Red Mosquito

liebzz wrote:Amazing what this guy’s late career brought.

Man, you’re on a tear. I’m gonna start with all these Buckingham albums on the way home today.

liebzz wrote:Lindsey Buckingham - Under the Skin

The Lindsey Buckingham creative renaissance continues with this one. The songs are great. The structures are always interesting. He’s playing a mean acoustic guitar. It’s a bit stripped down from some of his other work, but all the better for it. He’s living at this point in that sweet spot he nailed on Say You Will. Not Too Late, Show You How, Under the Skin, It Was You, Cast Away Dreams, Someone’s Gotta Change Your Mind are all really good highlights - the last of which might be my favorite on this one.

Great album. Certainly more “toned down” than anything we’ve heard previously. There’s not really a bad song on here and while there were a couple I REALLY liked, I don’t think it’s anything I would revisit often. Again, not that it’s bad at all. Just not my style that I would listen to a lot.

liebzz wrote:Lindsey Buckingham - Live at the Bass Performance Hall

Released from the tour of Under the Skin, this live album is possibly the top live release in this journey so far. We’ve got the hits, Fleetwood Mac and solo, and we’ve got the right combination of songs that really provides the best example of Buckingham live. His maturity, excellent guitar work, and passionate delivery is in perfect balance. Not Too Late, Trouble, Big Love, and Go Insane have some amazing acoustic-like moments where you can really hear his playing. I’m so Afraid and Go Your Own Way are both epic and have some solo tweaks that keep them interesting. This is as close to as must hear as it’s going to get.

It really is. Wonderful live performances. A few bad mixing jobs but a GREAT album. I think I prefer that last FM live album tho.

Stevie Nicks - In Your Dreams

Lindsey Buckingham was certainly having a big moment in the aughts with the remainder of the band semi-retired and/or waiting around? In either event, Nicks released her first album in a decade - really a decade after she had a string of pretty forgettable albums, save for Fleetwood Mac’s Say You Will, which was largely carried by Buckingham. This one follows that same pattern largely - a collection of largely forgettable mid-tempo rock songs that feel like they are trying to recapture whatever magic existed in the early 80s, but never living up to that. There’s nothing terrible on this album, but there’s also nothing particularly striking to note either.

Fleetwood Mac - Extended Play

The last Fleetwood Mac studio release proper still feels like a Buckingham Nicks production. Miss Fantasy and Sad Angel are the best of this bunch. I am sure they may have had an album in there, but I guess it wasn’t to be. This was quick and solid though.

liebzz wrote:Fleetwood Mac - Extended Play

The last Fleetwood Mac studio release proper still feels like a Buckingham Nicks production. Miss Fantasy and Sad Angel are the best of this bunch. I am sure they may have had an album in there, but I guess it wasn’t to be. This was quick and solid though.

Was McVie not back in the fold for this?

She was not. It was the four - John McVie, Fleetwood, Buckingham, Nicks.

Stevie Nicks - 24 Karat Gold: Songs From the Vault

The final Nicks release for the journey is probably the best album of her since Wild Hearts, especially the first 2/3 of this one. Starshine, The Dealer, Mabel Normand, Cathouse Blues, 24 Karat Gold, Hard Advice, Lady, and I Don’t Care are all excellent. Apparently convinced to clean up and re-record from demos online of her cast aways from the 70s and 80s, these all have great energy and she’s at her best in a long while here. A nice way to finish her contributions to this.

Buckingham McVie

McVie’s last album ends up basically a Fleetwood Mac album sans Stevie Nicks. McVie’s penchant for pop with Buckingham’s quirky sense of rock. Largely, this is a nice listen. Perhaps not on the level of Buckingham’s solo work in the decade plus prior, but he keeps things interesting and McVie keeps it easy to digest. In My World and Too Far Gone were my favorites but this is a solid release.

Lindsey Buckingham

His most recent album to date is a pretty solid, completely solo effort. A one man show. Really, the first half of this album is great and it sort of loses steam in the second half. Scream, I Don’t Mind, On the Wrong Side, Swan Song, and Blue Light are all excellent, and Buckingham continues to look for new places and creative avenues, even if a bit more poppy than his other solo efforts. There’s even some level of a dance like drum machine loop in Sean Song that’s pretty infectious. The remainder of the album was a bit of a snooze for me, but he’s built enough of a solid foundation with his work that you can sort of give it a pass.

I was going to listen to Mick Fleetwood and friends play the music of Peter Green but I just don’t think i care enough, though it would have been nice to go full circle.

I’m struggling to find the motivation to finish out the last of the Buckingham and Nicks albums and the EP.

wease wrote:I’m struggling to find the motivation to finish out the last of the Buckingham and Nicks albums and the EP.

I was pretty positive on all that.

liebzz wrote:

wease wrote:I’m struggling to find the motivation to finish out the last of the Buckingham and Nicks albums and the EP.

I was pretty positive on all that.

Oh I know. And that’s probably the only thing that makes me want to listen to them.

To me Fleetwood Mac's best song is Sara and it is even remotely close. For whatever reason I did a deep dive into the song yesterday to get the meaning and my mind was blown.

It is generally understood that fleetwood mac was maybe the biggest whorish and dysfunctional band yet they somehow made it work despite everyone sleeping with everyone while sleeping with everyone else. To have to on stage and sing the songs from Rumors knowing it is about the unfaithfulness that everyone experienced and put a smile on while doing so is insane.

Now onto Sara. Stevie Nicks wrote this on her own and did not involve the band at all. she workshopped it and it ended up being 16 minutes long. Not something she had ever done before and radio was notorious to stay away from. She played it for Don Henley and a producer who told her she couldnt cut anything down and that it was the beginning of a beautiful song it was almost not long enough as it covered a lot of her relationships focused into one song.

She continued to work on it and then finally during the Tusk sessions for Fleetwood she introduced it to the band. While they all liked it they too thought it was too long but weren't sure what to cut or actually if it should be cut. There was some concerns with the piano parts and her singing and cause the timing was everywhere. Mick Fleetwood ended up switching to brushes to soften it.

the song was again cut down to about 13 minutes and then finally around 7

the part that is gut wrenching when you realize it is Sara is one of her friends Sara Recor who was sleeping with Mick Fleetwood while Stevie and he were together. But Sara is also the name of the child that Stevie lost. The father was don henley.

Songs like All of my Love, Tears in Heaven and this are crazy to me that you can take a completely emotional bomb and put words to it and sing it for a majority of your life and not have a mental breakdown

Sara is a banger, but it's no Sisters of the Moon.

Big Love

guys. i literally said it isnt even close. please respect that decision

Actually, you said it IS even close.

wease wrote: Wed September 02, 2026 11:44 am Actually, you said it IS even close.

dont throw my words back in my face mister