Playboy Magazine Reviews Tango in the Night
BYLINE: Young, Charles M.
Of all the Fleetwood Mac-alumni solo albums, I have derived the most pleasure from Mick Fleetwood's- The Visitor, recorded in Africa in 1980, when Paul Simon was still a one-trick pony. Despite its experiments with form, the record was solidly grounded in Fleetwood's brilliant sense of percussion, which ranks him right up there with Ringoand Charlie Watts for egoless taste. He and bassist John McVie guided Fleetwood Mac through all its incarnations over the years and seemto have discouraged the excesses of their songwriting peers-Lindsey Buckingham, Stevie Nicks and Christine McVie. Unfortunately, Tango in the Night (Warner) is not the latest proof that Fleetwood Mac is greater than the sum of its parts. Tango lacks the hypnotic weirdness of Tusk and the relentless hooks of Rumours, which was probably a once-in-a-lifetime pop masterpiece. But what it most lacks is the sanityof Rumours, the exhilaration of setting oneself and one's partner free from an addictive relationship. Here Buckingham yearns for a Big Love that will solve all his problems and Christine McVie thinks that the antidote to her broken heart is a lover who will tell her "sweet little lies." This is the romantic equivalent of a reformed drunk's slipping back into the bar for a final binge: Maybe it seemed like a good idea at the time, but it's hard to justify later, even with a great rhythm section.
1997-08-01 Number of views: