- All Of The Affairs And Backstabbing Behind Fleetwood Mac's "Rumours".
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Another of the set's folkier numbers, propelled ever forward by some antsy handclaps and a tempo that feels set about 10 bpm faster than it should, creating a nervous energy that would set the tone for much of the album's controversial follow-up, 's Tusk. Not Rumours ' best song but arguably its most definitive, and certainly the greatest team effort -- it's the album's only track in which all five members receive writing credits, and also the only one in which McVie, Buckingham and Nicks all contribute to the lead vocal.
And with all the gorgeously frayed vocals of betrayal and broken promise, "The Chain" might still be most memorable for Mick Fleetwood's heartbeat-like bass drum, and the slithering John McVie low-end that introduces the song's inspired, not-getting-away-that-easy coda. The shortest song on Rumours but also one of the most complete, a masterfully finger-picked Buckingham solo piece that only features the rest of the band in ghostly backing vocals.
Nicks has openly admitted that she has no idea what Rumours ' mystical closing track is even about, which is probably one of the reasons it's played such a large part in building the frontwoman's own gypsy-woman mythology. With its desert-like production, guitar riffs spilling from everywhere like sand through the song's fingers, and Stevie's uniquely possessed vocals, "Gold Dust Woman" is as alluring and enigmatic as its singer -- a note of anti-closure for the LP to end on, the mysteries of love and life forever unknowable.
But Buckingham's critical flaw in this brilliant stop-start rocker was in making going your own way sound less like a dismissal than a granting of release -- compared to spending further time in Lindsey's world of control, another lonely day seems pretty free and easy. The secret weapon of Rumours , shimmying its way out from the thick of the album's B-side, just when you thought it was finally starting to run out of hits.
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- 20 Things You Might Not Know About Fleetwood Mac’s ‘Rumours’.
The song's swagger is all hips, like writer McVie trying on a dazzling sequin dress for the first time, while the pre-chorus -- setting up a refrain that doesn't actually show up until the song's very end -- is the album's greatest revelation; Christine offering an ode of hymnal rapture to the man who got her believing in miracles, while the rest of the band plays her sighing gospel choir in the back.
Fleetwood Mac's all-time greatest song and only Hot No.
But it was also the song that proved the band was never more themselves than when Stevie was on the mic, bringing both the thunder and the rain, her unguarded, open-veined rasp painting every one of her crystal visions in such rich, vibrant color that they actually sound like they're causing Buckingham's guitars to openly weep. The Biz premium subscriber content has moved to Billboard. But this is ultimately a perfect example of why Rumours is so strong, as disparate elements mould into a coherent whole.
The scatty vocals sound ridiculously carefree for a song about playing second fiddle in the love stakes. Fleetwood gives the number a certain driving intensity with that quasi-marching beat he does so well, and the shared vocals — one part Buckingham, one part McVie — adds another delightful musical colour.
Legacy: A Tribute to Fleetwood Mac's Rumours
It makes sense that this song is in fact a composite of a number of different pieces of music from all the band members, given how it moves from eerie vocal atmospherics to seventies rock workout in the space of four and a half minutes. A bitter and somewhat self-pitying lyric from Buckingham has a very direct pop at Nicks. Never Going Back Again A lovely acoustic piece from Buckingham that showcases the skills of a player whose own technique has often been underrated in the rush to applaud him as a songwriter.
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