WTF Ear Candy

Law and Order
by Lindsey Buckingham
Barnes & Noble link

Special note: this was reviewed using the 1981 vinyl release.

Much like his New Wave compatriot from Wisconsin, Fleetwood Mac guitarist Lindsey Buckingham set forth on the journey to Solo Career Town in 1981 with the release of Law and Order. To the surprise of absolutely no one, it wasn't an enormous success. You know, because there was another album out that was catching everyone's attentions. It didn't stop the album's second song "Trouble" from becoming his first Top Ten hit. When you finish spinning the album for the first time, it leaves you feeling something, mostly the feeling of "what the eff did I just listen to".



The genius of Buckingham's sound is finding its footing here with his fingerpicking technique, the usage of himself singing his own backup (the musical equivalent of dividing by zero), and penchant for emotional lyrical content. It's like watching your kid become a teenager: there are going to be some awkward moments, like having your girlfriend sing backup ("It Was I"), fake-crying halfway through a song ("I'll Tell You Now"), and singing French like you're spitting sunflower seeds ("That's How We Do It in L.A."). But you still see the heart of gold in that shaggy-haired scamp.

When you go solo, the first thing you want to prove is that you can write a song separate from your band, right? Of course Buckingham engages in that, (eight of eleven songs were penned, and played, by himself) but also covers three songs: "It Was I", "September Song", and "A Satisfied Mind". Yeah, seems like a lot of covers in one album. To argue in Buckingham's favor, perhaps doing this was his way of proving that he could even do great updates of classic songs, all while showing off his songwriting prowess. That still doesn't erase the weirdness of having three covers in one album. And a debut, no less!

"Mary Lee Jones" fades in with a soft galloping guitar and Buckingham's high-pitched tenor pipes in (of course, with himself backing himself up), singing about the demise of a... friend? Who is she anyway? Whoever this lady is will remain a mystery. The lyrics hint that she died due to loneliness. The song has an unconventional ending, having a driving guitar solo with howls from Buckingham. What an interesting way to end a song about a solemn subject matter.

"Shadow of the West", the personal favorite off the album, has a surprise appearance by Christine McVie. Their harmonies are a foreshadowing of their collaborations in Mirage and Tango In the Night. The acoustic guitar is soft and fading like a California sunset. With the twangy strains of the electric guitar, it reminds intrepid listeners of early Eagles (but only better). This is also the only melancholic song in the album, which makes it the straightlaced one in this motley crew of Buckingham originals.

It is weird to talk about one of the cover songs, but it has to be said. His cover of "A Satisfied Mind" is truly beautiful. The vocals are warm and earnest, giving the lyrics a refreshing optimism. As with "September Song", his singing really works with these older songs. This final cover works as an apropos closing to this album, with its gentle flow of guitars and piano, easing the listeners out with an aural "come back and see us again".

We learned a lot from this album. The biggest lesson was that Lindsey Buckingham could stand on his own while putting out what music he wanted to make. Was it accessible? No. But you know what? We came back for more and he sure has provided. Awkward and endearing, Law and Order should be celebrated for all its wacky glory.