I love Tusk for all it's Brian Wilson-style oddness and sonic depth. Robert Nolan: Everything is better when Lindsey was running the show.

As a piece of pop art, it's peerless.' ( AllMusic) Of course, that's why it bombed upon its original release, but Tusk is a bracing, weirdly affecting work that may not be as universal or immediate as Rumours, but is every bit as classic. 'This is mainstream madness, crazier than Buckingham's idol Brian Wilson and weirder than any number of cult classics. Also, it doesn't make for very good background noise.' ( Robert Christgau) But only Buckingham is attuned enough to get exciting music out of a sound so spare and subtle it reveals the limits of Christine McVie's simplicity and shows Stevie Nicks up for the mooncalf she's always been. 'The passionate dissociation of the mix is entirely appropriate to an ensemble in which the three principals have all but disappeared (vocally) from each other's work. In its fits and starts and restless changes of pace, Tusk inevitably recalls the Beatles’ White Album (1968), the quirky rock jigsaw puzzle that showed the Fab Four at their artiest and most indecisive. 'At a cost of two years and well over a million dollars, Fleetwood Mac’s Tusk represents both the last word in lavish California studio pop and a brave but tentative lurch forward by the one Seventies group that can claim a musical chemistry as mysteriously right – though not as potent – as the Beatles’.

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