Huge difference in Tusk reissue prices between the UK and USA

Anyone noticed the massive price differences that Amazon are listing the recent Tusk deluxe edition and the soon to be released Live In Concert vinyl set that is culled from the same deluxe release of Tusk.

Today according to the Amazon UK website, you can pick up the Tusk deluxe edition for £41.84 that translate to $52.26 (at today’s exchange rates), now checking the Amazon.com site, the exact same release is listed as $93.19 (£66.94)

And, when we repeat this process on the In Concert vinyl set that is set to be released on Mar 4th, the price on Amazon in the UK is £23.99 ($33.40) and on Amazon.com the price is $54.14 (£38.89)

What gives Amazon, why are the prices so different between regions for the same item?

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Moving On | The Sunday Times

Hugh Graham
Published: 21 February 2016
The Sunday Times

Not quite going her own way

Million-pound drop: Christine McVie has reduced the price of her Kent home to £2.5m

Million-pound drop: Christine McVie has reduced the price of her Kent home to £2.5m

Fleetwood Mac’s fortunes may be reviving — the 1970s act’s 2014-15 reunion tour was a hot ticket, and their seminal album Rumours re-entered the Top 40 last week — but their resurgence isn’t helping Christine McVie sell her grade II listed Kent estate. The singer, 72, put the six-bedroom pile in Wickhambreaux on the market for £3.5m last year, but she’s just dropped the price to £2.5m (with nine acres, instead of the original 19).

McVie bought the estate in 1990, and quit the band to do it up — she was also afraid of flying. Yet it seems she’s not cut out for the quiet life: “I had this idea that I’d love the small village life, with the Range Rover and the dogs, and baking cookies,” she told The New Yorker magazine last year. “But then it got so boring. You couldn’t walk down the road without meeting two people related to each other. I missed the songs. And I missed the audience.”

Fleetwood Mac “In Concert” to be released on Vinyl | Press Release

Fleetwood Mac: in Concert Set for Vinyl Debut

Friday, 12 February 2016, 4:05 pm
Press Release: Warner Music

Fleetwood Mac: In Concert Set for Vinyl Debut
Triple-LP Collection Features 22 Live Recordings From The Band’s 1979-80 Tour
That Were Previously Available Only As Part Of The Tusk: Deluxe Edition

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Available On March 4 From Warner Bros. Records

Fleetwood Mac unveiled a massive Deluxe Edition of its revered double album TUSK late last year that featured 22 previously unreleased live performances selected from the band’s 1979-80 tour. Until now, those concert recordings have only been available as part of the set and only on CD and digitally. That will change soon with the release of FLEETWOOD MAC: IN CONCERT.

All of the live music from the 2015 reissue of TUSK will be available on March 4 from Warner Bros. Records as a three-LP set. Pressed on 180-gram vinyl, the albums will be presented in a tri-fold jacket.

Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks originally released TUSK in October of 1979. The Grammy Award-nominated, double-album went onto sell more than four million copies worldwide and introduced fans to hits like ‘Sara,’ ‘Think About Me,’ and the title track.

The music heard on IN CONCERT was recorded at four stops during the band’s 111-show world tour promoting TUSK. This new collection serves as a worthy companion to the classic 1980 album LIVE. Although a few songs are duplicated from that album, including ‘Say You Love Me,’ ‘Landslide’ and ‘Go Your Own Way,’ each performance on IN CONCERT is unique and taken from a different show.

IN CONCERT boasts 10 songs not heard on LIVE, including ‘World Turning’ from the Fleetwood Mac’s 1975 self-titled release, and ‘The Chain’ from the band’s best-selling album RUMOURS (1977), a Grammy-award winning juggernaut that has sold more than 40 million copies.

Several songs from IN CONCERT were recorded at the Checkerdome in St. Louis just a month after the release of TUSK, and only seven shows into the tour. Those performances capture the band already in top form on songs like ‘Angel,’ ‘Save Me A Place’and ‘What Makes You Think You’re The One.’

The rest of the performances were recorded several months later, including 11 songs from the band’s six-night stand at Wembley Arena in London in June 1980. Among the highlights are ‘That’s Enough For Me,’ ‘Sisters Of The Moon,’ and the Top 10 smash from RUMOURS, ‘You Making Loving Fun.’

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Formula One coverage on Channel 4 to retain iconic Fleetwood Mac ‘The Chain’ title music | Daily Mail

  • Channel 4 set to keep Fleetwood Mac’s ‘The Chain’ as intro music on their Formula One coverage starting this season
  • The BBC had used the track as its Formula One title music since 1978
  • Fleetwood Mac recorded the song for their Rumours album in 1976
  • Channel 4 will screen 10 live races and show highlights of the other 11

By Philip Duncan, Daily Mail
12 February 2016

Channel 4, the new terrestrial home of Formula One, will use Fleetwood Mac’s The Chain as its title music.

The song has become synonymous with the sport on the BBC since it was first adopted by the corporation in 1978.

