Tango in the Night Songs Ranked

Tango in the Night is the fourteenth studio album by the British-American rock band Fleetwood Mac. Released on 13 April 1987, it is the fifth, and to date, the last studio album from the band’s most successful line-up of Lindsey Buckingham, Mick Fleetwood, Christine McVie, John McVie, and Stevie Nicks, as Buckingham left the band later that year. Produced by Buckingham with Richard Dashut, Tango in the Night began as one of Buckingham’s solo projects, but by 1985 the production had morphed into Fleetwood Mac’s next record. It contains several hit singles, including four US top 20 hits: “Big Love” (No. 5), “Seven Wonders” (No. 19), “Little Lies” (No. 4), and “Everywhere” (No. 14). Two additional songs, “Family Man” (No. 90) and “Isn’t It Midnight” were released as singles to less chart success. Tango in the Night has sold over 15 million copies worldwide. In March 2017, remastered deluxe editions of Tango in the Night were released, the first a double-CD set and the second a 3CD/1DVD/1-LP boxset. Here are all of the Tango in the Night songs ranked.

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10. Tango in the Night

“Tango In The Night” is brilliant mainly because of its musical construction, turning a soft pop song into almost a guitar opera, with strong guitar work and great percussion arrangements.”

9. Family Man

“Family Man”, sounding like an average pop-dance song and featuring some shaky vocal arrangements that bubbled away in the bridge.”

8. You and I, Pt. II

“His “You And I, Part II” is an upbeat and fitting album closer, featuring his usual “piercing” guitar tone (this is one album that would really benefit from remastering – acoustic and high-pitched guitars really assault your senses when recorded properly!),”

See more: Fleetwood Mac Albums Ranked

7. Caroline

“Caroline” has him going for his usual sexual intensity–it’s catchy, has a cool jungle-ish atmosphere, and overall works quite well, but the song still feels rather unfinished and the verses have minimal, laughably easy-way-out lyrics. It’s followed by the title track which is one of the truly terrific tracks here–evocative atmosphere on the quiet verses, a guitar-powered chorus with an exciting ultra-long high note from Lindsey, and a really really good David Gilmour-ish song-ending guitar solo.”

6. When I See You Again

“As for the touching “When I See You Again”, Stevie wrote about some universal feelings of confusion, longing, and fear, best expressed through the line “If she sees him again / Will your very best friend / Have been replaced by some other ?”. Her voice on that song was expressive, and it embodied the whole ambivalence of the song.”

5. Welcome to the Room… Sara

“Welcome to the room… Sara” had to be understood in the context of her stint in rehab, and I always felt it was a highlight of the album

4. Mystified

“Mystified”, a longing ballad where Lindsey’s production skills were at their best. Lindsey co-wrote 3 more songs with Christine McVie. Of these three, Christine sings lead on two of them–the airy “Mystified” is a throwaway with incredibly slight lyrics.”

See more: Fleetwood Mac Songs Ranked

3. Big Love

“Lindsey is great on his acoustic here, as is Christine on backing, making it a nice piece of work. Guitarist Lindsey Buckingham dominates the album and delivers the strongest composition and opener, the ambient rock track “Big Love”, which features his best lyrics on the album, good arrangements with guitar and the intrincated keyboard arrengements that were the trademark of the majority of the soft rock records in the 80’s.”

2. Isn’t It Midnight

“Isn’t It Midnight”, additionally co-written by Eddy Quintela, is a driving uptempo song with great Christine vocals, and the only thing really bringing it down is the dishearteningly rote, overlong “climactic” song-ending guitar solo. “

1. Seven Wonders

“The hit “Seven Wonders” is the only one that isn’t a Nicks solo composition–it was written by Sandy Stewart with Nicks credited for additional lyrics–and it’s the best of the lot with a nice ringing synth part, although it’s a rather generic and sugary pop-rocker, and you can hear Stevie’s voice faltering on it.”