Tango In The Night

[bluefox4000]

Hi all I'm new here big Fleetwood Mac fan

Anyway Tango. I think it's one of the great 80's albums. not just by the Mac, But by anyone. Also I think this is a Lindsey/Christine showcase. I mean it had to be, look at poor Stevie.

i love all of Chris' numbers. From Everywhere to Isn't It Midnight. This woman could make Pop songs like nobody's business. I feel she never is recognized enough as the brilliant songwriter she is. Also is it just me or does anybody else think her voice has a different tone to it on this album? higher, a tad raspier maybe?

Lindsey....oh my Lindsey. How do I love thee let me count the ways!

He is my favorite member. He may have ADD but it works in his favor. Big love. Immediate classic. It amazes that when he manipulates his voice he
sounds like Stevie The highlight here is the title track. When I first heard this I played it.....All day. Everything about it screams genius. Underrated classic. Though maybe not by you guys. It ends to soon though. Just as that guitar is revving up.

Which brings Me to ms. Nicks. Seven wonders is good. When I see You Again would have been better had she sang it earlier in her career. Lindsey saves it for me. Welcome to the Room....DUD. She obviously was in deep trouble and needed.

The only Other Minor complaint I have is. The album has no Bottom end. John is buried in the mix. Other then that classic album.

Mick

[holidayroad]

Originally Posted by bluefox4000

Hi all I'm new here big Fleetwood Mac fan

Anyway Tango. I think it's one of the great 80's albums. not just by the Mac, But by anyone. Also I think this is a Lindsey/Christine showcase. I mean it had to be, look at poor Stevie.

i love all of Chris' numbers. From Everywhere to Isn't It Midnight. This woman could make Pop songs like nobody's business. I feel she never is recognized enough as the brilliant songwriter she is. Also is it just me or does anybody else think her voice has a different tone to it on this album? higher, a tad raspier maybe?

Lindsey....oh my Lindsey. How do I love thee let me count the ways!

He is my favorite member. He may have ADD but it works in his favor. Big love. Immediate classic. It amazes that when he manipulates his voice he
sounds like Stevie The highlight here is the title track. When I first heard this I played it.....All day. Everything about it screams genius. Underrated classic. Though maybe not by you guys. It ends to soon though. Just as that guitar is revving up.

Which brings Me to ms. Nicks. Seven wonders is good. When I see You Again would have been better had she sang it earlier in her career. Lindsey saves it for me. Welcome to the Room....DUD. She obviously was in deep trouble and needed.

The only Other Minor complaint I have is. The album has no Bottom end. John is buried in the mix. Other then that classic album.

Mick

Welcome to the Ledge, Mick!! Lindsey is my favorite, as well!

[David]

Originally Posted by bluefox4000

i love all of Chris' numbers. From Everywhere to Isn't It Midnight. This woman could make Pop songs like nobody's business. I feel she never is recognized enough as the brilliant songwriter she is.

I don't think she's a brilliant songwriter. I think she's a good songwriter; she writes a good hook, etc. Her verses & choruses all snap into place with a satisfying click, so they all make for decent singalong, which is what all pop songs need.

I think her special quality is in her singing. She's a real original in style. She's what I would call a petit-maitre. She's my favorite gal in pop.

[seekerj]

Originally Posted by The Chain

Is there an actual outtake track of Juliet from the Tango sessions? or is there just the demo?

I think there's only one track. I was just saying that there were lyrics written for that song.

[Dr. Groove]

Originally Posted by WarmSir3

This thread inspired me to see what sort of reaction Family Man got compared to Lindsey's most oddball Tusk tunes, and I happened to stumble upon this..

Hey, this is Dr. Groove from that review of Tusk you found. Based on the discussions I've seen here, I thought I should thank you for sounding pretty positive about it teehee. But seriously, this thread made me smile so much, and just for that I'm thinking of reviewing Tango in the Night when I next update the blog. Anyway, groove on my fellow Fmac fans.

[ButterCookie]

Originally Posted by Dr. Groove

Hey, this is Dr. Groove from that review of Tusk you found. Based on the discussions I've seen here, I thought I should thank you for sounding pretty positive about it teehee. But seriously, this thread made me smile so much, and just for that I'm thinking of reviewing Tango in the Night when I next update the blog. Anyway, groove on my fellow Fmac fans.

