Fleetwood Mac Rumors
Product ID: 3755686
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Product Description This 1975 multi-platimum album, Rumours became Fleetwood Mac's most celebrated album and one of the best-selling albums of all time.Certified at 18 million units by the RIAA. (2/01). desertcart.com With the pop sense of Lindsey Buckingham and Stevie Nicks now leading the band, Fleetwood Mac moved completely away from blues and created this homage to love, Southern California-style. Each songwriter makes his or her presence known: Nicks for her dreamy, mystical reveries ("Dreams," "Gold Dust Woman:); Christine McVie for her ultra-catchy slogans ("Don't Stop"); and Buckingham for his deceptively simple pop songs ("Second Hand News," "Go Your Own Way"). "The Chain," written collectively, is the Mac at their most dramatic. But it's the ensemble playing, the elastic rhythms, and lush harmonies that transform the material into classic FM fare. --Rob O'Connor Review: TRUEST TO ORIGINAL YOU CAN FIND - Nothing has ever been simple about Rumours and the same can be said about the vinyl reissues from this year, of which there are three. First, there is the gold-standard, 2LP/45RPM, issue mastered by Steve Hoffman and Kevin Gray. Next is the single LP/33RPM, again mastered by Hoffman and Gray. These two issues were designated for the United States, will always indicate they were mastered at Pallas, which is in Germany and, for those who really want to get down and dirty, will have this etched in the dead wax: "KG + SH @ ATM". To simplify matters, it is pretty much universally agreed the 45RPM version sounds better than the 33RPM version, and based on the nature of the manufacturing of LP's this makes sense even though both products were made from the same master-tape created by Hoffman and Gray. Finally, there is a rather mysterious, 2LP/45RPM issue designated for distribution outside of the US which was not mastered by Steve Hoffman and Kevin Gray and, questions of the nature of the sound aside, DOES NOT represent Rumours as it came out of the box in 1977. What I just wrote is factual, and based on comments from Steve Hoffman on his web site concerning these releases. In the comment section below, I will provide many pertinent hyperlinks. Now let's break down what I have just written a bit more, beginning with matter of trueness to the original and then moving on to the sound (although the two do overlap some). In the process of preparing this reissue Hoffman and Gray were confronted with a myriad of puzzles. Many centered around the final track to this album, Gold Dust Woman. There exist at least three different endings to this song that can be found, even at the earliest stage of vinyl release. There exist at least two different beginnings to the song as well. Over time, Hoffman and Gray figured out the first vinyls pressed contained a countdown at the beginning of the song, not the fade-in that many are familiar with, and a certain progressing loud dynamic structure at the end. So this is what you will be getting on the Hoffman and Gray masters. As a side note, just to give two examples, the fade-in came into existence because, over time, the intro to this song on the master-tape used for most of the issues deteriorated and the solution chosen was to simply use a fade-in for this song to cover-up the deteriorated intro. As for the ending of this song, the dynamics proved too challenging for mastering techniques at the time so, very shortly after release, the dynamics of the song's end had to be dampened so that mass production of vinyl could occur without Warner Bros. having a bunch of albums returned because record players skipped, distorted, etc., the end of the song. Only the Hoffman and Gray masters contain the correct intro, e.g. the European issue has the fade-in, so the Hoffman and Gray issue is the truest to the original issue (Without much elaboration, there have been different versions of Second Hand News over the years, even beginning in 1977. The Hoffman and Gray issue contains the version found on the earliest vinyl issue.). Now let's move on to the sound. The objective part is to write that if what you want is the best sound, there is pretty much universal agreement the Hoffman/Gray 2LP/45RPM version trumps the Hoffman/Gray 1LP/33RPM version. There is some debate out there on the relative sound quality between the US and European 2LP/45RPM versions. As I have not heard the European version, I will not comment on this. But remember, the European version does not contain the truest-to-the-original version of Gold Dust Woman. What I feel comfortable in saying is this: If one takes the time to read the relevant threads on Steve Hoffman's web site concerning Rumours it is quite easy to have a fair number of questions about the European issue. So, in the words of former Secretary of Defense, Donald Rumsfeld: with Hoffman and Gray we have a known known, with the European issue we have unknown unknowns. The subjective part is to comment on the sound of the Hoffman/Gray 2LP/45RMP issue. Personally, I think it is wonderful, but it may not be what you are used to. The reason for this is the sound of Rumours, even when it was selling millions of copies in 1977 and 1978, kept