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Fleetwood Mac: Tango in the Night

 A l b u m   D e t a i l s


Label: Warner Bros. Records Inc.
Released: 1987
Time:
 44:28
Category: Pop/Rock
Producer(s): Lindsday Buckingham, Richard Dashut
Rating: *********. (9/10)
Media type: CD
Web address: www.fleetwoodmac.net
Appears with: Stevie Nicks
Purchase date: 2001.02.10
Price in €: 12,99



 S o n g s ,   T r a c k s


[1] Big Love (Buckingham) - 3:37
[2] Seven Wonders (Nicks/Stewart) - 3:38
[3] Everywhere (McVie) - 3:41
[4] Caroline (Buckingham) - 3:50
[5] Tango in the Night (Buckingham) - 3:56
[6] Mystfied (Buckingham/McVie) - 3:06
[7] Little Lies (McVie/Quintela) - 3:38
[8] Family Man (Buckingham) - 4:01
[9] Welcome to the Room...Sara (Nicks) - 3:37
[10] Isn't It Midnight (Buckingham/McVie) - 4:06
[11] When I See You Again (Nicks) - 3:47
[12] You and I [Part II] (Buckingham/McVie) - 2:40

 A r t i s t s ,   P e r s o n n e l


Lindsey Buckingham - Guitar, Vocals, Arrangement, Ass. Engineer, Cover concept
Stevie Nicks - Vocals
Mick Fleetwood - Drums
Christine McVie - Keyboards, Vocals
John McVie - Bass

Greg Droman - Engineer
Stephen Marcussen - Mastering
Richard Dashut - Cover concept
Jeri Heiden - Art Direction
Brett-Livingstone Strong "Hommage á Henri Rousseau" - Cover Painting
John Courage - Studio Coordinator

 C o m m e n t s ,   N o t e s


Artistically and commercially, the Stevie Nicks/Lindsey Buckingham/Mick Fleetwood/Christine and John McVie edition of Fleetwood Mac had been on a roll for over a decade when Tango in the Night was released in early 1987. This would, unfortunately, be Buckingham's last album with the pop/rock supergroup — and he definitely ended his association with the band on a creative high note. Serving as the album's main producer, Buckingham gives an edgy quality to everything from the haunting "Isn't It Midnight" to the poetic "Seven Wonders" to the dreamy "Everywhere." Though Buckingham doesn't over-produce, his thoughtful use of synthesizers is a major asset. Without question, "Family Man" and "Caroline" are among the best songs ever written by Buckingham, who consistently brings out the best in his colleagues on this superb album.

Alex Henderson, All-Music Guide



Angesichts des anhaltenden Erfolgs des Kassenschlagers Rumours ist es kaum verwunderlich, daß dieses Album aus dem Jahre 1987 als weniger gelungen betrachtet wurde. Eigentlich schade, denn diese vielfach unterbewertete LP enthält viele einfallsreiche und eingängige Stücke, die allesamt etwas eigenwillig klingen, was ihnen zusätzliche Klangtiefe und Emotion verleiht. Herausragend Lindsey Buckinghams exzentrisches, ja beinahe bedrohliches "Big Love", aber auch Christine McVies bittersüßes "Little Lies", sowie solch unbekannte Größen wie "Seven Wonders", "Caroline", "Mystified" und Stevie Nicks' geheimnisvolles "Welcome to the Room... Sara."

Scott Schinder, Amazon.de



Thanks to the long shadow cast by the group's blockbuster Rumours, this 1987 effort was inevitably regarded as something of a letdown. That's too bad, since it's an underrated set that contains plenty of inventively catchy tunes, with a quirky sonic edge that gives the songs added sonic and emotional depth. Lindsey Buckingham's eccentric, vaguely menacing "Big Love" is a standout, as is Christine McVie's brightly bittersweet "Little Lies," along with such dark-horse winners as "Seven Wonders," "Caroline," "Mystified," and Stevie Nicks's typically mystical "Welcome to the Room ... Sara."