You're my new best friend

[michelej1]

This is an exceprt from a review of Shy Child's Liquid Love album, from In the News:

http://www.inthenews.co.uk/news/revi...e-$1362571.htm



I suppose the big bonus is that Fleetwood Mac has blatantly been used in the opening track Liquid Love, which has elements of Little Lies and Everywhere. Shy Child used another band who we love to hate to love to emphasise the same elements found in their own offering.

[Dr. Groove]

Originally Posted by Dr. Groove

I'm thinking of reviewing Tango in the Night when I next update the blog. Anyway, groove on my fellow Fmac fans.

For anyone who has been following this, or other people alike, check out the new review of tango to the max teehee

Here it is.

[ButterCookie]

Oh god.....

wow some nice keyboard riffin' go mcvie go callin' out my name? oh teehee i don't feel the same way but i do love you anyway teehee hmm oh ahhhhhhhhhhhhhh wow how solemn and groovy nice tune mcvie shame that bass is so lame do something groovy Mr. McVie!! shame he can't RIP groovy man

Dude. John's not dead

wow way to ruin the groovy mood miss mcvie

Back off Chris, beeotch. She shone the most on TITN, we've established this.

but srsly murder me

I'm on my way. Ugh

[Dr. Groove]

Originally Posted by ButterCookie

She shone the most on TITN, we've established this.

oh um

I personally enjoy Bucko's tunes the best. Big Love, Tango, Family Man, they're great.

[Phil]

I don't think she's a brilliant songwriter. I think she's a good songwriter; she writes a good hook, etc. Her verses & choruses all snap into place with a satisfying click, so they all make for decent singalong, which is what all pop songs need.

I think her special quality is in her singing. She's a real original in style. She's what I would call a petit-maitre. She's my favorite gal in pop.

Couldn't agree more David. My only point of difference is that I would have addressed these comments in the past tense. I realise I'm in the minority here, but I don't believe Chris has demonstrated her skills with consistency since the Tusk album. There have been glimpses of her talents since, but much of the intervening work has bordered on being prosaic and lacklustre. That said, I do remain fond of the lass.

[michelej1]

April 15, 1987 Wednesday,
HEADLINE: Fleetwood Mac regroups for a good album

BYLINE: Divina Infusino

BODY:


Fleetwood Mac's superstar bickering five years ago was enough to turn off fans forever. Remember those miserable shows during the Los Angeles quintet's last tour? John McVie moped over his guitar, Christine McVie cringed behind her keyboards, Mick Fleetwood drowned himself in beer, Lindsey Buckingham flaked out in a corner while Stevie Nicks acted out her ballerina fantasies like a 14-year-old who dropped out of toe class too early. What fun. But surprise, surprise.

After a hiatus and solo recording ventures of varying successes, Fleetwood Mac has returned with a good new album "Tango in the Night." True, it's not 1977's "Rumours," the group's best and best-selling album in which the band merged concrete lyrical themes with its savvy pop sense. Nor is it the 1982 LP "Mirage," which screamed "Let's-go-through-the-motions-of-recording-even-though-we-can't-stand-the-s ight-of-each-other.` Instead, the new album casts an inviting, but eerie spell, elevating what could be pop fluff (in the case of Christine McVie's song "Everywhere," or narcissistic spiritualism (in Nicks' "Seven Wonders"), into mysterious musical snapshots. The album's best moments belong to Fleetwood, who brought the African percussion influence of his solo effort, titled Fleetwood Mac's Zoo, to arrangements and to Buckingham.

As co-producer, arranger and creator of the album's dream-like state, Buckingham has written material perfectly suited to the LP, from the disturbing first single "Big Love" to "Family Man."

The latter, with lines like "I don't know what's wrong but I do know what's right, a family man," is sure to hit Fleetwood Mac fans right at home. Although Christine McVie's and Nicks' songs are not as alluring, the album would suffer without the warmth and immediacy of their cuts.

However, even the wonders of modern studio technology can't hide the fact that Nicks' voice has deteriorated, permanently needing throat lozenges.

