Video: The highly sought after live performance of Lindsey Buckingham Triple A Conference

Lindsey Buckingham recorded live August 13, 2011 in Boulder, Co at the FMQB Triple A Conference

Review: Lindsey Buckingham Live in Denver 09/14

Live review: Lindsey Buckingham @ the Newman Center

Touring in support of his third solo album in five years, the excellent, self-released, “Seeds We Sow,” Lindsey Buckingham brought lush pop to the Newman Center at Denver University on Wednesday night.

The venue, a beautiful theater with stunning acoustics, was an ideal setting, particularly for Buckingham’s first section of the show. The first five songs were performed solo, voice and guitar only, each utilizing a different acoustic guitar. Buckingham’s stellar picking created a lot of sound over slower, dramatic interpretations of “Go Insane” and “Trouble,” two early ’80s solo tracks. Despite the lack of additional players, the acoustic set was anything but sparse; Buckingham’s voice was in fine form and his playing was riveting.

Get the rest of the review PLUS a gallery of 24 photos from last night at heyreverb.com

Lindsey Buckingham "Seeds We Sow" 'A decent collection of polished tuneful folksy tunes, with mesmerizing guitar playing'

Don't Lose the Magic

Lindsey Buckingham's latest album is pretty good and all, but it can't match the drug-fueled mania of his best work.

Fleetwood Mac is firmly associated with middle-of-the-road 1970s radio rock. In addition, every song Stevie Nicks has ever written meanders into the same plodding New Agey groove. And, in addition to that, Christine McVie writes extremely accessible melodic pop. Put these factors together, and the result is that if you’re not watching for it, it’s possible to listen to Fleetwood Mac and miss the fact that Lindsey Buckingham is completely fucking off his head on cocaine.

Buckingham’s spastic is-he-really-not-well-or-is-that-genius is on display throughout Fleetwood Mac’s oeuvre. You can see it most consistently on 1979’s Tusk, where on songs like “What Makes You Think You’re the One,” Buckingham alternates between shouts and whispers while the music staggers along like a constipated calliope being buffeted by high winds.

But if you really want the full force of Buckingham’s chemically-induced derangement, you need to check out his first couple of solo albums. Law and Order, from 1981 is one of the most freakishly ADD albums in existence. Buckingham’s hindbrain spends the entire 36 minutes trying to crawl out through his nostrils. The first song, “Bwana,” starts with jungle noises and a hint of bongo before that’s abandoned and we get Buckingham shouting, mewling, and yodeling up and down his range almost at random until the back half of the song gets into what sounds like a series of raucous kazoo solos, because jungles are well known for kazoos. Other highlights include a slowed down, cabaret-singer-on-a-bender version of “September Song,” and “That’s How We Do It in L.A.” where Buckingham spits bile so enthusiastically he appears to be in danger of burning a whole through his tonsils. The whole thing has a queasy fey energy, like a truckload of fairies strung out on… well, strung out on cocaine.

Go Insane, Buckingham’s next album from 1984, is his New Wave exercise, which makes it marginally more stylistically grounded. It’s still pretty nuts though, with drum loops jerking as Buckingham uncorks spiky guitar blasts that scrape and wail and wander into the corner to die. On the title track, a chorus of multi-track Buckinghams intone menacingly about his loss of mental health. It’s the music Hal from 2001 might perform if he were to ingest a staggering amount of coke.

In light of these predecessors, Buckingham’s just released latest effort, The Seeds We Sow, is surprisingly restrained. Specifically, it’s an entirely decent collection of polished tuneful folksy tunes, with mesmerizing guitar playing. At times it seems like he’s turned into Sufjan Stevens or Devandra Banhardt—and in so doing, he demonstrates convincingly why classic Lindsey Buckingham was a much, much more entertaining performer than Sufjan Stevens and Devandra Banhardt put together. Fey and pretty is okay, but fey and batshit crazy is better.

