But then when it didn’t sell 16 million albums like Rumours, there was a kind of a rethink about whether that was what we wanted to do.”īuckingham says he quickly “realized the only way for me to continue to explore the more left side of my talent – which I was pretty sure was where the growth was going to lie for me as an artist – was that I was going to have to do it on solo albums. Mick and everyone else was initially sort of skeptical about what I wanted to do on Tusk, and then got drawn into it. “I probably would’ve been quite happy to go on making more esoteric albums like that in Fleetwood Mac, but the politics dictated otherwise within the band. “I wanted to undermine the external expectations that were about to take hold of us as a band had we made something like Rumours 2,” he explained. … It wasn’t for lack of trying.”īuckingham said he deliberately ensured that Tusk was a different kind of album from its predecessor, Rumours. And we were still hoping to make that a Fleetwood Mac album, and Stevie wouldn’t do it. Featured peformers: Lindsey Buckingham (producer, arrangements, additional engineer), Richard Dashut (producer), Greg Droman (engineer), Stephen Marcussen (mastering engineer. Rated 100 in the best albums of 1987, and 5998 of all-time album.
“Christine had a bunch of song ideas and I helped her with those, and we eventually went in the studio and cut those. Tango in the Night, an Album by Fleetwood Mac. He said the band staged another “effort to engage” Nicks once McVie rejoined. In defending the brand, as opposed to defending the creativity, I think she kind of lost track of her writing a little bit, and maybe didn’t think she had anything she felt she could offer, and so did not want to be a part of it.” She, on the other hand, has sort of gotten a little bit disoriented in her wanting to pursue Stevie Nicks in capital letters, if you will. Buckingham says he assumed “that part of it is because I’d been very prolific, and that comes down to choices I’ve made.