|Buckingham - Nicks - Buckingham-Nicks - Deluxe Edition|
|The original album, never released on CD, taken from an original LP, with bonus tracks. Excellent SQ.
From the info file:
Buckingham / Nicks
A 21 track expanded album collection and including a very comprehensive
and informational twelve page color booklet and printable disc label.
01 - Crying In The Night
02 - Stephanie
03 - Without A Leg To Stand On
04 - Crystal
05 - Long Distance Winner
06 - Don't Let Me Down Again
07 - Django
08 - Races Are Run
09 - Lola (My Love)
10 - Frozen Love
11 - Crying In The Night (Single Version)
12 - Dont Let Me Down Again (Mono Single Edit)
13 - Sorcerer
14 - Garbo
15 - Cathouse Blues
16 - That's Alright
17 - Candlebright (aka Nomad)
18 - Without You
19 - Lola My Love (Live)
20 - Races Are Run (Live)
21 - Rhiannon (Live)
This collection begins with the ten tracks that comprise the self
titled album from Buckingham Nicks, their only commercially released
album. While the album saw several vinyl issues, spurred on in part by
curiosity after Mac became hugely successful, it has never seen any
legitimate commercial release in the digital age. Lindsey Buckingham
and Stevie Nicks own the full rights to the album and have come close
to releasing it several times. Sources close to the pair state that
Stevie very much wants it to be released but that Lindsey is the
The source for these tracks as they appear here is the original DLedin
16 bit vinyl rip of the album. This effort is considered to be one of
the few consensus 'must haves' in the crowded internet music trading
pool. This is due not only to the fact that the album has never been
released on CD (some bootleggers have made quite a bit of money as a
result), but also because the quality of DLedin’s work here is
magnificent. It is significantly better than any of the myriad for
profit bootlegs that have materialized over the years. In fact, as
bold of a statement as it may seem, there is ample evidence to suggest
that a commercial CD release from the original master tape would fail
to live up to the lofty aural standard set by the 'needledrop'. First
off, original album producer Keith Olsen stated that when preparing
the digital master for an aborted 1999 release of the work, it was
necessary to bake the master reel due to oxide flaking of the tape.
This statement could lead one to assume with some probability that
even ten years ago the analog master had suffered some deterioration.
Even more compelling evidence can be found by way of two tracks that
have seen commercial distribution. The first is 'Stephanie' from the
promotional compact disc 'Lindsey Buckingham Words and Music'. The
second is 'Long Distance Winner' which appeared on Stevie’s
'Enchanted' box set. Please find those tracks and compare them to
their corresponding offerings here. The results will speak for
Tracks eleven and twelve are Galemark vinyl rips of two BN singles.
The first, 'Crying in the Night', is more than a simple remix. The
original session for the album track is retained, but is augmented
with at least two extra guitar tracks from Lindsey (and/or perhaps
session ace Waddy Wachtel) and some additional backing vocals. As a
result, the song takes on a more aggressive nature that belies the
album’s laid back SoCal feel. The second single included here is
'Don’t Let Me Down Again'. This one is not a rerecording or remix,
but simply a single edit which relieves the track of twenty seconds
of soloing at the end, making it more 'radio friendly'. This drop
came from a white label promo 45, having the stereo edit on one side
and a mono fold down on the flip side. The mono is chosen here to
present the song in it’s full 1970’s AM transistor radio glory!
The next six tracks are demo recordings which have circulated
extensively under the misnomer 'The Coffee Plant Demos'. This title
is in reference to a small storeroom in the San Francisco coffee
plant of Lindsey’s father, where they installed a used Ampex four
track recorder. 'Sorcerer' and 'Garbo' are widely reported to have
been written after the couple moved to Los Angeles, and the tapes
themselves have several characteristics that allude to them having
multiple points of origin.
