Tusk - 2015 Deluxe & Expanded!!

[WayOfTheDragon]

Originally Posted by nicole21290

Have typed up all the liner notes - the background to the album and the track-by-track. Just for ease of reference.

http://www.buckinghamnicks.info/tusk-1979

Thanks for this!!!

[Macfanforever]

Originally Posted by Macfanforever

Heres FM In The Studio with Redbeard.This caught me off guard as I found it done on my computer tonight.I record his show every week.I must of miss his "Whats coming up next weekend" outtro last weekend.


The show is complete with the adverts scoped out.I did not have time to listen to it closely .Let me know how it came out and anything new they say or is retreaded interview clips.


http://www.mediafire.com/download/8y...io12062015.rar

Heres part two of In the Studio with Redbeard which I did not know until tonight.

Please give me thanks for these goodies as I post them on here.Its annoying when I post this stuff and get NO THANKS for doing so.I wont post any more if it continues.Rant over.

Heres part two..

http://www.mediafire.com/download/rz...io12132015.rar

[iamnotafraid]

Originally Posted by MusicInferno

What version is it then? I listenend to it on spotify and it's not the alternate cd/04-remaster-version.

I should clear up my statement about I Know I'm Not Wrong.

I don't think it's an alternate take from what was
used on the original album. But perhaps a different
mix.

It seems like there was a discussion about the difference
before. Probably in the dungeon of the Ledge somewhere.
But I'm scared to go down there.

[michelej1]

Listening to the live songs, I notice how hard they tried to change their voices to create aural depth and interest. They didn't just do their famous harmonizing, but also worked harder to add texture to the sound by playing with range and tone. With background vocalists added to the mix, they aren't as creative when arranging the live vocals at all. They think the quantity of vocalists will be enough to make the sound full and don't worry about it also being more unique.



Michele

[cactusjack]

Originally Posted by Macfanforever

Heres part two of In the Studio with Redbeard which I did not know until tonight.

Please give me thanks for these goodies as I post them on here.Its annoying when I post this stuff and get NO THANKS for doing so.I wont post any more if it continues.Rant over.

Heres part two..

http://www.mediafire.com/download/rz...io12132015.rar

thanks for these!

[UndoingTheLaces]

Macfanforever, thank you for posting these. I've been making a playlist of Stevie/Fleetwood Mac interviews on my iPod to save for long car trips and I just added this. I look forward to hearing it.

[GJK]

Originally Posted by iamnotafraid

I should clear up my statement about I Know I'm Not Wrong.

I don't think it's an alternate take from what was used on the original album. But perhaps a different mix.
It seems like there was a discussion about the difference before. Probably in the dungeon of the Ledge somewhere. But I'm scared to go down there.

You can easily find it on the 'Threads in Forum: Rumours' page; the last post was on December 11.

[shackin'up]

Originally Posted by michelej1

Listening to the live songs, I notice how hard they tried to change their voices to create aural depth and interest. They didn't just do their famous harmonizing, but also worked harder to add texture to the sound by playing with range and tone. With background vocalists added to the mix, they aren't as creative when arranging the live vocals at all. They think the quantity of vocalists will be enough to make the sound full and don't worry about it also being more unique.



Michele

Spot on. It's a pity, that they never tried it again after the Miragetour. The rawness brings a lot of emotional depth and vulnerability. It's just great to hear them at their peak in good quality. They seem untouched, these liverecordings, although I'm pretty sure I hear a lowvoiced extra Lindsey on the stunning Save Me A Place.

[Macfanforever]

Originally Posted by cactusjack

thanks for these!

Originally Posted by UndoingTheLaces

Macfanforever, thank you for posting these. I've been making a playlist of Stevie/Fleetwood Mac interviews on my iPod to save for long car trips and I just added this. I look forward to hearing it.

Thanks.No problem doing so.

I agree .Its great to listen to these on the road.

[UndoingTheLaces]

Okay, here's a weird question. I got the Deluxe Edition as an early Christmas present from my partner but the CD player in my computer isn't working and I really want to rip the entire set to I can play it on my iPod in the car. Is there an option where downloads are included in the set? I've bought other sets that included this.

[Macfanforever]

Originally Posted by UndoingTheLaces

Okay, here's a weird question. I got the Deluxe Edition as an early Christmas present from my partner but the CD player in my computer isn't working and I really want to rip the entire set to I can play it on my iPod in the car. Is there an option where downloads are included in the set? I've bought other sets that included this.

