Bella Donna Reviews
 

AV Club, June 25, 2013 by Jason Heller

http://www.avclub.com/articles/just-...solo-de,99372/

Just like the white wing dove, Stevie Nicks’ solo debut soared

In We’re No. 1, The A.V. Club examines an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the years. In this installment, we cover Stevie Nicks’ Bella Donna, which went to No. 1 on September 5, 1981, where it stayed for one week.

“Thank you, Snoopy,” says Stevie Nicks, swallowing tears and clutching a stuffed toy of the Peanuts character that a fan had just handed her. It’s December 13, 1981—the last date of her triumphant first solo tour—and the Fleetwood Mac singer is standing on the stage of the Fox Wilshire Theatre in Beverly Hills. Her closing song is “Edge Of Seventeen.” Three months earlier, Nicks’ solo debut, Bella Donna, had reached the top slot of the Billboard chart; “Edge Of Seventeen” was destined to become not only the album’s biggest hit, but the song with which Nicks would end every solo concert from that night forward.

The seed of Bella Donna had been planted four years before the album’s release in July of 1981. While making its epochal 1977 album, Rumours, Fleetwood Mac had run out of room for “Silver Springs,” a gorgeous song penned and sung by Nicks that wound up relegated to the B-side of the single for “Go Your Own Way.” “Silver Springs” is equal to anything on Rumours, but there was no avoiding the fact that Fleetwood Mac had to juggle three strong singer-songwriters: Nicks, Lindsey Buckingham, and Christine McVie. It was inevitable that they would go solo at some point, especially considering the infamous interpersonal strife the group had been suffering.

Nicks was the first to go her own way. Bella Donna beat Buckingham’s solo debut, Law And Order, to the shelves by three months—and it beat its pants off on the charts. Nicks and Buckingham had been a recording duo before joining Fleetwood Mac, and their romantic relationship disintegrated during the arduous production of Rumours. To say they felt some competition might be an understatement. That strain had already shown itself on Rumours’ troubled 1979 follow-up, Tusk, which might as well have been an anthology of three isolated solo artists. The drugs and booze didn’t help. Nor did Nicks’ new relationship—working and otherwise—with ace producer Jimmy Iovine, who had a vested interest in seeing Bella Donna trounce the debut by Nicks’ ex.

Bella Donna spun that acrimony into platinum. “What I seem to touch these days / Has turned to gold,” Nicks twangs bittersweetly on “After The Glitter Fades,” one of the album’s four hit singles. Country-rock was no longer in vogue in 1981, but Nicks cut her teeth on country music as a little girl singing duets with her grandfather, an aspiring country artist. That rootsy, nostalgic ache grounds “After The Glitter Fades”—whose name evokes Neil Young’s “After The Gold Rush”—in a vintage tone that feels sepia-tinted rather than outdated. The album’s deeper cuts are less memorable, but none is a throwaway. The gothic waltz of “Think About It” and the drizzly atmosphere of “Outside The Rain” are contemplative and ethereal, while “The Highwayman” is a laidback ballad that closes Bella Donna with the downbeat sentiment, “Is this the end of the dream?” The only times the album sounds like Fleetwood Mac are on its brooding title track—as well “How Still My Love,” which sounds eerily similar to Rumours’ “Dreams” with its pulsing rhythm and Buckingham-esque guitar swells. But neither does Nicks stray far from the expectations of her fans. If anything, Iovine’s production distills the same gravelly majesty that made Nicks the breakout star of Fleetwood Mac in the first place.

Seeing as how Nicks learned to sing via country duets, it’s no surprise that “Leather And Lace” works so well. An inspired matchup with Don Henley of The Eagles—himself no stranger to country-rock—the song’s shivering tenderness is testament to the unlikely chemistry between Nicks’ feminine grittiness and Henley’s masculine softness. Vocally, she’s the leather and he’s the lace. And it works beautifully. It doesn’t hold a candle, though, to Bella Donna’s other duet. “Stop Draggin’ My Heart Around” was the album’s first and most successful single, reaching No. 3 on the Billboard chart in 1981, thanks to the synergy between Nicks and guest Tom Petty, who brings along the rest of The Heartbreakers as the backing band. Petty was Iovine’s latest success story at the time, and the song uncannily taps into the overlap of Petty’s simmering anger and Nicks’ smoldering angst.

