Fleetwood Mac’s Rumours is 40 years old | Official UK Charts Company

Chart feats and facts about the classic album, released in 1977.

By Justin Myers
Official UK Charts Company

This year marks 40 years since the release of Rumours, from Fleetwood Mac, one of the most revered and talked about albums ever.

From its iconic cover, to its songs, which you can still hear played regularly on the radio and all around you, Rumours fairly quickly established itself as a classic.

Almost as fascinating as the material itself was the backstory behind its production, with the band in love, at war and, shall we say, indulging in the full trappings of rockstar hedonism.

The album first entered the Official Albums Chart at 57 – it wasn’t unusual for albums to start low and climb back then – but rocketed 50 places into the Top 10 the following week. Rumours would spend a (non-consecutive) 44 weeks in the Top 10 and while it did a little bit of pogo-ing up and down, it never went lower than 15 for almost a year.

Surprisingly, perhaps, Rumours only managed one week at Number 1, in January 1978, dispatching Bread off the top before being deposed themselves by Abba’s The Album.

It also might shock you to know that the album’s four singles weren’t hugely successful. Lead single Go Your Own Way – which gained new fame years later when it was featured in a car advert – peaked at Number 38 in 1977, and while it has made a few reappearances in the Top 100 since downloads were counted toward the chart, it never bested that original high. Follow-up Don’t Stop befell a similar fate, landing at 32, but the third single fared slightly better Continue reading

Lindsey Buckingham Live Review | Billboard Magazine, Mar 1993

Billboard, March 20, 1993
By Chris Morris.

Former Fleetwood Mac member Lindsey Buckingham thrilled audiences during his first solo concert in Los Angeles, CA, last Feb 22, 1993. Fans were treated to Buckingham’s unique and animated live style. A surprise treat was the talent exuded by Buckingham’s nine backup musicians. Buckingham also gave in to requests for encores and displayed a talent for live performance that many believe is one of the best in the concert scene.

FLEETWOOD MAC’S one time axe-slinger/singer/songsmith enchanted an adoring crowd of fans at his first-ever solo show in L.A. proper Feb. 22. Forging a live style that dramatically re-created the opulent studio architecture of his records, Buckingham alternated between solo performances of breathtaking intimacy and full-blown band numbers that showed off the well-drilled skills of his nine backup musicians. Performing with always apparent delight, the highly animated Buckingham received a local hero’s welcome. He kicked off the evening with richly detailed acoustic versions of “Big Love,” the last major hit he penned for his former group, and “Go Insane,” the title track from his 1984 solo album.

Proclaiming his intention to “reclaim some sense of creativity for myself,” he then introduced his truly startling group. Featuring five guitarists, three percussionists, and six singing voices, the tentet was adept at recreating the densely layered vocal and instrumental overdubs that have made works like last year’s Reprise release, “Out Of The Cradle,” such engrossing rococo pleasures. Buckingham led the group through its stormy paces on memorable Mac oldies like “The Chain” and “Tusk” and solo-album numbers such as “Trouble” and “You Do Or You Don’t.” The concert hit a raging midshow peak with “I’m So Afraid,” in which Buckingham constructed one of his few extended solos with near-mathematical precision and heart-halting emotion. After this show-stopping display, Buckingham dropped the energy level again with a couple of solo turns, then shifted into high gear again (with the remark, “All these guitars–give me a break!”), rampaging through “Doing What I Can,” “This Is The Time” (in which all five guitarists traded furious fours) and the inevitable set-closer “Go Your Own Way.” Buckingham obliged the crowd with a pair of encores that included a spirited “Holiday Road” and a wrenching solo “Soul Drifter.”

No doubt about it: One of America’s best-known studio hermits has acquired the band and the on-stage attitude to deliver his eccentric, ornate pop music totally live. Buckingham’s show is one of the best on the boards at the moment.

Article A14038762

Lindsey Buckingham: Out Of The Cradle Review | People Weekly

People Weekly, July 6, 1992
Out of the Cradle. (sound recording reviews)
By Craig Tomashoff.

OUT OF THE CRADLE by Lindsey Buckingham

Out Of The Cradle

You could drive a convertible down a bucolic country road on a sparkling summer day. You could take a stroll along an unspoiled tropical beach on a starry night. Or you could settle into your favorite chair and listen to this third solo outing from Lindsey Buckingham, former guitarist of the late unlamented supergroup Fleetwood Mac. Whichever you choose, you’ll soon be feeling that, despite its bad publicity, earth isn’t such a bad place after all.

