Today, Rumours celebrates its thirty-sixth anniversary. And in those thirty-six years, it has been played and overplayed. Only in most cases, “overplayed” has a negative connotation.

Between the three principle songwriters and the band’s chops, Fleetwood Mac created an album that plays more like a mix tape than an album; between the ambient blues of Dreams, the anthemic Go Your Own Way, the dusty folk of The Chain, You Make Loving Fun’s funk groove, some of these songs don’t even sound like they’re from the same artist, let alone the same album. But just as a mixtape is collected more by feeling than by genre, Rumours’ chief purpose is to communicate the nuanced emotions the band members will feeling towards eachother (oh yeah—everyone in the band was hooking up and splitting up, and then sang their broke up songs alongside the offending party. Take that, Taylor Swift).

But even though the feeling transcends the music here, it would be criminal to overlook the absolutely classic sounds that permeate every groove of the record. I don’t need to describe any of it—all but three of the eleven tracks are still in full rotation on classic rock stations. I’ve heard these songs countless times in my life, but when that bass riff opens the final movement of The Chain, something comes over me that makes me wonder how “radio rock” can be used as a pejorative. Fleetwood Mac is often derided by hipsters with a penchant for krautrock or post-punk or other underground movements that never got their time on the radio waves. But as a hipster with a penchant for krautrock, post-punk, and other underground movements, I assure you that the Mac earned every second of airplay they’ve been given these past thirty-six years.