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#106
10-23-2014, 11:37 PM
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Tusk is the one FM album I still listen to.
I always thought that, What Makes You Think You're The One is the best song Lindsey / FM ever did. But the whole Album remains a gem, even still all these years later.
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Sasja 
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#107
10-24-2014, 08:23 AM
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I agree.
And yes - Don't Stop is still cringe-worthy for me. It's the one Fleetwood Mac song I've never liked.
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#108
10-25-2014, 05:53 AM
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When leafs start falling i associate this time with Tusk. One of the most memorial albums of 1979. I was shocked, this wasn't rumours.
But After two days of intensive listening i experienced the new road. At first i liked Some SN songs and found Brown eyes in One word adorible. Three days later i was covinced this was a Great album. One of the best, certantly in my perception. There isn't a bad track on Tusk. And a ageer with a lot of people that dont stop is the most worst song on rumours. No affence to them who Like that song, its a personal thing. I just don't Like the way the piano sounds. Since i'm over 50 years, i start comparing albums. For instance, the eagles had the long run, single album with mainly bad songs  When i look outside and i need to make a choice? Tusk by FM, forbidden colours by David Sylvian, BW suite by LB, ans a lot of simple new wave. Storms is coming, save me a Place, Sara 
__________________
Destiny is there if you want it, you just have to open the door and meet it halfway.
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#109
11-20-2014, 10:17 PM
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[Members of Fists and Cantaloupe talk about great albums]
Left Lion http://www.leftlion.co.uk/articles.c...nsible/id/7115 Tusk is Fleetwood Mac’s twelfth studio album and the follow up to Rumours which is the one that everybody else loves. When it came out in 1979 it was almost entirely universally panned by the critics, the fans and the radio programmers alike. Despite being the most expensive record ever recorded (at the time) it disappeared quickly from the charts and the playlists. The arguments for it being bad are that it’s fragmented and non-cohesive, the sound of three solo artists pretending to still be in a band together, and an album with quite a few half-baked songs with nothing that really works on the radio. (It’s essentially Fleetwood Mac’s In Utero which is clearly the best Nirvana album). These criticisms might be true but they are also the reasons why I love this record. When reviewers talk about it being fragmented what they should mean is that it takes wild and bizarre U-turns into weird new territories that records made by folk-rock dinosaurs from the seventies should not visit. It opens with the long melancholy sigh of Christine McVie’s Over and Over, a song of quivering; multiple-vocal layers so overdone that it hums with an eerie electronic vibrato. Track two and we’re listening to Lindsey Buckingham trying to reinvent himself as a new-wave punker with Mick Fleetwood playing Kleenex boxes instead of a drum kit in the most expensive studio on earth! These odd shifts continue for the whole record like interlocking fragments that create a wonky whole that reveals a band on the precipice of a new decade who are unsure of who they are anymore. Like its predecessor it shimmers with cocaine, sunshine and the erotic fluctuations of its core members before we end up at one of the biggest and weirdest U-turn’s in the history of pop music. The title track is a Hollywood sized epic folk-rock diorama of tribal drums, animal sounds and the USC Trojan Marching Band that’s completely unforgettable. James from Fists
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#110
12-04-2014, 01:32 PM
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Phoenix New Times Why Fleetwood Mac's Tusk Is Better Than Rumours
By Jason KeilTue., Dec. 2 2014 at 9:00 AM http://blogs.phoenixnewtimes.com/upo..._macs_tusk.php The first two albums Fleetwood Mac released after Stevie Nicks and Lindsey Buckingham joined Christine McVie, bassist John McVie, and drummer Mick Fleetwood provided the pop soundtrack of the late 1970s. The tender nature of singles like "Landslide," the mysticism of "Rhiannon," and the bold confessional nature of "Go Your Own Way" and "The Chain" struck a chord with anyone with a radio and a pair of working ears. Rumours would go on to be one of the top ten selling albums of all time. It continues to resonate today as much as it did when it was first released in 1977, influencing musicians for generations to come, providing the soundtrack for '90s presidential campaigns, and continuing to set itself upon the lofty perch of various "all-time best album" lists. How did the quintet follow up such unprecedented success? By releasing Tusk, a double-album that in 1979 was one of the most expensive albums ever made. Tusk's 20 experimental tracks felt like the disjointed work of three charismatic solo artists as opposed to five talented musicians. Despite the fact it sold two million copies in the United States, it was considered a costly failure, especially sitting in the long shadow cast by