Fleetwood Mac - Tango In The Night 3CD/1DVD/1LP set coming March

[Neal]

I may be in the minority, but I love the version on the Tango out takes. (bootleg)

Same here! That's what I wish would've been included on the this new remaster. Granted, I already have it in a few places, strewn across several cd's, but it would've been awesome to have it included on the same official disc with the other outtakes.

Unless I'm misunderstanding her comments in this interview, she didn't want it on there because she still wants to re-record some half-baked version for (presumably) 24 Karat Gold Vol. 2...?

[SisterNightroad]

I may be in the minority, but I love the version on the Tango out takes. (bootleg)
I love it too, that's why now I'm excited for a possible future release for a 24K Gold sequel. With a bit more polish and less redundance it has a great potential.

[jbrownsjr]

I love it too, that's why now I'm excited for a possible future release for a 24K Gold sequel. With a bit more polish and less redundance it has a great potential.

It's such a dark piece. I love dark from Stevie.

[SisterNightroad]

It's such a dark piece. I love dark from Stevie.
Absolutely, It would have been amazing on Tango, it would have given back a little of dark vibe to the album that would have made it more reminiscent of the classic output of the band.

[secret love]

Ugh I really wish they would've included 'Joan of Arc' on this.

She says she still wants to record it, but more than likely that won't happen. And if it does, I can't see the results being better than the demos.

Surely as the songwriter Stevie would be legally entitled to release the Joan of Arc demos?

And even if she does rerecord it for Songs from the Vault II - I am sure it will be a smash.

How WISYA was chosen over Joan of Arc and What Has Rock and Roll Ever Done for You is beyond me. Even though it may have been out of place, Where We Belong would be a better inclusion than WISYA also.

She had at least six tracks on the table, they took the best which was written by Sandy Stewart, an upbeat but forgettable Welcome to the Room...Sara and a crappy ballad featuring the lyric "She stares at the stairs/Ooh there are many things to stare at these days"

Someone needed to tap the band mates on the shoulder and say, have you listened to Ooh My Love again? Or Joan of Arc?

[jbrownsjr]

Surely as the songwriter Stevie would be legally entitled to release the Joan of Arc demos?

And even if she does rerecord it for Songs from the Vault II - I am sure it will be a smash.

How WISYA was chosen over Joan of Arc and What Has Rock and Roll Ever Done for You is beyond me. Even though it may have been out of place, Where We Belong would be a better inclusion than WISYA also.

She had at least six tracks on the table, they took the best which was written by Sandy Stewart, an upbeat but forgettable Welcome to the Room...Sara and a crappy ballad featuring the lyric "She stares at the stairs/Ooh there are many things to stare at these days"

Someone needed to tap the band mates on the shoulder and say, have you listened to Ooh My Love again? Or Joan of Arc?

Yes to all of this., I'm one of the few that like a few albums passed Wild Heart. Very few.. but still... Those songs are way better than WTTRS and WISYA.

[jbrownsjr]

Absolutely, It would have been amazing on Tango, it would have given back a little of dark vibe to the album that would have made it more reminiscent of the classic output of the band.

It could have ended the album with some arrangement of the instruments. He probably didn't want to work on it.

[SisterNightroad]

It could have ended the album with some arrangement of the instruments. He probably didn't want to work on it.
I'd picture it next to Tango In The Night instead, especially in the a bit more refined demo I can hear some similarities in the musical atmosphere Lindsey did. What an amazingly eerie combination they could have made.

[jbrownsjr]

I'd picture it next to Tango In The Night instead, especially in the a bit more refined demo I can hear some similarities in the musical atmosphere Lindsey did. What an amazingly eerie combination they could have made.

I was thinking an ender.. like GDW..

[SisterNightroad]

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[svnwndrs]

^^^WHOA!!!! That was awesome! I can't wait for this! Thank you for posting that SisterNightroad!!! :blob1::woohoo:

[FuzzyPlum]

Absolutely, It would have been amazing on Tango, it would have given back a little of dark vibe to the album that would have made it more reminiscent of the classic output of the band.

It could have ended the album with some arrangement of the instruments. He probably didn't want to work on it.

I'd picture it next to Tango In The Night instead, especially in the a bit more refined demo I can hear some similarities in the musical atmosphere Lindsey did. What an amazingly eerie combination they could have made.

I was thinking an ender.. like GDW..


What? Are you guys talking about Joan of Arc?
Your losing it. Joan of Arc is really, really boring.
But that's just my opinion.

Turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall...snore

WISYA please.

[SisterNightroad]

What? Are you guys talking about Joan of Arc?
Your losing it. Joan of Arc is really, really boring.
But that's just my opinion.

Turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall...snore

WISYA please.
It's because you lack imagination, assume that the song it's not completed with a little lyrical adds could become a non-conventional Stevie song like Mabel Normand.

[jbrownsjr]

What? Are you guys talking about Joan of Arc?
Your losing it. Joan of Arc is really, really boring.
But that's just my opinion.

Turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall...snore

WISYA please.

hahaha.. shut up!!

whatammaattta baby.... whatsamatta babyyyyyyy

BAAAAAAAAAAAAAABYYYYYYYYYYYYY

[FuzzyPlum]

hahaha.. shut up!!

whatammaattta baby.... whatsamatta babyyyyyyy

BAAAAAAAAAAAAAABYYYYYYYYYYYYY


Ha, as soon as I clicked 'submit' I thought errrrr... wossamatababy, wossamatababy, wossamatababy, wossamatababy, wossamatababy,
I don't love it but I'd still take it over Joan of Arc any day.

[jbrownsjr]

Ha, as soon as I clicked 'submit' I thought errrrr... wossamatababy, wossamatababy, wossamatababy, wossamatababy, wossamatababy,
I don't love it but I'd still take it over Joan of Arc any day.

I think the reason I love JOA is because it's so dark. I love dark Stevie.

But, your point holds up. I mean.. It's really raw.

I love Illume.

[bombaysaffires]

Joan needs those booming drums from the demo.

And Stevie needs to write a good second verse instead of repeating the same one in the demo....that's where Lindsey restructured it to make it not so repetitive. But it lost something without those drums. :shrug:

[DauphineMarie]

Joan needs those booming drums from the demo.

And Stevie needs to write a good second verse instead of repeating the same one in the demo....that's where Lindsey restructured it to make it not so repetitive. But it lost something without those drums. :shrug:

The "finished" take from later on in the recording sessions does have a second verse, and I prefer this version honestly.

"Your beautiful eyes...
Whoa, well they look sad to me now
And I don't even know why you left me
She saw it all...It was a tiresome ending,
He stormed out here and the door slamming...
Behind him
Ooh, she didn't even know why he left her..."

If you haven't heard this version, please do! It's absolutely dark and stunning, and intense.

[Wdm6789]

There was a music video for Family Man?

[SisterNightroad]

There was a music video for Family Man?
Unfortunately yes, it was just a bunch of outtakes from the Seven Wonders and Big Love videos with some very random black and white scenes here and there, thankfully some time ago they removed it from the web.

[jbrownsjr]

Unfortunately yes, it was just a bunch of outtakes from the Seven Wonders and Big Love videos with some very random black and white scenes here and there, thankfully some time ago they removed it from the web.

haha... you made me laugh with the last comment. :thumbsup:

[Feather Blade]

What? Are you guys talking about Joan of Arc?
Your losing it. Joan of Arc is really, really boring.
But that's just my opinion.

Turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall, turn it to the wall...snore

WISYA please.

Agreed. One more of those "turn it to the wall's" and I'm ready to cut my throat. On the other hand, I'm not sure WISYA is much of an improvement. :)

[SisterNightroad]

haha... you made me laugh with the last comment. :thumbsup:
Ah ah! It was an embarassing sight, someone had to do it for the world.

[Wdm6789]

Unfortunately yes, it was just a bunch of outtakes from the Seven Wonders and Big Love videos with some very random black and white scenes here and there, thankfully some time ago they removed it from the web.


I never saw it. I want to see it. Hopefully it will be on YouTube after people get Deluxe Tango, I'm just getting it on iTunes so I don't think I get the videos.

[jbrownsjr]

Ah ah! It was an embarassing sight, someone had to do it for the world.

I hated Everywhere's video, too!

[wheart]

Unfortunately yes, it was just a bunch of outtakes from the Seven Wonders and Big Love videos with some very random black and white scenes here and there, thankfully some time ago they removed it from the web.

Family Man should be erased from history. LB's most awful moment. Otherwise I love the guy!!!

[jbrownsjr]

Family Man should be erased from history. LB's most awful moment. Otherwise I love the guy!!!

Not even the beautiful guitar? ;)

[secondhandchain]

Agreed. One more of those "turn it to the wall's" and I'm ready to cut my throat. On the other hand, I'm not sure WISYA is much of an improvement. :)

Cringeworthy demo. Stevie at her over the top worst. Omg what must they have been saying behind her back after she sang one of those blathering vocals during that era. Just awful.

[SisterNightroad]

I hated Everywhere's video, too!
At least that is fun. But do we want to talk about Hold Me?
With Mick looking like a pervert archaeologist and Christine is confined in a room with ugly paintings?

[24karatstevie]

At least that is fun. But do we want to talk about Hold Me?
With Mick looking like a pervert archaeologist and Christine is confined in a room with ugly paintings?
Aww I love the Hold Me video! My favorite parts are Mick and John scrambling around in the sand and Stevie looking absolutely on fire in that red dress! Yeah it's kind of silly but it was the 80s!

[SisterNightroad]

Aww I love the Hold Me video! My favorite parts are Mick and John scrambling around in the sand and Stevie looking absolutely on fire in that red dress! Yeah it's kind of silly but it was the 80s!
Yet I noticed you couldn't find anything good to say about the "ugly paintings" room.
But yes, Stevie looked fantastic.

[jbrownsjr]

At least that is fun. But do we want to talk about Hold Me?
With Mick looking like a pervert archaeologist and Christine is confined in a room with ugly paintings?

I love Christine's look in this era! I love Hold Me!!

Buck looks good, too!

[24karatstevie]

Yet I noticed you couldn't find anything good to say about the "ugly paintings" room.
But yes, Stevie looked fantastic.
I don't think the paintings are THAT ugly. Plus Christine isn't confined the whole time, she gets to walk away with that horse at the end! :lol:

[SisterNightroad]

I love Christine's look in this era! I love Hold Me!!

Buck looks good, too!
If you love Christine then you should want her to be free to roam in nature, not confined in a tiny room by an interior designer with questionable tastes.
Buck always looks good.

I don't think the paintings are THAT ugly. Plus Christine isn't confined the whole time, she gets to walk away with that horse at the end! :lol:
Ah ah yes, the happy ending with the horse was unconventional.

[jbrownsjr]

If you love Christine then you should want her to be free to roam in nature, not confined in a tiny room by an interior designer with questionable tastes.
Buck always looks good.


Ah ah yes, the happy ending with the horse was unconventional.

Hey, she crumbled the paper up and threw it at you!

[wheart]

Not even the beautiful guitar? ;)

well maybe the instrumental part can stay.

[TrueFaith77]

Family Man should be erased from history. LB's most awful moment. Otherwise I love the guy!!!

second best song on titn imo and most beautifully produced Mac song until Love Minus Zero

[michelej1]

Unfortunately yes, it was just a bunch of outtakes from the Seven Wonders and Big Love videos with some very random black and white scenes here and there, thankfully some time ago they removed it from the web.

I am what I am what I am.

Michele

[tango87]

Excellent 4-star review in The Guardian - it's their Album of the Week:

https://www.theguardian.com/music/2017/mar/23/fleetwood-mac-tango-in-the-night-reissue-review

Rather lovely seeing all this reappraisal of Tango. I knew I was right all along!

[FuzzyPlum]

Excellent 4-star review in The Guardian - it's their Album of the Week:

https://www.theguardian.com/music/2017/mar/23/fleetwood-mac-tango-in-the-night-reissue-review

Rather lovely seeing all this reappraisal of Tango. I knew I was right all along!


An excellent piece of writing.

Love this;
And there’s some bulletproof pop songwriting here, a lot of it from the pen of Christine McVie, always the most poised of Fleetwood Mac’s trio of composers: Little Lies, the peerless Everywhere and Isn’t It Midnight, the latter a confection of booming drums, precise, tinkly synth and wailing guitar solos that sounds as if it’s just waiting to appear in the background of a film starring Ally Sheedy.
...I always thought something very similar.

[jbrownsjr]

An excellent piece of writing.

Love this;
And there’s some bulletproof pop songwriting here, a lot of it from the pen of Christine McVie, always the most poised of Fleetwood Mac’s trio of composers: Little Lies, the peerless Everywhere and Isn’t It Midnight, the latter a confection of booming drums, precise, tinkly synth and wailing guitar solos that sounds as if it’s just waiting to appear in the background of a film starring Ally Sheedy.
...I always thought something very similar.

nice!! Christine is blowing up again!!

[tango87]

An excellent piece of writing.

Love this;
And there’s some bulletproof pop songwriting here, a lot of it from the pen of Christine McVie, always the most poised of Fleetwood Mac’s trio of composers: Little Lies, the peerless Everywhere and Isn’t It Midnight, the latter a confection of booming drums, precise, tinkly synth and wailing guitar solos that sounds as if it’s just waiting to appear in the background of a film starring Ally Sheedy.
...I always thought something very similar.

Yes, Alexis Petridis is a great music journalist over here.

[dreamsunwind]

Excellent 4-star review in The Guardian - it's their Album of the Week:

https://www.theguardian.com/music/2017/mar/23/fleetwood-mac-tango-in-the-night-reissue-review

Rather lovely seeing all this reappraisal of Tango. I knew I was right all along!

Wow amazing review. This is why I like this album a lot, to me it sounds mostly quite dark and mysterious, the title track really suits the album and highlights everything. And how this was when things were REALLY crazy amongst the band, I think of the "TAAAAAANGO" and the hum hum hum hum into ending part of the song as like the climax of everything.

