By Mackenzie Grizzard | Assistant News Editor
Stevie Nicks and Lindsey Buckingham’s first and only collaborative album, “Buckingham Nicks,” unceremoniously flopped upon release 52 years ago. They weren’t the timeless, tortured lovers that “would never get away from the sound” of their love as we know them today — they were simply two struggling singer-songwriters trying to make ends meet in 1970s Los Angeles.
Just four years later, Lindsey and Stevie were catapulted into the limelight with Fleetwood Mac’s 1977 album, “Rumours,” which would go on to win the coveted album of the year at the 1978 GRAMMYs. The unique, soulful, blues-ridden rock ‘n’ roll sound, combined with the raw emotions of multiple failing relationships, would cement “Rumours” into one of the most iconic albums of all time.
And so, the forgotten “Buckingham Nicks” album would fade into the past, forever dancing around the spotlight cast by Fleetwood Mac’s success — until last Friday, when “Buckingham Nicks” was finally released in its entirety, 52 years in the making.
In this 10-track release, many of the songs are hauntingly reminiscent of the early days of Fleetwood Mac, wonderfully charged with the distinct melodies of Stevie and Lindsey.
The album opens up with “Crying in the Night,” which was actually released as a single in late July. This perfect first track captures Nicks’ mystique essence; it’s hard to miss some of the lyrical and vocal similarities to her 1986 solo album, “Rock a Little.” Beginning an album that disappeared half a century ago with a song about being haunted by a woman who left you is iconic and on brand.
“Stephanie” is one of the two instrumental tracks on this album, which is an interesting shift from two seasoned lyricists like Buckingham and Nicks. However, it is an absolute treat to hear a pure, undisguised Lindsey Buckingham guitar sequence — and he does not disappoint. Stephanie is actually Nicks’ given birth name, so it’s a pretty safe bet to assume this beautiful, folksy ballad was written for her. It’s gently sweet, and the way Buckingham’s guitar sequentially trails off seems to mirror their own on-and-off relationship.
“Without a Leg to Stand On” is another Buckingham certified classic. Emotionally resonant guitar melodies seem to be his brand — and this particular track is evocative of many songs on The Mac’s “Tango in the Night.” It’s deeply adjacent to “Go Your Own Way,” with Stevie singing background vocals behind Buckingham’s clear and rhythmic guitar tones.
“Crystal” might sound familiar to many, mostly because it was reworked into the 6th track on Fleetwood Mac’s debut album in 1975. “Crystal” was actually written by Nicks with her father and grandfather in mind and explores the empowerment of love throughout her life’s journey. Despite this, Fleetwood Mac’s producer at the time insisted it be sung by Buckingham instead, and that’s how both versions of “Crystal” were permanently immortalized. Although she later recorded a solo version for the “Practical Magic“ soundtrack, this new release was a missed opportunity for Stevie to reclaim this deeply personal song.
“Long-Distance Winner” hints at the perpetual motif present in all aspiring singer-songwriters: the obsession with winning and losing. Buckingham’s intricate guitar work, coupled with Nicks’ deep vocals, paints the tension-filled story of their love, which we know all too well. It’s a bit more country-flavored than his work with Fleetwood Mac, and the guitar breaks throughout the song leave you with an almost brittle feeling of loss and longing.
“Don’t Let Me Down Again” is another “Buckingham Nicks” original that was later adapted by Fleetwood Mac, and it rocks just as well. It’s plucky, hearty and just a little bit twangy — and is especially evocative of the guitar work in Fleetwood Mac’s “Second Hand News.”
“Django” is a cover of the iconic John Lewis and is the second of the two instrumental tracks on the album. This tribute to ’50s jazz is done in a more acoustic folk way and is nostalgic in nature, reflecting Buckingham’s drawn inspirations from artists like Scotty Moore, Cat Stevens and James Taylor.
“Races Are Run” is a song for the muse of competition, revealing the doubt that lurks behind their ambition. For Nicks and Buckingham, this song is the embodiment of what they’ve sacrificed for success — and if that makes them winners or losers. Nicks’ vocals seem to take a muted, reserved approach that contrasts her usual style, marking this track as a reverent reflection of their career.
“Lola (My Love)” is like a crystal ball looking into the future, because Buckingham’s guitar work on this song reflects exactly what he brought to Fleetwood Mac. This part, specifically, “When I come home, one thing on my mind, she knows just what I’m looking for,” is actually eerily similar to guitar notes that reappear in Fleetwood Mac’s “The Chain.” If you were to strip both songs down to pure guitar, Buckingham’s genius would be hard to miss.
“Frozen Love” is the only song on the album co-written by both Nicks and Buckingham, and wraps up the album wonderfully. Nicks’ vocals on this seven-minute song are precisely what she’s known for: enriching, bewitching and soul-reaching. Buckingham’s guitar riff might be one of his best, second only to classics like “The Chain” and “I’m So Afraid.” This is the only song on the album where each of their individual styles shines through without a desperate fight for placement.
This album is one for the old souls, for those who grieve Peter Green’s Fleetwood Mac, cherish the acoustic sound of Don Henley, and were lulled to sleep as a child by Gerry Beckley. “Buckingham Nicks” is a beautiful reminder of what we both gained and lost when the pair joined Fleetwood Mac, and how some great sounds will never truly die.