And when did she forget how to enunciate? "Tango in the Night" shows that old bands can regroup for a reason other than big bucks and contract obligations and in the process put out an enjoyable listening experience. Who knows?

Maybe the next time Fleetwood Mac tours, the group might actually smile at each other on stage. A Reunion With A Twist: Little Feat, one of the most beloved '70s California bands, will regroup for a new album and tour.

Except for Roy Estrada who left the Little Feat early in its career, all the band's surviving members will reunite -- Richard Hayward, Paul Barrere, Sam Clayton, Ken Gradney and Bill Payne. But who will replace Little Feat's deceased and much mourned main vocalist, Lowell George? Possibly, Robert Palmer.

Yes, the "Addicted to Love," Robert Palmer.

If Palmer's GQ image doesn't seem to mesh with Little Feat's country-influenced rock, keep in mind that Palmer has covered two Little Feat songs, "Trouble" and "Sailin' Shoes." Also Little Feat's music was more eclectic than memory might serve. Industry rumor says that Palmer is seriously considering the position. Progressive rock fans rejoice: Not only has the original line-up of Emerson, Lake and Palmer settled their differences, but '70s progressive rock keyboard king, Rick Wakeman, is returning with a new double English import album, "The Gospels," on the Stylus label.

In the meantime, Wakeman's former band, Yes, is preparing its new album, "The Big Generator," for June release and plans a U.S. tour starting in late July. Album News: Whitney Houston's second LP has been pushed back to the end of May, with a July-September tour to follow.

[michelej1]

HEADLINE: Fleetwood Mac soloists reunite on 'Tango';
POP ALBUMS

BYLINE: The Orange County Register, April 17, 1987

BODY:

Fleetwood Mac. "Tango in the Night." Warner Bros.

Since its beginning as a British blues band in 1967, Fleetwood Mac
has been any number of things, from Limey Elmore James clones to the
ultimate laid-back California band (for a short while the band even
existed as a fake, when former managers toured a group of phonies under
the band's name). Now with "Tango in the Night" Fleetwood Mac seems to
exist more as contractual obligation than as a band.

One can't help thinking that if the members liked each other they'd
get together a bit more often (the group's last album, "Mirage," came
out five years ago). And "Tango" just sounds like five people forced to
work on each other's solo outings. Granted, a similar division worked
just fine for the Beatles from the "White Album" to "Abbey Road," but
Fleetwood Mac isn't the Beatles.

But what the Mac's members are on "Tango" isn't that bad either. It
wasn't merely a bland inoffensiveness that put the band's pop albums in
everyone's homes in the '70s. The group has two solid songwriters in
Christine McVie and Lindsay Buckingham (they do collaborate here on a
couple of the cuts), and the latter is also a hot guitarist and a near
genius at production and quirky arrangements. Years of living by a warm
Malibu breeze evidently haven't undercut the effective rhythmic chops
of bassist John McVie and drummer Mick Fleetwood. And if you have a
programmable CD player, you can avoid Stevie Nicks' implacable
queen-of-fairyland contributions altogether.

Nicks has three songs on the album, all cut from the same lacy cloth.

With "Welcome to the Room. . . Sara" being the most bothersome of the
lot, she doles out the same aren't-I-profound-and-pretty-dang-mystical
lyric s with a throat that sounds like it's been used as a tool shed for
the last five years.

McVie's songs once took a pretty good tug on the heartstrings. Now
she seems content to forgo the emotion for well-crafted, polished pop.

As such, "Everywhere" impresses as little more than an exercise, and
"Isn't it Midnight" works chiefly due to Buckingham's production and
raging guitar, which rides roughshod over everything. "Little Lies,"
the best of McVie's lot, offers a persuasive melody and honey-toned
vocal.

The Fleetwood Mac imprimatur seems to help Buckingham better focus
his songs. Where his solo projects sometimes seem more caught up in his
wild sonic experiments than in their results, his arrangements and
production (shared with Richard Dashut) here serve the songs while
still grabbing the ears with fresh textures.