[michelej1]

The Guardian, Alex Petridis, March 23, 2017

http://www.msn.com/en-gb/entertainment/story/fleetwood-mac-tango-in-the-night-review-%E2%80%93-timely-reissue-coasts-from-gloss-to-gloom/ar-BByDs1d?srcref=rss

Fleetwood Mac: Tango in the Night review – timely reissue coasts from gloss to gloom

The mid-80s were not the kindest time for 60s and 70s rock legends. For every gimlet-eyed operator who successfully navigated an alien and unforgiving landscape of power ballads, crashing snare drums, Fairlight synthesisers and MTV moonmen – the Eagles’ Don Henley and Glenn Frey; Tina Turner – there were scores who seemed utterly lost. It was a world in which the natural order of things had been turned on its head to such a degree that the drummer from Genesis was now one of the biggest stars on the planet. David Bowie, Bob Dylan, Neil Young, Joni Mitchell, Lou Reed … at best, they ended up making albums that diehard fans pick over for tiny morsels that suggest they’re not as bad as the reputations preceding them; at worst they made stuff they’d spend subsequent years loudly disowning, involving terrible clothes, inappropriate producers, awful cover versions and – in extreme cases – attempts to rap.

In theory at least, Fleetwood Mac should have been in more trouble than anyone. The band that reassembled after a four-year hiatus to record 1987’s Tango in the Night was in even greater disarray than usual. The celebrated complications in their personal lives that had fuelled 1977’s 40m-selling Rumours were still taking a psychological toll, as was the band’s celebrated capacity for excess. Singer Stevie Nicks emerged from rehab, free of cocaine but soon to become addicted to clonazepam, a tranquilliser so strong she claimed not to remember a subsequent four-month US and European tour. Nicks rarely turned up to the recording sessions at guitarist and vocalist Lindsey Buckingham’s home studio; when she did, Buckingham banished her and drummer Mick Fleetwood to a Winnebago on the driveway, horrified at the state they were in. Bassist John McVie’s drinking was out of control; he had an alcohol-induced seizure the year Tango in the Night was released. The era was brought to a suitably miserable close when Buckingham and Nicks had a physical altercation after the former announced his departure from the band.

Tango in the Night should have been a disaster; instead it sold 15m copies. But despite Buckingham’s belief that its synthesised slickness successfully “bulldozed” away the chaos behind its making, this 30th-anniversary edition, complete with two CDs of outtakes, B-sides and remixes, reveals Tango in the Night isn’t quite so straightforward. It is certainly polished to gleaming perfection – the only outtake that isn’t improved on is the version of closer You and I, four minutes longer and packed with gorgeous vocal harmonies and dreamy atmospherics, curiously excised from the album. And there’s some bulletproof pop songwriting here, a lot of it from the pen of Christine McVie, always the most poised of Fleetwood Mac’s trio of composers: Little Lies, the peerless Everywhere and Isn’t It Midnight, the latter a confection of booming drums, precise, tinkly synth and wailing guitar solos that sounds as if it’s just waiting to appear in the background of a film starring Ally Sheedy.

But there are also tracks that speak loudly about Tango in the Night’s background. Most obviously, Nicks’s performances, which are pretty frayed at the edges. She pulled herself together for Seven Wonders, a song as gold-plated as any of McVie’s – though, in fact, it was written by Sandy Stewart and her contribution to its composition extended to mishearing and thus mis-singing a line. The reality of Nicks’s situation is revealed in Welcome to the Room … Sara, a fractured retelling of her time in rehab (“This is a dream, right?”) and When I See You Again, an acoustic ballad – or as acoustic as anything got in Tango in the Night’s heavily buffed sound world – on which she sounds authentically zonked, a spectral presence at the centre of her own song.

Buckingham, meanwhile, couldn’t seem to stop an unsettled twitchiness seeping into even his most commercial songs: the staccato vocals of Family Man; the title track’s surges from quiet tension to florid solos; Big Love’s backing of grunts, moans and scampering guitar riffs. The latter found an unexpected audience in Ibiza as a Balearic anthem, but it’s hardly blissed out. Quite the opposite: it’s edgy and self-loathing (“I wake up alone with it all”); music with its eyes nervously darting about.

This deluxe reissue feels timely. Buckingham may publicly fret that Fleetwood Mac are “incredibly unhip”, but we now live in a world where their influence hangs heavy over pop, from the sound of Haim to hipster DJ collective Fleetmac Wood, who play nothing but Fleetwood Mac records. Rumours is hailed as a work of consummate songwriting power, rather than the kind of thing punk came to save us from, Tusk is viewed as an experimental tour de force rather than a confused sprawl, and even 1982’s soft-rock compromise Mirage is lauded by artists including Hot Chip. But somehow Tango in the Night has escaped critical re-evaluation: something of what you might call the unrevived 80s – the aspects of the decade too crushingly uncool to warrant nostalgia – still clings to it.

But if anything, Tango in the Night seems even more deserving of the “flawed masterpiece” tag than Tusk. The gloss can’t hide the turmoil, no matter how thickly it’s applied. As with Roxy Music’s Avalon, you’re struck by the sense of an album with something far darker and odder at its core than its reputation as a yuppie soundtrack suggests. In the 30 years since its release, the five people behind Tango in the Night have not managed to make another album together. That’s a pity – as the run of albums that began with 1975’s Fleetwood Mac and ended here demonstrates, the quartet were once an unstoppable musical force, even when forces conspired to stop them. But listening to Tango in the Night’s repeated lurches from breeziness to angst and sparkle to gloom, it doesn’t seem terribly surprising.

[bombaysaffires]

In the 30 years since its release, the five people behind Tango in the Night have not managed to make another album together. That’s a pity – as the run of albums that began with 1975’s Fleetwood Mac and ended here demonstrates, the quartet were once an unstoppable musical force, even when forces conspired to stop them. But listening to Tango in the Night’s repeated lurches from breeziness to angst and sparkle to gloom, it doesn’t seem terribly surprising.

This.

To all the people pissing and moaning about all the people pissing and moaning about not getting another 5-piece album......THIS.

You can try to paper over it all you want gushing about tours and all that crap, but the lack of an album from these 5 people since the 1980s is pathetic.

Carry on.

[secondhandchain]

Lindsey was at his creative peak during the making of this album. Ricky, You and I part 1, and the other B sides are just absolutely amazing. To think they didn't make that album. I would have gladly thrown off Stevie's songs for those B Sides. Listening right now to Ricky on headphones and it's just an amazing piece of work.

[SisterNightroad]

Tango in the Night (expanded)

Any kind of contemporary reflection on Fleetwood Mac is going to necessarily make reference to the band members' endeavours off the field of play. That’s not because they were better known, or even as well known, for their extracurricular activities as their music, but rather because the individual members’ personal lives seeped into the songs with such frequency and ferocity as to render the two worlds inextricable. There was certainly never a Chinese wall.

If anything, Rumours’ resurgence in recent years, the result of a bright new Urban Outfitters-clad generation discovering it, has been pleasantly innocent and pure, with the evergreen nature of the songs themselves apparently holding the core appeal rather than the stories behind them. It seems daft to talk about a record that’s shifted 28 million copies in a manner that suggests it’s somehow been hard done by, but there was a time when Rumours wasn’t cool - when ‘Dreams’ was most prominent in the popular imagination for having just been covered by The Corrs, and when the very specific Seventies production style - clean lines, sharp tones - was viewed as positively kitsch.

Overall, though, Rumours - and, by way of extension, the entirety of the band's Buckingham-Nicks glory years - is always going to be viewed through the prism of what was going on behind the scenes because that tension, be it romantic, creative or chemical, made the songs what they were. ‘Go Your Own Way’ wouldn’t hit home the way it does if you didn’t know that every syllable was actually, honestly dripping with seething resentment. Fleetwood Mac’s folklore made their self-titled album, Rumours and, to a lesser extent, Tusk and Mirage what they were.

