DOCSLIB.ORG

Roots Report: Lindsey Buckingham at Garde Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Roots Report: Lindsey Buckingham at Garde Arts Roots Report: Lindsey Buckingham at Garde Arts Okee dokee folks… I was fortunate to attend the Lindsey Buckingham show at the Garde Arts Center in New London last week. First of all, for those of you who think the Garde Arts Center is too far, you are wrong. It is a VERY easy drive and about 50 miles from Providence. It’s the distance of Boston without the traffic nightmare. It took me just under an hour to get there. Second, there’s lots of parking right there; there’s a large free lot across the street, street parking and a parking garage next door that usually costs between $5 and $10. Third, it’s a great sounding, 1,400 seat theater with main floor and balcony seating. The staff is very friendly and accommodating as well. While some of the shows they have come through Providence, they do get some shows that are exclusive for this area. So far, besides Buckingham, I have seen Donovan and David Crosby there. When I saw those two shows the Garde was the only one that had them. Both great shows. So, if I were you I would sign up for their mailing list so you don’t miss out. I know a lot of folks were disappointed that they missed the Lindsey Buckingham show, even though I MENTIONED IT IN MY COLUMN! For more, go west to: gardearts.org Lindsey Buckingham, of Fleetwood Mac fame, played to a crowd of about 900 last Thursday, November 29 at the Garde. For those of you who are fans of Fleetwood Mac and the solo work by Buckingham, this was a treat. As many of you may know, Buckingham is no longer with Fleetwood Mac. This is the second time that Buckingham has been out of the band. In both cases it has taken two guitarists to replace him, which signifies the talent that he possesses as a musician. Buckingham’s performance Thursday night reinforced that. Buckingham began his two-hour show with “Don’t Look Down” and quickly followed with “Go Insane.” He spoke of his new solo anthology and how “cathartic it was to curate the collection” and that some of the songs that they would be performing had never been performed live before. He added, “It’s been a surprising year and we’re making a new start … and we love you all so much!” He continued his set with “Surrender In The Rain,” “Doing What I Can” and another of his solo hits, “Trouble” After a few more, the band left the stage to Buckingham and his guitar. He played one of his Fleetwood Mac songs, “Never Going Back Again,” more slowly and soulfully than it was recorded or performed in the past. His rendition of “Big Love” put to rest any doubt who had the talent in the Mac. After a few more songs with the band, including the song from the film National Lampoon’s Vacation, “Holiday Road,” “Tusk,” and “So Afraid,” he closed the set with “Go Your Own Way.” After rousing applause and a standing “O,” Buckingham returned to play three more songs and to introduce the band. He did not simply introduce each member by name, but he spoke in length and very highly of each player. His band was made up of drums, bass and two keyboard players, one of which handled the sampled sounds (at one point there were dogs barking) that Buckingham likes to include in the mix. He wrapped up his encore with the song “Treason” with the refrain, “Deep down there’s freedom, Deep down there will be a reason, At the end of the season, We will rise from this treason.” Was this directed at the state of this nation or toward his former bandmates? Either way, it was a powerful song to close out the night. Buckingham’s frenetic finger-style guitar playing is unique to him. It is part of what makes his sound special besides his voice, songwriting talent and production skills. If I wanted to sum up this concert with one word, I would just say “Tusk.” This show made me feel like the first time I listened to the Fleetwood Mac album, Tusk. It was an album ahead of its time and really let Buckingham take the production reins. A lot of the music made me feel like we were in Lindsey’s disco. It was music that made you want to move. Buckingham seemed sincerely grateful and appreciative toward the crowd. He mentioned that this was just the beginning of bigger things to come for him and that he and the band are looking forward to it. All in all it was an amazing night of music from a true rock legend. If he makes his way though the area again, you should make an effort to see him. It is hard to understand how a talent of his magnitude plays to an audience of only 900 while Fleetwood Mac, a band that he is more responsible for the sound of than the remaining members, will be playing two nights at the Garden in Boston next year. I have seen Fleetwood Mac without Buckingham and no matter how many guitar players you add, Lindsey cannot be replaced. I was very grateful to see his show again this time around. That’s it for now. Thanks for reading. JohnFuzek.com.
