Fleetwood Mac ?? Tango In The Night ? 1987 Warner Bros. Records Vinyl LP +Insert

$

40

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Tango in the Night Studio album by  Fleetwood Mac Released 13 April 1987 Recorded November 1985 – March 1987 Genre Rock[1] • pop rock • soft rock Length 44:28 Label Warner Bros. Producer

• Lindsey Buckingham
• Richard Dashut

1. "Big Love"
   Released: March 1987
2. "Seven Wonders"
   Released: June 1987
3. "Little Lies"
   Released: August 1987
4. "Everywhere"
   Released: November 1987 (USA) / February 1988 (UK)
5. "Family Man"
   Released: December 1987 (UK) / March 1988 (USA)
6. "Isn't It Midnight"
   Released: June 1988

Tango in the Night is the fourteenth studio album by the British-American rock band Fleetwood Mac. Released on 13 April 1987, it is the fifth, and to date, the last studio album from the band's most successful line-up of Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks, as Buckingham left the band later that year.

Produced by Buckingham with Richard Dashut, Tango in the Night began as one of Buckingham's solo projects, but by 1985 the production had morphed into Fleetwood Mac's next record. It contains several hit singles, including four US top 20 hits: "Big Love" (No. 5), "Seven Wonders" (No. 19), "Little Lies" (No. 4) and "Everywhere" (No. 14). Two additional songs, "Family Man" (No. 90) and "Isn't It Midnight" were released as singles to less chart success. Tango in the Night has sold over 15 million copies worldwide. In March 2017, remastered deluxe editions of Tango in the Night were released, the first a double-CD set and the second a 3CD/1DVD/1-LP boxset.

The cover art for the album is a painting by the Australian artist Brett-Livingstone Strong that was hanging in Buckingham's home. The painting is an homage to the 19th-century French painter Henri Rousseau, emulating his colourful jungle theme works such as The Snake Charmer and The Repast of the Lion. The painting was also used as the cover art for "Big Love", the album's lead single.

History

After the completion of The Mirage tour in 1982, four of the members of Fleetwood Mac released five solo albums with varying degrees of success. Mick Fleetwood, Christine McVie, and Lindsey Buckingham each released one while Stevie Nicks released two. However, John McVie preferred to go sailing during this time.

In 1985, Christine McVie was called to record a cover of Elvis Presley's "Can't Help Falling in Love" for the soundtrack of the movie A Fine Mess. McVie brought Richard Dashut, who had engineered and produced Rumours, Tusk, and Mirage, on board to assist with the album's production. Buckingham, Fleetwood, and John McVie were enlisted to supply the instrumentation. Greg Droman, a relatively new producer at the time, was also brought in to participate. He had recently relocated to Los Angeles at the suggestion of Joe Walsh. Dashut and Droman bumped into each other at a recording studio owned by Captain & Tennille, and "just hit it off". Just a few weeks later, Droman worked with Buckingham on "Time Bomb Town" for the Back to the Future film soundtrack. Satisfied with his work, Buckingham retained Droman to engineer what would be his third solo album. Though, the project eventually morphed into a Fleetwood Mac album once other members got involved.

Dashut and Droman recalled that the album's recording sessions were particularly tedious, even by Fleetwood Mac standards. At one point, they experimented with slowing down songs in order to find suitable textures. Sometimes, this would double the song duration, which made for a "a brutal 10 minutes to listen to", according to Droman. By tripling and quadrupling these mixes, they managed to make each song sound "open and airy".

Although the album took almost 18 months to complete, Stevie Nicks spent a total of only two weeks in the studio with the band, as she was promoting her third solo album Rock a Little throughout most of this period. Nicks sent demos of her songs to the band, recorded while she was on tour, for them to work on in her absence. "Welcome to the Room... Sara" was inspired by her 30-day stay at the Betty Ford Center to overcome her cocaine addiction in October 1986 (Nicks used the pseudonym "Sara Anderson" when she checked into the facility).

When Nicks did go to the studio, she often felt unmotivated: "I can remember going up there and not being happy to even be there... I didn't go very often." With vocal sessions taking place in Buckingham's master bedroom, Nicks would ask for brandy, drink a few shots, and run through "four or five songs" intoxicated. Because of this, Buckingham had to remove most of Nicks' vocals. As a result, Nicks is almost entirely absent on most of Buckingham and McVie's tracks. Buckingham recorded some of the vocals himself using a Fairlight, an early sampling synthesizer. For example, on "When I See You Again", Buckingham re-assembled separately recorded takes, explaining "I had to pull performances out of words and lines and make parts that sounded like her that weren't her." After the middle eight, the remainder of the song is sung by Buckingham. "That was in my estimation when everybody in the band was personally at their worst...by the time we did Tango in the Night, everybody was leading their lives in a way that they would not be too proud of today."