This is precisely why Tango in the Night is the anomaly in the catalogue. Unlike its predecessors, it wasn’t a product of the strife surrounding it; for the first time, Fleetwood Mac made an album in spite of intra-band turbulence, rather than because of it. By the time they started work on it in late 1985, nobody in the group was in an especially good place; as Lindsey Buckingham would later surmise, 'everybody was leading their lives in a way that they would not be too proud of today.'

They were drugged up and worn out. It was probably the glow of youth wearing off; the lifestyle they’d fallen into as individuals had lost its lustre by this point. Stevie Nicks was struggling, her prodigious cocaine habit no longer romantic but sad; she wasn’t long out of the Betty Ford Center, and had more or less lost interest in the band with her solo career burgeoning. When she did turn up to cut vocals for Tango in the Night, she made a point of knocking back brandy beforehand; as a result, Buckingham would quietly bin most of her takes after she’d left.

His own investment in the band had dwindled, too. He’d put out two solo LPs, Law and Order and Go Insane, and was intending to cut a third when Mick Fleetwood nudged him back in the direction of writing for the group, if only because the financial rewards were likely to be more lavish. Despite his own personal issues, Fleetwood remained the anchor and the likeliest cheerleader for another record, with Christine and John McVie adrift; the former making her own records and the latter quite literally, as he retreated from music to go sailing.

Relations were strained, then, and nobody could reasonably claim to be on top form. That they managed to make a record isn’t necessarily all that impressive. Contractual commitments probably would’ve seen to that either way, as they did for The Rolling Stones around this time in the Eighties; Undercover and Dirty Work are now long forgotten and so they should be, sounding every inch what they were - albums made at a time when Ronnie Wood was probably the member of the band of most sound mind (talk about dire straits). The minor miracle was that Fleetwood Mac made a classic with Tango in the Night.

That there were multiple songwriters within the band was basically the foundation they were built on and the strange thing is that it never really proved problematic, either between themselves or in terms of how the records ran; even McVie’s contributions on Rumours, for instance, which are unlikely bedfellows for the rest of the album in terms of content and tempo, never derailed the overall sense of cohesion. Buckingham had overseen a similar atmospheric homogeny on Tusk in masterful fashion, bringing together no end of disparate creative threads to create a sprawling record that wasn’t ever properly fractured. It’s quite the trick and it’s one he pulled off again on Tango in the Night; it’s obvious that the writers were in very different places musically and personally, and yet the whole album is dripping with the same coat of lush pop gloss, laid on thick enough to conceal the fault lines.

The singles from the record would go on to rank amongst the band’s biggest hits; on that front, it’s McVie and her sharp ear for melody that are the stars, with ‘Everywhere’ and ‘Little Lies’ the out-and-out pop highlights. The former has an irresistible buoyancy that falls just the right side of the line in terms of its saccharine charms where, say, ‘Don’t Stop’ overstepped the mark in its cloying optimism. The latter, meanwhile, features one of the hooks of the decade on the chorus. ‘Big Love’ would become a setlist staple, too, simmering with the viscerally nervous energy that’s always been Buckingham’s calling card; that sense of simmering drama runs through the title track also, and he’s such a methodical writer that you know it was there by design rather than accident - even if the situation surrounding him surely fed into it.

As much as Tango in the Night might be viewed as a classic, it certainly isn’t timeless; everything about the sonic architecture screams the Eighties. It’s largely Buckingham’s doing and the instrumentation consistently sounds very much of its era - the chugging guitars on ‘Isn’t It Midnight’, the twinkly synths throughout ‘Seven Wonders’, the simple electronics that ‘You and I, Part II’ opens with and that sound like they were plucked straight from an old arcade game like Outrun.

With that decidedly retro image of Tango in the Night in mind, though, it’s easy to forget just how vibrant, rich and layered the production is. That’s really brought to the fore on this remaster, on which the songs are a little brighter and deeper than we’ve ever heard them. Buckingham was a stickler for detail on the original and it was this perfectionism that led to him applying the same palette to every track, regardless of who’d written it, an approach he’d been refining ever since Tusk.

The sound, then, involves a clear break from the group’s Seventies identity, but many of the same themes continue to swirl. That’s especially true of Nicks’ contributions; always the band’s most confessional songwriter, she mines her own demons as usual, recapping rehab with ‘Welcome to the Room...Sara’ and dropping a lyrical clanger in the process, her interpolation of the titular line from ‘The First Cut Is the Deepest’ less nimble intertextuality than bizarre shoehorning.

She’s on affecting form throughout, though, and inevitably her relationship with Buckingham pops up on ‘When I See You Again’; given that this is the final album by the classic Rumours lineup and frankly the final true hit full-length they had, in the wider imagination that track is probably the one that closed the book on their tormented musical back-and-forth. Buckingham left the band a few months after the album came out, missing most of the tour in support of it; years later, he’d admit that he did so in order to finally put Nicks behind him. That frisson, clearly, had yet to properly fizzle out.

The reissue itself arrives to mark the thirtieth anniversary of Tango in the Night’s release and, as usual, is pleasant but not essential in and of itself. The remaster, as mentioned, makes everything a touch punchier than in 1987, and whilst the bonus material is by no means indispensable, there’s plenty of it and lots to aid the more devoted fan in picking apart Buckingham’s creative process.

The second disc offers up the B-sides ‘Down Endless Street’ and ‘Ricky’ - the former’s worth a look, the latter less so - as well as previously unreleased demos of songs that didn’t make the cut, like ‘Ooh My Love’ and ‘Juliet’. The stripped-back alternate take of ‘Mystified’, also new, is perhaps the pick of the bunch, along with an early sketch of the title track that lacks vocals. Disc three collects the 12-inch mixes (remember them?) and will doubtless hold value for nostalgists; this is definitely a record that lent itself to being chopped up and bent out of shape, so solid was its pop grounding.

If Tango in the Night really is the point at which Fleetwood Mac ‘stop’ in the minds of anybody beyond their committed followers - and let’s be honest, the man on the street would probably struggle to name an album of theirs after this one - then it genuinely is a fitting place for them to have brought the curtain down. The Eighties stylings are so pronounced as to be almost aggressive and you can understand why, on a superficial level, that still puts off the same kids that are just now getting into Rumours, but scratch beyond that and you still have the consummate Fleetwood Mac record; brilliant pop songs, plenty of high drama and a story surrounding it all of its own, of the hazy portal the album provided them to escape from their problems.

It’s a remarkable testament to the talent of the five of them that they produced a classic despite being so burnt out heading into it, like a washed-up old prizefighter coming back for one last bout and rolling back the years to upset the odds. For many other bands, Tango in the Night would’ve been their masterpiece. It has to settle for second place in this particular catalogue, but divorced as they are stylistically, Tango in the Night shares something in common with Rumours - it reinforced the bedrock of the Fleetwood Mac mythology. One last time, they took their broken hearts and made them into art.



http://drownedinsound.com/releases/19868/reviews/4150906

[bwboy]

Tango in the Night (expanded)

That’s especially true of Nicks’ contributions; always the band’s most confessional songwriter, she mines her own demons as usual, recapping rehab with ‘Welcome to the Room...Sara’ and dropping a lyrical clanger in the process, her interpolation of the titular line from ‘The First Cut Is the Deepest’ less nimble intertextuality than bizarre shoehorning.

http://drownedinsound.com/releases/19868/reviews/4150906

Thanks, SisterNightroad. Really interesting article. But does anyone know what the writer is referring to in the above quote? I have read it several times and I can't make any sense out of if. I think he's saying the song is a bust, lyrically, but what's "the First Cut" have to do with that?