Load more

Recommended publications
  • What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | the Legal Intellige
    What the Fleetwood Mac Case Can Tell You About Pa. Partnerships | The Legal Intellige... Page 1 of 6 (/thelegalintelligencer/) Menu My Acco POWERED BY LAW.COM (/) Search (HTTPS://STORE.LAW.COM/REGISTRA (/thelegalintelligencer/search/) SOURCE=HTTPS%3A%2F% 2FTHELEGALINTELLIGENCER% 2FWHAT-THE-FLEETWOOD-MAC ABOUT-PA- Publications (/publications/) Law Topics (/topics/) Surveys & Rankings (/rankings/) Cases & Verdicts People & Community ROOMS FROM $34 BOOK NOW Commentary (/thelegalintelligencer/commentary/) What the Fleetwood Mac Case Can Tell You About Pa. Partnerships It’s official. The remaining major members of the renowned rock and roll band Fleetwood Mac, Mick Fleetwood, Stev Nicks, Christine McVie and John McVie, have gone their own way from bandmate Lindsey Buckingham. By Andrew J. DeFalco | November 20, 2018 at 04:02 PM Trending Stories +èÓ9Ô (http://www.almreprints.com) It’s official. The remaining major members of the 1 Meet the In-House National renowned rock and roll band Fleetwood Mac, Mick Women in Law Honorees Fleetwood, Stevie Nicks, Christine McVie and John (https://www.law.com/corpco the-in-house-national-women McVie, have gone their own way from bandmate in-law-honorees/) Lindsey Buckingham. According to Buckingham, after CORPORATE COUNSEL planning a world tour for 2018 and 2019, he was (/CORPCOUNSEL/) unceremoniously kicked out of the band, which will 2 Law Prof Who Exposed Big prevent him from earning an anticipated $12 million Law's Mandatory Arbitration Focus of Misconduct Probe cut of the proceeds from the tour. (https://www.law.com/2018/ prof-who-exposed-big-laws- Not surprisingly, Buckingham was peeved and saw mandatory-arbitration-is- focus-of-misconduct-probe/) Andrew J.
    [Show full text]
  • Some Advice for Phone-Addicted Youth Who Want To
    The Roots Report: Look What’s Going Down: Artists have a duty to voice their opinions Okee dokee folks… “It’s s time we stop, hey, what’s that sound, everybody look what’s going down.” This is from one of the most famous protest songs ever written, “For What It’s Worth,” by Stephen Stills (Buffalo Springfield). It was written more than 50 years ago in response to the Sunset Strip curfew riots in California and is still revered as one of the best songs of that generation. A few years later, Neil Young wrote his song “Ohio” about the Kent State shootings. Crosby, Stills, Nash and Young quickly recorded this song, and when it was released as a single, it was backed with another Stephen Stills protest anthem “Find The Cost Freedom.” At the time, “Ohio” was banned by some radio stations, but today it is one of the few actual protest songs still being played on radio. These songs, the bands and the writers were major inspirations and influences for me as a musician and songwriter. Not only do I perform “Ohio” with my band Forever Young and “For What It’s Worth” when I play solo, but I have written many sociopolitical songs of my own that are part of my body of solo work. I feel protest songs need to be written, but they are the hardest type of song to get right. They need to express the concern and anger of the subject matter and marry it perfectly with a melody to make the song viable.
    [Show full text]
  • MTO 21.1: Hough, Elements of Style in Stevie Nicks
    Volume 21, Number 1, March 2015 Copyright © 2015 Society for Music Theory Elements of Style in Three Demo Recordings by Stevie Nicks Matthew T. Hough NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.15.21.1/mto.15.21.1.hough.php KEYWORDS: rock, pop, harmony, composition, Stevie Nicks, Fleetwood Mac ABSTRACT: This article examines demo recordings of three songs by Stevie Nicks in terms of compositional style and in relation to conventions of rock harmony. Sections from two of Nicks’ unreleased solo demo recordings are compared to publicly released versions of the same songs, revealing distinctive stylistic elements and their subsequent normalization. Compositional applications for rock music based on structural and contrapuntal techniques found in these demo recordings are also presented. Received January 2015 Introduction [1.1] Stephanie “Stevie” Nicks (b. 1948 in Phoenix, Arizona) is one of rock’s best known female performers of the last fifty years. Despite her many decades of fame, investigation into Nicks’ work as a composer remains scarce. This is perhaps not due to a lack of interest; her close association with numerous collaborators—most notably, guitarist Lindsey Buckingham and other members of the band Fleetwood Mac—often makes pinpointing Nicks’ individual compositional traits difficult. As released to the public, Nicks’ songs invariably contain significant contributions from these collaborators in the form of instrumental or vocal arrangements and production. Recently, examples of Nicks’ unreleased demo recordings have begun to appear on YouTube and various file-sharing sites. In many of these recordings, Nicks is heard singing and playing a keyboard instrument without additional accompaniment.
