Tango in the Night: Side 1 or Side 2?
 

Choose your favorite side:

Side 1
1. "Big Love"
2. "Seven Wonders"
3. "Everywhere"
4. "Caroline"
5. "Tango in the Night"
6. "Mystified"

Side 2
1. "Little Lies"
2. "Family Man"
3. "Welcome to the Room... Sara"
4. "Isn't It Midnight"
5. "When I See You Again"
6. "You and I, Part II"

I had to go with side 2. Isn't it Midnight not only carries the album but shines on side 2. LMAO even with whatsamatta baby and welcome to the room.......Christine's best songs are side 2. Caroline is my least favorite song on the album.

Side one.The 2 Stevie duds are on side two and not a fan of Family Man either.

Definitely Side One, only because Side Two has those two awful Stevie songs than ruin the whole thing.

Easy - side 1

Side 1- consistently strong

Side one by a long shot although Little Lies and Isn't it Midnight are probably the two best songs. Gee, I just can't figure out Whasa matta baby with side two, maybe it was intended for Scarlett or the choir, sir? :o

IMO, the best songs on the album (“Little Lies” and “Isn’t It Midnight”) are on side two, but side one is hands down better overall. For one, it avoids the two Career-low Stevie duds, and Lindsey’s material is stronger on the first side.

I wouldn't be here if it weren't for Little Lies. That said, Stevie's two songs on side two are garbage and You And I, Part II is probably Lindsey's weakest Fleetwood Mac song. Side one, no question.

I echo every single word you said!

I feel like a salmon swimming up stream. Many say Christine had amazing Tango songs and her best songs are on side 2. I don't care what the other songs are. Christine's best songs are side 2. Nuff said :lol:

Where else can you hear amazing Lindsey guitar and a fake layered in Stevie voice. Its a match made in heaven. Side 2. And I haven't stared at the stairs at all.

Side one opening of BL, SW, E is just sublime for me. (recently drove through Hawaii and listened to Tango) It was perfect until Welcome, and When I See You on side 2.

I like both of those songs, they just didn't go with the scenery for me.

And you used to brag that you were a closet Welcome fan
:lol:

I'm such a big liar!!! hahaaha

I still like it. It just sticks out like a sore thumb. The album really flows with a sort of magical tone. And then the clunking of WTTRS commences.

Christine saves us with IIM, and then clunk clunk again.. Then the beautiful ending of You And I.

BTW You and I part 1 is so beautiful in Hawaii.

Welcome to the Room...Sara: Official Appreciation Society

Ooh downstairs where the big old house is mine.
Ooh upstairs where the stars laugh and shine....

Absolutely brilliant song. Definitely in their top 40 songs.
Are you with me?????
I said, are you with me???
Honk Honk

But I thought that

you were miiiiiiiiiiiiiiiiiiiine
you were miiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiine

WELCOME TO ROOM!!!

SARA.....................SARA......................

WELCOME TO THE ROOM EVERYONE!!!

Welcome to the Room...Sara just seems like too much of a regurgitation
Using the Sara name, almost to the point of parody. She had a treasure trove of way better songs, but where she was at vocally, would have been tough to do any of them justice, but Secret Love comes to mind for the sweetness vibe they were going for in other songs, that alone would've flowed better. Lyrically leaving those ridiculous stairs alone other than getting the unidentified lover to go upstairs rather than staring at them or finding the big old house that's hers upstairs. Also a spooky Joan of Ark if they could've done something with the turn to the wall, it would've majorly clunked with staring at the stairs a few tracks later.

According to Mick's first book this is the reason of the name "Sara" in that song.

"Welcome to the Room, Sara" was a graphic depiction of her experience at the Betty Ford Center, where she had checked in under the pseudonym Sara Anderson.

I recall that as well Villavic from Mick's book. I can appreciate what she was trying to do with the song, but it's one that should not have gone onto a major Fleetwood Mac release at the time when better songs were plentiful. Especially up against the powerhouse McVie tracks.

Which begs to give Sandy Stewart a lot of credit. She saved that side 1. Seven Wonders of that first 3 trilogy is just fantastic.

