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#256
12-04-2015, 11:27 PM
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 That's what motivated me to purchase the full package.
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Life passes before me like an unknown circumstance 
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#257
12-05-2015, 01:07 AM
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Ultimate Classic Rock
Fleetwood Mac, ‘Tusk: Deluxe Edition': Album Review By Michael Gallucci December 3, 2015 11:25 AM Read More: Fleetwood Mac, 'Tusk: Deluxe Edition': Album Review | http://ultimateclassicrock.com/fleet...ckback=tsmclip Had Fleetwood Mac played it safe after Rumours, they probably could have made another gajillion-selling album. Instead, they handed the reins to singer and guitarist Lindsey Buckingham and allowed him to steer the follow-up to one of the 20th century’s biggest LPs to wherever he wanted (with a few detours along the way). The result was 1979’s double-LP Tusk, a much-delayed, over-budget and sprawling masterwork that often played out like Fleetwood Mac’s version of the Beatles‘ White Album: three distinct singer-songwriters hashing out their solo compositions while the rest of the group played backing band. And it was, if you believed what you read at the time, a total bomb. But 36 years later, Tusk stands as one of rock’s most underrated and rewarding albums, a complex and layer-revealing work that offers new perspectives and treasures with each listen. A new five-disc Deluxe Edition doesn’t so much give fresh insight to the record as it provides a behind-the-scenes peek at its formation and development, as well as the occasional struggles the band endured during its long and difficult birth. The original two-LP set is expanded with discs of single remixes, outtakes, session leftovers, live cuts from the 1979-80 tour in support of the album and the entire record made up of mostly previously unreleased versions of the 20 songs. It’s as often fascinating as it is repetitive: Even for an album built on textures and detailed studio assembling, multiple takes on the title track and “I Know I’m Not Wrong” begin to get tedious after the fourth pass. Still, alternate versions of “Over & Over” (the ambiance-soaked Christine McVie ballad that opens the album), “The Ledge,” “That’s All for Everyone” and “Brown Eyes” (with early member Peter Green prominently sitting in) show just how meticulous the recordings were … and just how much the band was slowly unraveling. Buckingham is clearly in control here, injecting flashes of weirdness and brilliance into the project. Stevie Nicks‘ contributions tend to be the least affected by his mad-scientist tinkering, but even they go deeper than Rumours‘ most intricate tracks. Tusk: Deluxe Edition doesn’t show us much in the way of how skeletal demos evolved into multi-layered art pieces, though — it’s not that kind of box. If anything, it leads us to believe that most of these songs were fully structured by the time Fleetwood Mac began recording. And radio mixes of “Think About Me” and “Not That Funny” prove that even after the LP’s release, some cuts took on even newer forms. It’s a lot to get through — more than 80 songs in all — and parts of it seem like padding (the live tracks, mostly from 1975’s self-titled album, Rumours and Tusk, sound diluted without their studio adornments). But the original album is worth diving into again, if only to revisit one of the era’s most undervalued works, a bold record made by a superstar band willing to risk its place at the top for its art. Read More: Fleetwood Mac, 'Tusk: Deluxe Edition': Album Review | http://ultimateclassicrock.com/fleet...ckback=tsmclip
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#258
12-05-2015, 01:09 AM
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http://ppcorn.com/us/2015/12/03/flee...rumors-review/
Fleetwood Mac: ‘Rumors’ Track-By-Track Album Review By Alexandria Brown - Dec 3, 2015 PPCorn The year was 1977 and my father probably still had a full head of hair. Besides that, 13-year-old Dad was able to witness one of the greatest album releases of all time. On the verge of breaking up due to divorce (Christine & Bob McVie) and the on-again-off-again relationship style of Stevie Nicks and Lindsey Buckingham, Fleetwood Mac released their best album and one of the most legendary albums to this day. This throwback Thursday let me take you through Rumors by Fleetwood Mac. “Second Hand News:” The perfect get out of my life break up song. It’s a funky upbeat song that is basically about telling your ex not to worry about you when you leave. Lindsey Buckingham might be hinting something to Stevie Nicks with this one. Best line: “I ain’t going to miss you when you go / Been down so long.” “Dreams:” This is probably one of the most popular songs on the album. Written by the queen herself, and I don’t mean Beyonce, Stevie Nicks powerfully answers back to Buckingham’s “Second Hand News” with her own version of letting go. This song is a beautiful ballad with a fantastic drum line that is really noticeable when she sings the word ‘thunder.’ Best line: Now here you go again / You say you want your freedom / Well who am I to keep you down?” “Never Going Back Again:” I feel like we may be in a back and forth between Nicks and Buckingham. Buckingham wrote this beautiful and simple acoustic song about realizing that after making the same mistake a couple times you can finally realize that you won’t be going back there again. Best line: “She broke down and let me in / Made me see where I’ve been.” “Don’t Stop:” Christine McVie! There you are. As mentioned before Christine and John McVie were getting divorced when this album was being written. It’s said that Christine wrote this song for her ex-husband and wanted to keep looking forward. Best Line: “All I want is to see you smile / If it takes a little while / I know you don’t believe it’s true / I never meant any harm to you.” “Go Your Own Way:” Another very popular song from the album, Buckingham wrote this song again for Stevie Nicks. This song though has a sad message behind it, is an incredibly fast tempo song with the best use of musical instruments I’ve ever heard. This song to date is still one of my favorites. Best line: “If I could, baby, I’d give you my whole world / How can I when you won’t take it from me?” “Songbird:” Let Christine McVie break your heart with this one. This is one of the songs that she wrote and performs still to this day. It’s evident with this ballad the heartbreak she was going through with her divorce. If you want to eat ice cream and think about your ex then this is the song for you. Best line: “And I wish you all the love in the world / But most of all, I wish it from myself.” “The Chain:” So this will be a little hard to explain but this song is co-written by all of the members of Fleetwood Mac. The thing is that the guys – Lindsey Buckingham and John McVie – wrote the music together while the ladies – Christine McVie and Stevie Nicks – wrote the lyrics. Though all four were never in the same room, all four definitely wrote it. Pretty crazy. The musical genius behind this song is evident and the lyrics fit perfectly with the album. It truly is a piece of art. Best line: “Listen to the wind blow / Watch the sun rise / Run in the shadows / Damn your love / Damn your lies.” “You Make Loving Fun:” Christine McVie, you little vixen you! Christine told her then husband that she wrote this song about her dog when actually she wrote it about an affair she had. Not sure why John McVie would have ever believed it was about a dog, but anyways. If you are starting a new relationship and have the butterflies in your stomach then this upbeat, beautifully written song about new love is for you. It also has one of the funkiest basslines on the album. Best line: “Sweet wonderful you / You make me happy with the things that you do.” “I Don’t Want To Know:” This song I will forever be grateful to Stevie Nicks for writing. This is hands down my favorite song on the album and is in my top three of all-time favorite songs ever. If you’re like me and have gone through quite a few weird and wonderful break ups and ended up flat on your back looking up at the ceiling wondering what happened yet again then you’ll love this song as much as I do. It’s an up-tempo song, but the lyrics behind are so powerful and will evoke you to think about what the hell happened to make you and your ex call it quits. Best line: “Finally baby, the truth has been told / Now you tell me that I’m crazy / That’s nothing I didn’t know.” “Oh Daddy:” This song confuses me. I have done quite a bit of research on this album and this song in particular and I’m still not sure I could tell you what it’s really about. It’s said to be about Mick Fleetwood who was the only person who had kids at the time, but the other conspiracy theory is that Christine McVie wrote it about a lighting director she was dating. Either way it’s a slow song with some interesting keyboarding skills at the end. Not one of my favorites but still very good. Best line: “If I can make you see / If there’s a fool around it’s got to be me.” “Gold Dust Woman:” Are you super sad that this is the last song on the album? Because I sure am. This is the perfect way to end the album with a slow song about drugs, break-ups and trying to survive. Stevie Nicks was said to be very big into cocaine when she wrote this and has said that it was about getting by while high all the time. It’s a powerful ballad that showcases Nicks’ beautiful voice not to mention the guitar rings out in epic tones. It is that cherry on top to end such an amazing record. Best line: “Well did she make you cry? / Make you break down? / Shatter your illusions of love?” SUMMARY This album, for me, is and will always be a five out of five. It takes you from extreme lows to extreme highs, just like a real relationship. As much as I’m sympathetic for all the heartbreak and hardships each member was going through at the time of writing these songs, I’m also extremely grateful that they were. They wrote an album that everyone can relate to and if they weren’t going through what they were going through then this album could have turned out totally different.
