The California-born Buckingham originally joined when he was dating Stevie Nicks, whose sandy voice would define the sound of Fleetwood Mac. They split while still bandmates and Fleetwood Mac's internal tensions famously belied an uneasy musical unity on the album Rumours, the group's most acclaimed work. But the group put behind bad blood to come back together in early for the inauguration of president Bill Clinton, who adopted the Fleetwood Mac song Don't Stop as a forward-looking campaign theme. Fellow vocalist Christine McVie, who was married to bassist John McVie and had kept a low profile in recent years, rejoined Fleetwood Mac in to complete the classic lineup.
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Jason Weisberger Publisher. Ken Snider Sysadmin. Learn project management skills from top to bottom with this training Big companies take on big projects. It was like, 'I'll make you suffer for leaving me. This came about by way of Richard Dashut, a former housemate of Buckingham and Nicks who'd assistant-engineered their album and then became Mac's live mixer when the duo joined the band in Popping into Wally Heider's to remix a show for radio broadcast, Dashut sat alongside Caillat behind the console and struck up a fast friendship when the latter asked if he smoked weed and would like to get high.
Caillat himself remembers: "It was a Saturday, and Mick said, 'Jeez, Ken, we really like you and we wish we had met you sooner because tomorrow we're gonna work with this guy named Kelly Kotera over at the Record Plant. We've hired him to record our next album up in Sausalito. The mix was done that afternoon, everybody loved it, and the result was that when Dashut was unexpectedly asked to helm the Rumours project, he asked Caillat to collaborate. As it turned out, the more technically adept Caillat did most of the engineering, while the production chores were shared.
You've got to tell us what's going on. You need to be our eyes and ears. I was looking at them like, 'Well, why don't you just come in and listen? They wanted input from the control room. So, when they then asked if I liked one bass part more than another bass part, I spoke up, and it was the same with Richard. He and I quickly figured out this wasn't going to be just a 'sit back and turn the knobs' gig. We'd have to pay attention and maybe take notes once in a while, and soon we were telling them, 'Hey, that was a great take.
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We really like that second take more. I remember one time, Lindsey literally screamed at me: 'Goddamn it, Ken! Would you let him do some engineering? He was the one who cracked the jokes. And that was fine. I liked to turn the knobs.
You see, the real turmoil on that album only took place at the start of the sessions and it probably lasted two or three weeks. That was down to not only the relationship issues but also the pressure to deliver. We had been recording songs and getting some nice basic tracks, and suddenly their level of interest changed — 'Let me hear that bass part again. Solo it up for me. We've already been high-fiving one another. It's great. I remember him walking into the control room as white as a ghost, and of course everyone rallied around him, but then there was John and Christine's break-up.
She'd sneak her new boyfriend into the studio just as John was walking out through another door, and we were kinda ducking — 'When are the two chemicals going to mix?
When are we going to have the explosion? I remember them singing background vocals to 'You Make Loving Fun', sitting on two stools in front of a pair of microphones, directly facing me on the other side of the control room glass, and if we had to stop tape for whatever reason, during the few seconds that it was being rewound they'd be shouting and screaming at one another. I'd be thinking, 'Go tape, go tape, hurry, hurry, let's hit play! In fact, it was pretty harmonious compared to other sessions I'd do later on.
This often revolved around recording new parts once the basic backing tracks had all been completed. It felt nice and fresh because we kept rotating everything. You see, I really think the whole topic of drugs on those sessions has been overplayed. Yeah, that stuff was around, but it wasn't like everybody was crawling all over one another, and I don't think it got in the way of the music-making.
It was more a case of 'Hey, we're all getting kind of tired. Maybe we should get some coke. Fourteen to 15 hours didn't leave enough time, so every day we pushed back another two or three hours. You know, 'It's two in the morning, but let's try to start at noon tomorrow. We were always trying to push ourselves to get in at a decent time, but eventually we were starting at 10 o'clock at night and finally we said, 'OK, this is crazy. However, we felt like we weren't getting enough done and that we couldn't keep taking days off, so the coke seemed like a good solution. Today that wouldn't be the case; I would just say, 'We're taking Saturday and Sunday off, everybody have a good night's sleep, have a good time, and we'll see you bright and early Monday morning.
Although Ken Caillat generally didn't edit between takes, there were one or two exceptions, the most notable of which was a track titled 'Keep Me There', recorded during the first few weeks at the Sausalito Record Plant, and described by him as a 'weedy song' with a three-minute bass-and-guitar solo that evolved into 'The Chain'. He actually had me take some blank tape and cut it in exactly where the verses were. So we got rid of the verses, and then he had Mick play the kick-drum part — we didn't know what the hell Lindsey was doing.
He kept the drums and bass on the chorus, although he changed the key of the song and changed the chords, and he also came up with an all-new kick drum on the verse and new background parts.
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That's how he came up with 'The Chain'. We cut the hell out of that tape. After all, with Pro Tools you can do it so fast, who cares? You can deal with it later, and I think that gets rid of innovation.
Fleetwood Mac 'Go Your Own Way'
You're basically running at the pace of Pro Tools — you can cut and paste, take a guitar part from the first verse and put it in the second verse, and you do it so fast that you don't really sit down and say, 'Gee, why don't we build some effects here? I taped this Sony ECM50 lavalier mic onto Lindsey's Fender Strat, which was kind of a crazy idea because no sound would be coming out of there.
However, I noticed, when he would sit around and play in the studio, that I liked the sound of the high frequency that comes off the strings — it's hardly a note, but more of a second-octave, third-octave harmonic thing. So I taped the ECM50 on there and he was actually playing the part through his volume pedal, meaning that when he plucked the string and opened up the pedal you'd hear this 'wah' sound', while preceding that there would be the little glassy clink of the ECM Then we ran the pedal sound through the Leslie and had a delay on that, slowing his part down — he was actually going to double that part, but then when he heard the delay he started playing along to it and that changed the whole tempo of the song You wouldn't have had that in the Pro Tools world, where there's no credibility given to putting some space into the songs.
Back then, you'd put echo on there and create space, and you were painting a portrait while you were going.