Your journey into the making of the album Rumours isn't complete until you've experienced, The Vault.

Inside you will find Rumours track sheets, rare photos and complete interviews with the Fleetwood Mac Family and friends that helped to make the classic album, Rumours. The Vault is an extention of the book, Making Rumours by Ken Caillat. View the full interviews from the people that were there and share their experiences. Here are some samples of what you will find when you unlock, The Vault.

Making Rumours Extras

Video Interviews:
Fleetwood Mac Interview
It was called “Addy” for a while because the “D” was missing. It was loosely based on Mick’s naughty lifestyle at the time. It was sort of from Jenny’s point of view. The words don’t apply completely to Mick.

M: I’ll take it Chris.

C: I suppose I was being sarcastic in the choruses, “Why are you right and I’m so wrong.” That was Jenny speaking. It’s loosely based on Mick’s separation from Jenny at the time. I suppose Jenny thought Mick was wrong. It’s not completely applicable. Mick’s the big daddy for sure. We always called him Big Daddy anyway.

I wrote “Oh Daddy” in the studio. I was just messing about in the studio and Lindsey goes, “That’s nice.” The actual concept of the song was playing around the Hammond organ to get the sustained chords and it turned into a bit of a folly after that, didn’t it. There’s all kinds of little things coming in and all around. I could never get the last line, and Stevie said, “Why don’t you sing this, ‘And I can’t walk away from you if I tried,’” and I thought, “Ah, I’m saved!”

Nobody told John what to play on “Oh Daddy,” he just came up with that.

M: Classic Johnny Mac. He’s like a miniature orchestra, as so very often he has that touch, that magic touch.

C: I find it impossible to believe how we managed to do it. There was all of this kind of theater going on as well, wasn’t there. I wish I could be in tonight and maybe take a bath or something.

I don’t know what that last part was on “Oh Daddy.” I’m wondering if was something where I had run out of ideas and I started going “bluh luh luh luh luh!” or if I was saying “Roll the tape back,” and the guys were so busy gabbing to each other and I wanted to stop and go back and do it again. But they decided to go ahead and put it in any way.

I used to play the chair onstage for “Second Hand News.” I must have been barking mad. I’m sure Lindsey played it in the studio. I’m sure I wouldn’t have volunteered to play a chair on a record. I’m sure I did it onstage. What the hell was that all about? How weird is that? But I was totally into it onstage; I was enjoying it.

M: I’m sure it was Lindsey’s idea. Sometimes he’d start doing it, and I’d say, “You’re doing fine,” and he’d say, “Nah nah nah.” But Chris had to do that onstage for many a month or two and bring the chair out to the front of the stage and ceremoniously play the chair. And the audience loved it.

C: And I used to get rounds of applause for it. And they must have wondered, “Is that what was on the record? Or why is she playing a chair?” It wasn’t much good afterwards, though, I’ll tell you.

M: The high-hat toward the end of “Second Hand News,” that to me was my version of creating a bacon slicer which to my mind was something the Beatles did on one of their records, where it really was one of those hand slicers and that’s where I got the idea, the “ssssSSTT! SsssSSST!” I did it with an open high-hat and the drag was onstage, I actually got a version of it, but I could never do it in the same place because I was trying to keep time with the rest of the band. On the record, I got my version of a bacon slicer, in very random places. They don’t make really any sense. They’re in time, but they’re in very odd places and they’re not uniform. We laid a few down and had to pick and choose.

C: I’m sure he laid 7,000 of them down.

M: We have to stay another three days.

C: “No, no no, it’s only 5:30. It’s not dawn yet!”

M: “It’s not dawn yet! One more slice!”

Enter the vault to read the rest of the interview.

The studio [Wally Heider’s] and all the recording rooms, physically, had private entrances and they actually worked down the street from the main building. So, when they came to Wally Heider’s, there were all alone down the street and worked all night.

I heard Rumours in a few raw stages, and then it got added to and built upon. It always sounded good and it was developed from there. I was a Fleetwood Mac fan, and it sounded more approachable, commercial and pop-oriented then previous Fleetwood Mac albums had. It sounded less like a blues band and a lot like Buckingham-Nicks.

I was a radio TV major in college and went to Heider’s as a summer job, answering phones and delivering coffee to studios. There wasn’t a clearly defined apprenticed program back then—there were no schools for being a recording engineer. Basically, it was loosely defined. It was like that in England, too. You’d sweep the floors, deliver coffee, running errands, doing grunt work, and then some day you’re filling in for someone who’s sick running a tape recorder. Then, eventually, it would evolve into learning the technical aspects from the people who were around you like a mentoring situation. Then, one day you’d find yourself sitting behind a console.

I think it was kind of laughable around the business. People could understand why because you had two relationships that were breaking or broken up, so emotionally I think they had trouble working. But everyone around the music business and songwriters know that a lot of times that spawns great work, that frustration and pain. And technically, they had trouble literally with the tapes falling apart, as the project got longer and extended they had problems with the master tapes losing sound quality and had to go back and use safeties and lock up some of the safeties and relay redoing some of the tracks. So they had some technical problems and they had some emotional problems, and plus they had a huge album to follow up and they had commercial pressure from the record company and no one wanted to turn in anything that was sub par. I think they wanted to make it great and they knew everyone was waiting for it, and that added to the that whole anxiety of wanting to make it perfect.

I thought it was great, so it wasn’t a shock. I thought it was a really good product. It sounded great; the songs were good. I remember the Eagles and Fleetwood Mac were neck and neck with all that stuff.

The record business was a very huge then. There was a lot of money, so there were a lot of social events in terms of parties and after-parties and concerts. The club scene in those days you saw bands coming through town, if they played two nights at the Roxy or Whiskey, that could effectively become four shows. The record companies were putting a lot of money into promotion, so there were a lot of those perks.

Bigger studio bills, wanting the artist happy in the studio, going the extra length to make sure they comfortable where they were working, changing scenery sometimes in the studio, especially for Fleetwood Mac, when it took so long, they needed to move around to a lot of different studios, and I think they needed to. Now it’s different, that’s all changed.

The engineer was the one that couldn’t party with the band, especially if you’re working for a client like a record company or a producer, but usually it wasn’t non-stop and it would typically be Friday night when the six packs or the bottles of wine or the joints would come out just like any work situation after a long, hard week of working. And those weeks were long, 50-60- hours weeks late into the night. It was the same kind of decompression as any work place. And it wasn’t all frivolous. You’d have your record company guy who’d stop by with two bottles of wine or champagne to reward their artist or client. It wasn’t non-stop because then nobody wouldn’t get any work done. Rumours didn’t begin the blockbuster album era, but albums by the Bee Gees and Michael Jackson that were big sellers did change things, but that was the nature of the beast with FM radio, too. It’s totally different today. The studio business has changed radically with all the home recording. You still have a few top-end rooms for tracking and for mixing for the final mastering process, but the middle studios are all gone—the demo rooms, the publishing rooms, the places where people went to make commercials and sound for TV and movies. With hard disk recording and how small everything is, people can do it themselves, and bands have started doing it themselves. It’s become much easier to become educated with recording schools. You can record live much easier. The studios aren’t as necessary as they used to be. You still have major rooms for major artists and big releases, but there are fewer of them. FM radio was huge the way the Internet is now. People were turning on late-night FM radio shows to find new stuff. You had album cuts that were big.
Original Track Sheets:
Anatomy Of A Song: Coming Soon