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  #76  
Old 04-24-2016, 06:38 PM
michelej1 michelej1 is offline
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Pacific Standard By Hanif Willis-Abdurraqib, April 21, 2016

https://psmag.com/seven-albums-to-st...553#.ce4nbpqve


Seven Albums to Stop the Apocalypse


When the aliens finally descend to crush humanity, we must be prepared to beat them back with our last remaining resource: hit records.


2. Fleetwood Mac—‘Rumours’:

The thing about Rumours is that it provides both hits and drama, two elements essential to bonding time with anyone, especially with aliens who want nothing more than to watch civilization burn. Imagine the excitement! The aliens on your couch, leaning close to your record player, fully engrossed in the stories behind the music. Yes, my alien friends. Lindsey Buckingham was maybe a bit of a jerk to Stevie Nicks. Yes, they are singing “I Don’t Wanna Know” to each other. The bonus here is that you can show them videos of Buckingham and Nicks in 2016, getting along perfectly well. If those two gave each other another chance, surely the rest of us deserve one.

Last edited by michelej1 : 04-24-2016 at 06:46 PM.
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  #77  
Old 04-25-2016, 12:10 PM
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Originally Posted by michelej1 View Post
Pacific Standard By Hanif Willis-Abdurraqib, April 21, 2016

https://psmag.com/seven-albums-to-st...553#.ce4nbpqve


Seven Albums to Stop the Apocalypse


When the aliens finally descend to crush humanity, we must be prepared to beat them back with our last remaining resource: hit records.


2. Fleetwood Mac—‘Rumours’:

The thing about Rumours is that it provides both hits and drama, two elements essential to bonding time with anyone, especially with aliens who want nothing more than to watch civilization burn. Imagine the excitement! The aliens on your couch, leaning close to your record player, fully engrossed in the stories behind the music. Yes, my alien friends. Lindsey Buckingham was maybe a bit of a jerk to Stevie Nicks. Yes, they are singing “I Don’t Wanna Know” to each other. The bonus here is that you can show them videos of Buckingham and Nicks in 2016, getting along perfectly well. If those two gave each other another chance, surely the rest of us deserve one.
Rumours is in very mixed company on this list...
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  #78  
Old 04-25-2016, 11:14 PM
michelej1 michelej1 is offline
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[From an interview with Lee Aaron]

From KNAC By Curt Miller, Pittsburgh Correspsondent Monday, April 25, 2016

http://knac.com/article.asp?ArticleID=19588

One of my favorite bands growing up was FLEETWOOD MAC. When the Rumours album came out I remember listening to it over and over. What made that album great was the fact that they have several writers in the band each with different influences. It really comes through in the music. You’ve got Christine McVie doing a tender piano ballad. “The Chain” and “Gold Dust Woman” are heavy, blues/rock songs. There’s “Second Hand News", which borders on bluegrass with Lindsey Buckingham’s influence and guitar playing. Then there’s “Dreams”, which is a straight-ahead rock/pop song. That record is so fantastic because FLEETWOOD MAC still sounds like a cohesive band. The album takes you on a musical journey. It’s interesting every time you listen to it and that’s what merits its longevity.
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Old 11-15-2016, 05:33 AM
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Fleetwood Mac's 'Rumours' revealed a tumultuous band

It’s 1976 and Fleetwood Mac is a band in crisis.

Given the success of their self-titled 10th album the previous year, this might be surprising. After all, the band was newly invigorated with the addition of singer/guitarist Lindsey Buckingham and vocalist Stevie Nicks, both of whom had helped it evolve from its beginnings as a British blues group to what would become a California pop-rock band.

But with the commercial success of 1975’s “Fleetwood Mac” and hits like Nicks’ “Rhiannon” also came personal turmoil. Buckingham and Nicks broke up. Bassist John McVie and keyboardist/vocalist Christine McVie divorced. And even drummer Mick Fleetwood was dealing with his own divorce from Jenny Boyd, who had an affair with the band’s previous guitarist, Bob Weston.

As a result of all these breakups (and various, interspersing trysts), the lyrical content of 1977’s “Rumours” is often bitter. But it’s also brilliant. If one thing has been proved by popular music in the past 70 years or so, two of the greatest inspirations for songwriting are love and the loss of it.