Thanks!

[SisterNightroad]

Thanks, SisterNightroad. Really interesting article. But does anyone know what the writer is referring to in the above quote? I have read it several times and I can't make any sense out of if. I think he's saying the song is a bust, lyrically, but what's "the First Cut" have to do with that?

Thanks!
It think the writer just assumes that the line "Where the first cut is the deepest one of all" present in the song "Welcome to the Room...Sara" is an awkward quotation from the song "The First Cut Is the Deepest" by Cat Stevens. I've always wondered about it because I know she's a big fan of Stevens but I'm not totally convinced since she usually doesn't quote lyrics from other people so maybe it's more an allusion.

[bwboy]

I see, thanks!

[FuzzyPlum]

Wow, you learn something new everyday. That song was such a hit for Rod Stewart and its so associated with him that I always assumed it was a RS original. I had no idea it was by Cat Stevens. Should have known- though he's written some absolute classics, RS has written very few of his songs.

[Straightback]

It started with “Sara.” The first two Fleetwood Mac albums to feature Lindsey Buckingham and Stevie Nicks—the self-titled album and Rumours—featured production typical of the pop-rock generated in Los Angeles in the ’70s. They were professional and pristine, exhibiting an instrumental and emotional warmth that was, in terms of the actual recording technique and the cerebral atmosphere of the people making the records, a product of isolation. On their next record, Tusk, Buckingham shifted the balance of Fleetwood Mac’s studio pop. He deliberately produced his songs so that they sounded trebly and makeshift—as if they were translated from brain to tape as quickly as possible—and produced Nicks’ and Christine McVie’s songs with a lush and carefully-sculpted dimensionality. “Sara,” a song Nicks wrote to a daughter she never had, is so gently shaped that every instrumental and vocal materializes in the song like vapor in the atmosphere. At the Blockbuster Music Awards in 2001, Nicks said that when she writes songs, she tries to “make little worlds” for the listener. Whether intentional or not, this sensibility invaded Buckingham’s production of the song; “Sara,” as it appears on Tusk, is its own world, a complete environment, a beach house built out of sighs.

The follow-up to Tusk, 1982’s Mirage, was a kind reflexive scaling back; both Warner Bros. and Buckingham wanted to regenerate the success and the coherent atmosphere of Rumours. It didn’t take. The band members had already drifted too far from each other: Nicks sang country-western and synth-pop songs; Buckingham quoted Pachelbel’s Canon; McVie’s formal romanticism began to take on a crystalline quality; the production flowed in the direction of their individual fascinations. After a brief tour, the band went on hiatus. Nicks released two successful solo albums; McVie and Buckingham put out one each. In 1985, Buckingham had begun work on an additional solo album, when Mick Fleetwood suggested Buckingham fold his new songs into the more monolithic, more lucrative idea of a Fleetwood Mac record.

The resulting album, Tango in the Night, is exactly that: a monolithic, lucrative idea of a Fleetwood Mac record. It was recorded over eighteen months between 1986 and 1987, mostly at Buckingham’s home studio in L.A. Buckingham devoted himself to the record, laboring intensely over its songs, its sounds, and the integrity of its design. Recording technology had advanced substantially since the early ’80s, and Buckingham found the methods by which he could determine the shape and temperature of a Fleetwood Mac song had expanded.

“Most of the vocal parts were recorded track by track,” he told the New York Times in 1987. “The voices used in the textured vocal choirs were mostly mine. I used a Fairlight machine that samples real sounds and blends them orchestrally.” Out of these newly available materials, he could practically build an entire band, which was useful at the time. Mick Fleetwood was almost entirely consumed by his cocaine habit, and the band had been experiencing an internal drift for years. “Constructing such elaborate layering is a lot like painting a canvas and is best done in solitude,” Buckingham added.

The album’s artwork, “Homage a Henri Rousseau” by Brett-Livingstone Strong, is so lush and romantic that it walks a fine line between formal elegance and kitsch, blending the terrestrial with the celestial. It’s an accurate illustration of Tango in the Night’s sound design, of the glitterings and humid shimmers that Buckingham placed in the songs. He made each track on Tango just as he produced “Sara”: less an arrangement of bass, guitar, drums, and vocals than a complete world, a living panorama. There’s a phenomenal wholeness to the recordings on Tango that seems like a superficial compensation for how deeply fragmented the band was at the time.

After Nicks resurfaced from her cocaine addiction at the Betty Ford Clinic, she visited Buckingham’s studio for a few weeks. Three of her recordings figure into the finished Tango, only two of which were written by her. Her voice, invariably hoarse after years of cocaine abuse, often warps or fails the already incomplete material. She howls her way through “Seven Wonders,” a song written mostly by Sandy Stewart. (Nicks receives credit because she misheard “All the way down you held the line” as “All the way down to Emmiline”; for Nicks—and I don’t disagree—sometimes accident and authorship are indistinguishable.) For all of its bluster, the song is not only enhanced by the incidents of its arrangement but is the incidents of its arrangement; try to imagine the song without its synth hook and hear the rest of it evaporate. On “When I See You Again,” Nicks’ voice almost crumbles and shatters into atoms. “Stevie was the worst she’s ever been,” Buckingham told Uncut in 2013. “I didn’t recognize her...I had to pull performances out of words and lines and make parts that sounded like her that weren’t her.” Fittingly, each verse and chorus that Nicks sings sounds generated by a different uncanny assemblage of Stevie, among them one who sings in a kind of mutilated whisper. After the bridge, Nicks completely disappears. Buckingham finishes the song.

Buckingham’s songs on Tango are less knotted than they were on Tusk and Mirage, newly permissive of space. The first single, Buckingham’s “Big Love,” is a song that inadvertently simulates the essential failure of the album. It is devoted to a totally abstracted and imaginary form of love, while Tango in the Night is devoted to a totally abstracted and imaginary form of Fleetwood Mac (neither of which could be assembled in reality). The song’s arrangement feels austere and detached, a byproduct of the narrator’s alienation, but it’s also decorated with overlapping, pointillist guitar phrases. Even the empty spaces on Tango feel like deliberately-wrought emptinesses—for instance, the airy synths that hover over the verses of McVie’s “Everywhere,” or Buckingham’s title track, which through its sense of space imparts the feeling of rowing through fog and mystery.

Still, it’s McVie whose work is most realized by Buckingham’s impressionism. Her “Everywhere” is the best song on the record. Like “Big Love” it too is about encountering an idea too big to contain within oneself (love, again). But where “Big Love” apprehends it with icy suspicion, “Everywhere” responds with warmth, empathy, and buoyancy, describing a kind of devotion so deeply felt that it produces weightlessness in a person. Its incandescent texture is felt in almost any music that could be reasonably described as balearic. Elsewhere, “Isn’t It Midnight,” McVie’s co-write with Buckingham and her then-husband Eddy Quintela, seems an inversion of the values of “Everywhere,” a severe ’80s guitar rock song that gets consumed by a greater, more unnerving force by its chorus, as if it’s succumbing to a conspiratorial dread. “Do you remember the face of a pretty girl?” McVie sings, and Buckingham echoes her in an unfeeling monotone (“the face of a pretty girl”) while behind him synths chime in a moving constellation, UFOs pulsing in the dark.