Channel 4 tweeted on Friday: ‘F1 has a new home but some things just have to remain: we’re chuffed to announce that The Chain by Fleetwood Mac will be our title music.’

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Former McLaren driver David Coulthard has already made the switch from the BBC to Channel 4, but Suzi Perry, the presenter of the BBC’s F1 coverage following the departure of Jake Humphrey to BT Sport in 2013, last week ruled out joining him.

Channel 4 will show 10 races live – without commercial breaks – and screen extensive highlights of the remaining 11 races scheduled for the upcoming season which gets under way in Melbourne on March 20.

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THE CHAIN

‘The Chain’ was the seventh track on Fleetwood Mac’s February 1977 album ‘Rumours’ having been created the previous year.

It was created by combining segments from previously rejected songs and therefore is the only song on the album to be credited to all five band members of the time – Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie and Stevie Nicks.
The bass section at the end of ‘The Chain’ was created by Fleetwood and John McVie, then combined with lyrics written separately by Nicks. She and Christine McVie then reworked the first part of the song.

To complete the song, Buckingham recycled the intro from an earlier duet with Nicks called ‘Lola (My Love)’ from their self-titled 1973 album.

The song became highly recognisable in the United Kingdom when the BBC adopted it for their Formula One coverage in 1978 until 1997. It returned when the BBC regained the broadcast rights in 2011.

At that time, as a result of a campaign to get ‘The Chain’ to No 1 in the UK chart, it peaked at No 81.

A 1997 re-release of the track on a live album ‘The Dance’ topped at No 30 in the American charts.

 

Fleetwood Mac Tusk (Deluxe Edition) review | Pop Matters

BY MATTHEW FIANDER
12 February 2016

Tusk, Fleetwood Mac’s 1979 double album, is full of backstory. If its mega-successful predecessor Rumours had the Behind the Music-made backstories of deceit and division, Tusk (like the album itself) had several conflicting and chaotic backstories. It was the first record to cost over a million dollars. The affairs and divides of Rumours had, by 1979, grown into wider fissures between band members and, in some ways, full-on breakdown. There’s also the notion that this is the cocaine record, a product of excess and disconnection from sense.fleetwood-mack-tusk-650

Perhaps connecting all these stories together—or fracturing them further—is the idea that Tusk was Lindsay Buckingham’s brainchild. In the liner notes to this new Deluxe Edition of the album, Jim Irvin lays out Buckingham’s mindset post-Rumours. He didn’t want to lean back on success and make the same record again. He was also, so the essay suggests, influenced by the growing punk movement. That Irvin himself seems disingenuous about punk, referring to the movement as a “grubby breeze” and to the moderate chart success of the Ramones or the Damned as “if they were mould spores ready to discolor the musical wallpaper.” And though he sees punk and new wave as music with a “youthfully abrupt” attitude to the past, he does concede that Elvis Costello and the Clash, among others were “speedily evolving.” His attitude, colored by a clear love of the “plush delights” of Rumours, seems to echo Buckingham’s. He borrows the ethos of punk in claiming that Tusk was a “fuck you” to the business of music.

Digging into this new 5CD/DVD/2LP version of Tusk, with all its bonus tracks and liner notes and photos, suggests that Buckingham’s view of the record and its making veers us away from the notion of coke bloat. The album isn’t truly about unabashed excess. Instead, this new edition helps us to re-see the record as a deeply self-conscious document, wherein Buckingham’s turn to the Talking Heads and the Clash (influences largely absent on the actual music of Tusk) seem to suggest an any-port-in-the-storm approach to making new music. The truth, though, is that the success of Rumours was hardly a problem. Tusk suggests that Fleetwood Mac was for a moment—due to inexperience, drugs, personal rifts, whatever—unsure not of how to follow up Rumours, but of how to make any other record. The “idiocy of fame” Irvin suggests as a target for Fleetwood Mac rings as naïve even now. Buckingham’s genre-hopping was little more than diving into of-the-moment trends. Mick Fleetwood, according to liner notes, wanted to make an African record, calling it a “native record with chants and amazing percussion.” These starting points for Tusk suggest not a rejection of success, but rather a fundamental misunderstanding of the privilege it brings.tusk_deluxe-480x286

That misunderstanding bleeds into the confused album itself. But this misunderstanding, and all the other confusions that went into the record, is what makes it so fascinating to listen to. For one, Buckingham’s conceits of ambition distract from some of the album’s purest pop moments. “Sara” shimmers” on clean, crisp pianos and beautiful vocals (Stevie Nicks and Christine McVie are actually the voices that keep this record together, though their influence is undersold in the liner notes in favor of the Buckingham defiant-burdened-male-genius narrative). “Over & Over” is bittersweet, dusty country-rock. “Storms” feels both spare and dreamy, leaning on vocal harmonies and tumbling guitar phrasings. “Angel” is stripped down and lean, letting the rhythm section take over rather than Buckingham’s layering. “What Makes You Think You’re the One” is catchy, straight-on power-pop, even with the high-in-the-mix snares and Buckingham’s unruly, edged vocals (which appear plenty on the record). Continue reading