    [Show full text]
  • A Band Together. but Who Knew We'd Find As Durable an Application Of
    o R M D EVERY MUSICIAN KNOWS IT’s THE RHYTHM SECTION THAT HOLDS a band together. But who knew we’d find as durable an application of that maxim as the one exemplified by the history of Fleetwood Mac? & Over the last thirty years, Fleetwood Mac has comprised fifteen musicians shuffled through six major lineups, resulting in endless tin- kerings with tone and genre. Yet the two members to survive it all rarely write tunes and never front the recordings. They’re the beat- keepers - drummer Mick Fleetwood and bassist John Me Vie. The fact that a rhythm section could sustain a band through thirty years seems all the more amazing considering the traumatic histories of the band’s shifting array o f stage-front stars. Together, their personal lives have given rock one of its most elaborate and juicy plotlines. (L Religious conversions, spells o f madness, “incestuous” liaisons within the band, drug freak-outs, alleged brainwashings, imperson- Mick ^ stevie ations, everything short of murder have spun Nicks, John McVie, Christine McVie, Lindsey Fleetwood Mac’s legacy into a story worthy of Buckingham (from left) Scheherazade. & Musically the band has endured just as many twists, moving from blues to rockabilly to laid-back California folk rock - finally to bloom into purveyors of some of the most popular and endur- ing music of the Seventies. (L It all began humbly enough. In 1967, the B Y J I M FÄRBER The band in '69: Peter original foursome convened as arch Fame entrant, Santana). If that wasn’t enough, Rose also saw the Green, Fleetwood, Jeremy devotees of the blues, arriving in the band adding nineteen-year-old Danny Kirwan (who’d played in Spencer, Danny Kirwan, second wave of U.K.
    [Show full text]
  • Lindsey Buckingham Insists He Isn’T a Virtuoso
    Guitar BY RUSSELL HALL TOO LS O Lindsey F T HE T RAD E n G U Buckingham I TAR n LIN DS E Y B U CKIN G H AM When it comes to playing guitar, Lindsey Buckingham insists he isn’t a virtuoso. Many would disagree with that assess- alone in his bedroom fguring out how ment, but in Buckingham’s view, to duplicate the sounds made by guitarist LINDSEY BUCKINGHAM Gift of Screws virtuosity isn’t necessarily a good thing. Scotty Moore. [ Reprise ] “Tere are times when cleverness or “It wasn’t about facility,” Buckingham technical profciency can overwhelm the says. “It was more about being so interested Great Day Time Precious Time simplicity or the openness of what needs in music and wanting to learn to play those Did You Miss Me to be there,” he explains. “It can be hard, songs. When you’re 7 or 8, your learning Wait for You Love Runs Deeper sometimes, to not do too much. Knowing curve is way quicker. I was so taken with Bel Air Rain where to play and where to be silent are this form of music, I had to be a part of it.” The Right Place to Fade important.” Fast-forward 50 years, and the rich- Gift of Screws Underground Buckingham has been putting that philoso- ness of Buckingham’s contributions to Treason phy into practice for more than fve decades. contemporary music is beyond dispute. Beginning at age 6, when his parents gave Afer making a superb folk-pop album him a Mickey Mouse ukulele, the future with childhood friend Stevie Nicks, the Fleetwood Mac member set about perfect- northern California native was invited by ing a fnger-picking technique that’s as Mick Fleetwood to join Fleetwood Mac.
    [Show full text]
  • Music for Guitar
    So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour
    [Show full text]
  • Paula Guerra
    Paula Guerra Lou Reed: rock and roll is so genial in its conception that some people would be willing to die for it (…). Music gives a pulse that allows you to dream. It’s an entire generation walking to the sound of a Fender bass. It’s necessary that people be willing to die for music, that is all. People die no matter what, so why not music? Die for it. Isn’t it pretty? To want to die for beauty? (McNeil & McCain, 2006: 45). The 1960’s, from an music aesthetic and expression point of view, were marked by an intense creativity that spread throughout all artistic and cultural mediums. We associate this era with a revolutionary mark, be in cultural, moral or social terms, with the importance of figures such as Rimbaud, north American black blues, rock pioneers, beat generation, Henry Miller, Malraux, Baudelaire, Marcuse, Indian gurus, Marx, Trotsky, Mao Tse Tung… (Paraire, 1992: 75-77). In the USA, rock acquired an institutionalization close to that of the traditional star system, with the role of the English pop movement, in particular that of the Beatles, one of the most remarkable in this respect. It will not, then, be out of place to consider that rock music throughout the -------- 1 This text was first published in Portuguese with the following reference: Guerra, P., 2010. A instável leveza do rock. Génese, dinâmica e consolidação do rock alternativo em Portugal. The unstable lightness of rock. Genesis, dynamics and consolidation of alternative rock in Portugal (1980-2010). Faculty of Arts of University of Porto, Porto.
