Buckingham Nicks

Buckingham Nicks
Released September, October 1973


That provocative front cover is a sweet introduction to the treats contained inside. Stevi Nicks and Lindsey Buckingham are the gentleman and lady and when their voices blend in sweet, soft pop-rock harmonies things begin to happen. Aside from their joint performance, the true highlight of this collection is the original material. The majority is strong with a solid accent on the lyric. Prime examples of this fine singing-songwriting blend appear on "Don't Let Me Down Again," a very Delaney and Bonnie - like up tempo rocker, "Crying In The Night" and "Long Distance Winner.' A very impressive debut and a disk that should be only the first of many from this very entertaining duo. 

- Cash Box September 23, 1973

BUCKINGHAM NICKS Polydor PD 5058 (5.98) 
The new duo of Lindsay Buckingham and Stephanie Nicks may be the prettiest-looking pair in music and their pleasant harmonies and gentle folk rock songs will please the ear as well as the eye. "Cryin' In the Night" and "Without A Leg To Stand On" are particularly good tunes. 

- Record World Sept 29, 1973

BUCKINGHAM NICKS (Polydor 14209) Don’t Let Me Down Again (3:23) (Pogologo/Buckingham Nicks/Donna Marta,???—L. Buckingham)
Talented duo who recently debuted with one fine LP shine on this, their single debut from that disk. Steady, driving rocker highlighted by the lady and gentleman’s harmonies is attractive to most pop markets and will probably receive a good deal of programming as a result. Chart action is certain to follow. Fip: no info, available. 

- Cash Box November 24, 1973

BUCKINGHAM NICKS -Don't Let Me Down Again (3:23); producer: Keith Olsen; writer: L. Buckingham; publishers: Pogdogo, 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. 

- Billboard November 24, 1973

BUCKINGHAM -NICKS -Crying In The Night (3:00); producer. Keith Olsen: writer S. Nicks: publishers Pogologo/C Buckingham Nicks /Mother Pearl, ASCAP. Polydor PD14428.
Listening to this record shows the influence this duo has had on the current Fleetwood Mac sound. Culled from the "Buckingham Nicks" LP of a few years ago, the tune's commercially viable beat remains catchy as Stevie Nicks' vocals and Lindsey Buckingham's guitar complement each other in the traditional Fleetwood Mac fashion. 

- Billboard October 8, 1977

BUCKINGHAM-NICKS-Polydor 14428 CRYING IN THE NIGHT (prod. by Keith Olsen) (writer: Nicks) (Pogologo/ Buckingham Nicks/ Mother Pearl, ASCAP) (3:00) From their LP debut as a duo four years ago, this single shows the flair that has made Lindsey and Stevie stars with Fleetwood Mac. Pop action is likely. 

- Record World October 8, 1977

John Prine with
Buckingham Nicks - October 20, 1973
Cash Box November 3, 1973

TROUBADOUR, L.A. — If you were unfamiliar with his music, you might be discouraged as the decidedly unflamboyant figure, John Prine steps onto the stage. As he sips at a conveniently placed beer, uttering something while he tunes his guitar, you sit restlessly, maybe bored. When the first notes of his nasal voice are thrown, rasping, at the audience, you may possibly question what the man is doing up there on stage. Then slowly the words begin to coalesce, a charming and bizarre jigsaw puzzle; a stray joke lands on target and you might smile, hesitantly at first, then more broadly. Midway through the set, it should become obvious to even the crustiest of critics that John Prine is a master entertainer, interesting and original, one who can spellbind an audience despite itself.

He sounds somewhat like early  Bob Dylan and his songs are simple and folksy. But a sense of irony mixed with humor and compassion lifts him well above most artists currently working in that genre. He can sympathetically describe a junkie’s situation with a simple metaphor (“Sweet songs don’t last long on broken radios.”), and there is no ambiguity, no embarrassing mawkishness. He successfully demonstrates that pathos can be handled with the same understatement as comedy with no loss of purpose or feeling. Some of the highlights of the set were “Signed Dear Abby” and “Things Could Be Worse,” songs with pungent echoes of Dylan and Tom Lehrer and with a lyricism that belongs purely to John Prine. Prine records on Atlantic, and some of his material here was drawn from his forthcoming LP “Sweet Revenge.” 

Opening the bill was Buckingham Nicks, a soft-focus act capable of simultaneously projecting the virtues of exuberance and restraint. Their original compositions were dominated by tight energetic harmonies and intricate, primarily acoustic arrangements. 

The act features the sensual vocals of Stevie Nicks and Lindsey Buckingham and is given added impetus by the supporting guitar work and singing of Waddy Wachtel. Wachtel has worked extensively with a variety of artists, Judi Pulver and the Everly Brothers among them, and his instincts as an accompanist contributed immeasurably to the smoothness that characterized a very lively and imaginative set. Buckingham Nicks recently released their first LP on Polydor Records. 

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