Sold Date:
April 5, 2019
Start Date:
March 31, 2019
Final Price:
$40.50
(USD)
Bid Count:
12
Seller Feedback:
19539
Buyer Feedback:
66
MINT CLEAN GUARANTEED FIRST PRINT!
ORIGINAL 1976 FIRST PRESS
MINT IN FACTORY SHRINK WRAP ..|/\|...............................................|/\|..FLEETWOOD MAC
..|/\|...............................................|/\|..
USA - REPRISE RECORDS - BSK 3010
ARCHIVE TOP FINAL COLLECTION COPY !!!
no bar code
MINT EVERYWHERE ! with custom sticker on shrink wrap
Includes the hard to find double sided PHOTOS insert ...
Original 1976 first pressing of FLEETWOOD MAC's take over of the pop-rock world !!
The million-dollar record that took a year and untold grams of cocaine to complete became a totem of 1970s excess, rock'n'roll at its most gloriously indulgent. It was also a bellwether of glimmering Californian possibility, the permissiveness and entitlement of the 70s done up in heavy harmonies. By the time it was made, the personal freedoms endowed by the social upheaval of the 60s had unspooled into unfettered hedonism. As such, it plays like a reaping: a finely polished post-hippie fallout, unaware that the twilight hour of the free love era was fixing and there would be no going back. In 1976, there was no knowledge of AIDS, and people still thought of cocaine as non-addictive and strictly recreational. Rumours is a product of that moment and it serves as a yardstick by which we measure just how 70s the 70s were. Rumours set a template for pop with a gleaming surface that has something complicated, desperate, and dark resonating underneath. Setting aside the weight of history, listening to Rumours is an easy pleasure. Records with singles that never go away tend to evoke nostalgia for the time when the music sound-tracked your life; in this case, you could've never owned a copy of it and still know almost every song. When you make an album this big, your craft is, by default, accessibility. But this wasn't generic pabulum. It was personal. Anyone could find a piece of themselves within these songs of love and loss. Fleetwood Mac wanted hits and gave the wheel to Lindsey Buckingham, a deft craftsman with a vision for what the album had to become. He opens the record with the libidinous "Second Hand News", inspired by the redemption Buckingham was finding in new women, post-Stevie. It was the album's first single and also perhaps the most euphoric ode to rebound chicks ever written. Like "Second Hand News", Buckingham's "Go Your Own Way" is upbeat but totally fuck-you. He croons "shackin' up is all you wanna do,"-- accusing an ex-lover of being a wanton slut on a song where his ex-lover harmonizes on the hook. Save for "Never Going Back Again," (a vintage Buckingham Nicks composition brought in to replace Stevie's too-long "Silver Springs") Buckingham's songs are turnabout as fairplay with lithe guitar glissando on top. "Second Hand News" is followed by a twist-of-the-knife Stevie-showpiece, "Dreams", a gauzy ballad about what she'd had and what she'd lost with Buckingham. It was written during one of the days where Nicks wasn't needed for tracking. She wrote the song in a few minutes, recorded it onto a cassette, and returned to the studio and demanded the band listen to it. It was a simple ballad that would be finessed into the album's jewel; the quiet vamp laced with laconic Leslie-speaker vibrato and spooky warmth allow Nicks to draw an exquisite sketch of loneliness. "Dreams" would become Fleetwood Mac's only #1 hit. Though Fleetwood Mac was always the sum of its parts, Nicks was something special both in terms of the band and in rock history. It's almost easy to miss Christine McVie for all of Nicks' mystique. McVie had been in the band for years, but never at the helm. Her songs "You Make Lovin' Fun" and "Don't Stop" are pure pep. "Songbird" starts as a plaintive ode of fealty and how total her devotion-- until the sad tell of "And I wish you all the love in the world/ But most of all I wish it from myself," (an especially heart-wrenching line given that McVie's not quite ex-husband was dragging a rebound model chick to the sessions and Christine was sneaking around with a member of the crew). She didn't hate her husband, she adored him, she wished it could work but after years of being in the Mac together, she knew better. Throughout, McVie's songwriting is pure and direct, irrepressibly sweet. "Oh Daddy", a song she wrote about Mick Fleetwood's pending divorce is melancholy but ultimately maintains its dignity. McVie, with typical British reserve, confessed she preferred to leave the bleakness and poesy to her dear friend Stevie. As much feminine energy as Rumours wields, the album's magic is in its balance: male and female, British blues versus American rock'n'roll, lightness and dark, love and disgust, sorrow and elation, ballads and anthems, McVie's sweetness against Nicks' grit.
CONDITION: The cover: rated: Completely MINT in factory shrink cellophane ... a flat & square perfect copy with 4 sharp corners ...fresh original colors, no delete marks, no bends, no writing and no split seams, original price sticker on outer cellophane as well as the scarce hit sticker ''GO YOUR OWN WAY'' ... collection worthy rarity ...
The vinyl: Rated: M- loads of clear shine ...a TOP COPY expect play grade to be with very CLEAN enjoyable audio, there are NO distracting surface problems ... both Reprise labels are clean
A cool addition to anyone's music library!