Rumours. Unless they're Michael Jackson, how could any artist expect to come close to repeating the feeling and enormous popularity of an album that feels like lightning captured in a bottle? Buckingham knew it couldn't be done. It's obvious in his studio work on the album (he took on most of the production duties for Tusk, and nine of the songwriting credits on the album are his) that it was time to move on and take a more contemporary and experimental approach to the music. This explains why 25 years later, history has been kind to the disc. It was an album that was not only a product of its time, with the album's influences coming less from the soft rock era the band was leaving behind and more from the punk and new wave sounds that were emerging, but was also ahead of its time. Songs like "Think About Me" feel like they could come out of the indie rock music of today, chock full of rich layers that need to be peeled back with each listen to be fully appreciated. You can hear that influence -- a desire to keep a song elegant in its simplicity -- in songs like "Ask Me Anything" from The Strokes' album First Impressions of Earth. There are a lot of details that can be picked up on multiple listens of Tusk, which makes the album a far richer experience than the slick production on Rumours. On the strange, percussion-heavy, tribal title track (which supposedly refers to the euphemism Fleetwood has for his member), you can hear Buckingham give some studio direction, and then the drummer says "real savage like" as the USC Trojan Marching Band trumpets in. The one-off line isn't repeated during any other live recordings of the song. "Here comes the night time looking for a little more/Waiting on the right time somebody outside the door," a line on the raw and angry track "Not the Funny," makes another appearance six spots down during "I Know I'm Not Wrong." Then there's Christine McVie's quiet sultry repeat of the final line of "Never Forget," the album's lovely optimistic finale. It's the perfect finish to an album that put everyone in the band through the emotional wringer. It was the drama behind each of the songs that made Rumours so relatable to so many listeners. That album is infamous for chronicling the declining relationships and persistent addictions that took place, but on Tusk the music is much more heartbreaking, confessional, and personal. "What Makes You Think You're the One," just one of the many songs Buckingham wrote about Nicks, possibly addresses his former love's cocaine habit by asking her if she is the one "who can live without dying." Christine McVie sings to a lover (possibly McVie), who is cheating on her to "go and do what you want" as she waits for him to return on "Never Make Me Cry." Last September, Nicks confirmed to Billboard that the urban rock legend about the song "Sara" was partially true: the song came from the name of the unborn child Nicks conceived with Eagles' singer Don Henley while the couple were dating. As Nicks recalls: "Had I married Don and had that baby, and had she been a girl, I would have named her Sara. But there was another woman in my life named Sara, who shortly after that became Mick's wife, Sara Fleetwood." The most sonically thrilling aspect of the expansive Tusk is the harmonies of singers, thanks to Buckingham's continued fascination with California bands like The Beach Boys. The background vocals on "Walk a Thin Line" mesh so well with the guitar virtuoso's falsetto during the song's chorus that you want to make that journey across the tightrope right along with him. The harmonies also shine on the heartbreaking "That's All For Everyone," as Buckingham "cries out for more" while trying to decide whether the band should continue on together considering all the personal turmoil their collaboration has wrought. It was after this album that Buckingham, Fleetwood, and Nicks pursued solo albums. Buckingham went on to explore the experiments he started on Tusk with the album Law and Order. Nicks would grow into the role of the mythical diva she is today. The band as a whole went back to the formula they honed on Rumours with 1982's Mirage, having spent their creative capital on an album that many see as an oddity, but holds up as a masterwork today.
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#111
12-07-2014, 02:13 AM
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Tusk perfect? I greatly disagree, it has the WORST FM song of all time on it. Lindsey screaching Not that Funny turns my stomach every time. I absolutely hate that song. That piece of crap should have never seen the light of day.
__________________
. Watching the drama of the Ledge since 2001.
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#112
12-07-2014, 02:27 AM
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I don't mind the record version, too much, but the Mirage video version? My god, I had this video as a kid, and my friends loved it....liked it....err, tolerated it, EXCEPT for NTF? "Turn this sh*t OFF, or we're going home!"(referring to NTF). NTF wasn't really well received.... 
__________________
Christine McVie- she radiated both purity and sass in equal measure, bringing light to the music of the 70s. RIP. - John Taylor(Duran Duran)
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#113
12-07-2014, 03:04 AM
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I only really became a devoted fan of Fleetwood Mac recently, maybe just over two years ago.
