#Fleetwood mac albums tango in the night album cover free#
#Fleetwood mac albums tango in the night album cover mac#

#Fleetwood mac albums tango in the night album cover mac#

That’s a pity – as the run of albums that began with 1975’s Fleetwood Mac and ended here demonstrates, the quintet were once an unstoppable musical force, even when forces conspired to stop them. In the 30 years since its release, the five people behind Tango in the Night have not managed to make another album together. 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. The gloss can’t hide the turmoil, no matter how thickly it’s applied. 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.īut if anything, Tango in the Night seems even more deserving of the “flawed masterpiece” tag than Tusk.

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. 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. Quite the opposite: it’s edgy and self-loathing (“I wake up alone with it all”) music with its eyes nervously darting about. The latter found an unexpected audience in Ibiza as a Balearic anthem, but it’s hardly blissed out. 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.īuckingham, 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. 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. Most obviously, Nicks’s performances, which are pretty frayed at the edges. 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.īut there are also tracks that speak loudly about Tango in the Night’s background. Bassist John McVie’s drinking was out of control he had an alcohol-induced seizure the year Tango in the Night was released. 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.

#Fleetwood mac albums tango in the night album cover free#

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. 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. The band that reassembled after a four-year hiatus to record 1987’s Tango in the Night was in even greater disarray than usual. In theory at least, Fleetwood Mac should have been in more trouble than anyone.