“When we were locked up in Studio D for a year - with the shrunken heads and leis and Polaroids and velvet pillows and saris and sitars and all kinds of wild and crazy instruments and the tusks on the console, like living in an African burial ground - it was heavy, intense heavy,” Nicks said in the reissue liner notes.Ĭhristine McVie called the excess “quite absurd” in a 2015 Uncut interview. The band transformed Studio D into their own weird, expensive oasis - ordering fancy lobster dinners and lavishly decorating vocal booths. Given their collective lack of self-control, they should have known that their plan wouldn’t work out. (The quintet considered thanking their cocaine dealer in that record’s credits before he was killed via gang violence.) The solution: avoid the punch-clock by investing their royalties into a space at the Village Recorder, a state-of-the-art studio that formerly functioned as a Masonic Temple and meditation headquarters of Maharishi Mahesh Yogi. They’d already envisioned recording a double LP, allowing each of their songwriters enough room to stretch out - but that plan promised financial ruin after the drug-and-drink-fueled sessions for Rumours. Ironically, the band entered the Tusk sessions with a more frugal mindset. They eventually racked up more than $1 million in costs, the first LP to ever cross that threshold. Fleetwood Mac recorded the bulk of Tusk in their own space at L.A.’s Village Recorder, Studio D, which they had built using some of their advance album royalties.
In honor of Tusk‘s 40th anniversary, here are 10 things you may not know about the band’s most outrageous LP.ġ.
“ We were all down with getting heavy, but Lindsey was really trying to make it weirder and heavier than any of us were able to comprehend.
“I think Tusk is a spectacular record,” Nicks said in the liner notes to the album’s 2015 reissue. And they wound up with 20 songs that showcased each facet of their style - from the twangy, galloping mania of “That’s Enough for Me” (which Buckingham once described as “rockabilly on acid”) to the title track’s brassy, percussive chaos. They did, of course, in the most Fleetwood Mac way possible: with lots of drama and loads of cocaine.
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