As odd as the title of this bootleg is, the configuration in which
the songs are offered is even more unusual. The most common version
of the bootleg presents seven songs. Each song is repeated for a
total of fourteen tracks. Several of the tracks appear in two
variations, one track with vocals and guitar only and another with
the same vocal track and bass only (as an example, they vary from
song to song). Some of the songs appear twice in the same
configuration, but are titled as being different (the original
bootlegger may have not had very acute hearing or perhaps wanted to
pad the track count). Why the tracks circulate in this form remains
a mystery, but one possible explanation is that Lindsey had
distributed these mixes to other members of the Buckingham Nicks
touring band as a rehearsal tool, showing each player what he wanted
for a given song. The songs with distinct mixes are the ones likely
recorded in LA, while the others may have come from the coffee plant
tapes. One song that appears on the bootlegs, 'Goldfish and Ladybug'
sounds as if it was recorded on an office type cassette recorder with
a built in microphone. The vocals are quite distorted and the guitar
is very distant in the mix. For these reasons the track was not a
good candidate for remastering and is not offered here.
The fourteen track configuration is the most common way that these
tracks circulate, but some enterprising individuals, realizing that
the same vocal appeared on each version, have attempted to line up the
tracks into a 'pseudo-stereo' (sometimes referred to as 'true stereo').
This offers a more complete mix, but suffers from an overly pronounced
vocal track and of course a terribly inappropriate stereo soundscape.
Galemark sought to relieve these problems by starting with a new
pseudo stereo alignment of the tracks. From this the goal was to
perform isolations of the vocals and instruments. The vocal isos were
not very good, but the instrumental versions came out with varying
degrees of success. From this point, the pseudo stereo tracks and the
instrumental isos were dumped into ProTools to create a four track
that served as the basis for what is presented here. If the bass
appeared in the left channel of the fake stereo version, an amount of
the bass iso was mixed to the right. Since the iso is mostly
fundamental, the attack of the note still came from the left, but the
expanse of the sound came from both channels. Similar decisions were
made for each instrument in each mix down. This approach relieves
many of the problems that have always been inherent in these tapes.
The volume balance is greatly improved and the stereo image is much
more natural. Finally, literally hundreds of tape dropouts were
corrected and a dusting of EQ and spot noise reduction was employed.
The notion that these songs are musically significant and not simple
historical curiosities is borne out not merely by opinion, but by the
fact that four of the six songs were resurrected at later points in
the BN/FM saga. 'Sorcerer' and 'Candlebright (aka Nomad)' were
returned to as part of Ms. Nicks’ 2001 album 'Trouble in Shangri-La'.
They appear as two of the five Sheryl Crow produced tracks. Ms Crow
is a voracious student of rock history and an unabashed Stevie Nicks
fan, who once said that 'Stevie bridges the gap between…Janis Joplin
and Grace Slick, and what’s going on today'. Perhaps Sheryl was
already familiar with these demos and suggested that the lost songs
merited proper treatment. 'Garbo' appeared in 1983 as the b-side of
Stevie’s 'Stand Back' single and can still be found on the 'Enchanted'
box. Two years prior Fleetwood Mac revisited 'That’s Alright' on their
'Mirage' album. That leaves only two tracks that remain on the shelf.
'Cathouse Blues' demonstrates that Lindsey’s finger picking technique
is well suited to a style in which it is not often utilized. 'Without
You' serves as an apt coda to this set of demos. Lyrics like 'If I’d
not heard your laughter, maybe I wouldn’t love you. If I’d not sung
your music, I’d not come rolling after you' foreshadow their later use
of lyric as autobiographical therapy session that became so famous in
songs like 'Go Your Own Way'.
Speaking of foreshadowing, the last three tracks of this set are
fascinating in large part for the way in which they point to the
future. This small live set remarkably is not the only live recording
that exists of Buckingham Nicks, but is far and away the one with the
best quality. Even with a good basic tape to work with, Galemark still
had a lot of remastering work to do. The tape suffered many dropouts,
not just the fine and complete type, but also large patches of tape
where there was mal-alignment, causing fluctuations in the frequency
curve. These were corrected or minimized as much as possible.
DLedin and Galemark hope that you enjoy this presentation of what is
(for now) the definitive collection of Buckingham Nicks.