“Edge Of Seventeen,” though, remains the high point of Bella Donna—and Nicks’ solo career as a whole. Not only is it the album’s hardest song by a mile, it’s its catchiest. Slinky and spectral, it’s filled to overflowing with Nicks’ evocative imagery and over-the-top symbolism—up to and including the “white wing dove” that not only graces the song but Bella Donna’s cover art. On the DVD from 2008’s Crystal Visions—The Very Best Of Stevie Nicks, the singer offers commentary on the song’s creation and meaning. Written as a reaction to two recent deaths—John Lennon’s and her uncle’s—it’s aggressive instead of mournful, a tombstone cut from black glass.

“It became a song about violent death,” Nicks says of “Edge Of Seventeen” on her Crystal Visions commentary. “To me, the white wing dove was for John Lennon, the dove of peace. And the white wing dove for my uncle was the white wing dove that lives in the saguaro cactus. The white wing dove actually does make a sound that is like, ‘Hoo! Hoo! Hoo!’” She’s referring to the haunting refrain she sings in the song, a sound that might as easily come from a ghost as a dove. Soon after the release of Bella Donna, Nicks reluctantly reconvened with Fleetwood Mac to record 1982’s Mirage—which resulted in Nicks’ signature anthem, the sublime “Gypsy.” It, too, is requiem for one of Nicks’ loved ones, who died of cancer. But “Edge Of Seventeen” pits Nicks’ corroded voice against harrowing hard rock, and that alchemical reaction becomes heavier than metal.

In 2001, Nicks good-naturedly (and perhaps a little shrewdly) appeared in the video for Destiny’s Child’s megahit “Bootylicious,” which samples the ominous, unmistakable guitar riff from “Edge Of Seventeen.” Then again, Nicks would have had no grounds to protest the sample. Her guitarist, Waddy Wachtel, shamelessly borrowed the riff himself, from The Police’s 1979 song “Bring On The Night.” Rather than being some stale argument against cultural appropriation, it’s a prime example of how a great hook can echo throughout eras—and how Nicks has stitched her mystique into the fabric of pop while maintaining a cuddly vulnerability. In Nicks’ voice there’s swagger and strength, but there’s also a weary erosion of the soul that humbles her.

In addition to launching “Edge Of Seventeen” as her permanent closing song, Nicks’ concert on December 13, 1981 started another tradition: “the edge walk.” After seeing the gifts the audience was handing Nicks in her 1982 HBO film, Stevie Nicks In Concert, her fans made it a ritual. To this day, when the epic, nine-minute live version of “Edge Of Seventeen” begins to wind down in a flutter of moody darkness and swirled-cape melodrama, Nicks stalks the front of the stage like a pagan goddess being offered sacrificial doves. Even if they do have floppy black ears instead of white wings.

Thanks for posting. That was a review worthy of a remaster!

I just found a rare italian review for Bella Donna and I'm quite happy and proud about it, so I just thought I'd share:



The Monday 80s Corner – Stevie Nicks, Bella Donna

The moment when a band dissolves, there is confusion, instability and an uncertain future. When a band is fine, rocks, and a member decides to pursue a solo career is like removing a color from the rainbow .. It could cut its fine figure alone, the same way it could go unnoticed.

When Stevie Nicks, in '81, launched her solo album away from Fleetwood Mac, it was exactly the same thing. Removing the brightest color of the rainbow and putting it alone .. According to see how it feels.

I will not tell you if it was positive or negative, but I can just tell you that "Bella Donna" echoed throughout the decade in an obsessive way, leaving a lasting impression, just as a rainbow-theme constant.

