Vinyl Release of Rumours From WB

[KarmaContestant]

As expected, the 2-LP version of Rumours (limited to 4000 copies worldwide)has already hit eBay at an outrageous markup. $150-250 bucks. Insane!

[KarmaContestant]

No mention of FM or Rumours, but here's an interesting blog entry from my local record store about Record Store Day.

http://twistedspork.blogspot.com/

Monday, April 18, 2011Record Store Day 2011

When I got there at 8:30 a.m. there were about 120 people in line. The first guy had apparently gotten there at 3:00 a.m. By the time we opened there was north of 250 people waiting to get in. I’ve been in retail for nearly 30 years and I have never experienced what followed. For the first two hours of Record Store Day I can only describe it as a sales nuclear reaction. It was astounding! It dwarfed the excitement and volume of last year, or any Christmas, or any instore performance I’ve ever seen. People were just insane to get their hands on this stuff. The hottest items for us- The White Stripes, Phish, Panda Bear, Foo Fighters, Pink Floyd, Mastodon/ZZ Top split, Deftones and Ryan Adams among others blew out of there in minutes. Many items that we didn’t get what we ordered like The Fleet Foxes, or Phish or Grinderman we could have sold out of in minutes rather than seconds had we gotten what we ordered. What kind of numbers am I talking about? Well on many of the bigger items we brought in 75, 60, 45, 30 or 15. In total we are probably talking about 3,000 pieces of vinyl in addition to CDs, shirts, puzzles, comic books, plastic toys and all other official RSD schwag. We had over 1,100 transactions that day with almost 300 of them coming in the first two hours. The average sale was 61 dollars. The average customer purchased 5 items although many people bought huge amounts. We attempted to source every single Record Store Day release, including (pretty unsuccessfully) getting Record Store Day UK releases. It seems like if I could have gotten them we could have sold potentially hundreds of copies of many releases. Some things underperformed for us as well; Ray Lamontagne, Mastodon Live at The Aragon,Tom Petty Reissues and most surprisingly Sonic Youth, Dylan and Springsteen all did less than I expected.


From the budgeting point of view this brings up the obvious conundrum for independent stores of; how do you afford to buy all this stuff, even though you sell through much of it, there are all the ongoing costs of doing business and quite a bit of additional staffing expense for the day and I don’t want to even think about the potential for theft on a day like this. We also will be left with about twenty percent of the stuff unsold. That stock has to be paid for as well and none of it can be returned. There were hours where we-the staff-could not get near the product. Many people stood in line for well over an hour, even though we had five registers going the whole time. The day did not slow down at all until late afternoon, at which point it felt like a typical Christmas Eve. It stayed that way until about 9:00 p.m. when it finally slowed down. As we have in the previous 3 years we had an all day program of DJ’s (Arturo Gomez, Brett Ericson (DJ Segue), Professor Mikey, DJ Sam, DJ PETER BLACK and SOLE & the Skyrider Band) who all did a fabulous job. With the crowds the way they were it seems unlikely we could have managed an instore on this day. Throughout the day I estimate about 2-3 thousand people came to the store. All told it was the biggest day in the history of the store by a long shot and about 30% bigger than last year’s RSD.


The crowd was overall very nice and cooperative. There were the usual complainers, and prima donnas who just can’t believe it’s not all about them. There are also those who scam to get multiple copies to undoubtedly resell. Overall though I feel very proud to have gotten so many copies of so many different releases into so many different hands, and we were all impressed with the sweetness and good cheer of our clientele.