“Rumours” kicks off with Buckingham’s bouncy “Second Hand News.” It’s about as close as Fleetwood Mac ever came to crafting an all-out pop song. Despite its buoyant melody, the lyrics still address the songwriter’s relationship status: “I know there’s nothing to say / Someone has taken my place.”

Buckingham’s “Go Your Own Way” is perhaps one of the best breakup songs ever written with lyrics like, “Packing up / Shacking up / Is all you wanna do,” directed at Nicks, of course. Fleetwood pummels his drums as John McVie pounds on his bass and Buckingham’s guitars catch fire. Yet the chorus is soaring as Buckingham, Nicks and Christine McVie combine their voices for this super-charged barnburner.

The intricate guitar structure of “Never Going Back Again” came to define the sound that Buckingham would pursue through much of his solo career. The song’s title and chorus again reference a relationship gone wrong. But this time it’s not about Nicks. Supposedly it’s about a post-Nicks rebound.

While “Rhiannon” became Nicks’ signature song, “Dreams” remains one of her … well … dreamiest. Even though it has a sweeping chorus, that simple John McVie bass line keeps the song grounded in its serious storyline: “Now here you go again / You say you want your freedom / Well who am I to keep you down.” Then, of course, there’s that classic kiss-off line: “Players only love you when they’re playing.”

Take that, Buckingham. Yes, the lyrical content here is downright toxic.

Nicks’ “I Don’t Want To Know” sounds happy by comparison but it too is about love that “keeps right on walking down the line.” Then there’s the searing “Gold Dust Woman,” which is about a different type of toxic relationship, namely her romance with cocaine. Again, bad relationships inspire absolutely brilliant songwriting and “Gold Dust Woman” remains one of Nicks’ best.

With all of Buckingham and Nicks’ musical bickering, the positivity of Christine McVie’s sunny “Don’t Stop” is warmly welcomed. Buckingham lends a hand on lead vocals as he and McVie sing about smiles and the hope of tomorrow. Yes, she had just divorced her bassist husband, but she was looking toward the future.

Of course, during the recording of this album, Christine McVie had already moved on to dating the band’s lighting director. Her happy little tune, “You Make Loving Fun,” is about him while her sweet and tuneful “Songbird” is another pleasant break from the angst as she sings, “And I love you, I love you, I love you / Like never before.” Even the sad-sounding “Oh Daddy” is fairly optimistic.

Despite all the in-fighting, Fleetwood Mac came away from “Rumours” with a series of hits and even greater popularity than before. It went on to achieve critical acclaim and Rolling Stone eventually named it No. 25 on its list of the Top 500 Albums of All Time.

Ultimately, the band came together to create an album of musical brilliance. That unity also led to the song “The Chain,” which is the only track on “Rumours” where all five band members contribute to the writing. In addition to a killer bass line from John McVie and some of Fleetwood’s best beats, the song features the all-important lines: “I can still hear you saying / You would never break the chain.”



http://www.thespectrum.com/story/ent...band/93816110/
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  #80  
Old 11-15-2016, 08:48 AM
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Meanwhile, we wait for new music....
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  #81  
Old 11-15-2016, 12:46 PM
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Now, nearing 40 years since its release, its still one album that crosses many generations and constituents. We can wait all we want for "new music" , BUT this is the one album that will always stand the test of time.
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Old 11-15-2016, 02:40 PM
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I know some people think with Rumours it's like not necessarily always a good thing that Rumours was huge because it's what everyone associates them with but to me, that just shows how significant that album was. I'd compare it to the likes of Thriller by Michael Jackson in terms of significancy. Even groups like the Stones, who are a lot bigger than FM, never had an album like that.
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Old 11-15-2016, 04:33 PM
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Originally Posted by dreamsunwind View Post
I know some people think with Rumours it's like not necessarily always a good thing that Rumours was huge because it's what everyone associates them with but to me, that just shows how significant that album was. I'd compare it to the likes of Thriller by Michael Jackson in terms of significancy. Even groups like the Stones, who are a lot bigger than FM, never had an album like that.
RIAA has it at # 8 @ >20 Million Certified Sales. Pretty impressive when you think of the very few that are ahead of Rumors. If you look closely, its like the late 70s, early 80s really cleaned UP for album sales. NOT even Prince was up in the Top 10 which is pretty atmospheric!!
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Old 11-15-2016, 04:59 PM
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Originally Posted by Newzchspy View Post
RIAA has it at # 8 @ >20 Million Certified Sales. Pretty impressive when you think of the very few that are ahead of Rumors. If you look closely, its like the late 70s, early 80s really cleaned UP for album sales. NOT even Prince was up in the Top 10 which is pretty atmospheric!!
Didn't that recent article thing that got posted on here say that FM as a whole has sold 140 million? Wikipedia needs to be updated

