There they are on the cover, in a black-and-white photograph: young and naked and impossibly beautiful, two people whose early work, in the popular imagination, was viewed almost exclusively through the prism of their mutual desire. We came to know Lindsey Buckingham and Stevie Nicks through music that, we were told, cataloged their conflict and heartbreak; here, on this sleeve, they are one, practically a single being.
By the time that Buckingham Nicks came out in September 1973, Lindsey and Stevie had been making music in bands and as a duo for five years, and had known each other for longer. They first sang together in 1966, when they both attended Menlo-Atherton High School in Palo Alto, at a church function for aspiring musicians. He banged out the chords to “California Dreaming” on piano, a current hit by the Mamas and the Papas, and she joined him on harmony. Two years later, Lindsey invited Stevie to join a band called Fritz with two of his boyhood friends. She was fronting the group by the summer of 1968.
Nicks was 19, and her heroes included Janis Joplin and Grace Slick; Buckingham was 18, a Beatles nut who also had an ear for folk music, particularly the Kingston Trio. Fritz was a catch-all of the various styles in the Bay Area at the time—some organ-backed garage rock, a bit of psychedelia that bled into cosmic blues.
You can listen to some of their music online, including a cover of “Born to Be Wild” and a studio session of one of the group’s original songs, “Take Advantage of Me.” Even this early, Nicks has one of the most immediately identifiable voices in rock, low and deep, like it’s bubbling up from her unconscious. She can sound vulnerable but rarely fragile, and when she’s singing something upbeat, as she does here, she sounds commanding.
Fritz scored some big opening gigs—Joplin, Creedence Clearwater Revival, Santana—and they had enough buzz by 1971 that Keith Olsen, a young record producer from Los Angeles who worked out of a dumpy studio called Sound City, flew up to see them. Olsen wasn’t particularly impressed with the band, but he liked Lindsey and Stevie and offered to work with them as a duo. That was the end of Fritz, and the start of Buckingham Nicks.
The pair spent the first few months working on their own, making demos on a four-track reel-to-reel in a spare room at the coffee plant in Daly City owned by Buckingham’s father. Every night, after the workers left, the two would gather with their instruments to write and record. Buckingham became obsessed with the possibilities of recording, experimenting with how sounds were layered and mixed. Nicks had a feel for the shape of melodies and an ear for words that drew from her interest in mysticism but also seemed applicable to everyday life. By the time they made their way down to Los Angeles to work with Olsen in 1972, they had a seven-song demo.