Billboard. December 16th, 1972.
Buckingham and Nicks signed to Dave Swaney Productions in Hollywood.
Billboard. May 5th, 1973.
At Sound City in nearby Van Nuys, Mary Lou Carlson has touched bases to report strong April activity. Waddy, Nicks and Buckingham, an Anthem recording group, was produced and engineered by Keith Olsen, while Dr. John was in for Atlantic, engineered by Rick Heenan.
Billboard. October 27th, 1973.
POLYDOR has rented a Sunset Strip billboard for a year, heralding its artists albums and their tour dates. Previously monthly holders of the space were Rare Bird, John Mayall and Manfredd Mann. Next month will see Mandrill's new album cover, "Just Outside Of Town" painted atop the sign. Additional Polydor artists promotional efforts in Los Angeles include the rental of the windows at the Whisky A Go Go for a year. The displays will change weekly, and Polydor artists whose album covers will be showcased include Manfredd Mann, Rare Bird, John Mayall, Lighthouse, Buckingham Nicks, Mandrill, Rory Gallagher, and Elliot Murphy, whose Polydor debut album is to be released shortly.
Billboard. November 10th, 1973.
John Prine / Buckingham Nicks
Troubadour, Los Angeles
[John Prine review] ...
Buckingham Nicks, a Polydor act, is a lackluster male-female acoustic duo who towards the end of their set showed a couple of songs with chart possibilities. Keyboard and drums would help focus their on stage guitar sound.
- Nat Freedland
Billboard's Top Single Picks
Billboard. November 24th, 1973.
BUCKINGHAM NICKS - Don't Let Me Down Again (3:23); producer: Keith Olsen; writer: L. Buckingham; publishers: Pogologo, Buckingham Nicks, Donna Marta, no society listed. Energized vocals and guitar runs push this hip swaying tune. There's an infectious quality to the total production.
Breakfast Special / Buckingham Nicks
Billboard Magazine. March 23rd, 1974
The Metro - New York
Making their east coast debut, as opening act for a local unsigned band, Buckingham-Nicks, a young band on Polydor, offered both problems and promise in a brief but telling set. Chief virtues for the band are the strong vocal punch of duets between the groups focal points, Lindsey Buckingham and Stevie Nicks, a visually striking couple whose writing forms thebulk of their repertoire. With two additional musicians completing the current format, that twin strength is somewhat undermined, however, Buckingham currently handles both vocal leads and lead guitar, a role that seems to be a bit taxing. Ms. Nicks also encounters problems, chiefly in her solo style, which points up to the occasional roughness of her voice and the strident quality to her top end that makes duets bracing, but proves less than fruitful when she takes the stage alone. What more than saves the band is their sheer endurance, however, a country rock flavor to their faster tunes is ably sparked by that energy, and, with more consistent material another problem area further endangered during their set when they chose to cover Joni Mitchell's "Raised on Robbery..." a fine tune but a decidedly tough mark to match and, if additional instrumental support auguring for broader appeal.
Rock Magazine. December 11, 1974
by Dan Hedges
It serves as a constant source of amazement in the way a supposedly first-class record company can go through all the trouble and expense of (A) "discovering" a new artist, (B) signing him, her, or them to a contract, (C) depositing the signee in a recording studio, (D) mixing the tapes, (E) pressing and packaging the discs, (F) releasing the finished "product"-and then, in the end, do absolutely nothing to inform the record-buying public of the performer's existence-let alone the existence of his, her (or their) debut album.
It's rather like trying to sell a house without letting anyone know it's up for sale. Within the entertainment industry, record companies seem to be outstandingly adept at this peculiar perversion. In contrast, film producers, for example, often spare no expense in promoting their newest releases-pouring astounding amounts of money and efforts into publicity-TV and radio spots, bus and subway posters, newspaper advertising, etc., etc., etc. Now, this is even true with films created by unknown directors (and featuring unknown actors and actresses). Of course, not every release gets a full page ad in the New York Times-but it's a rare film that passes into oblivion without some form of mass promotion.
Record companies? Well, if you've somehow managed to become an "established" star, there's really no need to worry about promotion. If you're a newcomer, you might miraculously find yourself singled out as the company's newest hope-in which case the hype will either make or break you. The grim reality of it all, however, is that you'll probably be another one of those faceless hopefuls who'll never get beyond that first album. Yes, the company will send out copies of your masterpiece (PROMOTIONAL COPY-NOT FOR SALE), but they'll almost invariably wind up buried (and unheard) beneath the carcasses of all the other PROMOTIONAL COPY-NOT FOR SALE's that other companies send to radio stations (and writers for publications such as this one). That's about it, too--no full-page ads in the rock press, no 30-second commercial spots on Midnight Special, no billboards along Sunset Strip. Unless some magical twist of fate brings a large dose of good fortune, you and your album (as far as the general public is concerned) might just as well not exist. If the market wasn't already cluttered with so many no-talent "artistes", your album might have had a fighting chance-and garnered some of that all-important publicity. Unfortunately, the market is shamefully over-saturated. With all this in mind, we turn (at last) to Buckingham Nicks.
