Lindsey Buckingham makes a persuasive case for reappraisal on his enticing new album, Seeds We Sow. Fleetwood Mac has been both blessing and curse for the musician, as it has afforded him the opportunity to pursue a solo career at his own pace (6 albums in 30 years) yet his more idiosyncratic work on his own has often been overshadowed by the more immediate work of his legendary band.
Buckingham joined the Mac back in '74, along with then-girlfriend Stevie Nicks. During the band's '70s heyday he blossomed into their de facto leader, culminating in their double album Tusk in '79. That album not only found the band at a creative peak, but saw LB pen almost half the album's 20 tracks. Following the artistic heights of Tusk, the various band members released solo albums. LB's solo debut Law and Order ('81) found him playing and singing virtually every track, with the notable exception of the hit single "Trouble", on which Christine McVie offers able backup singing.
The challenge LB has faced ever since that auspicious debut is that his solo career has seldom had an opportunity to flourish outside of the glare of the inherent drama of Fleetwood Mac. When LB departed after Tango in the Night ('87), he was largely silent until his album Out of the Cradle five years later. In the interim the Mac had replaced him with the earnest but forgettable duo of Billy Burnette and Rick Vito. That incarnation recorded one album, the moderately successful Behind the Mask, before splintering yet again.
Buckingham would not release another solo record for 14 years, during which time he rejoined the Mac, recording the live the Dance and the studio album Say You Will, the latter without longtime member Christine McVie. "Say" originated as a Buckingham solo album, and that album, titled Gift of Screws, would be released in '08, but not before another solo album, Under the Skin, in '06, four years after "Say." These solo records received positive reviews, yet the combination of the first studio release from the Mac in 15 years, coupled with the surprising departure of Christine McVie, effectively overshadowed these LB releases.
At long last, with no new Mac material issued in eight years, LB is finally getting the solo spotlight uninterrupted that he deserves. The songs on Seeds we Sow, his first self-released album, are consistently melodic and often sparely arranged. A few feature lush vocal backing, including the gorgeous "When She Comes Down," but in general the guitar is as likely to be either acoustic or gently picked 12 string, and the percussion spare and subliminal. In sum, this is music for adults, refreshingly devoid of slick studio tricks or commercial pandering. While LB might be in the enviable position of recording what he wishes, he has also long pursued his own peculiar musical path that only occasionally connects with a mass audience. He records what he wishes, and "Seeds" is another wonderful, mature work.
The songs are largely of a piece, and the album could easily accompany a dinner party or pensive weekend afternoon. LB remains a wonderfully distinctive guitarist, expressive vocalist, and gifted songwriter. He's sort of the singer-songwriter of Mac who also happens to be an inventive producer and unique guitarist. Hearing these fresh tracks, it's tempting to wonder what a Nicks-free Mac might sound like. It's no surprise her solo career has been the most visible, as she was always a drama queen who fairly demanded attention as well as blind devotion. Had she never joined the Mac, it's likely they would have been successful, albeit less so, but then, her solo output would have likely been even less inspired.
It's doubtless too late to hope for a Mac with Christine back and Nicks gone, but recent talk suggests a new FM album and tour. I for one hope LB dominates the proceedings. He was always more of a team player than Nicks anyway.
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