Reason #284: Tango In The Night
I can remember a time when mentioning you liked Fleetwood Mac was akin to walking in on someone who is using the bathroom, or having the ass of your pants rip in public. The response you were likely to get for all three was not going to be pleasant. Whenever a band gets as HUGE as Fleetwood Mac got after Rumours in 1977, and subsequently overplayed to death on the radio, there’s bound to be a public backlash. It lasted a loooong time, too; not quite as long as the Bee Gees, but almost as long as Peter Frampton’s public exile.
After Rumours Fleetwood Mac let the cocaine induced avant guard-like tendencies of Lindsay Buckingham loose in the studio and the result was the 1979 double album Tusk, which just so happens to my favorite Fleetwood Mac album. The public didn’t like it, though, and although the album still sold millions it was considered a failure. They followed Tusk with Mirage, a sub-par album marred by decent but uninspired songs.
Tango In The Night was released five long years later, and although it sold well by todays standards it also was considered a failure and Buckingham left the group soon thereafter. Like many of the ‘Mac’s records it’s reputation has been rehabilitated by a new generation, and it’s about bloody time, too, ’cause this is a fantastic album. Synthesizers are more prominent but not over used, and Buckingham once more crafts a moody, weird album with pop overtones worthy of the band’s best. The first three songs are the album’s best (Buckingham’s Big Love, Stevie Nicks’ Seven Wonders and McVie’s Everwhere) but the album as a whole works very well and contains no “duds” by my count.