Tango in the Night POLL (Fleetwood Mac)

*etta james voice* at last

http://www.rollingstone.com/music/news/fleetwood-mac-unearth-rare-tracks-for-tango-in-the-night-reissue-w462942

yessssss

TAAAAANNNNGOOOOOOOOOOOOO!!

hoping the remastering here is as revelatory as mirage's

Kind of a dick move to make the 12-Inches exclusive to the big box.

Still, YAY!

At least I'LL have remastered versions of "Down Endless Streets" and Y&I Pt. 1.

There seems to be a combined version of both parts of 'You & I', which I'm eager to hear.

http://pitchfork.com/news/71658-fleetwood-mac-share-unreleased-early-version-of-seven-wonders-listen/?mbid=homepage-more-latest-and-video

hey Brad Nelson, nice review of the Tango re-ish.

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

"Big Love" FTW. What a weird song. I've heard five interviews with Lindsey where he can't even describe the damn thing. The Pitchfork description of it as austere and detached gets closer. This is a man way removed from real life and emotions trying to reconnect from his mansion. Usually that kind of thing probably results in total crud but here it's fascinating.

I don't know if this has been linked elsewhere but I happened to watch it last night and it's amazing:

https://www.youtube.com/watch?v=iBSWt0b4K8E

OOOH
AH

That Pitchfork review was excellent

yeah great stuff, Brad. beautiful writing

also ty for this great trivia

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.)

Stevie mishears a lot of things. "Edge of Seventeen" exists because she misheard Tom Petty's wife say "age of seventeen."

lmao love u stevie

also thanks y'all

I love the idea that Nicks deserved a writing credit.

Stevie mishears a lot of things. "Edge of Seventeen" exists because she misheard Tom Petty's wife say "age of seventeen."

― Ⓓⓡ. (Johnny Fever),

cocaine in her ears iirc

cool stuff in the deluxe edition that got cut from the review

- the reconstituted "you and i" is awesome and had it ended tango it'd probably be my favorite fleetwood mac record even with the disintegrating stevie songs
- i've had the extended remixes for years but i still get really surprised when i hear a long lost stevie backing vocal woven into them, especially in "big love" and "family man" which i always thought of as (and which, afaik, are) solitary lindsey affairs

or the TELL ME LIES. WHOA. SWEET LITTLE LIES. OH NO NO YOU CAN'T DISGUISE that suddenly appears as a mixing decision in the "Little Lies" 12-inch.

Reissue's not out until the end of the month, right? That's a pretty early review.

I love the idea that Nicks deserved a writing credit.

― the Rain Man of nationalism. (Alfred, Lord Sotosyn), Monday, March 13, 2017 3:26 PM (three hours ago) Bookmark Flag Post Permalink

It's like something straight from the Mike Love school of earning writing credits.

/Then Play Long/ on the mysterious case of the disintegrating band: http://nobilliards.blogspot.co.uk/2014/11/fleetwood-mac-tango-in-night.html🔗

That said, I don't think stuff that sounds like Nicks on "Little Lies" is Buckingham.

The three are on "Little Lies" – that's the beauty of the chorus, where each gets a line (and the beauty of the 12" is exposing listeners to the rest of Nicks' vocal).

x-post:

I'd probably go as far as saying that it ranks as one of Nicks' worst ever vocal performances on record.

the christine/stevie/lindsey tradeoff in the chorus is the most they ever feel like a band on the record and it's also just really sharp arranging, it's the part of the song that's like burned into my memory forever xp

yep!

It's the Mac song I remember most as a kid, thanks to that nasal Nicks hook in the chorus.

i heard it on the radio for years as a kid without ever identifying it as a fleetwood mac song. which persisted even after i became a fan; they didn't perform it the dance, which was my gateway

er, on the dance*

I used to wake up to the clock/radio every morning, and one of my formative memories is waking up to "Little Lies" one day. It was the sleepy-eyed equivalent of hearing something amazing and needing to pull the car over. 1987, so must have been middle school. Not sure when I even realized pre-'80s Fleetwood Mac existed, to be honest. What's weird is that I didn't buy the record until much, much later.

Posted before I got here...Like all the singles, would have voted for "Mystified."

I had completely forgotten about "Big Love"

For me, I heard stuff like 'Albatross' and 'Oh Well' first and I pretty much thought of Fleetwood Mac as being something to be put in the same bracket as Cream or something. British blues rock. But then later I'd see videos for Fleetwood Mac songs from different eras on VH-1 and I'd think "huh, wut?" ... I'd see 'Albatross' one day, 'Big Love' the next, then something like 'Rhiannon' and it'd be a bit confusing. It wasn't until I saw the Rock Family Trees episode on Fleetwood Mac circa 1994-1995 or thereabouts that I became aware of how it all fit together, then the Classic Albums episode on Rumours. That was basically my gateway... then suddenly it was like: "huh, so that's where the intro music from the Formula One comes from..."

In fact, before watching that Rock Family Trees, I'd assumed that the line-up that did 'Big Love' was a slightly different line-up to the one that did 'Rhiannon', because Lindsey Buckingham looked so different in the 'Big Love' video.

In two weeks it'll be the 30th anniversary of "Big Love" debuting on the Hot 100: https://weeklytop40.wordpress.com/1987-all-charts/

that Rock Family Tree doc is great for anyone who wants a nosey

https://www.youtube.com/watch?v=bYaE5qFpGQM

"Mystified" is kinda killing me right now.

'Isn't It Midnight' is my jam on this these days.

TA-AN-GOOOOOOOOOOOOOOOOOOOOOOOOOOOO

Excellent review Brad

Edge of Seventeen anecdote is blowing my mind

It's hilarious that ten years later not a single poster has admitted to voting for "Welcome to the Room................Sara."

I will say this about it: as dire as the song is, it features Stevie's best performance on the record by a fair distance. The writing bears her trademark phrasing – and her singing is far more invested (and subsequently less manipulated by Lindsay). Which makes a certain amount of sense given that it's about the most relevant thing in her life at the time: drugs, rehab and isolation.

It's her only complete performance. She didn't write "Seven Wonders" and didn't finish "When I See You Again." She's there and not-there on this album in a way that astonishes me.

For me, it's never really mattered that Nicks contributed relatively little to this record, since McVie's and Buckingham's contributions are so potent.

(then again, Nicks always was my least favourite of the three songwriters)

Mine as well, tho Stevie's best moments—"Sara," "Gypsy," "Dreams," "Storms"—are undoubtedly really good, even if I sometimes question how much of what I like about them is wedded their arrangements and production.

I disagree. Her songs are often the weakest but no way in hell would I want a Fleetwood Mac without her. She's peculiar: one of the few singer-songwriters who is both the most conventional, kitschiest member (Eagles fetish, New Age crap) and the weirdest vision.

otoh Buckingham is often a better arranger and producer and singer than songwriter; often his songs are about nothing and aren't anything except their arrangements. He's at best coaxing and shaping great songs out of McVie and Nicks.

*and HAS the weirdest vision

i mean i disagree too but that's bc her mac-oriented songs are all knockouts until mirage, which has "gypsy" anyway

I agree that Buckingham works wonders on McVie's and Nicks' material, it's partly the reason why McVie's tracks sound so utterly magnificent on Tango, and partly the reason why Nicks was able to get away with phoning it in.

I can't wait to hear what the Buckingham-McVie record sounds like, although I still see no reason why it shouldn't be put out as a Fleetwood Mac record.