Fleetwood Mac’s ‘Tusk’: 10 Things You Didn’t Know | Rolling Stone

By Ryan Reed
Rolling Stone Online
October 11, 2019

How an in-studio bathroom replica, juvenile dick jokes, and a Peter Green guitar cameo informed the band’s sprawling, experimental follow-up to Rumours

BOSTON, MA – NOVEMBER 17: Stevie Nicks performs with Fleetwood Mac at the Boston Garden on Nov. 17, 1979. (Photo by Janet Knott/The Boston Globe via Getty Images)

Fleetwood Mac’s 12th album is both demented and debonair, familiar and foreign — a sprawling double LP that, like the Beatles’ White Album before it, reveled in its own messiness, jumbling together the work of three distinct songwriters. Singer Stevie Nicks and keyboardist Christine McVie carried the commercial weight on Tusk, penning playful pop grooves (the latter’s “Think About Me”) and stormy rockers (the former’s “Sisters of the Moon”) that massaged the same sweet spot as their previous record, the mega-platinum 1977 masterwork Rumours.

But Lindsey Buckingham was unwilling to repeat himself. Savoring the edgier modern sounds of New Wave and punk, the singer-guitarist prepared to march into the unknown — whether or not his bandmates were interested in the journey. That friction ultimately defines Tusk, the band’s fractured masterpiece. 

“The explosion of the punk movement had changed the musical landscape, and the popular conception was that bands like ours, Led Zeppelin, the Stones, Elton John and everyone else from our era, were a bunch of dinosaurs who’d lost touch with the real world,” drummer Mick Fleetwood wrote in his 2014 autobiography, Then Play On. “That wasn’t true, of course — we were in touch and aware of all those changes in culture, Lindsey most of all. He was intrigued by punk bands like the Clash and lots of New Wave artists such as Talking Heads and Laurie Anderson, and he wanted to follow that muse creatively. The issue for him was whether or not he was going to be able to do that with the rest of us.” Continue reading Fleetwood Mac’s ‘Tusk’: 10 Things You Didn’t Know | Rolling Stone

Classic Fleetwood Mac Albums to be reissued on Coloured Vinyl | Far Out

Fleetwood Mac released five back-to-back multi-platinum albums between 1975 and 1987, an effort which led to them being one of the best-selling bands around the globe.

Now, those classic albums will be reissued individually on coloured vinyl on November 29. The albums include Fleetwood Mac on white vinyl; Rumours on clear vinyl; Tusk on a silver vinyl 2-LP set; Mirage on violet vinyl; and Tango In The Night on green vinyl. On the same day, all five coloured-vinyl LPs will be presented together in slipcase as a limited edition, individually numbered set of 2,000 copies, available exclusively at the Rhino store. This collection is available to pre-order now.

A new incarnation of Fleetwood Mac debuted in the summer of 1975 that included Mick Fleetwood, John McVie and Christine McVie, along with new members Stevie Nicks and Lindsey Buckingham. The group’s first album together, Fleetwood Mac (sometimes called “The White Album”), topped the Billboard album chart, spent more than a year in the Top 40 and sold more than five million copies in the U.S. thanks to songs like ‘Landslide’, ‘Say You Love Me’, and ‘Rhiannon’.

In 1977, the band followed up with Rumours, considered by many to be among the greatest albums of all time. It won the Grammy for ‘Album of the Year’ and has sold more than 40 million copies worldwide. Its unforgettable tracks include: ‘Go Your Own Way’, ‘Gold Dust Woman’ and the band’s first number one smash, ‘Dreams’.

The double-album Tusk arrived in 1979. It sold more than four million copies worldwide and introduced fans to hits like ‘Sara’, ‘Think About Me’, and the title track. Three years later, in 1982, Fleetwood Mac again topped the charts with Mirage. Along with hits like ‘Hold Me’ and ‘Gypsy’, Mirage also features great album tracks like ‘Oh Diane’ and ‘Straight Back’.

In 1987, Tango in the Night became the second-most successful album of the band’s career, selling more than 15 million copies worldwide with the massive hits ‘Everywhere’, ‘Big Love’ and ‘Little Lies’.

Pre-order the collection, here, and have a closer look below.

Self-indulgence and acrimony: the making of Fleetwood Mac’s 1979 album ‘Tusk’ | Independent.ie

Saturday 5 October 2019
The Independent.ie
John Meagher

It was 1978 and Stevie Nicks was having to get used to the business of being extremely famous. She had appeared on the cover of the previous year’s biggest selling album, Rumours, and her vocals were adorning some of the most played songs of the era. She had gone from relative obscurity to the big time on joining Fleetwood Mac with then boyfriend Lindsey Buckingham just a few years before and now, at the age of 30, she had the world at her feet.

But life was far from rosy for the Arizona-raised, California-adopted singer and her complicated love life would prove inspiring when it came to writing a song that would be the centrepiece of Fleetwood Mac’s next album as well as perhaps being the most emblematic of her entire career.

That song was ‘Sara’ and Nicks spent more time fashioning it than on any other – before or since. Months before the band reconvened for the marathon recording sessions of what would become the double-album, Tusk, Nicks had a nine-verse, 16-minute song on her hands. It would eventually be whittled down to just over six minutes on the original vinyl version of the album and trimmed further to four-odd minutes when released as a single.

‘Sara’ was inspired by a large number of things that were taking Stevie Nicks’ headspace at the end of the 1970s. It was, ostensibly, written about her friend Sara Recor and her relationship with Mick Fleetwood, one of band’s founding members and with whom Nicks had an intimate relationship after she and Buckingham had finished. And it’s a hirsute Fleetwood who appears on the Rumours cover, of course.

Despite the pair having broken up, and Nicks being in what would turn out to be a short-lived relationship with the Eagles’ Don Henley, she admitted to have been upset by her friend’s new romance with her former paramour. Fleetwood, she later said, had been a steadying influence during the acrimonious Rumours sessions and she immortalised him in the line, “And he was just like a great dark wing/ Within the wings of a storm”. Continue reading Self-indulgence and acrimony: the making of Fleetwood Mac’s 1979 album ‘Tusk’ | Independent.ie