1981′s Law and Order is truly a solo album: Lindsey Buckingham plays and sings nearly every part on it. The production is meticulously super-tweaked: Every guitar and vocal overdub glistens as though it was recorded with the best of microphones in rooms with impeccable acoustics; there are times when everything is so bright and shiny that the effect is Disney surreal, as if Buckingham and his Mac studio collaborator Richard Dashut had sped up the tapes or at least sprinkled them with pixie dust. The fluidity of his guitar runs in “Trouble” is amazing, but it’s part of a bigger, twinkly picture full of tinkling triangles, cracking castanets, and cooing background cries. This song and most others here revisit the innocence of late-’50s/early-’60s pop, but the ultra-vividness of Buckingham’s technique estranges his output from his models, just as lounge lizards like Les Baxter distilled bachelor pad exotica from world music.
By Barry Walters on 12.28.12 in Icons
Fleetwood Mac is perhaps the only group in existence that started out as a man's band, one that played raw, Chicago-styled blues from the heart of London, but peaked with a rare but phenomenally successful transatlantic...
By Matt Condon on 11.04.14 in Live in Pictures
Photos of Fleetwood Mac in Washington, D.C.
By Andrew Parks on 10.11.14 in News
Since it’s nearly impossible to keep up with all the features that flood social media feeds all week, we did some of the digging for you. Here’s a handful of stories that are worth a click this weekend: - Chart Attack...
By Marc Hogan on 09.19.14 in News
Stevie Nicks has nothing to lose but her — well, the idea of chains has pretty significant associations for a Fleetwood Mac singer, right? On the British-American band's blockbuster 1977 album Rumours, of course, "The Ch...