Lindsey Buckingham – Lindsey Buckingham

 

Lindsey Buckingham – Lindsey Buckingham

By

Jesse E. Mullen

You’ve co-led a massively successful group on and off for 43 years. You’ve written numerous hit songs, spearheaded a change in sound for your group, and have helped influence modern production techniques, while also surviving personal turmoil within your band. But what happens when that turmoil finally catches up with you?

As was the story of Lindsey Buckingham leading into 2018. The guitarist and songwriter was as famous for his chops on his instrument and studio prowess as he was for his breakup with Fleetwood Mac bandmate Stevie Nicks. That breakup inspired the timeless 1977 album Rumours, but it also left a lot of lingering tension.

This tension eventually led to Buckingham leaving the group for 10 years in 1987 but appears to have boiled over in a more permanent fashion in 2018. According to Buckingham, Nicks informed him – via Fleetwood Mac’s manager – that she “never [wanted] to share the stage” with Buckingham again.

This (allegedly) led to an ultimatum – either Fleetwood Mac fire Buckingham or Nicks would depart. The group apparently chose the former. Whatever truth to this there is, the result was the same. Buckingham was out of Fleetwood Mac.

With time to spare – following a solo tour and an excellent greatest hits box set entitled Solo Anthology – Buckingham put the finishing touches on a solo record which he intended to release in either 2019 or 2020. But a pair of issues put the brakes on his plans.

Buckingham underwent emergency open heart surgery in February 2019, which put him out of commission for the better part of a year. Further complications arose when it was revealed that one of Buckingham’s vocal cords was damaged when he was intubated during the procedure, leading to questions about the future of his singing voice.

2020 led to another complication in the emergence of the COVID-19 pandemic, delaying the release of the album further. One must be asking: could anything else go wrong for Buckingham from 2018 onwards? On a more personal level, the answer was sadly “yes.”

Buckingham’s wife filed for divorce in June of 2021. However, it was later reported that the couple were working on their marriage. Personal anecdotes aside, it would be easy to assume that the next Lindsey Buckingham album would be a dour affair. But then again, this was also an artist famous for finding dry humor in his relationship woes – see: “Second Hand News” and “Big Love.”

Buckingham’s new album, the self-titled Lindsey Buckingham was finally released in September 2021. The album artwork certainly would support the theory of a dour affair, with a po-faced Buckingham mugging for the camera in a black and white image – in line with the sepia-toned Gift Of Screws cover from 2008.

The resulting music resembles that album, at least on a surface level. Screws featured Buckingham at his most pastoral to date on “Time Precious Time,” as well as his most chugging melody since “Trouble” from 1981’s Law and Order in “Did You Miss Me.”

Conversely, Lindsey Buckingham also features many of the production techniques which made Tango In The Night a classic. Varispeed (pitch shifted) backing vocals, sequenced keyboards, drum machines, and “uhh-ahh(s)” are all reprised to great success. But Buckingham proves he is willing to update his sound for modern times.

“Swan Song” features syncopated techno beats and staccato vocals looped into infinity, while Buckingham shreds away on one of his glorious, fingerpicked guitar solos. Interestingly, this track originated from a session Buckingham was producing for Medicine’s Brad Laner. Laner – who primarily works within the shoegazing genre – handed Buckingham a copy of demos he had recorded, with hopes that Buckingham would find them interesting – and possibly cover one.

One of those songs intrigued Buckingham enough that he did just that – partially. “Mind’s Eye” was a song from those sessions which formed the basis for the chorus of “Swan Song.” Consequently, Laner has a co-writing credit and a share of all royalties earned. (Life lesson – sometimes it really helps to put yourself out there.)

“Power Down” mixes baggy beats with the new wave pop Buckingham has pursued in his solo career to great success. Buckingham plays the part of a lover left behind, saying he “called your name but no one was listening.” It’s one of a few hints that not all was right in his life at the time.