I had heard their songs on WS 101.7 FM for years growing up because my Dad often put the car radio on WS FM. It's a classic rock station so of course they play Fleetwood Mac songs over and over: but they stick to the hit staples: Rhiannon, Dreams, Go Your Own Way, Don't Stop, Tusk, Gypsy, Hold Me, Little Lies, Seven Wonders. I have never heard this station play any songs from Behind the Mask, Time, Say You Will or Extended Play. It is also rare for them to play any song from Tusk other than the title track. Which brings me to why I love Tusk so much. When I worked out the same band was behind all of these great songs I heard on Sydney FM radio, I decided to dig a bit deeper into their back-catalogue and downloaded most of their albums from iTunes. Tusk was great because 75% of these songs I'd never heard before! They were new to me, exciting, fresh and catchy. I Know I'm Not Wrong is one of my favourite Lindsey songs. I love Tusk and think it is a great album, but I would stop short of calling it "perfect". Tusk is special to me because it isn't perfect (let me explain). There is not one bad song on Rumours. In my opinion, Rumours is the perfect album and I think it sells extremely well because so many people can relate to the stories on that record: unrequited love (Go Your Own Way), feeling trapped in a relationship (Dreams), I care about you, but I don't love you anymore (Don't Stop) etc. But Tusk is my favourite album because it never seems to get old. I notice something I haven't before every time I play the record. The songs on Rumours have been played to death both on FM radio and in concert by the band, but many Tusk songs retain that elusive feeling: you can play Never Forget and enjoy it and actually believe that most of the world has not heard the song. Does that make any sense? Last edited by secret love; 12-07-2014 at 03:09 AM..
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#114
12-07-2014, 10:13 AM
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That definitely makes sense! When songs are less familiar, they feel fresh and new and exciting. There's no need to press skip when a song comes up on your iTunes shuffle list. It surprises you and it's a gratifying listening experience.
Tusk has some great songs. Perhaps some of the best the band has done. I do think production hurt some in terms of accessibility. Lindsey could've probably had one or two more hits had his songs felt more complete...but that was clearly not what he was going for. I think Stevie's songs set her as one of the pre-eminent female singer-songwriters. Sara, Beautiful Child, and Storms are really special songs, devastating even. I wish the latter two were more known by the world and music critics. I'd be citing them as among her best songs and most essential. Sisters of the Moon was such a great rocker for the Tusk and Mirage tours, just an incredible live moment for Stevie and the band that again didn't pierce the popular consciousness like her other songs did, unfortunately. And Christine shows quite a lot of diversity on the album. The layering and production of "Brown Eyes"...my God! I remember thinking "Honey Hi" was just so short and stupid, but now it has completely absorbed me...I love the vocals and I love how they keep building to the end's "round." No, not every song works. I would point to the album's biggest problem being its pacing. Listening through the album in the car, for example, can be quite difficult, since there are so few upbeat songs. And slow ballads or slow songs don't give the overall listening much momentum and drive. Still, this is a very important album for the band and certainly gets close to The Beatles' White Album for its experimentation. I think The Beatles (and Led Zeppelin) did more with songs, where you'd have 3-5 enormous changes in rhythm and tempo that effectively made 3-5 songs in 1 song...but FM gives you more interesting vocals and personalities. If only the band would do more to draw attention to this album. Some songs here could only be described as sublime. Last edited by bethelblues; 12-07-2014 at 10:19 AM..
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#115
12-07-2014, 01:24 PM
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not the most kid-friendly song version, no.  for the record, i actually love NTF - both on the album where i think it's very interesting with extra little arrangements and left-field additions in it, and especially his more recent, very short punkish live versions. Live 2013 version was one of the unexpected highlights of that show. 
