WHAT IF: Lindsey Buckingham “Out Of The Cradle” (expanded deluxe edition)

Imagine you are working at Rhino and you have been given the project to curate an expanded and deluxe re-release of Out Of The Cradle by Lindsey Buckingham.

Whilst in this dream state, listed below is the content that I would add that has been culled from various releases throughout the years, the media would be a combination of CDs, Vinyl and Blu-Ray DVD as per the recent Fleetwood Mac deluxe sets…

Please note for anyone reading this, this post is a what-if, this release is neither planned nor scheduled. Continue reading

Lindsey Buckingham: Out Of The Cradle – Album appreciation…

It seems as though the first ‘real’ solo album from Fleetwood Mac’s Lindsey Buckingham is not getting the love and attention that this album deserves, recently deleted from the UK iTunes store, no official release of the four music videos and limited appearances of live tracks in Lindsey’s recent solo live shows.

It’s about time that this fine collection of songs was re-visited and re-appreciated, but first, here’s some brief history…..


Out Of The Cradle was released in 1992, five years after Lindsey had departed Fleetwood Mac to concentrate fully on his solo career and can be considered as his one and only true solo album where he was not a member of Fleetwood Mac (all other solo albums were recorded and released whilst he was juggling being a member of the band and releasing solo albums at the same time).

The solo album sessions actually began in the mid-eighties and the early tracks that these sessions produced morphed into what would become the Fleetwood Mac comeback album ‘Tango In The Night’, that was released in 1987, tracks such as Big Love and Family Man were originally recorded for Lindsey’s next solo album with Lindsey and longterm co-producer ‘Richard Dashut’ co-producing again, but were turned over to the wider group effort, as the Tango sessions consumed Lindsey completely as vocalist, writer, guitarist, producer and arranger, the third solo album was put of the back burner whilst the Mac returned to it’s glory days with ‘Tango In The Night’. Continue reading

Lindsey Buckingham Live Review | Billboard Magazine, Mar 1993

Billboard, March 20, 1993
By Chris Morris.

Former Fleetwood Mac member Lindsey Buckingham thrilled audiences during his first solo concert in Los Angeles, CA, last Feb 22, 1993. Fans were treated to Buckingham’s unique and animated live style. A surprise treat was the talent exuded by Buckingham’s nine backup musicians. Buckingham also gave in to requests for encores and displayed a talent for live performance that many believe is one of the best in the concert scene.

FLEETWOOD MAC’S one time axe-slinger/singer/songsmith enchanted an adoring crowd of fans at his first-ever solo show in L.A. proper Feb. 22. Forging a live style that dramatically re-created the opulent studio architecture of his records, Buckingham alternated between solo performances of breathtaking intimacy and full-blown band numbers that showed off the well-drilled skills of his nine backup musicians. Performing with always apparent delight, the highly animated Buckingham received a local hero’s welcome. He kicked off the evening with richly detailed acoustic versions of “Big Love,” the last major hit he penned for his former group, and “Go Insane,” the title track from his 1984 solo album.

Proclaiming his intention to “reclaim some sense of creativity for myself,” he then introduced his truly startling group. Featuring five guitarists, three percussionists, and six singing voices, the tentet was adept at recreating the densely layered vocal and instrumental overdubs that have made works like last year’s Reprise release, “Out Of The Cradle,” such engrossing rococo pleasures. Buckingham led the group through its stormy paces on memorable Mac oldies like “The Chain” and “Tusk” and solo-album numbers such as “Trouble” and “You Do Or You Don’t.” The concert hit a raging midshow peak with “I’m So Afraid,” in which Buckingham constructed one of his few extended solos with near-mathematical precision and heart-halting emotion. After this show-stopping display, Buckingham dropped the energy level again with a couple of solo turns, then shifted into high gear again (with the remark, “All these guitars–give me a break!”), rampaging through “Doing What I Can,” “This Is The Time” (in which all five guitarists traded furious fours) and the inevitable set-closer “Go Your Own Way.” Buckingham obliged the crowd with a pair of encores that included a spirited “Holiday Road” and a wrenching solo “Soul Drifter.”

