- Copertina rigida: 384 pagine
- Editore: Turner Pub Co; 1 edizione (18 gennaio 2013)
- Lingua: Inglese
- ISBN-10: 1118218086
- ISBN-13: 978-1118218082
- Peso di spedizione: 658 g
- Media recensioni: 5.0 su 5 stelle Visualizza tutte le recensioni (1 recensione cliente)
- Posizione nella classifica Bestseller di Amazon:
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Making Rumours: The Inside Story of the Classic Fleetwood Mac Album (Inglese) Copertina rigida – 18 gen 2013
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‘A compelling insider’s account that should ensure you never again listen to Rumours in quite the same way.’ (Q Magazine, February 2013)
Dalla seconda/terza di copertina
Rumours generated four top–ten singles, topped the Billboard album charts for thirty–one weeks, and won the Grammy Award for Album of the Year in 1977. It went on to become the fifth bestselling album to dateforty million copies and countingand Rolling Stone′s twenty–fifth greatest album of all time. And it turned a band that had struggled to make a name for itself for nearly two decades into a household name. In Making Rumours, the album′s coproducer Ken Caillat tells the wild, poignant, and exhilarating story behind the album′s creation. Its potent combination of rock–star melodrama, technical insights, and compelling portraits of five brilliant but troubled young artists at their creative peak will forever change the way you hear the album. Trouble was brewing well before sessions began at the Record Plant in Sausalito in January 1976. John and Christine McVie were getting divorced. Stevie Nicks and Lindsey Buckingham had joined the band as a couple more than a year earlier, but now they were in a constant state of war. And, unknown to anyone but Caillat′s coproducer, Richard Dashut, drummer Mick Fleetwood had just learned that his wife was divorcing him and taking up with his best friend. From the first session, which featured the rudiments of "The Chain" and John McVie improvising the critical bass part that ties it all together, to the final sessions that tempered and polished the songs′ vocals, Caillat reveals how these conflicts, fueled by drugs, alcohol, and the pressure of making the album, tore the band apart. But making the music pulled them back together. Stevie and Lindsey had screaming matches between takes of "You Make Loving Fun," and John and Christine bickered constantly. During takes, however, everyone collaborated brilliantly and did whatever it took to get the sound they needed. Lindsey played a beat against a leather chair on "Second Hand News"; Mick stood atop a ladder, tossing sheets of glass to the floor for the haunting end of "Gold Dust Woman"; and Christine, at Ken′s suggestion, took the stage in an empty theater to record her splendid "Songbird" vocal. Woven through all of this drama and artistry, Caillat presents a virtual master class in how to produce a great album. He describes everything from microphone placement and how to liven up a "dead" room to how to work with difficult artists and what to do when your master tape begins to degrade nine months into the process. Packed with scores of never–before–published photos from Caillat′s personal collection, Making Rumours is a must–read for Fleetwood Mac fans, rock history buffs, and anyone who loves a behind–the–scenes account of great musicians at work and play.Visualizza tutta la Descrizione prodotto
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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
Going with the history of Fleetwood Mac, you had to believe that any book would touch on gossip/personal stuff and this does. I was hoping for less of it and more of the recording process.
Don't get me wrong, there is plenty of the latter - but I don't know there is true insight or perspective when it comes to Ken Caillat's writing. When Caillat gets into process, he can dive into the minutia that only a studio engineer would care about. I would think his co-author or editor would have steered him away from this a little as it became focused on things the casual reader really doesn't care about.
How the songs were created and assembled in the studio was nice and what I was picked the book up for in the first place. I would have liked a little more detail - at least to me the narrative seemed a little fractured and disjointed at times.
I was hoping for a more objective point of view and maybe that's not possible from any author on this. I felt there was a lot of self-back-patting on how good Caillat did his job. A better perspective would have been if Richard Dashut co-authored this book.
As the personal stuff goes, I know it's his view, but I don't care about his personal/dating life....or his car.
And while I think, in limited doses, writing about the band members is fine, but speculation, and saying it's speculation isn't necessary. Unsubstantiated thoughts. While none of the band members comes off as too likable, the backhanded compliments he gives Stevie Nicks isn't really warranted. Or when he alludes to certain aspects of how she was then as to now/later. If you have something to say - say it. If you don't, leave it alone. It becomes fodder to sell books and it's unseemly.
What could have been a 5-star book turns to mediocre in this style and this telling. I'd say maybe one on 'Tusk' could be better and more interesting (to me), but the writing would have to improve for me to purchase that.