Retro Album Review - Rumours

February marks the anniversary of one the greatest pop-rock albums of all time, Rumours, the

eleventh studio album by Fleetwood Mac. The record hit the shelves 44 years ago, on February 4 th ,

1977 and it was a smash hit upon its release.

Lindsey Buckingham and Stevie Nicks were drafted into the band by Mick Fleetwood 2 years before

the release of Rumours in 1975, Solidifying the band’s most famous line-up, that consisted of Mick

Fleetwood (Drums), Lindsey Buckingham (Vocals/Guitar), Stevie Nicks (vocals/tambourine), Christine

McVie (vocals/keyboard) and John McVie (Bass).

Shortly after the arrival of Nicks and Buckingham, the group released the record, ‘Fleetwood Mac’,

in July 1975. Despite being self-titled, this was the British-American band’s 10th studio album.

The biggest single, Rhiannon, was a massive success at the time and it gave the group some much

needed radio exposure.

However, Rumours, would prove to be the record that would write Fleetwood Mac in the history

book as one of the most famous rock bands of all time.

Lindsey Buckingham wanted to make a “pop-album” with Rumours, whilst incorporating the band’s

traditional blues-rock style into the record

From the record’s leading track, “Second Hand News”, to its final song, “Gold Dust Woman”,

Rumours doesn’t miss a beat.

“Go Your Own way”, “Dreams” and “Don’t stop”, were all released as singles during 1976 and 1977,

and they would prove to be, possibly, Fleetwood mac’s most iconic songs.

Every song on the record seems fresh, the songwriting is as good as it gets on a pop/soft rock record.

“I Don’t Wanna Know” is my personal favorite, written by Stevie Nicks, before she and Buckingham

had joined the band.

Rumours was recorded at the record plant studio, in Sausalito, California, for the most part. The

album went on to win a Grammy award for album of the year in 1978 and would go onto sell over 40

million copies.

Perhaps the most remarkable thing about Rumours was the fact that Fleetwood Mac managed to

record the album whilst two break-ups were taking place within the band. John and Christine

McVie’s marriage was coming to an end, whilst Buckingham and Nick’s relationship was also

breaking down.

Fights between Nicks and Buckingham were commonplace, whilst John and Christine would not look

at each other during the recording sessions.

But the emotions from the break-ups that would prove to fuel the albums songs, and the heavy use of drugs

during the recording sessions also played an important role in the record’s creation.

The band would go on to record their twelfth studio album, Tusk, two years later in 1979. In the

years that followed Fleetwood Mac disbanded only to get back together again shortly after.

Joe Strong

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My First Music Memory

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Similarly to most people, music plays an integral part of my day to day life with a vast range of genres available to soundtrack my life.

Growing up in a household that is very musically driven, I’ve had a strong inclination to music for the majority of my life.

There were many songs and music videos I found interest in before but the first one to stand out was the band Paramore; in the late 2000s a fair bit of time after the release of Riot! I discovered MiseryBusiness on TV music channel Kerrang!.

Misery Business was loud, in-your-face and unlocked a whole new genre to me.

With a genre heavily dominated by men it was so cool(and definitely necessary for) me to see a woman front a band! The song was, and still is,extremely catchy with the potential to get stuck in your head all day.; it had catchy hooks,powerful vocals and a chorus that will get stuck in your head for days.

I straight away found a mass of interest in their work, as I was still a young child this included recording whenever they played on TV and rewatching whenever I wanted to listen to them. Due to the style influence behind Paramore’s earlier music, I showed up to school wearing fake Doc Martens and used hair chalks to dye my hair pink and although I was made fun of a lot I really enjoyed dressing this way.

Paramore encouraged me to try music out for myself, I took GCSE music and started a band and found so much happiness from music and the art of performance that I completely owe to them.

Bethan Stewart

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Butterfly For NHS

Local photographer seeks to reinvigorate the community support for the NHS and key workers with a new symbol of hope and positivity.

Photographer Conor Elliott, from Penarth is looking to inject a fresh approach to the support for the NHS and other key workers. Last year the rainbow proved a very successful way to show support and appreciation for the NHS. Now he feels that it is as important as ever to continue that support. He is therefore asking the community to display in their windows a new symbol: a butterfly.   

