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Lindsey Buckingham Live Review | Billboard Magazine, Mar 1993

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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

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Buckingham’s Out Of The Cradle Again Lines Up Dates With 10-Piece Tour Band | Billboard

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BY CHRIS MORRIS
Billboard Magazine
March 13th, 1993

LOS ANGELES—Warner Bros. is  optimistic that a tour by singer/guitarist Lindsey Buckingham’s 10-piece band will ignite fresh sales of Buckingham’s much-lauded 1992 Reprise album “Out Of The Cradle.”

Out Of The Cradle Press Image

The group, which performed two shows at the Coach House in San
Juan Capistrano, Calif., in December and a concert at the Wiltern Theatre here last month, launches the month-long first leg of a national tour of clubs and medium-sized halls Monday (8) in Solana Beach, Calif. On Tuesday (9), the Buckingham band will be showcased on the half, hour VH1 show “Center Stage”; an hourlong version of the broadcast, co-produced by the cable network and PBS and taped live at WTTW-TV in Chicago, will be aired on the public broadcasting network later this spring. Westwood One aired 90 minutes culled from the group’s Dec- 10 and 11 Coach House performances (Buckingham’s first-ever live solo shows) on its Feb. 27 “Superstar Concert Series” broadcast.

Although two singles from “Out Of The Cradle” failed to chart last year; the company will release a third, “Don’t Look Down,” within the month to coincide with the tour.

Says Buckingham of the tour, “Best-case scenario is that we might pump life into the record, and this is basically what [Warner president] Lenny [Waronker] and Warner Bros. would like to do. I think it’s to their credit that they’re even willing to do that at this point, because it would be just as easy for them to say, ‘Yeah, go out and do the [tour] leg, and then make another album.’ ” Continue reading Buckingham’s Out Of The Cradle Again Lines Up Dates With 10-Piece Tour Band | Billboard →

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The Return of Lindsey Buckingham | Chicago Tribune

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Chris Heim
March 12, 1993
CHICAGO TRIBUNE

In the pop world, four years is a long time. The attention span of the audience is short and the staying power of the talent, like the musical ephemera it produces, is shorter still. So it must have made many a corporate suit sweaty (happy thought) contemplating how the return of Lindsey Buckingham would be received.

It had been four years (eight if you go back to his last solo album) since Buckingham had been in the pop arena.

Buckingham came to prominence as part of the most successful incarnation of Fleetwood Mac. The band, which started as a British blues-rock group (heavily influenced by the greats of Chicago blues) and went through a semi-successful psychedelic/”Oh Well” phase around 1970, was on the verge of collapse when the California pop duo of Buckingham and Stevie Nicks were recruited. A string of artfully crafted hits (“Rhiannon,” “Go Your Own Way,” “Dreams,” “Say You Love Me” and that popular campaign theme, “Don’t Stop”) followed, along with multimillion sales for the “Fleetwood Mac” and “Rumours” albums.

Buckingham left/was dismissed from Mac in 1987 when he declined to go on tour (two players, Rick Vito and Billy Burnette, were required to fill his shoes). And though he did return to help with the “Tango in the Night” album and make a brief cameo appearance onstage with Mac in 1990, Buckingham was largely invisible until last summer, when he emerged from his home studio with a new solo album called “Out of the Cradle.”

This was to be the acid test for Buckingham. Could the man who many said was the real genius behind Mac’s pop gems deliver more rock jewels? Despite working almost entirely on his own and spending some two to three years on the project, Buckingham delivered one of his (or even Mac’s) most lively, consistent and accomplished albums. His music sparkles with bright, insistent pop hooks and an endless stream of shiny sounds. Listening to “Cradle” is like opening a jewel box or looking out at a star-filled night sky. Twinkling back is a multitude of lights (sounds, tones, instruments), densely packed yet brightly and discretely shining.

In December, Buckingham took the stage for the first time as a solo artist in a showcase California date that won critical raves. He has now launched his first solo tour with a 10-piece band (five guitarists, three percussionists, a bassist and a keyboardist), and his performances are expected to offer a mix of solo material and Mac favorites, solo playing and band numbers. Lindsey Buckingham appears Thursday at Park West.

 

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

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By Mike Boehm 

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 auteurwere 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). Continue reading LIFE AFTER MAC : At the Coach House, Lindsey Buckingham Will Be Playing His First Concert Since His Old Band Broke Up | LA Times →

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Lindsey Buckingham – Out of the Cradle review | The Independent

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

ANDY GILL
The Independent (UK)
Thursday 30 July 1992
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.

Continue reading Lindsey Buckingham – Out of the Cradle review | The Independent →

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Lindsey Buckingham: Out Of The Cradle Review | People Weekly

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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)

CRAIG TOMASHOFF
Review Grade: B

Lindsey Buckingham, Reviews, Solo Activity

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

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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.”

130119-fleetwood-mac-21-rect-1358698736-1

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

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Lindsey Buckingham – Trouble Fanzine (issue two)

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Scroll down to view scanned pages of the second and final issue of the Lindsey Buckingham ‘Trouble’ fanzine.

Created by Sue Cole in May 1990

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Fanzines, Lindsey Buckingham, Reviews, Solo Activity, UK Articles

Lindsey Buckingham – Trouble Fanzine (issue one)

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Scroll down to view scanned pages of the first issue of the Lindsey Buckingham ‘Trouble’ fanzine.

Created by Sue Cole in the early nineties

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Lindsey Buckingham: Go Insane Review | People Weekly

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People Weekly, Oct 1, 1984
Go insane. (sound recording reviews)

GO INSANE by Lindsey Buckingham

lindsey_buckingham_-_go_insane_-_front

Buckingham–along with his former girlfriend, Stevie Nicks, and Christine McVie–provided the composing talent that boosted Fleetwood Mac to such overwhelming success in the ’70s.

Go Insane, Lindsey’s second solo album, is a manifesto of his intent to remain a rock ‘n’ roll force, even while the group itself seems to be a tabled proposition. The record is studded with power pop gems such as the title cut and I Want You, as well as Slow Dancing and Loving Cup. All of these continue in the tradition of songs that sold 35 million Fleetwood Mac albums after Buckingham joined the group in 1974. (Kind of makes you wonder why Mick Fleetwood has filed for bankruptcy.)

Lindsey flies off the handle of mainstream appeal with D.W. Suite, a seven-minute eulogy of Dennis Wilson that mixes Beach Boys-influenced harmonies with elements of prayer and traditional Irish music. There is also Play in the Rain, which closes out one side and continues as the opening cut on the other. An off-the-wall composition, it begins with high-tech surrealism before hitting a funk groove tinged with Indian sitar sounds. Those are, however, the only indications that Buckingham is indeed going off his commercial rocker.

Review Grade: A-