38 of 39 people found the following review helpful
4.0 out of 5 stars Tango til You're Sore...
Fleetwood Mac are a group frequently associated with great stylistic leaps, but a close analysis of their work does not strictly bear this theory out. Sure, the early blues material is a world away from Stevie Nicks, but there is a path that one can use to connect the dots. Moving from the blues influences, taking them into an American soft-rock style, they arguably never...
Published on 9 April 2007 by Steven Dedalus
3.0 out of 5 stars yuk
I have earlier Fleetwood Mac album's and all five stars realy rock n blues stuff then came rumours now this same par as rumours very popy if you like rumours you enjoy this. For me i felt embarrassed playing it very cheesy pop radio frendly stuff get boston blue's not this tat.
Published 4 months ago by alan
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38 of 39 people found the following review helpful
4.0 out of 5 stars Tango til You're Sore...,
Fleetwood Mac are a group frequently associated with great stylistic leaps, but a close analysis of their work does not strictly bear this theory out. Sure, the early blues material is a world away from Stevie Nicks, but there is a path that one can use to connect the dots. Moving from the blues influences, taking them into an American soft-rock style, they arguably never changed over the course of the 70s, just got better at what they did.
By the 80s, personnel problems had slowed the band's out-put significantly (and for a band with a history of personnel problems like Fleetwood Mac, that's really saying something!) and they only released two albums during the decade; 'Mirage' and 'Tango in the Night'. Strangely, both of these albums are compromised, but in very different ways. 'Mirage' can easily be viewed as an attempt by the band to claw back some of the ground they lost commercially after 'Tusk', smoothing out the edges to such a point where several tracks verge on sounding bland. 'Tango', however, is a compromise in that it was not even meant to be a Fleetwood Mac album...
Lindsey Buckingham revealed a strong appreciation for new wave music in some of 'Tusk's' more idiosynchratic moments, and those experiments come to fruition on 'Tango in the Night'. Even though the sound has dated considerably, it is still possible to appreciate that 'Tango' is a thouroughly "modern" album. There is a sheen to the sound that keeps it fresh and crisp, synthesisers are used through-out the album, but are never too prominent, and many of the melodies have a distinctly new wave feel to them, and are far removed from the 'Californian' tendencies of the earlier Bukingham/Nicks era Fleetwood Mac. This is a modern 80s album, and is everything that implies.
Songwise, Buckingham and Christine McVie emerge with the strongest contributions, both penning songs and arrangements that are ideally suited to this new, modern Fleetwood Mac. Buckingham's songs are by turns dark and whimsical, retaining a melodic playfulness, as well as a harder edged sense of melodrama, several songs building to quite a dramatic climax (the title track being a prime example of this). McVie occupies the role of the pop writer on the album, providing material like 'Everywhere' and the timeless 'Little Lies'. However, she also gives us 'Isn't it Midnight', which really is the closest Fleetwood Mac ever came to possessing a new wave sound, with some scorching guitar work at the end from Buckingham.
Stevie Nicks, being largely absent from the recording due to personal problems and solo commitments, contributes a mixed bag of songs. Whilst 'Seven Wonders' is one of the best singles she ever wrote for the band, 'Welcome to the Room, Sara' is a bit too whimsical to be entirely successful, and probably would have been more at home on a Stevie Nicks solo album. 'When I See You Again', a slow ballad, is one of the worst things the Nicks/Buckingham era Fleetwood Mac ever recorded. Stevie's voice struggles the whole way through it, attempting to convey emotional intesity, but sounding like a cheese-grater has been rubbed accross her vocal chords, whilst the song takes a long time to make it's point, leaving not much of an impression by either melody or lyrics.
Given the time of it's recording, and the production techniques used, this is probably one of the albums where Mick Fleetwood and John McVie are least prominent. McVie's bass in particular is pulled way back in the mix and possesses none of the 'fatness' on display in songs like 'Dreams' or 'The Chain'. However, his sense of melodic invention is still apparent, greatly enhancing tunes like 'Everywhere'. Fleetwood's drums are also a little less unbridled than the used to be, gaining a tight, metronomic power that is appropriate for the songs. Although he does still get the chance to go a bit mad on 'Caroline'.
