Buckingham Nicks
 

Considering the MAC is waiting to release an album later in the year this would be a good time to release Buckingham Nicks on cd. They could release it with the demo of Without You. I really doubt we see a Buckingham Nicks tour ever so this is a good time to release the cd. Stevie can add that to the intro to the song on the current tour.Makes sense! I really should have been he PR guy for this band.

Well both Stevie and Lindsey have already said they are thinking about re-releasing the Buckingham Nicks album later this year. Stevie wants to do a BN tour, Lindsey does too, but doesn't see it as a possibility this year with the Fleetwood Mac tour, but next year is open.

I hear you but I think the Fleetwood Mac machine could go into 2014 especially If they drop a new cd in Q4.

wait? who says the mac is releasing a 2013 ablum?

they are not

At this point there are no plans to release a complete album this year (there is also no time to record it). They are planning on putting out an EP (most likely three or four tracks) within the next coming days (according to Lindsey). But other than that there is no new album on the horizon.

[QUOTE=BLY;1086542]Considering the MAC is waiting to release an album later in the year this would be a good time to release Buckingham Nicks on cd. They could release it with the demo of Without You. I really doubt we see a Buckingham Nicks tour ever so this is a good time to release the cd. Stevie can add that to the intro to the song on the current tour.Makes sense! I really should have been he PR guy for this band.[/QUOTE]

great idea....but even better yet, why wouldn't they release the EP as the second Disc of BN reissue (credited as FM). Less packaging, less cost, royalties for all 4 members :D.

It goes without saying FM has never been very bright on the mass marketing concept. They never listen to US brillant fans.

I wonder if we will ever see BuckinghamNicks. I don't understand the reluctance on their part to do something with this gem. Thank God, for getting to hear some live stuff from them and Fritz.

If the EP sells well and audience interest in the new songs continues to be high, Stevie would have to be out of her mind not to participate in a new Mac album, especially after how "heartbroken" she was about how poor her solo sales were, compared to those of what a new Mac album could produce, she'd either be incredibly clueless or full of denial if she picked to opt out. However, on the Buckingham Nicks front, it's really now or never for that release.

Yeah, the 40th anniversary would be perfect for the BN release!!

Blue Collar Lit blog, posted by Carson Lee 12/3/13
http://bluecollarlit.blogspot.com/20...twood-mac.html


The Cat Who Loved Fleetwood Mac

A good share of the pleasure a reader experiences with Lilian Jackson Braun's "Cat Who" mysteries comes from their titles:

The Cat Who Knew A Cardinal
The Cat Who Moved A Mountain
The Cat Who Wasn't There
The Cat Who Went Into The Closet
The Cat Who Came to Breakfast
The Cat Who Blew the Whistle
The Cat Who Tailed A Thief
The Cat Who Saw Stars
The Cat Who Robbed A Bank
The Cat Who Smelled A Rat. ...

Recently visiting some animals I know, I was playing music on You Tube and a formidable richly-orange cat nestled into the carpet on the computer room floor and listened, rapt, to "Buckingham Nicks full album." Played some mid-seventies Fleetwood Mac, then, and the cat rolled (is that why it's called "rock-and-roll"?) over on his back, then onto his side, two paws and one foot benignly floating mid-air, the other foot braced against the wall in musical enjoyment.

There was a Fleetwood Mac documentary, and the cat listened to that, too...letting the commentary-and-information flow over and around him.

Internet Commenters Commented-in....

-- Bryan Poirier
Damn this is the **** right here

-- pisces firedragon
This album feels so cohesive and put together in such a way that brings deep insight to the minds of these two lyrical geniuses

-- Bambi Hernandez
Does anyone remember the radio station from Little Rock, Arkansas, with the dj 'stewart'??? can't remember the call letters for the station but, I do fondly recall pressing my ear to my radio and hearing this record for the first time! Now that was the good ole days when hearing something like this for the first time was really something. Thanks for posting. Sweet Memories...

-- Awesome music made, played and produced at that time. Thanks for sharing this.

-- You're right there girl! one of the best albums ever made and where it's REALLY at

-- Beauty! Legend!

-- What an epic journey they went through

-- a tapestry is made of many different threads. Remove any of them and it will fall apart. Without all of the threads, we wouldn't have heard some of the best music/stories written. Unfortunate for the players, but it was a great gift to the world of music.

