The duo's arguments stopped only when they worked on songs together. Press intrusions into the band members' lives led to inaccurate stories. Christine McVie was reported to be in the hospital with a serious illness, while Buckingham and Nicks were declared the parents of Fleetwood's daughter Lucy after being photographed with her. The press also wrote about a rumoured return of original Fleetwood Mac members Peter Green , Danny Kirwan , and Jeremy Spencer for a 10th anniversary tour.
The duo formed a company called Seedy Management to represent the band's interests. Production duties were shared by the three parties, while the more technically adept Caillat was responsible for most of the engineering; he took a leave of absence from Wally Heider Studios in Los Angeles on the premise that Fleetwood Mac would eventually use their facilities.
Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves. Although Caillat was impressed with the set-up, he felt that the room lacked ambience because of its "very dead speakers" and large amounts of soundproofing. The record's working title in Sausalito was Yesterday's Gone. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days working with a range of microphones and amplifiers to get a larger sound, before discovering they could adjust the sound effectively on the API mixing console.
As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;   sleepless nights and the extensive use of cocaine marked much of the album's production. Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,  while, according to Buckingham, the tensions between band members informed the recording process and led to "the whole being more than the sum of the parts".
Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and fan feedback. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded "lifeless". Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.
After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful". Fleetwood Mac's main writers — Buckingham, Christine McVie and Nicks — worked individually on songs but sometimes shared lyrics with each other. All songs on Rumours concern personal, often troubled relationships. She noted that Buckingham helped her craft the verses because their personal sensibilities overlapped.
Her own song "Gold Dust Woman" is inspired by Los Angeles and the hardship encountered in such a city. Featuring a soft rock and pop rock sound,   Rumours is built around a mix of acoustic and electric instrumentation. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas.
It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees ' " Jive Talkin' ", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke Celtic rock.
Making Rumours: The Inside Story of the Classic Fleetwood Mac Album by Ken Caillat
The third track on Rumours , "Never Going Back Again", began as "Brushes", a simple acoustic guitar tune played by Buckingham, with snare rolls by Fleetwood using brushes ; the band added vocals and further instrumental audio tracks to make it more layered. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound.
The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine-foot Steinway piano. Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There",  and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track.
The ninth track on Rumours , "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. The album ends with "Gold Dust Woman", a song inspired by free jazz , which has music from a harpsichord , a Fender Stratocaster guitar, and a dobro , an acoustic guitar whose sound is produced by one or more metal cones. Rumours has been acclaimed by music critics since its release. Robert Christgau , reviewing in The Village Voice , gave the album an "A" and described it as "more consistent and more eccentric" than its predecessor. He added that it "jumps right out of the speakers at you".
Petersburg Times claimed the songs are "as grandly glossy as anything right now".
In a retrospective review, AllMusic editor Stephen Thomas Erlewine gave Rumours five stars and noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time.
Here is a radio-friendly record about anger, recrimination, and loss. Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, following the eponymous release.
By , 13 million copies of Rumours had been sold worldwide. Mick Fleetwood has called Rumours "the most important album we ever made", because its success allowed the group to continue recording for years to come.
Fleetwood Mac: Producer Ken Caillat On 'Making Rumours' (PHOTOS)
The record contained each song of the original Rumours covered by a different act influenced by it. Adapted from the album's credits and AllMusic. From Wikipedia, the free encyclopedia. This article is about the album by Fleetwood Mac. For the album by Arrogance, see Rumors album. For other uses, see Rumor disambiguation. Fleetwood Mac. Pop rock soft rock. The sessions were like a cocktail party every night—people everywhere. We ended up staying in these weird hospital rooms The lyrics of "Don't Stop" are about having an optimistic outlook on life.
Inspired by the triple step , the song contains music from both normal and prepared pianos. Buckingham Mick Fleetwood C. McVie J. McVie Buckingham Fleetwood. McVie Buckingham Fleetwood Nicks. Worthington — photography. Library of Congress. Retrieved 21 March Rolling Stone. We are years away from tales of cocaine-on-the-membrane excess. Even the much-publicized breakups of the McVies and Buckingham and Nicks that made listening to Rumours in this period feel like aural rubbernecking are handled with kid gloves.
One peculiarity of this book: the color photos are all printed backwards, turning guitarist Buckingham and bassist McVie into lefties. Headliners: Fleetwood Mac by Charley Walters This book should more properly be called Hairliners , because its cover and photo section are glorious reminders of what utter furballs Rumours -era Mac were.
The text itself is unremarkable, made up as most future FM books would be of quotes taken out of context from newspaper and magazine interviews. Fleetwood Mac by Steve Clarke Clark authors the first career survey to cover the perceived failure of Tusk , which only moved 4 million units and, according to legend, robbed record execs of their annual bonuses.
The economic impact on coke dealers and hookers was undoubtedly devastating as well. This comes 40 years after the band won the Grammy for Album of the Year for "Rumours. Click through for more on what went on behind the music. Written by Stevie Nicks, "Dreams" is an upbeat song about breaking up. It refers to her bandmate and boyfriend of eight years Lindsey Buckingham, who answered Stevie with another track on the "Rumours" album—the much angrier "Go Your Own Way. Also from "Rumours," this one was written by Christine McVie as she was on the verge of divorcing her husband and bandmate, John McVie, after eight years of marriage.
In the wake of his split with Nicks and a rebound fling with another woman, Lindsey Buckingham wrote this innocent song about keeping sadness at bay and never repeating old mistakes. Despite the behind-the-scenes turmoil, Fleetwood Mac maintained its uncompromising standards. During the recording session, Buckingham's guitar was restrung every 20 minutes to achieve the perfect sound. Fleetwood Mac's creativity wasn't fueled solely by pain and heartbreak. Christine McVie wrote this track from the band's self-titled album while her marriage was still intact.
She was also energized by the recent arrival of two new bandmates, Stevie Nicks and Lindsey Buckingham. Polydor Records had dropped the newcomers' previous band, Buckingham Nicks. Alone in Aspen while Lindsey toured with the Everly Brothers, Stevie stared at "the snow-covered hills," aware that an avalanche could come crashing down at any moment.
Should she go back to school? Break up with Lindsey? Give music another try? Her life felt like a landslide.