I'm sure that she was able to buy a new house with the royalties there in Texas.

She found the rainbow's end.

I sort of wish the other song What Has Rock N Roll Ever Done For You made Tango instead of Welcome. I think Stevie wanted something fresh and she had just ran away from Betty Ford and rejoined the band. I think she wanted to make a statement about her retaliation against Frontline and everyone else.
She had some great material in her wings but contributed 2 weak self penned songs. This is what you get when you don't spend much time in the studio with your band. In some strange way, Tango is almost like a second edition of Rock A Little. She relied on someone else's song to give her a hit.
I always got a kick out of the line "This is a dream, right?" Its not a line that is sung and she speaks it. Its always been funny to me. It just doesn't work but I get the symbolism of the song.

That Stevie muscled a co-writing credit from her friend and long-term collaborator for the addition of one word, and then some ad libs at the end, is truly unconscionable. It’s a huge insult to Stewart. And on that basis, Lindsey should have received co-writing credits for 9/10 of Stevie’s songs. Ridiculous.

Tough one. IIM and Family Man are the best tracks (along with Mystified) I begrudge side 1 for TITN and Caroline back-to-back. I begrudge side 2 for having both of those Stevie songs that I don’t hate as much as other people do.

So side 2.

Does anyone know whether Stevie has ever been challenged on this?
It is indeed ridiculous. Though Sandy Stewart did well from this song, she surely would have done a whole lot better had she had full credit (as she deserved).

Sandy probably left it alone for fear of offending the old harridan who used more of her songs on her solo albums after Tango although the payday would not be as great a having a single on the 12 million selling Tango.

To be fair, Stevie really co-writes all her songs. She writes lyrics for sure... but the music??? It's a stretch. Even Landslide smells of Lindsey to me. Of course, we've discussed IDWK. And so many others, (solo and Mac).

-Yeah Stevie's musical skills are modest to say the least. I think that the difference with Seven Wonders is that it was completely composed by Sandy who wanted to use it on her Blue Yonder album and someone talked her into letting Stevie have it for Tango apparently telling her that her bank account would like it. Getting a percentage of the royalties for mishearing a lyric and babbling Emmaline is just tacky ..but then we need to consider the source.

I think Stevie is very generous with her co-writing credits. It goes both ways. She may have written very little if anything of 7 Wonders but gave herself credit. The roles could have been reversed in other songs. How much did Sandy contribute to If Anyone Falls. Stevie could have written most of that song and I think she said that and Sandy gave her a few lines. The song also credits Sandy and Roy for synthesizer. Lets be real, Roy is very talented and I would bet my life its him on the main grind of the synthesizer. Sandy also co-wrote Nightbird which Sandy plays that dreaded keyboard beginning, like someone squeezing drugged cats. Sandy's piano sounds very basic on The Wild Heart song too. What did her brother deserve to get co-writes on The Nightmare? I think he may have wheeled in the same glass table :lol:

That last joke credit is to Jeremy Gloff from his RAL podcast. It was too good not to use again.

I think it's safe to say the $tevie has gone farther than any musical hack in the world.

I wonder hope far $he'd have gone if the whole world hadn't wanted to f*ck her when $he was young and beautiful?

Looks were only part of the deal. To this day, whether her detractors like to admit it or not, she has presence. A genuine charisma that makes people want to watch her. Where it wasn’t always evident on vinyl, it was always palpable in her live performances. Can she be faulted for having been beautiful? Paul Fiskin may have created Modern for her out of love or desire but the ultimate truth is she knew how to make magic from the opportunities afforded her. It wasn’t all luck and it can’t be reduced just to her looks.

Does she annoy me these days? Is she delusional and vengeful? Well, that is another story.

$he does indeed have the it factor. I've ALWAYS wanted to see/meet Christine a thousand times more than $tevie. I'm not normal. :lol: I've never fallen for the obvious/lowest common denominator. Christine has substance and depth. $tevie twirls around like an idiot.
People seem to like that...:woohoo::laugh::wavey: