Number 514 - Fleetwood Mac
Number 514Fleetwood Mac
"Tusk"
(1979)
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Genre:Rock
Now isnt that a refreshing thing to see? No Rick Astley on this site! Consider it a Definitive 1000 promise. We have been busy with compiling an easy reference for the songs (so far) in the countdown into a "Yearly List" year by year. Laborious, yes, but i think it will be a useful tool, now you can select your favourite year and see all the songs listed and linked. One aspect of information did surprise me was the fact (so far) there is no songs from the year 2002 or 1957. With the exception of 1957, 2002, to put it bluntly .... sucked musically. Out of all the 1000 songs, only 2 songs from 2002 made it into the countdown. The list is way down the bottom of the page for you to peruse. Standing ovation only please. Now on with the ROCK!.
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Genre:Rock
This is a Rick Roll Free Zone!!!!!
art by deaddolliecandy
Where Rumours achieved greatness through turmoil, its double-album follow-up, Tusk, is the sound of a band imploding. Lindsey Buckingham began to assume control of Fleetwood Mac during the Rumours sessions, but he dominates Tusk, turning the album into a paranoid roller coaster ride where sweet soft rock is offset by feverish cocaine fantasies. Christine McVie and Stevie Nicks don't deviate from their established soft rock and folk-rock templates, and all their songs are first-rate, whether it's McVie's "Over and Over" or Nicks' "Sara." Buckingham gives these mainstream-oriented songs off-kilter arrangements so they can fit neatly with his nervy, insular yet catchy songs. Alternating bracing pop/rockers like "The Ledge" and "What Makes You Think You're the One" with melancholic, Beach Boys-style ballads like "Save Me a Place" and "That's All for Everyone," Buckingham subverts pop/rock with weird arrangements and unpredictable melodies, which are nevertheless given accessible productions. Even the hit title track is a strange, menacing threat punctuated by a marching band. This is as strange as mainstream pop gets, even pushing on the borders of the avant-garde. Because of its ambitions, Tusk failed to replicate the success of its two predecessors (it still went double platinum, though), yet it earned a dedicated cult audience of fans of twisted, melodic pop. ~ [Stephen Thomas Erlewine, All Music Guide]
For more Fleetwood Mac see Numbers 547 & #591
For Stevie Nicks see Number 707 
"Tusk" is a song by Fleetwood Mac from the 1979 double LP of the same name. The song reached #8 on the U.S. charts, #6 in the U.K. and #3 in Australia and Canada. It was based in part on a rehearsal riff the band used for sound-checks. The drum-driven single was recorded live at Dodger Stadium (without an audience) in Los Angeles, California in collaboration with the University of Southern California Trojan Marching Band. The performance was also filmed for the song's music video. John McVie was in Tahiti during the Dodger Stadium recording, but he is represented in the video by a cardboard cutout carried around by Mick Fleetwood and later positioned in the stands with the other band members. The band's part would both set a record for the highest number of musicians performing on a single and earn the marching musicians a platinum disc. Lindsey Buckingham, Stevie Nicks and Mick Fleetwood presented it to the Trojan band on October 4, 1980 during a game at Dodger Stadium, this time in front of a huge crowd.
The song is played at USC Trojan football games with the fans chanting "U-C-L-A Sucks" at their cross-town rivals UCLA. This song is also played at Arkansas Razorback football games because of their current mascot named Tusk. ~ [Source:Wikipedia]
What does Rolling Stone think hmmmmmm? 
Like "The White Album," Tusk is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers. Tusk's twenty tunes—nine by Lindsey Buckingham, six by Christine McVie, five by Stevie Nicks — constitute a two-record "trip" that covers a lot of ground, from rock & roll basics to a shivery psychedelia reminiscent of the band's earlier Bare Trees and Future Games to the opulent extremes of folk-rock arcana given the full Hollywood treatment. "The White Album" was also a trip, but one that reflected the furious social banging around at the end of the Sixties. Tusk is much vaguer. Semiprogrammatic and nonliterary, it ushers out the Seventies with a long, melancholy sigh. 
If Christine McVie and Stevie Nicks were the most memorable voices on Fleetwood Mac and Rumours, Lindsey Buckingham is Tusk's artistic linchpin. The special thanks to him on the back of the LP indicates that he was more involved with Tusk's production than any other group member. Buckingham's audacious addition of a gleeful and allusive slapstick rock & roll style—practically the antithesis of Fleetwood Mac's Top Forty image — holds this mosaic together, because it provides the crucial changes of pace without which Tusk would sound bland.
The aura of romance is finally the real substance of Fleetwood Mac's music. If the band has an image, it's one of wealthy, talented, bohemian cosmopolites futilely toying with shopworn romantic notions in the face of the void. Such an elegant gossamer lilt is also synonymous with the champagne buzz of late-Seventies amour. But perhaps, as Tusk's ominous title cut and other songs suggest, in today's climate of material depletion and lurking disorder, the center of things—including Fleetwood Mac themselves — cannot hold. Plagued by internal conflicts and challenged by New Wave rock, this psychedelically tinted folk-rock tribe might well be the last and most refined of a breed of giddy celebrants who, from the early Sixties on, prospered on the far shore of the promised land as they toasted the pure splendor of a beautiful and possibly frivolous pop dream.
Can this dream survive the economic chill of the Eighties? How far can Lindsey Buckingham's rock & roll primitivism carry Fleetwood Mac when folk music, not rock, is really the basis of their style, and when erotic fluctuation remains their central preoccupation? Tusk finds Fleetwood Mac slightly tipsy from jet lag and fine wine, teetering about in the late-afternoon sun and making exquisite small talk. Surely, they must all be aware of the evanescence of the golden moment that this album has captured so majestically. ~ [Source : RS, STEPHEN HOLDEN 1979]
About the Song .....