The butterfly is a perfect symbol to use. Like the rainbow, it is a symbol of hope. It is also seen as a very positive image of birth and regeneration. The possibilities to be creative are endless. It is an easy image to create for younger children and everyone. Conor does not want to dismiss the rainbow and, of course, it can continue to be used and even combined with the butterfly but he feels that asking people to repeat what they did last year might be a little tired. He also feels that people are very jaded by the ongoing pandemic and he wants to show the NHS that now more than ever they have not been forgotten. So by introducing a new symbol it can reinvigorate something that was successful last year. 

Last year, having noticed the creative support made up of the window art of rainbows that were displayed with such affection throughout the communities of Penarth and Barry in the Vale of Glamorgan, Conor walked the streets photographing this art and created large 6ft x 4ft mosaics that were made up of thousands of photographs. The mosaics are now displayed in Llandough and Barry hospitals in the Vale.

“This is a new opportunity for the community to show the NHS and key workers that there is still massive support for them through continuing difficult times. It is a very simple concept that can have a huge impact as we are on the final push to get back to our normal lives.”

“The weather is starting to brighten. Spring is on its way. This will be a wonderful opportunity to brighten our windows again by doing something creative and to feel positive again, a chance to spread a little happiness. It would be nice to see smiles back on peoples’ faces.”

It is hoped that this can spread as far as possible. People can get involved in all kinds of ways in their own communities and be as creative as possible. It is an important way for people to show their support to something as important as the NHS, which continues to be under such huge pressure, and all key workers.  Regeneration within our communities and lives is something we are facing. On a wider scale this can even send a message of hope around the world through ‘The Butterfly Effect’.

Email: conor.elliott@ntlworld.com

Website: www.conorelliottphotography.com   NHS mosaic blog: www.conorelliottphotography.com/blog

Instagram: conorelliott123

My First Music Memory

My earliest music memory doesn’t come in the form of the first album I bought with my pocket money or what was popular growing up in the school playground, thank god growing up with some of the music we had in the 90s, that, and most my friends at that time having a ‘interesting’ taste in music.

When I look back, my earliest memory is of playing on my PlayStation 1 in our living room while my parents did their chores on a Saturday morning. (Although my dad doesn’t let me forget about the time I fell asleep during a Yes concert).

The game was Pandemonium but if you asked my now what the music was like on that game, I’d tell you it was jam packed with tracks from the Lighthouse Family and Prefab Sprout, that was growing up living with Mum and Dad.

“Tony Woolway Rock & Roll Legend” my friends use to call him because I would always be talking about the music he has shared with me, gave me the perfect balance of Punk with bands like the Clash and sixties stuff like The Kinks, as well as something a bit smoother like Mum’s favourite Barbra Streisand.

Listening to these different types of artists gave me a good base to discover artists that I would later love in my teens like Green Day and later the amazing Lucy Rose.

With the BB jeans and DC trainers you would think all I listened to were bands like Blink 182 and Sum 41, which was still true, yet music for me at that point was more than what I was supposed to be listening to or what was popular. I would often put on headphones in the living room while my parents watched TV. I would make out I was listening to Red Hot Chilli Peppers but would also sneak one of their CDs on when something good was happening on Casualty. Simple Red’s Stars was always a favourite from an earlier age so that was always a go to for me, but it’s also the lack of music for me that I remember the most. I always thought at the time that wireless headphones were a thing of the future, and they really were with these making you play a game of standing statues to listen to a song with no interruptions Such was the awful reception.

I remember listening to the Gorillaz first album on my dad’s birthday and bugging him to buy it for me with his birthday money which he did after only the 43rd time of asking. See he can be a nice guy.

Getting my first portable CD Player meant I could take my music everywhere and anywhere as long as I wore the same coat with the big pockets to carry it. the memory that sticks out for me is not taking it with me on a nice summers bike ride or to the park to play music with my friends, it was the medicine to get me through my GCSEs or what poisoned my results.

I remember the times I had to go to bed earlier, as I had to be up early for school but secretly hiding my CD Player under my pillow in case my parents came to check if I was asleep. I spoke to my parents about this the other day and they had no idea that’s what I use to do. Can’t believe they didn’t spot it even after most CDs ended up case-less in my room.

