Fact #95547
When:
Short story:
Fleetwood Mac release their first album in five years, Tango In The Night. It is the band's fourteenth studio album overall, and the fifth and final studio album from the line-up of Lindsey Buckingham, Stevie Nicks, Christine McVie, John McVie and Mick Fleetwood.
Full article:
Mick Fleetwood : Christine (McVie) did a soundtrack for a film (Blake Edwards' A Fine Mess) and asked Lindsay to co-produce it and John and me to play on it.
(Source : Q magazine, May 1990, interview by Mat Snow)
Chrisine McVie : Basically what happened was that I was asked to record a version of Elvis Presley's Can't Help Falling in Love for a Blake Edwards movie. Mick and John agreed to play on it and and then I phoned up Lyndsey and asked whether he and his engineer, Richard Dashut, would be up for producing it.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : Before we knew it, we had the band in the studio.
(Source : Q magazine, May 1990, interview by Mat Snow)
Christine McVie : It was the first time for nearly five years that we'd all been in a working environment together. Since the Mirage album came out in 1982.
In fact, we had such a good time in the studio and realised that we still had something to give each other in musical terms after all.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : That was the catalyst. I took it into my hands to say 'We're starting'.
(Source : Q magazine, May 1990, interview by Mat Snow)
Lydsey Buckingham : At the beginning of Tango, we hadn't spent a lot of time together. So because there was no real organising force, people on the periphery started to get into the picture. Lawyers started to construct a situation that would get this thing off the ground, and their perception of a creative situation was to bring in a young guy from New York to engineer/produce. It took us a week to realize this guy was in a little over his head.
(Source : interview by Tomothy White, Rolling Stone, 1989)
Mick Fleetwood : The producer we enlisted, to be quite candid about it, was a ploy - a crafty ploy that had some legitimacy to it. He was chosen not just as a front, but I had a sneaking suspicion that Lyndsey wouldn't enjoy working with this producer.
(Source : Q magazine, May 1990, interview by Mat Snow)
Chrisine McVie : We (she and Lyndsey Buckingham) collaborated more on Tango than on any of the other albums, I think. Whic might sound a bit odd when you remember the rumours going round the industry at the time that we were only taking to each other through lawyers and so on. In fact, it was all very amicable.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : He made it pretty clear that Tango was his sawn song. We talked about the road and it always turned into a non-conversation. It basically didn't take a rocket scientist to read between the lines, that this guy had no desire to be involved with this band after the making of the album. The, of course, turned out to be the case.
(Source : interview with Frank Harding, Goldmine, Octobeer, 1992)
Chrisine McVie : But nobody was surprised when Lyndsey finally said that he wanted to leave. Tango was like his swansong, really.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Christine McVie (discussing the song Little Lies) : The idea of the lyric is, 'If I had the chance, I'd do it differently next time. But since i can't, just carry on lying to me and I'll believe - even though I know you're lying.
(Source : interview by Tomothy White, Rolling Stone, 1989)
Stevie Nicks (discussing Seven Wonders) : Mystical accidents just happen to me all the time. The first song I gave to Tango was a demo my good friend Sandy Stewart had played for me called Seven Wonders. I gave the tape to Fleetwood Mac at a Halloween Party in LA, to plant a seed, and when it came time for me to sing it live in the studio, I was somehow inspired to to sing very different words that instantly transformed the song for all of us. In 300 subsequent takes, I could never sing those unwritten words of mine again, and the original live verion we luckily preserved became the second hit from Tango!
(Source : interview by Tomothy White, Rolling Stone, 1989)
Lydsey Buckingham (discussing the song Big Love) : It surprised me that there was a whole lot of interest in who was doing the female side of the song's 'love grunts' or whatever you want to call them. That was actually me with VSOs, variable speed oscillators. There's a lot you can do in terms of your arranging and your voicing with slowing and speeding tape machines. It was odd that so many people wondered if it was Stevie on there with me. I guess it just follows the same thread as everything that was brought to the public in Rumours - you know, the musical soap opera.
