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Law and Order

37 customer reviews

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Audio CD, July 1, 1991
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$13.40 & FREE Shipping on orders over $35. Details Only 4 left in stock. Ships from and sold by Amazon.com. Gift-wrap available.

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Law and Order + Out of the Cradle
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
  1. Bwana 3:08$0.99  Buy MP3 
  2. Trouble 3:56$1.29  Buy MP3 
  3. Mary Lee Jones 3:15$0.99  Buy MP3 
  4. I'll Tell You Now 4:21$0.99  Buy MP3 
  5. It Was I 2:42$0.99  Buy MP3 
  6. September Song 3:17$0.99  Buy MP3 
  7. Shadow Of The West 3:58$0.99  Buy MP3 
  8. That's How We Do It In L.A. 2:54$0.99  Buy MP3 
  9. Johnny Stew 3:09$0.99  Buy MP3 
10. Love From Here, Love From There 2:50$0.99  Buy MP3 
11. A Satisfied Mind 2:49$0.99  Buy MP3 

Product Details

  • Audio CD (July 1, 1991)
  • Number of Discs: 1
  • Label: Warner Bros.
  • ASIN: B000002K99
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (37 customer reviews)
  • Amazon Best Sellers Rank: #26,437 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

16 of 16 people found the following review helpful By G. Wallace on September 22, 2001
Format: Audio CD
I fished this out of the cutout rack because of the radio song ('Trouble'). I had to listen to it a few times before it made sense. But every year I like it better. Alternatively weepy and acerbic, just about every track packs some kind of punch. Wouldn't Paul McCartney have loved to have written 'Shadow of the West'? Buckingham played most of the parts and made ample but effective use of studio gimmickry. And he's a genuine wizard of six string instruments. Songs like 'Mary Lee Jones' and 'That's How We Do it in LA' are goofy and edgy at the same time. I listened to his later records but didn't encounter quite the same creativity that led to this gem.
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12 of 12 people found the following review helpful By A Customer on February 6, 2001
Format: Audio CD
If you took all the Buckingham tracks off of the Fleetwood Mac masterpiece "Tusk" and assembled them onto one solo album, the resulting project would not be too far away from "Law and Order". This album is the first time we get to hear Buckingham outside the constraints of the Fleetwood Mac machine. Spare and simple, all the tracks explode with incredible energy and individuality. Except for a few, Lindsey plays all the instruments and is responsible for all the vocals with the exception of a few nice back up contributions from Christine McVie. "Law and Order" finally made fans realize just how responsible the Buckingham "sound" was for Fleetwood Mac's success. Much of what many thought was Stevie Nicks's harmonies was infact layers of Lindsey Buckingham's vocals. Highlights include "Bwana"( a tale of bandmate Mick Fleetwood's trip to Ghana to record with drum musicians) "Trouble" with gorgeous acoustic guitar solo, and Johnny Stew.
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16 of 18 people found the following review helpful By J. McVie on November 8, 2002
Format: Audio CD
Law and Order is a very inappropriate title for this album. It is a mixed bag of experimental sounds that broke just about every musical "law" in its day and probably is still too "out there" for even today's average listener. Every song has some surprise or hook that grabs attention. Voices (Lindsey has many to choose from) range from soft and sweet to wacky and cartoonish. I first bought this album in 1987 (six years after release, but my first year as a Fleetwood Mac fan) and after 15 years of listening to it, I'm still not used to it.
That covers the oddness of this album. Now for the good part: the songs are great. Lindsey's guitar work is awesome, as always. There is an energetic, impish quality to the entire album, even the slow soft songs. "Trouble" is truly a classic track that could easily have been a huge hit if it were on a Fleetwood Mac album. The guitar solo at the end is a blistering, finger picking prelude to what he would eventually focus much of his work towards.
The one issue here for a music fan who is trying to decide whether or not they would like this album is this: How experimental can music go before it puts you off? How playful can a musician get before you are disturbed by his music? If you can put up with it just a little, there will be at least a few songs here that you will enjoy. If you don't think it would bother you at all, this album will spend a whole lot of time in your cd player.
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6 of 6 people found the following review helpful By Axe Maiden on October 15, 2000
Format: Audio CD
Released from the confines of Fleetwood Mac and collaboration with Stevie Nicks for the first time, Buckingham was free to explore his eclectic musical influences, and explore he did. He mixes original material with classic cover versions, and while the comedy vocals on September Song and the kazoo solo on Bwana may not be to everyone's taste, his sense of fun really comes through on this album.
Listening to songs like Shadows of the West, Trouble, and A Satisfied Mind, you can hear the progression of ideas that began with Tusk, and later developed fully on Out of the Cradle. The two albums sit happily side by side, although they were separated by more than ten years. Once again he lets rip on his guitar, producing gems like Mary Lee Jones, Johnny Stew and the positively jaunty Love From Here, Love From There.
Overall, this album is a highly enjoyable departure from the more collaborative process of Fleetwood Mac, and reveals the kind of musician Buckingham might have been had he not been tempered, or perhaps stifled, by the band.
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8 of 9 people found the following review helpful By Redbird on September 7, 2004
Format: Audio CD
Okay, so I admit the reason I rate this a four star album is for one cut...Trouble. For me that one song is worth the price of the CD. I could play it over and over and never tire of it. Granted it has special memories for me (it came out when I was in college), but there is something about the song...Lindsey's voice, the beat, the instrumentation, all of it combines to create one of those songs that I haven't forgotten in all of these years. Everyone has a few of "those kind of songs" hanging around; if it grabs you, that's it; you're hooked, and I'm hooked on Trouble. The rest of the album has a few cool songs and some not so cool. But it was a brave effort on Lindsey's part and I salute him for it. And like I say, Trouble is worth the price.
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4 of 4 people found the following review helpful By Steve Wyzard on May 21, 2012
Format: Audio CD Verified Purchase
"Part of the idea of Tusk was to shake people up and make them think."
--Lindsey Buckingham, in an interview with Blair Jackson, BAM Magazine, 1-30-81

For all of those who considered Tusk to be the ultimate example of rock star excesses/exorcism/eccentricities, wait until you hear this album. On second thought, you might want to reconsider, because Law and Order is an all-around major disappointment. The songwriting craft and instrumental experimentalism that made Tusk such a masterpiece are parodied to such an extent that the only possible explanation would have to be willful neutroticism. This is a bad-boy album: for a point of comparison, think of Andy Summers submitting "Mother" to the Police's Synchronicity, or Pat Metheny's Zero Tolerance for Silence.

As a long time Buckingham fan, I want to say something good about this mess, so here goes: "Trouble" is the lightest and brightest song on this otherwise macabre set, and was quite rightfully a successful hit single. Law and Order's one true songwriting masterpiece, however, is "I'll Tell You Now". This cryptic lyric over a hypnotic swing bass is classic Buckingham and stands head and shoulders above almost everything he wrote in the 1980s. It's one of those unforgetable, "out of nowhere", hyper-inspired, unintentional anthems that makes the dreck surrounding it seem almost worthwhile. Songs such as "Johnny Stew" and "Satisfied Mind" are passable, but far below the usual Buckingham standards. All the rest are nothing short of awful, victimized by their own self-conscious quirkiness. Where Tusk is feisty, Law and Order is manic.
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