Now, I spend most my time listening and discussing the latest Hip Hop on our podcast, Two Diff Boyz And Their Podcast (cheeky plug) and think how have I ended up here. I suppose Hip Hop for me is kind of like a modern-day Punk and I think it’s that similarity that picks my interest and the love of the bass guitar. I often share music with my dad that I think he will like usually off the back of something he has sent me from back in the day, the latest being Thundercat after borrowing his Stevie Wonder vinyl collection which he doesn’t know about yet!

By Jonathan Woolway

Remembering Gary Moore

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Ten years ago today Gary Moore sadly passed away. As a small tribute we recall a review from one of his Performances at St Davids Hall Cardiff in 2009.

Below are links to some live performances.

I was fortunate to see the show at The Point in Dublin. His solo on ’Still in Love With You’ was memorable and encapsulated so much of his playing.

The famous Gibson Les Paul Gary used on many recordings and Performances was bought from Peter Green the Legendary Guitarist and Songwriter of the original Fleetwood Mac.

‘Greeny’ as it was called became an iconic guitar, it was reported Moore bought the Guitar for £100 here is the story told by Moore from Guitarist Magazine.

“I had an SG at the time and so I took it into town and I sold it for £160 or something and he came up to my flat for the money and gave me 40 or 50 quid back! He said, ‘I’ll tell you what, I’ll just take what I paid for it, which was 120 quid.’

"But then he said he wouldn’t even do that and so I think I ended up giving him £100 or £110. I said to him if he ever wanted it back I’d give it to him,he said he would never ask for it back..

The current owner of the Guitar is Metallica Guitarist Kirk Hammett.

Hammett paid a reported 2 Million Dollars for the Instrument, but reports of this vary.

St Davids Hall Review

 With a brace of guitars, little conversation and absolutely no ceremony, Gary Moore demonstrated to a capacity St David’s Hall audience, just why he is a guitar legend.

His fans nudge to the front, not to whoop, whistle or wave but to witness close-up and in admiration a talent that has endured for almost forty years.

Having graced the line-up of several bands including Skid Row and of course Thin Lizzy, his solo career has uncovered his progression from heavy rock through the blues.

Probably the fastest guitarist in the world – his hand is certainly quicker than the eye – Moore nowadays fronts a simple four-piece consisiting of drums, bass and keyboard.

Other than to introduce each number, his rapport comes through the mastery of his craft and from the opening introduction of Bad For You Baby, also the title of his current album, the crowd are his.

Nowadays, rather than indulging himself, he indulges his fans and whilst predictably yet tantalisingly keeping Parisienne Walkways as his final encore, he takes us on a tour of both his own and cover blues material including Mojo Boogie, the soulful More Than You’ll Ever Know and of course Still Got The Blues.

Technically perfect, but, no longer with any need for technique his sound remains unique.

Frankly if you weren’t moved…you

By Jackie Davies - South Wales Argus

New Feature - My First Music Memory

We have a new feature starting today and running every Tuesday, My First Music Memory.

The Idea is to write in a few paragraphs your earliest memory of music and the story behind it.

Today we feature Niamh Colclough. Niamh is a Journalism Student at the University of South Wales.

If you would like to tell us about your First Music Memory, Please email to infocardifflive@gmail.com

If its just a Paragraph or much more thats ok, It’s all about the moment you fell in love with Music.

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Niamh Colclough - My first music Memory

I don’t ever recall a particular ‘first music experience’ in my life, music has been something that’s simply always been there, my grandma used to tell me that I was born with a microphone in my hand and that music was just something that was a natural part of me. My childhood was completely surrounded and engulfed by creativity and music due to my family and friends. One of my moms strongest memories of me was from when I was only two years old. It was Eurovision 2001 and I was sat on the living room floor in my chair doing nothing but being a lazy baby (as I always was), this was until my mom flicked over to BBC for the Eurovision song contest. Every time I ask her about this story she smiles and as much as she doesn’t like to admit it, I know it chokes her up. I could not stop dancing, shaking my chubby little arms around with the widest grin on my face to the cringeworthy European dance tracks. My mom always says that this was the day she new I had a special place in may heart just for music. 

As I said though, music has always been there to me, every memory throughout my childhood and significant stages of my life contains elements of music or creativity. But there is one particular time where I think my passion really came to life. I must have been about 5 or 6 when my parents showed me my first musical, it was the Wizard Of Oz. Being such a weird and wacky child, the combination of the story line, bizarre characters and wonderful music made me fall head over heels in love with it, alongside musicals in general. I must have watched the film over 10 times in that one week, and I remember physically wanting to be Judy Garland (but who doesn’t hey?). This is what really set off my passion for music.

