Day in Rock Report for 12/09/2018
The guitarist filed legal action in October against his former group for breach of fiduciary duty, breach of oral contract and intentional interference with prospective economic advantage, among other charges, while seeking compensation for $12 million in lost revenue from Fleetwood Mac's current 2018/19 tour.
"We've all signed off on something. I'm happy enough with it," Buckingham tells CBS This Morning. "I'm not out there trying to twist the knife at all. I'm trying to look at this with some level of compassion, some level of wisdom."
As for the split, the rocker admits "It hurt for a while. I did walk around for a few months with a visceral reaction to that." Buckingham first sensed friction within the lineup during a band meeting in late 2017, as Fleetwood Mac were discussing plans for an extensive North American tour that would start in October 2018. The guitarist claims he was met with "stonewalling" when he asked for "three or four months extra" ahead of the trek's launch to do a series of solo dates in support of a solo compilation (the recently-released package, "Solo Anthology - The Best of Lindsey Buckingham"); he later agreed to postpone his solo series to join the group on the road, but it may have been too late at that point.
Things came to a head in late January when Buckingham was informed of his firing by manager Irving Azoff over alleged issues brought forward by Stevie Nicks following a music industry charity event where the group was being honored, with claims the guitarist had smirked behind her when she gave her acceptance speech - even though video from the evening clearly shows multiple members joking around at the time.
"It appeared to me that she was looking for something to hang on me, in order to instigate some kind of coup," Buckingham explains. "Irving told me a couple of days later that she'd given the band an ultimatum and either I had to go or she was going to go. None of it makes sense to me, you know? Fleetwood Mac, the five of us together is in my mind, is a very sacred thing." Watch the TV appearancehere.
The Rush icon told Prog "I go down to my studio, which I do, and I play these bass guitars because I have quite a few of them and they're fun to play. I like to keep my fingers in shape. When I play, ideas come out, so I record them and then I forget about them. When I go back to them, I'm sure half of them will be sh*t and I'll erase them.
"But I fully intend to go down one day and see what I've gathered down there. Once I've finished promoting this book, I do hope to become a musician again! But I have no idea what form that will take. I have no plans and I don't know where I'm headed."
Tony had this to say, "Candlemass are a major force in Scandinavian heavy rock and have always acknowledged the influence we had on their music. They asked if I'd contribute to a track which sounded pretty good so I thought 'why not'".
Leif Edling added, "We feel very honored that Tony Iommi said yes to play the solo on Astorolus. The song was sent to the management and amazingly enough, the master agreed to let his mighty SG sing on the track! For me personally this is a dream come true. Tony Iommi has always been my hero and guiding light when it comes to heavy music, so to hear that he likes the song and also would like to play on it, gave me chills down the spine! I'm still in shock! But kudos to him to be so cool to even listen to it. Hats off! Tony Iommi is and will always be God!" Read morehere.
He wrote, "I stand against who I became in my past and am pursuing a new purpose in the rebirth of AILD. We collectively are. People who support AILD are not supporting the person I once was, because part of my life's work now is to undo the hurt I've caused and to help others in addiction. Instead, I think AILD fans are supporting the belief that people can change.
"I will never be able to undo my greatest mistake, but I believe it's better to do something rather than give up. AILD collectively condemns all forms of domestic abuse and violence. Its aftermath is one of pervasive, long-lasting hurt and there is no acceptable excuse or defense for such behavior. Our agenda as a band is to actively back and work with organizations who offer support to those who are emotionally suffering and in pain. Whether it be from a history of abuse, hardship, or mental illness-pro-activity in healing and recovery is at the core of what this band is now.
"Tonight we'll play the biggest headline show of our career (topping our second biggest headline show earlier on this same tour). Our fans in Germany did not know this when they bought their tickets, but we will be donating a portion of proceeds from our show to HeartSupport; an organization we believe in that functions to provide emotional support and counseling to young adults caught in cycles of addiction, depression, sexual abuse, and family turmoil. Our mission is to continually seek and implement ways to facilitate positive, meaningful change in the world around us.
