Fleetwood Mac, “Rumours”

Tom Heerman:

Rumours has been about the most documented record ever, so you should be able to read up on the emotional maelstrom that was swirling around the recording sessions. And you can find some interesting technical information about the layering of tracks and the sonic composition.

There is a risk of such a complex record to be a complete failure to the pop listener, but obviously this record holds up as a pop delight as well as a technical masterpiece. I am going to listen to it with headphones and give my impressions. I already know I will not be disappointed, as it is the rare example of a collection of songs that when they come on the radio, they always make me want to turn it up. I don’t think I have ever tired of any of it, even throughout the peak radio play years of 1977 and 1978.

Chris McJaggerly:

Agreed, except “Don’t Stop” can be annoying if I’m in the wrong mood.

Kevin Decker:

Had the Beatles formed a decade later than they did, they would have written Rumours. The album swoops and soars in several directions, and each song is wonderfully complete in itself. The instantly-recognizable harmonies combine with clever guitar play and a steady rhythm section to create damn-near perfect songs.

Like the Beatles, the combination of several supremely talented songwriters led to the album’s greatness. Each gets his and her own turn, but they also come together as a unit. No doubt that creatures the range of emotion and direction.

It’s also worth noting that the songs have meaning. A great song can be brilliant yet meaningless. The Beatles are guilty of such brilliance time and again. But with Rumours the band is actually saying something, and the music makes perfect sense and drives home that message or story.

When I listen to an album and judge it against others, my guiding principle is the enduring nature of the album as a whole. I’m not expect at all, much less enough, to pronounce an album as groundbreaking musically or notable socially. My ears, not my mind or heart, drive my assessment. In that regard Rumours is a top 20, maybe top 10, album of all time. I loved Rumours the first time I heard it, and I fully expect it will be a great listen when I’m 64.

I give it a 32 1/3.

Tom Heerman:

So, I listened to this with headphones on, and paid close attention to the sub-background sounds on certain songs. I say sub-background because I only noticed them because they were revealed to exist on a “Making of Rumours” TV show I saw. But now that I know they are there, I heard them. I really loved them. It’s a classic example of “the more you know art, the more you like it.” I know much more about this album than most, and that cements it in the Top 100. Top 25. Top 10. Could be in the running for top 3. I grade it 33.

Chris McJaggerly:

So, let me get this straight. Are you saying I’m supposed to give Rumours a huge rating because it has a lot of cute sounds in the background that I won’t notice unless they’re pointed out to me and I listen to the album on headphones? Or are you saying I’m supposed to love it because the band is “actually saying something” in a way the Beatles rarely did? Like what? Breaking up sucks? Wow. Deep.

And let me get another thing straight — neither of you has anything bad to say about Christine McVie? Am I the only one who finds “Oh Daddy” and “Songbird” excruciatingly dull? McVie writes pretty piano parts, but her singing has no soul, and the lyrics are standard high school poetry class nothingness: “Why are you so right when I’m so wrong. I’m so weak; you’re so strong.” Gag. Even “You Make Loving Fun,” the peppiest McVie song, is pretty ordinary. “Don’t Stop” — which is not a McVie song but sounds like one — is also weighed down with cliché lyrics and wears out its welcome after repeated listenings. I wish Bill Clinton hadn’t used it as his Presidential Campaign theme song.

The strength of the album is the interplay between Lindsay Buckingham and Stevie Nicks. “Dreams” and “Go Your Own Way” are both perfect songs, but so different. “Dreams” is as smooth as a song about regret can be, especially one sung by a woman whose voice is so unusual and expressive, I think of her as the Billie Holiday of rock ‘n’ roll. Also, the drumming is subtle, but fantastic. “Go Your Own Way” is an anthemic, hacked off, hard rock song with a great guitar solo. I love it that Stevie, in “Dreams,” says to Lindsay (they were breaking up at the time) “you say you want your freedom, well who am I to keep you down?” At the same time, Lindsay thinks Stevie wants to go her own way. Which is it? Did Stevie dump Lindsay or did Lindsay dump Stevie? I’ve always wondered. You can’t tell from the record; it must have been messy and painful and mean. Just like every breakup I ever went through.

I give Rumours a 29 1/3.

Tom Heerman:

Her maiden name is Christine Perfect. So, I when I say she is perfect, I am correct. Besides, I should know, I have four perfect games in bowling. I heard that she comes to recording sessions without songs, and writes them on site. Which is not an excuse, just a further subtlety that you Stevie Nicks horndogs might not appreciate. And “Songbird” makes John McVie and Mick Fleetwood cry. So suck it. Perfect is perfect for this group. Nevertheless, I will concede one third point from my rating. New rating: 32.66.

Chris McJaggerly:

In the interests of peace and harmony, I’ll come up to 29.66