Scott Schinder; Amazon.com



Earth and nightfall

A ridiculously successful comeback album, "TITN" cemented FM's status as one of pop music's most popular bands. It marks Lindsey's last stand with the group, but his role in FM had become quite prominent, to the point of overshadowing Stevie, wo gets the lead vocals on three tracks only. With Lindsey's sharp-edged guitar lines, Mick's minimalist drumming, and the extensive use of synthesisers, this may be the quintet's coolest and most streamlined record. Still, the album's forte lies in its impressive string of hit singles - 5 or 6 out of 12 songs were available as singles and made the charts on both sides of the Atlantic. "Seven wonders", "Everywhere", and "Little lies" bring a blend of haunting melancholy with straightfoward, danceable rhythms and impeccable vocals. "Little lies" is one of my favorite songs from the '80s, it has a strange undercurrent which make the song very mysterious and catchy. "Big love", "Family man", and the notably more rocky "Isn't it midnight" are solid cuts, too. Unfortunately, for every good song on this disc there's a so-so or even awful equivalent. The Eastern-tinged "Caroline" and the title track are so disjointed and unmemorable that it's difficult to work out what's going on. "Mystified" and the awkwardly titled "You and I, part II" are very simple and lightweight. OK, the singles alone make "TITN" a worthwhile purchase. However, when I want to listen to a well-balanced and consistent FM album, I usually choose "Rumours", "Mirage", or "Behind the mask".

Chris Turk from Regensburg, Germany, September 27, 2000



Edgy Wistfulness from Fleetwood Mac

Fleetwood Mac's exquisitely produced new album, "Tango In The Night" (Warner Brothers) is filled with ghostly voices and delicate folk-rock instrumentation all interwoven into the pop musical equivalent of a moody Gothic romance.

Looking out for love
In the night so still
Oh I'll build you a kingdom
In that house on the hill

Thus begins Lindsey Buckingham's song, "Big Love." The album's opening cut and first single (currently No. 7 on Billboard's Hot 100). "Big Love" establishes a mood of edgy, sophisticated wistfulness that runs through all 12 of the album's cuts.

Song after song expresses a mixture of longing and remembrance, as Mr. Buckingham's shimmering arrangements for the quintet's three principal singers - himself, Christine McVie and Stevie Nicks - evoke the members of the group calling to one another from mist-shrouded turrets, across vast distances. In the album's two most beautiful productions, "Mystified" and "Little Lies," Ms. McVie's mournful, smoky folk alto winds through lush jungles of whispering voices strung with delicate acoustic instrumentation. The album's one sour note is an inferior Stevie Nicks song, "Welcome to the Room . . . Sara," in which the singer's voice rings harsh and flat.

Mr. Buckingham, the group's 37-year-old lead guitarist and co-producer, has long been the principal architect of the Fleetwood Mac sound, but on "Tango In The Night," the group's first studio album since "Mirage" (1982), he assumed near-total control. Mr. Buckingham, who is a master of aural detail, and the music's gossamer textures - woven with Irish lap guitar, zither, ukulele and other electronically enhanced folk instruments, surpass in refinement even those of the group's 1977 blockbuster album, "Rumours."

"'Tango In The Night' took about 18 months to record," Mr. Buckingham recalled the other day. "The bulk of it was cut in the home studio that used to be my garage in the Hollywood hills. Most of the vocal parts were recorded track by track. The voices used in the textured vocal choirs were mostly mine. I used a Fairlight machine that samples real sounds and blends them orchestrally. Constructing such elaborate layering is a lot like painting a canvas and is best done in solitude."

According to Mr. Buckingham, "Tango In The Night" resolves - both personally and esthetically - many of the problems that plagued Fleetwood Mac after the success of "Rumours."

"'Tusk,' the album that followed 'Rumours,' was a brazen act of rebellion for which I took a lot of flak," he said. "Because of that, the 'Mirage' album, was, in my mind, a reactionary piece of work that tried to reprise 'Rumours' and had very little vision. When the group left the road after the 'Mirage' tour, there were many issues left unresolved. This album is as much about healing our relationships as 'Rumours' was about dissension and pain within the group. The songs look back over a period of time that in retrospect seems almost dreamlike."

by Stephen Holden
New York Times, May 13, 1987



FLEETWOOD MAC SHIMMERS BACK

I'm okay now, really, but I got kind of shook up the other morning. I stumbled out of bed, turned on the radio and heard a song by Boston, then Springsteen's "Backstreets," an organ tune from Stevie Winwood, some Eric Clapton, and something by Fleetwood Mac. I'd never heard the Mac album, something called TANGO IN THE NIGHT, but I knew what was what--I was trapped back in the 1970s and punk was never gonna come and save us. Reeling from the implications, I fell onto the CD player. It was the 1980s after all.

