Get one-now. Highly recommended. The music industry used to refer to a bands best album as their "Sgt. Peppers" which I find particularly ludicrous considering how well loved every album the Beatles put out is among individuals! But none the less "Rumours" is considered Fleetwood Mac's "Sgt.
Peppers" or best album as I prefer saying! Now that is saying a lot considering Fleetwood Mac had huge success in the U. BOY we're they mistaken! Luckily for the Band Lindsey stood firm stating they were a packaged deal!!! And well he should have as they were all but married! The new line up secured Fleetwood Mac hit the charts with there debut album being a great success, but no one was expecting there follow up album to be a giant!!!
Can you imagine John having to come up with great bass lines when his ex is singing about her new lover making love fun?!?! Talk about pressure!!!
Incredibly it would be the lanky maniacal drummer Mick Fleetwood that finding himself in the middle of all of this would be the glue that held them all together which Christine penned her gratitude to Mick in the song " Oh Daddy" Mick literally being the only father in the group. Amazingly the band survived not only the relationship break ups but they would also be ridding themselves of some personal habits that not many survive to go on to make more great music together as well as some pretty powerful tours that would satisfy many a fan who saw them live on stage.
When times get rough. Won't you lay me down in the tall grass and let me do my stuff. Whether you have Fleetwood Mac's Greatest hits or not there are just some albums you want in your collection.
I've never really been a Fleetwood fan, I'm more a heavy metal beast I bought it for him One person found this helpful. Look, I know the hardcore Fleetwood Mac fans can write an essay about why Tusk or another album is actually the band's best, but I'm a super casual fan. Rumours is one of the greatest albums of all time.
It is anthemic, but also whimsical, tender, and heartbreaking, all during a decade where everyone was trying to find or be "the next Beatles".
Fleetwood Mac did their own thing, and as a result, it holds up today for new listeners as well. In 76 I was And I bought the first album at the warehouse records and tapes on Ocean Avenue.
On one level, this album is nothing more than slightly overengineered, light California pop from the late '70s. Yet there is a quality about this album transcends the slick pop surface.
I think it is because this album is one of contrasts. It may be contrast between the emotional impact of the lyrics and the mystically happy music. The lyrics deal with difficult emotions, the loss of relationships and the fear of being alone and abandoned -- the anger, wind of uncertainty and self doubt at the end of a significant committed relationship. They stand in brilliantly dark contrast to the slick, polished music which accompanies them.
Or perhaps it is the ability of Lindsey Buckingham to rip of a tight, gut renching rock guitar solo in the middle of a light pop tune. Just before recording began, Fleetwood had become aware that his wife and mother to their two children was having an affair with a close friend, and divorce would soon follow.
Because we did. Rumours producer and engineer Ken Caillat described the drug use as having an Atlantic divide. Then the cocaine entered the picture. So it was booze versus pot really, with a little cocaine cocktail. Cocaine use was so rampant the band even considered thanking their dealer in the album credits, but such recognition never came to pass.
Fleetwood Mac's 'Rumours' album cover. This was not his only tribute to virility. Fleetwood went through a lengthy period of placing a dildo on top of his bass drum. Sadly, the original set were lost on the road, but he makes due with a replica.
The band considered thanking their coke dealer on the album credits. Fleetwood famously worked out that if he laid all of the cocaine he had ever snorted into a single line, it was stretch for seven miles.
Coke was less of a pleasure and more of a necessity, helping combat fatigue during the grueling multi-hour sessions — and tortuous emotions. Cocaine played such a major role in the production of Rumours that the band seriously considered thanking their drug dealer in the album credits, until gangland violence apparently put a premature end to the idea. Annie Leibovitz, already a bona fide rock-photography icon, played the role of the conscientious host when the quintet arrived at her studio for the shoot.
I took it out, and they looked a little freaked out at first, but then consumed it in, like, 30 seconds. So they were all a little jittery and tense. Nicks ended up putting her foot down. Although they attempted to keep a respectful distance, the session sparked a brief romantic reunion between Nicks and Buckingham. And we lay there for about two hours talking and making out.
Finally, Annie had to tell us to leave, because she had rented the room for only so long. A lovely acoustic piece from Buckingham that showcases the skills of a player whose own technique has often been underrated in the rush to applaud him as a songwriter. The number moves along on an agreeably soothing bass line from John McVie and a simple Mick Fleetwood drum pattern as Nicks warns Buckingham against the dangers of thinking the grass will be greener without her.
The record's working title in Sausalito was Yesterday's Gone. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days working with a range of microphones and amplifiers to get a larger sound, before discovering they could adjust the sound effectively on the API mixing console.
As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;   sleepless nights and the extensive use of cocaine marked much of the album's production.
Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,  while, according to Buckingham, the tensions between band members informed the recording process and led to "the whole being more than the sum of the parts".
Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and get fan feedback. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded "lifeless".
Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.
After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful". Fleetwood Mac's main writers — Buckingham, Christine McVie and Nicks — worked individually on songs but sometimes shared lyrics with each other.
All songs on Rumours concern personal, often troubled relationships. She noted that Buckingham helped her craft the verses because their personal sensibilities overlapped. Her own song "Gold Dust Woman" is inspired by Los Angeles and the hardship encountered in such a city. Featuring a soft rock and pop rock sound,   Rumours is built around a mix of acoustic and electric instrumentation.
The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees ' " Jive Talkin' ", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock.
The third track on Rumours , "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes ; the band added vocals and further instrumental audio tracks to make it more layered. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano.
Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There",  and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track.
The ninth track on Rumours , "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. The album ends with "Gold Dust Woman", a song inspired by free jazz , which has music from a harpsichord , a Fender Stratocaster guitar, and a dobro , an acoustic guitar whose sound is produced by one or more metal cones. Rumours has been acclaimed by music critics since its release.
Robert Christgau , reviewing in The Village Voice , described it as "more consistent and more eccentric" than its predecessor.
He added that it "jumps right out of the speakers at you". Petersburg Times claimed the songs are "as grandly glossy as anything right now". In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.
Here is a radio-friendly record about anger, recrimination, and loss. Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, following the eponymous release. By , 13 million copies of Rumours had been sold worldwide. Mick Fleetwood has called Rumours "the most important album we ever made", because its success allowed the group to continue recording for years to come.
The record contained each song of the original Rumours covered by a different act influenced by it. Adapted from the album's credits and AllMusic. From Wikipedia, the free encyclopedia. This article is about the album by Fleetwood Mac. For the album by Arrogance, see Rumors album. For other uses, see Rumor disambiguation. Fleetwood Mac.