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. 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.
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. 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. 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, and in turn gave the group a blank check for their next album.
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