Fleetwood Mac is back, and as the baby boomers troop to record stores, the band is right on time. With TANGO IN THE NIGHT, the members of Fleetwood Mac doubtless hope to rule the airwaves as they did with the 1977 RUMOURS, the best-selling one-artist album (nearly 20 million copies sold) until Michael Jackson's THRILLER. TANGO may not be a world-beating 1980s LP; that seems to demand Message and Image and Novelty as well as craft. Then again, radio is moving away from crunch and toward insinuation once again--ask Bruce Hornsby. Coproducers Lindsey Buckingham and Richard Dashut have layered listenable sounds like true disciples of Brian Wilson. Given the chance to sink in, TANGO IN THE NIGHT will.

RUMOURS, the benchmark Fleetwood Mac album, set lovers' quarrels in shimmering, paradoxical harmonies from the ex-lovers themselves. Listening to songs by Buckingham, Stevie Nicks, and Christine McVie was like spinning the TV dial to see three different soap operas with the same cast. To follow up RUMOURS, Fleetwood Mac spent a million dollars to record the homemade-sounding double album TUSK, followed that with a live set and then sort of fizzled out, garnering its later hit singles ("Hold Me," "Gypsy") from a considerably lower profile. My guess is that the band had tapped the anger that also spawned punk in 1977 but it then got sidetracked into trying to recapture the shimmer instead of the spark.

When the band drifted apart after making MIRAGE in 1982, it looked like the postpunk, big-beat 1980s were too impatient for Fleetwood Mac's fine-tuned midtempo introspection. TANGO IN THE NIGHT sounds five years newer than MIRAGE, but only if you listen carefully. Buckingham, as arranger and main songwriter, uses computerized zithers and toy pianos, as well as synthetic-sounding voices, most effectively in the Beach Boys-style chorale that caps McVie's "Everywhere". He also uses rhythm machines to augment Mick Fleetwood's steady-state drumming. But like MIRAGE, this album is a cornucopia of hooks, with arranging touches that are thoroughly cinematic. TANGO IN THE NIGHT moves from the lonely present tense, with rippling zither and quietly ticking drums, to the lusty past, where drums stomp and guitars roar; in "Family Man" a classical guitar is the voice of Buckingham's conscience.

As usual, Fleetwood Mac sings about love, and mostly about lovers who hedge their bets. But now the question is whether they can connect at all. In the songs on MIRAGE the lovers were still breaking up and making up; on TANGO there's considerably more distance--just the thing for the era of safe sex.

On Buckingham's "Big Love" and "Tango in the Night," the guy wakes up alone and remembers an old lover--he's wistful and horny at the same time--while in a third song, "You and I, Part II," by Buckingham and McVie, he may or may not have someone in bed with him. Stevie Nicks recalls when, long ago, "You touched my hand/I played it cool"; in "When I See You Again," she muses, "Will it be over?" In the album's catchiest song, "Little Lies," Christine McVie wonders if she and a sometime lover would be better off apart."

The members of Fleetwood Mac are better off together. As solo acts, Nicks is too narcissistic and spacey, McVie too bland, Buckingham too paranoid. Together, at their best, they're Everylover. Yet even with Buckingham's ingenious arrangements for distraction, Nicks stays pretty insufferable on TANGO. The album's duds are her Gone with the Wind fantasy "Welcome the the Room...Sara" and the cloying "When I See You Again," on which she burbles the line "What's the matter, baby," until the answer is obvious.

Buckingham and McVie, meanwhile, have developed a collaboration that gives McVie an edge and Buckingham some ease. "You and I, Part II" grafts McVie's affection to Buckingham's dread in a gentle, trotting tune laced with, of all things, the melody from "March of the Wooden Soldiers."

