FLEETWOOD MAC tusk WARNER BROTHERS 2HS 3350 (1979 DOUBLE ALBUM set) Near Mint

$

22

FLEETWOOD MAC tusk Warner Brothers Records 2HS 3350 (1979 2 record set)

Tracklist

A1 Over & Over Written-By – Christine McVie 4:35 A2 The Ledge Written-By – Lindsey Buckingham 2:02 A3 Think About Me Written-By – Christine McVie 2:44 A4 Save Me A Place Written-By – Lindsey Buckingham 2:40 A5 Sara Written-By – Stevie Nicks
6:26 B1 What Makes You Think You're The One Written-By – Lindsey Buckingham 3:28 B2 Storms Written-By – Stevie Nicks 5:28 B3 That's All For Everyone Written-By – Lindsey Buckingham 3:04 B4 Not That Funny Written-By – Lindsey Buckingham 3:19 B5 Sisters Of The Moon Written-By – Stevie Nicks
4:36 C1 Angel Written-By – Stevie Nicks 4:53 C2 That's Enough For Me Written-By – Lindsey Buckingham 1:48 C3 Brown Eyes Written-By – Christine McVie 4:27 C4 Never Make Me Cry Written-By – Christine McVie 2:14 C5 I Know I'm Not Wrong Written-By – Lindsey Buckingham
2:59 D1 Honey Hi Written-By – Christine McVie 2:43 D2 Beautiful Child Written-By – Stevie Nicks 5:19 D3 Walk A Thin Line Written-By – Lindsey Buckingham 3:44 D4 Tusk Performer – The U.S.C. Trojan Marching BandWritten-By – Lindsey Buckingham 3:36 D5 Never Forget Written-By – Christine McVie
3:40

*(all photos are of the actual item)

• Copyright (c) – Warner Bros. Records Inc.
• Recorded At – The Village Recorder
• Mastered At – Capitol Mastering
• Mastered By – Ken Perry
• Recorded By [Assistance And Additional] – Hernán Rojas
• Recorded By [Some Tracks At Home] – Lindsey Buckingham

Notes

Recorded at The Village Recorder. Some tracks recorded by Lindsey Buckingham at home. The U.S.C. Trojan Marching Band recorded live at Dodger Stadium. Mastered at Capitol Records.

The U.S.C. Trojan Marching Band appears on the song "Tusk"
Recorded live at Dodger Stadium.

The photo on the outer front cover is embossed.

Double inner jackets.
The discs are housed in thick card inners with photos and artwork
printed on them. Two additional inner jackets are provided which are
slightly larger than the ones that the discs are in for easy insertion.
Both sets are numbered 1 - 4.

• Pressing Plant ID (Etched in the deadwax, all sides): ??
• Matrix / Runout (Side A): 2HS-1-3350 WW3 F42 #5 MASTERED BY CAPITOL –––? KP
• Matrix / Runout (Side B): 2HS-2-3350 WW2 F42 #3 MASTERED BY CAPITOL –––? KP
• Matrix / Runout (Side C): 2HS-3-3350 WW5 F44 #3 MASTERED BY CAPITOL –––? KP
• Matrix / Runout (Side D): 2HS-4-3350 WW8 F65 #2 MASTERED BY CAPITOL –––? KP

AllMusic Review by Stephen Thomas Erlewine
     More than any other Fleetwood Mac album, Tusk is born of a particular time and place -- it could only have been created in the aftermath of Rumours, which shattered sales records, which in turn gave the group a blank check for its next album. But if they were falling apart during the making of Rumours, they were officially broken and shattered during the making of Tusk, and that disconnect between bandmembers resulted in a sprawling, incoherent, and utterly brilliant 20-track double album. At the time of its release, it was a flop, never reaching the top of the charts and never spawning a true hit single, despite two well-received Top Ten hits. Coming after the monumental Rumours, this was a huge disappointment, but the truth of the matter is that Fleetwood Mac couldn't top that success no matter how hard they tried, so it was better for them to indulge themselves and come up with something as unique as Tusk. Lindsey Buckingham directed both Fleetwood Mac and Rumours, but he dominates here, composing nearly half the album, and giving Christine McVie's and Stevie Nicks' songs an ethereal, floating quality that turns them into welcome respites from the seriously twisted immersions into Buckingham's id. This is the ultimate cocaine album -- it's mellow for long stretches, and then bursts wide open in manic, frantic explosions, such as the mounting tension on "The Ledge" or the rampaging "That's Enough for Me," or the marching band-driven paranoia of the title track, all of which are relieved by smooth, reflective work from all three songwriters. While McVie and Nicks contribute some excellent songs, Buckingham owns this record with his nervous energy and obsessive production, winding up with a fussily detailed yet wildly messy record unlike any other. This is mainstream madness, crazier than Buckingham's idol Brian Wilson and weirder than any number of cult classics. Of course, that's why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. As a piece of pop art, it's peerless.