changing with different pressings. Again, this is documented in Ken Perry's notes, Ken did the original mastering, and these notes were used by Hoffman and Gray to prepare their issue. As nearly always, Hoffman did some tweaking, using tubes at times to master, adding a decibel or two of EQ here and there (this is not a lot). But what is most important is the work done by Hoffman and Gray did not damage the dynamic range of the material. There is always a certain amount of art that goes into a reissue, and this (the art) is one factor that can make a reissue more appealing to some and less to others. Another factor that can contribute, and this might play a larger role with this reissue, is the fact the vast majority of people who have heard Rumours have not have heard the content of the songs, in that which was their original state, until this issue. So familiarity, or lack of familiarity, will play a role. Finally, the quality of one's sound system will play a role as well (On that note, my system's front end is a Rega P324 with a Dynavector 20X2H cartridge and the back end is comprised of a pair of Quad 988's with a Rel Britannia B2 Sub-bass.). In conclusion, no one knows what the future will bring. A very compelling case can be made that if one's goal is to own something that is closest to what Ken Perry heard when he finished the first mastering of Rumours, and one owns a sound system that can do justice to a true audiophile recording, then you should strongly consider purchasing the Hoffman/Gray 2LP/45RPM edition given the combination of the improvements in record mastering techniques since 1977 (being able to get the dynamics of Gold Dust Woman right now when it couldn't be done in 1977 is an example), and the natural deterioration that takes place with magnetic tape. Finally, given what Hoffman and Gray had to go through to put this project together, again best explained by Hoffman himself on his web site, don't expect high-resolution files of Rumours that will rival this release any time soon unless they originate from the work done by Hoffman and Gray. And, come to think of it, even if you presently do not have the ability to make high-quality high-resolution files, or a fine conventional CD burn of an LP, purchasing this album now will at least give you the ability to do so down the line and, therefore, have a definitive high-resolution digital version of this album. Again, some time after posting this, I will add a comment with hyperlinks that will aid those who wish more information on the mastering process and the foundations for my conclusions. Review: SACD version - This is a review of the multi-channel sound mix of the classic album from Fleetwood Mac (mostly). Rumors is not my favorite album by FM, the previous Album is, but oh well. This one is good enough, you know? Kidding, both are true classics, and I can never get enough of Christine Perfect/McVie's voice. The rhythm section, Mick Fleetwood and John McVie, are sooo underrated, too. Listen to the songs leading up to 'Werewolves of London' on Warren Zevon's classic 'Excitable Boy'. Not bad, I must say. But when Werewolves cranks up, it is Fleetwood on drums and McVie on bass, and the change in rhythm section is, to me, almost astonishing. Not really flashy, just so much more solid, so many more phrases where you say 'hot dang that's good.' I dunno, maybe its just me, but I think the sum exceeds the parts where those two are concerned. Buckingham is an OK guitarist and good vocalist, and Nicks is loved by a lot of people. The songwriting is frigging outstanding, of course, with offerings from Buckingham, Nicks and Christine McVie. This album has been available for a while in multi-channel format, specifically the DVD-A offering. Unfortunately, by the time I got into multi-channel playback (not counting the quadrophonic experiment from the 70's) the DVD-A was just prohibitively expensive. Looking at the prices of some of the SACDs and DVD-A offerings I bought just a few years ago, all I can say is thank goodness I bought them then, and am not trying to get into things now. Some of the albums I bought for 17 dollars or so are now well over 100. 'Rumors' had always been too expensive, along with 'The Captain and Me' and 'Hotel California'. Rumors and Hotel California are now available in the SACD format, and at a price I can just afford. Well, so is The Captain and Me, but the SACD is stereo only. The channel separation is just great, if you were wondering. Voices from the center channel, the bass is mixed just a tad low, but we can adjust that with our multi-channel systems, no? A couple of notches is all you need to bring out John's VERY tasty playing from that sub woofer you paid so much for. The surround (rear) speakers are a total part of the mix, not there for ambience like some. All in all, a superb mix, and clear as a bell, and you WILL hear things you never have before, regardless of the fidelity of your old stereo system I'm sure you played this gem on. You catch all the guitars, and there are more than I ever heard off of my vinyl copy. A very enjoyable mix, and almost worth the 40 dollars I paid for it. If you have a multi-channel set up, fork it over and grab this, it is why we do the surround thing.
