Tusk Remastered
 

It appears that Tusk will be remastered and released on vinyl. Release date is Nov. 19. A bit pricey but would be a nice collector's item.

http://www.amazon.com/dp/B008O5POWC?...SIN=B008O5POWC

Like the remastering. Of course, the original vinyl and its various inserts gave me enough headaches the way it was put together. Wouldn't want to relive that trauma.

Michele

It was quite an experience, wasn't it? Sleeves within sleeves! I remember getting the album when it first came out. The package design was as intriguing and challenging as the content of the music!

I always felt it was designed for a left handed person.

Hey! what's THAT supposed to mean?!?;)

But, seriously....the thing that REALLY bugged me about TUSK was the lack of a lyrics sheet!

Also, wasn't TUSK just remastered around five years ago, when they did it, RUMOURS and FLEETWOOD MAC?!?

A MUCH better call would have been MIRAGE and TANGO IN THE NIGHT, for their 30th and 25th anniversaries!!!

I love the packaging for Tusk. Love it. Love it. Especially the weird pic of the band in that room with Stevie floating in the air and Mick doing a handstand.

But then I also love the packaging for Rumours.


Not crazy at all for the Mirage or Tango covers. And Heroes has to be the worst album cover art I've ever seen, besides Millie Jackson on the toilet.

I like the Mirage cover, and I LOVE the Tango cover.

Me too. I have a framed 2' x 3' poster version of the Tango cover hanging on the wall right next to me.

But not vinyl, I don't think. Michele

Oh my goodness. You're making me remember something I had totally forgotten.

Michele

:laugh:That reminded me of the cover of the first Mamas & Papas album. They are all gathered in a tub next to a toilet. The record company felt the need to protect the public from this offensive image, so briefly after the album's release, all subsequent covers had the toilet obscured. Thus, the infamous "toilet" album is very rare. Of course, because I'm a huge fan, I was able to obtain one, and it resides in my bathroom!

I would love to see a cover of Stevie, Lindsey, Mick and John in a bathtub. Stevie has noted how much she loves her bathroom.

I totally understand that! You amaze me with your deep left-field insights.

On the back of the White Album, aren't they in a restroom?

Lindsey (and I think most musical people) love the bathroom acoustics and have created in there, so a photograph would make sense.

Michele

Yeah, I never understood that back cover image. I like it, but why a bathroom? The front cover of Mick and John is classic...

We should try to figure out if they were in the ladies or the men's restroom.

I'm not sure about Rumours, but I know Fleetwood Mac was remastered on vinyl cause I bought it :nod:

Love a remaster, but 40 bucks... I have to save my pennies for a tour and Lindsey's new live recording. Tusk will have to wait :lol:

I found a copy of this today at my local record store, http://www.twistandshout.com/

It was pricey, but well worth it for sweet, sweet vinyl. I got lucky and also got a copy of the 2-LP 45RPM Fleetwood Mac album.

From the store blog, a review of Tusk: http://twistedspork.blogspot.com/

Fleetwood Mac – Tusk
With the possible exception of Son of Schmilsson, this is the weirdest high-budget, major-studio, top-40 album of all time. It came on the heels of the band’s biggest success, Rumours, and it was said to have cost a million dollars to produce. For most of the record it sounds like they spent that much: flawless late-70s pop, densely layered with lovely sounds from all kinds of different instruments, and dreamy harmony vocals, every note tucked into one another so perfectly that it’s endlessly airy and light. But some of the songs are strangely lo-fi, with fuzzed-out bass lines and guitar solos and spastic beats that sound like they were made with electrified rubber and a bunch of shiny new metal trash cans. And the title track is perhaps the strangest song ever to hit the Billboard top ten, with its marching band core shrouded in echoing crowd sounds and overlays of jungle sounds (“ooga agga ooga”). Back and forth this album goes from the lovely lovelorn dream pop of Christine McVie to the Wiccan crystal melodies of Stevie Nicks to the frantic break-all-the-rules genius of Lindsey Buckingham. Two LPs packed in double inner sleeves made from thick, shiny paper, covered with elaborate and dreamy art inspired by coke, Colombian weed and Cutty Sark. It’s a peerless artifact of a gloriously decadent time. It’s been reissued on heavy audiophile vinyl, but if you’re lucky, like I was, you might just find a pristine copy for six bucks – or less.

I hope they will remaster the Tusk Docu to DVD for we can dump our worn out VHS copies.

I might be asking for to much.