Everyone knows Rumours, I think out of the list of those top selling albums, it's one of the most popular amongst people. Everyone and their mother has listened to it.
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Old 01-31-2017, 07:47 PM
michelej1 michelej1 is offline
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MTV.com HANIF WILLIS-ABDURRAQIB 3h ago

http://www.mtv.com/news/2977796/flee...s-forty-years/

FLEETWOOD MAC’S RUMOURS AT 40: HEARTBREAK AND MAGIC
REVISITING THE CLASSIC 1977 ALBUM’S PEAK DRAMA AND INCOMPLETE ENDINGS

When I was fresh into my twenties, a pal of mine moved into a small, one-bedroom apartment with his girlfriend. Our friend group thought she was wonderful, but we still had our concerns, not all of them tied to the fact that he was splitting from our established post-college, pre-adult house and leaving his portion of the rent uncovered. The concept was entirely foreign to me: I hadn’t yet loved anyone enough to want to share a space with them that wasn’t temporary and, perhaps, quickly forgotten. The shared machinery of love and trust has many parts and many flaws, and therefore many opportunities for disaster. At the time, it all existed on too thin a ledge for me to imagine walking.

When my friend and his girlfriend broke up three months into the lease, they stayed in the apartment together. Breaking the lease was too expensive, as was one of them taking on the rent alone. It also seemed that there was something about remaining inside of the wreckage that was more seductive than pushing one’s way out of it alone. It seemed, at the time, like stubbornness, but really it was a judgment call: If I can carry with me the destruction of something that I once loved, isn’t it like I still have a companion? The summer of the breakup, my friend would stay at our house late, making sure he could get home after his now ex-girlfriend fell asleep. They would avoid each other in the mornings, one sleeping on a tiny couch in the living room. Though it seemed like an absolute nightmare to me then, I remember both of them on the day we helped move them out of the apartment, as sad as I’d seen them in any of the months before. There are endings, and then there are endings.

In this way, heartbreak is akin to a brief and jarring madness. Keeping up the fight in order to not have to reckon with your own sorrow isn’t ideal, but it might help to keep a familiar voice in your ears a bit longer than letting go would. Heartbreak is one of the many emotions that sits inside the long arms of sadness, a mother with many children. I suppose it isn’t all bad, either. For example, right now I am heartbroken at the state of the world, so I take to the streets again. But the real work of the emotion happens beneath the surface. When the room you once shared with someone goes quiet, there are few good ideas. I have gutted a record collection because too many of the songs reminded me of someone I didn’t want to be reminded of. My friends have fled jobs, bands, states. I don’t enjoy being heartbroken, but I might enjoy the point in heartbreak at which we convince ourselves that literally everything is on the table, and run into whatever will dull the sharp echoing for a night, or a week, until that week becomes a year. It is the madness that both seduces and offers you your own window out once it’s done with you.

At some point, a person figured out that the performance of sadness holds value, and art has bowed at its altar ever since. Sometimes it’s a game we play: If I can convince you that I am falling apart, or in need of love, then perhaps I can draw you close enough to tell you what I really need. Other times, it is not entirely performance. In 1976, Fleetwood Mac were in desperate need of a hit to cement their shift from second-string blues-rock band to pop giants. Mick Fleetwood had higher aspirations than kicking around small clubs, and could sense the band’s time running out. Its previous album, 1975’s self-titled effort, was the first with California duo Lindsey Buckingham and Stevie Nicks in the band. Containing songs like “Rhiannon” and “Landslide,” now seen as Nicks’s signature tune, the album saw success, paving the way for a monster follow-up.

But in the two years that followed, everything began to come apart. Here is the part everyone knows: First, bassist John McVie and keyboardist-vocalist-songwriter Christine McVie divorced at the end of a tour after eight years of marriage. Then Buckingham and Nicks, embroiled in a volatile on-again, off-again relationship since before joining the band, finally turned it off, which didn’t reduce any of the volatility. The press, catching wind of what was believed to be the band’s collapse, circulated inaccurate stories. In reality, the band was breaking apart, but not broken up. When the spring of 1976 came, they retreated to a recording studio in California. No longer at the edge of chaos, they fully immersed themselves in it.

