with hired engineers Ken Caillat and Richard Dashut. Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves. Despite his talent at keeping the group together, the recording of Rumours was fraught with emotional turmoil due to the collapsing relationships within the line-up. Christine McVie and Nicks decided to live in two condominiums near the city's harbour, while the male contingent stayed at the studio's lodge in the adjacent hills. Chris Stone, one of the Record Plant's owners, when the band jammed, recalled that "The band would come in at 7 at night, have a big feast, party till 1 or 2 in the morning, and then when they were so whacked-out they couldn't do anything, they'd start recording". Fleetwood often played his drum kit outside the studio's partition screen to better gauge Caillat's and Dashut's reactions to the music's groove. After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful". Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, It stayed at the top of the Billboard 200 for 31 non-consecutive weeks, while also reaching number one in Australia, Canada, and New Zealand. The album was certified platinum in America and the UK within months of release after one million units and 300,000 units were shipped respectively. The band and co-producers Caillat and Dashut, would go on to win the 1978 Grammy Award for Album of the Year. By March, the album had sold over 10 million copies worldwide, including over eight million in the US alone. Tusk, experimentation Tusk, Fleetwood Mac's 12th studio album, was released in 1979. The work represented a more experimental direction taken by Buckingham. Fleetwood, recently diagnosed as having diabetes after suffering recurring bouts of hypoglycaemia during several live shows, was again instrumental in maintaining the band's cohesion. He placated Buckingham over feelings of creative claustrophobia and discomfort playing alongside Nicks. On the issue of Buckingham taking creative control away from the other members of the group for the creation of Tusk, Fleetwood recounts that his three-day discussion with Buckingham culminated in him telling the latter that "if it's good, then go ahead." Though the nature of the album strained relationships again within the band—particularly John McVie, a long-established blues musician who disliked the experimental nature of