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DISCID=9e086b0b
DTITLE=Lindsey Buckingham / Law And Order
DYEAR=1981
DGENRE=Rock
TTITLE0=Bwana
TTITLE1=Trouble
TTITLE2=Mary Lee Jones
TTITLE3=I'll Tell You Now
TTITLE4=It Was I
TTITLE5=September Song
TTITLE6=Shadow Of The West
TTITLE7=That's How We Do It In L.A.
TTITLE8=Johnny Stew
TTITLE9=Love From Here, Love From There
TTITLE10=A Satisfied Mind
EXTD=Law And Order (West German ''Target'' Pressing)\n\nOriginally Rel
EXTD=eased October 1981\nCD Edition Released February 1987\nCD Edition
EXTD= 2nd Pressing Released July 1, 1991\n\nAMG EXPERT REVIEW: Lindsey
EXTD= Buckingham's talents as guitarist, arranger, and producer were p
EXTD=articularly well suited to Fleetwood Mac, a band in which he was 
EXTD=only one among three songwriters whose material complemented each
EXTD= other's. As a solo artist, Buckingham retains his strengths, but
EXTD= he encounters a form-over-substance problem. The seven songs he 
EXTD=wrote for his debut album come across as sketches, musical pieces
EXTD= for which he has constructed interesting guitar riffs and the oc
EXTD=casional sonic effect, plus a lyric tag -- "Trouble," "That's How
EXTD= We Do It in L.A." But they have not been fleshed out into full-f
EXTD=ledged songs, perhaps because Buckingham hasn't much interest in 
EXTD=lyrics, or because he declines to use more than one or two of his
EXTD= ideas per tune. On the eclectic choice of covers ("September Son
EXTD=g," "A Satisfied Mind"), Buckingham at least has fully composed a
EXTD=nd written pieces to work with, but he embalms them in his produc
EXTD=tion techniques. As such, Law and Order comes off as a high-quali
EXTD=ty demo of largely unfinished material. (Nevertheless, "Trouble" 
EXTD=became a Top Ten single.) -- William Ruhlmann\n\nAMAZON.COM CUSTO
EXTD=MER REVIEW\nMore for Lindsay diehards than fans of the Mac, May 2
EXTD=6, 2005\nReviewer: Greg Brady "columbusboy" (Capital City)\nI'm a
EXTD= Lindsay fan when he's with Fleetwood Mac: I think he keeps the "
EXTD=teeth" in their sound (along with Fleetwood's drumming) that help
EXTD=s them stay away from drifting into sappy adult contemporary pop 
EXTD=they'd otherwise find themselves swamped in. His experimentalism 
EXTD=was a big part of what made their comeback album SAY YOU WILL pre
EXTD=tty decent. \n\nHaving now heard all the band output back to the 
EXTD=early days, I've been borrowing solo CDs from the library and thi
EXTD=s was one of the first because of the inclusion of "Trouble" whic
EXTD=h I remembered fondly from the 80s. I can't say I'm not a bit und
EXTD=erwhelmed at this disc as a whole. \n\nThe artistic reaching is d
EXTD=efinitely here (nearly all instruments are played by Lindsay and 
EXTD=tricks like the dischordant jam that ends "Mary Lee Jones" or the
EXTD= laughing in the instrumental fade of "I'll Tell You Now" still t
EXTD=urn up) but the songs themselves aren't strong enough. \n\nHIGHLI
EXTD=GHTS: \n"Trouble" was the hit back when and it still sounds decen
EXTD=t, although I'm struck now with how little there is to it lyrical
EXTD=ly..2 short verses and chorus ad infinitum. It isn't wearing as w
EXTD=ell with time as Lindsay's Mac hits. "It was I" is a cover of an 
EXTD=obscure 50s track from Skip and Flip. It's a nice tune but I don'
EXTD=t really care for the "little kid" harmony from Carol Harris."Tha
EXTD=t's How We Do it in L.A." was too stripped back to ever be a hit 
EXTD=but that's Top 40's loss. Buckingham yelps out a wonderfully biti
EXTD=ng jab. ("You'll win prizes if you stay...") It's pretty ironic t
EXTD=hat at the height Of Buckingham's largesse he decided to cover Po
EXTD=rter Wagoner's paean to simple living ("A Satisfied Mind"). Despi
