I freely admit that I was a child of the punk revolution. I fully brought into the Year Zero mindset that trashed everything that came before punk. As a result bands like Fleetwood Mac were anathema – self-indulgent west-coast soft rock that had no relevance to a late 70s urban teenager.
So it was a long journey to come around to embracing Rumours. For me, that journey was one I can trace for an opening up to country music (via. the O Brother Where Art Thou soundtrack), which led via. Gram Parsons and The Byrds to the soft rock sounds of Crosby, Stills and Nash, the sounds of late 60s/early 70s Laurel Canyon, and ultimately to this polished slice of perfect grown-up West Coast pop/rock.
Fleetwood Mac had a varied and convulted evolution. Emerging in the late 1960s as a UK-based blues band, the group has a significant measure of success, but somewhat lost their way in the early 1970s. It took a significant re-jig of the line up in 1974, and an evolution into a US/UK hyrid, for those fortunes to be turned around. 1975’s eponymous album, Fleetwood Mac, set the tone, with songs like Rhiannon and Say You Love Me establishing the band with hit singles, as well as racking up huge sales in the US.
But that success was dwarfed by its follow up, Rumours. Not that the circumstances of its birth were promising. The band – now comprising guitarist and vocalist Lindsey Buckingham, drummer Mick Fleetwood, keyboard player and vocalist Christine McVie, bass guitarist John McVie, and vocalist Stevie Nicks – were going through the most intense relationship breakdowns. The McVie’s were divorcing after eight years of marriage. Buckingham and Nicks were having a stormy on/off relationship. And Fleetwood was dealing with the discovery of his wife having an affair with his best friend. That a collection of such perfect songs should emerge from this maelstrom is nothing short of miraculous. With writing credits shared across the whole band, and singing duties likewise shared, this was a truly collaborative effort that captured a band at the height of their powers, at the same time their personal lives were falling apart, awash in a sea of cocaine excess.
With classics like Dreams, Go Your Own Way, The Chain and Don’t Stop, Rumours was the album that sent Fleetwood Mac into the stratosphere. Epitomising the smooth sun-drenched soft-rock California sound, Rumours was both a critical and commercial success. While clearly a product of its time, it has since transcended those times, becoming one of those albums that just goes on and on giving, a timeless record whose perfect sounds belie the raw emotions within. Topping the charts on both sides of the Atlantic, it sold 13 million copies in its first three years, and by 2013 world-wide sales were over 40 million.
The songbook includes all the songs in the album. Most are in the same key as the originals, but a few I’ve transposed to make a little easier to play. At heart these are actually mostly deceptively simple songs, and translate well – to my ears – to the uke. The one song that I’ve probably fudged a little is the finger-picked Never Going Back Again. There are some great ukulele versions of this out there (watch here, see tab here), so feel free to check those out.