The biggest things to ponder for me are as follows;
-I understand that the labels are trying to preserve the special nature of this event by making the items very limited. In a sense they are absolutely correct that this is the surest way to stoke demand. On the other hand, there were plenty of items limited to 1,000 or less and when one considers how many stores are participating in this event, and coordinate that with the number of people I described it seems like not enough are being made. I don’t know how it was for everybody else, but we could have sold much more of nearly everything to different folks. This is a difficult one to figure. I think building to order needs to be combined with some kind of cap on any given store so no one can hoard, thus getting the numbers a little closer to the demand. If many of these items end up being sold on the internet by the customers who get them from the stores then so be it-that’s the way of the world these days, but I have to believe that the majority of this stuff is going home to be cherished. I know I spent a good couple of hours listening to my acquisitions last night. There are so many great pieces this year, but I am going to give my top prize to Ryan Adams. His double, gatefold, heavy vinyl, multi-colored, 7” defines collectible to me. Four great unheard songs, a beautiful package, a lyric sheet and a sticker-damn, this guy does it right! The Dylan at Brandeis LP is really special-a magical point in his career. The Phish Soundchecks 7” is really a special release-very different musically, and something their obsessive fans will really enjoy. I am relishing the Vanguard Lost Psychedelic compilation, Built To Spill covering the Dead-very fun. The Decembrist live at Bull Moose CD is also a fun and loose show. And Rome, the supergroup featuring Dangermouse, Jack White and Norah Jones makes me excited to hear the whole album. It goes on and on.
-How will we pay for all this. In the future we will continue to try and hone our buying to be more precise, but I fear it is impossible at some level.
-How can we make the experience better for the customer next year? Shorter, faster lines? Physically controlling the hottest items to keep unscrupulous collectors from hoarding? Food? Drink?

The bottom line is we are all drained and exhilarated by this tremendous event, which flies in the face of the prevailing wind that the record store is dead. That was an extremely animated corpse on Saturday.

Paul Epstein
Owner-Twist and Shout

And....their top selling items for the day:

[michelej1]

TG Daily, April 30, 2011

http://www.tgdaily.com/games-and-ent...-fleetwood-mac

A look back at Rumours by Fleetwood MacPosted on Apr 30th 2011 by Zachary Wolk, MXDWN

Fleetwood Mac have remained one of music’s most fascinating groups for decades.

The personalities of the various members, the behind the scenes dramas and love stories and the incredible music the band consistently produced have never ceased to captivate audiences. However, it is the band’s 1977 release, Rumours, that is mainly responsible for Fleetwood Mac becoming something of a mystical pop culture name.

The band’s previous album, their second self-titled effort, featured new members Stevie Nicks and Lindsey Buckingham. Released in 1975, Fleetwood Mac brought the band the most success any of its members had enjoyed thus far. For Mick Fleetwood, John and Christine McVie and Buckingham and Nicks, the pressure was on to deliver a worthy follow up. Tensions between Buckingham and Nicks, the McVies and Fleetwood and his wife, however, put into question the band’s ability, or willingness, to deliver.

As the band set out to record Rumours, originally to be titled Yesterday’s Dreams, the McVies divorced after eight years of marriage, and Buckingham and Nicks continued to battle. The recording sessions were marred by excess at its most excessive, with the members abusing drugs and spending countless unproductive hours in the studio. However, the members practiced an arduous and forced civility, and the turmoil encouraged Fleetwood Mac’s greatest album into creation.

Before and during the creation of Rumours, Fleetwood Mac came to be referred to as “rock’s greatest soap opera,” and Rumours became the soundtrack to the drama. With most members contributing music and lyrics, the songs took on the form of an inner dialogue that was fascinating to watch unfold. Buckingham’s piece “Go Your Own Way” stands out most and has become an anthem for bitter ex-lovers. The more tender “Never Going Back Again,” “Dreams” and “The Chain” (although all still somewhat bitter) provide contrast. Christine McVie’s “You Make Loving Fun,” a song about finding a new lover, fills out an album that explores the wide range of emotions of overwrought lovers.

What unifies the album is the band’s signature instrumentation and vocal harmonies that have become the band’s stamp on rock. On Rumours, Fleetwood Mac fully developed a light, almost floating, yet driven sound. The harmonies create a surrounding effect that envelops the listener, most especially in “The Chain.” The dialogue of the lyrics comes alive in the harmonies in dramatic fashion.

Simply finishing an album for a band experiencing such inner feuding would have been quite a feat. Rumours, however, is evidence of a band that took their craft and vision seriously enough to not give up on it. The album likely would have sold well simply for the drama behind it. It’s impeccable production and intimate sounds and lyrics, however, have made it more than a great commercial album, and it has become a classic album saturated with love and love-lost songs in their purest form.