(Source : interview by Tomothy White, Rolling Stone, 1989)
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(Source : Q magazine, May 1990, interview by Mat Snow)
Chrisine McVie : Basically what happened was that I was asked to record a version of Elvis Presley's Can't Help Falling in Love for a Blake Edwards movie. Mick and John agreed to play on it and and then I phoned up Lyndsey and asked whether he and his engineer, Richard Dashut, would be up for producing it.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : Before we knew it, we had the band in the studio.
(Source : Q magazine, May 1990, interview by Mat Snow)
Christine McVie : It was the first time for nearly five years that we'd all been in a working environment together. Since the Mirage album came out in 1982.
In fact, we had such a good time in the studio and realised that we still had something to give each other in musical terms after all.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : That was the catalyst. I took it into my hands to say 'We're starting'.
(Source : Q magazine, May 1990, interview by Mat Snow)
Lydsey Buckingham : At the beginning of Tango, we hadn't spent a lot of time together. So because there was no real organising force, people on the periphery started to get into the picture. Lawyers started to construct a situation that would get this thing off the ground, and their perception of a creative situation was to bring in a young guy from New York to engineer/produce. It took us a week to realize this guy was in a little over his head.
(Source : interview by Tomothy White, Rolling Stone, 1989)
Mick Fleetwood : The producer we enlisted, to be quite candid about it, was a ploy - a crafty ploy that had some legitimacy to it. He was chosen not just as a front, but I had a sneaking suspicion that Lyndsey wouldn't enjoy working with this producer.
(Source : Q magazine, May 1990, interview by Mat Snow)
Chrisine McVie : We (she and Lyndsey Buckingham) collaborated more on Tango than on any of the other albums, I think. Whic might sound a bit odd when you remember the rumours going round the industry at the time that we were only taking to each other through lawyers and so on. In fact, it was all very amicable.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Mick Fleetwood : He made it pretty clear that Tango was his sawn song. We talked about the road and it always turned into a non-conversation. It basically didn't take a rocket scientist to read between the lines, that this guy had no desire to be involved with this band after the making of the album. The, of course, turned out to be the case.
(Source : interview with Frank Harding, Goldmine, Octobeer, 1992)
Chrisine McVie : But nobody was surprised when Lyndsey finally said that he wanted to leave. Tango was like his swansong, really.
(Source interview by Chas DeWhalley, RCD magazine, Feb 1993)
Christine McVie (discussing the song Little Lies) : The idea of the lyric is, 'If I had the chance, I'd do it differently next time. But since i can't, just carry on lying to me and I'll believe - even though I know you're lying.
(Source : interview by Tomothy White, Rolling Stone, 1989)
Stevie Nicks (discussing Seven Wonders) : Mystical accidents just happen to me all the time. The first song I gave to Tango was a demo my good friend Sandy Stewart had played for me called Seven Wonders. I gave the tape to Fleetwood Mac at a Halloween Party in LA, to plant a seed, and when it came time for me to sing it live in the studio, I was somehow inspired to to sing very different words that instantly transformed the song for all of us. In 300 subsequent takes, I could never sing those unwritten words of mine again, and the original live verion we luckily preserved became the second hit from Tango!
(Source : interview by Tomothy White, Rolling Stone, 1989)
Lydsey Buckingham (discussing the song Big Love) : It surprised me that there was a whole lot of interest in who was doing the female side of the song's 'love grunts' or whatever you want to call them. That was actually me with VSOs, variable speed oscillators. There's a lot you can do in terms of your arranging and your voicing with slowing and speeding tape machines. It was odd that so many people wondered if it was Stevie on there with me. I guess it just follows the same thread as everything that was brought to the public in Rumours - you know, the musical soap opera.
(Source : interview by Tomothy White, Rolling Stone, 1989)