    [Show full text]
  • Stevie Nicks – Primary Wave Music
    STEVIE NICKS facebook.com/stevienicks instagram.com/stevienicks twitter.com/StevieNicks open.spotify.com/artist/7crPfGd2k81ekOoSqQKWWz en.wikipedia.org/wiki/Stevie_Nicks stevienicksofficial.com Imageyoutube.com/user/StevieNicks not found or type unknown Of all the singer-songwriters to emerge from the ’70s, few embody the contrast of confidence and vulnerability like Stevie Nicks. Born in Arizona, where she learned country duets with her grandfather as a child, Nicks (along with her then-partner, singer/guitarist Lindsey Buckingham) went on to help transform Fleetwood Mac from a British blues band into one of the most influential pop groups of all time. She brought a sense of softness and sophistication to rock music at a time when it was still primarily considered the province of youth culture. Her best-known turns with Fleetwood Mac—”Rhiannon,” “Dreams,” “Landslide”—proved that pop could be both feminine and powerful, earthbound yet mystical. Nicks helped close the distance between our notions of artist and star–and inspired a generation of women from Madonna and Courtney Love to Taylor Swift and Beyoncé to do the same. For as accessible as they are, Nicks’ songs are also symbolic, even mythological, springing from what seems like a world lurking somewhere beyond our own: Her 1981 solo debut, Bella Donna, mixes a rootsy, unvarnished sound with images of demons, dreams, mountains, and doves—an especially perceptive blend for an era when spirituality and self-realization were creeping into the mainstream. Ultimately, though, it’s Nicks’ connection to—and evocation of—the dualities and subtleties of womanhood that define her music: “My mission maybe wasn’t to be a mom and wife,” she reflected in an interview with ABC’s Downtown.
    [Show full text]
  • Black & Brown Women of the Punk Underground
    Sarah Lawrence College DigitalCommons@SarahLawrence Women's History Theses Women’s History Graduate Program 11-2018 Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Sarah Lawrence College Follow this and additional works at: https://digitalcommons.slc.edu/womenshistory_etd Part of the Women's History Commons Recommended Citation Aucone, Courtney, "Game Changers & Scene Makers: Black & Brown Women of the Punk Underground" (2018). Women's History Theses. 37. https://digitalcommons.slc.edu/womenshistory_etd/37 This Thesis - Open Access is brought to you for free and open access by the Women’s History Graduate Program at DigitalCommons@SarahLawrence. It has been accepted for inclusion in Women's History Theses by an authorized administrator of DigitalCommons@SarahLawrence. For more information, please contact [email protected]. Game Changers & Scene Makers: Black & Brown Women of the Punk Underground Courtney Aucone Thesis Seminar Dr. Mary Dillard December 6, 2018 Submitted in partial completion of the Master of Arts Degree at Sarah Lawrence College, December 2018 Table of Contents: Acknowledgements……………………………………………………………………………………….…......1 Introduction…………………………………………………………………………………………………….…..2 v A Note on Methodology…………………………………………………………………………………21 Chapter I: “A Wave of History”…………………………………………………………………………... 26 Chapter II: The Underground…………………………………………………………………………….. 51 Chapter III: “Somos Chulas, No Somos Pendejas”: Negotiating Femininity & Power in the Underground……………………………..…………………………………………………………………70
    [Show full text]
  • Could Fleetwood Mac Be Liable for Lindsey Buckingham Going His Own Way? Could Fleetwood Mac Be Liable for Lindsey Buckingham Going His Own Contact Us Way? 620 S
    The KLJ Blog Online Originals Submissions The Print Archive Membership Symposium Subscriptions About Home Content Featured The KLJ Blog Could Fleetwood Mac Be Liable for Lindsey Buckingham Going His Own Way? Could Fleetwood Mac Be Liable for Lindsey Buckingham Going His Own Contact Us Way? 620 S. Limestone October 21, 2018 40508 Lexington, Kentucky Blog Post | 107 KY. L. J. ONLINE | October 7, 2018 [email protected] Could Fleetwood Mac Be Liable for Lindsey Buckingham Going His Own Way? (859) 257-1678 Rowan L. Reid[1] Lindsey Buckingham’s sordid relationship with other members of Fleetwood Mac has been a source of news since the late 1980s.