[michelej1]

Excerpt from an article titled "When Musicians Talk Back to Critics"]

May 4, 2011, stuff.co.nz
http://www.stuff.co.nz/entertainment...to-the-critics


I was given a very nice gift yesterday - the May issue of Creem magazine. From 1977. I've only started flicking through it but there's an almost unintelligible review of Leon Redbone by R. Meltzer. And there's a review of Fleetwood Mac's Rumours that singles out Dreams as the only decent song, suggests that Christine McVie has really let her writing fall away and pines for the band to return to its blues/R'n'B roots.

Funny.

As a fan of Fleetwood Mac I was in no way incensed by this review. I thought it was a laugh - and most likely it was right on the money. At that time. Arriving after the eponymous album (the first to feature Buckingham & Nicks) it probably did just sound like more of the same; like McVie had been reduced to a George Harrison role in the songwriting stakes. Heading down toward Ringo territory. The writer of the review, Stephen Demorest, definitely had an opinion about the album. That's the important thing. And I could see a lot of what he was saying, even though I didn't agree. But of course I heard Rumours as a nine-year-old, already used to the Tusk album and songs like Gypsy. I heard them before I ever knew who Peter Green was. So to me it made sense instantly. I also heard the album knowing it was one of the biggest-selling records of all time. It's not like that informed my listening. But then again, that's exactly what it did. Let's not kid about.

[Keith]

I'm still waiting patiently for my local record store to give me a call saying my ordered copy of the 45 rpm vinyl "Rumours" has finally come in - but I'm starting to give up hope, especially after this revival of "Rumours". Then again, maybe this nice little resdiscovering of "Rumours" might result in another vinyl pressing..

I got up, made the coffee, and decided to take a break from "In Your Dream." Just finished listening to "Rumours" the dvd audio version, from front to back and it truly is a masterpiece.. I hadn't listened to it in a while, was waiting for my vinyl.. but the dvd audio.. hell., the record in whatever format.. is really a triumph of rock and roll. and it sounds so good coming through my "beats" headphones... can't wake up the neighbors..

[michelej1]

The Guardian UK, September 30, 2011

http://www.guardian.co.uk/music/musi...?newsfeed=true

My favourite album: Rumours by Fleetwood MacOur writers are picking their favourite albums. Here, Nosheen Iqbal recalls the joy and the pain of hearing Rumours

Everyone knows your favourite albums are usually those you heard in your teens (Up to Our Hips), soundtracking first love, independence and heavy-duty revision (Stories from the City, Stories from the Sea). They're not supposed to be records you discovered two years ago by a band you'd always filed away in the "Stuff Old White People Like" box in your brain. But so it goes with Fleetwood Mac's Rumours.

In November 2009, I spent four weeks criss-crossing the States only to fall madly in love with Los Angeles. Finally home on a cold Friday night to Hackney and my husband, I came across a battered copy of Rumours I'd picked up from a rental car on the way. We put it on, expecting nothing more than softly rocking California cheese. We were stunned. Lying on the sofa, expectations confounded, we waited for a rubbish number to kick in. Songbird, a gooey if touching ballad, was as bad as it got. Forty minutes later, all I could say was: "Dude! Who knew?"


The rest of that weekend, and many more after, was spent with Rumours playing in the background. The revelations were numerous: no, that wasn't an abominable Corrs cover, Dreams was beautiful dream pop! Yes, The Chain was used as the Formula One theme tune but it's also One Of The Greatest Songs Ever Written!

But it was never just about the music. It's also the drama attached to the album's creation. Drink, drugs and divorce weren't new to rock'n'roll but Fleetwood Mac took them to cartoonish near-parody that I, coming from a fairly histrionic family prone to high drama, could relate to. Why have one couple in the band splitting up when you can have two? Why spend six weeks in the studio when you can spend six months? And why not hoover up so much cocaine you feel compelled to give your dealer a credit in the sleeve notes? (To the label's relief, they didn't in the end; said dealer died before the album's release.)


For the next eight months, my husband and I danced around the living room, took long drives and did the laundry to the sound of the Mac. I forced the singles into party playlists, threw a strop in a club because I just wanted to go home and listen to Gold Dust Woman, and once spent 10 hours in a parked car with two friends during Latitude festival, just so we could listen to Rumours on repeat.


