Glossy, but not intimate...nor personal ()

Just recently I began collecting the 12-inch remixes of singles released from "Tango in the Night", and they show what a much richer album it might have been with some judicious planning. Stevie Nicks has nearly been left out of the mix (she was touring with Dylan and Petty while most of the album went down), although on the DJ remixes she is certainly present (especially on "Little Lies", where she gets a neat solo). Nicks' spotlight songs are her weakest in ages, starting with the wan "Seven Wonders" (written by Sandy Stewart with lyrics "augmented" by Nicks!). Lindsey's "Big Love" sounded good on the radio, but it hasn't held up (his recent gritty live versions of this tune are actually much better than what we get here). Christine comes through with her usual style and grace, though her closer with Lindsey, "You and Me Part II", is a bummer, as is the feeling that Fleetwood Mac wasn't really a cohesive unit any longer. They were friends united by the need to make money. BEST: Little Lies, Family Man, Everywhere, Isn't It Midnight, Welcome To the Room, Sara.

Fleetwood Mac Still the Best ()

Tango in the Night. I was 33 yrs. old and was very familiar with the group.
All I can say is this: A great band, a great album.
Christie McVie is not touring, but she was a very big part of the band.
They all produced great music. Great harmony and great memories.
I would stack them up against any "Band" of today.

My first Fleetwood Mac Album ()

In 1987, I was 11 years old, and having heard 'Big Love' by this band called Fleetwood Mac, I was surprised that even my Mum and Dad knew who they were and liked them! Obviously at 11, I knew nothing of the groups' past or hey-day, but it was 'Tango in the Night' that introduced me to the band and subsequently made me develop a huge interest in the group and their huge back catalogue of music. The album, to me, is a classic. From the minute I heard 'Big Love' on the UK Top 40 countdown one Sunday afternoon, I knew I'd love the album. My absolute favourite tracks are 'Isn't It Midnight', a sure-fire driving track that you just HAVE to turn up wherever you are! I also love 'Everywhere' for a its pure majestic beauty, while the title track is also a dark, brooding number which still totally captures my imagination even now nearly 20 years on. Stevie Nick's heartfelt 'When I See You Again' is one of my favourite compositions by her, while the track 'Welcome to the Room...Sara' continues Nicks's poetic leanings and references to her inner-self as 'Sara'. The album is generally considered 'hit packed' and one of their greatest releases which is arguable among the older Fleetwood Mac fans that grew up with them in the 60's and 70's. For me though, the album captures the 80's and my childhood perfectly!

Better Than Mirage... ()

The songs are a lot more attractive than those of Mirage. "Isn't It Midnight", "Everywhere", and "Seven Wonders" have emerged as my faves, with Lyndsey's awesome solo at the end of "Isn't It Midnight." A very good album.

End of an Era ()

