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As much as you love L&O, I found it disjointed and sorta like a collection of outtakes and random experiments. One review referred to him on that album as a something like a smirking brat, and one called him the 'enfant terrible' of the band. Probably not wrong. He was a bit of an incoherent d*ck on it, really. How he thought that would shake up the music biz in any way or make people appreciate his musical genius is still beyond me. Tusk, yes, L&O, no. There's a maturity to OOTC that is severely lacking on L&O.
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And on every adjective you used above....none of them are incorrect. It's kind of amazing, the balls he had, to do all that. Especially if he thought the record buying public was going to be into all that weirdness. Wrong. I guess the sales of Rumours gave him balls. But they were glass balls. He was wrong. The public wasn't going to buy WEIRD. And was left with being a caricature on SNL. I still cringe every time I see the Go Insane album cover. And yet I still feel love every time(although it's a more private love, lol) I hear L&O. My high school heart races, hearing those songs, and singing along. Welllll, it'sssssss a long long time, from May to September.......
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran) |
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Or what if Lindsey never joined the band to record Tango. OOTC would have been released in ~1987 and maybe had included Big Love, TITN, etc.
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It would have been better received had it been released in 88-89. A lot of it is interchangeable with his TITN songs, so it still felt pretty ‘80s. Musical sensibilities had moved on by that point. “This is the Time” is the only song that might have connected had it been released sooner. Otherwise, it felt a little too coffee house rock.
For me, OOTC exposes Lindsey’s limitations as an artist and how much his music benefited from having Mick and John playing behind him.
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins |
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Mine certainly had. I was spiritually ready for Lilith Fair. I eagerly embraced that retro-hippie Third Wave Feminist sound of Lilith Fair. I wanted to immerse myself in Joan Osborne, Shawn Colvin, Paula Cole, and Patty Griffin.
I did not want to hear Lindsey Buckingham’s high-tech gooky-fooky. Thoughts?
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moviekinks.blogspot.com |
#6
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Also, the freshness of this album did get stale by waiting so long to release it. What was he waiting for? I do love a lot about this album, but it's slightly safer than the little amazing package that Go Insane is. Of course, IMO. I've always wondered what his tunes would be like if he fronted a real band in the studio. I'd love a "rock" album from him.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" Last edited by jbrownsjr; 08-04-2022 at 04:32 PM.. |
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god, he's too much of a control freak for that to happen!
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran) |
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That's just it, Homie! It's controlled ad nauseam.
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I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!" |
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The obvious singles on this album are Countdown and Soul Drifter.
While I love Don't Look Down, it's just NOT single material. I really like Street of Dreams into Surrender the Rain. I think they are a great documentation of where his head was at in the years leading up to this album and the whole letting stuff go he had to work thru personally. I kinda wish he would do them back to back live like on the album. The interstitial talking bit reminds me of a Laurie Anderson sort of performance art piece. Interesting that that was sort of the last time he worked on anything with Richard and their personal friendship pretty much ended as well. I liked the imagery of the title Out of the Cradle because it speaks simultaneously to maturity as in just aging but also to the idea of getting out of FM and that whole 'rock star' thing which can be infantilizing.
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We all celebrate this release and I think Lindsey did relish in the great reviews the album got. But it also was a little depressing because this experience stung Lindsey. If you have never seen the Behind The Music: Lindsey Buckingham there was a somber Lindsey after this album was released. Its discussed how Lindsey's hit making machine with Fleetwood Mac never materialized with his solo career and why. It mentions how Lindsey did solo shows for the first time after the release of this album but had to curtail the shows due to poor attendance. Its a very sad ending which is usually not the case with Behind The Music segments. I know he did eventually end of on Tina Turner's shows as the opening act so he did make a little money. I think it was a process of realizing that he was not going to be a solo superstar. If Lindsey would have become a big solo star, would he have come back to the Mac for the Dance? After the Eagles reunion tour, Irving definitely convinced everyone to suck it up and go out on another tour. The money was just too good to say no.
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My heart will rise up with the morning sun and the hurt I feel will simply melt away |
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I don't know think Lindsey would have come back because there wasn't a new album involved with The Dance. |
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Don Henley(especially) and Glenn Douchenburger were big stars solo, and they both came back to the Eagles...
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Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran) |
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I don't have so much to say about this gem. I discovered it 10 years ago and it really marked my life, as a person, as a musician. It touched my soul as it introduced me to a world of words and music that I didn't see before, even knowing the FM music!!
I think that if it was released after the reunion of the Rumours line up for the Clinton's campaign, or released shortly before The Dance reunion, it would have had more success than what it had. 1992 was a different time for music, and Lindsey tried to put his efforts to sound like the "newer" music of that time, without a good reception. But anyway, his music is incredible. Don't count the "commercial" thing. Wrong, Countdown, Soul Drifter are amazing songs!! Good lyrics, good rythm. Street Of Dreams, Surrender The Rain and Say We'll Meet Again can touch your heart easily. He worked almost alone. Like on Go Insane. And it worked so good! But the ears were listening to other bands in 1992. But Lindsey showed his talent in all the instruments once again, but this time he needed to show a rock face, not like in Go Insane, where he worked so much with synths... I don't blame him if he's not a great keyboard player, probably his idea was with a basic keyboard base! And giving a more starring role to the guitars. "I told these guitars, I mean, come on!" His worst ranked album is today by far one of his best ones. And as I said before, what he did next, especially from 2008 to the date, was basically the same. Speedy guitars, a soft voice, a basic percussion...With good moments indeed! So it gives more credit to his first three or four albums, because of the original ideas he had on them respectively... So happy birthday to my favourite album!!! |
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While Christine wasn't especially interested in being a solo artist, she was still able to deliver something a little different from her Fleetwood Mac work by working with other musicians. Lindsey had done so much on his own within the context of Fleetwood Mac that it was much harder to delineate his Fleetwood Mac work from his solo work. There were truly no compelling reasons to consider his solo work on its own merits. It didn't shed any new light on Lindsey, it only spoke more to his own eccentricities. That he only made three studio albums (two solo, one Fleetwood Mac) and played about 80 tour dates in 21 years (OOTC tour and The Dance) further compounded the problem.
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On and on it will always be, the rhythm, rhyme, and harmony. THE Stephen Hopkins Last edited by SteveMacD; 08-16-2022 at 11:24 PM.. |
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