Heard now, it uncannily echoes The Beatles’ White Album as its four sides traverse Lindsey Buckingham’s frazzled missives, Stevie Nicks’ ongoing magic carpet ride and Christine McVie’s earthily melodic soul stirrers.
Hopefully, this expanded edition might give the controversial set some overdue reappraisal.Īs bassist John McVie said, Tusk sounded like the work of three different songwriters. While it reached No 4 in the US, the top of the charts in the UK and shifted four million double units, it was considered a flop and a target for sneering disdain from then-prevalent punky enclaves. It showed little desire to follow the formula which had seen Rumours clock up sales of 17 million and suffered from inevitable comparisons with its predecessor, despite being a very different beast. On its 1979 release, some called Fleetwood Mac’s double album Tusk a self-indulgent folly, while others praised both its epic scale and unflinching depiction of the band’s precarious internal equilibrium.
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