How Not to Talk About Tusk

Fleetwood Mac's Tusk
By Rob Trucks
Barnes & Noble link

(For those interested in learning more about this amazing book series, check out their website at http://www.33third.blogspot.com/)

There is nothing greater than reading an entire dissertation on a classic album. That's where the 33 1/3 series comes into play. This is their bread and butter, letting writers to properly geek out and write about an album, approaching it from any angle they desire. Almost reaching that sweet spot of 100 entries, nestled into the 77th spot, is Rob Trucks' slender entry on the iconic and controversial Fleetwood Mac album Tusk. Would it be a straightforward historical document? A journey deep into the psyches of the band members? Or would it be a missed opportunity to talk about its nuances, but in its place "quirky" autobiographical details that really add nothing to the big picture? It's all of the latter.

The book can be separated into three parts: one part Trucks' autobiography during the pre- and post-Tusk release, most of the time having nothing to do with the album (who cares, really?); one part interview with Lindsey Buckingham (most of it just stuff you can learn by reading other interviews), and one part interviews with various musicians about how they feel about Tusk (lemme get a "who the f*** cares?!" over here!) It is a convoluted mess, plain and simple.

None of it makes sense, especially the life and times of our author, who honestly shouldn't insert himself like this in the history of such a game-changer of an album. So what if you were having neighbor issues while you were researching the album? What does this have to do with everything? Yes, "Tusk is a symbol", but not the way you think it is. Big deal, I was about six months old when Tango in the Night was released and you don't see me make a huge to do about it. 

There are times when the author can insert themselves into the time period that the album was released, capturing the mood and time with precise, sharp detail. That is where Jonathan Lethem succeeded with his take on Fear of Music. Rob Trucks failed because he couldn't resist making it all about him and how Tusk happened to be a blip in his world. Once again, how special snowflake of you, sir.

Please skip this entry with no doubt in your mind. You are missing nothing. I just hope that if 33 1/3 allows do-overs, someone can give Tusk the proper treatment it deserves. Without pretension, without unnecessary interviews, without a self-centered author.