-- well what a story, great stuff, good luck to fleetwoodmac on their new tour

-- GOOD GRACIOUS!!

-- I grew up with and have always loved their music but never heard the whole story. Thanks so much for posting this, it was fascinating!!

-- This would make a great movie. Even though I listen to rap, (90s not the garbage out now) I love Fleetwood mac. Stevie has that smokey, sultry voice that turns me on. And Lindsey's guitar playing is legendary. I also love Christine singing tell me lies. awesome band.

-- So beautiful characteristic voices. So much love and so much pain. Respect to these wonderful people.

-- When I met them in L.A. -- in 1976 -- they were all exhausted. Already!

~~~~~~~~~~~~~~~
I got nothin' but time
No time for living
I've been everywhere
It's all the same
I just need somebody
That I can lean on
Nobody wants to keep you
When you're in love with the game

But you know that I can't let go
And there ain't nothin' left to show
Got the feeling I can't say no
Without a leg to stand on

-------------------------------
{song excerpt: "Without a Leg to Stand On" -- Lindsey Buckingham -- Buckingham Nicks album -- 1973 -- Polydor}

Does anyone think they will ever release Buckingham/Nicks?
 

I'm starting to have my doubts.

More correctly, if they did release it, would anyone bother to buy a copy? It isn't like we don't all have a bootleg copy of the damn thing.

Nah. I don't think it will ever happen. What would it sell? 10K copies? It's not economically feasible.

Don't you mean 1K? :laugh:

The very long-awaited BN release has probably lost its window of opportunity. The 40th anniversary would have been the time to release it and do some type of promotion (even a couple strategically located concerts would have been great). It could have been so incredible if they'd released demos and the second BN recordings in a deluxe set. But, sadly, with the plans FM has now, I've lost hope that we'll ever see it (by the time the tour's is over, CD's may be as archaic as 8-tracks).

I agree.Probably us fans will be the only be interested in buying a copy of B and N.It wont be feasible to release it with low sales to fans only but we never know when they might throw it out to us by surprise.

i love that at the beginning of april 2013 we were discussing a possibility of the mac album release, possibly some time in 2013..... the same album we are still discussing now and has been in the meantime pushed to 2015, 2016, 2017... who knows?

meanwhile many bands, even old ones, are releasing one album every year, or if not every 2 years.

and we as FM fans think that's ok and we should be grateful and nobody should complain (it's called negativity here these days :p). because that's how mac always operated. yeah they did. even their first 3 albums were not released 3 years in a row, but every 2 years, but that's still acceptable. after Tusk, their output has been dismal. yet we (majority of the people here) see that as a reason for celebration and not complaining. we say they all were always able to successfully juggle solo and mac careers.

#justsayin

At least this year, the conversation has shifted to the release of an album from all five! :nod: (And yes, for now I'm confident that Stevie will join the other four to record in the near future).

[From a Mankato Free Press story about vinyl records]

http://www.mankatofreepress.com/news...a2b203d42.html

Sweiger keeps his personal stock of 45s and LP records at home. A few highlights from his collection: Townes Van Zandt's "Delta Momma Blues," Dan Penn's "Fame Recordings" and a rare copy of the out-of-print "Buckingham Nicks" LP.

"This is really good," Sweiger said as he placed the "Buckingham Necks" record on his turntable. "It's better than anything they did with Fleetwood Mac."

guess there's always the 50th anniversary. only 8 years to go.

FDRMX

Read more: http://fdrmx.com/top-5-greatest-albu...#ixzz3XK4d9300


Top 5 Greatest Albums You Can’t Buy Anymore Apr 14, 2015

It is said that music gives wings to the mind, a soul to the universe, flight to the imagination and most importantly, life to everything. But we have to face the truth, many albums, with every passing year, go out of print, and this is well justified. Over the years, People have come up with appalling music and there is just not enough room on the shelves to have them stick around.

Music is deplorable. There are many reasons as to why music vanishes–a phenomenon that has, sorry to say, claimed the lives of many albums that were the heart and soul of the music industry back in the day. We could go back and forth with varying opinions and never hear the end of it but instead, let us have a look at some of the greatest albums that you no longer have access to.

