- ハードカバー: 384ページ
- 出版社: Wiley; 1版 (2012/4/10)
- 言語: 英語
- ISBN-10: 1118218086
- ISBN-13: 978-1118218082
- 発売日： 2012/4/10
- 商品パッケージの寸法: 16.4 x 3.4 x 24 cm
- おすすめ度： この商品の最初のレビューを書き込んでください。
- Amazon 売れ筋ランキング: 洋書 - 183,468位 (洋書の売れ筋ランキングを見る)
Making Rumours: The Inside Story of the Classic Fleetwood Mac Album (英語) ハードカバー – 2012/4/10
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Inside the making of one of the biggest-selling albums of all time: Fleetwood Mac's Rumours
Fleetwood Mac's classic 1977 Rumours album topped the Billboard 200 for thirty-one weeks and won the Album of the Year Grammy. More recently, Rolling Stone named it the twenty-fifth greatest album of all time and the hit TV series Glee devoted an entire episode to songs from Rumours, introducing it to a new generation. Now, for the first time, Ken Caillat, the album's co-producer, tells the full story of what really went into making Rumours—from the endless partying and relationship dramas to the creative struggles to write and record "You Make Loving Fun," "Don't Stop," "Go Your Own Way," "The Chain," and other timeless tracks.
- Tells the fascinating, behind-the-music story of the making of Fleetwood Mac's Rumours, written by the producer who saw it all happen
- Filled with new and surprising details, such as Stevie Nicks and Lindsey Buckingham's screaming match while recording "You Make Loving Fun," how the band coped with the pressures of increasing success, how the master tape nearly disintegrated, and the incredible attention paid to even the tiniest elements of songs, from Lindsey playing a chair to Mick breaking glass
- Includes eighty black-and-white photographs
‘A compelling insider’s account that should ensure you never again listen to Rumours in quite the same way.’ (Q Magazine, February 2013)商品の説明をすべて表示する
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But as in almost all such books, it's was written by a professional writer, not the famous person whose name sells the cover. So they elaborate the truth, making up conversations and things no one could remember - tiny details to make you feel you are there, but are just fabricated. "Stevie sat down and picked up a half-smoked joint" - these momentary kinds of things no one would remember from 30 years before. It's sad, because you can usually spot these things if you're aware... I know they do it so it feels more like you're there, but it's still Creative Writing sitting next to actual History.
So - the book is full of revelations, and some great insights into the records creation. I love to see that things aren't always successful, and sometimes there are mistakes. Great songs, get left off for minor reasons, personal issues cloud how things got done. I'm an engineer/producer too, so I appreciate the technical details - tho it's hard to write for both a technical audience and a listener audience. The book gets caught a little in the middle - some of us wish for more detail, yet most probably don't want any. There are odd things no one caught to correct, like putting the guitar through a Hammond "B3 speaker" which is called a Leslie elsewhere in the book. B3 speaker is not correct terminology for any engineer to say, nor did Hammond make them. And a "fat box" is mentioned several times as a cool trick used, but without ANY mention of what it is or does... confusing.
Get the book, it's cool - and hopefully it will inspire you to find the outtakes (some release on other solo albums, some on Rhino, and a few more still slated for release sometime in a new package from WB...) as there are more great things to be heard from this era of FMac!
- If you are a music techie (have recorded before, or genuinely interested in the process), there are a lot of interesting parts on how certain sounds were produced, the types of mic's, amps, instruments used, etc...
- The book is very well organized. Chapters are divided by song, so if you are interested in certain songs and not others, it's easy to jump right in. The reference/source guide at the back of the book is extremely detailed, and it's easy to find where any name/part/song/instrument/etc is used in the book.
- Caillat either has the most amazing "Rain Man" like memory in history, or took the most extremely detailed notes on every moment of the day (which would be hard to believe, since his hands were full at the mixing board with five demanding musicians...and admitted he took his share of drugs to boot, which would draw the accuracy of those notes to question). Not humanly possible to recall every last word of every conversation like he recites in the book, and it's quickly obvious that parts were embellished. Even the arguments concerning the crumbling relationships of the band members - which was one of the major issues behind the making the album - don't read as genuine, and seem trite or cooked up. This calls into question the rest of the book, but I'll give Caillat the benefit of the doubt on the recording process and technicalities. He also goes into detail about everything his dog does, which is "cute" (I guess) at first, but quickly gets old. "He licked me on the face as if to say 'everything is going to be fine'". You get the picture.
- Caillat feels the need to pat himself on the back and toot his horn (apparent in the opening intro before the real book even begins), and also inserts all his personal trials and tribulations over the women he was interested in. He makes sure we're aware he slept with the girl at the front desk (deciding not to end a chapter just saying he went over to her place that night, but adding that he fully closed the deal, just in case we're unsure), and also makes us fully aware he slept with another hot girl during the recording. He inserts photos of the girls as proof, including one of him in bed with one of them, and another photo of him leaving another's house "the morning after." Awesome Ken! You are a rock and roll stud, we get it. But most people didn't buy the Making of Rumors to learn about this, or about your major internal conflict over whether you like the brunette or the blonde - whose hair "sparkled in the morning sun" (yep, that's in there) - better.
Because of the cons mentioned above, I found myself skimming many chapters, and focussing on just on certain parts. This book could easily have been 100 pages.