__________________
 "kind of weird: a tribute to the dearly departed from a band that can treat its living like trash"
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#116
12-07-2014, 04:03 PM
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Oh well, we can keep our fingers crossed that Sisters of the Moon will be swapped out for Angel some time in 2015. Power of positive thinking!  Edited to add: Yes, of course The Beatles did more with songs than Fleetwood Mac ever has. The mantra of this band, since Tusk, has been KISS (Keep It Simple Stupid) - "guys, let's stick to what worked for us in 1977". That is why so many of their songs are classified by Billboard as Adult Contemporary. There is definitely a Fleetwood Mac formula. Most songs Stevie writes have three different chords repeated through out. This is because she writes on piano and having never taken lessons, she doesn't know how to read a score nor does she know very many chords. The band tends to take Stevie's piano demos and keep the basic three chord structure but just add different instruments into the mix to make it interesting listening. Christine McVie did receive piano lessons and as a result, of course her songs tend to have a more complex musical structure than Stevie's. Lindsey's songs again, are almost always more musically complex than Stevie's because he is a virtuoso guitarist. On a side note, It Takes Time would definitely benefit from Christine McVie either re-arranging or completing re-writing the piano music. It is a bit too dull for me. I think what was missing from Say You Will was not Christine per se. What's missing to me is that more sophisticated musical structure she delivers in her compositions that just leaves Stevie's music-writing efforts for dead. We needed a bridge between Lindsey's amazing, boundary-pushing guitar work and the simple (but still impressive) music which Stevie composed. Christine's songs have always been more mainstream. Lindsey's work is more to the left and Stevie's is, sometimes, a little to the right. Her lyrics can sound forceful, bossy. Last edited by secret love; 12-07-2014 at 04:27 PM..
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#117
12-07-2014, 08:22 PM
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#119
12-13-2014, 09:32 AM
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35 Years Ago: Fleetwood Mac Tries Something New with ‘Tusk’
by Jeff Giles October 12, 2014 3:04 PM How do you release a double album that goes multi-platinum, breaks the Top Five, spawns multiple hit singles, and spends months in the Top 40 while still being widely regarded as an artistic folly and a flop? Ask Fleetwood Mac. After all, that’s exactly what they did with 1979′s ‘Tusk.’ Released Oct. 12, 1979 — just a few months shy of three years after their previous effort, 1977′s ‘Rumours,’ began its march toward record-breaking success — ‘Tusk’ made up for the long wait between LPs by packing 20 tracks into its expanded length. But as the Mac giveth, the Mac taketh away: for fans expecting a set of songs that picked up where ‘Rumours’ left off, ‘Tusk’ proved a confounding listen, full of artistic left turns and sonic experimentation. Some found it daring and others accused the band of self-indulgence, but no matter how you felt about the album, it was obvious that Fleetwood Mac was refusing to rest on its laurels. This is not to say that ‘Tusk’ is without its radio-friendly moments. Six singles were released in all, starting with the Top 10 title track — one of the more willfully experimental cuts on the album — and including ‘Sara’ (No. 7) and ‘Think About Me’ (No. 20). But it was obvious that rather than trying to recapture or outdo ‘Rumours,’ the band members were willing to expend the huge amount of commercial capital they’d built up by putting together a sprawling, ambitious work that reflected many, if not all, of their wildest artistic whims. Leading the charge was guitarist and singer Lindsey Buckingham, whose grip on the ‘Tusk’ reins would later lead to some derisively referring to the record as ‘Lindsey’s folly.’ As he later took pains to explain, however, it wasn’t about satisfying his ego. “I was losing a great deal of myself,” Buckingham later recalled of trying to create new music in the wake of ‘Rumours.’ His solution was to cover as much musical ground as possible — to consciously avoid a ‘Rumours II.’ “My thought was, let’s subvert the norm. Let’s slow the tape machine down, or speed it up, or put the mike on the bathroom floor and sing and beat on, uh, a Kleenex box! My mind was racing.” The end result was a set of songs that replaced the burnished AM glow of its predecessor with a sonic landscape that was broader and more colorful — yet also more arid, and studded with sharper angles. Critics were quick to point to New Wave as an overriding influence, but ‘Tusk’ wasn’t an attempt to glom onto trendy sounds. As evidenced by the stomping, marching band-backed title track, or the spiky ‘The Ledge,’ or the fuzz-laced ‘Not That Funny,’ or the reverb-soaked ‘That’s All for Everyone,’ it found Buckingham on nothing more than a dizzying quest to capture the sounds in his own mind. Although Buckingham described the positive aspects of upending expectations, engineer Ken Caillat recalled a fairly turbulent working environment, with Buckingham’s eccentric behavior setting the tone. “He was a maniac,” Caillat countered. “The first day, I set the studio up as usual. Then he said, ‘Turn every knob 180 degrees from where it is now and see what happens.’ He’d tape microphones to the studio floor and get into a sort of push-up position to sing. Early on, he came in and he’d freaked out in the shower and cut off all his hair with nail scissors. He was stressed.” He wasn’t the only one. Drummer Mick Fleetwood later laughed about Warner Bros. chief Mo Ostin’s apoplectic response to the finished product, paraphrasing his remarks by saying, “You’re insane doing a double album at this time. The business is f–ed, we’re dying the death, we can’t sell records, and this will have to retail at twice the normal price. It’s suicide.” But in 1979, not even the head of Fleetwood Mac’s record company could stop them from doing whatever they wanted. Neither could they stop a troubled narrative from being woven around the album’s eventual success. Given its length, its ambition, and its much clucked-over million-dollar cost — not to mention the mountains of rock-star excess that sprung up around Fleetwood Mac during an epic ‘Tusk’ tour that included specially painted hotel rooms for singer Stevie Nicks and no shortage of on-stage tension — the record came to be regarded as a weird, costly tumble from the dizzying heights of ‘Rumours.’ Unsurprisingly, the band members took issue with this point of view. “In the context of the whole, ‘Rumours’ took longer to make than ‘Tusk.’ One of the reasons why ‘Tusk’ cost so much is that we happened to be at a studio that was charging a f– of a lot of money,” Buckingham pointed out. “During the making of ‘Tusk,’ we were in the studio for about 10 months and we got 20 songs out of it. ‘Rumours’ took the same amount of time. It 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.” Fleetwood also insisted in a Trouser Press interview that change was part of the band’s legacy. “We’ve never stayed one way for very long, and I don’t think we ever will. We’ve always changed a lot whether or not players have changed,” he said. “Doing a double album didn’t make any business sense at all. But it meant a lot to us, artistically — whether we could still feel challenged. We really, really are pleased with it. We’ve also, I think, got enough discretion to know if the songs aren’t up to standard, in which case we’d have just put out a single album.” Meanwhile, Christine McVie bristled during a 1982 interview with Sounds, pointing out that “‘Tusk’ sold nine million copies — so it can’t be too shabby, can it? But a lot of people gave us flak about that album. It’s very different, very different, very Lindsey Buckingham. I’ll have to say that. He was going through some musical experiments at the time.” Still, the backlash took its toll, and when the sales came in considerably softer than those for ‘Rumours’ — which was, it’s worth noting, one of the biggest-selling records of all time — Buckingham felt that the other members of the group turned on him, jaundicing his perception of his place in the band as well as its artistic limits. “I got a lot of support from the band during the making of ‘Tusk’; everyone was really excited about it. Then, when it became apparent that it wasn’t going to sell 15 million albums, the attitude started to change — which was sad for me in a way, because it makes me wonder where everyone’s priorities are,” Buckingham later admitted to Record. “They changed their attitude about the music, after they realized it wasn’t going to sell as many copies. That’s not really the point of doing it. The point is to shake people’s preconceptions about pop.” None of that helped curb Buckingham’s restless artistic appetites, and before the end of the ’80s, he was out of the band, temporarily off to pursue wilder (and less commercially friendly) solo vistas. But like a lot of works of art once deemed too outre, ‘Tusk’ earned a deeper measure of appreciation over time. Today, it’s widely regarded as one of the more interesting and artistically sounding albums in Fleetwood Mac’s catalog, and all those out-there moments that perplexed ‘Rumours’ fans have been hailed as influential by a widening circle of younger bands. In time, Buckingham would return to Fleetwood Mac, but the way it was perceived — and the lasting demand for ‘Rumours’-style Mac product — left a lasting impression on his career. “For me, the ‘Tusk’ album was the most important album we made, but only because it drew a line in the sand that, for me, defined the way I still think today,” Buckingham mused in a 2011 interview. “I was trying to pave some new territory for us, but another way of looking at it is that I was causing trouble. Had we all wanted the same thing for the same reason, I probably never would have made solo albums.” Read More: 35 Years Ago: Fleetwood Mac Tries Something New with 'Tusk' | http://ultimateclassicrock.com/fleet...ckback=tsmclip
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#120
12-14-2014, 04:35 AM
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I love that Tusk is getting the love and recognition it deserves; far more so than when it was released. It's an album ahead of its time (Thanks Lindsey!). Like a fine wine, it benefited from age in order to be fully appreciated for its distinct flavors and inherent significance. It's a fine example how of hard-line judgments of the moment can sometimes turn fluid over a span of time, transforming perspective and perception.
__________________
Life passes before me like an unknown circumstance Last edited by PenguinHead; 12-14-2014 at 06:21 AM..
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