The other, “Santa Rosa,” deals with distance between a couple, with Buckingham warning his lover “that world is gonna close you” if she leaves. That Buckingham marries his lyrics to a major-key acoustic country groove makes it one of the melodic highlights of the album, even if it is one of the more solemn moments here.

However, not all is doom and gloom. “I Don’t Mind” shares the wisdom of an older man in a relationship – it deals with an aging couple accepting each other’s flaws. It might be the most Fleetwood Mac-like song on the album – Buckingham’s varispeed harmonies even sound a bit like Christine McVie. Layers of acoustic guitars and Buckingham’s drum machine programming add further color to the sonic landscape of the track.

“Scream” features a rising and falling vocal melody and chord progression that manages to recall “Go Your Own Way,” while some of the vocal production resembles the simulated female backing vocals from “Caroline.” It’s chorus of “I love you when you scream” is open to interpretation, as it could either have a sexual connotation or a sexual one – or both.

Elsewhere, “On The Wrong Side” bolsters a tune that is catchy, singable, and melodic while also featuring a bit of a bard lyric. Buckingham sings that he’s “out of pity” and “out of time.” Could this be directed at his wife? Or at Nicks and his impending removal from Fleetwood Mac? Only Buckingham knows for sure.

Given Lindsey Buckingham’s troubles over the past few years, it’s hard not to read the lyrical tea leaves on these songs. However, their actual meaning doesn’t at all affect the quality of the material. With Lindsey Buckingham, Buckingham (the artist) has delivered some of the finest moments of his solo career.

Reprise/2021

 

 

Dire Straits – On Every Street

 

Dire Straits – On Every Street

By

Jesse E. Mullen

 

 

You’re one of the biggest bands in the world, if not the biggest. You’ve gone from playing pubs to playing stadiums. You’ve released one of the best-selling albums of all time, and you’ve just finished touring said album. And then you go into hibernation for six years.

As was the story of Dire Straits. The British rock group had achieved massive sales for their 1985 album Brothers In Arms. Propelled by the singles “Money For Nothing” and “Walk Of Life,” it seems that nearly everyone has heard the record.

However, following the grueling world tour which concluded in April 1986, frontman, songwriter, and enigmatic lead guitarist Mark Knopfler was beginning to feel he’d had enough. So, following two years of (mostly) inactivity, he announced a breakup of the group in September 1988.

After starting a new group, Notting Hillbillies, and making a record with his idol Chet Atkins, Knopfler finally felt it was time to resurrect Dire Straits. So, in 1990, the band began recording a new album at AIR Studios in London. Entitled On Every Street, the record would finally be released in September 1991.

“Calling Elvis” begins the album with a tight rockabilly groove and strong interplay between bassist John Illsley and session drummer Jeff Porcaro. Mark Knopfler’s guitar builds over the course of the track from a simple hammer-on into some of his most explosive fretboard fireworks.

Newcomer Paul Franklin adds a choppy pedal steel riff to the verses, and keyboardists Guy Fletcher and Alan Clark add color to the bridges. If ever there was a band effort, this would be it. As the lyrics end, the track transitions into a hypnotic jam – one which would be drawn out to 11 minutes + when performed on tour.

The inspiration behind the title came from Knopfler’s brother-in-law, who said the guitarist/songwriter was “harder to get a hold of than Elvis.” The lyrics seem to be inspired by the “list songs” of Bob Dylan, as they string titles of Elvis Pressley songs together into a narrative.

Knopfler sings from the perspective of a fan, who calls Elvis endlessly in his later days – after the mystique had faded. It’s as if Knopfler is commenting on his own fame, feeling as though he’s had enough of dealing with the public. A thrilling start, but things would only get better.

The title track finds Knopfler in familiar lyrical territory. Much like “Private Investigations” from 1982’s Love Over Gold, “On Every Street” finds the narrator searching for someone who has wronged him – or in this case, someone close to him. Quite likely a veiled metaphor for lost love.

