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
Tag Archives: Lindsey Buckingham
Lindsey Buckingham – Trouble Fanzine (issue one)
Scroll down to view scanned pages of the first issue of the Lindsey Buckingham ‘Trouble’ fanzine.
Created by Sue Cole in the early nineties
Fleetwood Mac Return Without Leaving | CREEM Magazine
Creem Magazine
September 1987
by J. Fordosh
Up in the hills of Bel Air is Lindsey Buckingham’s house, Lindsey Buckingham’s croquet-perfect lawn, Lindsey Buckingham’s pool, Lindsey Buckingham’s radio-controlled toy submarine that’s busted, but could be fun in the pool, Lindsey Buckingham’s home studio, The Slope-where the final work on Fleetwood Mac’s Tango In The Night was done-and, indeed, Lindsey Buckingham himself.
Lindsey, like everyone in Fleetwood Mac, will tell us something of this latest record-and something of this immensely popular band. Their times and their troubles, stuff like that.
Fleetwood Mac’s saga has been a strange one: since Lindsey and Stevie Nicks joined up in 1975, the band’s made five studio albums, including Tango. The first four have sold something like 33 million copies-about 20 million of those courtesy of 1977’s monstrous Rumours.
You can perceive that, despite their relatively sluggish output, this band has a lot of fans. As I write this, Tango is safely ensconced in the Top 10, where it may well remain for eternity or the next Fleetwood Mac album, whichever comes first. But, coming almost five years after Mirage, we can correctly assume that there’s a story behind the story, so let’s start here . . .
Continue reading Fleetwood Mac Return Without Leaving | CREEM MagazineLindsey Buckingham – The Musical Mad Scientist
Fleetwood Mac's Lindsey Buckingham The Musical Mad Scientist of Fleetwood Mac
Doesn't Mind If His Solo Career Becomes His Only Career
Rock Magazine November 1984
Lindsey Buckingham is eccentric. Or at least that's what fans and critics think, thanks to his kinetic stage performances, unorthodox pop songs and artsy videos. But Buckingham has a secret they don't know about.
"I'm boring like everyone else," says the FM guitarist and vocalist. "I think you'll find with any entertainer," he explains, "that what they project may be an alter ego. And if you talk to them, they're mostly the opposite of that real boring. That's me; I'm just real boring. In a sense, the music is like seeing a shrink: You're working out all these things. My being seen as eccentric is pretty much only relative to everyone else in FM."
Continue reading Lindsey Buckingham – The Musical Mad Scientist
Lindsey Buckingham: Go Insane Review | People Weekly
People Weekly, Oct 1, 1984
Go insane. (sound recording reviews)
GO INSANE by Lindsey Buckingham
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-
Lindsey Buckingham – Reels Himself In!
1984 Article on the recording of Go Insane
Lindsey Buckingham has never exactly set out to make a solo album. A confirmed studio addict, he methodically experiments with sounds and structures until enough of the pieces form the basis for songs that then cry out to be completed and recorded. On his second Elektra album, Go Insane, lyric ideas inspired some of the experiments, and the songs are tied together by a common thread.
*It’s really about going insane in the mildest possible sense, he explains. “It’s about having your sense of reality tested through various circumstances until you’re not really sure where reality lies and you have a choice of letting yourself continue to be insane on some level or of reeling yourself back in.”
Buckingham admits that he particularly “reels himself in on” Side One, which contains the hit single “Go Insane” followed by the tune “Slow Dancing.” “Both of those songs have certain esoteric aspects about them, he says, “although their form is not as challenging as some of the other things on the album. They draw you right in.”
The first side finishes with “Play in the Rain”, a song that continues onto Side Two. “We originally had the version that ends Side One” explains Lindsey, “but it seems like it would be very interesting to continue that particular thing which is probably the most experimental piece on the album.
“That, as the beginning of Side Two, and the next song on that side are rhythm pieces, Then it goes into ‘Bang the Drum’, for which we sent John, the second engineer, into a schoolyard to record kids playing. That song is certainly influenced by the Beach Boys use of vocals, and it is a prelude to ‘D.W. Suite’. It shifts from being non-melodic and purely rhythmic into harmonies in major keys. In fact, the whole second side is pretty much in that frame of mind, going from minor to major keys.
Continue reading Lindsey Buckingham – Reels Himself In!Gypsies, Tramps or Thieves? The World According To Fleetwood Mac | CREEM Magazine
Creem Magazine
Feb 1983
by John Mendelssohn
One day soon, there will be no more stuffed animals in the world. No stuffed koalas or pandas or ocelots or giraffes will remain for parents to bring their brave little tykes in the pediatric wards of hospitals. Pubescent girls will have no more stuffed leopards or ponies or lynxes to snuggle while they jabber on the telephone. And no stuffed teddy bears will be found in the rooms of Elvis impersonators who are intent on recreating every phase of the King’s life.
One day soon, all the stuffed animals in the world will have been presented to Stevie Nicks while she is on stage with Fleetwood Mac.
Or on stage without Fleetwood Mac. Industry insiders assure us that it won’t be long before Stevie Nicks goes her own way, for she has her own manager, who won’t let her talk to Rolling Stone, and a hit solo album and tour to her credit. Likewise, Lindsey Buckingham, the other half of the duo whose recruitment in 1976 transformed Fleetwood Mac from the blues band that time forgot into mega-platinum ultra superstars, makes no secret of the fact that he much prefers working on own projects these days. And John McVie gives the very distinct impression of not being long for this world, let alone the group. Which means that the time to get to know these five nice people who make nice music for nice people is right now, before they scatter every which way.
