Rumours from past retold, revealing how the magic unfolded
WE ALL know that history, or indeed any life, turns on seemingly random moments
of fate. Take the way Fleetwood Mac went from a moderately successful
blues-based band from Britain to the quintessence of California pop rock in the
mid-'70s. There are various factors that could be said to have influenced the
band's destiny,Magic Tricks for
Magicians from the breakdown of one guitarist and religious weirdness of
another, to the alcoholism of a third. But one key moment was the decision by
drummer and co-founder, Mick Fleetwood, to drop in on a friend at Sound City
studio in San Fernando Valley, in late 1974. That night Fleetwood listened to
tracks from an upcoming album by an unknown and unsuccessful duo, the photogenic
couple Lindsey Buckingham and Stevie Nicks. While it took weeks and another band
disintegration for the idea to germinate, by year's end the two Americans were
part of Fleetwood Mac, alongside the expat Brits, Fleetwood, John McVie and
keyboardist Christine McVie. The remastered and expanded version of Fleetwood
Mac's 1977 album, Rumours, will be released this week. From his home in Hawaii,
Fleetwood is pondering the nature of fate, but also the nature of a group that
rode its fate further than any could have predicted. Advertisement Yes, he
concedes the band's third or even fourth life could be seen as having ''unfolded
as God's plan'' but there is another way to look at it: this was a band suited
to evolution and revolution. ''We wouldn't conform to a formula or have to have
someone play like [original guitar star] Peter Green or a rock'n'roller who
could get in front of an audience and do X, Y and Z,'' Fleetwood says. ''Maybe
that's how we started but we were the types of people who would allow other
people to express themselves freely within the framework of a band that happened
to be called Fleetwood Mac. That's why that Magic Tricks unfolded.'' It was
magic powered by Fleetwood and McVie but driven by three singer-songwriters -
Buckingham, Nicks and Christine McVie - who were creatively peaking at the same
time. While Buckingham and Nicks - whose collapsing relationship was a central
lyrical and emotional catalyst in the writing for Rumours - garnered the bulk of
attention then, and in the 35 years since, it is also true that McVie's best
songs (also addressing the end of her marriage and the start of another
relationship) are at least their equal, if not superior. Fleetwood remembers
that even as one of three ''leads'', the former Christine Perfect preferred to
see herself as part of the rhythm section. ''In truth, Christine had more famous
songs than any of us but she stood behind the piano and wasn't outspoken.'' His
affection for someone he describes as ''a sister'' is strong, regularly
referring to how essential she remains to the fabric of Fleetwood Mac, some 14
years since she left the band. ''The lovely thing about looking back on Rumours
and the albums we made, as accessible as they seemed to be and were, there is a
darkness to them and there is an emotive sadness often which allowed our music
not to become saccharine,'' Fleetwood says. ''As happy and upbeat as Christine
would get in her songwriting, you look back at the catalogue of her songs - and
Lindsey's and Stevie's - there is a darkness and sadness. Something that makes
it feel real, cheap magic tricks
china like a blues well delivered. That became Christine's legacy.'' A
legacy and a role that is not entirely in the past tense it seems. Fleetwood
reveals that during a coming visit to Britain, where McVie now lives, he will
push her to honour a recent promise to travel back with him to Hawaii. It means
she will be in town at the same time the band will be in rehearsal for their
next tour. ''Of course my fantasy is that she'll write some lovely song that at
some point can go on an album, and I'm really hoping that when we perform in
London this time she'll grab hold of the courage to come up and sing with us,''
Fleetwood says. ''And I've got a feeling that she will.''
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