In a way, TANGO IN THE NIGHT tries to do with emotions what Buckingham and Dashut do with guitar tones, sculpting highs and lows that grab attention without blowing out speakers. Although the album dishes out ear candy, it's not only about the pleasure of popcraft. Its sonic overlays, dissolves and zooms show how passion swirls behind the neatest of facades--melting in McVie's songs, babbling in Nicks's, howling in Buckingham's. In the cool, chastity-belted 1980s, that's still worth remembering.

by Jon Pareles
Rolling Stone, May 7, 1987



FIRST LP IN 5 YEARS FROM FLEETWOOD MAC

If Tango in the Night, the first Fleetwood Mac album in five years, is ultimately a disappointment, it's only because of the anticipation the album has inevitably inspired.

Ever since the band's commercial and aesthetic triumphs Fleetwood Mac (1975) and Rumours (1977), Fleetwood Mac has stood apart from other rock- superstar acts. In contrast to the tidy, homogenized, anonymous music made by most best-selling bands of the '70s (quick - name three songs by Journey) Fleetwood Mac and its music have been gratifyingly complicated and confusing.

Here was a major act, for instance, whose members always seemed to be quarreling - this was implied as clearly in the band's lyrics as it was in its interviews. Above all, you got the sense that the music mattered so much to this mismatched bunch that the performers felt it was worth battling over.

No such urgency informs Tango in the Night (Warner Bros.). In fact, you might say it's the first Fleetwood Mac album without an emotional subtext.

Don't misunderstand - this is a good, generous album performed with great skill and intelligence. It's one of the few superstar releases around these days that doesn't pander to its audience, and Lindsey Buckingham continues his remarkable development as one of the most adventurous producers in popular music.

But of the dozen songs on Tango in the Night, only a few have the excitement and innovation of Fleetwood Mac's best music. Two are the songs Stevie Nicks has written for the album. Both "Seven Wonders" and "Welcome to the Room . . . Sara" have the sort of vague, and vaguely cliched, imagery that we've come to expect from Nicks, but like the best of her previous work, she invests that vagueness with a romantic delirium unmatched in current rock.

For all her flightiness and studiedly ditzy image, Nicks is simply a wonderful singer of rock-and-roll. The way she draws out the word certain midway through "Seven Wonders" is one of those utterly inexplicable, wholly marvelous moments that occur all too rarely in modern pop. Nicks has a knack for writing very commercial, accessible songs that frequently contain moments of mystery that keep you listening over the months and months that her hits are played on the radio.

Buckingham's skill is somewhat similar; he does with his guitar and his production style what Nicks does with her voice. On both "Caroline" and "Family Man," Buckingham repeats the title phrase until it's nearly meaningless, but he surrounds that meaninglessness with rich, thick layers of guitar and drums to achieve a serene, dreamy sound that's hypnotizing.

Before the arrival of Buckingham and Nicks in 1975, Fleetwood Mac was considered a British blues-rock band that served primarily as a showcase for Christine McVie's vocals. Americans Buckingham and Nicks added not only a pop aspect to the music, moving the band into the commercial mainstream, but also brought to the group a kind of passion, a sort of aesthetically pleasing neurosis, that disturbed the calm surface of the music. In other words, Fleetwood Mac became an interesting rock band.

Both Nicks and Buckingham have had successful solo careers in recent years; there's a sense in which they don't need Fleetwood Mac anymore, except that the tension of group collaboration sometimes brings out the best in them. For that reason alone, the release of Tango in the Night is a welcome event, as will be any future Fleetwood Mac albums the group might be moved to record.

by Ken Tucker, Inquirer Popular-Music Critic
Philadelphia Inquirer, April 19, 1987

 

 L y r i c s


Big Love

Looking out for love
In the night so still
Oh I'll build you a kingdom
In that house on the hill
Looking out for love
Big, big love

You said that you love me
And that you always will
Oh you begged me to keep you
In that house on the hill
Looking out for love
Big, big love

I wake up alone
With it all
I wake up
But only to fall

Looking out for love
Big, big love
Just looking out for love
Big, big love


Seven Wonders

So long ago
Certain time
Certain place
TYou touched my hand
All the way
All the way down to Emmiline
But if our paths never cross
Well you know I'm sorry but
If I live to see the seven wonders
I'll make a path to the rainbow's end
I'll never live to match the beauty again
The rainbow's end

