BUCKINGHAM NICKS [self-titled] POLYDOR [Fleetwood Mac] '73:

$

28

1973 POLYDOR Records PD 5058
GATE-FOLD ORIGINAL
FUTURE FLEETWOOD MAC SUPERSTARS... 
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VINYL is  EX+ top beauty!

 COVER is VG+ light surface/edge wear cc
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Buckingham Nicks (or, as it's sometimes written, Buckingham/Nicks) were a short-lived duo comprised of guitarist/singer Lindsey Buckingham (b. Palo Alto, CA, Oct. 3, 1948) and singer Stevie Nicks(b. Phoenix, AZ, May 26, 1948). Buckingham and Nicks had met at Menlo Atherton High School in Atherton, CA, where Nicks' family had moved after a time living in Los Angeles. Nicks, who had written poetry since childhood, began composing songs at 16, the year she had joined her first band, the Changing Times, whereas Buckinghamhad been interested in rock & roll -- especially the guitar-based sounds of artists such as Eddie Cochran, the Everly Brothers, andBuddy Holly -- since childhood, and had picked up his first instrument amid his youthful infatuation with the Kingston Trio. 

Their interest in music and each other pulled them in the same direction, and led Nicks to join Buckingham and some friends in a band called Fritz (originally the Fritz Raybyne Memorial Band, named for a fellow student), where he played guitar and sang and she sang and played a little guitar. Her sound in those days was reportedly influenced somewhat heavily by Buffy Sainte-Marie's work of the period, especially the song "Cod'ine." The two parted company for a time when her family moved to Chicago, but by the end of the 1960s she was back in California studying at San Jose State University in Redwood City, and back singing with Fritz, which was making some headway as an opening act for the likes of Janis Joplin, Jimi Hendrix, Creedence Clearwater Revival, et al. Fritzcould never quite break through to a recording contract of their own, however, or past opening-act status beyond their local area, and tensions also arose over Nicks becoming the focus of their performances. They lasted long enough to cut some unsuccessful demos for producer Keith Olsen, but broke up in 1971. 

Buckingham and Nicks stayed together, personally and professionally, however, and cut a group of demo recordings the following year, which they shopped around Los Angeles. Those tracks got them a recording contract with Polydor, the newly organized U.S. conglomerate of Mercury Records, Phonogram, and the moribund MGM label. Produced by Keith Olsen, the resultingBuckingham Nicks album was a finely polished pop/rock jewel, reflecting all of the influences that had brought Buckingham andNicks to this point in their lives -- instrumental virtuosity that derived as much from early rock & roll and the folk revival as it did from the subtly smooth California production, and singing that derived as much from the best of the folk-rock boom of the mid-'60s as it did from the AM-radio sensibilities of the era that was obviously in the mind of the producer. And the album died an absolute death in September of 1973; amid the burgeoning arena rock of the time, and heavy metal, prog rock, and every other sound that was dominating the airwaves, Polygram's promotional staff just didn't know what to do with Buckingham Nicks and its melodic pop/rock sound, rooted in two-part harmony and straightforward, ungimmicky playing and production. 

The one bright spot was that other musicians who heard it loved it, and the critics who reviewed it felt just about the same way. This wasn't enough to get the record much more than an underground reputation, if that, though the duo did tour briefly to support it. And plans were afoot to make a second album with Olsen, who allowed the couple to move in with him at one point, finances were so desperate. Meanwhile, Buckingham picked up some cash playing inDon Everly's band (the Everly Brothers having finally split up not long before). It looked like the duo would have a long struggle ahead to reach the public, even assuming that they could get the second album -- which was to include songs with the titles "I'm So Afraid," "Monday Morning," and "Rhiannon" -- recorded and promoted properly. That was when fate interceded, from what had to have seemed at the time the most unlikely quarter of the music business, a long established blues-rock band called Fleetwood Mac.  

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