No, of course you've never heard of them. Thanks to their record company, few people have. The fact of the matter is, however, that Buckingham Nicks have created what may well be one of the finest American albums released over the last three or four years.
A bit of an overstatement? Perhaps-to some peoples' ears, anyway. But in an industry which has become appallingly dominated by mindless bopping, Buckingham Nicks are a welcome change of pace. They are two people-Lindsey Buckingham and his lady, Stevi (nee Stephanie) Nicks, who were once members of a now-extinct San Francisco-based band called Fritz. Basically, their sound vaguely stems from the Los Angeles/1966 School of Music (Byrds et al). While they aren't blatantly imitating that style, the melodic and rhythmic structuring, the harmonies, and the overall atmospherics are very reminiscent of that era.
If one word had to be used to describe the album, soaring would be the obvious choice. Lindsey's shimmering guitar work, the stunning vocal harmonies, and the extremely tight and inventive rhythmic patterns exude a feeling of airiness-of flowing and syncopated movement. The songs themselves are often haunting, creating an "alive" yet foreboding atmosphere-like the electric stillness before a really good thunderstorm.
"Crying in the Night" is the obvious choice for that all-important hit single. A gently swaying, yet powerful track, it focuses on Stevi's distinctive, slightly urgent voice-accented by the faint shadow of an electric 12-string buried at the bottom of the mix. "Crystal" is strangely ominous-caught somewhere between a waltz and a funeral dirge, by way of Richard Halligan's starkly effective orchestral arrangement. The feeling is echoed in "Frozen Love"-an epic track featuring some of Stevi and Lindsey's most striking vocal work. "Don't Let Me Down Again" moves off in the opposite direction-with a simple, yet effectively strong melodic and rhythmic line. The vocals paint a vivid Slick/Balin-wailing-at-each-other-from-opposite-ends-of-the-stage panorama-and the whole thing works.
Keith Olsen produced and engineered the album-and it's enough to make one wish that every recording session had someone as good as he manning the board. Most of all, though, it's Lindsey and Stevi (with a bit of help from some session musician friends) who make it work-and they really are worth hearing. With a bit of luck, a few influential radio stations will pick up on them and, maybe then (no thanks to Polydor), people will discover exactly who Buckingham Nicks are. After that, who knows? There might even be a second album.
You never can tell.
Buckingham Nicks Set for Coliseum
The Chanticleer, Jacksonville State University. January 27th, 1975.
The Buckingham Nicks, with special guest star Michael Murphey, are headlining the week of entertainment planned for JSU. The concert begins at 8 p.m. January 29, in Pete Mathews Coliseum. Tickets are available on campus at the SGA office.
The Buckingham Nicks is a soft, smooth, fast-moving rock band from Los Angeles, California. Lindsey Buckingham is the lead guitarist and does part of the vocals. Stephanie Nicks does only vocals, hence comes the name of the Buckingham Nicks. Drums, a bass and another guitar make up the 5 member band.
Fairly new and not well known elsewhere, the band is probably one of the hottest groups in the South now. Their concerts in Atlanta and Birmingham have received rave reviews. They have one album, entitled “Buckingham Nicks” out, and another to be out in March.
Their most prominent song is “Frozen Love” which employs basic rock and roll riffs with the good vocal and orchestration arrangements. “Long Distance Runner” is another cut from the album.
Buckingham Nicks: goodbye to the first eight years
Birmingham After Dark. February 1975 .
By Jan Susina
Major changes are underway for Lindsey Buckingham and Stephanie (Stevi) Nicks after their highly successful concert last Friday at the Birmingham Municipal Auditorium (one of two sellouts at the Auditorium during the last year). Back in L.A., the two will begin work, not as the Buckingham Nicks, but as members of Fleetwood Mac, later this month.
Both Lindsey and Stevi voiced strong misgivings over disbanding as a duo. "It wasn't an easy decision for us, but we decided to do one album before we came out here (to Birmingham)," said Buckingham.
Buckingham and Nicks were recording material for this second album when Fleetwood Mac happened into the same studio. "They were just looking for a place to record, but alter hearing our music they asked us to join and we just couldn't turn them down," explained Stevi.