Tango in the night was sadly the last studio album the Rumours linup has done, and considering statements by Christine McVie, it will be the last. Created as a result of Lindsey Buckingham's solo work and his assistance with Mick Fleetwood, the Mac pulled together for one more album. With Stevie Nicks right out of rehab and the band's first album in five years, anyone could imagine the difficulty of making Tango. Big Love sets the tone for the album, a forboding and driving song, ripe with Buckingham's spacey-sounding guitar. The 'uh, ah's' reinforce the tention between Buckingham, Nicks, and the rest of the band. Seven Wonders, the second big hit off of Tango, is a lighter, popish tune and one of the last hits Nicks had with the band until Say You Will. It's a lighter look at past times with Buckingham possibly, or another lover. The striking line from this song is "I'll never live to match that beauty again". This becomes truer with time, and reflects a young, loving realtionship she once had. Everywhere is a typical upbeat song by McVie, most likely regarding her relationship with second husband and keyboardist, Eddie Quintela. Some claim its a last tribute about her love to Dennis Wilson, who drowned at age 39 in 1983. Such would make sense in the line "come along baby, better make a start, better make it soon before you break my heart". However, it seems at this point the song reflects Quintela. Caroline describes a love/hate relationship in which (possibly) Buckingham is enthralled and appalled at the same time with this woman. Lines such as "she's s so attractive, she's so reactive" illustrate a hot cold love. While he knows this, he underdtands it's hard to leave such a relationship with the line, 'cut the cord if you can'. To enhance this, 'the cord' coult mean a musical chord, stating the difficulty in writting a song like this. Also, Buckigham lived with model Carol Ann Harris from '77-'84, possibly shedding light on the name. The self titled track Tango is another revelation of Buckingham's past relationships. The melodic snare and again, spacey-guitar section give off the impression of a constant force in his life, realtionships(the snare) and the madness that ensues from them(the guitar). His reference to 'keep the dream in my pocket' refers to the song 'Dreams' the only Mac song to date to go #1 on Billboard. Also, it symbolises the time when dreams came out, his breakup with Nicks, and also the dream of making it big. A complex song lyrically and musically, something Buckingham does well. Mystified is keyboard strong song by McVie, encapsulating her songs on love, not so much about one person or another but a general song of the first feelings one feels when first in love. The excitement, nervousness, and awe one feels when in love at the begining of a relationship. Few people can keep that flood of emotion over the course of a relationship, but this song highlights that emotion. Little Lies, the big hit off Tango, is a easy, sing along that embraced much of the 80's. Nick's vocals on refrain reinforce the message of the song. Some hold this is about John McVie, Mac bassist and first husband. Their marriage fell apart in '76 and divorced in '77. While it has been 10 years since and both remarried, she still thinks if 'I could turn a page, in time I would rearrange just a day or two'. By changing the past she thinks it might have worked out between them, or again, possibly Dennis although McVie was her first love. While she regrets the past, she holds that 'we're better off apart', stating its easier we're not together anymore. This line here reinforces the song is about McVie, since Eddie has been dead for 4 years. Family Man is a strange song for a man who will not have kids for 10-12 years. Even if the band was his 'family', he left shortly after Tango was made. The only other possibility is his own family, his "mother, father, brother"(repeated in the chorus) in life. This statement could be the reason he left the Mac and music recording for a little over a year. Welcome to the Room...Sara is part two of three of Nicks' story in Tango. Widely believed to be her reflections on rehab and the effects, she highlights the transition in her own life with the silver screen Scarlet O'Hara, who after her house burned and love died, become a stronger woman. While Nicks' house was not burned by Union soldiers, her life underwent a similar path. Rehab made her a differnt person, physically and emotionally. I would like to think she went in as a girl and came out a woman. Similar to Scarlet, the continous parallel. Isn't it Midnight is a great rock riff, made for air guitar . A song about a love long ago again possibly John, it might in some way allude to thier early realationship. He was in the U.S. while she was with Chicken Shack in Europe(on the other side of the world, do you remember the face of a pretty girl). When I See You Again is one of the most despondent and haunting songs of Nicks' with the Mac. While she saddened us with 'Storms' on Tusk, she us with When I see you again. The low point(emotionally and musically) of her three songs on Tango, it is a truthful and biting account of her relationship with Buckingham between Mirage and Tango, and her dealing with how she felt about him. It's a endnote on a relationship that lasted at least 14 years romantically, and longer musically. For those who have had long or intense relationships, this song hits home. You and I Pt II is a upbeat end to a staggering career of Buckingham, Nicks, Fleetwood, and the McVies. It sets the stage for the parting of ways.

Their Best Album ()

This is their best album, I think. The songs are inventive, beautifully arranged, and excellently recorded. There is none of the self-absorption soap opera of Rumours, and it is more sonically comprehensive and subtle that Tusk. It is as fresh now as it was in 1987, and does not at all sound dated. Noteworthy are Christine McVie's contributions with Lindsey's arrangements, notably with the synth. In a way, this is an alblum that partners Christine and Lindsey in the same way Say You Will does Lindsey and Stevie. However, it is the Lindsey/Christine partnership that wins musically. "Everywhere" is probably one of the greatest songs ever commited to plastic.

One of the best albums since Rumours ()

Tango In The Night certainly belonged in the 80's and it was brilliantly made. I'm only 14 and I love Fleetwood Mac and this is one of my favorite albums. But I think this album should of been the last Fleetwood Mac and Fleetwood Mac should of finished their music carrer, but with there courage and love, Fleetwood Mac continued to make some great albums. Rock on Fleetwood Mac

Shimmering with substance ()

Tango In The Night, released in 1987, and coming off of a five-year hiatus for the band, embodies all that was great about The Mac's previous 4 offerings. While not as emotionally charged as Rumours, not as innocent as Fleetwood Mac, not quite as experimental as Tusk, and not as subtle as Mirage, this album is a winner. Tracks like "Caroline," and "Big Love" show a knack for catchy melodies and rhythms that is Lindsey Buckingham's trademark, while others such as "Little Lies" and "Everywhere" ride that familiar wave of emotion we've come to expect from Christine McVie.

Stevie Nicks turns in a competent, if not entirely commendable effort. "When I see You Again" is her best track on the album, it clearly gets its message of lost love across. Perhaps the two most intruiguing tracks on the album, "Mystified" and "You and I, Pt. II," (both collaborations between Buckingham and McVie) show that the band could still collaborate in the best sense of the word, and produce beautiful results.

Given the chance to sink in, Tango In The Night surely will. This is an album that shows off every single strength this great band possesses. The imagery of Stevie Nicks. The sweet lingering emotions put forth by McVie, and the production, arranging, and guitar work by Buckingham. However, at this point in time, inter-band relations weren't at their peak, so these strengths couldn't be *FULLY* realized like they were in Rumours or Fleetwood Mac.