Nobody in pop music these days creates better feel-good melodies than Buckingham (who wrote or cowrote 11 of the 13 songs here, including six with partner Richard Dashut). The only bad thing you can say about the project is that it took too long to arrive: It’s been eight years since Buckingham released his last solo record (Go Insane), five since he left Fleetwood Mac. If Out of the Cradle has had an unusually long gestation, it’s a very healthy baby.

The record is enhanced by quirky guitar intros and songs brimming with the sort of aural oddities that mark Buckingham’s style. Familiar and fetching hooks are turned into something new, thanks to the thick layer of guitar effects that replicate everything from harp to mandolin to power drill. Whether the song skips along like the sweet-natured, Top 40-friendly “Don’t Look Down” and “Countdown” or crawls like the quiet and contemplative “All My Sorrows” and “Streets of Dreams,” the melodies nuzzle up irresistibly against your brain. Buckingham titled Out of the Cradle well. Not only is his career reborn, the music has all the innocence, charm and energy of a toddler. (Reprise)

Review Grade: B

Fleetwood Mac: Behind The Mask Review | People Weekly

People Weekly, May 14, 1990
Behind the Mask. (sound recording reviews)
by Ralph Novak

BEHIND THE MASK by Fleetwood Mac


The addition of singers-guitarists-composers Billy Burnette and Rick Vito has livened up the at-times institutional-sounding tendencies of Fleetwood Mac. This time around, things rock a bit harder, throb a bit deeper. The changes are not revolutionary, though; it’s as if General Motors or Ford had hired a couple of new designers who came up with a different bumper here, a sexier headlight there. The basic product stays the same: in this case, a stately sort of pop rock that ranges from ponderous to movingly effective.

Burnette and Vito joined the band for its 1987 tour when Lindsey Buckingham struck off on his own. (Buckingham appears on one track on this album, in a slight but appealing concession to loyalty.) That’s a two-guitars-for-one trade, thus the splashier, harder sound on such tracks as “When the Sun Goes Down,” which the newcomers co-wrote. The best Mac songs, though, still belong to Stevie Nicks. “Love Is Dangerous,” which she wrote with Vito, has a dirge-like, ’60s tone. But “Freedom” (written with Mike Campbell) and “Affairs of the Heart” both generate that disquieting sense of frustrated romantic impulses that Nicks conveys so well.

Christine McVie partisans will also enjoy the sweet lilt of “Do You Know,” composed with Burnette. Still moving to the beat of the same drummer — Mick Fleetwood himself — Mac has been nothing if not consistent over its 20-year, 19-album history, and there’s satisfaction, as well as entertainment, in that. “Predictable” is not always an insult. (Warner Bros.)

Ralph Novak
Review Grade: B

Stevie Nicks Live at Red Rocks. (video recording reviews) | People Weekly



People Weekly, Feb 15, 1988
Ralph Novak

One reason this is such a splendid concert tape is that director Marty Callner, who has worked with Hall and Oates, Heart and Whitesnake, doesn’t seem compelled to show off his technique. He has a gorgeous setting, the outdoor Red Rocks Amphitheatre near Denver. And he has one of pop music’s most physically attractive, musically interesting performers in Nicks. Callner’s cameras record the event faithfully, without distorting it. The second reason the tape is so enjoyable is that Nicks herself, about 10 minutes into what begins as a listless performance (taped in summer 1986), literally puts her foot down. In the middle of Talk to Me, she stomps three or four times, as if to pump herself up, and the effect is galvanizing. Impassivity is part of Nicks’s style, but from that moment her singing seems to take on an undervoiced passion. Her backup musicians also seem to take themselves up another notch, particularly drummer Rick Marotta, guitarist Waddy Wachtel and Robert Martin, who plays saxophone for Talk to Me. The appearances by ”special guests” are overbilled. Anyone who turns away to eat a potato chip could miss the contributions of Peter Frampton and Nicks’s Fleetwood Mac colleague Mick Fleetwood. And Callner lapses during Dreams, patching in a phony sky full of lightning. There’s nearly an hour of solid music, though, with such Nicks hits as Stand Back and an extended Edge of Seventeen, complete with a real dove in honor of the song’s refrain (”Just like the white winged dove sings a song/ Sounds like she’s singing it to you”). When Nicks is shown under the closing credits walking out to the edge of the audience (where she is loaded down with stuffed toys and flowers), the crowd’s affection seems well earned.

Sony, $19.95 — Ralph Novak

Review Grade: A
Mag.Coll.: 44D0668

Lindsey Buckingham: Go Insane Review | People Weekly

People Weekly, Oct 1, 1984
Go insane. (sound recording reviews)

GO INSANE by Lindsey Buckingham


Buckingham–along with his former girlfriend, Stevie Nicks, and Christine McVie–provided the composing talent that boosted Fleetwood Mac to such overwhelming success in the ’70s.