Thats a good question. 24K came with the digital downloads.

[iamnotafraid]

Originally Posted by GJK

You can easily find it on the 'Threads in Forum: Rumours' page; the last post was on December 11.

Thanks.

I don't know why but I never use that feature.

[iamnotafraid]

Originally Posted by UndoingTheLaces

I get the feeling that they have included a bunch of stuff from unused tracks to surround you with the music in the 5.1 versions.

I certainly hope that's not the case.

____________________________

Disc 1
Anyone else noticed how some tracks come in early?
And some have slightly extended endings (fade outs).

[vivfox]

Originally Posted by UndoingTheLaces

Is there an option where downloads are included in the set?

I remember elle was saying her order was all in digital download format.

[michelej1]

Fleetwood Mac Tusk (Deluxe Edition)

http://thequietus.com/articles/19435...edition-review

Chad Parkhill , December 16th, 2015 07:43

After all of the mythologising – the most expensive rock album ever produced; a staggering commercial failure; a Lindsay Buckingham vanity project with the Fleetwood Mac name attached; what happens when too much money meets too much blow - Tusk remains a singular oddity in Fleetwood Mac's oeuvre. By the time its recording commenced in June 1978, the band were in the stratosphere of commercial success: their previous album, Rumours, had shipped millions of copies and was on its way to becoming one of the best selling albums of all time. Yet the music that had inspired Buckingham during his respite from the gruelling Rumours tour was the opposite of commercial: the debut albums from The Clash and Talking Heads, both recorded on the cheap. As Rob Trucks recounts in his 33⅓ entry on the album, Tusk began its life as an ultimatum from Buckingham to band leader Mick Fleetwood: Buckingham had new songs he was going to record. In response, Fleetwood shot back another ultimatum: Buckingham was either in the band or out of it. The stage was set for a collision: between the moneyed, high-gloss world the band inhabited and the scrappy upstarts who were shaking that world's foundations; between Buckingham's musical ambitions and Fleetwood's determination that Fleetwood Mac stick together as a band.

Tusk, therefore, is riven through with contradictions. It contains some of the band's glossiest work, of the sort that would have made the executives at Warner hopeful that Tusk could function as Rumours Redux: the gorgeous 'Sara', Stevie Nicks's aching paean of love and loss; Christine McVie's rock burner 'Think About Me', complete with acid lyrics that would fuel further speculation about the band's private lives; the lapidary 'Storms', featuring Nicks at her most pitilessly introspective. Yet these songs find themselves nestled between Buckingham's off-kilter, deliberately lo-fi ditties: deliberately truncated songs (none longer than 3:32) with unusual, unresolved melodies, in which Buckingham affects a falsetto and Fleetwood sounds as though he were drumming with a set of cardboard boxes. You'd be hard-pressed to call these numbers 'punk' per se - they thrum through with Buckingham's interest in folk and blues traditions, and they were after all recorded at phenomenal expense - but they preserve punk rock's affinity for simplicity and concision. In many ways they sound like exactly what they are: punk rock reflected back through the funhouse mirror of a platinum-selling band with a well-documented cocaine problem, a limitless recording budget, and a background in blues.

It's no secret that Tusk performed poorly on its release, shipping a mere two million copies in its first few months of existence compared to the over ten million copies that Rumours shifted. Just who the fault can be pinned on remains the subject of some debate. Did Tusk's commerical failure, as Warner's executives insisted, derive from Buckingham's outré songwriting? Was it, as Mick Fleetwood argued, because the album was prematurely leaked to the RKO radio network, who proceeded to play it in order, much to the delight of home tapers? In the long view, such considerations are immaterial: given the album's strange afterlives - including a start-to-finish cover version by Camper Van Beethoven and becoming a formative influence on Carl Newman's work with The New Pornographers - it seems that Tusk has ultimately vindicated itself.

The latest remaster and reissue of the album - the third such intervention to have happened since the 1980s - is about as comprehensive as anyone could hope for. In addition to the original album, which has been given a crisp buff and polish (albeit one that could have preserved a little more of the original release's dynamic range), and a second disc of single versions and demos (many of which originally appeared on the 2004 remaster/reissue), it also includes a start-to-finish version of Tusk in hitherto unreleased alternate takes and two discs of live material from the band's 1979-1980 Tusk tour. Mac anoraks will find that the second disc's collection of successive demos - which map out the progression of both 'I Know I'm Not Wrong' and the title track from their early incarnations through to near-finished versions - illuminates the band's creative processes.