The lyric that opens Rumours — the band’s most iconic album, released 40 years ago this week — is Lindsey Buckingham’s. “I know there’s nothing to say / Someone has taken my place,” he sings, and just like that, the tone is set. There are few lyrics that set an album’s tone like this one, and few songs. Nicks’s vocals weave in to clash with Buckingham’s in the verses, littered with bitter proclamations. What sells Rumours as more than just high drama spun out on record is the clean brilliance of its pop leanings. While their previous album felt like a blues-ish band trying on some new clothes (which it was), Rumours was the sound of the band fully committed to its new role as a pop act, playing the game and aiming for the charts. The collaborative spirit of Buckingham and Nicks, even fractured, played into this more than anything else. Taking on the bulk of the album’s writing and vocal duties, they fashioned a dual tone: Nicks, both remorseful and hopeful on “Dreams,” with Buckingham angry and spiteful all the way through the album, most impressively on “Go Your Own Way.” Even beyond this, the album's most interesting character, in some ways, is John McVie. He was the band’s most private and reserved member, and didn’t provide lead vocals on any song. This meant that the narrative of his failing marriage could only play out on record through Christine, the most brilliant and stunning example being “You Make Loving Fun,” an ode to an affair she’d had. She told John at the time that the song was about a new dog. It’s hard to ignore that the women made Rumours exciting. Christine McVie wasn’t as flashy as Nicks, but her familiarity and comfort within the band, paired with her and Buckingham’s musical rapport, allowed space for her to emote with ease and nuance. In comparison, she often made Buckingham sound like he was having a frantic, exceptionally skilled temper tantrum.

These are the politics of splitting apart: We run to our friends and tell them the version of the story that will ignite in them a desire to support our latest bit of grief. It becomes a bit tastier, of course, if your friends are millions of pop fans. If, in the telling of your heartbreak, you have to share a microphone with the person who broke your heart. If, perhaps, the drugs wore off just in time for you to remember watching your ex-partner go home with someone else the night before. This is what’s so fascinating and slightly troubling about the dynamic between Buckingham and Nicks: Rumours sounds like a real-time plea to see which of them could come out of the breakup more adored than they were inside of the relationship. Buckingham lost, and, really, he didn’t stand much of a chance. Nicks, gifted, charming, and singular, was the greatest and most fully developed character in the album’s soap opera, despite taking solo lead vocals on only two songs. But the album’s unique appeal goes beyond winners and losers. For the voyeur who prefers public collapse, there is no better combination than someone who is both sad and willing to lie to themselves about it.

Without a healthy investment in the art of denial, Rumours wouldn’t work. Only denial of an emotional desire for escape could lead a band to complete an album when, at its worst moments, its members were unable to talk to each other without screaming. In one of the rooms in the Sausalito studio where the album was recorded, there were no windows. Mick Fleetwood, after a few weeks of recording, removed all of the clocks from the walls. When there is no image of time to make stand still, everything can become a type of stillness. The album represents the sound of ’70s excess at every turn, asking the band how much of the process and all of its demons it could take into itself. It all spoke to the band’s interest in self-torture for the sake of Mick Fleetwood’s mission, his desire to make The Great American Pop Album at all costs, even if Fleetwood Mac had to be held together by cocaine and scotch tape.

“The Chain,” the album’s centerpiece, is haunting, angry, teeming with regret and disgust. It is the whole of the album, condensed into just four and a half minutes. It was crafted largely in separate rooms, pieced together with past parts of old songs. It churns along painfully, driven by a McVie bass riff that sounds like a caged thing finally coming to terms with its surroundings. On the song, Buckingham and Nicks engage in a tug-of-war on the chorus — “If you don’t love me now / You will never love me again” — and they sound like they are shouting at each other from across the studio. It is the one song on the album that makes me feel like something could be broken at any moment. It is the song that you play for someone when they ask you what the fuss behind Rumours is about. It is the entire emotional cycle of dissolution, peaking at the end of the song with the band singing, “Chain, keep us together” in unison, more as a plea than anything else.