Go Insane, Lindsey’s second solo album, is a manifesto of his intent to remain a rock ‘n’ roll force, even while the group itself seems to be a tabled proposition. The record is studded with power pop gems such as the title cut and I Want You, as well as Slow Dancing and Loving Cup. All of these continue in the tradition of songs that sold 35 million Fleetwood Mac albums after Buckingham joined the group in 1974. (Kind of makes you wonder why Mick Fleetwood has filed for bankruptcy.)

Lindsey flies off the handle of mainstream appeal with D.W. Suite, a seven-minute eulogy of Dennis Wilson that mixes Beach Boys-influenced harmonies with elements of prayer and traditional Irish music. There is also Play in the Rain, which closes out one side and continues as the opening cut on the other. An off-the-wall composition, it begins with high-tech surrealism before hitting a funk groove tinged with Indian sitar sounds. Those are, however, the only indications that Buckingham is indeed going off his commercial rocker.

Review Grade: A-

Christine McVie takes off in solo flight…| People Weekly

People Weekly
April 30, 1984
by Jim Jerome

Fleetwood Mac’s Christine Mcvie takes off in solo flight with a new boyfriend under her wing

Singer-songwriter in Fleetwood Mac has been a pretty good gig for Christine McVie. Plenty of travel; lots of perks; long stretches between albums. Pay hasn’t been too bad, either, what with some 35 million albums sold worldwide. As a result, among other things, she has been able to furnish her four-bedroom Beverly Hills home without ever eyeing a price tag. And yet McVie, 40, has managed to keep it all in perspective. “I mean, anybody can spend all their money if they work hard enough at it,” she says. “It’s not like I’ve got a piano-shaped Jacuzzi or walls full of Picassos and Monets or anything like that. I do put limits on myself: I haven’t bought the Queen Mary.”

Fair enough. Another, more concrete example of McVie’s sensible adjustment to fame and fortune at the top of rock is Christine McVie, a finely executed solo album containing the jaunty hit single Got a Hold on Me, and the follow-up, Love Will Show Us How. McVie’s LP is in the great tradition of solo efforts by members of Fleetwood Mac, following one in 1981 by guitarist Lindsey Buckingham, two platinum monsters by Stevie Nicks and two obscure releases by drummer Mick Fleetwood. Only Christine’s ex-husband, bassist John McVie, has yet to try a solo and record sans Mac.

McVie may have thrust Christine from the shadow of her megaband, but it does have guest appearances by fellow L.A.-area residents Fleetwood and Buckingham. And ex-husband McVie, who lives on the island of St. Thomas, devotedly popped into the Montreux, Switzerland studio to check on Chris. “They all said they loved the album, and I have no reason to doubt them,” she says wryly. Only Nicks hasn’t weighed in. In fact, McVie hasn’t spoken to Nicks for a year “because our paths just haven’t crossed.” Like any major act, Mac is constantly rumored to be disintegrating—and Nicks’ solo triumphs have hardly silenced that kind of talk. Still, McVie downplays any intraband melodramas. “Any competitiveness—if that’s the right word—is all quite friendly,” says McVie, who certainly doesn’t want to rock the boat. “The album is a project, not a career for me. My main interest in life is still the band.”  Continue reading

Christine McVie Album Review | People Weekly

People Weekly, March 19, 1984
Christine McVie. (sound recording reviews)

CHRISTINE McVIE by Christine McVie

There’s a loose, good-time feeling to this album. The tunes, most of them written by McVie and sometime Hall and Oates guitarist Todd Sharp, are snappy and full of rhythmic rock and roll hooks. The production by Russ Titelman is slick. For all that, there’s not much excitement in McVie’s first solo album since 1970 (shortly after she’d left the British group Chicken Shack to join then-husband John McVie in Fleetwood Mac). The subtle harmonic skills that make McVie a peerless ensemble singer and musician with Mac don’t necessarily translate into a solo act.

Her singing seems colorless at times and her keyboard work is overshadowed by her sidemen. Mac mates Lindsey Buckingham and Mick Fleetwood sat in, as did Eric Clapton, Elton John, drummer Ray Cooper and rock ‘veteran Steve Winwood. McVie, in fact, calls Winwood “my idol,” and their vocal duet on One in a Million is the LP’s most striking track, though the no-frills rock tune Got a Hold on Me has become its hit single.

Maybe McVie’s heart wasn’t totally in this project–“It had reached a point where this record was expected of me,” she has said–but if nothing else, she has it out of her system.

Review Grade: B