![]() ![]() Only Greil Marcus saw it for what it really was a total mindfuck. And the subversion of what was expected after ‘Rumours’ and the creative space it created also gave the band (and primarily Buckingham) reason to continue making music in Fleetwood Mac for the next decade. Today, the influence of ‘Tusk’ extends from chillwave to freak folk. Creem called it “dull” and compared it to a “white elephant” while the Los Angeles Times mistook its wonderful eclecticism for confusion, complaining that it sounded like “a random collection of tunes.”Īlthough misunderstood at the time, the album’s cobweb-filled sound later found fans in Air, The Strokes and Vetiver. When it was released in October the press reaction was muted. ![]() Meanwhile Christine McVie’s ghostly ‘Brown Eyes’ (which appropriately enough contained a cameo from former Mac legend Peter Green) and the stark ‘Never Make Me Cry’ felt like something which was almost too revealing to be committed to tape. Stevie Nicks was penning tracks like the schizoid double of ‘Sisters Of The Moon’ and ‘Sara’ (at one point 15 minutes long). An old tape which got left out in the rain, got run over by a bus and then lovingly pieced back together by elves.īut Buckingham wasn’t the only one who’d had an extreme reaction to the massive fame ‘Rumours’ brought. The brilliance of ‘Tusk’ is that although it cost over a $1 million to make (unheard of at the time), it sounds like it was recorded on an old tape. You can hear these effects on the scraggy cowpunk of ‘The Ledge’ and the mutant beast that is the title track. ![]()
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