Tag Archives: tusk

#1346: Fleetwood Mac – That’s All for Everyone

In January 2014, it was officially announced Christine McVie would be rejoining Fleetwood Mac after leaving the group 15 years earlier to pursue this nice little thing called retirement. I was working as the host on my radio show back in university and used that news to slide in a Fleetwood Mac song into its playlist, specifically ‘Think About Me’ which McVie wrote and took lead vocals on. I write all this to say I must have listened through Tusk in order to get to know that song and the one that’s the subject of today’s post. When exactly I downloaded the band’s 1979 double album is something I can’t tell. All the info is on my old, very, very slow laptop whose monitor doesn’t turn on and that I have to connect to the TV in order to see what’s going on. I’ll get back to you on that one. I do have a hazy memory of being sat at my desk in my room and hearing ‘That’s All for Everyone’ and liking it then and there. But I need those dates to be sure.*

Of the first 10 tracks of Tusk, half of them were written by guitarist and vocalist Lindsey Buckingham. It’s no secret the guy took the reins after the band’s success with Rumours, insisting the band go in a different direction to avoid creating a virtual sequel. He cut his hair. He was reportedly lying down on the ground in strange positions while laying down vocals. He was certainly inspired. ‘That’s All for Everyone’ got me because… man, I could just sink into a bed while listening to it. The whole production behind it is so light and tasteful. Gentle charango strumming, a kind of lute that I never knew was used in this song until writing this. John McVie’s bass guitar working those lines. The kalimba playing those downward scales at various points. And of course the harmonies by all three songwriters. My favourite part of the entire track comes in the form of those wordless vocalizations that come in at 1:42, where you’d probably expect something like a guitar solo. An absolute moment of euphoria right there.

The song was inspired by that universal moment when the house lights come on at the end of an event and it’s time for everyone to go home. But there’s also a very human feeling about the song that I think everyone can relate to. That feeling of ‘that’s enough’ / ‘I’m done’… that feeling of just letting it all go and having a solid inner peace that comes along with it. At least that’s what I get when I hear this specific combination of words and music. It’s very mantra-like. Something to recite to yourself when trying to find that state of relaxation. Meditative is the word, it’s a very meditative track. I appreciate it a lot. It’s sort of undercut by the rocking, in-your-face number – also by Buckingham – that follows it on the album, but I’m sure that’s done very purposely. But that point is neither here nor there. ‘That’s All for Everyone’ is a fine track. Tame Impala did a cover of it a while back. I guess that’s all right. It’s all about the original for me.

*So I looked, and I downloaded the album on the 30th December 2013. That means I would have been home for the holidays. I certainly listened to it at uni, though.

#724: Fleetwood Mac – The Ledge

To cut the long story short, Lindsey Buckingham didn’t want to make a second Rumours – an album that was absolutely huge in 1977 and considered a classic in rock history. He cut his hair and went on to follow some unorthodox methods of making songs, recording his vocals in a push-up position and sometimes just playing all the instruments by himself at his home.

A lot of these home-studio recordings ended up on Fleetwood Mac’s double album Tusk, the record that eventually followed Rumours and took a few people by surprise just because of how strange it could get in places. ‘The Ledge’, written by Buckingham, features the guitarist taking on the percussion, bass, and vocals here – and is yet another that is surely directed at bandmate and ex Stevie Nicks, minus the gloss and production value that threaded throughout its predecessor.

The track has this country do-si-do twang to it aided by its 2/4 time signature and the dry timbre of the guitars and drums. While all this make the song an upbeat composition to dance to, one can’t dismiss the bitterness of Buckingham’s lyrics that tease a former lover, telling her that she’ll never find anyone as good as him. There were obviously a lot of strong feelings that carried over from their previous project. Even so, as the second track on Tusk, it acted as a clear statement that this wasn’t going to be a typical Fleetwood Mac album if you hadn’t already guessed by the wealth of material that was on it.