Midnight Madness - Chuck Edition

Chuck has made his return to NBC with new episodes, three eps in two days, and brought the magic back. Go Chuck!

And Away We Go - art house director Sam Mendes (American Beauty, Road To Perdition) is in talks to direct the next 007 outing. This sounds really promising, Road To Perdition had a great mix of interesting characters, dark drama and shoot out action. I hope he gets the job and sounds like a great pick.

American Oh No - More British news, Simon Cowell has made this upcoming season the last he will be on American Idol. Enjoy the scathing sarcasm directed towards young adults while it lasts folks. Who else has a knack for crushing young people's hopes as good as Cowell? My wife and I discussed it, our best bets are David Lee Roth or Howard Stern. I think Stern would be awesome, he'd bring a rude crassness that could up the ante from Cowell's harshness. Though Roth would definitely be flashy and fun.

What's The Key? - No one will mistake me for a hip hop kinda guy, but I do like the R&B ways of Alicia Keys. The first two singles from her recent album have come and gone with little notice, though her album is selling well. But why the lack of hit songs (not including her #1 hit team up with Jay Z)? Particularly since the recent "Try Sleeping With A Broken Heart" was good? At least she can always fall back on her booty call.

Boulevard Of Broken Dreams - Green Day's stage adaptation of American Idiot is going to Broadway. If it becomes the new Mamma Mia, that will be scary. Grandfolks all over New York singing Green Day...or should it be Greed Day.

I'm Gonna Break My Rusty Cage And Run - Chris Cornell announced the long awaited reunion of grunge masters Soundgarden. Sludgy guitar riffs and soul shredding screaming will rule again!

Overexposed Movie Advertisement Of The Week - I think they'll finally stop now that the movie has opened, but I say enough of the adverts for Daybreakers. Vampires that rule the world and are running out of humans to suck on. A "where are they now" cast of Ethan Hawke and Sam Neill. Can you say overblown high concept hooey filmed through an annoying green tint? Can you say bad cash in on left over ideas from this Vampire thing that has been beaten to death? I predict the next Vampire movie will have something to do with space, it makes no sense, but I just think it will. And monkeys. Blood sucking space monkeys from outer space starring Mark Wahlberg. You heard it here first!

Nothin' Matters And What If It Did - No reason to type this other than I always wanted to lead off a post with this John Cougar album title.

What's a Nine? - Seriously, I haven't bothered to look this up but see this CD everywhere I go. What is it?

Big Poppa Pump - Psyche! Thought I was going to say something about Scott Steiner (and all the non wrestling fans say "Who's that?")? Mark McGwire finally finally finally admits to using steroids in his baseball career. In the early 90s when I worked in a theme park, McGwire once walked past me. The man's bicep was literally as big as my head. His admission explains a lot.

Mini DVD Reviews:

• Slumdog Millionaire (2008) - The Academy Award winning movie for Best Picture actually lived up to it's hype. The gimmick of revealing a character's life through flashbacks of a game show is ingenious. Director Danny Boyle gets the right balance of humanizing characters and telling a moving story of an earnest underdog. Good flick.


• The Hangover (2009) - I got this movie as a Christmas gift and had read a lot about how this was supposed to be funny. Good comedy is one of the toughest types of movies to make, surprisingly The Hangover actually is funny. Breakout comedy performances, mainly by Zach Galifianakis as the slightly off odd ball, power a strong ensemble of no name actors. Todd Phillips gives fine direction capturing the boys club atmosphere ably as he has in the past (Old School). Funny and well executed


• Race To Witch Mountain (2009) - The Rock says this: I want you to take that space ship, shine it up real nice, and shove it straight up your candy ass!!! A remake of a beloved 70's Disney favorite (well, beloved by me I worshiped Escape To Witch Mountain as a kid) is simplistic to a fault but I was real tired and wanted a no brainer movie to watch. This fit the bill nicely. It's disposable film making on a big budget (the special effects were decent).

The Year That Was 2009 pt 1

I've been neglecting the blog lately and want to get back into posting so to start up again I'm going to subscribe to the "Out with the old and in with the new" routine. My first two posts of 2010 will be to review the year that was 2009. The first post is music and the second is everything else.

2009 was a year of big hype and modest pay offs in music. It was the year the King of Pop died, ironically sparking a career re-evaluation as audiences were able to separate the music from the person. It was the year of Glambert and Susan Boyle keeping reality tv's foot in the door of pop music. It was the year of free live concerts streaming on the internet. It was the year people went gaga for Gaga and told Kanye he's heartless. Maybe he was upset that it was the year of Taylor Swift, the lanky Country teen dominated everyone and everything else in her path.