It has created an atmosphere that for 40 minutes recalls the best of her experience with the old band, with the addition of her sensual touch of country woman. Fantastic.

In the album we find a wonderful duet with Don Henley that is stunning, a crazy chemistry in a country-rock piece that enhances the voices of the two. "Leather and Lace" is one of those songs where listening takes you to close your eyes and slamming your foot to the rhythm of the guitar and the bass. Delicious. It comes out the soul of our country performers, releasing itself in a historic duet.

But there's more. We also have Tom Petty, other country icon that duets well in a rocking "Stop Draggin My Heart Around". His guitar is great, and there could not be another duet more appropriate than this.

Notable for me, "Edge of Seventeen" and "How Still My Love". Only her, without other contributions. First in a hard, full of adrenaline Rock, and then in that typical soft-rock mixed with soul that made her the symbol of Fleetwood Mac.

This color cast in the sky, shining and radiant, is ravishing by itself. Perhaps, however, it did not have all the respect and the recognition it deserved. It is a treat, but let's enjoy it.


Leonardo Boni



Source: http://www.ibirbanti.it/the-monday-8...s-bella-donna/

Thank you. That's a great find.

Michele

I know that they were trying to say the album came out in 1981, but the wording here made me chuckle. It reads as if she is 81 years old. :laugh:

It's a pleasure. Since Stevie isn't very famous here at all I wasn't expecting to find such an amazing review.
Is there already a thread that collects album reviews? It would be nice to put the best/most important ones together.

Actually I did the translation so it's probably my mystake.
Sorry, Italian and English have very different phrasing so translating can come out very weird.

Thank you Michele, you're always the most reliable and efficient!

I remember 'Rolling Stone' giving 'Bella Donna' a poor review. The headline was something like 'Gifted Dreamer or Air Head's Delight?' They were going for the latter. Later, they also trashed 'WH' and 'RAL' (they implied Stevie was anti-feminist for writing a song like 'I Sing For The Things').

Now 30 odd years later, the same 'Rolling Stone' is lauding Stevie as a rock icon and songwriter. Go figure.

Despite her popularity, the rock press was often critical and didn't take Stevie seriously back in the day, dismissing her as a flake. Also, because Stevie stuck to her 70's-style platforms, shawls, capes, etc., she was made fun of for being uncool during the New Wave 80's. However, she's now acknowledged as a fashion icon too.

Glad that Stevie's been reassessed in a positive way. :thumbsup:

well the writers for RS are of a different generation today than the ones writing for it back in the day. The men writing about Stevie back in the 70s were born in the 40s or 50s and had the "Mad Men" attitudes to go with. The guys writing for it now grew up in the 70s, 80s and 90s and have a more enlightened view of women. They grew up watching women entertainers headlining, and things like Lilith Fair, etc etc. The old boys in previous eras really were obnoxious. And I'm looking at you, Kurt Loder.

I remember that.It also got her upset too.RS probably cant match anybody in todays world that can match her.Thats probably why they love her now.
.I'm surprised that Kurt Loder wrote bad reviews on Stevie's stuff.I always enjoyed his MTV news shows.

I think it also depends on the reviewer. For example Cameron Crowe and Timothy White of Rolling Stone were quite enthusiastic about her when they wrote the articles for Stevie and Fletwood Mac cover stories.

Found another one:


Stevie Nicks - Bella Donna
Vote: 4 stars

There was a time when a Beautiful Woman conquered America dancing and afterwards conquered it in regal pose with a parrot in hand. We're speaking of Stevie Nicks, female vocalist of Fleetwood Mac of course. Leaving the group and being rejected by Tom Petty and the Heartbreakers at her request to be part of the band, the singer decided to pursue a solo career, and very successfully I might add: six are in total the efforts signed Nicks, two Grammy nominations and seven platinum albums.

"Bella Donna" is the first historic solo from Stevie Nicks, and many of the songs contained in it had already been written by the artist at the time of Fleetwood Mac, then discarded by other members of the group and Stevie Nicks herself.