| ASIN | B000002KGT |
| Best Sellers Rank | #6,980 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #175 in Soft Rock (CDs & Vinyl) #360 in Album-Oriented Rock (AOR) (CDs & Vinyl) #3,637 in Rock (CDs & Vinyl) |
| Customer Reviews | 4.8 4.8 out of 5 stars (11,654) |
| Date First Available | October 21, 2006 |
| Is Discontinued By Manufacturer | No |
| Item model number | 2016369 |
| Label | Warner Bros. |
| Language | English |
| Manufacturer | Warner Bros. |
| Number of discs | 1 |
| Original Release Date | 1977 |
| Product Dimensions | 4.92 x 5.63 x 0.51 inches; 3.03 ounces |
J**N
TRUEST TO ORIGINAL YOU CAN FIND
Nothing has ever been simple about Rumours and the same can be said about the vinyl reissues from this year, of which there are three. First, there is the gold-standard, 2LP/45RPM, issue mastered by Steve Hoffman and Kevin Gray. Next is the single LP/33RPM, again mastered by Hoffman and Gray. These two issues were designated for the United States, will always indicate they were mastered at Pallas, which is in Germany and, for those who really want to get down and dirty, will have this etched in the dead wax: "KG + SH @ ATM". To simplify matters, it is pretty much universally agreed the 45RPM version sounds better than the 33RPM version, and based on the nature of the manufacturing of LP's this makes sense even though both products were made from the same master-tape created by Hoffman and Gray. Finally, there is a rather mysterious, 2LP/45RPM issue designated for distribution outside of the US which was not mastered by Steve Hoffman and Kevin Gray and, questions of the nature of the sound aside, DOES NOT represent Rumours as it came out of the box in 1977. What I just wrote is factual, and based on comments from Steve Hoffman on his web site concerning these releases. In the comment section below, I will provide many pertinent hyperlinks. Now let's break down what I have just written a bit more, beginning with matter of trueness to the original and then moving on to the sound (although the two do overlap some). In the process of preparing this reissue Hoffman and Gray were confronted with a myriad of puzzles. Many centered around the final track to this album, Gold Dust Woman. There exist at least three different endings to this song that can be found, even at the earliest stage of vinyl release. There exist at least two different beginnings to the song as well. Over time, Hoffman and Gray figured out the first vinyls pressed contained a countdown at the beginning of the song, not the fade-in that many are familiar with, and a certain progressing loud dynamic structure at the end. So this is what you will be getting on the Hoffman and Gray masters. As a side note, just to give two examples, the fade-in came into existence because, over time, the intro to this song on the master-tape used for most of the issues deteriorated and the solution chosen was to simply use a fade-in for this song to cover-up the deteriorated intro. As for the ending of this song, the dynamics proved too challenging for mastering techniques at the time so, very shortly after release, the dynamics of the song's end had to be dampened so that mass production of vinyl could occur without Warner Bros. having a bunch of albums returned because record players skipped, distorted, etc., the end of the song. Only the Hoffman and Gray masters contain the correct intro, e.g. the European issue has the fade-in, so the Hoffman and Gray issue is the truest to the original issue (Without much elaboration, there have been different versions of Second Hand News over the years, even beginning in 1977. The Hoffman and Gray issue contains the version found on the earliest vinyl issue.). Now let's move on to the sound. The objective part is to write that if what you want is the best sound, there is pretty much universal agreement the Hoffman/Gray 2LP/45RPM version trumps the Hoffman/Gray 1LP/33RPM version. There is some debate out there on the relative sound quality between the US and European 2LP/45RPM versions. As I have not heard the European version, I will not comment on this. But remember, the European version does not contain the truest-to-the-original version of Gold Dust Woman. What I feel comfortable in saying is this: If one takes the time to read the relevant threads on Steve Hoffman's web site concerning Rumours it is quite easy to have a fair number of questions about the European issue. So, in the words of former Secretary of Defense, Donald Rumsfeld: with Hoffman and Gray we have a known known, with the European issue we have unknown unknowns. The subjective part is to comment on the sound of the Hoffman/Gray 2LP/45RMP issue. Personally, I think it is wonderful, but it may not be what you are used to. The reason for this is the sound of Rumours, even when it was selling millions of copies in 1977 and 1978, kept changing with different pressings. Again, this is documented in Ken Perry's notes, Ken did the original mastering, and these notes were used by Hoffman and Gray to prepare their issue. As nearly