![]() Where Rumours feels like mid-’70s pop-rock, Tango feels like the late 1980s: the synthesizers and drum machines (“Everywhere”), the gauzy surfaces (“Seven Wonders”), the sense of everything being suspended in pink perfumed mist (“Little Lies”). As a great pop band, Fleetwood Mac has never been ahead of the times-if anything, they’re always just behind them enough to serve as a kind of summary or reflection. Not so much in its sound, but in how it fits into its musical surroundings. But in a way, Tango in the Night comes closer. Lindsey Buckingham says that Mirage was an attempt to go back to something like Rumours: commercial, simple, up the middle. By the time the band started recording, they hadn’t played together for four years. Mick Fleetwood had gone through bankruptcy, and John McVie struggled with a drinking habit that, by 1987, had culminated in a seizure. Christine McVie made a solo album, too (1984’s Christine McVie). Stevie Nicks had just left rehab after touring a successful third solo album, Rock a Little. Rumours might be Fleetwood Mac’s most dramatic album, but Tango in the Night is their most poignant. ![]()
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