Blatantly commercial, glossy, and booming, Stevie Nicks’s 1981 solo debut was everything Tusk was not. Tom Petty & the Heartbreakers, the Eagles’ Don Henley and Don Felder, Roy Bittan of the E-Street Band, Donald “Duck” Dunn of Booker T. & the M.G.’s, top session guitarist Waddy Wachtel, and future Interscope Records chairman Jimmy Iovine are among the rock royalty employed on a record diametrically opposed to then-cresting New Wave; where there would ordinarily be one or two guitars, there’s seemingly a half a dozen. The opulence is almost operatic; recalling Bob Ezrin’s work with Alice Cooper and Lou Reed, Iovine’s production offers the femme-fronted leather and lace answer to glam rock’s sequins and glitter, one that would no doubt inspire Hedwig & the Angry Inch. Although Iovine, then her paramour, lacks Buckingham’s thorough synergy with Nicks, this nevertheless remains her most consistent solo album; the ornate title track, the rumbling “Edge of Seventeen,” and Petty’s pained “Stop Draggin’ My Heart Around” are nearly as flattering as her Mac best.
By Barry Walters on 12.28.12 in Icons
Fleetwood Mac is perhaps the only group in existence that started out as a man's band, one that played raw, Chicago-styled blues from the heart of London, but peaked with a rare but phenomenally successful transatlantic...
By Matt Condon on 11.04.14 in Live in Pictures
Photos of Fleetwood Mac in Washington, D.C.
By Marc Hogan on 10.15.14 in News
Weezer's return to first principles has brought yet another return to the upper rungs of the Billboard 200 albums chart. The alt-pop eccentrics' new album, the reenergized Everything Will Be Alright in the End, sold s...
By Andrew Parks on 10.11.14 in News
Since it’s nearly impossible to keep up with all the features that flood social media feeds all week, we did some of the digging for you. Here’s a handful of stories that are worth a click this weekend: - Chart Attack...