No doubt about it: One of America’s best-known studio hermits has acquired the band and the on-stage attitude to deliver his eccentric, ornate pop music totally live. Buckingham’s show is one of the best on the boards at the moment.

Article A14038762

LIFE AFTER MAC : At the Coach House, Lindsey Buckingham Will Be Playing His First Concert Since His Old Band Broke Up | Los Angeles Times

December 10, 1992
Mike Boehm covers pop music for The Times Orange County Edition

Lindsey Buckingham is scheduled to lose his virginity tonight at 8 in front of 500 people. He says he isn’t nervous. Before defenders of the public virtue take alarm, it should be noted that Buckingham’s rite of passage, while it may involve some loud noises and sweating, will be purely musical.

At 42, Buckingham is no blushing bride in the world of rock ‘n’ roll. To the contrary, he is a tremendously savvy pop-rock craftsman whose contributions as a singer, songwriter, guitarist and, most crucially, as an arranger and recording studio auteur were indispensable in transforming Fleetwood Mac from a dogged band of hard-luck barnstormers to a paragon of pop success. This is one guy who chased after musical fame and fortune and found out what it was like to go all the way.

However, he has never played a show in which he had to go all the way on his own. That will change at the Coach House tonight, when he will play the first concert of his life in which he’ll be leading a band by himself (he and the band will be back again Friday).

What will be different? No more doing other people’s material, for one thing. No more sharing the singing and the spotlight with a dizzily twirling sprite and a piano-plinking songbird. No more having the band named after the drummer and the bass player. Finally, Buckingham, who has put together a nine-member group of unknowns, gets to play a concert that can go all his own way.

“I’m fairly confident about it,” he said over the phone recently from his house in Bel-Air. “I always felt much of the high-energy stuff in the Fleetwood Mac shows was carried by my tunes,” so he feels there’s no reason to worry about being able to carry his own show.

He has performed his own material live on television, including appearances in recent months on the David Letterman and Jay Leno shows to promote his current album, “Out of the Cradle.” But those were performances involving just one or two songs, not an entire concert. In fact, it has been 10 years since Buckingham played a full concert of any sort. That was in 1982, during his last tour with Fleetwood Mac. It was his unwillingness to tour after Mac’s 1987 release, “Tango in the Night,” that led to his departure after 12 years with the band.

During the last 10 years, he has been on stage in front of concert audiences just three times, and then only for cameo appearances. In 1986, he played a short set at the Long Beach Arena during an environmental benefit organized by Don Henley. In December, 1990, when the post-Buckingham lineup of Fleetwood Mac played two farewell concerts at the Forum in Inglewood, he did a pair of brief guest spots.

Much of the intervening time he has spent in his recording studio at home. You can see him there on the cover of his album, a figure in silhouette, sitting alone with a tape machine and a mixing board.

He says he sat in that room for three years making “Out of the Cradle,” singing every vocal part and playing virtually all the instruments.

“You spend three years socked away playing this stuff yourself–it was cathartic, but hermetically sealed. It was like being locked away in a monastery for a while, but it was necessary to let things rise to the surface. It had a purpose behind it”–namely, to let Buckingham find his creative balance apart from Fleetwood Mac.

“It’s ironic that someone who has been (making records) this long would call an album ‘Out of the Cradle,’ ” he said, but “Fleetwood Mac was a cradled situation, an atmosphere that made you adept at stoking the money-making machine. It didn’t reinforce you to grow as a person. In some ways, it almost encouraged you not to.

“The whole thing is geared up to ‘If (a musical formula) works, run it into the ground.’ ” Perhaps not the most satisfying arrangement for an ambitious artist, but, as Buckingham acknowledges, “it’s great for the notoriety and creative freedom and money.”

Few people in any line of work would walk away easily from fringe benefits like those. Buckingham’s solution while reaping them with Fleetwood Mac was to exercise what he calls the “left side” of his creativity–the more experimental part–while harnessing the “right side” for the hit-making that Fleetwood Mac required.