It helps to think about Rumours as not just an album, but a living document. Once you push past the theatrics of it, the massive album sales and the thrilling gossip, it is a deeply sad project. Yes, it was such a hit that it afforded the band an ability to take risks in coming years, most notably with Tusk, the exciting Buckingham passion project that followed Rumours in 1979. But it is still an incredibly sad album. It reflects the human conflict of leaving and not leaving and trying to find some small mercy in the face of something that has left you briefly torn apart. The songs are perfect, drenched so richly in the late-’70s California aesthetic that, for a moment, you might even forget the conflicts that produced them. For anyone who has ever loved someone and then stopped loving them, or for anyone who has stopped being loved by someone, it’s a reminder that the immediate exit can be the hardest part. Admitting the end is one thing, but making the decision to fully break ties is another, particularly when an option to remain tethered can mean cheaper rent, or a hit album, or, at the very least, a small and tense place where you can go to turn your sadness into something more than sadness. It’s all so immovable, our endless need for someone to desire us enough to keep us around. To simply call Rumours a breakup album doesn’t do it justice. Most breakup albums have an end point — some triumph, a reward or promise about how some supposed emotional resilience might pay off. Rumours is an album of continual, slow breaking.

My favorite photo of the band from the Rumors era was taken by Annie Leibovitz for the March 24, 1977, Rolling Stone cover, a month or so after the album was released. The band is sprawled on a queen mattress that is resting on the floor, a single sheet covering most of the group. Mick Fleetwood is the glue in the middle, his long limbs stretching from the top of the mattress to the bottom. Buckingham has Christine McVie in his arms, a hand in her hair. Christine’s hand is outstretched, reaching over to touch Fleetwood’s foot. Nicks is resting on Fleetwood’s bare chest, her legs draped over John McVie’s stomach. John McVie is unbothered, reading a magazine. The joke is that they were always too connected to let each other go so easily. I like to think of this as the great lesson hiding in Rumours: There are people we need so much that we can’t imagine turning away from them, people we’ve built entire homes inside of ourselves for that cannot stand empty, people who we still find a way to make magic with, even when the lights flicker and the love runs entirely out.
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Old 12-31-2017, 10:09 AM
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FLEETWOOD MAC - RUMOURS

I confess, I’m not much of a Fleetwood Mac fan. Their limo driven, pseudo hippie decadence makes my skin crawl. Everything I couldn’t stand about the 70’s. The long hair. The beards. The coke. The football jerseys and flairs. Then there’s Stevie, with her ballet slippers, gypsy costumes and patchouli posturing. When it comes to 1977, I’m far more drawn to the likes of Television and The Clash. In terms of late 70’s Pop, give me Blondie or give me death. Which makes it even more ironic, that I simply adore the album, Rumours.

Of course, this is Fleetwood Mac in name only. The original Fleetwood Mac was a killer British blues band, with a godsend of a guitarist and front man in Peter Green. But then Peter flipped out, leaving Mick Fleetwood and John McVie to tread water in some very choppy seas. They eventually found a life raft in the form of the duo, Buckingham and Nicks. Also manning the oars was John McVie’s then wife, Christine, a keyboardist and songwriter with a keen Pop sense. So, while the band should have been called, Fleetbuck MacNicks, Fleetwood Mac has a much better ring.

Lindsey Buckingham may be a SNL joke to some, but when it comes to ‘Second Hand News’ he’s the furthest thing from a punchline. Regardless of one’s musical pretensions, it’s a positively irresistible kick off to an irresistible album. Those bamp bamp bamp’s get your foot tapping and singing along right from the get go. He’s also responsible for one of the biggest hits off Rumours, ‘Go Your Own Way.’

As for Christine McVie, ‘Don’t Stop’ and ‘You Make Lovin’ Fun’ were the other big hits. Rock solid, pieces of FM friendly Pop. On the flipside however, it’s her two other songs which prove to be the weakest links on album. ‘Songbird’ is as mawkish as it’s maudlin. And, ‘Oh Daddy’ is a total bum trip compared to the rest of the album.

Speaking of links, ‘The Chain’ is the strongest, the pinnacle of all Rumours has to offer. Dark and driving, with some haunting acoustic guitar that can’t help but bring Neil Young to mind. This is the sound of the entire band on top of their game. John McVie’s bassline, a classic.

