Breakthrough albums are a fascinating thing in that they often change
the perception of a band forever, no matter how many years it was
relatively unknown before or after its sudden popularity. And when I say
breakthrough, I really mean breakthrough — as in a first-time Grammy
winner with a multi-platinum record. This incredible success marks the
pinnacle of the music industry in several ways, yet it also creates a
backlash of “you-sold-out” naysayers that can obliterate an artist’s
credibility.
Think about present-day Adele and her recent sweep at the Grammys — do
you really think people will think of anything but “Rolling in the Deep”
decades from now? Pop-rock band Fleetwood Mac was in this predicament
35 years ago with the release of “Rumours,” their 11th studio album. Not
only is the band highly respected, but “Rumours” is regarded as one of
the greatest albums ever made. The album is the perfect summation of
Fleetwood Mac in that its previous incarnations and future experiments
simply pale in comparison.
The original lineup of Fleetwood Mac — Peter Green, Jeremy Spencer, John
McVie and Mick Fleetwood — was a top-notch blues band. Green and
Fleetwood were previously members of the legendary collective John
Mayall’s Bluesbreakers. After decent success in the late 1960s,
including a No. 1 hit in the U.K., Green sadly succumbed to drug use and
subsequent schizophrenia. The next six years saw Fleetwood Mac as a
middling 70s rock group struggling with a revolving door of guitarists,
featuring Spencer, Danny Kirwan, Bob Welch and Bob Weston in that order,
plus the addition of McVie’s wife, Christine McVie, on keyboard. The
band finally regained its footing in 1975 with the debut of Lindsay
Buckingham on guitar and Stevie Nicks on vocals. This quintet of
Buckingham, Fleetwood, McVie, McVie and Nicks achieved worldwide
success, even setting a record for most expensive album with 1979’s
“Tusk.” This lineup held together until 1987 and then endured many more
changes before reuniting in 1998.That’s a long history for any band, but
it is nearly moot because “Rumours” is so synonymous with the
perception of Fleetwood Mac that one almost assumes the band never
sounded different.
So, how has fame come both critically and commercially to “Rumours”
after 35 years? The commercial aspect is easy: the album has sold more
than 40 million records since its release, making it one of the
highest-selling albums ever. The critical acclaim is a different story.
It calls for a retelling of the most infamous example of how
relationships can affect a band. Right now you’re probably thinking of
Yoko Ono and the alleged reason for the Beatles’ demise. I’m talking
about something much, much worse. As you might have guessed, John and
Christine McVie were married bandmates since the early 70s. It turns out
that the McVies divorced sometime in late 1975 or early 1976 following a
lengthy tour to promote the album before “Rumours.” That’s one
relationship gone wrong. Buckingham and Nicks, who both joined in 1975
and performed on the previous album, were in an on-again/off-again
relationship that had devolved into constant fighting during the
recording of “Rumours.” That’s two. Fleetwood was not to be left out,
for he discovered that his wife was having an affair with his best
friend. You can bet that these three traumatic experiences led to some
tension.
The recording sessions at the Record Plant in Sausalito, Calif., reeked
of social isolation and emotional strain. The men and women stayed in
completely different locations around the studio. After struggling to
find the right formula for recording, the band would consistently
indulge in excessive, drug-fueled partying before making the album in
the wee hours of the morning. Even the songs — excluding “The Chain,”
which was co-written by all band members — are written solely by
Buckingham, Nicks or Christine McVie. Despite all of these forces that
threatened to tear the band apart, Fleetwood Mac proceeded to make not
only its best work, but compelling and transcendent music. Instead of
wallowing in their personal woes, they pulled off a fantastic
collaboration, right down to the three-part harmonies that they employed
so well. The lengthy backstory of “Rumours” doesn’t detract from its
greatness; it makes the album that much more poignant and gripping.
There’s no better example than the chorus of “Go Your Own Way,” when the
harmonies suggest a ubiquitous feeling of anger and sorrow, as if
everyone is bitter toward one’s former lover. It’s sad because it’s
true; that’s where the power of “Rumours” lies.
No comments:
Post a Comment