Having loved and lived the album to an extensive degree, at some point last summer my relationship began to unravel. We were almost seven years into our marriage and something began to itch. Lovesick, angry and bitter, I began to find Rumours painful to listen to (although I did nothing but). For three months, I mooched around zombie-like. Suddenly, Stevie Nicks didn't sound so sexily anguished; she sounded broken. Lindsey Buckingham's carefully crafted arrangements weren't just poetic, they were incitement to an emotional meltdown.


It's faintly ridiculous to feel sentimental about an album you've known so briefly. But, as my husband and I got our collective **** together, I became pretty certain this was, however gratingly cliched, Our Album. I married him partly because we had similar musical tastes – synth-pop, shoegaze and obscure disco – but I couldn't think of anything we'd discovered together so epic, glorious, volatile and crazy. In short, a bit like us.

[michelej1]

MUSIC INDUSTRY STRUGGLING TO KEEP UP WITH DEMAND FOR VINYL, HARVEY GOLDSMITH SAYS .

http://www.telegraph.co.uk/culture/h...mith-says.html


Hannah Furness 5/31/2015 Telegraph Co. UK

May 31 (Telegraph) -- The biggest problem facing the music industry is finding enough craftsmen to make vinyl, the music promoter says

When considering the most pressing problem facing the music industry today, one might consider the rise and rise of music streaming, the sexualisation of singers or the exorbitant price of concert tickets.

In fact, the biggest issue has rather a retro feel: the inability to produce enough vinyl.

Harvey Goldsmith, the music promoter who has worked with everyone from Led Zeppelin and Van Morrison to Madonna and Elton John, said music makers were desperately seeking craftsmen who know how to make vinyl to keep up with demand.

Speaking at Hay Festival, he said factories were springing up at a rate of knots to meet a new-found revival of the genre, with bands desperate to bring out their albums to meet trends.

"Sales of vinyl have gone up 100-fold in the last two years," he said. "And in fact, the biggest problem we've got now is that we can't find the factories.

"They're opening them up as fast as they can, but they've got to find the craftsmen who know how to make a vinyl record.

"If you want to produce a vinyl version of whatever you're bringing out today, you're literally in a queue for four to six months before you can get into a factory to get them made.

"Which is nuts."

In 2014, sales of vinyl albums soared past the million mark for the first time in 18 years, with releases from Pink Floyd, Arctic Monkeys, Jack White and Royal Blood fuelling the demand.

This year, the Official Charts Company has launched a separate chart for vinyl, with a 70 per cent rise in records bought already.

"So that's changing," said Goldsmith. "It goes round in a circle. All the kids I know want to know about Jimmy Hendrix, the want to know about The Doors, learn about their heritage."

Despite the return of albums on vinyl, he said, the British music industry was facing an issue in rock, with no up-and-coming new artists ready to carry on the legacy laid out by the likes of The Rolling Stones, Pink Floyd and The Who.

Instead of plying their trade in pubs and dingy clubs, building up a body of work and army of fans, musicians are now thrust into the limelight quickly to have their music streamed, he said.

"The difficulty is creating the next generation of artists is going to take a period of time," said Goldsmith, who helped create Band Aid. "We're not at that period of time.

"Pop music is what people want today and that'll keep going until somebody brings out some great music."

His advice to save live music, he said, was to ensure that "every night was a first night", in order to give fans value for money.

Saying he was asked to give advice to the classical music industry around decade ago, "when it was really in the doldrums", he said: "I gave this talk to the heads of orchestras and said what you've got to understand is that every night should be a first night.

"Orchestras were working to union rules. I've actually seen concerts where the third violinist, because they've overrun by ten minutes, gets up and leaves before the end.

"You see them half way through at rehearsals, if they go one minute over time, get up and walk out. I said you can't do that.

"Every night has to be a first night. People have bought a ticket, paid their money and come to see you. They've come to see their heroes, you've got to give it to them."

