Imagine a Fleetwood Mac album title so divisive that it nearly drove Stevie Nicks to quit the band. Yes, you read that right. While the band’s discography is a treasure trove of iconic titles like Rumours, Mirage, and Tango in the Night, one name stands out as a glaring exception: Tusk. But here’s where it gets controversial—Stevie Nicks despised it. According to her, the word ‘tusk’ lacked “anything beautiful or elegant,” a stark contrast to the band’s usual poetic flair. But why did this title spark such strong feelings? And this is the part most people miss—rumors suggest Mick Fleetwood chose it as a cheeky nod to phallic humor, a joke that completely sailed over Nicks’ head. “I don’t recall it being Mick’s joke about a…,” she once said, trailing off in bewilderment. Ouch.
Fleetwood Mac’s catalog is a sprawling empire, boasting 17 studio albums, collaborations with Chicago blues legends, EPs, live recordings, and compilations. It’s a discography so dense that even die-hard fans might struggle to keep up. Yet, remarkably, most of their work remains timeless, spanning genres from British blues to hard rock, pop, and folk. Even their more middling titles, like Kiln House or Say You Will, feel fitting. But Tusk? It’s an outlier—a title as eclectic as the album itself.
Tusk is a sonic rollercoaster, blending jaunty pop, silky ballads, and jagged new wave into a kaleidoscope of sounds. The title track, with its tribal chants and layers of percussion courtesy of the USC Marching Band, is a masterpiece of experimentation. Yet, when the band decided to name the album after it, Nicks was less than thrilled. Her contributions, like the wistful ‘Storms’ and the hauntingly beautiful ‘Sara,’ clashed with Lindsey Buckingham’s punk-inspired tracks, such as ‘The Ledge’ and ‘Not That Funny.’ The tension was palpable, and Nicks even threatened to leave if Tusk became the title.
But the album wasn’t just about musical clashes—it marked a seismic shift for the band. Buckingham ditched his signature long hair and beard, signaling the end of their soft rock era and the dawn of a more experimental phase. Despite its rhythmic intensity, Tusk was Buckingham’s brainchild, pushing the band into uncharted territory. The title track, with its orchestral grandeur, felt like a mission statement, breaking free from their comfort zone.
Yet, amidst the chaos, there are undeniable moments of brilliance. Nicks’ ‘Sara’ is a gut-wrenching masterpiece, her gravelly, tender vocals stealing the show. Christine McVie shines too, delivering her signature mid-tempo rock magic. But these gems are often overshadowed by the album’s indulgent sprawl.
In the end, Nicks was outvoted, and Tusk became the title. Though she stayed with the band, the experience fueled her solo ambitions. Less than two years later, she released Bella Donna, launching the most successful solo career of any Fleetwood Mac member.
But here’s the question: Was Tusk a misunderstood masterpiece, or a title that never should have been? Did Mick Fleetwood’s alleged phallic humor add depth, or was it a misstep? And did Stevie Nicks have a point about the title’s lack of elegance? Let us know in the comments—this is one debate that’s far from over.