This is the essence of Tango in the Night: something falling apart but held together by an unearthly glow. More of a mirage than Mirage, it is an immaculate study in denial (its most enduring hit revolves around McVie asking someone to tell her “sweet little lies”). It’s a form of dreaming where you could touch the petals of a flower and feel something softer than the idea of softness. In this way, Tango seems to emerge less from Buckingham’s pure will and imagination than from a question that haunts art in general: How can one make the unreal real, and the real unreal?

The remaster of Tango in the Night isn’t as topographically startling as last year’s Mirage, where new details seemed to rise out of the mix as if in a relief sculpture; it sounded good on CD in 1987. The reissue does sound warmer and brighter, and the instruments feel less digitally combined, which lifts background elements to the surface, like the seasick drift of the bass notes in “Caroline” and the coordinated staccato harmonies in the title track. The reissue also includes two discs of b-sides, demos, and extended remixes, several of which were previously unreleased. “Special Kind of Love” is described as a demo but sounds like a completely developed Buckingham song, gentle and simple, with every edge expressively filigreed; it could’ve been a potential second sequel to “You and I.” “Seven Wonders” appears in an earlier, more relaxed arrangement, with Lindsey’s guitar warmly swanning between the notes that would eventually be reconstructed in perfect digital isolation by a synthesizer.

The demos also reveal the ways in which the songs could fold into and out of each other. On the “Tango in the Night” demo you can hear Buckingham, at the edge of every chorus, begin to invent the trembling choral part that opens “Caroline.” Nicks’ eventual solo track “Juliet” is present in two of its primordial forms—as the instrumental “Book of Miracles” (credited to both Buckingham and Nicks) and as a five-minute “run-through.” The run-through is especially curious, reducing “Book of Miracles” to a formulaic blues-rock over which Nicks’ voice produces a just-barely musical static, full of wobbles and distortions and exclamations. After the take she says, ecstatically, “I thought that was wonderful! I didn’t play! I did not play because I am so smart!”

Nicks exhibits a strange, dissonant giddiness in this moment that isn’t present in any of the band member’s memories of the recording process. At the time, in his interview with the Times, Buckingham imaginatively described Tango in the Night as a restorative process. “This album is as much about healing our relationships as Rumours was about dissension and pain within the group,” he said. “The songs look back over a period of time that in retrospect seems almost dreamlike.” Twenty-six years later, Buckingham summarized the experience to Uncut in more severe terms: “When I was done with the record, I said, ‘Oh my God. That was the worst recording experience of my life.’”

The jealousy and resentment he felt toward Nicks for the success she experienced in her solo career, and the prevailing feeling that his architectural work on the band’s records went unnoticed and unappreciated, had built to a flashpoint. Later in 1987, the band met up in anticipation of the promotional tour for Tango, for which they had already secured dates and signed contracts. At the meeting, Buckingham announced he was quitting the band. “I flew off of the couch and across the room to seriously attack him,” Nicks told Classic Rock in 2013. “...I’m not real scary but I grabbed him which almost got me killed.” They spilled out of McVie’s house and into the street. Buckingham ran after Nicks and threw her up against a car. She “screamed horrible obscenities” at him, and he walked away, from the moment and the band. What’s left, after these harsh fragments of reality are swept away, is Tango in the Night: a remarkably complete album, a lavish garden growing out of negative space. Just a dream.

http://pitchfork.com/reviews/albums/22976-tango-in-the-night-deluxe-edition/

[bwboy]

Fyi, Amazon began shipping this yesterday. My copy is scheduled to arrive tomorrow(Friday).

[BLY]

Fyi, Amazon began shipping this yesterday. My copy is scheduled to arrive tomorrow(Friday).


Not mine yet.😔

[bwboy]

Hmmm, I don't know if it makes a difference, but I have Amazon Prime. Still, I'm sure you'll get an email soon!

[ami0425]

Hmmm, I don't know if it makes a difference, but I have Amazon Prime. Still, I'm sure you'll get an email soon!

I have Amazon Prime and when I bought the Tusk and Mirage re-releases, even though I chose the one day shipping to get it the day of release, it didn't come until the following Monday. I was going to boycott Amazon for new releases due to this, but if you're saying yours was shipped, I'll order and see if they've changed.

[BaronVonBielski]

Mine is scheduled for delivery tomorrow. I have Amazon Prime as well. I'm pretty sure the other 3 super deluxe releases all showed up on release day when I bought them.

[jbrownsjr]

Fleetwood Mac - Tango In The Night Deluxe Edition album review
ALBUM REVIEW
Reviews / 1 day ago / by Dave Everley
2 stars out of 5


The soundtrack to the Yuppie era in all its designer-suited finery

There’s a reason that 1980s nostalgia has never really taken hold, and that’s because the 1980s generally sucked. Sure, interesting things were happening on the fringes, but mainstream culture was taking the express elevator all the way down to Yuppie Hell. And playing through the speakers in that elevator was Tango In The Night.

With 1977’s Rumours, Fleetwood Mac had accidentally invented the 80s in all its selfabsorbed cocaine glory three years early. A decade on, the pharmaceutical vitality which gave that album its spirit had given way to the hollow-souled, million-dollar chintz of Tango In The Night. That it sold by the truckload tells you all you need to know about 1987.

This 30th-anniversary ‘deluxe’ edition is the musical equivalent of digging up a Blue Peter time capsule and finding the films of Sylvester Stallone on VHS. In both cases, you can’t help thinking: “Did people really like that ****?”

As with Rocky IV and Rambo, Fleetwood Mac’s 14th album has not aged well. The twinkling keyboards and electronic drums that cling to Everywhere and Little Lies like an Exxon Valdez oil slick may have been state of the art in 1987, but then so was the Sinclair C5.

But the production isn’t the biggest problem here – the songs are. Whatever magic Mac once possessed had long since been dispelled by time and internal psychodramas. Lindsey Buckingham would once have dismissed Family Man and You And I, Part II for being too trite, Christine McVie’s Mystified is barely a breath away from lift music, while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose.

There are flashes of the old brilliance. Big Love remains one of the oddest hit singles ever, with its hypnotic guitar tones and coital moans. Even better is Tango In The Night itself, presented here in two different incarnations. The percussive original version is as sultry and humid as the jungle on the album’s cover, while a demo version, sung by Nicks, spoons on the ethereal atmosphere that’s missing elsewhere.

The two extra discs of outtakes and remixes will satisfy 80s fetishists, but for anyone whose name isn’t Gordon Gekko, Tango In The Night should be buried with those Stallone videos.

(there's more, but I didn't feel like signing up)

http://teamrock.com/review/2017-03-29/fleetwood-mac-tango-in-the-night-deluxe-edition-album-review

[HomerMcvie]

Fleetwood Mac’s 14th album has not aged well. The twinkling keyboards and electronic drums that cling to Everywhere and Little Lies like an Exxon Valdez oil slick may have been state of the art in 1987, but then so was the Sinclair C5.

while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose.


That reviewer sound like quite the c**ty curmudgeon.

I concur.

[jbrownsjr]

That reviewer sound like quite the c**ty curmudgeon.

I concur.

I love her voice in this era much more than now. :lol:

[HomerMcvie]

I love her voice in this era much more than now. :lol:

"while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose."

