Pandemonium

EXCLUSIVE ARTICLE:
FLEETWOOD MAC'S "RUMORS"
TOP 20
CLASSIC ROCK
SONGS OF
ALL TIME
In The Evolution of Classic Rock,
explore who started what, and
where it came from

EDITOR
MADISON BAYLOCK
CREATIVE DIRECTOR
MADISON BAYLOCK
EDITORAL
MADISON BAYLOCK
VELMA FARMER
DESIGN
MADISON BAYLOCK
HATTIE SANFORD
WRITERS
COLLEEN ‘COSMO’ MURPHY
BRYAN KERWIN
CONTRIBUTORS
CHRISTINE MCCARTY
LACEY O'RYAN
TROY BRYANT
NADIA PUGH
CHARLEY PRATT
FLEUR KEITH
P2
Issue No. 1

4
The Top 20
Discover 20 Of The Best
Classic Rock Songs Of All Time, and
what made them such fist-pumping,
sing-along anthems.
The Rumors of "Rumors"
In The Making of Fleetwood Mac's
"Rumors" one of the biggest love triangles in
rock histroy is unraveled
8
CONTENTS
10
Inspiring Collage From
Local Artists
Get excited, get inspired, listen to some
jams. This imagery just for you can do just
that. Keep rocking.
Classic Rock Timeline
In The Evolution of Classic Rock,
explore who started what, and where
12
it came from.

The
Making
of
Fleetwood
Mac's
"Rumors"
By Colleen ‘Cosmo’ Murphy
P4
Issue No. 1

How did a British blues band turn into a
California rock outfit that created one of
the best-selling albums of all time? In the
mid sixties, Peter Green was considered
one of British rock’s most esteemed guitarists,
lauded by the likes of Jimmy Page
and David Gilmour. He was a member of
John Mayall and The Bluesbreakers, the
changing line-ups of which read like a
‘Who’s Who’ of British bluesy-rock.
Welch eventually resigned but this
opened the door to a gorgeous looking
and phenomenally talented couple who
would help take the band to unforeseen
heights, Lindsey Buckingham and Stevie
Nicks. Stevie recently relayed the story of
why she and Lindsey ultimately decided
to join Fleetwood Mac despite the problems
they were already
having with their relationship.
I made Lindsey listen to
all the Fleetwood Mac records.
And I said, “I think
we can do something for
this band. We’ll do it for
a year, save some money
and if we don’t like it, we’ll
quit.” And he’s like, “But
Buckingham Nicks, I still think the record’s
going to start to break out.” I said, “You
wait around. I’m sick of being a waitress.
We are joining Fleetwood Mac and we’re
going to be great.’
In 1975, the new ‘Golden Era’ line-up
debuted with the self-titled album ‘Fleetwood
Mac’ and this was a breakthrough
as it became a US Number One. It included
still classic singles ‘Rhiannon’ and
‘Landslide’ and Christine McVie’s ‘Over
My Head’ and ‘Say You Love Me’. This new
“Devastation
leads to writing
good things.”
sun-tinged pop catapulted Fleetwood Mac
into new realms of success.
The pressure was now on for their next album
to be a massive success. The stage was
set for rock’s greatest soap opera.
After eight years of marriage, Christine and
John McVie were getting divorced due to
the constant touring and John’s alcohol
abuse. John relayed in an interview, “You got
the pressures of being on the road for a start
and living together and seeing everybody at
their best and their worst. And with Chris she
saw me at my worst one too many times, and
bless her heart, she said, ‘Enough is enough.
I don’t want to be around this person.’ But
at the bottom of all the stuff we have something
musically we can achieve.” The two
avoided on another and didn’t speak unless
they had something musical
to discuss.
Great music often comes
from heartbreak, emotional
turmoil and living on the
edge. In the words of Stevie,
“Devastation leads to writing
good things.” Lucky for us
they made their embittered
battles with one another into
great songs that will live forever.
To record, they left Los Angeles to get
away from the record company, attorney and
all of the other business demands. They sequestered
themselves in a windowless studio
in Sausalito, California. Their isolation
along with the copious amounts of alcohol
and Bolivian marching powder on hand
did not make for good relations. Nicks recalled,
“We wondered whether we would
get through ‘Rumours’. In that tiny little room
there were five people that were totally
breaking up.”