There are some signs of the old Lindsey. “Rock Away Blind,” for example, shifts dynamics in a way that suggests the manic dementia of old. “End of Time” has an over-carbonated drumbeat threatening to bash its way out of the lyrical guitar line and catchy chorus. “One Take” sounds like it could be a Tusk outtake.

Best of all is the electric version of “Seeds We Sow.” For the concluding track on the album, Buckingham abandons the drifty hippie persona, and uncorks squiggling keyboards, unhinged multi-tracked choruses, and pilled-up drums. The song is a burping, staggering, quivering mess—finishing up with a totally badass rock star guitar solo. Eat your heart out, Eddie Van Halen.

Noah Berlatsky
Splice Today

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Lindsey Buckingham at the Vic | Concert preview

Buckingham’s new Seeds We Sow proves that his genius isn’t limited to the Mac. 

By Steve Dollar

Timeout Chicago

Pop’s greatest soap opera has been in reruns for ages: Erstwhile supergroup Fleetwood Mac last toured in 2009, reviving the backstage drama and ex-flame flameouts that made 1977’s Rumours one of the biggest phenomena in recorded music history. Guitar wizard Lindsey Buckingham gets credit as the band’s sonic mastermind, but his solo career never gets its due. And that’s plain silly. As Buckingham’s new, stellar Seeds We Sow makes evident on track after track, his genius isn’t limited to the Mac’s contrapuntal “heartbreak and revenge” dynamic.

At his best, the lifelong Californian combines the ambitious, folk-inspired chops of a Richard Thompson with the symphonic imagination of a Brian Wilson. Now on a rare tour—his last solo go-round was three years ago—Buckingham brings a satchel of masterful three- and four-minute tunes. They may begin as delicately as “That’s the Way Love Goes,” with a simple harpsichord-driven melody, but they quickly build into buoyant epiphanies of sound: Buckingham’s urgent falsetto multitracked as a guitar solo keens high above, before everything cascades down the scales to a whisper.

It will be fascinating to see how the singer pulls off his complex arrangements outside a studio. Though any trade-off will definitely favor electric spontaneity and emotional intensity, Buckingham can conjure a torrent of drama with just his voice and a guitar.

Must Read: "In Defense Of Stevie Nicks"

This was a good read:

I’m a fan of Stevie Nicks. And that hasn’t always an easy thing to admit, at least not publicly.

But, today, with many of her songs (“Landslide,” “Leather and Lace”) rightfully acknowledged as modern pop standards, and as a member of the Rock and Roll Hall of Fame, Ms. Nicks is being more and more recognized as a true rock legend. But for many years, as she airily floated about, she was far too close to punchline and parody for even the most die-hard of fans to ably defend her fully. Hence, our frequent silence. Even the truly devoted among us, who secretly worshiped every aspect of her gothic crystal vision, often had to wonder if she wouldn’t be taken a bit more seriously, by audiences and critics alike, if just once she’d toned down some of her Enchanted Forest fever.

Continue for the rest at: Thoughtcataloge

Concert Review: Lindsey Buckingham reaps benefit of ‘Seeds We Sow’ at the Depot

There was a telling moment near the end of Lindsey Buckingham’s set Tuesday night at the Depot.

“We make a lot of noise for a four-piece,” Buckingham glowingly said during band introductions. “We’re really rocking up here.”

Buckingham and his band were in the final stretch of a three-song suite from the Fleetwood Mac guitarist’s brand new solo album -- “Seeds We Sow,” released last week -- and as is often the case when presented with fresh material in a live setting, the crowd was sitting down, simply taking in the performance. But when Buckingham launched into the guitar solo of the tune, “That’s the Way That Love Goes,” audience members immediately stood as one despite their obvious unfamiliarity with the piece.

It was a fittingly unforced show of appreciation for Buckingham’s undeniable guitar majesty.

