Going into TuskLindsey Buckingham was adamant about creating an album that sounded nothing like Rumours : "For me, being sort of the culprit behind that particular album, it was done in a way to undermine just sort of following the formula of doing Rumours 2 and Rumours 3which is kind of the business model Warner Bros.
After their label turned down Fleetwood's offer of buying a new studio to make the record, the band used some of their royalties to construct their own Studio D. Even with the custom studio, Warner Brothers still charged the band for the recording sessions. Production costs rose beyond a million dollars, far more than Rumours. Rumours took the same amount of time. It Rumours didn't cost so much because we were in a cheaper studio. There's no denying what it cost, but I think it's been taken out of context.
After the studio was built, Buckingham queried Fleetwood about recording some songs at his home studio. Fleetwood acquiesced, but told Buckingham that the other members needed to be integrated at some point.
Most of Buckingham's demos were augmented with contributions from other members. Fleetwood overdubbed his drums over Buckingham's snare-drum track, which he sometimes played on a Kleenex box. The first day, I set the studio up as usual. Then he said, 'Turn every knob degrees from where it is now and see what happens. Early on, he came in and he'd freaked out in the shower and cut The Ledge - Fleetwood Mac - Tusk (CD all his hair with nail scissors. He was stressed. Buckingham — infatuated with bands such as Talking Heads — was "desperate to make Mac relevant to a post-punk world", according to music journalist Bob Stanleywho commented that, compared to RumoursTusk was "unleavened weirdness, as close to its predecessor as the Beach Boys ' lo-fi Smiley Smile had been to Pet Sounds.
Much of it sounded clattery, half-formed, with strange rhythmic leaps and offbeat tics. Bassist John McVie commented that the album "sounds like the work of three solo artists", while Fleetwood said it was his second favourite Fleetwood Mac studio album behind Then Play On.
Tusk peaked at number four on the Billboard album chart in the U. It was certified double platinum for shipping two million copies. The album gave the group two U.
In his review for Rolling StoneStephen Holden emphasized the experimental nature of the album, with comparisons to the Beatles' White Album : "Like The White AlbumTusk is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers. Though the album sold four million copies worldwide, and earned a Grammy nomination in for its art design in the category "Best Album Package", the band's record label deemed the project a failure, laying the blame squarely with Buckingham considering the comparatively huge sales of Rumours and the album's unprecedented recording expense.
A 2-disc remastered version of the album was released infeaturing the entire, unedited version of the original album on the first disc and various demos, outtakes and alternative versions on the second disc. A 5-CD deluxe edition featuring many unreleased demos, live tracks and an Alternate Tusk was released on December 4, Another alternative version of Tusk was released on Record Store Day From Wikipedia, the free encyclopedia.
This article is about the Fleetwood Mac album. Fleetwood Mac. I would have liked to have been a fly on the wall when Warner Bros. The Brooklyn Rail. Los Angeles Times : A Retrieved 24 March Mental Floss. Retrieved 3 April Fleetwood Mac: 40 Years of Creative Chaos.
All Time Top Albums 3rd ed. Virgin Books. Retrieved 2 April Fleetwood Mac: The Definitive History. Given that just the one disc of Rumours took so much time to complete, he realized that a double would be far more expensive in terms of studio costs alone. The answer, Mick proposed, was to buy their own studio Ultimate Classic Rock. Stevie Nicks Info. Retrieved 18 September Fleetwood Mac UK, The Ledge - Fleetwood Mac - Tusk (CD.
Retrieved 13 February Rolling Stone. Retrieved 7 February The Guardian. Retrieved 10 January Play On. Classic Rock Retrieved 17 July Archived from the original on 19 October Retrieved 9 December Retrieved 24 February — via robertchristgau. In Brackett, Nathan; Hoard, Christian eds. Uncut 83 : April Encyclopedia of Popular Music 4th ed. Oxford University Press. Recording Industry Association of America. I'm not a huge Fleetwood Mac guy like a lot of others, but I still love Rumours and their other hits at least.
I found Tusk to be baffling. Why are there twenty songs on here, six of which are under three minutes? It just comes across as very lazy and trying to force quantity over quality. It's true, Sara is a great song, but I just can't look past some of these really questionable tracks. Not That Funny isn't just "not that good," it's godawful.
The title track is arguably the worst one with its irritating vocals and weird shuffle drum beat. Those two along with the shorter tracks should have been left out. I couldn't help but think that the band threw a bunch and I mean a bunch of average songs together and prayed that at least a few would capture the magic from Rumours. There's nothing wrong with double albums.
But they're risky. If I detect too much filler, it really lowers my opinion of the album, and that's exactly what I felt about Tusk. There's still some decent, well-written tracks that stand out, and those are worth going back to. I may do that, but I don't think I'll ever listen to Tusk in its entirety again. If, on top of that, you are stressed out and coked up to your eyeballs?