Audiophile Audition, January 11, 2013

http://audaud.com/2013/01/fleetwood-...-double-vinyl/

Fleetwood Mac – Tusk – Warner Brothers (1979)/ Reprise Records (2012) 531909- 180-gram audiophile stereo double-vinyl, 74:35 ****1/2:

(Lindsey Buckingham – guitar, bass guitar, piano, harmonica, drums, vocals; Stevie Nicks – keyboards, vocals; Christine McVie – piano, keyboards, accordion, vocals; John McVie – bass guitar; Mick Fleetwood – drums, percussion; featuring Peter Green – guitar; USC Trojan Marching Band)

In 1977, Fleetwood Mac released Rumours, one of the biggest-selling albums of all time (over 20 million copies). Any follow-up would come under massive scrutiny. Ten years earlier, the band was started by three members of John Mayall’s Bluesbreakers: Peter Green, Mick Fleetwood and John McVie. Playing blues-based rock, the band seemed destined to be a credible British sixties phenomenon. But the addition of keyboardist/singer Christine McVie and later the duo of Lindsey Buckingham and Stevie Nicks transformed the band into a pop/rock juggernaut.

In 1979, Fleetwood Mac recorded Tusk. At a cost exceeding 1 million dollars, and taking up two years in studio time, this double album was a significant departure. Under the artistic direction of Buckingham, the twenty-song project mixes a variety of musical styles in a fragmented technical whirlwind. Surrounding the concise songwriting of McVie and Nicks is the spontaneity of Buckingham. However, the anchor to this music is the inimitable rhythm section of Mick Fleetwood and John McVie. It is hard to think of another bass/drum partnership that is so fluent and cohesive. Side 1 opens with a subtle atmospheric number (“Over And Over”) that showcases McVie’s soulful alto, and the blended backup vocals. The next song is more experimental with Buckingham adding some New Wave guitar jaggedness. The juxtaposition continues with a buoyant love song (with impeccable harmonies) arranged in a joyful, British folk romp (“Save Me A Place”). The side concludes with Nicks’ ruminative “Sara”. Her deep-throated singing is compelling and the ethereal backup singing on the bridge is exquisite.

Side 2 kicks off with a Buckingham rocker (“What Makes You Think You’re The One”) that features “punk” vocals and some interesting tempo shifts. The stylistic ambiance of the album drew comparisons to The Beatles White Album. Buckingham’s dexterity with flowing guitar technique and inventive chords livens up “That’s All For Everyone”. Nicks’ balladry is rendered with delicacy on “Storms”. Side 3 is vibrant, and demonstrates the versatility and studio eloquence of Fleetwood Mac. Starting with a full-throttle rocker (“Angel”), Nicks establishes her credentials as a front singer. “That’s Enough For Me” is frenetic and translates like a speeded up “Second Hand News”. Christine McVie is known for tender, emotional love songs. “Brown Eyes” captures this sentiment with a mellow electric piano groove. For trivia buffs, Peter Green contributed an uncredited guitar line. After another slower piece, Buckingham jolts the listener with a ferociously loud guitar lead on “I Know I’m Not Wrong”.

The fourth side is notable for the dynamic title cut. Quirky and primal, the band combined African drum cadences, the USC Trojan Marching Band and chanting to weave a dizzying tonal aesthetic. McVie’s bass is muscular and propels the tempo. “Tusk” was released as a single, reflecting the unconventional approach of the group. As a final mid-tempo pop number ends in a swelling chorus, the nearly seventy-five minute album feels exhilarating, if not a bit disjointed.

Although more sparse than previous albums, Tusk is rich and multi-textured. This re-mastered 180-gram vinyl is superb. Guitars tracks are stacked one on top of the other, enhancing the overall sound. Vocals are intermingled with agility and devoid of unnecessary gimmickry. Sequencing facilitates the prominence of the cuts. Not all of the songs are memorable, but the ambitious vision validates an excellent Fleetwood Mac album.

TrackList:

Side 1: Over And Over; The Ledge; Think About Me; Save Me A Place; Sara
Side 2: What Makes You Think You’re The One; Storms; That’s All For Everyone; Not That Funny; Sisters Of The Moon
Side 3: Angel; That’s Enough For Me; Brown Eyes; Never Make Me Cry; I Know I’m Not Wrong
Side 4: Honey Hi; Beautiful Child; Walk A Thin Line; Tusk; Never Forget

—Robbie Gerson

Amen. :cool:

Music Times, by Joey DeGroot, April 24, 2014

http://www.musictimes.com/articles/5...c-and-more.htm

7 Classic Albums That Are Way Too Long:

6. Fleetwood Mac - Tusk (1979)


Fleetwood Mac's Tusk was the band's first double album, and while the 74-minute running time doesn't bother me so much, this could have easily been split into two different but still great albums. Instead of releasing each disc separately, however, Lindsey Buckingham should have taken his punky, lo-fi experiments such as "The Ledge" and "Not That Funny" and expanded that sound into an entire solo LP, which would have been another classic album under his belt.

I can't say I agree with this one iota. The album was big, crazy, and epic. That's what makes Tusk, Tusk.

However, there is something to be said about splitting Say You Will in two. To me, SYW drags on & on when you're listening to it. Not so for Tusk. I guess because Tusk had 3 songwriters- so there's variety to keep the listener engaged, and some semblance of a flow.