STEVIE SOARS SOLO

As career arcs go, that of Stevie Nicks began humbly but became stellar.

After a childhood spent moving around the USA courtesy of her father’s employment, Stevie arrived in Los Angeles with then boyfriend and musical partner Lindsey Buckingham. The Buckingham Nicks album, released in 1973, is fondly regarded now, but at the time was far from successful. The young singer subsequently paid the rent by working as a house cleaner and waitress. Not exactly a glittering start. Hang onto your seat, however, for the story accelerates to light speed over the following few years.

The invitation to join Fleetwood Mac was initially just from Mick Fleetwood to Lindsey Buckingham but the guitarist/songwriter famously insisted that he and Nicks were a package deal and after some discussion, the band agreed. Rumours, mega-star status, Tusk, tours, emotional and physical exhaustion all followed in a bewildering cascade, as the songs of Stevie Nicks enhanced the Mac package and helped take them to the pinnacle of worldwide popularity.

But as is well known, the strain of navigating the complex web of Fleetwood Mac relationships took a toll. Nicks needed a circuit breaker; what better project for a prolific songwriter than to make her own album?

The debut solo record, Bella Donna, was named in honour of the Chilean mother of a Tusk engineer Nicks was seeing at the time. It was released in July 1981 and produced by Jimmy Iovine (who became her partner not long after they met to discuss working together). Through Iovine’s extensive contacts, a first class roster of musicians were recruited: Don Henley and Don Felder of the Eagles, Roy Bittan from Springsteen’s band, Benmont Tench (Tom Petty), and guitarist Waddy Wachtel. As a result, the sound is tight, direct, and full of character.

Bella Donna opens with the title track, and you are immediately struck by the lush harmonies. The song is slow and romantic but soon kicks up a gear, illustrating a combination of vulnerability and fire that characterises Nicks’ songs. The album’s lead single was the Tom Petty penned "Stop Draggin’ My Heart Around", a suggestion Nicks initially fought. Partner/Producer Iovine was on the money, of course. The song’s shared Petty-Nicks vocal is intriguing, while the song itself has an irresistible groove.

The second single was also a duet, this time with Don Henley. Nicks had written the song years earlier at the request of country star Waylon Jennings, but ended up keeping it for herself.  At the time, she and Henley were an item, and he promised to sing it with her if the chance ever arose. It did, and was a top ten success. Early in 1982 a third single was released, the mysterious, almost hypnotic "Edge of Seventeen" enhanced by Wachtel’s brilliant guitar work.

Just like the white-winged dove sings a song... sounds like she's singing...

The 2022 re-issue sounds rich and deep, and includes an attractive booklet with lyrics, musician contributions and a well-written essay. It also has a bonus record with a generous serving of alternate and unreleased versions of songs from Bella Donna and elsewhere. Of particular interest to Nicks fans is the inclusion of "Blue Lamp" from the Heavy Metal film soundtrack (to which, incidentally, Donald Fagen of Steely Dan also contributed an original song) and "Sleeping Angel" (from Fast Times At Ridgemont High).

Bella Donna topped the album charts in America and Australia and emphatically proved Stevie Nicks could have a magical solo career alongside her membership of Fleetwood Mac. Some forty years later she, and her debut album, remain icons.

© Bruce Jenkins—July 2022