The album was produced by none other than Tom Petty and his producer of Damn The Torpedoes (released the same year), Jimmy Lovine, while the reins of music recordings are in the hands of Benmont Tench, the Heartbreakers keyboardist. The technical part is therefore left to big names, but guests are no less: we find the E-street band's keyboardist Roy Bittan and the beautiful voice of the '"eagle" Don Henley, just to name a few.

Funny how sometimes the first solo albums are totally ignored, while the others are acclaimed (rightly or not, that is). "Bella Donna" was a real success, stood at number one in America and ranked high in various Europe countries ,and received five platinum alone. Despite the solo success, Stevie Nicks had to interrupt the tour to resume the recording of "Mirage" and continue with the Fleetwood Mac career, from whose sound she greatly moves away. It will be therefore in part thanks to the freedom to write in a very personal way, and in part thanks to the influence of the guest-musicians that the sound of the record is very different from the classics to which we were accustomed. Sure, the sound and the genre are not anything complicated or difficult to listen, but the result is much more influenced by country-rock, whose veins are felt here and there in a fairly marked manner. In this style are enjoyable the guitars of the very sweet "After The Glitter Fades".

A special praise goes to one of the two hits of the album, "Edge Of Seventeen", dedicated to the deaths of John Lennon and of the singer's uncle, it has a simplicity and an incredible pace, the vocals are incredibly aggressive and the singers Lori Perry and Sharon Celani do a great job while the powerful riff played by Waddy Wachtel makes the piece unique and unforgettable. For those that give much importance to the words of a song, the words are very fine: a white-winged dove is compared to the spirit of the deceased persons.

The other great hit of the album is a song written by Tom Petty. Stevie wanted one of his songs at all costs, and after that Petty reclaimed some because he liked them too much finally gave her this "Stop Draggin 'My Heart Around", perfectly suited to Nicks' voice and fantastically sang as a duet with its composer. And if we're speaking of duets, "Leather And Lace" is a fantastic result, because Stevie Nicks' voice and Don Henley's combine perfectly with each other, almost like she intertwined with that of Bukingham. The only flaw that you might find in the album is the decline towards the end with the last two pieces "Outside In The Rain" and "The Highwayman", surely some good songs, but they have much less to offer than the others. A different ending would have made the disc a masterpiece. Catchy but also aggressive, that is how it could be called. Definitely a good record overall, perhaps the most beautiful of her personal discography. The American Bella Donna has done a magnificent job.



https://www.debaser.it/recensionidb/...ella_Donna.htm

Yes and Rolling Stone gave rave reviews to Tango and Behind the Mask even to say Billy and Rick were the best thing that EVER happened to Fleetwood Mac.

Reviews are not newsworthy IMHO. Look at Led Zeppelin. Today they are considered the best or one of the best rock n roll bands that ever existed by all critics. But back in the day they were trashed so much by the critics they purposely did not name one of their albums (Led Zeppelin 4) to make it hard for the critics to write about the album. They even took their name from a critic who said they would tank like a Led Zeppelin.
I was too young for Rumours reviews but the critics were never a favorite of the Mac. Mirage and Tusk got panned and most of Stevie's stuff too.
Even Christine's solo album got mostly panned. I remember a local reviewer for a major paper saying "despite using musical muscle men like Eric Clapton, Lindsey Buckingham, Stevie Winwood, and Mick Fleetwood....her album lacks musical muscle." What? Christine was not going for a heavy metal album.

So I take reviews with a grain of salt and they are not newsworthy IMHO.

Something I'd not noticed before is how close Bella Donna and Law and Order were to each other - released only three months apart. Stevie talks as though Fleetwood Mac were offended that she shot out on her own, and yet Lindsey was doing the same thing.

If I recall, her story is about how after Bella Donna was released, she went back to record Mirage, and no one said a word about her solo success.

Was the issue perhaps, not that she had recorded a solo album, but instead that it had been so successful?

Yeah, RS really didn't like RAL. The title of the review was something to the effect of "Stevie Nicks has lost her way".