EXTD=te the aesthetic problem of adapting the working class hymn to la
EXTD=id back California pop, it works pretty well. \n\nLOWS: \n"Johnny
EXTD= Stew" wastes the best guitar riff here..and a nice production..o
EXTD=n throwaway lyrics in tribute to Johnny Cash("Johnny,Johnny,Johnn
EXTD=y/Everybody's talking about the amazing Johnny Stew"). "September
EXTD= Song" is a boring retread of a classic Tin Pan Alley standard as
EXTD= Lindsay offers a strained vocal over a shattered musicbox backin
EXTD=g. \n\nBOTTOM LINE: \nDiehard Buckingham fans and Mac completists
EXTD= will probably have to have this, but I find later solo CDs more 
EXTD=interesting from him (OUT OF THE CRADLE particularly has some tas
EXTD=ty stuff). Despite occasional edginess, this is mostly very subdu
EXTD=ed fare. \n\nThe bad news for those who only want "Trouble" is th
EXTD=at it only appears on one other CD, a lackluster grouping of "FM 
EXTD=hits" (ASIN B00008F0CE). Isn't it about time for a release of a w
EXTD=ell selected single disc anthology for Stevie's ex?  2 1/2 stars\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nLaw and Order, November 8, 2002\nRe
EXTD=viewer: J. McVie "shipreich" (Houston, TX United States)\nLaw and
EXTD= Order is a very inappropriate title for this album. It is a mixe
EXTD=d bag of experimental sounds that broke just about every musical 
EXTD="law" in its day and probably is still too "out there" for even t
EXTD=oday's average listener. Every song has some surprise or hook tha
EXTD=t grabs attention. Voices (Lindsey has many to choose from) range
EXTD= from soft and sweet to wacky and cartoonish. I first bought this
EXTD= album in 1987 (six years after release, but my first year as a F
EXTD=leetwood Mac fan) and after 15 years of listening to it, I'm stil
EXTD=l not used to it.\nThat covers the oddness of this album. Now for
EXTD= the good part: the songs are great. Lindsey's guitar work is awe
EXTD=some, as always. There is an energetic, impish quality to the ent
EXTD=ire album, even the slow soft songs. "Trouble" is truly a classic
EXTD= track that could easily have been a huge hit if it were on a Fle
EXTD=etwood Mac album. The guitar solo at the end is a blistering, fin
EXTD=ger picking prelude to what he would eventually focus much of his
EXTD= work towards. \n\nThe one issue here for a music fan who is tryi
EXTD=ng to decide whether or not they would like this album is this: H
EXTD=ow experimental can music go before it puts you off? How playful 
EXTD=can a musician get before you are disturbed by his music? If you 
EXTD=can put up with it just a little, there will be at least a few so
EXTD=ngs here that you will enjoy. If you don't think it would bother 
EXTD=you at all, this album will spend a whole lot of time in your cd 
EXTD=player.\n\nAMAZON.COM CUSTOMER REVIEW\nLet The Games Begin, Febru
EXTD=ary 6, 2001\nReviewer: A music fan\nIf you took all the Buckingha
EXTD=m tracks off of the Fleetwood Mac masterpiece "Tusk" and assemble
EXTD=d them onto one solo album, the resulting project would not be to
EXTD=o far away from "Law and Order". This album is the first time we 
EXTD=get to hear Buckingham outside the constraints of the Fleetwood M
EXTD=ac machine. Spare and simple, all the tracks explode with incredi
EXTD=ble energy and individuality. Except for a few, Lindsey plays all
EXTD= the instruments and is responsible for all the vocals with the e
EXTD=xception of a few nice back up contributions from Christine McVie
EXTD=. "Law and Order" finally made fans realize just how responsible 
EXTD=the Buckingham "sound" was for Fleetwood Mac's success. Much of w
EXTD=hat many thought was Stevie Nicks's harmonies was infact layers o