Buckingham's solo "Go Insane" sounded convincingly off-kilter, and
there's a slightly lunatic edge to a couple of his songs here. On
"Family Man," in only a few words, he conveys a sense of a man cracking
under the responsibilities of family. "You and I, Part II" has a
bouncy, early morning feel to it, but its lyrics are of a relationship
terrified by tomorrow. "Big Love" on the other hand, is simply a great
sounding pop single, set apart by a charged vocal and aspirated
rhythms.

-- Jim Washburn

[michelej1]

Los Angeles Times
http://articles.latimes.com/1987-04-..._fleetwood-mac

Fleetwood Mac Restored
RECORD RACK April 12, 1987|STEVE HOCHMAN

"TANGO IN THE NIGHT." Fleetwood Mac. Warner Bros.

How does the definitive group of the late '70s make out a decade later?

Very well, thank you. Combining the experimentalism of 1979's "Tusk" and the crisp pop sense of 1977's multi-multi-million selling "Rumours," "Tango" is as arresting and unique a work in its time as those albums were in theirs.

And though Lindsey Buckingham, Christine McVie and Stevie Nicks each still function pretty much autonomously as songwriters, the group's first album since 1982's uninspired "Mirage" carries the most unified feel of any Fleetwood Mac LP since the ones predating Buckingham and Nicks arrival in 1975.

One reason is the usual solid foundation of Mick Fleetwood's tribal drumming and John McVie's easy-to-overlook bass playing. The main one, though, is Buckingham. As the album's co-producer (with Richard Dashut), arranger and dominant writer/singer, he employs the same distinctively adventurous approach he explored first on "Tusk" and later on his two excellent solo albums.

Buckingham's pop pointillism favors mosaics of small, staccato sounds. But since the elements never quite fit together, the album is characterized by a pervasive, unsettling sense of weirdness.

In Buckingham's hands, a simple, pretty little tune like Christine McVie's "Mystified" becomes an intricately detailed miniature, while on his own songs he combines dozens of whispers into sometimes harrowing screams. Typical is his "Big Love," a sketchy warning to be "looking out for love"--as opposed to looking for love--that builds to a boil over an insistent beat and grunted background vocals. It's as infectious as it is disturbing.

But even such relatively conventional material as McVie's straight rocker, "Isn't It Midnight," and Nicks' dreamy "When I See You Again" benefit from the subtly bizarre undercurrents Buckingham creates.

Predictably, the album's lesser moments come courtesy of Nicks, who on the obtuse "Welcome to the Room . . . Sara" furthers her reputation as the Shirley MacLaine of rock, even calling on the spirit of Scarlett O'Hara. Worse yet, her voice sounds shot.

But that's not enough to drag down this showcase of Buckingham's remarkable talents. The only complaint is that with just three Fleetwood Mac studio albums and Buckingham's two solo efforts since "Rumours," we don't get to hear enough of them.

[MissLadyLoki]

I didn't mean to post on this dug-up old thread.

Originally Posted by ButterCookie

I call him Liddy

I just call him Bucky most of the time, it has a bit of a nice ring to it and in sme of those pics it fits quite well.

Anyways, onto the album itself. My dad has it on CD (one of my parents' first ones) and it was my first encounter with the Mac. I had seen it may times when going into my CD cabinet, thought the title and the pics were cool, but never bothered to listen to it. Later on, when I had actually discovered the Mac, I decied to give it a listen, but really wasn't too fond of it, but that's since changed as I became a bigger fan over time.

As for the album itself, I absolutey love Chrisine's tunes, and I consider it the best of her Mac material (sorry, dunno her solo work and i don't really know know her pre-BN stuff that wel). Lindsey's songs, as good as he looked that era (along with the rest of the band), I could more or less take or leave, and I do have a strong preference for his acoustic version of Big Love over the original, but I must admit that title song does have some sweet guitar-playing. Stevie, however, please excuse what I'm gonna say, sucked on this album. Even thought she did sing Seven Wonders (and the music vid for it was really good), I really don't consider it to be one of her songs cause she didn't write it, but as for the songs she wrote on it are just painful for me to listen to. When I heard Tusk in it's entirety recently, i couldn't help but think "The woman responsible for such fantastic songs on here made those TITN atrocities?"

Overall, it is still a very good, though very 80's, album.