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Tusk (Deluxe) Deluxe Edition, Original recording remastered, Extra tracks


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Tusk (Deluxe) + Fleetwood Mac (Remastered/Expanded) + Tango in the Night
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Product Details

  • Audio CD (March 23 2004)
  • Number of Discs: 2
  • Format: Deluxe Edition, Original recording remastered, Extra tracks
  • Label: Warner Music
  • ASIN: B00009RAJJ
  • In-Print Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (114 customer reviews)
  • Amazon Bestsellers Rank: #10,629 in Music (See Top 100 in Music)

Disc: 1
1. Over & Over (Remastered Album Version)
2. The Ledge (Remastered Album Version)
3. Think About Me (Remasterd Album Version)
4. Save Me A Place (Remastered Album Version)
5. Sara (Remastered LP Version)
6. What Makes You Think You're The One (Remastered LP Version)
7. Storms (Remastered LP Version)
8. That's All For Everyone (Remastered Album Version)
9. Not That Funny (Remastered Album Version)
10. Sisters Of The Moon (Remastered LP Version)
See all 20 tracks on this disc
Disc: 2
1. One More Time (Over & Over) (Previously Unissued)
2. Can't Walk Out Of Here (The Ledge) (Previously Unissued)
3. Think About Me (Previously Unissued)
4. Sara (Previously Unissued)
5. Lindsey's Song #1 (I Know I'm Not Wrong) (Previously Unissued)
6. Storms (Previously Unissued)
7. Lindsey's Song #2 (That's All For Everyone) (Previously Unissued)
8. Sisters Of The Moon (Previously Unissued)
9. Out On The Road (That's Enough For Me) (Previously Unissued)
10. Brown Eyes (Previously Unissued)
See all 21 tracks on this disc

Product Description

Amazon.ca

A liner portrait of the big Mac, then coming off the commercial bonanza of Rumours, shows them looking anxiously at guitarist, singer, songwriter, and de facto auteur Lindsey Buckingham, a moment given weight by the sprawling ambitions behind this 1979 double album. Buckingham's superb sense of pop craft had catapulted the once blues-based rockers into multiplatinum ubiquity, and he responded not with a safe return to form but with an invitation for his songwriting partners to chase their respective muses. Comparisons to the Beatles' White Album abounded and remain apt: Stevie Nicks twirls dreamily through extended variations on her crystal visions, Christine McVie turns in a reliably fine set of sunny pop-rock cruisers and tender ballads, and Mick Fleetwood and John McVie sustain their reputation as one of rock's most powerful yet deft rhythm sections. Buckingham provides the wild cards, in largely self-recorded plunges into his own skittish psyche, culminating in the massive title song, beefed up by the University of Southern California's marching band, but more cannily in dreamy music-box exercises ("That's All for Everyone") and sudden bursts of gonzo, fuzz-toned rock ("That's Enough for Me"). Better than its detractors thought upon release, Tusk was a brave platinum "failure" that actually charts where subsequent Mac and Buckingham projects would go. --Sam Sutherland --This text refers to an out of print or unavailable edition of this title.


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Customer Reviews

4.3 out of 5 stars

Most helpful customer reviews

2 of 2 people found the following review helpful By Colin on July 8 2004
Format: Audio CD
Let's set the scene: It's 1979. 2 years ago, Fleetwood Mac had released "Rumours." A riveting musical soap opera, it topped the charts for 31 weeks, sold 12 million copies at the time (19 million to date) and launched 4 MONSTER hit singles. The group (actually, it was probably more just Lindsey Buckingham) decided to do a complete 180. The result was "Tusk." This album probably had more hype surrounding it when it came out than any other album ever made at that point. It debuted strongly, but only peaked at #4. After this, it didn't last long, burning out at 2 million copies. What was going on?
One: 1979 was an infamously slow year for album sales.
Two: The double-album was priced at an expensive-for-the-time $16.
Three: A national radio station played the album in it's entirety, so anyone with a recorder could get it for free.
Four: The album was nothing like Rumours, and people "didn't get it."
While all of these probably had to do with it, the fourth reason is probably the most relevant in this case, which is a shame, because this album is better than "Rumours."
Lindsey Christine and Stevie push their boundaries on this album to excellent results. Sara is a gem, but I DO reccomend just downloading the original version. Christine still offers her pop-flavored music, but it has more depth here. Lindsey is just cracked out and it shows on his songs. But then, the songs are all good.
I have this album on vinyl and CD. I love the "sleeve within a sleeve within a sleeve" concept. The collages and conceptual photographs also make for interesting art. And what is with the dog?
Very few artists have the guts to follow a massive album with a totally non-commercial follow-up.
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1 of 1 people found the following review helpful By John Murray on June 19 2013
Format: Audio CD
Fleetwood Mac was under great pressure to release another "Rumours", one of popular musics all-time great albums. It was an impossible task; the Eagles went through a similar issue in trying to follow up their classic "Hotel California", and also had fallen short with the reasonably popular, but disjointed, "The Long Run". "Tusk" was considered a failure at the time, and a lot of the music was confusing to fans looking for more of the Fleetwood Mac from their previous two albums.

Going back to my original thoughts on the album, I was a bit confused as well. The very personal nature of "Rumours" seemed to be gone, and the sounds were disjointed. It was the sound of a band in the first stages of fracture, and it was hard to swallow, because what had made "Rumours" so special was that the breakups of the band members' personal relationships unified their musical resolve. Almost three years had passed since "Rumours", and you could literally hear the three songwriters going in their own directions, and I swear I can hear remorse in the rhythm section, who could only watch as the band started its slow descent.

As time has gone by, though, I cherish "Tusk". To me, what makes it special is that the three songwriters were indeed their own people - in some ways, it's three solo albums intermingled. Buckingham was the adventurous one for sure, with first single "Tusk", "The Ledge", "What Makes You Think You're The One" and "Not That Funny" leading the way. Stevie Nicks and Christine McVie were somewhat less adventurous than Buckingham, but you can see their styles evolving. McVie was a pop princess, as evidenced from her past hits, but she put herself into Buckingham's production style, notably on "Think About Me".
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By Louis TOP 500 REVIEWER on Dec 14 2009
Format: Audio CD Verified Purchase
"Tusk", the twenty-song highly-anticipated follow-up to Fleetwood Mac's cult album "Rumours", more than baffled everyone's expectations when it was released thirty years ago. While music historians have endlessly outlined the fact that the band went for a cutting-edge and experimental approach, most notably on Lindsey Buckingham's songs, this description is overly reductive because the appeal of this album didn't simply lie in Buckingham's out-of-the-box tactics. In fact, as was the case on previous Fleetwood Mac albums, the complex interaction between the songs of the band's three singer-songwriter line-up (Lindsey Buckingham, Christine McVie and Stevie Nicks) is essentially what made "Tusk" such a compelling album. Glued together by the Mac's formidable rhythm section (Mick Fleetwood and John McVie), these three artists were always able to turn Fleetwood Mac's albums into something that sounded like a play featuring three fascinating characters, sharing their inner thoughts on the turmoils of romance.

On "Tusk", Buckingham's unpredictable songs were mostly rhythmic numbers that were heavily influenced by bands such as Talking Heads; the title track, "Not that funny", "I know I'm not wrong" and "The ledge" were as different from Fleetwood Mac's usual songs as they could get, while more melodic numbers such as "Walk a thin line", "Save me a place" and "That's all for everyone" provided a soothing counter-effect. Still, for all the talk regarding the creative risks taken by Buckingham on his songs, one must admit that Christine McVie also provided songs that were just as different from what she usually wrote.
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