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#259
12-05-2015, 01:16 AM
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Salon 12-5/2015
http://www.salon.com/2015/12/05/the_...piece_instead/ The genius of “Tusk”: Fleetwood Mac could have followed “Rumours” with more of the same — but they made this visionary masterpiece instead Fleetwood Mac looked a sure-fire commercial hit in the eye — and made the most punk rock soft rock album ever PATRICK BERKERY Evidence exists proving Fleetwood Mac could have followed-up “Rumours” with something similar had the spirit moved them, instead of the alienating departure of the double album called “Tusk” that they did make as the follow-up to one of the most universally appealing albums ever. When singer-guitarist-producer Lindsey Buckingham wasn’t making like a lo-fi indie rocker from the future playing in Brian Wilson’s sandbox on “Tusk,” Stevie Nicks and Christine McVie were singing songs that sounded like the Fleetwood Mac the world knew and loved — songs like “Sara,” “Think About Me,” “Over and Over,” “Sisters of the Moon,” “Never Forget” and “Angel.” There’s further evidence sprinkled among the many demos and alternate takes featured on an expansive new “Tusk” box set Rhino Records just released, and unreleased “Tusk”-era tracks out there in the digital ether like Nicks’s “The Dealer,” which she re-recorded for her 2014 solo album “24 Karat Gold: Songs From the Vault.” “That’s Alright,” a beautiful country shuffle dating back to the Buckingham-Nicks days that ended up on 1982’s “Mirage” could have been folded neatly into this batch of songs. Mix those tunes in with some of the least-threatening Lindsey stuff from “Tusk,” like “Save Me a Place,” “I Know I’m Not Wrong” and “That’s Enough for Me” and you’ve got yourself a follow-up that doesn’t stray too far from the “Rumours” formula — one that could be squeezed onto two sides of vinyl as opposed to four by tightening up the fade-outs on a few tunes. Think something along these lines: Side 1: I Know I’m Not Wrong The Dealer Think About Me Save Me a Place Sara Side 2: Sisters of the Moo Over and Over Angel That’s Enough For Me That’s Alright Never Forget This “Rumours II” scenario seems commercial enough, with a pretty equitable balance of Stevie’s mystique, Christine’s hopefulness and Lindsey’s intensity. All the familiar pieces are in place: the songs contain the requisite three-part harmonies, plenty of Lindsey’s sick fingerpicking and those hypnotic grooves from Mick Fleetwood and John McVie. And you know co-producers/co-engineers Richard Dashut and Ken Caillat could have dialed in that warm sonic glow they achieved on “Rumours.” But there’s a significant void. The emotional lightning of two in-house romances simultaneously crumbling, which sparked the fire in “Rumours” songs like “Dreams,” “Go Your Own Way,” “The Chain,” “Never Going Back Again” and “Gold Dust Woman,” couldn’t strike twice. An attempt to repeat the “Rumours” formula without that kind of fire down below would’ve resulted in a hollow imitation. Maybe they sell an extra million or two records in the short term by making the follow-up a single, safer kind of album. Ultimately it would’ve rendered Fleetwood Mac just another big ’70s rock commodity that liked to stick to the script, like the Eagles, Peter Frampton or Boston. So rather than following the path of least resistance, Fleetwood Mac took the most radical left turn a huge band has ever taken at the peak of its commercial and artistic powers. With Lindsey Buckingham hogging the ball, they spent $1.4 million in 1978-79 dollars making the most punk rock soft rock album ever in “Tusk.” Next to making “Rumours” (and also the band hiring Lindsey and Stevie after Bob Welch left), letting Buckingham take the lead on “Tusk” was the best career move Fleetwood Mac ever made, though it would take years for its impact to be measured accurately. Once people started recognizing “Tusk” as the enduring masterpiece that it is, it began to serve as a gateway for evaluating Fleetwood Mac from another perspective. It proved there was more to Fleetwood Mac than just “Rumours” and a bunch of other classic rock radio staples; that they weren’t just a pretty cool band you could share with your mom and dad or older brother or sister. “Tusk” showed Fleetwood Mac were also a risk-taking bunch, artists of great depth and integrity. A younger generation of cutting edge artists including Peter Buck, Trent Reznor, Stephin Merritt of Magnetic Fields, Joanna Newsom and Kurt Vile, to name just a handful, have championed the album over the years — Buckingham’s work on it in particular. Other musicians have taken things a step further, by forming groups to cover “Tusk” (and other Mac tunes) live. Mick Fleetwood, in his 1990 autobiography, basically said Fleetwood Mac needed to make “Tusk” if they had any hopes of continuing: “It’s a great album and probably the only reason Fleetwood Mac is still together today … it released a lot of creative frustrations.” That was not a widely held view when “Tusk” was released in October 1979. To the millions of jilted fans — along with Warner Bros. Records executives and some members of the band — that didn’t hear anything as immediately satisfying as “Dreams” or “Go Your Own Way” among Tusk’s 20 songs, it seemed as if Buckingham had steered this very expensive, high-performing vehicle into a ditch. But time has shown Buckingham steered the band exactly where it needed to go if it hoped to remain relevant in the long term, steering them away from that ’70s FM rock comfort zone into a passing lane where new influences like the Talking Heads and the Clash informed his Elvis/Beach Boys/Everlys roots. As a songwriter, he found a link between David Byrne and Buddy Holly and milked it to manic effect on songs like “Not That Funny” and “The Ledge.” As a producer, he stripped away familiar elements from songs, favoring raw process over the perfection of “Rumours.”