The Official Top 40 biggest vinyl albums of the decade so far:

[I can't copy the table, but Rumours was #30]

[michelej1]

Yakima Herald By Pat Muir 11/30/2015

http://www.yakimaherald.com/news/loc...cd74e6122.html

“There were many, many years — probably a couple of decades — in which you couldn’t give away Fleetwood Mac’s ‘Rumours,’” Pickerel said. “It was in bargain bins by the dozens for $1. Now a younger generation has been turned on to classic rock, and there aren’t enough copies left.”

[Macfanforever]

Maybe I should start selling my multiple copies of Rumours .I must have about 6 dozen copies of it around here somewhere. I have to look for my shrink wrap machine and start shrink wrapping them. LOL Only kidding.

I'm thinking of the sound quality between the current release and the 1970's original release.

Whats next.Cassettes and 8 tracks and VHS and Betamax.Screw digital.LOL..
Atlease a virus wont destroy them or go corrupt for no reason.

[Macfanforever]

I stopped at FYE at the mall tonight with limited time to look good .They have the green 1988 FM greatest hits on vinyl there.I did not see any other SN/FM vinyl there.

They do have a nice collection there.They have alot of the current artists in vinyl like One direction and Adele's latest release.

[FuzzyPlum]

Pretty incredible to think vinyl records are creeping back more and more into big chain superstores in the UK.
We bought our teenage daughter Rumours, Nevermind and Sgt Pepper's to go with her new turntable for Christmas- cost a small fortune. Recently I bought her albums by Lionel Ritchie, Tom Jones, Sade and Cat Stevens and a Jane Fonda workout disc for £5 from a charity shop in our high street (she did say if you see anything vinyl buy it).


Sainsbury's to sell vinyl records in store for first time since 1980s
The supermarket chain will stock LPs by artists including David Bowie, Nirvana and Adele

http://www.nme.com/news/nme/92372


Sainsbury's has announced plans to sell vinyl records for the first time since the 1980s.

From Monday (March 21), the supermarket chain will stock a limited range of LPs by artists including David Bowie, The Beatles, Nirvana and Adele in 171 of its stores across the UK. Straight away, Sainsbury's will have more outlets selling vinyl records than any other UK retailer.

Prices for Sainsbury's vinyl range, which also includes classic LPs by Amy Winehouse, The Eagles and Fleetwood Mac, will begin at £12. The chain will also offer a Crosley Cruiser Turntable at a price of £80.

The chain's music buyer Sean Cowland told MusicWeek: "The diverse nature of CD sales at Sainsbury's – from bestselling chart lines to more specialist catalogue - has given us the confidence that our customers not only choose us as a destination for New Release albums but are also open to recommendation and discovery in store. The vinyl offer reflects this."

According to Sainsbury's, Adele's '25' album has sold more than 300,000 CDs in its stores since it was released in November.

The return of vinyl to Sainsbury's shelves is another milestone in the format's ongoing resurgence. Tesco became the first UK supermarket chain to reintroduce LPs to its stores last year.

[HomerMcvie]

If anyone is looking for the vinyl, Guitar Center(in Nashville at least) carries multiple copies. I would ASSume that means that most GCs carry it.

[Macfanforever]

Last Wednesday I stopped at FYE at my local mall to see what they have in vinyl.They did have Rumours there for $29.99 as I mentioned in the record store day thread.

Check your FYE stores if you have one in your area.I did not check BestBuys in the mall which I will next week.I doubt if they have it there since its a small Bestbuys.I know the full size BB has vinyl.They might have it there.

[Macfanforever]

Originally Posted by Macfanforever

Last Wednesday I stopped at FYE at my local mall to see what they have in vinyl.They did have Rumours there for $29.99 as I mentioned in the record store day thread.

Check your FYE stores if you have one in your area.I did not check BestBuys in the mall which I will next week.I doubt if they have it there since its a small Bestbuys.I know the full size BB has vinyl.They might have it there.

I went back to the mall today to see Best Buys have vinyl.Not at that location.

[StreetAngel86]

Originally Posted by FuzzyPlum

Sainsbury's to sell vinyl records in store for first time since 1980s
The supermarket chain will stock LPs by artists including David Bowie, Nirvana and Adele

Vinyl are being sold here in Oz
all the oooooooooold stuff
in with the new
i got me FM's Greatest Hits and Springy's Born in the USA
i have multiple copies of stuff
i don't care. one to play. one to look at