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4.7 out of 5 stars
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4.7 out of 5 stars
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on 9 April 2007
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.
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VINE VOICEon 11 March 2011
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.
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on 15 March 2016
I must say that I for one love the music from Fleetwood Mac just fantastic music
Middle of the road music to please many at any time of day or evening
they have many albums to pick from witch I play one after the other
from my collection... Great to chill out to Brilliant music

Five Gold Stars for Fleetwood Mac and there music
from SATAN
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on 3 October 2000
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.
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on 16 January 2011
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
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Following the good but commercially disappointing `Tusk' in 1979 and its unremarkable 1982 follow-up `Mirage', the five members of Fleetwood Mac went their separate ways and didn't play together for several years.

`Tango in the Night' was the band's 1987 come-back, originally planned by Lindsey Buckingham as a solo project. It marks a return to form, and was eventually FM's second-best selling album worldwide after `Rumours'.

The strongest songs are from Buckingham and especially Christine MacVie, who wrote the best two of the album's four hit singles, `Everywhere' and `Little Lies'. Christine & Lindsey also co-wrote `Mystified', `Isn't it Midnight' and the album's excellent closer `You and I part 2'.

Stevie Nicks' contributions to TitN are more modest, as due to a persistent and unresolved cocaine habit she didn't show up to the studio for most of the sessions. `Welcome to the Room, Sara' is one only two songs penned by her, themed on her experience in rehab.

This is the final collection from the classic line-up of FM prior to the departure of Buckingham and Nicks for several years, and a fine album. Christine MacVie (after 30 years on the road) finally left the band, moved back to England and retired from the business, but the remaining foursome is still touring in 2013 and many classic numbers from TitN still grace their sell-out stage performances, as popular as ever.
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on 6 July 2016
Tango In The Night is a fairly strong album, with some very good singles and some weaker album tracks. During the time there was a lot of animosity in the band and it is easy to pick up on this dynamic in the conflicting styles in this album; the darker, more acoustic qualities of Lindsey Buckingham's songs; the bluesy qualities of Christine McVie's songs and the more ethereal tones of Stevie Nick's songs can all be heard in quick succession which can be quite confusing to the ear. An example of this is the last two tracks, a very sad song followed by a perky song. Despite this, however, there are some fairly strong songs on this album that are still incredibly popular today.

1. Big Love* – In my opinion this is a very sexy song, not because of the moans (both of which were made by Lindsey Buckingham!) but because of the acoustic guitar, a sound that I have always found very sensual. A great song to open the album with.
2. Seven Wonders* – A song that really drew me to Fleetwood Mac. I remember hearing this song in the back of my Dad's car and loving the husky tone of Stevie's voice and the echoing keyboards. It's a song that has been featured in American Horror Story: Coven, which is probably why it's one of Stevie's most famous songs, beside Rhiannon.
3. Everywhere* – Perhaps Fleetwood Mac's most popular song because it's always on the radio somewhere. A beautiful song about the early stages of love, I think; the feeling of always wanting to be with the person but not being able to muster up the courage to express your true feelings. A song that I've always loved (and the live version on The Dance is great!)
4. Caroline – A song consisting of twinkling guitars and a fantastic drum beat. The song itself is probably about chasing after a woman; obsessive love perhaps? It's not a song I've really paid much attention to as I personally feel it's quite weak.
5. Tango In The Night – The title track, and one that Buckingham was actually going to use for his solo album. Another fairly weak song by Buckingham, perhaps he was more invested in his solo career at this point?
6. Mystified – An improvement on the previous two tracks, though sadly for me this is a forgettable song from Christine McVie here.
7. Little Lies* – A vast improvement and a very strong single from this album and Christine McVie. A contrast to Everywhere, which is a very honest song, I think this song is about wanting to hear lies from your partner rather than how they truly feel, which towards the end doesn't go well “We're better off apart, let's give it a try”. I love the tone of Chris' voice in this.
8. Family Man* – A great Spanish-esque song from Buckingham with a great guitar solo (that I could listen to forever!) and castanets. I don't actually know what this song is about, but going purely on the lyrics I think it's about returning to your family, or what you know, when things get hard. Perhaps a reference to Buckingham returning to Fleetwood Mac during his solo career?
9. Welcome To The Room... Sara - A song about Stevie's visit to rehab following her drug addiction during the Tusk/Mirage era. One thing I really love about Stevie Nick's music is how she manages to capture a moment of her life in one song and it must have been hard to really explain what the experience of rehab was like.
10. Isn't It Midnight* – Another great song by Christine McVie, incredibly underrated. The dark guitar played by Lindsey Buckingham and the lyrics which seem to be very reminiscent of a lost love, perhaps in another time things could have been different. I can't help but think Chris is singing about herself when she says “Do you remember the face of a pretty girl?”
11. When I See You Again – One of Stevie's most heartbreaking songs. I feel like it is probably a metaphor for death, staring up the stairs and having many doors to choose from, the doors being life and the stairs being death. The stairs seem like the easy option, the most welcoming in the song.
12. You And I, Pt II* – A complete juxtapose to the previous track which was incredibly sad, this song is very upbeat and wishing that a night will never end. It reminds me of the first time I kissed my boyfriend and funnily enough I never wanted that night to end either. A brilliant track full of happy memories for me.

Overall there are some very strong songs on here. For me, however, the weakness of some of the other songs and the conflicts in style really let this album down. It does provide some fantastic singles and two of Fleetwood Mac's most famous songs in Little Lies and Everywhere.

So should you listen to this album? Definitely. Despite its shortcomings it is Fleetwood Mac's third strongest studio album and worth a bit of love.
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on 9 October 2009
Aah... I finally replaced my very old cassette copy of this album with the CD and my God, was it worth the wait! This brings back such fantastic memories of my late teen-hood (when it was released) and I was slightly apprehensive about hearing it after several years' hiatus- would I have imbued it with an undeserved sentimental fondness, or would it sound as good to my now adult ears? I'm pleased to say it is even better than I remember; I hear things I didn't at 17, as well as what I know and love. This and 'Rumours' are in my opinion Fleetwood Mac's (at least in their latter incarnation) best albums and I highly recommend both to anyone unfamiliar with their excellent work.
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on 28 August 2005
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.
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on 6 March 2014
I bought this as a download as i had an original cassette version and had lost it. It has brought back memories of the 80's and my training in theater to become a nurse. Good tunes a many of which i had forgotten and one of which prompted me to buy as i had heard the song"seven wonders" on American Horror Story "Witches Coven"
Great songs
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