You produce Tusk. After ten months in Album) studio and reports of manic attempts to create a unique album that shucked off the past Lindsey Buckingham has produced a handful of songs that sound like rough demos of Never Going Back Again and the title track Tusk.
Meanwhile Christine McVie and Stevie Nicks had been writing material that followed on more naturally from their last two albums. I hated this album when it came out. It had neither the smooth galaxy chocolate richness and sweetness of Rumoursnor the bluesy charm of the Peter Green years. It was just odd — a spiky angular affair that never troubled my turntable after the first two or three spins.
Instead we get a bloated mess that never flows easily from track to track, and buries its better songs among some staccato bursts of frantic, unvarnished Americana. I always felt Christine McVie was the most reliable songwriter in the band. Buckingham had produced the goods on Rumours but largely fails to deliver this time around.
Perhaps the decision to go for a double album was the flaw. At 43 minutes you can see the wood between the trees Album) classics like Sara and Sisters Of The Moon get a chance to shine. This is my cut down version In my opinion his other tracks are distracting. Bill Griffin: I appreciate that they didn't rehash the previous album and they are all fine musicians and singers but I just didn't hear anything that held my interest, certainly not anything that I hadn't already heard on the radio.
That what I did hear on the radio didn't inspire me to explore the rest of the album is vindicated now that I have. John Trimbos: I love the diversity and experimentation of Tusk. I just think it's ironic that they spent millions of dollars making a supposedly back-to-basics album. For now, I simply want to point out that Storms is the single best performance of Stevie's career.
This is an excellent album, not one of the all time great albums like Rumours was, but excellent nonetheless. Mike Knoop: For all the talk of cocaine frenzy and new wave envy, it just sounds like another Fleetwood Mac by this lineup album to me, albeit longer and less immediately gratifying.
That leaves nine tracks by the alleged maestro and madman, Lindsay Buckingham. For all the reported time in the studio, his tracks usually have a warmth and immediacy that belies the accusations of too much tinkering. If I squint my ears, I can kind of hear David Byrne-style vocal delivery on Not That Funnybut the Americana behind the vocals is something the Talking Heads wouldn't tackle for a few more years. Tuskstill the standout track for me, is the one odd bodkin on the album, with its pounding toms, murmured verses, chanted choruses, evangelical howling back in the mix, and, of course, the USC Trojan Marching Band bringing it all to a climax.
As anyone who reads my comments knows I'm a sucker for harmony vocals, and they are languorously draped over many of the tracks. I don't know that I'd want to list the full 75 minutes in one go very often, but there's definitely enough here to like. Shane Reho: It's been awhile since I dropped a review here, so this seems like a good place to make a comeback. For me, this album is a lesson in how to follow up a massive seller.
Where some bands would crumble under the weight of having to do that, Fleetwood Mac did their own thing and made an album that's way more interesting than Rumours.
Lindsey Buckingham gets most of the credit for this with his quirky songs, but it's not like Stevie Nicks and Christine McVie stuck to the formula either. Nicks' songs are more longer and somewhat more thoughtful, and McVie's are more mellow and relaxing, kinda like Danny Kirwan's stuff from Future Games and Bare Trees.
I could've done without Honey Hithough, that song seems like filler to me. Other than that, I'd have a hard Album) picking out a bad song here. Both of these albums followed up iconic landmark albums Rumours and Sgt. Pepper and are both a double album with experimental and highly diverse material. In my opinion, just like the White Albumthey definitely pulled it off. You can definitely hear Buckingham's post-punk influence in his songs and the overall quirkiness.
McVie and Nicks contribute some of their strongest material to date. It flows like a double album should and it never feels tired. Carl Black: This was going to happen at some point. I always tackle each album with a fresh set of ears and a clearer mind as I can muster. Even the tough ones where I know I've not enjoyed any of the featured artists music in the past.
Such as this one. I've never liked them. I like Mick Fleetwood. He's an engaging and dry-witted, funny personality.
But then I got hit between the eyes. It's a double album. A roll of the eyes later and I'm in. And back out as soon as the album finished. I The Ledge - Fleetwood Mac - Tusk (CD not connect with anything on this record at all. And I mean nothing. It was the worst kind of dislike too. I didn't get upset or annoyed, I was completely emotionless the entire time it was playing. If I could give it 0 out of 10, I would. I'm sorry, I gave it a go. But nothing.
Nigel Lancashire: So, so very torn here. Tusk is an album I still go back to, while Mirage remains as thin and wafty as its name suggests. At four million copies sold during initial release, and no less than six hit singles, Tusk was not a failure, but it looks like it held up next to its monolithic predecessor.
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