Les
05-08-2004, 11:04 PM
Los Angeles Times
Thursday, December 6, 1979
Fleetwood Mac Puts Some Teeth in “Tusk”
by Dennis Hunt
Can “Tusk” captivate a tough audience?
Before Fleetwood Mac’s Tuesday night Inglewood Forum show many didn’t think so. “Tusk” is the pop-rock quintet’s latest album. Its critical reception has been mixed and music fans haven’t been buying this two-record set in record numbers either. “Tusk” has sol just over 2 million but the band’s previous and best album, “Rumours,” has sold 12 million.
A solid test of the new album’s concert appeal is having it work on Los Angeles audiences, which are known throughout the industry for being supercritical and somewhat jaded. Well, the “Tusk” material does work in concert. With a show centered around those songs, Fleetwood Mac not only satisfied the Forum crowd but it had it panting for more at the end of the two-hour set.
To get the audience in a receptive mood for the less familiar “Tusk” material, the band opened with a string of oldies, including “Don’t Stop” and “Dreams.” The strategy worked. Had Fleetwood Mac begun with the new material the reaction might have been less positive.
Most of the songs on “Tusk” sound strained. The band labored over the album and it shows. The fluidity and craftsmanship of “Rumours” just isn’t here this time. “Tusk” isn’t a bad album. It just isn’t as good as “Rumours,” which is no crime considering “Rumours” comes as close to pop-rock perfection as any ‘70s album.
The “Tusk” material, though, did sound much better live. The punchier concert accompaniment added a dimension to the songs that is missing on the recorded versions. On the album the songs are softer. In concert they were extended and embellished and turned into powerhouse rock’n’roll pieces.
Fleetwood Mac, a 12-year-old band that has been through numerous personnel and stylistic changes, now consists of drummer Mick Fleetwood, bassist John McVie, singer Stevie Nicks, guitarist Lindsey Buckingham and keyboards player Christine McVie. Nicks, Buckingham and Christine McVie write and sing the songs. Democracy governs Fleetwood Mac. No one performer dominates. However, since Nicks and Christine McVie sing more songs than Buckingham, the group does tend to have a feminine tone.
Rock’s premier showmen are under no threat from anyone in this band. They perform with exuberance and considerable skill but without flash and flamboyance. Pretty, long-haired Nicks is by far the most intriguing of the three lead singers. Attired in flowing, layered dresses, she looked ethereal, which was in sharp contrast to her rather coarse sound. Though her unusual style, on gloomily romantic songs like “Sara” and “Rhiannon,” had its grating moments, it was quite appealing most of the time.
The liveliest number in the show was “Tusk,” a noisy nonsense piece that always seemed to be one step away from chaos. The USC marching band, which played on the single, also backed the band on the concert version, which had the feel of halftime at a football game. The song has no lyrical substance but that didn’t matter. Its essence is a festive, rowdy spirit that came across vividly.
Instrumentally, the show was exceptional. Through the mainstream rock accompaniment was neither complicated nor challenging, the four musicians played it superbly. While not in a league with rock’s greats, Buckingham is an underrated guitarist whose dexterous playing can be dramatically effective.
The major difference in Fleetwood Mac’s albums and its shows is the dominance of Fleetwood’s drumming. On the records his playing is somewhat subdued and definitely subservient to all the other elements. In concert, however, Fleetwood takes charge. Because of his free reign, there was rhythmic thunder on almost every song. His powerful percussive support radically enhanced the impact of the material.
Fleetwood Mac’s last local appearance, a three-day Forum engagement in 1977, sold out but this five-night series hasn’t. On Tuesday night, however, most of the 17,000 seats were filled. Tickets are still available for the shows tonight, Monday and Tuesday. Given that the “Tusk” album hasn’t been a sales blockbuster, a five-night engagement was apparently too ambitious. The opening act is Danny Douma and Night Eyes.
Thursday, December 6, 1979
Fleetwood Mac Puts Some Teeth in “Tusk”
by Dennis Hunt
Can “Tusk” captivate a tough audience?
Before Fleetwood Mac’s Tuesday night Inglewood Forum show many didn’t think so. “Tusk” is the pop-rock quintet’s latest album. Its critical reception has been mixed and music fans haven’t been buying this two-record set in record numbers either. “Tusk” has sol just over 2 million but the band’s previous and best album, “Rumours,” has sold 12 million.
A solid test of the new album’s concert appeal is having it work on Los Angeles audiences, which are known throughout the industry for being supercritical and somewhat jaded. Well, the “Tusk” material does work in concert. With a show centered around those songs, Fleetwood Mac not only satisfied the Forum crowd but it had it panting for more at the end of the two-hour set.
To get the audience in a receptive mood for the less familiar “Tusk” material, the band opened with a string of oldies, including “Don’t Stop” and “Dreams.” The strategy worked. Had Fleetwood Mac begun with the new material the reaction might have been less positive.
Most of the songs on “Tusk” sound strained. The band labored over the album and it shows. The fluidity and craftsmanship of “Rumours” just isn’t here this time. “Tusk” isn’t a bad album. It just isn’t as good as “Rumours,” which is no crime considering “Rumours” comes as close to pop-rock perfection as any ‘70s album.
The “Tusk” material, though, did sound much better live. The punchier concert accompaniment added a dimension to the songs that is missing on the recorded versions. On the album the songs are softer. In concert they were extended and embellished and turned into powerhouse rock’n’roll pieces.
Fleetwood Mac, a 12-year-old band that has been through numerous personnel and stylistic changes, now consists of drummer Mick Fleetwood, bassist John McVie, singer Stevie Nicks, guitarist Lindsey Buckingham and keyboards player Christine McVie. Nicks, Buckingham and Christine McVie write and sing the songs. Democracy governs Fleetwood Mac. No one performer dominates. However, since Nicks and Christine McVie sing more songs than Buckingham, the group does tend to have a feminine tone.
Rock’s premier showmen are under no threat from anyone in this band. They perform with exuberance and considerable skill but without flash and flamboyance. Pretty, long-haired Nicks is by far the most intriguing of the three lead singers. Attired in flowing, layered dresses, she looked ethereal, which was in sharp contrast to her rather coarse sound. Though her unusual style, on gloomily romantic songs like “Sara” and “Rhiannon,” had its grating moments, it was quite appealing most of the time.
The liveliest number in the show was “Tusk,” a noisy nonsense piece that always seemed to be one step away from chaos. The USC marching band, which played on the single, also backed the band on the concert version, which had the feel of halftime at a football game. The song has no lyrical substance but that didn’t matter. Its essence is a festive, rowdy spirit that came across vividly.
Instrumentally, the show was exceptional. Through the mainstream rock accompaniment was neither complicated nor challenging, the four musicians played it superbly. While not in a league with rock’s greats, Buckingham is an underrated guitarist whose dexterous playing can be dramatically effective.
The major difference in Fleetwood Mac’s albums and its shows is the dominance of Fleetwood’s drumming. On the records his playing is somewhat subdued and definitely subservient to all the other elements. In concert, however, Fleetwood takes charge. Because of his free reign, there was rhythmic thunder on almost every song. His powerful percussive support radically enhanced the impact of the material.
Fleetwood Mac’s last local appearance, a three-day Forum engagement in 1977, sold out but this five-night series hasn’t. On Tuesday night, however, most of the 17,000 seats were filled. Tickets are still available for the shows tonight, Monday and Tuesday. Given that the “Tusk” album hasn’t been a sales blockbuster, a five-night engagement was apparently too ambitious. The opening act is Danny Douma and Night Eyes.