The musical concept of the "new" band will be similar to the. Buckingham Nicks with Lindsey as rhythm guitarist and Stevie as lead vocalist. Stevi continued. "It's not exactly like we'll be a back up singer and a backup guitarist since nobody but Christine sings and she doesn't sing that much. They're hoping that I'll be able to bring Christine out more because she's very shy and very overshadowed." (Christine McVie is the lead singer for Fleetwood Mac.) Stevi goes on to say, "She doesn't write a lot, but she writes a few really good songs."
"The Buckingham Nicks thing - me and Lindsey - have been together 6 years with the people we're playing with, Tom (bass player) and Hoppy (drummer). As soon as Buckingham Nicks go back together, they'll come too.
There's no better bass or drummer than Tom and Hoppy. They know it and we know it. It's a hard thing to do. They'll gig around and do a lot of sessions, they don't want us to leave but they know we'd be idiots to pass it up."
The major reason behind the breakup is the lack of recognition. Buckingham Nicks all feel they have been overlooked by their recording label, Polydor. "Hopefully we can get our name known, instead of being buried within the name Fleetwood Mac. People will hear the difference in the music and take notice," hopes Lindsey. "It would take us years to build up the reputation they have. And Warner Brothers is really into Fleetwood Mac. They're not a monster or a giant act, but they consistently sell more albums than they did the last time. They're going to put us on a fine, major tour where we'll be playing to everyone," says Stevi. "And they are super-nice people, so we figure it will be a tremendous learning experience. They can help us and we can help them, so it will be give and take thing."
The rest of the Buckingham Nicks band, Tom Moncrieff, Hoppy Hodges and Waddy Wachtel plan to do session work during the meantime, but all feel strongly about the band's breakup. Says bassist Tom Moncrieff, "We realize the benefits from it completely. And we'll wish them good luck. But it's more like a family, we're really tight personally."
"'I mean, besides the money and the fact that I am in the band, was, still am in the band, I consider myself one of their biggest fans. I've heard everything they've ever done and I know what's there and what can be there. And I don't see any reason why they can't be hot everywhere." Tom goes on to say, "The music is so good, the whole scene is so incredible that it will be hard to fill that up. There are other people we can play with and enjoy, but it's not the same. So they'll go out there and do their best and when it's over we'll be here."
A tour this summer will bring Buckingham Nicks back to Birmingham "for sure" says Stevi. Only this time it'll be with Fleetwood Mac. But rest assured, there will be enough of Stevi and Lindsey around to keep the same, distinctive Buckingham Nicks sound that Birmingham has grown to appreciate so well.
Albums: from the people who put the whack back into Mac
LINDSEY BUCKINGHAM & STEVIE NICKS: Buckinghams Nicks’
Polydor 2391 (093) *****
THANK GOD for re—releases.
Lindsey and Stevie might’ve finally found fame and fortune with Fleetwood Mac, but this is the album that could’ve (and should’ve) put them up there when it was first released back in 1973. It sank like a lead balloon (zero enthusiasm on the part of their record company saw to that), but though it’s a bit late for apologies, the fact that it’s been rescued from the dim depths of Polydor’s ‘Deleted’ list means that I’ve finally got a nice, shiny new copy. Couldn’t get one anywhere a year ago - not even in the New York bargain bins. Thank God for re-releases. My original copy’s been played so much you can see the sun through it. ‘Buckingham Nicks’ is that good.
What does it sound like? Well, for the most part, it’s an album that probably owes more to the middle and late Sixties than it does to the Seventies. Definitely Californian. Complex and involved without being needlessly complicated and flash. Voices soar (nobody sings like Stevie Nicks). Acoustic and electric guitars swoop and jangle - layer on layer - with a slow, building turbulence and intensity that’s spine-chilling at the very least, and absolutely awesome when it opens up into full throttle (as on ‘Frozen Love’).
To be fair, there’s a track or two that just doesn’t fit (the swamp rock-ish ‘Lola My Love’ is the glaring example), but if you’ve heard ‘Rhiannon’ or ‘Crystal’ off the Fleetwood Mac album, you’ve got some idea of what most of the stuff on ‘Buckingham Nicks’ sounds like. It’s a pale, watered-down idea though - kind of like a Xerox copy of a Xerox copy. The moody, ominous textures of Lindsey and Stevie’s ‘Crystal’, for example, makes the later Fleetwood Mac version seem insipid and anaemic by comparison. Don’t mean to be nasty, but it’s true. There’s a depth and power that Lindsey and Stevie show on their album that’s gone sadly untapped since they’ve been with Fleetwood Mac.
But then, ‘Buckingham Nicks’ is a hard album to follow. Sure, nobody bought it back in ’73, but that’s simply because nobody knew it existed. If they had, things probably would’ve been a lot different. ‘Buckingham Nicks’ is that good.
Really. - Dan Hodges.