The following week my dad had got me a poster of The Wizard Of Oz and had hung it above my bed in my room, it was honestly one if not the best thing id ever received (and I was a very lucky child). Every time I looked at it I felt inspired and driven to perform and create. Due to the constant singing coming from my room, blasting music all day and the ceiling almost coming down every ten minutes from too much dancing, my parents became aware of my musical passions very quickly. 

I have been lucky enough to have one of the most supportive families i have ever known and this was evident from my early childhood days. They got me started on piano lessons the following week, I stuck to the piano for about a year but I knew that wasn’t my passion. I wanted to sing, I wanted to perform, I wanted to be the star. But at the time - being only 7 years old - the thought of sharing my voice in front of others was excruciatingly terrifying. I never shared my voice with anyone, not even my parents knew that I could sing the way I did. This was Until year 7, my first year of ‘big’ school. The music department were hosting a musical evening full of singers, choirs, musicians etc and it was my first live solo singing Leona Lewis, Run. I can genuinely picture and re live the exact moment in my head, feeling for feeling. I was completely terrified, frozen and drowning with fear, I can remember the horrible sinking feeling I got in my heart - you know the one - … but I did it. My dad always tells me to this day of the reaction from the whole auditorium when I opened my mouth. It was the first time anyone, let alone my parents and teachers, had heard me sing. And the rest was history…

Since that day my fear and anxiety left, just getting that response from that one performance changed me as a person completely. It was all I needed to know I could make it, to know that I was good enough. I quickly became the lead roles in the school music productions, my parents got me professional vocal training lessons each week, I taught myself how to play guitar and began writing my own music and much more. This drive is still instilled in me today, even though I chose writing as my path, music is still implemented in everything I do, within my journalism and my day to day life. Most importantly my passion for music is just as awake as it was on that day I watched the Wizard of Oz for the first time. - The poster of which is still up on my wall by the way.

Immersed 2021: A personal perspective

As a lover of music and the arts, one of the hardest parts of the Covid-19 pandemic for me, has been not being able to feel in touch with myself musically.

Any music fan will understand the huge difference there is between simply listening to music through your headphones, compared to being completely immersed at a live event.

Nothing compares to the buzz you get from attending a performance of your favourite artist, alongside the atmosphere from the crowd, mixed with the energy and power that live events hold. There’s nothing quite like it.

When I heard that there was an opportunity to be an interviewer for the ‘Immersed Festival 2021’ I couldn’t have put myself forward quicker.

The thought of simply being around live music again after such a long time, and for such an amazing cause, was thrilling. I couldn’t wait, even though it was technically a job, I couldn’t help but be overwhelmed with excitement.

I felt honoured and blessed to be one of the only people in the worlds current climate, who was going to get the opportunity to witness a live music event again. 

To add even more so to my over-excitement, the fact that the music and interviews were going to be held at one of my favourite venues in Cardiff was the greatest bonus I could ask for.

Being your typical music loving Cardiff student, The Tramshed holds a very special place in my heart. Ive spent countless nights (and early hours of the morning) there, attending live music events, raves and many other amazing evenings.

Every memory I have of The Tramshed is a happy one, and revisiting there as an interviewer this month was no exception. 

As I walked through the back fire door on the morning of the pre show recording, I was instantly overwhelmed with emotion as I heard the painfully yet beautifully loud music bouncing from every corner of the room.

Hearing music at such a loud volume in itself made me reminisce on the amazing feelings I used to get when waiting outside of a rave, when you would hear the music inside getting louder and louder the closer you got to the front of the queue, and bursting with excitement to get in and start dancing. 

I had the exact same feeling this time. I was supposed to go straight to the interview room to prepare for the bands once their performances had finished but I physically couldn't, I wasn’t going to let this rare opportunity slip by me. I quickly walked - as professionally as I could - to the upstairs balcony whilst trying to keep my composure.

The heavy metal band ‘Excursia’ where mid way through their set. Even though I was the only person on the balcony the smile on my face could have been seen from the opposite end of the building. I could feel the vibration you get in your chest when music is exceedingly loud, I could hear the ringing in my ears and most importantly I could see how much fun the band themselves where having and how happy they were to simply get the chance to perform again after such a long time. 

