Creem Magazine
September 1987
by J. Fordosh

Up in the hills of Bel Air is Lindsey Buckingham’s house, Lindsey Buckingham’s croquet-perfect lawn, Lindsey Buckingham’s pool, Lindsey Buckingham’s radio-controlled toy submarine that’s busted, but could be fun in the pool, Lindsey Buckingham’s home studio, The Slope-where the final work on Fleetwood Mac’s Tango In The Night was done-and, indeed, Lindsey Buckingham himself.

Lindsey, like everyone in Fleetwood Mac, will tell us something of this latest record-and something of this immensely popular band. Their times and their troubles, stuff like that.

Fleetwood Mac’s saga has been a strange one: since Lindsey and Stevie Nicks joined up in 1975, the band’s made five studio albums, including Tango. The first four have sold something like 33 million copies-about 20 million of those courtesy of 1977’s monstrous Rumours.

You can perceive that, despite their relatively sluggish output, this band has a lot of fans. As I write this, Tango is safely ensconced in the Top 10, where it may well remain for eternity or the next Fleetwood Mac album, whichever comes first. But, coming almost five years after Mirage, we can correctly assume that there’s a story behind the story, so let’s start here . . .