So it's hard to find
Someone with that kind of intensity
You touched my hand I played it cool
And you reached out your hand for me
But if our paths never cross
Well you know I'm sorry but
If I live to see the seven wonders
I'll make a path to the rainbow's end
I'll never live to match the beauty again
The rainbow's end

So long ago
It's a certain time
It's a certain place
You touched my hand and you smiled
All the way back you held out your hand
If I hope and I pray
Ooh it might work out someday
If I live to see the seven wonders
I'll make a path to the rainbow's end
I'll never live to match the beauty again
The rainbow's end

If I live to see the seven wonders
I'll make a path to the rainbow's end
I'll never live to match the beauty again

If I live to see the seven wonders
I'll make a path to the rainbow's end
I'll never live to match the beauty again


Everywhere

Can you hear me calling
Out your name
You know that I'm falling
And I don't know what to say

I'll speak a little louder
I'll even shout
You know that I'm pround
And I can't get the words out

Oh I...
I want to be with you everywhere
Oh I...
I want to be with you everywhere
(Wanna be with you everywhere)

Something's happening
Happening to me
My friends say I'm acting peculiarly

C'mon baby
We better make a start
You better make it soon
Before you break my heart

Oh I...
I want to be with you everywhere
Oh I...
I want to be with you everywhere
(Wanna be with you everywhere)

Can you hear me calling
Out your name
You know that I'm falling
And I don't know what to say

Come along baby
We better make a start
You better make it soon
Before you break my heart

Oh I...
I want to be with you everywhere
Oh I...
I want to be with you everywhere
Oh I...
I want to be with you everywhere
Oh I...
I want to be with you everywhere
(Wanna be with you everywhere)


Caroline

She's so crazy
She's so lazy
Keeps on coming
Keeps you running

Caroline
Caroline
Time recedes with a fatal drop
Dusty fury on the mountain top
Cut the cord if you can
Caroline
Caroline

So attractive
So reactive

Caroline
Caroline
Time recedes with a fatal drop
Dusty fury on the mountain top
Cut the cord if you can
Caroline
Caroline

Caroline
Caroline
Time recedes with a fatal drop
Dusty fury on the mountain top
Cut the cord if you can
Caroline
Caroline
Caroline
Caroline


Tango In The Night

Listen to the wind on the water
Listen to the waves upon the shore
Try to sleep, sleep won't come
Just as I begin to fade

Then I remember
When the moon was full and bright
I would take you in the darkness
And do the tango in the night
Tango...

I keep the dream in my pocket
Never let it fade away
Inside, outside
No loneliness in this dream

Then I remember
When the moon was full and bright
I would take you in the darkness
And do the tango in the night
Tango...


Mystified

Oh...
Pretty baby
This feeling I just can't hide
You got me mystified

Oh...
Pretty darling
This feeling is deep inside
You got me mystified

The light that shines around you
It blinds my eyes
There's a magic surrounds you
Tell me where your secret lies

Oh...
Pretty darling
This feeling is deep inside
You got me mystified

Oh...
Pretty baby
This feeling I just can't hide
You got me mystified

You got me mystified
Mystified
Mystified
Mystified
Mystified


Little Lies

If I could turn the page
In time then I'd rearrange just a day or two
Close my, close my, close my eyes

But I couldn't find a way
So I'll settle for one day to belive in you
Tell me, tell me, tell me lies

Tell me lies
Tell me sweet little lies
(Tell me lies, tell me, tell me lies)
Oh, no, no you can't disguise
(You can't disguise, no you can't disguise)
Tell me lies
Tell me sweet little lies

Although I'm not making plans
I hope that you understand there's a reason why
Close your, close your, close your eyes

No more broken hearts
We're better off apart let's give it a try
Tell me, tell me, tell me lies

Tell me lies
Tell me sweet little lies
(Tell me lies, tell me, tell me lies)
Oh, no, no you can't disguise
(You can't disguise, no you can't disguise)
Tell me lies
Tell me sweet little lies

If I could turn the page
In time then I'd rearrange just a day or two
Close my, close my, close my eyes

But I couldn't find a way
So I'll settle for one day to belive in you
Tell me, tell me, tell me lies

Tell me lies
Tell me sweet little lies
(Tell me lies, tell me, tell me lies)
Oh, no, no you can't disguise
(You can't disguise, no you can't disguise)

Tell me lies
Tell me sweet little lies
(Tell me lies, tell me, tell me lies)
Oh, no, no you can't disguise
(You can't disguise, no you can't disguise)
Tell me lies
Tell me sweet little lies
(Tell me, tell me lies)


Family Man

Walk down this road
When the road gets rough
I fall down
I get up

I am what I am...
A family man
I am what I am...
A family man
Mother... father... brother...
Mother... father... brother...