Knopfler sings from the perspective of a private investigator who unsuccessfully tries to track down a killer. During the second verse, we get a more explicit description of the man in question. He sports a “a ladykiller – regulation tattoo” and “silver spurs on his heels.”

Sonically, the track is a sparse, but wonderfully effective piece of music. Each verse ends with Knopfler pausing while singing “and it’s your face I’m looking for… On every street.” Alan Clark fills in the gaps with a gorgeous three-note piano melody. Knopfler responds with a three-note riff of his own – which would fit perfectly in a western film – followed by a Chris White saxophone interlude.

The track ends a sweet four-chord riff – surprisingly no lead guitar from Knopfler – and some very tastefully inspired pedal steel from Paul Franklin. Knopfler is at his best when he can stretch out musically, so it is refreshing to hear him take a different approach to the end of a song.

Knopfler clearly hadn’t rid himself of his rockabilly affliction as displayed by “The Bug.” Almost a sequel to “Walk of Life” – with six more years of wisdom – “The Bug” is an up-tempo, upbeat rockabilly song about life’s ups and downs.

“Sometimes you’re the windshield/sometimes you’re the bug” and “Sometimes you’re the Louisville Slugger/sometimes you’re the ball,” as the two-part chorus goes. Knopfler’s rhythmic, toe-tapping fingerpicking is again offset by Paul Franklin’s colorful pedal steel lines. It may not be rocket science, but it’s a whole lotta fun.

Just because a song is satirical, doesn’t mean it can’t be beautiful. “Ticket To Heaven” tackles a controversial topic – televangelism in America – with a wink and a nod. Over a lushly orchestrated George Martin soundscape, Knopfler sings from the perspective of a poor man who has been swindled by a megachurch.

The title – and chorus, by extension – would seem to be a cynical commentary on what motivates the religious to act benevolently: the promise of eternal salvation. The man in the song has no money to pay his heating bills. Yet he is willing to send what little he has to a minister on television who is making these lofty promises.

Because Knopfler is a gifted songwriter – and a much better writer than yours truly – he somehow manages to not come across as preachy or overzealous. Similarly, without the biting commentary of the lyrics, the song would come across as syrupy. But marrying the lyrics with Martin’s arrangements makes “Ticket To Heaven” a winner.

The satire was laid on even more heavily on the jazzy, Steely Dan-esque “My Parties.” Sung-spoken by Knopfler about the lifestyles of the rich and famous, it becomes more enjoyable once the listener realizes that it is being sung ironically.

Written from the perspective of a wealthy party host who lacks self-awareness, the audience is duly laughing at his expense. He brags about his possessions to anyone in his vicinity, demonstrates his lack of care about global warming, and even proposes a toast to himself.

One must wonder if Knopfler was trying to distance himself from the trappings of fame – and the unpleasant characters that it can bring. As a former junior reporter, his keen sense of observation has been noted in reviews since the first Dire Straits album came out. Perhaps he was observing what was becoming an all-too frequent occurrence around him.

The album ends on an uplifting note with the light country rock of “How Long.” Propelled by a bouncing John Illsley bassline and Paul Franklin’s pedal steel, the track tells a wistful tale of lust. Somewhat ironically, Knopfler’s lyrics paint a picture of a relationship that has hit a wall. He asks how long his lover will “keep [him] wondering.” However, the uplifting tone of the track suggests hope for the future.

And with that, Dire Straits recording career was finished. A year-long world tour would take them to the end of 1992 – and every corner of the globe – after which Knopfler would hang up the headbands and pursue a solo career. He would later hint at retirement in 2019.

On Every Street proved that Mark Knopfler still had a few tricks left up his sleeve. Despite receiving mixed reviews at the time of release, the album has aged remarkably well. While Love Over Gold remains Dire Straits’ magnum opus, they bowed out in grace and style. 

Warner Bros./1991