And Fleetwood Mac was still very much an anomaly, unique in being a rock band fronted by two women who were writing their own material, with Nicks presenting as the girliest bad girl rock'n'roll had seen since Ronnie Spector. She took the stage baring a tambourine festooned with lengths of lavender ribbon; people said she was a witch. Like her male rock'n'roll peers, Nicks sang songs about the intractable power of a woman her first hit, "Rhiannon" and used women as a metaphor "Gold Dust Woman" , but her approach was different.
At the time of Rumours ' release, she maintained that the latter song was about groupies who would scowl at her and Christine but light up when the guys appeared. She later confessed that it was about cocaine getting the best of her. In , coke was the mise of the scene-- to admit you were growing weary would have been gauche. Nicks' husky voice made it sound like she'd lived and her lyrics-- of pathos, independence, and getting played-- certainly backed it up. She seemed like a real woman-- easy to identify with, but with mystery and a natural glamour worth aspiring to.
It's almost easy to miss Christine McVie for all of Nicks' mystique. McVie had been in the band for years, but never at the helm. She didn't hate her husband, she adored him, she wished it could work but after years of being in the Mac together, she knew better.
Throughout, McVie's songwriting is pure and direct, irrepressibly sweet.
McVie, with typical British reserve, confessed she preferred to leave the bleakness and poesy to her dear friend Stevie. As much feminine energy as Rumours wields, the album's magic is in its balance: male and female, British blues versus American rock'n'roll, lightness and dark, love and disgust, sorrow and elation, ballads and anthems, McVie's sweetness against Nicks' grit.
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They were a democratic band where each player raised the stakes of the whole. The addition of Buckingham and Nicks and McVie's new prominence kicked John McVie's bass playing loose from its blues mooring and forced him towards simpler, more buoyant pop. Fleetwood's playing itself is just godhead, with effortless little fills, light but thunderous, and his placement impeccable throughout. The ominous, insistent kick on the first half on "The Chain", for example, colors the song as much as the quiver of disgust in Buckingham's voice when he spits "never.
It is more like a peak human feat of Olympic-level studio craft.
20 Things You Might Not Know About Fleetwood Mac's 'Rumours' - NME
It was made better by its myopia and brutal circumstances: the wounded pride of a recently dumped Buckingham, the new hit of "Rhiannon", goading Nicks to fight for inclusion of her own songs, Christine McVie attempting to salve her heart with "Songbird. Given the standalone nature of Rumours , it's difficult to argue that any other part of the box set is necessary.
The live recordings of the Rumours tour are fine, lively even perhaps owing to Fleetwood rationing a Heineken cap of coke to each band member to power performances. Only a handful of tracks on the two discs of the sessions outtakes lend any greater understanding of the process behind it. One is "Dreams Take 2 ", which is just Nicks voice, some burbling organ, and rough rhythm guitar gives an appreciation of her fundamental talent as well as Buckingham's ability to transform it; it makes the case for how much they needed each other.
The alternate mixes and takes more phaser! Less Dobro! It's a real beauty. Skip to main content. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab. Add to watchlist. People who viewed this item also viewed. Picture Information. Mouse over to Zoom - Click to enlarge. Have one to sell? Sell now - Have one to sell?
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Fleetwood Mac: ‘Everybody was pretty weirded out’ – the story of Rumours
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Whatever artwork that is available is quite highly sought after. Terence would come up with the most daft ideas, some of which were just vulgar to the point of being irresponsible and unusable. But sometimes he came up with extraordinary pictures. The picture of Mick on the double-fold of Mr. Wonderful was extraordinary. No one, possibly not even Ibbott himself, knows the exact thinking behind the shot.
But Vernon, as good a source for this kind of hypothesizing as anyone, has a strong theory. In the Elizabethan period, they would have their cheeks blushed slightly. They would wear very silky, fancy gowns and dresses and would carry flowers, probably roses, and be bouncing around in the fields among daffodils and spring flowers. And what you end up getting is Mick Fleetwood. It was the perfect combination: a nearly blank check and the freedom to pursue any radical visual idea.
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They were exceedingly direct about that. They left no wiggle room for later reprisals. Then the arduous process began. First, Odgers scouted the city for potential shooting locations. Then he waited. For an excruciatingly long time. And then nothing. At a point, I began to wonder if I was ever going to photograph Fleetwood Mac at all. No more scouting around—I was done with that.
Legacy: A Tribute to Fleetwood Mac's Rumours
I chose the main living room as the location for the shoot. It was large, had interesting architectural details, and seemed intimate unlike a typical photo studio. Christine and John McVie are planted on the ground; Fleetwood clings to a chair above his head; Stevie Nicks and Lindsey Buckingham float around in an eye-popping display of antigravity camera trickery. I simply thought that would be visually arresting. Gravity-defying objects have always been alluring to me.