Our personal lives were in shambles, and the album was about the only thing we had left."Ĭonsider the opening and closing lines of the record, which alone signal the subject matter contained within. Instead of going to friends to talk it out, their feelings were vented through their music. "Defenses were wearing thin, and they were quick to open up their feelings. "There were break-ups and realignments which had a tremendous effect of their music," recalled Rumours coengineer Richard Dashut in Modern Recording in 1979. One of only a handful of records that seamlessly blend real-life experience and art, the album that defined an era for so many people was an emotionally harrowing affair for each of the band members who made it - a document of a group professionally staying together while personally falling apart. No, the most phenomenal aspect of Rumours is twofold: 1) It is an extraordinarily good, rich album featuring a superb rock 'n' roll band at their very best 2) in retrospect, it's remarkable that it was even made in the first place. For that matter, ask an entire generation of American citizens why their mental picture of the 1992 inauguration of President William Jefferson Clinton is inextricably linked to Rumours' "Don't Stop." And musically, in an era when nearly every major rock and roll band was accorded the honor of having a "tribute album" recorded for them, 1998 saw such artists such as Elton John, Matchbox Twenty, and The Corrs queuing up to record tracks for an actual tribute to - never mind the band - Rumours itself. Ask any grammer teacher of the era how an entire generation of American students unknowingly took to spelling the word rumor with two U's for years thereafter. And Rumours has had a profound impact indeed.Ĭonsider the way the disc, its songs, its creators, and even its very name deeply insinuated themselves into our culture. But sales alone are hardly the point here impact - on nearly every level imaginable - is. And Fleetwood Mac's Rumours certainly fits that bill: Since it's February 1977 release, the album has sold more than 18 million copies in the United States and more than 30 million copies worldwide. The word has lately been overused, largely because of the music industry of the new millennium defines a phenomenon mostly in terms of sales and mass appeal and little more. You hold in your hands one of the very few albums in pop history deserving of the adjective phenomenal. Merce and all the people at Record Plant, Sausalito Gary Lubo, Sound City and David LaBarre, Producer's Workshop. Rick Turner and Alembic Larry Comara (for this Fat Boxes) Aphex Systems, Ltd. Hand Lettering: Larry Vigon/Vigon Nahas Vigon
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Ken Caillat, Richard Dashut, Assisted by Chris MooreĬoncept: Fleetwood Mac and Herbert Worthington Berkeley, Berkeley, California, March 3rd, 1976.Īnd Record Plant, Los Angeles, California "Songbird" Recorded at Zellerback Auditorium,
Wally Heider Recording, Hollywood, Californiaĭavlen Recording Studio, North Hollywood, California Record Plant, Sausalito and Los Angeles, California All recordings on Disc 2 are previously unreleased.Ĭhristine McVie: Keyboards, Synthesizers, Vocals Numbers in italics (following original release information) denote peak positions attained by singles on Billboard's "Hot 100" and "Easy Listening" charts, respectively, and by this album on Billboard's "Top LP's and Tapes" chart - courtesy of BPI Communications and Joel Whitburn's Record Research Publications. Note: This album was originally issued as Warner Bros. (Lindsey Buckingham / Christine McVie / John McVie / Mick Fleetwood) single #WBS-8413 (7/6/77)Īlso issued as Warner Bros.
To buy this album from, click here: RumoursĪlso issued as Warner Bros.
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