|Studio album by Buckingham Nicks (Stevie Nicks and Lindsey Buckingham)
||September 5, 1973
||Sound City Studios, Los Angeles, California
|Buckingham Nicks (Stevie Nicks and Lindsey Buckingham) chronology
"Buckingham Nicks" is the sole studio album by the American rock duo Buckingham Nicks. Produced by Keith Olsen, the album was released in September 1973 by Polydor records. "Buckingham Nicks" is notable as an early commercial collaboration between Stevie Nicks and Lindsey Buckingham, both of whom later joined Fleetwood Mac.
The album was a commercial failure on its original release, and despite the duo's subsequent success, it has yet to be commercially remastered or re-released on any format since 1973.
Prior to recording the album Buckingham Nicks, Lindsey Buckingham and Stevie Nicks performed together in the band The Fritz Rabyne Memorial Band. The pair met while they were both attending Menlo-Atherton High School in Atherton, California, south of San Francisco. At the time, Nicks was a senior in high school and Buckingham, one year younger than her, was a junior. According to Nicks, they first met at a casual, after-school Young Life gathering in 1966. Nicks and Buckingham found themselves harmonizing to what some accounts claim was a Beach Boys song, although Nicks herself claims they sang "California Dreamin," a hit single by The Mamas and the Papas, in an interview she gave with The Source in 1981. Nevertheless, Nicks and Buckingham did not collaborate again for another two years. In 1968, Buckingham invited Nicks to sing in Fritz, a band he was playing bass guitar for with some of his high school friends. Nicks talks about joining Fritz in an interview with Us Magazine from 1988:
"I met Lindsey when I was a senior in high school and he was a junior, and we sang a song together at some after-school function. Two years later, in 1968, he called me and asked me if I wanted to be in a rock and roll band. I had been playing guitar and singing pretty much totally folk-oriented stuff. So I joined the band, and within a couple of weeks we were opening for really big shows: Jefferson Airplane, Janis Joplin. All of a sudden I was in rock & roll."
Although Nicks and Buckingham never performed their own, original music while in Fritz, the band provided them with the opportunity to gain experience on stage, performing in front of crowds while opening for wildly successful rock and roll acts. Grace Slick of Jefferson Airplane, Janis Joplin of Big Brother and the Holding Company and Jimi Hendrix, whom Fritz also opened for, would all prove influential on Nicks and her developing stage persona. The band manager, David Forrester, worked hard to secure a record deal for Fritz, although their sound was not exactly fitting with the harder, psychedelic music of their more popular contemporaries. The pair continued to perform with Fritz for three years until the band finally dissolved in 1971. Having developed a romantic relationship in addition to their working partnership, Nicks and Buckingham decided soon afterwards to move from San Francisco to Los Angeles to pursue their dreams of being signed.
Recording and production
While still performing with Fritz, Nicks had attended San Jose State University, studying Speech Communication. Buckingham joined her at college, also managing to balance school and music. In 1972, the two continued to write songs, recording demo tapes at night in Daly City on a half-inch four-track Ampex tape machine Buckingham kept at the coffee roasting plant belonging to his father. They decided to drop out of college and move to Los Angeles to pursue a record deal. Taking the Ampex tape machine with them, they continued recording songs. Nicks worked several jobs as a hostess at Bob's Big Boy, a waitress at Clementine's and as a cleaning lady for her record producer, Keith Olsen, so as to support herself and Buckingham financially, they had decided that it would be best for him not to work and to instead focus on honing his guitar technique. It was not long before Nicks and Buckingham met engineer and producer Keith Olsen as well as the casual entrepreneurs Ted Feigan and Lee LaSeffe. Buckingham and Nicks played some of their music for them and all were impressed with what they heard. Soon after that, LaSeffe was able to secure a distribution deal with Polydor. Nicks discusses this series of events in an interview with The Island Ear in 1994:
"We had some great demos. We shopped around. Over a period of time we got a deal with Polydor and made our first album, Buckingham Nicks. We had a taste of the big time. We had great musicians in a big, grand studio. We were happening. Things were going our way. But up until that point I had been thinking of quitting it all and going back to school because I was sick of being miserable and I hate being poor."
Waddy Wachtel was one of the musicians hired to assist in recording the album. He discusses his relationship with producer Keith Olsen as well his relationship with Nicks and Buckingham on his website:
"So Keith [Olsen] and I started working together. This was in like '68, '69 probably. And that's - from then on that's when things started happening. That's where Keith one day came and said, 'I'm bringing this couple down from North California, named Stevie and Lindsey. And I want you to play on their record.' I played on the Buckingham Nicks record. The three of us became very tight, tight friends. We were always together."
In 1973, Nicks spent $111 ($612 in 2017 dollars) on a white blouse for the cover shoot, but the photographer, Jimmy Wachtel and Buckingham coerced Nicks to take her top off when shooting the cover.
"I was crying when we took that picture. And Lindsey was mad at me. He said, 'You know, you're just being a child. This is art.' And I'm going, 'This is not *art*. This is me taking a nude photograph with you, and I don't dig it.'"
I thought, 'Who are you? Don't you know me?' . . . I couldn't breathe. But I did it because I felt like a rat in a trap."
Despite their efforts, "Buckingham Nicks" was virtually ignored by the promotional staff at Polydor Records. Thanks, however, to airplay by several Birmingham, Alabama disc jockeys, the album got well-received exposure during the WJLN-FM progressive rock evening hours, and the duo managed to cultivate a relatively small and concentrated fan base in that market. But, elsewhere in the country, the album did not prove commercially successful and was soon deleted from the label's catalog. Disheartened, Nicks and Buckingham would spend much of the rest of 1973 continuing to work outside of the music industry to pay rent.
As history has proven, however, it would not be long before their music fell upon the right ears: Mick Fleetwood, while evaluating recording studios, heard "Frozen Love" played back through studio monitors at Sound City by Keith Olsen, Fleetwood would invite the duo to join his band, Fleetwood Mac, on New Year's Eve 1974, and later, at El Carmen, the Mexican restaurant, Lindsey met with Christine, Mick, and John, with Stevie joining after her Clementine's waitress shift, in her flapper costume.
||"Crying in the Night"
||"Without a Leg to Stand On"
||"Long Distance Winner"
||"Don't Let Me Down Again"
||"Races are Run"
||"Lola (My Love)"
|U.S. Billboard Midline LPs
- Main performers
- Lindsey Buckingham – vocals, guitar, bass guitar, percussion
- Stevie Nicks – vocals
- Additional personnel
- Gary "Hoppy" Hodges – drums, percussion
- Jorge Calderón – percussion
- Richard Halligan – string arrangement
- Jim Keltner – drums
- Peggy Sandvig – keyboards
- Jerry Sandvic - keyboards
- Jerry Scheff – bass guitar
- Monty Stark – synthesizer
- Mark Tulin – bass guitar
- Ronnie Tutt – drums
- Waddy Watchtel – guitars
- Keith Olsen - producer, engineer
- Lee Lasseff - executive producer
- Richard Dashut - assistant engineer
- Jimmy Wachtel - album design, photography
Lindsey Buckingham and Stevie Nicks - Buckingham Nicks
U.S. Polydor PD 5058 stereo (1977).
Album produced by Keith Olsen.
This record for sale is the 1977 reissue of the album first released in 1973, (single cover only).
The vinyl record has remained in excellent condition.
Both record centre labels are clean, unmarked, and free from tears, stains or stickers.
The album cover is in Very Good+ condition.
The album cover has some minor wear along the upper edge, (scans can be provided on request).
The album co0ver has a strong, undamaged spine, displaying very clear, printed script.