The
Making
of
Fleetwood
Mac's
"Rumors"
CONTINUED
“We wondered whether we
would get through ‘Rumours’.
In that tiny little room there
were five people that were
totally breaking up.”
P6
Issue No. 1

As most of the members were contributing songs, the listener
is allowed to hear the drama unfold much as in a
play with its cast of characters and their dialogues flying
back and forth.
“[It would] take us almost a year, during
which we spoke to each other in clipped,
civil tones while sitting in small, airless
studios listening to each other’s songs
about our own shattered relationships.”
– Mick Fleetwood
Somehow they got through it and completed the album
that would become ‘Rumours’. This album shipped platinum
and upon its release in February, 1977 it peaked on
the top of the US Billboard Chart and the UK Album Chart.
The band won a Grammy Award for the album and it is
still one of the best-selling albums of all time with over 40
million sold worldwide.
It is an album that is loved by people from all walks of
life as having three songwriters opens up the range of
emotions and perspective. The themes are ever-present
throughout the generations and the songs continue to
sound as fresh today as when they were released nearly
three decades ago.

20 Of The Best
Classic Rock Songs
Of All Time
These fist-pumping anthems and sing-along standards are, simply put, the best
classic rock songs ever
By: Bryan Kerwin
1
Jimi
Hendrix,
“Purple Haze”
There are famous riffs, and then there's “Purple
Haze.” As usual, Hendrix was operating on a level
wholly different than that of mere mortals, laying
down an effortlessly original blend of freaky psych
and screaming old-school blues with enough
panache to seem like he really could just excuse
himself for a few minutes to kiss the sky (or this guy)
if he wanted to.
Queen & David
2Bowie, “Under
Pressure”
Don't be fooled by the undemanding funk of that
notorious two-tone bass line, this baroque and
passionate plea for love from sorcerers Bowie and
Mercury still sounds like they might beat you over
the head with the mic stand if you don't listen up.
Pink Floyd,
3“Comfortably
Numb”
This epic track from their magnum opus is a
distillation of everything Floyd—swirling,
psychedelic organs, a doom-laden narrative of
druggy madness and multiple heaven-scraping
solos from David Gilmour, endlessly searching for
some redemption through the haze.
The Rolling
4
Stones,
“Start Me Up”
The sexual bluster and braggadocio of “Start Me
Up” is quintessential Stones, but the song's playfully
gratuitous come-ons—heightened by Mick Jagger's
bug-eyed performance—and Keith Richards's
monster riff take it from 10 to 11.
Creedence
5Clearwater
Revival,
“Proud Mary”
The utopian vision of provincial life “Proud Mary”
promotes would seem exceedingly cheesy if it
wasn't such an authentically successful country-blues
hybrid, with John Fogerty's relaxed but
powerful voice and the languid vibe all but packing
your bag for you to set sail on a river boat queen.
Neil Young,
6“Rockin' in the
Free World”
The godfather of grunge comes out swinging on
one of his most intense tracks, with the first Bush
administration, American malaise and drug addiction
catching jabs, all while Young's fierce, fervid
guitar work capitalizes on his titular promise.
Led Zeppelin,
7“Whole
Lotta Love”
There's no innuendo here, no way. Robert Plant
delirious and yelpy, the band strutting and chugging;
it's a frenzied, lightheaded trip that only slows down
for a second in that middle part to...well, you know.
The Clash,
8
“Should I Stay or
Should I Go”
This tune’s Muddy Waters–style appeal to an
indecisive lover plus some controlled chaos in the
form of wild tempo shifts and half-Spanish calland-response
vocals makes it sound like one of the
best tracks of the 1950s twenty years after the fact
Aerosmith, “Walk
9This Way”
Aerosmith achieves impressive synergy as
Joe Perry's big-dog riff struts around Steven Tyler's
breakneck near-scatting with ease despite the
frantic pace. The rhythms are so front-and-center
that it's not so surprising Run DMC reinvented it 11
years later as a hip-hop hit.
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Issue No. 1