"Tusk" is a song by Fleetwood Mac from the 1979 double LP of the same name. The song reached #8 on the U.S. charts, #6 in the U.K. and #3 in Australia and Canada. It was based in part on a rehearsal riff the band used for sound-checks. The drum-driven single was recorded live at Dodger Stadium (without an audience) in Los Angeles, California in collaboration with the University of Southern California Trojan Marching Band. The performance was also filmed for the song's music video. John McVie was in Tahiti during the Dodger Stadium recording, but he is represented in the video by a cardboard cutout carried around by Mick Fleetwood and later positioned in the stands with the other band members. The band's part would both set a record for the highest number of musicians performing on a single and earn the marching musicians a platinum disc. Lindsey Buckingham, Stevie Nicks and Mick Fleetwood presented it to the Trojan band on October 4, 1980 during a game at Dodger Stadium, this time in front of a huge crowd.The song is played at USC Trojan football games with the fans chanting "U-C-L-A Sucks" at their cross-town rivals UCLA. This song is also played at Arkansas Razorback football games because of their current mascot named Tusk. ~ [Source:Wikipedia]
What does Rolling Stone think hmmmmmm? At a cost of two years and well over a million dollars, Fleetwood Mac's Tusk represents both the last word in lavish California studio pop and a brave but tentative lurch forward by the one Seventies group that can claim a musical chemistry as mysteriously right—though not as potent — as the Beatles'. In its fits and starts and restless changes of pace, Tusk inevitably recalls the Beatles' "White Album" (1968), the quirky rock jigsaw puzzle that showed the Fab Four at their artiest and most indecisive.
Like "The White Album," Tusk is less a collection of finished songs than a mosaic of pop-rock fragments by individual performers. Tusk's twenty tunes—nine by Lindsey Buckingham, six by Christine McVie, five by Stevie Nicks — constitute a two-record "trip" that covers a lot of ground, from rock & roll basics to a shivery psychedelia reminiscent of the band's earlier Bare Trees and Future Games to the opulent extremes of folk-rock arcana given the full Hollywood treatment. "The White Album" was also a trip, but one that reflected the furious social banging around at the end of the Sixties. Tusk is much vaguer. Semiprogrammatic and nonliterary, it ushers out the Seventies with a long, melancholy sigh. 
If Christine McVie and Stevie Nicks were the most memorable voices on Fleetwood Mac and Rumours, Lindsey Buckingham is Tusk's artistic linchpin. The special thanks to him on the back of the LP indicates that he was more involved with Tusk's production than any other group member. Buckingham's audacious addition of a gleeful and allusive slapstick rock & roll style—practically the antithesis of Fleetwood Mac's Top Forty image — holds this mosaic together, because it provides the crucial changes of pace without which Tusk would sound bland.
The aura of romance is finally the real substance of Fleetwood Mac's music. If the band has an image, it's one of wealthy, talented, bohemian cosmopolites futilely toying with shopworn romantic notions in the face of the void. Such an elegant gossamer lilt is also synonymous with the champagne buzz of late-Seventies amour. But perhaps, as Tusk's ominous title cut and other songs suggest, in today's climate of material depletion and lurking disorder, the center of things—including Fleetwood Mac themselves — cannot hold. Plagued by internal conflicts and challenged by New Wave rock, this psychedelically tinted folk-rock tribe might well be the last and most refined of a breed of giddy celebrants who, from the early Sixties on, prospered on the far shore of the promised land as they toasted the pure splendor of a beautiful and possibly frivolous pop dream.
Can this dream survive the economic chill of the Eighties? How far can Lindsey Buckingham's rock & roll primitivism carry Fleetwood Mac when folk music, not rock, is really the basis of their style, and when erotic fluctuation remains their central preoccupation? Tusk finds Fleetwood Mac slightly tipsy from jet lag and fine wine, teetering about in the late-afternoon sun and making exquisite small talk. Surely, they must all be aware of the evanescence of the golden moment that this album has captured so majestically. ~ [Source : RS, STEPHEN HOLDEN 1979]Artist Fact File
Name:Fleetwood Mac................Related to³:John Mayall
Yrs Active:1967 to now............Site:www.fleetwoodmac.com
Best Song¹:Dreams.................#1fan:www.fleetwooodmac.net
Best Album²:Rumours...............Grammy Awards:1
Albums Sold:100 Million +.........Next best thing:Undecided
¹Number of downloads WINMX ²Artistdirect choice ³Associated acts or collaborations
Rolling Stone Top 500 Songs ranked this song at Number (It was not classic enough for us) and the Album ranked at Number (We have standards yanno)
This song has a crowbarred rating of 74.7 out of 108
Click play to hear the rest of the album
Tags:Fleetwood Mac, 1979, Rock, Rick Astley, Stevie Nicks, Beach Boys, YouTube, Music Video, Rolling Stone Magazine, Crowbarred, New Zealand, Crowbarred Unleashed, The Definitive 1000 Songs Of All Time, Mellow Mix Volume 1, Mellow Mix Volume 2, Mellow Mix Volume 3, Mellow Mix Volume 4, Mellow Mix Volume 5, Mellow Mix Volume 6, Mellow Mix Volume 7, Mellow Mix Volume 9, Mellow Mix Volume 10, Mellow Mix Volume 11, Mellow Mix Volume 12
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