[2] After being “involuntary expelled” from the band earlier this year, he has led suit against his old band mates for breach of oral contract and breach of duciary duty. [3] He alleges that his forced departure has cost him twelve million dollars in tour proceeds.[4] The band is currently on the tour described in the lawsuit and has stops in over 50 cities in the United States.[5] While court documents relevant to the lawsuit have not been released in full, Buckingham claims he asked Fleetwood Mac to change the tour dates so that he could release his own album.[6] Following the band’s refusal, Buckingham allegedly delayed the release of his album and any potential solo tour.[7] Buckingham claims his ring from the upcoming tour and contracting with other musicians to take his place amounted to a breach of an oral contract and a breach of duciary duty.[8] In order for Buckingham’s
    [Show full text]
  • Vintage Vinyl Records Near Me
    Vintage Vinyl Records Near Me Trip bureaucratized whencesoever as vigesimal Ferguson pummelled her caballer subsume grumblingly. Mop-headed CrossbandedMarlon foliate andor outvies ectozoan some Remus buckskin machine shrilly, allargando however curmudgeonlyand paiks his ingestions Alley diphthongising idiopathically high-mindedly and viciously. or strown. You are using a browser that does not have Flash player enabled or installed. Jeb Banner, CEO of Boardable. Happy Thanksgiving and see you all on Friday! La might be able to make you a deal. Culminated the sale with Ron who arrived on time and then very efficiently reviewed my albums. Some records been exceeded all vinyl record store air in yours, vintage vinyl right now to near mint record store to! Atomic; the shop feels like the remaining bastion of a bygone era. Thinking of playing those old records? Dj records opposed to see you add related tracks are our experienced a musical masterpiece that adds eclectic diversity to be satisfied in a review was surprised that. Others with that record collections near me that nothing concrete to records do something new smashing pumpkins, vintage vinyl and recorded when they are your music! Double Decker Records is an independent record store in Allentown PA. They will go to be able to send a premium plan includes notes all your new worlds, next sample your password. How many records do nonetheless have? Listen to near flawless album. Sometimes you will hear of a family member that has a collection, or a friend is moving, etc. Browser vendor DOM prefixes. The album offers nowhere to stand, and concrete to grasp, only fleeting thoughts and questions, but very intentionally so.
    [Show full text]
  • John Gatenby Song List
    John Gatenby Song List 2000+ 7 Days - Craig David A Million Dreams - Greatest Showman All About You - Mcfly All Of Me - John Legend All I Want - Kodaline America - Razorlight American Boy - Estelle ft Kanye West Angel - Shaggy A Team - Ed Sheeran Banana Pancakes - Jack Johnson Be The One - Dua Lipa Before I Fall To Pieces - Razorlight Bones - Michael Kiwanuka Budapest - George Ezra Candy - Paulo Nutini Castle on the Hill - Ed Sheeran California - Phantom Planet Dakota - Stereophonics Do I Wanna’ Know - Arctic Monkeys Flaws - Bastille For You - Rita Ora & Liam Payne Galway Girl - Steve Earle Hey Ya - Outkast Ho Hey - The Lumineers Hold On Were Going Home - Drake How Deep Is Your Love - Calvin Harris How You Remind Me - Nickleback How Long Will I Love You - Ellie Goulding I Will Wait - Mumford & Sons Ignition - R.Kelly I’m Getting Ready - Michael Kiwanuka JCB Song - Nizlopi Latch - Sam Smith Mr. Brightside - The Killers New Shoes - Paulo Nutini Never Enough - Greatest Showman Not Nineteen Forever - The Courteeners One Dance - Drake One Kiss - Dua Lipa Only Love - Ben Howard Open Your Eyes - Snow Patrol Paradise - George Ezra Perfect - Ed Sheeran Pompeii - Bastille Pumped Up Kicks - Foster The People Push The Button - Sugarbabes Ready For Your Love - Gorgon City Riptide - Vance Joy Say You Won’t Let Go - James Arthur Shape of You - Ed Sheeran She Moves In Her Own Way - The Kooks Sex On Fire - Kings of Leon Shotgun - George Ezra Shut Up And Dance - Walk The Moon Stay With Me - Sam Smith Still Into You - Paramore Something Stupid - Robbie
    [Show full text]