10
The Who,
“Baba O'Riley”
We may never know if Pete Towshend wrote
the massive all-downbeat riff specifically so he could
windmill-strum it, but it worked out perfectly that way.
And when his guitar thunders in after the mechanical,
synthesized opening, it's one of rock & roll’s top all-time
moments.
Tom Petty & The
11
Heartbreakers,“Mary
Jane's Last Dance”
The Heartbreakers' already storied career got an “Oh my
my, oh hell yes” moment when they found the ultimate
mid-tempo groove, paired it with a sumptuous chorus, and
left people questioning to this day whether it was about
weed or not.
Janis Joplin,
“Me & Bobby
McGee”
12
In her most fiery, delirious performance, Janis claimed Kris
Kristofferson's much-covered song as her own so completely
there's a high chance that before reading this sentence
you were unaware she didn't write it herself.
Black Sabbath,
“Iron Man”
Ozzy's lyrics are mostly nonsensical—he's
13
a time-traveling revenge robot?—but he belts them with
purpose over the original sludge metal track, all pounding
kick drum and destructive riffage meant to keep heads
banging and devil horns pumping.
Deep Purple, “Smoke
on the Water”
Whole generations of guitarists have been
14
introduced to the fretboard via this song's iconically simple
riff: four chords consisting of parallel fourths. The song's
lyrics reference the true story of Deep Purple's members
watching a casino fire burn, set off by an overzealous fan
with a flare gun at that night's Frank Zappa gig. That fire
continues to burn in every Guitar Center to this day with
each newbie guitarist's windmilling strike of the strings.
Thin Lizzy, “The
Boys are Back
in Town”
15
This pinnacle of party songs is a few parts leather (either
pants or boots), a smattering of coin-operated jukebox and
a splash of bar fight, topped with raucous guitar-monies.
Mixes well with people you haven't seen since high school.
The Kinks, “You
Really Got Me”
Dave Davies' scuzzed-up playing on this re-
16
cord may have laid the foundation for whole other genres,
though the band's magnum opus was clearly never meant
to be more than what it was: an unkempt, three-chord
“love song for street kids.”
17 Golden
Earring,
“Radar Love”
Like the narrator of Golden Earring's biggest US single—a
driver racing home to his woman, with whom he has a
connection so strong as to be telepathic—the song surges
forward with an inimitable sense of drama, deft execution
of the loud-quiet-loud dynamic, and a breathless chorus
that leaves you greedy for more even as the running time
crests six minutes.
Stevie Nicks,
“Edge of Seventeen”
The persistent, chugging guitar, alternately
18
tense and electric drumming, and ominous cooing of the
background singers all wrap around Stevie's unparalleled
rasp for continued proof that she can out-rock the boys
whenever she feels like it.
19 Van
Morrison, “Brown
Eyed Girl”
Pure aural nostalgia drives Van Morrison's simple
celebration of the halcyon days, when making it with
your first girlfriend somehow seemed a result of nature's
good intentions and your biggest worry was whether your
transistor radio had enough battery juice to get down to
the swimming hole and back.
Blue Oyster Cult,
“(Don't Fear)
the Reaper”
20
Let's forget about the cowbell for a second—the song’s
mystical, serene take on death achieves a level of profundity
you wouldn't expect from the band behind “Godzilla,”
and the proto-metal solo section is everything a hard rock
devotee could hope for.

P10
Issue No. 1

ROCK ON.