EXTD=f Lindsey Buckingham's vocals. Highlights include "Bwana"( a tale
EXTD= of bandmate Mick Fleetwood's trip to Ghana to record with drum m
EXTD=usicians) "Trouble" with gorgeous acoustic guitar solo, and Johnn
EXTD=y Stew.\n\nAMAZON.COM CUSTOMER REVIEW\nLAW AND ORDER ? Lindsey Bu
EXTD=ckingham Unleashed., October 15, 2000\nReviewer: Axe Maiden (UK)\n
EXTD=Released from the confines of Fleetwood Mac and collaboration wit
EXTD=h Stevie Nicks for the first time, Buckingham was free to explore
EXTD= his eclectic musical influences, and explore he did. He mixes or
EXTD=iginal material with classic cover versions, and while the comedy
EXTD= vocals on September Song and the kazoo solo on Bwana may not be 
EXTD=to everyone's taste, his sense of fun really comes through on thi
EXTD=s album.\nListening to songs like Shadows of the West, Trouble, a
EXTD=nd A Satisfied Mind, you can hear the progression of ideas that b
EXTD=egan with Tusk, and later developed fully on Out of the Cradle. T
EXTD=he two albums sit happily side by side, although they were separa
EXTD=ted by more than ten years. Once again he lets rip on his guitar,
EXTD= producing gems like Mary Lee Jones, Johnny Stew and the positive
EXTD=ly jaunty Love From Here, Love From There.\n\nOverall, this album
EXTD= is a highly enjoyable departure from the more collaborative proc
EXTD=ess of Fleetwood Mac, and reveals the kind of musician Buckingham
EXTD= might have been had he not been tempered, or perhaps stifled, by
EXTD= the band.\n\nAMAZON.COM CUSTOMER REVIEW\nVery Good Buck, Septemb
EXTD=er 28, 1998\nReviewer: A music fan\nI would give this 3 1/2 stars
EXTD= if I could. I am afraid that monsefu@aol.com is a little prejudi
EXTD=ced having given each of Lindsey's albums 5 stars. This is a good
EXTD= first solo album. The song "Trouble" is one of the finest Fleetw
EXTD=ood Mac songs ever--most of the band was involved (if not all) I 
EXTD=like this album overall--a little strange in places and a little 
EXTD=dated in others. But I like it--though I do not listen to it very
EXTD= often anymore. His take on LA with the coughing background singe
EXTD=rs is classic!!!\n\nHalf.com Details \nContributing artists: Chri
EXTD=stine McVie, Mick Fleetwood \nProducer: L. Buckingham, Richard Da
EXTD=shut \n\nAlbum Notes\nPersonnel: Lindsey Buckingham (vocals, vari
EXTD=ous instruments); George Hawkins (bass); Carol Harris, Christine 
EXTD=McVie (background vocals).\n\nEngineers: Richard Dashut, David Br
EXTD=own.\n\nOver the years, Lindsey Buckingham has written some of Fl
EXTD=eetwood Mac's best known songs, including "Go Your Own Way" and "
EXTD=Second Hand News." Buckingham is often seen by Mac fans as the da
EXTD=rk, eccentric member of the group, and his first solo recording, 
EXTD=LAW AND ORDER, does little to dispel that notion.\nLAW AND ORDER 
EXTD=makes it plain that it was Buckingham's influence that occasional
EXTD=ly nudged the affable and accessible pop band to the outer reache
EXTD=s of pop peculiarity, most particularly on their oddball opus, TU
EXTD=SK. LAW AND ORDER includes the fine hit single, "Trouble," which 
EXTD=features a jaw-dropping Buckingham guitar solo. (Buckingham plays
EXTD= nearly all of the instruments on this release, showcasing his fi
EXTD=erce musicality throughout.) In addition to "Trouble," LAW AND OR
EXTD=DER also features the pop gem "Love from Here, Love from There." 
EXTD=There are also a handful of interesting cover songs on this 11-so
EXTD=ng, 1981 release, including the country standard, "A Satisfied Mi
EXTD=nd," and Kurt Weill's "September Song."\n\nIndustry Reviews\n4 St
EXTD=ars - Excellent - ..sparky and inventive..\nQ Magazine (12/01/199
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