Number Two: Lindsey Buckingham and Stevie Nicks Album Duo. Very few duos, if any, are respected as Stevie Nicks and Lindsey Buckingham are, and this is considering that they are in a band with three other people. As a matter of fact, not many people can name the other members. Can you? The point is, they are mostly known as a duo, which makes it rather strange that the only Album they have ever released for more than 40 years now is the Buckingham Nicks.

But why has it never been released? Is it such a terrible piece of work? Or is it that it was very embarrassing for them? Not at all, especially given the fact that they have included some of the songs featured in the album in some of their live shows and subsequent releases. The reason it has not been released yet is because it just hasn’t. It was to be out some years back, or rather it was rumored to be so, so for the better part of the album’s life, it has been locked away from the general public.

I have no idea who else is in FM besides Lindsey Nicks and Stevie Buckingham.

Mick McVie is one of the band members.

Michele

Stevie's the dude right?
Lindsey is such a pretty name

Buzzfeed posted on Jun. 10, 2015, at 2:52 p.m.

9 Rare Works Of Art Internet Pirates Are Obsessed With

If it exists, it can be ripped.

#5

Pirated? Yes

Look at young Stevie: her hair uncolored, her gaze expectant, her nose intact. Her boyfriend Lindsey’s here too, and their first collaboration was one of the more auspicious songwriting debuts of the 70s. Too bad no one heard it—this album tanked so bad that Nicks had to write “Landslide” just to move on. Later, the duo joined Mick and the McVies for the second (or maybe third) incarnation of Fleetwood Mac, and if you care at all about music, you know the rest of the story. But this forgotten pressing was never officially digitized, not even on CD. You can only hear it now, because somewhere, once, some vinyl nerd ran it through an analog-to-digital converter, copyright be damned.

[from an article about the Tropicana Motel]

The Tropicana Motel’s Totally Rocking Heyday

Joan Jett and the Ramones checked in and out of the West Hollywood hangout. Tom Waits called it home

October 12, 2015 Alison Martino Los Angeles Magazine

- See more at: http://www.lamag.com/citythinkblog/t....cStfN5sp.dpuf

The Dodger's investment no doubt drew clientele to the Tropicana, but the hotel became even more popular after Jerry Heiner and his partners purchased it from Koufax in the late 1960s. The joint was just a hop, skip, and blurry-eyed stumble from the Troubadour and Barney’s Beanery, and as the rock music scene grew up around those venues, the Tropicana became its unofficial HQ. Janis Joplin, Bob Marley, Alice Cooper, Iggy Pop, and members of the Runaways, the Ramones, Blondie, the New York Dolls, and the Clash all passed through. When Jim Morrison couldn't book his usual room at the Alta Cienega Motel around the corner, he'd pass out at the Tropicana instead. According to the Los Angeles Times, Poet William S. Burroughs was occasionally spotted in a lounge chair by the pool, and Stevie Nicks and Lindsey Buckingham of Fleetwood Mac reportedly landed their recording contact while staying at the motel.

- See more at: http://www.lamag.com/citythinkblog/t....cStfN5sp.dpuf

Having a bootleg and having the actual hard copy released CD is totally different IMO! but that's also why I have every CD, vinyl, and bought a lot of them on ITunes as well of every FM, Stevie, and Lindsey album! I'm a weirdo like that lol.

But I would do almost anything for this to be released on CD. Even if there was no BN tour there would at the very least be TONS of promotion for it! And I'm here for Buckingham Nicks interviews and anything else they wanna do together!

exactly. and if just all people who consider it a cult record or whatever and have a bootleg buy it, would it still be even worth releasing it?

that's probably exactly why they are NOT doing it - either one or both of them probably think just throwing it out there without a promotion would not be worth it (see point above, just a few hardcores who already have the bootleg or original vinyl would buy it!), and staging elaborate promotion for 40+ years old album seems kinda silly and they probably can't agree how to do it.

Not saying its necessarily "worth" it to release as far as they're concerned, but I personally want it to happen lol! Desperately!!

44 Years Later: Buckingham Nicks Started It All


You could say that Buckingham Nicks was the album that started it all.

When Stevie Nicks and Lindsey Buckingham released Buckingham Nicks on September 5, 1973, they had already had a taste of rock and roll. Lindsey played bass in a not so well known band called Fritz. In 1968, he asked Stevie to join and within a few weeks, they were opening for acts like Janis Joplin and Jefferson Airplane.