With pressure on Buckingham to keep the project focused and moving forward, things came to a head shortly after the release of Tango in the Night. At a band meeting at Christine McVie's house to discuss the accompanying tour, he announced his departure. "The album was well received," noted Mick Fleetwood. He continued, "Somewhat sadly, the kudos of that was never really fully attributed to Lindsey because he wasn't present... He was coerced and persuaded to do that album—mainly by me. And, to his credit, he put aside everything that he'd dreamt of doing, including making his own album, for Fleetwood Mac; but then realised that he'd made a mistake... Lindsey was not being heard. We just didn't get it."

Following Buckingham's sudden departure, guitarists Rick Vito and Billy Burnette were hired to replace him on the subsequent tour and remained as full members of the band until the 1990s.

Commercial performance

Tango in the Night is the band's second biggest selling studio album after the phenomenally successful Rumours which was released 10 years earlier. The intervening albums, Tusk (1979) and Mirage (1982), although big sellers in key territories, had not matched their predecessor's huge success. Tango in the Night was a worldwide hit with several singles from the album becoming popular all over the world. "Little Lies" and "Everywhere" in particular appear on 1980s compilation albums.

The album was a success in the United States, where it peaked at No. 7 for three weeks, spending more than seven months within the top 20, and more than ten months within the top 40. It was certified 3× Platinum in October 2000 for selling 3 million copies in the United States. Four singles from the album reached the Billboard Top 20: "Big Love" (No. 5), "Little Lies" (No. 4), "Everywhere" (No. 14) and "Seven Wonders" (No. 19). The album was particularly successful in the UK where it reached No. 1 three times during 1987–88 for a total of five weeks, and spent more than eight months within the Top 10 of the UK albums chart. It is the seventh biggest selling album of the 1980s in the UK, being certified 8× Platinum (2.4 million copies), and it is still currently one of the UK's Top 100 best-selling albums of all time. Three singles were Top 10 hits in the UK: "Big Love" (No. 9), "Little Lies" (No. 5) and "Everywhere" (No. 4). A total of six singles were eventually taken from the album over a period of 15 months. The album spent 115 weeks in the Top 75 of the UK Albums Chart.

"Big Love", "Seven Wonders", "Little Lies", "Family Man" and "Everywhere" were all released as extended 12" remixes in most territories.

Outtakes

Four songs from the Tango in the Night sessions did not make the final album cut and subsequently became B-sides. "You and I (Part I)" was the B-side to the single release of "Big Love". "Seven Wonders" was released with the Stevie Nicks-penned instrumental track "Book of Miracles" as the B-side. This eventually became the song "Juliet" on Nicks' 1989 solo album, The Other Side of the Mirror. McVie's "Ricky" was the B-side to "Little Lies" and Lindsey Buckingham's "Down Endless Street" was issued as the B-side to "Family Man". Nicks also contributed two additional songs that failed to make the final cut. "Ooh My Love", like Juliet, eventually made its way onto Nicks' solo album, The Other Side of the Mirror, while "Joan of Arc" remains unreleased. "I still want to record it", she explained. "The song has its really good moments but it's not good enough to go out as that version".

Two additional tracks, both co-written by McVie and Buckingham, also failed to appear on the final product. "Where We Belong", which incorporates Buckingham's "folksy fingerpicking" and McVie's "brilliant pop simplicity" was written as a duet, but never truly developed. The other, "Special Kind of Love", features more polished production and fleshed out lyrics. Both tracks subsequently appeared on the deluxe edition of Tango in the Night.

An 'alternate mix' of "Isn't It Midnight" was issued on the 1992 four-disc box set, 25 Years – The Chain and is substantially different from the version included on the album. It has different backing vocals and a lack of guitar effects which were eventually added by Buckingham in the final mix of the song.

Track listing

• Stevie Nicks
• Sandy Stewart

• C. McVie
• Buckingham

• C. McVie
• Eddy Quintela

• Buckingham
• Richard Dashut

• C. McVie
• Quintela
• Buckingham

• Buckingham
• C. McVie