What is she now? What animal is more nasal than a goat?:lol:

[jbrownsjr]

"while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose."

What is she now? What animal is more nasal than a goat?:lol:

Sheep?????

[BLY]

Fleetwood Mac - Tango In The Night Deluxe Edition album review
ALBUM REVIEW
Reviews / 1 day ago / by Dave Everley
2 stars out of 5


The soundtrack to the Yuppie era in all its designer-suited finery

There’s a reason that 1980s nostalgia has never really taken hold, and that’s because the 1980s generally sucked. Sure, interesting things were happening on the fringes, but mainstream culture was taking the express elevator all the way down to Yuppie Hell. And playing through the speakers in that elevator was Tango In The Night.

With 1977’s Rumours, Fleetwood Mac had accidentally invented the 80s in all its selfabsorbed cocaine glory three years early. A decade on, the pharmaceutical vitality which gave that album its spirit had given way to the hollow-souled, million-dollar chintz of Tango In The Night. That it sold by the truckload tells you all you need to know about 1987.

This 30th-anniversary ‘deluxe’ edition is the musical equivalent of digging up a Blue Peter time capsule and finding the films of Sylvester Stallone on VHS. In both cases, you can’t help thinking: “Did people really like that ****?”

As with Rocky IV and Rambo, Fleetwood Mac’s 14th album has not aged well. The twinkling keyboards and electronic drums that cling to Everywhere and Little Lies like an Exxon Valdez oil slick may have been state of the art in 1987, but then so was the Sinclair C5.

But the production isn’t the biggest problem here – the songs are. Whatever magic Mac once possessed had long since been dispelled by time and internal psychodramas. Lindsey Buckingham would once have dismissed Family Man and You And I, Part II for being too trite, Christine McVie’s Mystified is barely a breath away from lift music, while Stevie Nicks’ increasingly strangulated warbling has the emotional resonance of a goat being strangled by a goose.

There are flashes of the old brilliance. Big Love remains one of the oddest hit singles ever, with its hypnotic guitar tones and coital moans. Even better is Tango In The Night itself, presented here in two different incarnations. The percussive original version is as sultry and humid as the jungle on the album’s cover, while a demo version, sung by Nicks, spoons on the ethereal atmosphere that’s missing elsewhere.

The two extra discs of outtakes and remixes will satisfy 80s fetishists, but for anyone whose name isn’t Gordon Gekko, Tango In The Night should be buried with those Stallone videos.

(there's more, but I didn't feel like signing up)

http://teamrock.com/review/2017-03-29/fleetwood-mac-tango-in-the-night-deluxe-edition-album-review


Demo version sung by Nicks?

[SisterNightroad]

Demo version sung by Nicks?
Well, at least this time they didn't mistake Lindsey's voice with that of his wife...

[SisterNightroad]

Mick Fleetwood on Fleetwood Mac’s ‘Tango In The Night’ Reissue

Out today (March 31) is a deluxe 30th anniversary edition of Fleetwood Mac's Tango In The Night.

The original set peaked at No. 7 on the Billboard 200 and has sold more than 50 million copies worldwide; The new reissue features three CDs -- including demos, alternative mixes, 12-inch remixes and more -- a vinyl LP and a DVD featuring videos for the singles "Big Love," "Seven Wonders," "Little Lies," "Family Man" and "Everywhere."

Drummer and group co-founder Mick Fleetwood tells us that he enjoys all of these special repackagings of the group's albums:

(Mick Fleetwood on Fleetwood Mac’s ‘Tango In The Night’ Reissue Podcast)

"I'm loving all that. There's been several packages and now this new one that's coming out with all the outtakes. They're beautifully presented. There's been on one 'Rumours,' there's this...beautiful packages...It's appropriate to do that stuff, and you don't ever thing about it about it until someone....documents like this, and it's gratifying and it's A-OK to say hey, there's a feeling and something that I end up saying in quite a few interviews, which is after awhile you turn around and -- 'cause I'm an old sloppy date emotionally -- and you go, 'Y'know what? With all the huff and the puff and the pain and stuff, what is nice is that you can turn around and say, 'Y'know what, it was worth a damn. It was worth that.' To me...it was worth a damn.'"


There was certainly some huff and puff around Tango In The Night; Shortly after its release Lindsey Buckingham -- who felt "Tango" co-opted a solo album he was working on at the time -- declined to tour and left the band, with Fleetwood Mac subsequently touring with Billy Burnette and Rick Vito in his place.

Buckingham reunited with the band for The Dance in 1997.



http://wror.com/2017/03/31/mick-fleetwood-fleetwood-macs-tango-night-reissue/

[SisterNightroad]

ALBUM REVIEW
Pop: Fleetwood Mac: Tango In The Night Deluxe

★★★★☆
Fleetwood Mac’s 1977 masterpiece, Rumours, is remembered as the ultimate cocaine album, but the warring superstar rockers saved the real excesses for ten years later. Tango in the Night is the last word in sophisticated, expensively produced soft rock, with such FM radio classics as Christine McVie’s Everywhere and Lindsey Buckingham’s Big Love sounding as if they were made for driving your Ferrari down Sunset Strip to.

The songs were, however, born of total chaos. The bassist John McVie was drinking himself into a stupor; Stevie Nicks, busy swapping cocaine for the damaging tranquilliser Klonopin, while also building up her now successful solo career, rarely turned up at the studio. The whole thing came to an end when guitarist Buckingham announced he was leaving the band, reportedly leading to an ugly physical confrontation between him and his former girlfriend Nicks.

All these years later the album seems less like a soundtrack to a designer lifestyle and more a portrait of collapse. Nicks’s little-girl-gone-to-seed croak on the ballad When I See You Again is heartbreaking, and the evergreen synthesizer pop of McVie’s Little Lies smoothes over words about refusing to face up to reality, something the band members appear to have been quite good at.

On this three-disc set not all of the alternative versions are strictly necessary, and Buckingham’s comedy voices on Family Man are as dated as a piano necktie, but for the most part the quintessential Eighties album has ended up being far more profound and enduring than anyone could have predicted. (Warner Bros)



http://www.thetimes.co.uk/edition/times2/pop-fleetwood-mac-tango-in-the-night-deluxe-cdplxz78k

[sorcerer999]

"I'm loving all that. There's been several packages and now this new one that's coming out with all the outtakes. They're beautifully presented. There's been on one 'Rumours,' there's this...beautiful packages...It's appropriate to do that stuff, and you don't ever thing about it about it until someone....documents like this, and it's gratifying and it's A-OK to say hey, there's a feeling and something that I end up saying in quite a few interviews, which is after awhile you turn around and -- 'cause I'm an old sloppy date emotionally -- and you go, 'Y'know what? With all the huff and the puff and the pain and stuff, what is nice is that you can turn around and say, 'Y'know what, it was worth a damn. It was worth that.' To me...it was worth a damn.'"


Is he back on the cocaines? :lol:

[SisterNightroad]

Is he back on the cocaines? :lol:
It must be that coconut oil (with all that it entails).

[SisterNightroad]

Album Reviews: Fleetwood Mac - Tango in the Night (Deluxe Edition) and More

According to conventional wisdom, Fleetwood Mac’s peak occurred between 1975 and 1977, when the band—reinvigorated by the addition of Lindsey Buckingham and Stevie Nicks—issued an eponymous album and Rumours. Many critics viewed the 1979 follow-up to the latter LP, Tusk, as a bit of a disappointment, and after that it was all supposedly downhill—way downhill.
I’m not buying this party line, as I’ve noted in my reviews of deluxe reissues of Tusk and 1982’s Mirage. I think those albums were largely terrific, and I can say the same about 1987’s Tango in the Night. I’m probably not alone in rejecting the critical consensus about Tango, moreover, since the CD has sold more than 15 million copies and ranks as the second-bestselling album of the group’s career (after Rumours).

The record, which started out as a Buckingham solo project and wound up being his last album with the group, has now joined the Fleetwood Mac reissue series. And, like its predecessors in that series, this repackaging lives up to its “deluxe” billing. Three CDs respectively deliver a 2017 remaster of the original album; 13 B-sides, demos, and early and alternate versions; and more than a dozen 12-inch mixes of five Tango tracks. There’s also a DVD that includes videos for five of the tunes and a high-resolution stereo mix of the LP; and, for those who miss the pre-digital era, a vinyl record that contains the 2017 remaster. If all that’s not enough to keep you busy, you can turn to the enclosed oversized booklet, which features an essay about the album, plus lyrics, photos, and credits.

The rhythmic original LP, which sounds better than ever thanks to the remaster, is loaded with pleasures, not to mention hit singles. Among the highlights: Buckingham’s “Big Love,” which gives Donna Summer’s “Love to Love You Baby” a run for its money in the sensuality department; and such ear candy as “When I See You Again” and “Seven Wonders,” both with passionate Stevie Nicks vocals; and the sublime “Everywhere,” “Little Lies,” and “Mystified,” all sung by Christine McVie. Songs like these leave no doubt that Fleetwood Mac were masters of melody and production and that any one of its three vocalists would have been enough to make another band famous. A few tracks, such as “Family Man,” deliver more studio wizardry than emotion but the bulk of this material is the real deal.

Disc two is stronger than you might expect. “Down Endless Street” is as catchy as anything on the original album and, while you can see why Tango’s versions improved on some of the outtakes and demos here, they’re virtually all interesting and well-executed.

It’s difficult to be as enthusiastic about disc three, which dilutes everything that’s special about Fleetwood Mac by introducing disco beats and embellishments. If you're nostalgic for Studio 54, this is the record for you. If not, you’ll likely prefer the songs on the original album.

I have mixed feelings about the DVD. It’s good to see the videos—which feature “Big Love,” “Seven Wonders,” “Little Lies,” “Family Man,” and “Everywhere”—but it would have been better to have some concert material from the period; what we have here instead are pretty visuals accompanied by a lip-synching band. As for the high-resolution version of the album on the DVD, it sounds even better than the CD; but it would have sounded better still if it were a 5.1 surround mix.

Happily, the album is being made available in several formats. Casual fans can opt for a single CD with the remastered album, though I’d recommend that listeners seriously consider a two-CD package that incorporates the disc of outtakes and other rarities. The everything-but-the-kitchen-sink edition described above is a somewhat more debatable (and, of course, pricier) purchase, but if you’re a big fan of the group, you might well be glad to have it.



http://www.themortonreport.com/entertainment/album-reviews-fleetwood-macs-tango-in-the-night-deluxe-edition-and-more/

[James89]

The album is at #15 on the UK albums chart Monday update. That is MUCH better than I thought. It's not selling well through downloads so clearly it's being stocked at many retailers unlike the other reissues. I hope it stays in the Top 20 by the time the charts are published on Friday!

[jbrownsjr]

The album is at #15 on the UK albums chart Monday update. That is MUCH better than I thought. It's not selling well through downloads so clearly it's being stocked at many retailers unlike the other reissues. I hope it stays in the Top 20 by the time the charts are published on Friday!

I would like a hard copy. I think I'll go get one.

[SisterNightroad]

A great package of middling Fleetwood Mac music

Fleetwood Mac, "Tango in the Night: Deluxe Edition" (Rhino/Warner Three discs, DVD and LP)

When they say "deluxe edition," they're not kidding.

For sheer luxurious presentation it would be difficult to exceed this package being brought out in honor of the 30th anniversary of Fleetwood Mac's second-best seller, the record that gave us "Big Love" and "Little Lies." From the original cover painting in tribute to the great French proto-surrealist Henri Rousseau to the live performance DVD, LP and disc of outtakes included on this new remastered edition of the record, you would think it was as treasurable as a Led Zeppelin or Beatles artifact.

But it's not. And if anything can persuade you of the dangers of pop music nostalgia decades after the fact, this package will go a long way toward it. It does not speak well of the '80's, that's for sure. There will always be those who will swear fealty to Lindsey Buckingham's tenure with the band but so much of this, in the 21st century, sounds bland, colorless, over-produced and under-performed. (Stevie Nicks does not sound especially good.)

That being said, there is ample testimony from those who will tell you that as nostalgia acts go, they've been dynamite in live performance. This record has sold 15 million copies to date and is doubtless a favorite of many. To have an entire disc of extended remixes of "Big Love," "Seven Wonders," "Little Lies," "Everywhere" and "Family Man" will be for them, manna from heaven.

For those of us who never caught them live and, therefore for whom the band was never much more than a Billboard chart pleasantry and an intriguing source of salacious tales of rock romance, this is as much a source of puzzlement as anything else. What if the time has finally come to tell the band, decisively, to stop thinking about tomorrow? It would be a miracle if their yesterday was substantial enough to propel them there. A glorious package though.

2 1/2 stars (out of four)



http://buffalonews.com/2017/04/06/listening-post-fleetwood-mac-jimmy-greene-tigran-hamasyan-bela-bartok/

[FuzzyPlum]

The album is at #15 on the UK albums chart Monday update. That is MUCH better than I thought. It's not selling well through downloads so clearly it's being stocked at many retailers unlike the other reissues. I hope it stays in the Top 20 by the time the charts are published on Friday!


It ended the week at UK #23.
Rumours is #28.
Very Best of #42.

[James89]

It ended the week at UK #23.
Rumours is #28.
Very Best of #42.

I honestly don't remember a week when Fleetwood Mac weren't within the top 100 of the albums chart. It is really impressive.

Tango in the Night sold 4,249 copies to reach #23.

[James89]

The album has re-entered the Billboard 200 for the first time since 1988 at #144 on sales of 4,213 copies.

To compare, both Mirage editions sold 2,269 and 2,128 copies each to total 4,397 copies.

Stevie's Bella Donna remains the best-selling single reissue of them all but only just on sales of 4,302 copies.

[SisterNightroad]

Long-term fans of Fleetwood Mac will adore this special reissue

The latest in series of excellent remasters from the legendary transatlantic musical soap opera, this mega-selling 1987 classic gets a long-overdue reissue to mark its 30th birthday, complete with a bonus disc of B-sides and studio outtakes that long-term fans will adore.

Considered a spent force by the mid-80s, this unexpected triumph showed Mac were very much alive and kicking. Still filling the airwaves three decades on, Lindsey Buckingham’s arresting ‘Big Love’, the Nicks-penned ‘Seven Wonders’ and Christine McVie’s show-stealing double-whammy of ‘Everywhere’ and ‘Little Lies’ are the standouts on the band’s strongest, most consistent set since 1977’s career-defining ‘Rumours’.



http://www.dorsetecho.co.uk/news/15296401.REVIEW__Fleetwood_Mac__Tango_in_the_Night/