By 1971 Fritz disbanded, but Stevie and Lindsey continued writing songs and recording demos. Young and full of hope, they moved to Los Angeles and met producer Keith Olsen. Keith recognized the potential and raw talent in the aspiring duo and would ultimately produce Buckingham Nicks, the 10- track collaborative debut, for Polydor Records.

Listening to Buckingham Nicks is interesting. It never gained commercial success, and for the life of me, I can’t figure out why. The lyrics were poetic yet relevant, and Stevie’s voice held its innate ability to perfectly capture the words she sang. You felt her heart and soul in each line, each verse, each chorus. And you got an early glimpse into both Stevie and Lindsey’s ability to tell stories through their music. From “Crying in the Night” to “Frozen Love,” I can honestly say that I’ve lost myself between the lines, and loved every bit of the journey.

Buckingham Nicks never made it to the top of the charts, or even close. Polydor Records all but disowned it, deleting the album from its catalog. But as fate would have it, Buckingham Nicks would come to serve a bigger purpose. When Bob Welch left Fleetwood Mac, Mick Fleetwood was in search of a replacement. While at Sound City Studios in Los Angeles, Mick met Keith Olsen who played him “Frozen Love,” the last track on Buckingham Nicks. Mick asked Lindsey to join Fleetwood Mac and Lindsey agreed on the condition that Stevie becomes a part of the band as well. On New Year’s Eve 1974, Stevie and Lindsey both joined Fleetwood Mac, and the rest is history.

Richard Dashut, assistant engineer on Buckingham Nicks, was close friends and roommates with both Stevie and Lindsey long before their Fleetwood Mac days. He reminisces on their humble beginnings and Stevie’s positive impact, even back then. “A naturally nurturing soul, I was blessed to share a home with both her and Lindsey for a couple of years. Perhaps not the best homemaker (she was never cut out for that) she more than made up for it by making great Hamburger Helper and providing a sensitive feminine balance to our young lifestyle. Very outgoing, she had social skills at the time that Lindsey and I were just beginning to develop. This kept us moving in a positive direction, never once dreaming of giving up on our lofty ambitions. Of course, we never did give up and ended up being part of musical history, in no small part due to her. Because of her charming presence, people immediately felt a sense of warm intrigue, inviting a deeper exploration into her mysterious heart. Before fame found one of my best friends and roommate, there was a girl with the magic of a brilliant aura that she wore like a cape of glittering stars on a moonless night.”

While working on Buckingham Nicks, there was no doubt that Stevie was a star. “Stevie was always serious about her career as a song writer,” Richard continues, “never without a notebook to write lyrics and song ideas in. A permanent fixture at my upright piano, there was a constant melodic beauty that rang through the apartment. Although you had a sense that Stevie was a very special soul (her songs reflected that), it was the combination of both Stevie and Lindsey that gave one a glimpse of future success. They always seemed to bring out the most creative inspiration from each other, rooted from a burning love and a volatile relationship. From this cauldron of creative magic, the formula gave birth to the star and legend she has become. While no one really knows what the future holds, we could feel a strong sense of change was coming and a confidence of staying the course seemed the best path to the inevitable goals we had set for ourselves.”

More than almost anyone, Richard has personal insight into why Stevie’s legacy has endured for so many years, beyond her beginnings on Buckingham Nicks. “What made Stevie the icon she is today, is a combination of a creative presence wrapped in the mystery of forever yearning for a lost love. That vulnerability has touched a universal heart that beats in all of us seeking the ultimate truth through love and escape from loneliness. I think Stevie carries that cross for all of us.”

It’s almost overwhelming when you think of all the little details that need to fall into place for one amazing thing to happen. Without Buckingham Nicks, there might not have been the Fleetwood Mac the world would come to love. Without Fleetwood Mac, there might not have been a solo Stevie Nicks. And without Stevie Nicks…well, I can’t imagine a world without Stevie Nicks.

You could say that Buckingham Nicks was the album that started it all.



http://inspirer.life/home/2017/09/44...nicks-started/

It's so frustrating the album has never been released on cd or digital download officially.
As sales for music dwindles, the market for this album keeps shrinking.
It's looking like it won't get released until one of them dies.
I don't understand.