This is an underatted album, primarily because it doesen't fit into any easily accepted notion of what Fleetwood Mac are about. It is not a rock album, and it is not a singer-songwriter album. It is a pop album, but - perhaps crucially - it is a Lindsey Buckingham album, played by Fleetwood Mac. Which probably explains why so few of his 'actual' solo albums have been as artistically satisfying.
9 of 9 people found the following review helpful
4.0 out of 5 stars Top quality pop tunes by the best in the business,
By A Customer
A decade on from Rumours this is an album with a sound that firmly underlines its period of release. Without the gentle love songs of their previous albums this record heads solidly in the direction of big, catchy pop tunes that grab instantly, but dont wear rapidly like a lot of music from the period. As usuall the rythm section of Fleetwood and McVie power the majority of songs and are prevalent on the strongest tracks on this album; "Big Love" and the fantastic "Little Lies". The album is let down possibly by too many songs in this popy mould and the track "Family Man" is awfull. However I would still class this as a great album on the strengths of about six songs which are just exquisite and arguably Mac at their best, and I simply dont tire of hearing. A bizzare album of the brilliant and tacky sides of Fleetwood Mac that is always in my CD box, cheesy, sunny, powerfull and class.
5 of 5 people found the following review helpful
4.0 out of 5 stars back on track,
It took two album between Rumours and this to Fleetwood Mac to return with an album where ever track is fantastic. This was the first Mac album I bought and after that I then discovered Rumours. However the great singles Big love, Little Lies and everywhere are here but there is so much more than these singles. There are a couple of weaker tracks, when I see you again shows the strain on Stevie Nicks voice, but the best tracks appear to be when Buckingham gets together with McVie, Mystified and You and I part 1 are great tracks that stand up as good as the singles lifted from the album. Finally there is a knew expanded re-masted edition on the way so you may want to wait and check that out as it may contain you and i part one which was a great B side to big love
3 of 3 people found the following review helpful
5.0 out of 5 stars This is possibly my favourite Fleetwood Mac album.,
I originally owned this album on cassette which I purchased back in 1987 when it was originally released and have played it to death ever since and only recently I purchased it on CD to replace the cassette version. This album is still a knockout and remains possibly my favourite Fleetwood Mac album I own. All of the songs on here are of a very high standard and it's no wonder that Fleetwood Mac were at the top of their game when they made this album. I just love it for what it is and that is a great album.
The symbol start on the beginning track 'Big Love' is genius thinking and it probably explained why it opens the album. I couldn't really see it anywhere else except as an opening track. But this album spawned a handful of single releases including 'Big Love', 'Everywhere' and 'Little Lies'. Every track on here are tracks to sing-a-long to. Fleetwood Mac are and will be one of my favourite groups I listen to and they have produced some brilliant songs over the last 40+ years in their many guises. This Fleetwood Mac contained the members Mick Fleetwood, John McVie, Christine McVie, Lindsey Buckingham and Stevie Nicks. This group formation lasted until the early 1990's.
This album most certainly propelled Fleetwood Mac into one of the best groups of the 1980's and their songs, especially in the 1970's and 1980's, played a part in my growing up and I think that they are a great band. As far as this album is concerned, Fleetwood Mac gave us, in my mind, one of the best albums of the 1980's. Great stuff.
1 of 1 people found the following review helpful
5.0 out of 5 stars Side A/Side B - No filler golden days,
one of my favourite 80's albums and is a very deeply personal listen. it represents the last days of proper side a/side b arrangement with no filler. as is the big problem with CD's which became the more dominant format via the equipment that played it which was becoming more affordable.
also, it could be the said that this also reached the nadir of expensive promo videos and huge record labels dominating the music industry as a whole. really last days of Rome stuff.
i think it's massive worldwide success even surprised Fleetwood Mac as a band themselves. they had certainly struggled during the decade to produce something anywhere near complete a work as this. there were the obvious ongoing personal issues, which also led to Buckingham not touring the LP and a largely absent Nicks from the recording process.
the single count was high, with unsung hero Ms McVie chipping in with 2 massive numbers 'Everywhere' and 'Little Lies' alongside the darkly addictive 'Big Love' and radio friendly 'Seven Wonders'. many of the other tracks could have easily been picked to trouble the charts.
in fact, as Rumours was not something I grew up with, Tango in The Night will always be my favourite Fleetwood Mac release. it is an album which I constantly revisit and play repeatedly when I do. and having an old school Sharp GF575 ghettoblaster - via cassette. for the specific reason of listening to crafted quality music such as this. and to change sides like the old days!
relationships sometimes endure and this was the soundtrack to an enduring relationship. for that, I will always have a special place for it. and I know many others now in their 40's who will feel exactly the same about this record.