"For now, we don't want to miss out on bringing purpose into our biggest moment yet. We've been given a second chance we thought we'd never have again and we certainly don't take it for granted."
Frontman Joel Ekelof, had this to say, "The video and the song reflect the importance to stand up for yourself and not be trapped in other peoples' expectations of you.
"People are going to try to push you down and they want you to conform to the prevailing ideals, but as long as you follow your own path you are never wrong." Watch the videohere.
The song can be streamed here. The GBV camp describes the upcoming record as "a major and majestic work in the GBV canon, spotlighting the scope and genius of Robert Pollard's songwriting.
"With 32 songs in 75 minutes, the massive Zeppelin reaches lofty heights on its musical journey. Pollard continues to deliver endless invention and emotional wallop in two and three-minute guitar rock gems."
The new clip was directed and filmed by Jason Lee Denton and can be streamed here. Grayson had this to say, "'Introvert' is a reflection of the internal struggles of an introvert, outlining battles with constant bombardment of social situations and wanting to get back to solitude, but ultimately becoming comfortable in one's own skin. Personally, it's a musical observation of what I see living with and loving an introvert."
"'Introvert' reflects the times when I feel best alone. It's about the welcome isolation that comes when everything else is overwhelming. And, yet, how we're all connected by our desire to pull away from society and into ourselves, at times."
We have been called a pioneering crossover thrash band over the years for our demo Killing the Future. Don Kaye of Kerrang once wrote it was "too damn fast" in describing it. We knew we had accomplished our goal. That was 1987. In the same years, we decided we wanted to slow it down. We went on to become one of the first progressive/technical bands and ultimately wrote and released a debut record called Eyes of Tomorrow that was dark, complex, atmospheric and progressive. Not a crossover track or riff to be found on over 60 minutes of music. We went on to sue Dr. Dre for trademark infringement in 1996 when he decided to form Aftermath Entertainment. We got signed to Interscope Records, decided to change the name to Mother God Moviestar release a record that sounded nothing like Aftermath, do a tour, and call it a day.
In 2014, Divebomb records contacts us about reissuing Killing the Future on CD. We go to the vault and remaster the tracks. Forcing myself to listen to those songs for the first time since we recorded them, I fell in love with their attitude, speed, energy and aggression. We reunite to do the Headbanger's Open Air fest in Hamburg, Germany that year and as part of rehearsing we decided to write a new song for the gig. We kept on writing. One of the tracks we wrote was Smash Reset Control. We wanted to capture the crossover sound of the 1980s. We weren't sure how it would come out. So many bands say they are returning to their roots and then they record something that sounds nothing like the old stuff. Not to mention any one in particular, but I'm sure you know of a few of them. So when Smash came out sounding the way it did, we were blown away. It was plucked right out of 1986. The lyrics of that track needed the music to sound and be a crossover thrash track. The message is simple: it is time to Smash the current power structure, Reset the system and take back Control. Actually doing it is the hard part. When we decided to release it in advance of the record, we wanted a lyric to be more than lyrics sprayed across the screen. Josh Vargas was the editor we picked to do the video, he got the message and we made some tweaks to his images to get it across in the way images can. It's not about violence even though the images have those scenes, it really is about telling people that violence will be the result if things don't change. It has a positive message that if we all wake up we can change all of this and regain what has been taken. It isn't about the left or right, conservative or liberal, it is really us against them. Them being the top 1 percent of the 1 percent against the rest of us. If we realize that it really isn't the puppets that we call our leaders that really control, then we can all be united instead of being divided by the nonsense, the wedge issues, the talking points on and on. The track is about unity. Brought to you in breakneck speed.
Hearing is believing. Now that you know the story behind the song, listen for yourself and learn moreright here!
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