This once-buried treasure from August ‘77 is the very definition of a cult classic, like Skip Spence’s Oar or Chris Bell’s I Am the Cosmos. The sole solo album from the least significant (yet still considerably talented) Wilson brother, Pacific Ocean Blue has been expounded upon aplenty. Much of that revisionist praise hits the mark, but boasts of ‘you must hear this before you die’ strike me as overinflated.
First off: Could they have picked a more distant, boring, pointless photo for this thing?
The frenetically blurry pic adorning the original Live back in December ‘80 said everything. This poorly framed glimpse taken from Loge 57 Row Z says absolutely nothing beyond ‘these are the five people in this band.’ The shot of them embracing inside the gatefold would have made a much better cover.
I did warn you there would be more of this stuff. Nearly a quarter of the way through this century we have easy access to the cream of Fleetwood Mac’s concert crop from three-quarters of the way through the previous century — and at this point that almost seems by design.
Mick Fleetwood was keen to put out a live set not long after ‘Rumours’ arose but the rest of the band shot the idea down. Didn’t stop them from recording an estimated 400 shows between ’75 and ’80 during increasingly in-demand tours that built this particular Mac’s reputation almost as much as their multiplatinum monoliths.
That’s right, Mac watchers, you’ve guessed correctly: It’s time now to resurrect a trove of Tusk-an tour mementos. Buckle up, kids, because there are two more live sets right behind this one — literally seven LPs & 14 sides of performances to get through before we take a fresh look at 1982’s Mirage.
If you’ve spent time listening to any of these alternate versions of Fleetwood Mac’s beloved behemoths, whether in vinyl form (like this parallel Tusk) or via scores of tracks that litter deluxe-edition digital copies, you’ve got to admit: Sometimes it’s really hard to discern much difference between outtakes and finished products.
I hardly know where to begin with this beast.
Were this an ongoing deep dive into the varied sounds of Lindsey Buckingham, I’d know exactly how to start: Despite memorable material from Christine McVie and Stevie Nicks — including the utterly gorgeous, sometimes seductive ‘Sara,’ my pick for the latter’s peak moment in Fleetwood Mac or otherwise — this thing still plays like LB’s first solo LP.
Those kindly following my sporadic deep dive into Christine McVie’s legacy will recall I pressed pause on that series a month ago, after revisiting Rumours and its alternate edition. Chronologically speaking, it made a lot of sense to wait on this just-released 2LP memento, captured during the first of three nights in August ‘77 at the then-Fabulous Forum, a sort of homecoming for the gone-platinum group.
Yes, I’m still insisting the alternate versions of Fleetwood Mac’s most popular albums (‘75-‘87) are worthy of individual assessment amid this deep dive into the discography of the late great Christine McVie.
When it comes to the rough-cut mirror-image of Rumours, though, many of the truly illuminating session gems are only bonus bits on the ‘Super Deluxe’ edition of this blockbuster. Fortunately for fans unwilling to splurge or incapable of spending so lavishly, those tracks are streaming as well.
Gawd, not this thing again.
I confess: My deep dive into Christine McVie’s discography that began soon after her death last December has been stalled for far too long by Rumours.
I suspect you may have some questions.
‘Wait … didn’t you just write about this album a month ago?’
Yes. Well … sort of. In a way. But also … no, not really.
‘Is that a different cover? I don’t remember Mick looking like that, or staring directly at the camera.’
Your memory serves you well. This is the ‘alternate’ version of Fleetwood Mac’s self-titled ‘75 breakthrough.