Fleetwood Mac, Rumours Album Review

The role "Dreams" played in the virality of 420doggface208's Tik Tok video of himself skateboarding and the song's subsequent resurgence on the charts serve as further evidence that Rumours is much more than just an album. Released in an era of self-indulgence and permissiveness, the album is emblematic of California in the '70s – a period where cocaine use was rampant and counterculture at its height. The success of Rumours certainly launched Fleetwood Mac to icon status, spending over 31 total weeks at #1 on Billboard's Top 200 Album chart and selling upwards of 800,000 copies per week at its zenith. All four of the LP’s singles reached top 10 status with “Go Your Own Way,” “You Make Loving Fun,” “Don’t Stop,” and “Dreams” peaking at #10, 9, 3, and 1 respectively.

Although losing a band member can often be cataclysmic, the departure of pretentious guitarist Bob Welch and the ensuing integration of Lindsey Buckingham and Stevie Nicks of Buckingham Nicks into the group proved to be the genesis of a new band band altogether; one that was simply retaining an old name. Following the addition of the duo, Fleetwood Mac meticulously combined tracks from Christine McVie's repertoire with scrapped songs from Buckingham Nicks' second album, culminating in the self-titled Fleetwood Mac album, which itself did massive numbers with "Rhiannon" and "Landslide." However, by the time the band got around recording their follow-up album, things were drastically different. This band went through dramatic ups and drastic downs, going in and out of Hell together; there's no denying that the incestuous and toxic romantic relationships between band members led to a tumultuous time for the group. At the time Stevie Nicks wrote "Dreams," her and Lindsey Buckingham were nearing the conclusion of a very highly publicized six year relationship, Christine McVie was in the process of divorcing John, and Mick Fleetwood's wife was divorcing him as well. Nonetheless, one of the great things about Rumours is the way that – built from the sorrow of true wreckage and heartbreak – it can resonate with everyone.

Lindsey Buckingham took charge, steering John McVie and Fleetwood away from the blues and towards the radio-oriented pop that was seen in the album. "Second Hand News," the opener to one of the greatest albums of all time was appropriately chosen to establish the mood of the album, one in which nobody hesitated to air out their dirty laundry. The way the third verse is structured like an argument between partners ("One thing I think you should know / I ain't gonna miss you when you go / Been down so long / I've been tossed around enough / Oh, couldn't you just Let me go down and do my stuff?") eludes to the problems Buckingham had with Nicks regarding the lack of effort he was putting into the relationship. The almost uplifting "Bow-bow-bow-bow-buh-buh-bow" chorus is intentionally ironic when contrasted with the somber feelings of resignation and emptiness that emanate from Buckingham's verses (this is easily my favorite song on the album if anybody cares). And it works... very well, especially with the drum beat Buckingham created played the side of a chair. "Go Your Own Way" brings the same sentiment as "Second Hand News" but with a whole lot of fuck you attitude. The pain and emotion Lindsey Buckingham felt while writing is on full display when he outright accuses Nicks of being a hoe ("Packing up, shacking up's all you wanna do / If I could, baby, I'd give you my world"). Imagine how bitter he must've been to stoop that low on a song when apparently, as Nicks vigorously claims, she didn't move on to anybody right away (instead forming an affair with Mick Fleetwood gradually throughout the year). And then imagine what Nicks must've felt like having to play a song forever lauded by the public that painted her in such a negative light, knowing that the lyrics were blatantly cap. I'd be pretty pissed too and it's no surprise she was ready to hit hard with "Dreams," her response to the previously mentioned two songs. Taking a more delicate approach than her ex – reminding him of the happiness he felt with her and pointing out that he will inevitably one day lament over what he lost – Stevie still managed to provide biting verses, her sexual rasp enough to make Buckingham's guitar weep.

One of the things that worked with the band Fleetwood Mac and what made them the anomaly they were was their balance between man and woman, British and American. Each member was influential in shaping the band's sound: Christine McVie's sweet genuineness, Nicks' mysterious and alluring aura, and Buckingham and John McVie's natural guitar playing abilities. Recorded in an auditorium at U.C. Berkeley to produce a concert style vibe, piano ballad "Songbird," (written by Christine) captured the hearts of fans and critics alike for its message about self sacrifice in love while "You Make Lovin' Fun" earned its admiration from the pep and happiness is arouses. "The Chain," one of Fleetwood's most iconic songs (and the only one accredited to all five members) was worked on individually by the artists during a time the band wasn't on speaking terms due to the dissolution of certain relationships. The bass solo was performed by John McVie with Mick Fleetwood on drums, while Stevie Nicks wrote the lyrics and Lindsey Buckingham evolved the vocals from a single to a trio. That guitar solo paired with Buckingham's deep, commanding voice set the ultimate tone of the song; I literally think of Guardians of the Galaxy 2 (and it's bomb soundtrack) every time this song comes on now. I mean the way the lead guitar slowly begins seeping into Mick's drumming at 3:15 is nothing short of spectacular and the lively outro sees McVie and Nicks sing “Chain keep us together” over an overshadowed (pun fully intended) Buckingham, who gently coos “Running in the shadows.” Although the song's verses can be taken as deliberate shots at one another, the "chain" is symbolic of a force that will forever tie the members together.

I can think of nothing that embodies the phrase "Sex, Drugs, and Rock and Roll" more than the making of this album. The drugs (mostly cocaine) consumed by this band during the making of this album could probably sedate the entirety of Boston's drug addicts for months. The lust, jealously, heartbreak, and raw emotion that Rumours was built off can be felt in every track, as can the dedication to craft and striking vulnerability that existed on the album. The fact that a song can not only go viral but climb itself back into top positions on the radio after almost half a century after its release is just a testament to the greatness of Rumours, a quintessential, classic rock artifact that has aged ever so perfectly.