My favorite album... ()

This album is so good! In fact, I'm listening to it right now. This album has so many moods and colors which makes it so good. All the members put forth good contributions and the result is this really cool album. This is definately one of the bands best and it all carries a tropical theme with it (obvious with the album cover, which is perfect for this album) and it was sort-of a healing time for the band, so its not all "superfull" of emotions like "Rumours". But like said before, this is one of their best. My favorite is "Seven Wonders". (just look at my email address.)

STILL THE TANGO PLAYS ON. ()

THIS ALBUM IS STILL FRESH COOL & VIBRANT IT IS PERFECT FOR THOSE LONG SUMMER NIGHTS OR FORTIMES WHEN YOU NEED TO BE ALONE UNLIKE OTHER ALBUMS OF THE LATE 80s TANGO STILL STANDS THE TEST OF TIME.

The Mac came back! ()

This album comes five years after the semi-hit album "Mirage." Lindsey Buckingham and Christine McVie really shine on this record.

Fleetwood Mac seemed to have made a conscious effort to update their sound this time around. Back in '87 I think synthesizer pop was running rampant. Lindsey has some great songs including 'Big Love', 'Family Man', and 'Tango in the Night.' The latter of which has an unbelievable guitar solo at the end much like "I'm So Afraid."

As I said, Christine really does well on this record too. With songs like 'Everywhere', 'Little Lies' (which everyone knows!), and the awesome 'Isn't It Midnight.' Her vocals sound just as good as they did 10 years earlier on the Rumours album.

Stevie has one good song called 'Seven Wonders', which wasn't even written by her. I think her head wasn't really in this project back in 1987. Nevertheless, the big Mac is back and their sound is great

a nice comeback but they sold out ()

The album totally sells out to 80's pop. It in no way compares to their finest albums such as their "Rumours" and "Tusk" albums. They deviate from their rock roots--bad idea! Lindsey does nicely with "Tango In The Night" and "Big Love." Get rid of the synths and you got some great rock songs. Christine is alright--she always was a little more poppy than the rest of the group. "Little Lies" is an 80's classic and very catchy. Aside from "Seven Wonders," Stevie doesn't do much. "Welcome to the Room...Sara" is too bouncy and she seems out of place on the album--almost like she doesn't want to be there. It sold well and got some decent reviews but if I didn't like this band so much I would really rip this album apart.

tsk tsk tsk ()

Doesn't anyone get that this album was not a sell out. They did things with synths that no one else was doing, and it sounded damn good. It's so different, I mean some of the songs just aren't radio friendly, for example "Mystified", "Caroline" and "You and I, Part II" (by the way could someone point the difference between part I and II to me, I can't tell). This is the album that Mirage (I still love Mirage) should've been, though no where near as experimental as Tusk. It was also a good look forward to Lindsey's 1992 release, "Out of the Cradle" excellent listen. Anyway, Tango is a great album in my opinion.

The Mac Stands the Test of Time ()

This is my personal favorite of all the Fleetwood Mac albums. All three songwriters contribute musically hip, and modern(80s) classics. Christine leads the way with her radio friendly Little Lies and Everywhere as well as the uptempo Isn't It Midnight. Stevie contributes Seven Wonders, a great synth-pop classic as well as a cool, emotional, acoustic ballad When I See You Again. Buckingham contributes Big Love a brilliant song with cool mixtures of synthesizers and guitars. Tango In The Nighht features a classic guitar solo reminiscent of I'm So Afraid and Go Your Own Way. Family Man almost provides a reggae like feel to it. All in all, this record marvellously showcases the band's talent as musicans and Buckingham's talent as a producer

sold out to the 80s entirely ()

Okay so they hadn't released an album since the substantial hit Mirage--but that doesn't mean you get nervous that you won't have a huge audience and go the way of synths and pop. Stick to the formula that worked so well for over a decade--emotionally driven, melodic rock n roll. What happened here? Sure it was a big hit (over 3 million in sales), but they sure jeopordized their credibility. Nicks comes off the worst here. "Welcome to the Room...Sara" is just plain excruciating to listen to. "When I See You Again" is too soft for her and the catchy pop tune "Seven Wonders" was written by Sandy Stewart. Buckingham lets the guitar roar on the tail end of "Tango in The Night" the best song on the album. "Big Love" provided him with his biggest hit but the synths leave it forever cemented in the 80s. Anyone out there ever hear this played on the classic rock stations?? McVie's "Little Lies" and "Everywhere" are catchy songs but way too poppy (like that's a surprise). They were both top twenty hits but they too are trapped in 80s excess. The band seems to be coming unglued on this album and it shows. Nicks seems out of place and doesn't mesh well with McVie and Buckingham. Buckingham sound alright but he seems to be the only one mustering up the energy to create a good album. McVie is just--well, there. The album did well, but in my book it tanks. To Fleetwood Mac's credit all rock stars of the 60s and 70s were sucumbing to the bloated corporate "cock rock" of the 80s. Unfortunatly, this difinitive and ifluential band who once lead the rock n roll pack is no exception.