Walk down this road
In the cool of the night
Don't know what's wrong
But I do know what's right

I am what I am...
A family man
I am what I am...
A family man
Mother... father... brother...
Mother... father... brother...

I am what I am...
A family man
I am what I am...
A family man
Mother... father... brother...
Mother... father... brother...


Welcome To The Room... Sara

It's not home
And it's not Tara
If fact do I know you
Have I been here before
This is a dream, right
Deja Vu
Did I come here on my own
Oh I see
Welcome to the room Sara for Scarlett
Welcome to the choir, sir

Ooooh
Missionary
Well I will be different
When I get back
And you can take all of the credit
You say everything's fine, baby
But sometimes at night
Where the first cut is the deepest one of all
And the second one
Well it's a worthless thing, so take it all the way back home
Take it home

Ooh, downstairs where the big old house is mine
Ohh, upstairs where the stars laugh and shine
Oh, oh well I thought that you were mine
Well I thought that you were mine

Welcome to the room Sara, Sara (for Scarlett)
Welcome to the choir, sir
Well of course it was a problem (for Scarlett)
Front line baby
Well you held her prisoner
And after all these years
Well as well as you knew her
In the never forgotten words of another one of your friends
In the never forgotten words of another one of your friends, baby
When you hang up that phone
Well you cease to exist
Welcome to the room Sara
Welcome
Welcome to the room everyone


Isn't It Midnight

So cool, calm and collected
You had a style, a rakish style
Well my poor heart never connected
You'd stay so long on my mind.

Well, isn't it midnight on the other side of the world
Do you remember t
The face of a pretty girl
The face of a pretty girl

Looking back so long ago
You had a knack, a knack of making women know
Ooh there wasn't the time
And I knew you'd nver be mine

Well, isn't it midnight on the other side of the world
Do you remember
The face of a pretty girl
The face of a pretty girl
The face of a pretty girl

Isn't it midnight on the other side of the world
Do you remember
The face of a pretty girl
The face of a pretty girl
The face of a pretty girl


When I See You Again

When I see you again
Will it be the same
When I see you again
Will it be over
When I see you again
Will your great eyes still say

What's the matter, baby
What's the matter, baby
What's the matter, baby, baby, baby
What's the matter, baby
What's the matter, baby
What's the matter, baby, baby

So she walks slowly down the hall
There are many doors in the hallway
And she stares at the stairs
Ooh there are many things to stare at these days
If she sees him again
Will your very best friend
Will your very best friend
Oh, have been replaced by some other

What's the matter, baby
What's the matter, baby
What's the matter, baby, baby, baby
What's the matter, baby
What's the matter, baby
What's the matter, baby, baby

And the dream says I want you
And the dream is gone
So she stays up night on end
Well at least there is a dream left

If I see you again
Will it be over
If I see you again
Will it be the same
If I see you again
Will it be over
Again and again
Over and over


You And I (Part II)

I wake up
With my eyes shut tight
Hoping tomorrow will never come
For you and I

Oh the phantoms
Crawl out of the night
Hoping the daylight will never come
For you and I

Keep your heart open and your eyes shut tight
What will be, will be
Keep your heart open and your eyes shut tight
But don't forget about me

Oh the phantoms
Crawl out of the night
Hoping the daylight will never come
For you and I

Keep your heart open and your eyes shut tight
What will be, will be
Keep your heart open and your eyes shut tight
But don't forget about me

I wake up
With my eyes shut tight
Hoping tomorrow will never come
For you and I
Hoping tomorrow will never come
For you and I
For you and I
For you and I
For you and I

 M P 3   S a m p l e s


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