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#260
12-05-2015, 05:58 AM
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That review from Patrick hit the nail on the head about Tusk being so "raw" and each song stripped down. I heard a demo of Never Make Me Cry. It actually was uptempo with keyboards, etc. It was really cool. The album version is so raw and stripped down that it almost sounds like a demo. Its amazing how far and out of his way Lindsey went for the Tusk sound.
__________________
 My heart will rise up with the morning sun and the hurt I feel will simply melt away
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#261
12-05-2015, 06:59 AM
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The box set just arrived in the post. It's beautifully packaged.
This was a Christmas present from my family, I'm not sure I'd have wanted to spend Ł45 but I probably would have done anyway. It's very nice to have, and a lovely Christmas present  edit....The notes look interesting. There's "The Background to Tusk" by Jim Irvin - an article about the making of Tusk, that looks to include old quotes along with some new ones. An article from The New York Times - Feb 18th 2015, and "Tusk Track-by-Track" with Lindsey, Stevie and Mick talking about individual tracks - no Christine or John. Last edited by MoonSister75; 12-05-2015 at 07:48 AM..
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#264
12-05-2015, 09:29 AM
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Re: the demos and early takes: I actually like the earlier takes of a Never Forget and Think About Me--they sound warmer and more womanly, like Over My Head. Think About Me, in particular is a jewel because we get to hear her without the double-tracking and Lindsey hogging the second half of the song.
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#265
12-05-2015, 10:04 AM
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I have a rare day to myself to appreciate this box set - it's very good timing.
I love this, by Stevie, about "Sisters of The Moon" - I honestly don't know what the hell this song is about. I've been singing it on tour for the last two and half years, and every time I'm thinking, What the hell is that? I think it was me putting up an alter ego or something, the dark lady in the corner, and there's a Gemini twin thing. It wasn't a love song; it wasn't written about a man, or anything precious. It was just about a feeling I might have had over a couple of days, going inward in my gnarly trollness. Makes no sense. Perfect for this record!
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#266
12-05-2015, 10:36 AM
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#267
12-05-2015, 11:34 AM
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__________________
 "kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#268
12-05-2015, 01:03 PM
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It's funny how she describes not knowing what the hell it's about. The song makes sense to me but more in the way that you described - imagery evocative of the subconscious. Or as Stevie says, it's "about a feeling".I love the "going inward to my gnarly trollness"  I had to go out for a while, but I'm back to the box set now. If I find anymore insightful gems I'll post them.
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#269
12-05-2015, 01:27 PM
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__________________
"kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#270
12-05-2015, 01:34 PM
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Mick Fleetwood Wine Bottle Signed; Private Cellar, 2002 Pinot Noir Cuvée
$125.00
*NEW* ~ Fleetwood: Biography of Mick Fleetwood ~ Hardcover ~ Dust Jacket
$16.00
Mick Fleetwood and Friends - Celebrate t... - Mick Fleetwood and Friends CD DVVG
$16.42
Mick Fleetwood & Friends : Mick Fleetwood & Friends Celebrate the Music of
$6.04
Mick Fleetwood - Celebrate The Music Of Peter Green And The Early Years of Fleet
$23.62
I would tell Christine Perfect, "You're Christine f***ing McVie, and don't you forget it!"
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