Lindsey Buckingham: Law And Order CD Track Listing

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Lindsey Buckingham Law And Order (1981)
Law And Order (West German ''Target'' Pressing)\n\nOriginally Released October 1981\nCD Edition Released February 1987\nCD Edition 2nd Pressing Released July 1, 1991\n\nAMG EXPERT REVIEW: Lindsey Buckingham's talents as guitarist, arranger, and producer were particularly well suited to Fleetwood Mac, a band in which he was only one among three songwriters whose material complemented each other's. As a solo artist, Buckingham retains his strengths, but he encounters a form-over-substance problem. The seven songs he wrote for his debut album come across as sketches, musical pieces for which he has constructed interesting guitar riffs and the occasional sonic effect, plus a lyric tag -- "Trouble," "That's How We Do It in L.A." But they have not been fleshed out into full-fledged songs, perhaps because Buckingham hasn't much interest in lyrics, or because he declines to use more than one or two of his ideas per tune. On the eclectic choice of covers ("September Song," "A Satisfied Mind"), Buckingham at least has fully composed and written pieces to work with, but he embalms them in his production techniques. As such, Law and Order comes off as a high-quality demo of largely unfinished material. (Nevertheless, "Trouble" became a Top Ten single.) -- William Ruhlmann\n\nAMAZON.COM CUSTOMER REVIEW\nMore for Lindsay diehards than fans of the Mac, May 26, 2005\nReviewer: Greg Brady "columbusboy" (Capital City)\nI'm a Lindsay fan when he's with Fleetwood Mac: I think he keeps the "teeth" in their sound (along with Fleetwood's drumming) that helps them stay away from drifting into sappy adult contemporary pop they'd otherwise find themselves swamped in. His experimentalism was a big part of what made their comeback album SAY YOU WILL pretty decent. \n\nHaving now heard all the band output back to the early days, I've been borrowing solo CDs from the library and this was one of the first because of the inclusion of "Trouble" which I remembered fondly from the 80s. I can't say I'm not a bit underwhelmed at this disc as a whole. \n\nThe artistic reaching is definitely here (nearly all instruments are played by Lindsay and tricks like the dischordant jam that ends "Mary Lee Jones" or the laughing in the instrumental fade of "I'll Tell You Now" still turn up) but the songs themselves aren't strong enough. \n\nHIGHLIGHTS: \n"Trouble" was the hit back when and it still sounds decent, although I'm struck now with how little there is to it lyrically..2 short verses and chorus ad infinitum. It isn't wearing as well with time as Lindsay's Mac hits. "It was I" is a cover of an obscure 50s track from Skip and Flip. It's a nice tune but I don't really care for the "little kid" harmony from Carol Harris."That's How We Do it in L.A." was too stripped back to ever be a hit but that's Top 40's loss. Buckingham yelps out a wonderfully biting jab. ("You'll win prizes if you stay...") It's pretty ironic that at the height Of Buckingham's largesse he decided to cover Porter Wagoner's paean to simple living ("A Satisfied Mind"). Despite the aesthetic problem of adapting the working class hymn to laid back California pop, it works pretty well. \n\nLOWS: \n"Johnny Stew" wastes the best guitar riff here..and a nice production..on throwaway lyrics in tribute to Johnny Cash("Johnny,Johnny,Johnny/Everybody's talking about the amazing Johnny Stew"). "September Song" is a boring retread of a classic Tin Pan Alley standard as Lindsay offers a strained vocal over a shattered musicbox backing. \n\nBOTTOM LINE: \nDiehard Buckingham fans and Mac completists will probably have to have this, but I find later solo CDs more interesting from him (OUT OF THE CRADLE particularly has some tasty stuff). Despite occasional edginess, this is mostly very subdued fare. \n\nThe bad news for those who only want "Trouble" is that it only appears on one other CD, a lackluster grouping of "FM hits" (ASIN B00008F0CE). Isn't it about time for a release of a well selected single disc anthology for Stevie's ex? 2 1/2 stars\n\nAMAZON.COM CUSTOMER REVIEW\nLaw and Order, November 8, 2002\nReviewer: J. McVie "shipreich" (Houston, TX United States)\nLaw and Order is a very inappropriate title for this album. It is a mixed bag of experimental sounds that broke just about every musical "law" in its day and probably is still too "out there" for even today's average listener. Every song has some surprise or hook that grabs attention. Voices (Lindsey has many to choose from) range from soft and sweet to wacky and cartoonish. I first bought this album in 1987 (six years after release, but my first year as a Fleetwood Mac fan) and after 15 years of listening to it, I'm still not used to it.