The songs that keep me coming back, however, are all Stevie Nick’s doing. ‘Gold Dust Woman’ remains one of my favorite tracks on the album. ‘Dreams’ is as haunting as, ‘I Don’t Want To Know’ is catchy. As much as I make a pretense of eschewing her image, there’s no denying her talents and those dusty, coke laced vocals. Nick’s personality is not only a dominant force on Rumours, she completely changed the face of the band. Her pivotal role cannot be underestimated.

Whether you love or hate Fleetwood Mac, Rumours is for the most part, undeniably seductive. Despite the following that’s developed over founding member Peter Green, this is the album that will forever be synonymous with Fleetwood Mac. And there is absolutely no shame in surrendering to its copious charms. Any music snob who thumbs their nose up, is just trying too hard. This is the sound of pure temptation and as Oscar Wilde once advised, “The only way to get rid of temptation is to yield to it.



https://soundblab.com/reviews/albums...ood-mac-rumors
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Old 12-31-2017, 11:54 AM
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[quote=SisterNightroad;1219465]FLEETWOOD MAC - RUMOURS

I confess, I’m not much of a Fleetwood Mac fan. Their limo driven, pseudo hippie decadence makes my skin crawl. Everything I couldn’t stand about the 70’s. The long hair. The beards. The coke. The football jerseys and flairs. Then there’s Stevie, with her ballet slippers, gypsy costumes and patchouli posturing. When it comes to 1977, I’m far more drawn to the likes of Television and The Clash. In terms of late 70’s Pop, give me Blondie or give me death. Which makes it even more ironic, that I simply adore the album, Rumours.

Of course, this is Fleetwood Mac in name only. The original Fleetwood Mac was a killer British blues band, with a godsend of a guitarist and front man in Peter Green. But then Peter flipped out, leaving Mick Fleetwood and John McVie to tread water in some very choppy seas. They eventually found a life raft in the form of the duo, Buckingham and Nicks. Also manning the oars was John McVie’s then wife, Christine, a keyboardist and songwriter with a keen Pop sense. So, while the band should have been called, Fleetbuck MacNicks, Fleetwood Mac has a much better ring.

Lindsey Buckingham may be a SNL joke to some, but when it comes to ‘Second Hand News’ he’s the furthest thing from a punchline. Regardless of one’s musical pretensions, it’s a positively irresistible kick off to an irresistible album. Those bamp bamp bamp’s get your foot tapping and singing along right from the get go. He’s also responsible for one of the biggest hits off Rumours, ‘Go Your Own Way.’

As for Christine McVie, ‘Don’t Stop’ and ‘You Make Lovin’ Fun’ were the other big hits. Rock solid, pieces of FM friendly Pop. On the flipside however, it’s her two other songs which prove to be the weakest links on album. ‘Songbird’ is as mawkish as it’s maudlin. And, ‘Oh Daddy’ is a total bum trip compared to the rest of the album.

Speaking of links, ‘The Chain’ is the strongest, the pinnacle of all Rumours has to offer. Dark and driving, with some haunting acoustic guitar that can’t help but bring Neil Young to mind. This is the sound of the entire band on top of their game. John McVie’s bassline, a classic.

The songs that keep me coming back, however, are all Stevie Nick’s doing. ‘Gold Dust Woman’ remains one of my favorite tracks on the album. ‘Dreams’ is as haunting as, ‘I Don’t Want To Know’ is catchy. As much as I make a pretense of eschewing her image, there’s no denying her talents and those dusty, coke laced vocals. Nick’s personality is not only a dominant force on Rumours, she completely changed the face of the band. Her pivotal role cannot be underestimated.

Whether you love or hate Fleetwood Mac, Rumours is for the most part, undeniably seductive. Despite the following that’s developed over founding member Peter Green, this is the album that will forever be synonymous with Fleetwood Mac. And there is absolutely no shame in surrendering to its copious charms. Any music snob who thumbs their nose up, is just trying too hard. This is the sound of pure temptation and as Oscar Wilde once advised, “The only way to get rid of temptation is to yield to it.



https://soundblab.com/reviews/albums...ood-mac-rumors[/QUOTE

So his taste in music is the clash and blonde and he’s against everything this version of Fleetwood Mac stands for but the one bright spot to their career is turnouts to him and not tusk?
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Old 12-31-2017, 12:37 PM
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So his taste in music is the clash and blonde and he’s against everything this version of Fleetwood Mac stands for but the one bright spot to their career is turnouts to him and not tusk?
Yeah, and only Stevie changed the face of the band. Clearly, you're not a fan.
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