It should have been released in the 80's.
I understand that the problem is both Stevie and Lindsey own the rights and cannot come to any mutual agreements for a re-release, but c'mon!

The version I've got is directly from the master tapes, with some extra B/N tracks, so I'm not complaining. I agree though that an official CD and/or digital download is so long overdue! I don't know what the hold up is.

How The Elusive 'Buckingham Nicks' Established Stevie Nicks' Songwriting Voice

On Oct. 26, 2016 — the opening night of her 24 Karat Gold tour, in Phoenix — Stevie Nicks announced something that gave the audience pause: She was about to sing "Crying in the Night," a song she hadn't performed since 1973.

She did the math out loud: "'73, '83, '93, 2003, 2013, '14, '15, '16 — that would be 43 years. This was gonna be the single off the Buckingham Nicks record. It was so long ago, I don't even know if it made it out."

Over the past 44 years, Nicks and Lindsey Buckingham have become household names, but Buckingham Nicks, the album they made before joining Fleetwood Mac, is still largely unknown outside a small, devoted fanbase. With lukewarm initial reviews and sales, it was dropped from Polydor Records within months of its release and has remained elusive, with out-of-print vinyl copies fetching anywhere from $40 to $150 on the internet. Since 1973, there have been bootlegs, but no officially released cassettes or CDs, no Spotify streams nor iTunes downloads, no shrink-wrapped, remastered LP at Urban Outfitters. And, until 2016, when Nicks resurrected "Crying in the Night," few songs have re-appeared on later releases or box sets or in live performances.

Most of the audience that night had showed up expecting the hits: songs like "Edge of Seventeen" and "Dreams," songs they had heard so many times over the years, played on classic rock radio stations seemingly every hour on the hour, and so firmly ingrained in their consciousness they could loudly sing along without hesitation.That's what Nicks and Fleetwood Mac have given their audiences for the past several years: a greatest hits live show, devoid of deep cuts like the songs on Buckingham Nicks — thereby furthering the album's mystique. So the mere mention of an album that has reached such cult status with fans drew deafening screams from the crowd.

Plenty of artists have early recordings of questionable quality that they've publicly disowned, from Emmylou Harris' Gliding Bird to Billy Joel's Cold Spring Harbor. But Buckingham Nicks is an album its creators have only spoken fondly of over the years, often musing half-heartedly in interviews about re-release plans that have yet to come to fruition. One almost has to wonder if there's a performative aspect to it all, if by talking up this "lost" album they're furthering their own melodramatic narrative, the same way they join hands and play a happy couple on stage only to later stare each other down during "Silver Springs."

This wouldn't be surprising. So much of what has been written about the pair focuses more on personal drama they create and continue to feed into — one minute they hate each other, the next they're closer than ever — than their music; Buckingham Nicks leaves less juicy fodder for critics to feast on. "Before fame and all the creepiness creeped in, there was a really sweet girl and a really sweet boy that sang together and made beautiful music," Nicks once said of Buckingham Nicks. Compared to Rumours, its innocence is hardly popcorn-worthy.

Nicks in particular often gets the short end of the stick when it comes to critical recognition. While much has been said about Buckingham and his skills as a guitarist and producer, commentary on Nicks — who makes up for what she lacks in technical musical ability with lyrics that can be complex and layered, capable of being both deeply personal and broadly universal — seldom dips below the superficial. From the start, she's been portrayed more as a sex symbol than a serious musician, described by her time's leading critics as everything from "a shaggy-haired love object who cultivates an onstage mystique that only the very young could thoroughly buy" to a narcissistic "space case, a terminal mutation of the genus Superstar."

Today, it seems Nicks' image continues to overwhelm her art, her legacy written about more in terms of fashion influence than musicianship. Fawning accolades for Stevie Nicks, aesthete, are everywhere. Tougher to find is that same praise for Stevie Nicks, musician.

But beneath the Tumblr-fetishized witchy exterior lies Nicks' prolific songwriting gift: an innate ability to view the world with a particular romantic haziness, to look devastating heartache that could cripple most people square in the face with unfathomable optimism. "It's as if, by the time Nicks got around to singing about something, she already knew that she would survive it," critic Amanda Petrusich wrote in a 2016 essay for the New Yorker.