His impatience with retracing already-covered ground became apparent on Fleetwood Mac’s 1979 double-album “Tusk” which, due largely to his influence, was a sharp departure from the much-beloved “Rumours,” the 1977 release that had been one of the hottest-selling rock records of all time. “Tusk” wasn’t exactly a commercial failure, but its tinkering with the sleek sound established with “Rumours” and “Fleetwood Mac,” the album in 1975 that was Buckingham’s first with the band, led to a steep drop in sales.

“When it became clear (‘Tusk’) was not going to sell another 16 million copies,” he recalled, “there was kind of a backlash that said, ‘Lindsey, you’re not going to do this in the group anymore.’ ”

His answer was to make albums of his own between Fleetwood Mac records. “Law and Order” (1981) featured an almost campy streak of musical humor that never would have worked in Fleetwood Mac, and “Go Insane” (1984) was an indulgent but masterful display of studio wizardry.

He started work on a third album but wound up folding it into one last album with Fleetwood Mac, “Tango in the Night.” But when “Tango” was completed and tour plans were underway, he decided he couldn’t face another round of live shows with the band, and he quit.

“It wasn’t just the (prospect of) touring. It was the whole circus. It just wasn’t making sense anymore.”

“Soul Drifter,” a track from “Out of the Cradle” that has just been released as a video, reflects Buckingham’s feelings during his last days with Fleetwood Mac:

I’m a soul drifter, and I’m out of this town.

Ain’t no use hangin’ ’round, you see . . .

I’m a soul lifter, and it’s out of my hands,

So it’s off to other lands, you see.

“I wrote that while (Fleetwood Mac) was here at my house, where we did most of the work on ‘Tango.’ The band was in the garage, mixing the album, and I was in my bedroom, writing that song.”

In any case, having left the cradle of Fleetwood Mac, he quickly bundled himself away in another sort of cradle: his home recording studio.

Some might argue that it’s a tad unhealthy to spend years ensconced virtually alone in a studio (Buckingham did have the help of Richard Dashut, his friend and longtime record-producing partner). One can point to Phil Spector and Brian Wilson, two record-production geniuses who wound up cutting themselves off entirely from any semblance of normal relation to the world.

And, the argument might continue, even if the studio hermit maintains balance in his personal life, he is sacrificing the highest and purest reward of music-making, the experience of interaction and community that comes with playing with other musicians, for other people.

Buckingham doesn’t buy it.

“That’s a preconception of what music is, and I don’t think it necessarily holds water,” he said. “I’m aware that I’m a studio rat, and I’m aware that a lot I have to offer is tied in to a studio situation. I perceive the recording studio as just another musical instrument, a canvas on which you can paint. It depends on your point of view, if you see that as being suspect.”

However, he will allow that a case of recording studio cabin fever is now “part of the reason for going on the road,” and that “it’s going to be psychologically (beneficial) for me to be out in external situations.”

To that end, he said, he hasn’t set foot in his home recording studio since finishing “Out of the Cradle.” Instead, he has devoted the past few months to assembling his new band.

One thing he didn’t want to do, he said, was have people who make their living as touring pros. Rather, he wanted people “who have a slightly more detached view of the whole thing. I went through quite a bit of auditioning to find the right combination, and it had as much to do with personality as chops,” that is, technical expertise.

“I wanted to try a concept, with lots of guitars” and an unconventional rhythm approach. The result is a band with four guitarists in addition to Buckingham himself, and three percussionists, not one of whom plays on a conventional full-size trap-drum kit. Also on hand are a bassist, and a keyboards player whose palette of prepackaged samples includes some of the multilayered vocal textures that distinguish Buckingham’s studio sound and can’t be duplicated in real time.

“There were times in Fleetwood Mac,” he recalled, “when I experienced a sense of not being able to do something as well as it could be done (in concert), because it was your basic four-piece (instrumental) unit”–which is why he made the first band of his post-Mac career your not-so-basic 10-piece unit.

Two of the guitarists are women. “You would think I’d had enough girls by now,” he said, a joking reference to the Fleetwood Mac lineup that featured Stevie Nicks and Christine McVie. But he knows he needs female voices to get that old harmony sound for the Fleetwood Mac oldies he intends to play. “I’m still doing some of my better-known things,” he said. “It would be a mistake not to, because people want to hear that.”