Buckingham is one of those rare players that must be seen live to truly appreciate what he is accomplishing on guitar. On record, one may never be quite sure how many backing tracks and overdubs are in play, but watching Buckingham in concert, you can’t escape the shake-your-head wonder of realizing just how much sound he is squeezing out of one instrument. And there was plenty of opportunity to experience that sensation Tuesday as Buckingham opened the show by himself with five acoustic songs before he was joined by the rest of his band.

“I’m looking for the lady who made everybody sit down,” Buckingham said between songs, playfully scanning the audience with one hand across his forehead to dim the glare of the spotlights. “Sorry, but that really bummed me out

Full Review at  Herald Extra

by Doug Fox
Photos by JAMES ROH

Lindsey Buckingham 'Seeds We Sow' Top 50 Debut on Billboard's Top 200 Album Chart

Lindsey Buckingham's Seeds We Sow bows at #45 on Billboards Top 200 Album Chart issue date September 24, 2011 

Buckingham first charted in 1975 with an eponymous album by Fleetwood Mac. He first charted as a solo artist in 1981 with Law And Order.  Seeds begins it's chart life higher on the chart then Lindsey's previous 2 albums. 2008's Gift of Screws debuted October 4, 2008 at # 48 with 9,738 units sold in it's first week dropping down to # 126 the following week and off the chart in its third week. His 2006 release Under The Skin debuted October 21, 2006 at # 80 dropping to # 187 in its second week and off the chart in its third week.  Seeds We Sow first week sales are 8,857.


Billboard Biz
Lindsey Buckingham: The Fleetwood Mac member scores his highest debut ever as his self-released "Seeds We Sow" bows at No. 45 with 9,000 sold. It is also his highest charting set since "Go Insane" climbed to No. 45 in 1984. Only one of his albums, 1981's No. 32-peaking "Low And Order," has gone higher.

On the Top 200 Current Albums Chart, Lindsey's Seeds We Sow debuts at # 43. On the Top Independent Albums Chart Seeds We Sow debuts at # 5 and at # 9 on the Tastemakers Albums Chart.

 STEVIE NICKS Re-enters Billboard Top 200 Album Chart
Stevie's In Your Dreams re-enters the Top 200 Albums Chart this week at # 197 on sales of 2,597 down slightly from last weeks sales of 2,708 for an accumulated total of 152,276 since being released May 3rd.  The album moves up to # 157 on the Top 200 Current Albums Chart.  In Your Dreams also re-enters the Top 50 Rock Albums Chart at # 44.

BILLBOARD TOP 200 ALBUMS CHART
# 45  (NEW) Lindsey Buckingham, Seeds We Sow
# 198 (Re-entry) Stevie Nicks, In Your Dreams (15 weeks on chart)

BILLBOARD TOP 200 CURRENT ALBUMS CHART
# 43  (NEW) Lindsey Buckingham, Seeds We Sow
# 157 (166) Stevie Nicks, In Your Dreams (17 weeks on chart)

BILLBOARD TOP 50 ROCK ALBUMS CHART
# 06 (NEW) Lindsey Buckingham, Seeds We Sow
# 44 (Re-entry) Stevie Nicks, In Your Dreams

BILLBOARD TOP 15 TASTEMAKER ALBUMS CHART
# 09 (NEW) Lindsey Buckingham, Seeds We Sow
The week's top-selling albums based on an influential panel of stores comprised of independent retail coalitions and smaller regional chains.  Titles are ranked by sales data as compiled by Nielsen Soundscan.

BILLBOARD TOP 25 INDEPENDENT ALBUMS CHART
# 05 (NEW) Lindsey Buckingham, Seeds We Sow
The weeks top-selling albums across all generes, sold via independent distribution, including those fulfilled via major branch distributors.  Titles are ranked by sales data as compiled by Nielsen Soundscan.

In Ireland, Seeds We Sow debuts at # 95 on the Top 100 Albums Chart for the week ending September 8, 2011.  The album also debuts at # 9 on the Top 20 Independent Albums Chart in Ireland and at # 82 in the UK.