Keep in mind that this is a story of the 1970s and that yes, Caillat does have the help of a professional writer Steve Stiefel to help smooth out the stories and turn anecdotes into chapters--kind of like turning 'music into gold.' Caillat liberally sprinkles his story of his experience with the band and the engineering of their music with personal information about his mindset then. At barely thirty years old, music may have been important--a skill that was inherent but, so were gorgeous girls, fast cars,drugs,alcohol, friends, family and the companionship of his dog, Scooter (who eventually appears on Fleetwood Mac's later album Tusk biting Caillat's shoe). Working with the band greatly enhanced all this for Caillat; making Rumours was his ticket into a faster lane. If Caillat is attempting to depict his era with the nonchalance for which it is noted, he succeeds. As imagined, he parties along with the band, competes for women and is fully inducted into the manly-man club of practical jokes and hijinks--the activities of which surely took the edge off of countless recording hours, mistakes and dealing with artistic temperaments.
Any fan of Fleetwood Mac is aware of the tensions and complications that ensued because of the interrelationships of its members. Arguments, breakups, jealousies, heartbreak--you name it--put five creative people in a room together for over a year and there is sure to be some battle of egos ensuing sooner or later. Compound those expected issues with romantic trouble? That's a real recipe for disaster.
Those readers expecting full disclosure on what really happened between band members are going to be extremely disappointed. Caillat alludes to incidents but he never really fleshes them out. He probably can't; he'd get sued. He does provide some specifics related to Lindsay Buckingham's anger issues which are further exemplified in the book Storms: My Life with Lindsey Buckingham and Fleetwood Mac by Carol Ann Harris for which Caillat does not hesitate to plug. He forecasts some negative behaviors by the Stevie Nicks after Rumours, but never gets into that either. The reader gets the sense that there is no love lost between him and Nicks, but Caillat does not include anything in his narrative to substantiate this other than the alleged hex she put on his dog, her musical non-contribution, instrument-wise (what about her voice, Jack?) and her disappointment in having to cut her song, Silver Springs, to half its time. Caillat hints around about good gossip, but in this regard, makes promises he doesn't keep. His rumours stay rumours.
For the most part, the bulk of Caillat's text is devoted to the making of the music. He details his role in the engineering with industry talk which means nothing to a layperson like myself. I listened to the audio version of this book which would have been greatly enhanced with inclusions of portions of the songs that are being showcased. When Caillat talks about the difference between one guitar riff and another, I want to hear it, so I can understand the comparison. I don't know if the hardcopy version of this book comes with an appendix of musical vocabulary but that would surely help a technical music novice like myself make certain passages come more to life. Of course, an audio version does not include any of the photographs that Caillat includes in the book's other versions. Oh well, I had to rely upon Caillat's descriptions, but as a FM fan, I would have liked the photos.
Bottom line? "Making Rumours: The Inside Story of the Classic Fleetwood Mac Album" will appeal to Fleetwood Mac fans especially if the technical aspect of music excites. However, don't expect revelations that have not already been cited on VH1's "Behind the Music: Fleetwood Mac." Author, engineer and co-producer Ken Caillat illustrates the coming together of a group of artists to create an album that has stood the test of time;he depicts the era and mindset well but completely hedges on the details of the tempestuous interrelationships between the band members. He doesn't hesitate to include details of his own conquests or to plug his daughter's music which he is producing.
Diana Faillace Von Behren
It quickly becomes obvious early on how dysfunctional the band was, yet they still wanted to soldier on. Desirous of capitalizing on the success of Fleetwood Mac (Deluxe Edition) it becomes clear fairly early on that Rumours (Deluxe Edition) was also a bit like three solo artists trying to exist within the context of a band. Caillat provides great thumbnail sketches of all the band members and numerous other principles involved in the recording, not to mention the tensions ongoing during the sessions. Not everything is flattering and "Making Rumours" is pretty much a warts-and-all portrayal. Some of the more interesting insights for me was learning about Lindsey Buckingham's guitar playing techniques as his playing technique always struck me as somewhat akin to that of Earl Scruggs. Reading over "Making Rumours" now I wonder if that's who indeed inspired Buckingham. The genesis and inspiration for songs also pops up, sometimes directly and sometimes obliquely, and yet it makes me wonder if Caillat genuinely has firsthand knowledge or if this is being relayed in a second hand manner. Equally fascinating was hearing about the equipment and various techniques employed to capture the right feel for the music. That may make it a bit wonky and geeky for some readers, but certainly not all. In the end "Making Rumours" is an interesting read from someone present at the creation, but I can't help but wanting to hear more from the actual creators, Lindsey Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. And to another extent I tend to wonder about the relevancy of an undertaking like this. Much like the upcoming The Rolling Stones 1972 there is a certain tendency to revel in the music of the past which smacks of pandering to people of a certain age. Is it wistful nostalgia, remembering a simpler time, or simply cashing in on a fan base that's still willing to shill out for yesterday's news? Certainly "Making Rumours" capitalizes on a momentous anniversary, but does Mr. Caillat mean this as a summary to his life's work? Will he do one about Tusk in a few years? Why not tell the whole story of his work with the band? Granted, I love Rumours (Deluxe Edition) but I feel I know more from listening to "The Chain", "Gold Dust Woman", or "Go Your Own Way" than reading this. The blistering intensity, lust, longing, regret, remorse, and forgiveness of Rumours (Deluxe Edition) is far more satisfying than this.