…actually, it was 30 years ago in February, but for some reason, someone over on the guardian music blog saw fit today to post a piece in defence of the wonder that is Fleetwood Mac’s Rumours – a pertinent post round here as Lo. thinks it’s a load of old balls, and I love it. Really love it. Dancing-around-on-the-tube-singing-along-even-though-people-think-I’m-a-mentalist love it. It’s an album fueled by extreme tensions within the band, but one possessed of a number of the most gorgeous tender love songs I’ve ever heard (‘You Make Loving Fun’ is in my all time top 20 or so songs).
As the Guardian bloggist says, ’77 is seen as the year of Punk. It was also the year of ‘Bat Out Of Hell’, ‘Saturday Night Fever’ and ‘Rumours’. The biggest bands of the late 70s weren’t the Clash or The Pistols, but the Mac, Queen, ELO, and in the US, the stadium behemoths of Journey, Boston, Foreigner etc… Of course punk was significant, it just didn’t wipe the slate clean in any way at all. It offered an alternative, but thank God it wasn’t the tsunami of disco-crushing, prog-destroying, MOR-trampling destruction that the tainted hindsight of most music journos would have you believe. I’d still rather listen to Chic than the Pistols any day. Sure, I like the Clash, but I’m still not averse to a quick listen through Mr Blue Sky either.
No, the late 70s was no more an artistic monoculture than any other time in music – it was as much about the creative tension-laden folky MOR-ness of the Mac as it was about the New York Dolls rip-off that was the Pistols (I still contest that – aside from The Clash – Americans did punk way way way better than the UK, from The Stooges, and the Dolls through The Minutemen, Blondie and Talking Heads, up to Big Black, Black Flag, Husker Du and on up to Green Day, Rancid and the fake-but-tuneladen pop punk of today.)
So, go and listen to Rumours. With pride. Revel in it, embrace the genius that is the Fleetwood/McVie rhythm section, bask in how Songbird is meant to sound when it’s not being overcooked by Eva Cassidy. Ditto Dreams and The Corrs. And remember that the middle bit out of The Chain is probably the most financially lucrative bit of bass playing in the history of the world, thanks to someone at the BBC’s Formula One production team. Dummmmmmmmm, De-De-Dum De-De-De-De-Dum Dummmmmmmmmmmmm.by