An electrician who did some wiring in her home assured CREEM that keyboard- ist Christine McVie, in marked contrast to her boyfriend at the time, Dennis Wilson, is as unaffected and gracious person as one might yearn to do wiring for, her deportment on stage serves to affirm this impression. The only time she gets stuffed animals or bouquets is when somebody who’s about to be throttled by a security gorilla despairs of getting Stevie’s attention. But she neither glowers or sulks about this, nor makes a spectacle of herself in an attempt to pilfer some of Stevie’s thunder. In doing so, she represents the English temperament at its noblest.
Continue reading Gypsies, Tramps or Thieves? The World According To Fleetwood Mac | CREEM MagazineLindsey Buckingham Takes a Breather | People Magazine, Feb 1982
The Fleetwood Mac of all trades
Lindsey Buckingham takes a breather with his own one-man band
People Magazine February 1982 Words by David Sheff Photographs by Neal Preston
Solo albums marked the beginning of the end for the Beatles. So when Fleetwood Mac’s Stevie Nicks recorded her album Bella Donna and Mick Fleetwood himself made The Visitor, the music world buzzed with speculation. Was the Big Mac disintegrating into a bunch of McNuggests? Rumors heated up again last fall when the band’s artistic wellspring, Lindsey Buckingham, 32, released his own first LP, Law and Order. Many wondered if the title of his Top 10 single meant what it suggested Trouble.
The answer seems to be: Not yet. Fleetwood Mac has long been rock’s turbulent version of The Young and the Restless, and Buckingham swears it’s all just a harmless way of blowing off a little creative steam. “With the band,” he explains, “there are five distinct personalties, lots of second guessing, and it’s tough to get from point A to point B.” (Neither of the other two band members, John McVie and his ex-wife, Christine, has gone solo since joining Fleetwood Mac.)
Continue reading Lindsey Buckingham Takes a Breather | People Magazine, Feb 1982
Lindsey Buckingham – BAM Interview (Jan 1981)
Fleetwood Mac’s Lindsey Buckingham Turns Another Corner
BAM Magazine, Jan 1981
It only seems like Fleetwood Mac has been making hit records forever. In fact, it was just five years ago that the one-time English blues band, rejuvenated by the addition of Californians Lindsey Buckingham and Stevie Nicks, virtually took over American radio with the smash album Fleetwood Mac, which yielded the hit singles “Rhiannon,” “Say You Love Me,” “Over My Head” and “Monday Morning.” And as astonishing as that album’s success was, no one could have been prepared for what happened when the group’s next LP, Rumours, came out in 1977. Behind the strength of hits like “Second Hand News,” “Dreams,” “Go Your Own Way” and “Don’t Stop,” Rumours became the top selling album in the history of pop music, eclipsing works by The Beatles and other legendary chartbusters. Fleetwood Mac was the most popular band in the world.
The secret was chemistry. The band offered a combination of the five very distinctive individuals whose talents seemed to lock into place like the gears of a machine. The rhythm section, consisting of founding group members John McVie on bass and Mick Fleetwood on drums, cold play with the power of a heavy metal band or the finesse of a light combo. Vocalist/keyboardist Christine McVie brought a dark melodicism still based a little in the blues to her work with the band. Stevie Nicks, with her classic good looks, breathy voice and fairytale princess stage demeanor, added a deeply romantic feel to the group’s sound. And finally, there was Lindsey Buckingham, the man who made the machine roll. Aside from writing many of the group’s catchiest and most commercial songs “Monday Morning,” “Go Your Own Way,” “Second Hand News,” “Never Going Back Again” he played all the guitars on the albums, mixing acoustic and electric axes in fingerpicking and conventional rock stylings; did most of the vocal arrangements, which became Fleetwood Mac’s trademark; and had a heavy hand in the production of Rumours. And as his subsequent production work with John Stewart on Bombs Away Dream Babies and Walter Egan’s Fundamental Roll showed, the Fleetwood Mac “sound” derived largely from Buckingham’s ideas about mixing and instrumental layering.
But Buckingham’s genius really came to the fore with the release of Tusk in late ’79. A double record set of incredible depth and scope, it was anything but the predictable follow-up to Rumours, and that was mainly because of Buckingham’s eccentric, sometimes downright bizarre compositions. The tone of the entire album was set by Buckingham’s title tune, which, much to everyone’s surprise, was a bona fide hit single like its predecessors on Rumours and Fleetwood Mac. On top of a truly strange drum beat, an almost incantatory vocal emerged from a cacophony of odd noises. The song built to a fever pitch as the USC marching band punctuated the song’s second half, and Mick Fleetwood unleashed a maniacal, out-of-control drum break. Peculiar stuff, to be sure.
Continue reading Lindsey Buckingham – BAM Interview (Jan 1981)
Buckingham Nicks: Goodbye To The First Five Years | Birmingham After Dark
The following article was written after the last Buckingham Nicks concert in Birmingham, Alabama. Birmingham After Dark staff writer Jan Susina got a rare opportunity to sit down and chat with Lindsey Buckingham and Stevie Nicks.
This is a portion of that interview, which was printed in February 1975.
By Jan Susina
Major changes are underway for Lindsey Buckingham and Stephanie Nicks after their highly successful concert last Friday at the Birmingham Municipal Auditorium (one of two sellouts at the Auditorium during the last year). Back in L.A., the two will begin work, not as the Buckingham Nicks, but as members of Fleetwood Mac, later this month.
Both Lindsey and Stevie voiced strong misgivings over disbanding as a duo. “It wasn’t an easy decision for us, but we decided to do one album before we came out here (to Birmingham),” said Buckingham.
Continue reading Buckingham Nicks: Goodbye To The First Five Years | Birmingham After Dark
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