always, Hoffman did some tweaking, using tubes at times to master, adding a decibel or two of EQ here and there (this is not a lot). But what is most important is the work done by Hoffman and Gray did not damage the dynamic range of the material. There is always a certain amount of art that goes into a reissue, and this (the art) is one factor that can make a reissue more appealing to some and less to others. Another factor that can contribute, and this might play a larger role with this reissue, is the fact the vast majority of people who have heard Rumours have not have heard the content of the songs, in that which was their original state, until this issue. So familiarity, or lack of familiarity, will play a role. Finally, the quality of one's sound system will play a role as well (On that note, my system's front end is a Rega P324 with a Dynavector 20X2H cartridge and the back end is comprised of a pair of Quad 988's with a Rel Britannia B2 Sub-bass.). In conclusion, no one knows what the future will bring. A very compelling case can be made that if one's goal is to own something that is closest to what Ken Perry heard when he finished the first mastering of Rumours, and one owns a sound system that can do justice to a true audiophile recording, then you should strongly consider purchasing the Hoffman/Gray 2LP/45RPM edition given the combination of the improvements in record mastering techniques since 1977 (being able to get the dynamics of Gold Dust Woman right now when it couldn't be done in 1977 is an example), and the natural deterioration that takes place with magnetic tape. Finally, given what Hoffman and Gray had to go through to put this project together, again best explained by Hoffman himself on his web site, don't expect high-resolution files of Rumours that will rival this release any time soon unless they originate from the work done by Hoffman and Gray. And, come to think of it, even if you presently do not have the ability to make high-quality high-resolution files, or a fine conventional CD burn of an LP, purchasing this album now will at least give you the ability to do so down the line and, therefore, have a definitive high-resolution digital version of this album. Again, some time after posting this, I will add a comment with hyperlinks that will aid those who wish more information on the mastering process and the foundations for my conclusions.
S**S
SACD version
This is a review of the multi-channel sound mix of the classic album from Fleetwood Mac (mostly). Rumors is not my favorite album by FM, the previous Album is, but oh well. This one is good enough, you know? Kidding, both are true classics, and I can never get enough of Christine Perfect/McVie's voice. The rhythm section, Mick Fleetwood and John McVie, are sooo underrated, too. Listen to the songs leading up to 'Werewolves of London' on Warren Zevon's classic 'Excitable Boy'. Not bad, I must say. But when Werewolves cranks up, it is Fleetwood on drums and McVie on bass, and the change in rhythm section is, to me, almost astonishing. Not really flashy, just so much more solid, so many more phrases where you say 'hot dang that's good.' I dunno, maybe its just me, but I think the sum exceeds the parts where those two are concerned. Buckingham is an OK guitarist and good vocalist, and Nicks is loved by a lot of people. The songwriting is frigging outstanding, of course, with offerings from Buckingham, Nicks and Christine McVie. This album has been available for a while in multi-channel format, specifically the DVD-A offering. Unfortunately, by the time I got into multi-channel playback (not counting the quadrophonic experiment from the 70's) the DVD-A was just prohibitively expensive. Looking at the prices of some of the SACDs and DVD-A offerings I bought just a few years ago, all I can say is thank goodness I bought them then, and am not trying to get into things now. Some of the albums I bought for 17 dollars or so are now well over 100. 'Rumors' had always been too expensive, along with 'The Captain and Me' and 'Hotel California'. Rumors and Hotel California are now available in the SACD format, and at a price I can just afford. Well, so is The Captain and Me, but the SACD is stereo only. The channel separation is just great, if you were wondering. Voices from the center channel, the bass is mixed just a tad low, but we can adjust that with our multi-channel systems, no? A couple of notches is all you need to bring out John's VERY tasty playing from that sub woofer you paid so much for. The surround (rear) speakers are a total part of the mix, not there for ambience like some. All in all, a superb mix, and clear as a bell, and you WILL hear things you never have before, regardless of the fidelity of your old stereo system I'm sure you played this gem on. You catch all the guitars, and there are more than I ever heard off of my vinyl copy. A very enjoyable mix, and almost worth the 40 dollars I paid for it. If you have a multi-channel set up, fork it over and grab this, it is why we do the surround thing.
L**B
Great album, good quality pressing
This is not any type of special edition but a good pressing of an all time great album. Not warped or scuffed and sound is tremendous. This one is the quality I expect in vinyl.
A**E
Why do people like this? I have no answer. Terrible press, dead sound, devoid of dynamics. Side B...that's a different story. Wild sound distortion and surface noise drowning out the performers. A complete lack of quality control. Shame!Shame!Shame!
C**L
Hard to come by at this price and value for SACD.
B**Y
Very good album. Sound is exellent.
A**R
"Rumours" supuso, en el 77', la cumbre de la carrera de Fleetwood Mac. Es el undécimo disco de estudio de la banda, y se grabó con el eco de fondo del gran éxito del anterior album del 75', "Fleetwood Mac", rentabilizando el buen momento comercial. En el interior de la banda, con dos parejas recién separadas en el aspecto sentimental, el horno no estaba para bollos; de hecho, los grandes rumores de separación del grupo fueron los que finalmente inspiraron el tÃtulo del disco. La separación se produjo unos años más tarde, en el 82', pero fue temporal. Hoy siguen unidos y en activo. En el disco se incluyeron composiciones con gran carga emotiva asociada a esa situación, mensajes directos lanzados entre los componentes, baste el tÃtulo del exitoso tema "Go Your Own Way" (sigue tu propio camino...) y ese torrente emocional seguro que tuvo que ver con el gran éxito del disco: más de 30 millones de copias y lo que le puedan aportar estas reediciones. Uno de los discos más exitosos de la música moderna. Musicalmente es fiel al estilo del grupo: más pop que rock (aunque se defina como grupo rock...) y una ejecución incluso demasiado perfecta, como de caja de ritmos, sampler y vocoder, sospecha de la que se libra por la fecha de grabación. De las diversas ediciones disponibles en Amazon, incluso en vinilo,las que creo que más merecen la pena en este momento son las reediciones en CD "35 aniversario", que han salido a la venta en febrero de 2013 y tienen como principal atractivo la remasterización, que realza la perfecta ejecución de la grabación original con un sonido cristalino y contundente. Dos versiones disponibles, que enlazo para facilitar su búsqueda: Edición con 1 CD: Rumours 35 Th Anniversary Edition [CD ] - Incluye únicamente el álbum original remasterizado. Esta es la que he adquirido. No trae ningún signo que la identifique como "edición 35 aniversario", sólo figura impreso el año de la grabación original, 1977, y sólo tras consultar el código de barras se puede confirmar que se trata de esta edición. El libreto trae las letras de las canciones y alguna foto de la banda de la época de la grabación. Como ya he comentado, grandÃsimo sonido. Edición con 3 CD: Rumours 35 Th Anniversary Edition (3 Cd) [CD ] - CD1: El album original remasterizado, incluyendo el tema "Silver Springs" (que aparece y desaparece en diferentes ediciones) - CD2: 12 tracks en directo, tomados de conciertos grabados en 1977 - CD3: 16 tracks que incluyen demos, tomas falsas y similares... para incondicionales.
L**.
Un excelente álbum remasterizado con un súper excelente sonido. Es una delicia escuchar este álbum en sonido DSD multi canal.
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