\nThat covers the oddness of this album. Now for the good part: the songs are great. Lindsey's guitar work is awesome, as always. There is an energetic, impish quality to the entire album, even the slow soft songs. "Trouble" is truly a classic track that could easily have been a huge hit if it were on a Fleetwood Mac album. The guitar solo at the end is a blistering, finger picking prelude to what he would eventually focus much of his work towards. \n\nThe one issue here for a music fan who is trying to decide whether or not they would like this album is this: How experimental can music go before it puts you off? How playful can a musician get before you are disturbed by his music? If you can put up with it just a little, there will be at least a few songs here that you will enjoy. If you don't think it would bother you at all, this album will spend a whole lot of time in your cd player.\n\nAMAZON.COM CUSTOMER REVIEW\nLet The Games Begin, February 6, 2001\nReviewer: A music fan\nIf you took all the Buckingham tracks off of the Fleetwood Mac masterpiece "Tusk" and assembled them onto one solo album, the resulting project would not be too far away from "Law and Order". This album is the first time we get to hear Buckingham outside the constraints of the Fleetwood Mac machine. Spare and simple, all the tracks explode with incredible energy and individuality. Except for a few, Lindsey plays all the instruments and is responsible for all the vocals with the exception of a few nice back up contributions from Christine McVie. "Law and Order" finally made fans realize just how responsible the Buckingham "sound" was for Fleetwood Mac's success. Much of what many thought was Stevie Nicks's harmonies was infact layers of Lindsey Buckingham's vocals. Highlights include "Bwana"( a tale of bandmate Mick Fleetwood's trip to Ghana to record with drum musicians) "Trouble" with gorgeous acoustic guitar solo, and Johnny Stew.\n\nAMAZON.COM CUSTOMER REVIEW\nLAW AND ORDER ? Lindsey Buckingham Unleashed., October 15, 2000\nReviewer: Axe Maiden (UK)\nReleased from the confines of Fleetwood Mac and collaboration with Stevie Nicks for the first time, Buckingham was free to explore his eclectic musical influences, and explore he did. He mixes original material with classic cover versions, and while the comedy vocals on September Song and the kazoo solo on Bwana may not be to everyone's taste, his sense of fun really comes through on this album.\nListening to songs like Shadows of the West, Trouble, and A Satisfied Mind, you can hear the progression of ideas that began with Tusk, and later developed fully on Out of the Cradle. The two albums sit happily side by side, although they were separated by more than ten years. Once again he lets rip on his guitar, producing gems like Mary Lee Jones, Johnny Stew and the positively jaunty Love From Here, Love From There.\n\nOverall, this album is a highly enjoyable departure from the more collaborative process of Fleetwood Mac, and reveals the kind of musician Buckingham might have been had he not been tempered, or perhaps stifled, by the band.\n\nAMAZON.COM CUSTOMER REVIEW\nVery Good Buck, September 28, 1998\nReviewer: A music fan\nI would give this 3 1/2 stars if I could. I am afraid that monsefu@aol.com is a little prejudiced having given each of Lindsey's albums 5 stars. This is a good first solo album. The song "Trouble" is one of the finest Fleetwood Mac songs ever--most of the band was involved (if not all) I like this album overall--a little strange in places and a little dated in others. But I like it--though I do not listen to it very often anymore. His take on LA with the coughing background singers is classic!!!\n\nHalf.com Details \nContributing artists: Christine McVie, Mick Fleetwood \nProducer: L. Buckingham, Richard Dashut \n\nAlbum Notes\nPersonnel: Lindsey Buckingham (vocals, various instruments); George Hawkins (bass); Carol Harris, Christine McVie (background vocals).\n\nEngineers: Richard Dashut, David Brown.\n\nOver the years, Lindsey Buckingham has written some of Fleetwood Mac's best known songs, including "Go Your Own Way" and "Second Hand News." Buckingham is often seen by Mac fans as the dark, eccentric member of the group, and his first solo recording, LAW AND ORDER, does little to dispel that notion.\nLAW AND ORDER makes it plain that it was Buckingham's influence that occasionally nudged the affable and accessible pop band to the outer reaches of pop peculiarity, most particularly on their oddball opus, TUSK. LAW AND ORDER includes the fine hit single, "Trouble," which features a jaw-dropping Buckingham guitar solo. (Buckingham plays nearly all of the instruments on this release, showcasing his fierce musicality throughout.) In addition to "Trouble," LAW AND ORDER also features the pop gem "Love from Here, Love from There." There are also a handful of interesting cover songs on this 11-song, 1981 release, including the country standard, "A Satisfied Mind," and Kurt Weill's "September Song."\n\nIndustry Reviews\n4 Stars - Excellent - ..sparky and inventive..\nQ Magazine (12/01/1992)
This rock cd contains 11 tracks and runs 35min 57sec.
Freedb: 9e086b0b
Buy: from Amazon.com

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