Nicks boldly took the confessional style that a few female singer-songwriters from Laurel Canyon were exploring and placed it in the increasingly macho late-70s and early-80s arena rock scene. Men are part of her songs, yes, but she is the scaffolding at the center, always; as Nora Ephron once encouraged women, she is the heroine of her life, not the victim. Drawing influence from songwriters like Joni Mitchell, she wrote complex, intimate songs from an honest, female perspective and played them to stadium crowds accustomed to hyper-masculine bands like Led Zeppelin and The Rolling Stones.

Traits that sculpt her greatest songs emerge in their most raw, naive and even prophetic form on Buckingham Nicks. It's a snapshot of a woman at a very specific, tumultuous time in her early 20s, and the range of emotions, from passion to frustration, that comes with it. She is introspective and full of questions for herself and the world around her; she is deeply in love, but already anticipating the end.

On "Crystal," she asks: "Do you always trust your first initial feeling? / Special knowledge holds true, bears believing." Later, on "Races Are Run," she grapples with coming of age again, asking if people can really start again, and, understanding that there are both winners and losers in the world, questioning which side she'll land on.

In 1975, Nicks would both re-record "Crystal" with Fleetwood Mac and croon similar sentiments on "Landslide," which has since become a touchstone for those wearily wondering whether or not they, too, can sail through the changing ocean tides of their lives. Connecting the songs shows an encouraging thread of a sustained optimistic perspective: Life changes and charges forward relentlessly, but we can survive it, especially with the right people by our sides. We can, if anything, at least just be okay.

Nicks' later love affairs spurred plenty of breakup songs whose seeds were planted years before. Though yet to go through a serious split before recording Buckingham Nicks, Nicks wrote the anticipatory "Crying in the Night," a warning to a partner about a manipulative woman who would seduce him away before eventually ruining his life. Think of it as a precursor to the reminder that "women, they will come, and they will go" she sings on 1977's "Dreams."

In Buckingham Nicks' frenzied, showstopping finale, the Nicks-penned "Frozen Love," Buckingham sings: "You may not be as strong as me, and I may not care to teach you." Nicks echos the line, at times just barely catching up, and their voices crescendo together, both dueling and embracing each other seamlessly like the tempestuous lovers who control them. It sets the stage for the darker, crueler performances they'd give later in Fleetwood Mac like "Go Your Own Way" and "Silver Springs," knowing they had no choice but to sing on each other's kiss-off tracks. Nicks is on both the giving and receiving ends of this line. She is at the same time the stronger of the two — shouldering multiple jobs so Buckingham wouldn't have to work — and the one cast in songs and by critics as weaker — aware that Buckingham can musically bring her "skeletons" of songs to life in ways she cannot. And she's fine with that: "Hate gave you me for a lover," she sings pointedly, as if to say that she is who she is, take it or leave it.

This is the early emergence of the Nicks we have come to know and love: both vulnerable and fierce, beaten down but not broken, scorned but still staggeringly confident. In Buckingham Nicks, she is, like many people in their 20s, coming into her voice and learning to trust it. In songs that would come later, from "Silver Springs" to "Beautiful Child" to "Wild Heart," she grows to confidently own all her contradictions, finding strength in embracing her flaws and weaknesses and saying them out loud. From the girl on Buckingham Nicks, she has become many women at once: the one howling that her voice will haunt you, the one quietly letting go of a lover, admitting that she was too naive, the one proudly shrugging off her tendency to fall hard in love so quickly and recklessly.

Nicks has recently emerged as a self-proclaimed fairy godmother for countless millennial women. Her songs serve as lighthouses, there in the darkest of nights to offer safety and guidance. It's refreshing to look back at Buckingham Nicks and see that she was once one of us, still unformed and trying to figure out her place in the world. Through her music, she finally found her way, taking the public with her on that journey. It's encouraging, even, to look back to this beginning knowing that she turned out okay. Maybe, if we listen closely enough, we will, too.



https://www.npr.org/2018/01/30/58105...gwriting-voice