With the Coach House shows, “we’re establishing contact with an audience . . . . It’s kind of a preparation for a TV thing we’re going to be doing in Chicago,” a taping Dec. 18 for a new series called “Center Stage,” a joint production of VH-1 and PBS, set to debut next spring that will feature live concerts before a studio audience, along the lines of “MTV Unplugged.”

Buckingham said he plans a 20- to 30-city national tour of theater-size venues starting in February. If he gets lucky, the tour will give a needed jump-start to “Out of the Cradle.” Released about six months ago, it stalled in August at No. 128, then quickly dropped off the Billboard chart. “It has been slow. I think we’ve done about 200,000 (in sales), which is just OK.”

As he prepares to tour, though, he said he is looking forward to other things besides jacking up sales figures.

“A band situation and touring starts off as a support mechanism (to push an album), but this (band) has taken on such a life of its own, it’s creating so much juice, that in some ways I’ve let go of the album.”

While Buckingham moves forward with his career, Fleetwood Mac fans can decide whether to shell out for a newly released boxed set retrospective, “25 Years: The Chain.”

His involvement in preparing the collection “was not much at all,” Buckingham said. “I helped Richard Dashut produce a new song for Stevie (‘Paper Doll,’ on which Buckingham plays some guitar). There also were a couple of rare things of mine that had not seen the light of day that I had to put my stamp of approval on.”

He said he was glad, though, that work on the boxed set allowed him to spend some time with Mick Fleetwood, the drummer and Fleetwood Mac co-founder whose book two years ago, “Fleetwood: My Life and Adventures in Fleetwood Mac,” didn’t always paint Buckingham in the most favorable light.

“There’s something in it about me slapping Stevie, which never happened,” Buckingham said, referring to Fleetwood’s account of a final blow-up when Buckingham announced he was quitting the band and wouldn’t be touring to support “Tango in the Night.” Also, Buckingham said, “there’s a lot of hard-line interpretation of things. Mick was understating my contributions, which came from some bitterness he had.”

Buckingham says the bitterness is resolved now on both sides.

“When I saw him during the course of putting the boxed set together, he was extremely apologetic about the book in general. He realizes now it was hurtful. His personal life is doing OK now, and it was nice to see him. There was a nice sense of closure.”



Lindsey Buckingham – Out of the Cradle review | The Independent

RECORDS / The smug and the paranoid:
Lindsey Buckingham – Out of the Cradle (Mercury 512 658-2)
Glenn Frey – Strange Weather (MCA MCD10599)

WHEN the former creative mainsprings of mega-grossing West Coast harmony groups get round to releasing solo albums, the potential smugness quotient can reach toxic levels. At its worst, it’s as if commercial success afforded a greater insight into world problems and higher consciousness than that of mere mortals. The situation is just about avoided here by Buckingham (Fleetwood Mac), but is vaulted into feet-first by Frey (The Eagles).

Other strange coincidences link the two: both, for instance, work with a sole collaborator; and both choose to preface some of their songs with little instrumental preludes which serve as plinths, the better to gaze upon the ensuing artwork. Both, too, claim their current albums showcase their guitar work more than previous outings. But from there, the two diverge, their musical differences signalled by their widely differing characters.

Frey is an outdoors kinda guy, an all-skiing, all-golfing, home- run-hitting sports nut whose obsession with games has run to caddying on the PGA tour and appearing on sports programmes as a trivia buff. The view from his Colorado home is reassuringly straightforward, comprising routine social griping like ‘Love in the 21st Century’ (impersonal sex); tired old sex-as-food metaphors like ‘Delicious’; and escapist fantasies like ‘River of Dreams’. At its most aware, a song like ‘He Took Advantage (Blues for Ronald Reagan)’ begins as a standard lament for love betrayed, and ends with a conclusion specifically aimed at ol’ sleepyhead: ‘And now he’s walking away / He doesn’t care what we say / We weren’t too hard to deceive / We wanted so to believe’. At its least aware, ‘I’ve Got Mine’ is Frey’s ‘Another Day in Paradise’, a scold for the rich in a world marked by poverty, another case of blasting away at one’s own foot in the name of self- righteousness.

