unenthusiastic, monotone backing vocals. Listen carefully for the introduction of kazoo halfway through!
“Loving Cup”
This song blends everything campy about the ‘80s with everything Lindsey Buckingham does best. If you ignore the slightly-dated sound, this song is pretty awesome. The background “Hoo! Haa!” throughout is a cool refrain, and the creepy low-register voice singing backup during chorus is Lindsey’s own voice, the frequency slowed. But the best part of the song is the impressive arrangement and layering of both acoustic and electric guitar parts—especially the intense part roughly three minutes in.
“Wrong”
Never afraid to be a little obscene, Lindsey Buckingham calls his old pal Mick Fleetwood (about whom he wrote this song) “Mr. Rock-Cock.” It’s a standout track from his 1992 Out of the Cradle and it talks about corruption in the record industry. Don’t miss the sirens at the end!
“Not that Funny”
The song that divides more fans than any other, “Not that Funny” is another Tusk track. It is rough, crude, and brilliantly simple. But the anguish in his voice makes it a gem. “It’s not that funny, is it? No one to turn you on; all your hope is gone. It’s not that funny, is it?” Bitter break-up lyrics at their finest here.
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