9 of 11 people found the following review helpful
5.0 out of 5 stars get tangoed in the night,
can't go wrong with this album thats for sure. i saw my grandad's copy and decided to get my own copy and was completely in love with the tracks on it. from the likes of "Big love", "Little lies" to just the album tracks such as "When i see you again" and "Isn't it midnight", it'll have you playing it over and over. stevie's voice is sensational and the music just adds more to the lyrics making it one of my top 5 fave albums.
6 of 8 people found the following review helpful
5.0 out of 5 stars Tango In The Night: A Classic,
I bought this album back in '87 when it was released, having been a long time Mac fan..
It was the first album I ever bought on CD and it lived up to all expectations. The Mac, with Lindsey and Stevie never produced a "bad" album and this is no exception, regardless of whether Stevie was really "present" during the making of it..
The title track, in particular, is a monumental construction, using the typical "Mac" chord sequences, but this time it shows Lindsey holding "the long note" over the chord changes on the word Tango, cheated or not, it is a moment of genius, followed. the 2nd time, by the trademark slick and totally appropriate guitar solo..
Others have mentioned "When I See You Again"...Stevie sounds, and probably is, on the edge, but the song is saved by Lindsey's intervention and exquisite guitar work near the end.
I was please to see her returned to form on the most recent Mac tour.
This album topped the chart on both sides of the Atlantic and spawned a number of hit singles..
They rock and rule!
3 of 4 people found the following review helpful
5.0 out of 5 stars Grew up with this album!,
This album holds loads of memories for me of my childhood. I can remember my mam playing this album non-stop in the car on the good old cassette player. Waiting in the carwashes to traveling to the coast, I must of only been 4 or 5 and me singing along to this album it holds so many happy memories. My Mam being a huge Fleetwood Mac fan I believe this album was the foundation for me to love and appreciate music. This album is a must have for anyone's record collection.
3 of 4 people found the following review helpful
5.0 out of 5 stars Pop/rock at its finest!,
If ever a band lived up to the adage " the same brush but it's had two new heads and a new shaft" then it's Fleetwood Mac, the late 60's Anglo blues men led by deity Peter Green. The band saw many line up changes, people were shed , people broke down, people joined cults and the band moved into the seventies acquiring a feminine touch in the exquisite Christine Mc Vie. The sound further evolved into West Coast American AOR with the joining of Lyndsey Buckingham and his then girlfriend Stevie Nicks. The late seventies saw the band become soap operatic with the Mc Vie and Buckingham-Nicks partnerships splintering, not to mention wily old Mick Fleetwood "comforting" Stevie Nicks. It's amazing that the band made any music not to mention the seminal "Rumours" which appeared to be all the better for this emotional broth.
1987's "Tango in the Night" introduced me to Fleetwood Mac. The album opener "Big Love" has some nice catchy spanish refrains. "seven wonders" is abit like "Bette Davis eyes" and "Always" is pure shining pop, this became a mega selling single in 1988 which caused a resurgence in the album's fortunes one year on."Caroline" is a pleasant pop song full of Arabic type singing but the absolute knock-out is the title track, a light accustic verse is propelled into a rockier chorus and a false ending takes us into the best Lyndsey Buckingham guitar solo since "the Chain" "Mystify" is polished shimmering pop as timeless and beautiful as an ABBA song,"Little Lies" is commercial pop but "Family Man" is pure Buckingham genius with delightful Flamenco guitar licks. "Isn't it Midnight?" is excellent "Welcome to the rome Sara" is all right " When I see you again is so heartfelt that it's embarrasing and" You and!" is delightfully quirky.
This album is a result of Buckingham's studio genius and was cobbled together from various sessions where the band recorded separately. He plasters over the cracks and somehow we have a united album.Pop meets spanish meets Rock meets country tinges.
This appears to be a very commercial album but has hidden depths and 19 years later I'm still listening to it and whilst there's eighties touches, it has still dated admirably. Check out the astonishing Spanish Guitar work out that is "Big Love" on "The Dance" album of 1998 where we realised that Fleetwood Mac weren't worth a stuff without Buckingham.
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