Buckingham, on the other hand, is a shy, reclusive type. Many of his songs deal with loneliness and paranoia, without making grand claims for themselves as lessons to set the world to rights. Musically, Out of the Cradle is more varied and interesting than Strange Weather (and the last Fleetwood Mac LP, come to that), ranging from the Chris Isaak- styled rock classicism of ‘Street of Dreams’ to the Latin pop of ‘Soul Drifter’, an almost too deliberate stab at a summer-holiday song. There’s even a lighter re-run of Buckingham’s ‘Big Love’ riff, for a song called ‘Doing What I Can’ – which is only fair do’s, seeing as the original was a solo piece generously donated to keep the Mac’s Tango in the Night afloat.

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Lindsey Buckingham: Out Of The Cradle Review | People Weekly

People Weekly, July 6, 1992
Out of the Cradle. (sound recording reviews)
By Craig Tomashoff.

OUT OF THE CRADLE by Lindsey Buckingham

Out Of The Cradle

You could drive a convertible down a bucolic country road on a sparkling summer day. You could take a stroll along an unspoiled tropical beach on a starry night. Or you could settle into your favorite chair and listen to this third solo outing from Lindsey Buckingham, former guitarist of the late unlamented supergroup Fleetwood Mac. Whichever you choose, you’ll soon be feeling that, despite its bad publicity, earth isn’t such a bad place after all.

Nobody in pop music these days creates better feel-good melodies than Buckingham (who wrote or cowrote 11 of the 13 songs here, including six with partner Richard Dashut). The only bad thing you can say about the project is that it took too long to arrive: It’s been eight years since Buckingham released his last solo record (Go Insane), five since he left Fleetwood Mac. If Out of the Cradle has had an unusually long gestation, it’s a very healthy baby.

The record is enhanced by quirky guitar intros and songs brimming with the sort of aural oddities that mark Buckingham’s style. Familiar and fetching hooks are turned into something new, thanks to the thick layer of guitar effects that replicate everything from harp to mandolin to power drill. Whether the song skips along like the sweet-natured, Top 40-friendly “Don’t Look Down” and “Countdown” or crawls like the quiet and contemplative “All My Sorrows” and “Streets of Dreams,” the melodies nuzzle up irresistibly against your brain. Buckingham titled Out of the Cradle well. Not only is his career reborn, the music has all the innocence, charm and energy of a toddler. (Reprise)

Review Grade: B

Lindsey Buckingham: Post-Mac Attack | Rolling Stone, Jun 1992

Rolling Stone Magazine
June 25th 1992
David Wild

The wayward Fleetwood singer continues on – solo

I’m not trying to compete with Kris Kross now, just like I didn’t try to compete with Christopher Cross in the old days.”


Lindsey Buckingham – the pop genius and sonic architect behind Fleetwood Mac’s string of platinum successes in the Seventies and Eighties – is sitting under a velvet Elvis portrait in his home studio in the lovely hills of Bel Air, California. Buckingham has spent a substantial portion of the last four years in this room. Now, however, he’s finally on the verge of sharing with the public some of the music that he and Richard Dashut, his coproducer and writing partner, have been creating here, and he’s considering the question of how popular his eccentric brand of melodic pop will be these days.

“I guess it’s obvious that making this album hasn’t been an especially speedy process,” says the master of the understatement. “But I had to let a lot of emotional dust settle. People might think I’ve been off on some island getting my ya-yas out. The truth is, I’ve basically been here twelve hours a day. I’ve been goofing off only in the most productive sense.”

Asked if he’s grown sick of the windowless room, Buckingham pauses as if he hasn’t considered the issue before. “Well, I’m not really sick of it,” he says finally. “But I haven’t come inside here for a while, and I’m not sure why. A couple of weeks ago, I opened the door and just looked in. And I couldn’t relate to having spent the amount of time I did in here. This room became more my reality than the rest of the house. At times the whole thing seems like a weird dream to me.” Continue reading