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Tusk is the twelfth studio album by British-American rock band Fleetwood Mac, released as a double album on 12 October 1979 in the United States and on 19 October 1979 in the United Kingdom [5] by Warner Bros. Records.
The 1967–1969 era Blue Horizon albums (Fleetwood Mac, Mr. Wonderful, The Pious Bird of Good Omen, and Fleetwood Mac in Chicago) and the 1971 outtakes album The Original Fleetwood Mac have been remastered and reissued on CD, as have the 1975–1987 era Warner Bros. studio albums (Fleetwood Mac, Rumours, Tusk, Mirage, and Tango in the Night).
"Save Me a Place" was first performed during Fleetwood Mac's Tusk Tour. A live recording from the band's tour stop in St. Louis on 5 November 1979 was included on the deluxe edition of Tusk in 2015. [6] Buckingham later revived the song as an encore for his 1992-1993 Out of the Cradle Tour.
"Tusk" is a song by British-American rock band Fleetwood Mac from the 1979 double LP of the same name. The song peaked at number eight in the United States for three weeks, reached number six in the United Kingdom (where it was certified Silver for sales of over 250,000 copies), number five in Canada, and number three in Australia.
"Brown Eyes" is a song by Fleetwood Mac from the 1979 double LP Tusk. It was one of six songs from the album composed and sung by Christine McVie. The song includes uncredited playing from founding member Peter Green. "Brown Eyes" was performed on the Mirage Tour and the Shake the Cage Tour. [2] [3]
Last month marked the 45th anniversary of Fleetwood Mac’s 12th studio album, Tusk, which marked a new experimental era for the band. While the anniversary and reinvigoration of the band’s ...
To commemorate Rumours' 45th anniversary, we’re taking a trip through each of the landmark album's 11 still-resonant tracks. Fleetwood Mac’s Rumours: Still Flawless at 45 Gary Graff
Cath Carroll, Fleetwood Mac biographer and author of a book on the creation of Rumours, likened the rhythm of "I Know I'm Not Wrong" to that of "The Ledge", another track from the Tusk album. "A silly little synth riff toward the end puts an odd-sounding date stamp on the piece and is, in its perky way, the most jarring element on the album.
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