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Collecting his solo works became of vital importance, and Go Insane is definitely the pick of the bunch. Brilliantly crafted slabs of pop music where Buckingham plays virtually every instrument abound.
The title track alone was worth the money that i payed for the whole album, but my absolute highlight are the two Play In The Rain tracks. To describe the sonic scope of these two mainly instrumental tracks is beyond the word power at my command. Needless to say, I have no idea how he dreamed it up.
All of which leads me to wonder, how do Fleetwood Mac albums sell in there millions while this work of genius barley touched the charts.
Lyndsey possesses a vast array of musical styles but all of them delivering on the serious pop/blues front with finesse and raw emotion.
The album is very much of its time, relying heavily on synthesizer and drawing a great deal from both late 1970s "New Wave" idioms and the slick rock-pop-dance music that dominated the airwaves of the 1980s. But even so, and although it generated an unexpected number of hits, GO INSANE is hardly the sort of recording that one would expect to make the charts: glitchy, anxious, and deliberately surreal, it merges everything from random sound to Scottish melodies to flashes of Middle Eastern guitar and snatches of South African harmonies.
Buckingham is, I think, one of the most under-recognized guitar players out there, and now and then on GO INSANE one hears that increasingly intense guitar that made many of Fleetwood Mac's recordings so memorable. But this album is less about guitar than it is about production: in general, the recording uses layered sound (including vocals) in an extremely disorienting and disconcerting fashion, bits of music that sound as if they were played in reverse, and everything from the sound of breaking glass to the sound of pouring water.
The lyrics are covertly erotic, with virtually every cut dealing in some form or fashion with sexual desire, and Buckingham's edgy voice serves the material extremely well throughout. Indeed, it is almost impossible to single out any one cut for praise above the others, but I will note that I have always been particularly fond of the jumpy "I Want You" (opening with the sound of an alarm clock ringing), the Dada-ish "Play In The Rain" parts one and two, and the intense "Loving Cup." Whatever the case, it's all good and very unusual stuff, and while it won't necessarily please Fleetwood Mac fans it's certainly a reference point for those who wondered where all the strangeness of the earlier TUSK and the later SAY YOU WILL comes from.
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