Not only was I blown away by the musicians themselves but the technological aspects of the event where just as inspiring. The lighting and sound effects alone were executed perfectly and it genuinely felt like I was at a live event.

The recording of the acts was done very precisely in order to conjure up the same feelings I was getting from being there in person, to the audience at home. 

When it finally came to the interviews I was once again feeling very grateful to be in the presence of such outstanding musicians. The interviews themselves were very insightful and interesting and sometimes upsetting, when it came to hearing how much the artists had been effected by the pandemic.

However what I enjoyed the most was hearing their responses when I asked them what it felt like to perform again. Every single one of my interviewees faces was plastered with the biggest smile as soon as I asked this question. To see and hear how much those mere 15 minutes meant to them was inspiring in itself. 

Revisiting the Tramshed that day was one of the best days ive had during this chaotic year. It really made me re evaluate my attitude towards the sadness and anger I had surrounding the events of the pandemic.

In these unprecedented times it is important we don’t loose sight of what’s important to us as humans. Some people say that ‘music makes the world go round’ I never really used to understand this saying or consider its importance, but after that one great day at the Tramshed, talking to inspiring musicians and seeing how much that small reminder of reality was for them, made me reevaluate this statement and the meaning it held, I now believe hole-heartedly in the power that music has to offer. Music really does make the world go round. 

Niamh Colclough

Burlesque....a hidden gem

Back in the day (kids ask your parents) the Top Rank Suite on Cardiff’s Queen Street held what was called Implosion evening. I’m sure there are more knowledgable people out there who remember these nights but in my fading memory, it featured up and coming bands plus a rather uninspiring disco in comparison.
Fortunately, for a rabid music fan, tickets to this regular evening came free via a school mate who’s mum worked at the Top Rank (also a good source for undersubscribed gigs at the Capitol Theatre ! ).
The reason I mention this evening was because of one band I saw there in the mid-seventies called Burlesque.
I’d never heard of them before so it was an absolute pleasure to witness one of the best live performances I’d ever seen, a performance that had me scouring the bargain bins at Spillers Records for their debut album Acupuncture.
Concerned that the album would hardly do justice to their live act, it was a delight to find the album was a ‘live’ recording, something never heard of for a new, upcoming band.
Described as ‘Art Rock’ there were elements of Roxy Music, a quirky intelligence of a 10cc, plus some quality musicianship.
Led by the dapper Ian Trimmer on vocals and saxophones and the crazy Billy Jenkins on guitar, it was an eclectic, jazz-fused riot of a gig which the album manages to portray beautifully.
The band were a odd-looking bunch. Trimmer very Ferry-like, Jenkins, a bundle of manic energy akin to a Wilko Johnson on steroids.
There was a Welsh connection to the band in the shape of keyboardist Steve Parr. Born in Cardiff and looking very much like a refugee from Steely Dan, a teenage Parr was the relief keyboard player for Shakin Stevens and the Sunsets before moving to London to join Burlesque and today, a respected producer, film composer and engineer.
Named as the band most likely to succeed in 1977 by Melody Maker, it was a kiss of death for the band that fizzled out after just two albums, the second named just Burlesque and sadly not a patch on the first, but a grower all the same.
Acupuncture kicks off with ‘Elsie Petunia’ a bouncy tune highlighted by some buzz saw guitar and a lovely gentle refrain that kick starts another frantic guitar burst.
Next up is the excellent ‘Lana Turner’ a swinging homage to the film star with a saucy sax intro that carries the song along with its dubious lyrical content.
‘Cold War Romance’ follows and is just what the title describes with ‘Hymie Blows It’ an apt description of the next song , a sax-driven instrumental again featuring Jenkins on fuzz guitar, all done at breakneck speed that leads faultlessly in to the album’s title track ‘Acupuncture’ a fitting end to side one.
Side two starts well with a rather shouty ‘Where Did You Get’ and ‘Drabola’ before reaching the stand out track of the second side ‘CND 63’ a slight tongue-in-cheek pastiche of beat poets and ban the bomb before ending with the hardly charming ‘Love it to Death’.
They may not be everyone’s cup of tea but worth searching out if looking for something a little different.
I’m sure you’ll not be disappointed.

Tony Woolway