For me personally it was the year I completed my Top 100 Favorite albums posts. It only took what, two years? I'm big on lists though, as my wife says I have lists of my lists. And true to my self, here's more lists-

To start things off, here's my Top 5 favorite albums of 2009:

5. Matthew Sweet and Susanna Hoffs - Under The Covers Vol. 2 / Chickenfoot - Chickenfoot (tie)

When old timers pool their talents, sometimes they can come up with something a little fresher than if they worked on their own. Fan that I am of Matthew Sweet and of his first pairing with the lead Bangle (2006's Vol 1.) I anxiously looked forward to this set of 70's covers. And fan that I am of Saint Sammy, how could I resist a combo with guitar god Joe Satriani, ex VH Mike Anthony and funky drummer Chad Smith? In both cases, the teams came up with solid discs touched with earnest excitement and heavenly bright spots. Sweet and Hoffs were a little more mechanical this time out than on their first combo yet still found magic in well worn power pop(Raspberries, Todd Rundgren) and classic rock (Rod Stewart, Yes) scripture. Meanwhile AOR geeks rejoiced, basking in the glory of hard hitting guitar driven grooves ("Soap On A Rope"), high flying rockers ("My Kinda Girl") and power balladry ("Learning To Fall") that's Hagar's stock in trade.

4. U2 - No Line On The Horizon

The Irish quartet returned to save the world again with their most subdued effort since...The Unforgettable Fire (1984)? I was turned off by the weak techno pop lead single "Get On Your Boots" which turned out to be the hardest rocking thing on the album. That's not to say No Line is a bad album, it's actually pretty good. The dream reteaming of producers Brian Eno and Daniel Lanois ensures the dreamy atmospherics envelope everything in its path, creating a disc that is as grey and cloudy as its album cover. Though "Moment Of Surrender" is a nice ballad, I found myself really digging the clunky rocker "Stand Up Comedy" in addition to the classic U2 flag waver "Magnificent" and the catchy "I'll Go Crazy If I Don't Go Crazy Tonight". But U2's quiet ways were too mysterious with their mass audience leading to weak sales. Wonder if they'll bring back the thunder next time out?

3. Pearl Jam - Backspacer

When I first picked up this disc I was somewhat disappointed that it seemed a little weak lyrically and that they had removed the anthem rock element they just reclaimed on '06's self titled album. A little after that I was notified I would be losing my job and this album took on special meaning to me. The enervated vibe, open ended lyrics and classic Vedder clenched teeth me-against-the-world delivery provided the motivating soundtrack to a month of hell. I've already gone on about this album in other posts so I'll end it by saying my feelings about this disc has increased greatly since my initial review of it.

2. Dave Matthews Band - Big Whiskey and the Groo Grux King

For most of the past decade, Matthews seemed to be on the run from his own band - creatively that is. DMB brought in producers to try to swerve the sound away from the intricate jam band tendencies they built their name on. But the passing of saxophonist Leroi Moore seemed to change all that and as a result we got the loosest, grooviest DMB disc in ages. The slam bang breezy rock of "Why I Am" was a highlight on an album packed with the natural, tight and instrumentally impressive music that made DMB famous. Other highlights included the gently loping "You and Me", the Cameo "Word Up" send up "Shake Me Like A Monkey" and the Lillywhite Sessions reminiscent "Lying In The Hands Of God". Of studio albums, this was the best of the year. But I'm not done yet...

1. Tom Petty and the Heartbreakers - Live Anthology

I debated over whether or not to include this, seeing how its an anthology of performances spanning back to the 70's and not a disc of new material. It's just I'm so blown away by this set (if I had done a separate post to review it Dixie would have given ten barks) that I feel compelled to include it. This is an outstanding set, five discs in all, of live performances taken from all phases of Petty's career with the Heartbreakers. Big hits, deep cuts, covers and what not are sewn together to form the facsimile of a live concert. Each song features a strong emotional performance and stack together to form something greater than the sum of its parts. This is one of the best box sets I've heard, it captures a spirit of the different facets of a brilliant artist better than most other box sets and does it with live cuts. I was lucky to get this set as a gift and even though I haven't watched the DVDs that came with it yet I will say that if you have the money to spend on this, it's well worth the price.

And now, my Top 10 songs of 2009:

10. The Lonely Island "I'm On A Boat" and Bruce Springsteen "The Wrestler" (tie)

Is having a tie a way of cheating so I can include an extra song or album in a countdown? Yup, and that won't stop me either. Comedy rappers The Lonely Island floated in "I'm On A Boat" early in the year and I turned a deaf ear to it until it was featured on a mash up with the movie Ponyo. I haven't gotten the song out of my head since then, with my flippy floppys while you're at Kinkos straight makin' copies! On the other end, The Boss provided a song for a movie soundtrack finding him in grumbly acoustic serious guy mode. He captures the soul of a beautiful loser perfectly. Technically this song is from 2008 but since I didn't listen to it until I bought this years Working On A Dream album I'm including it here.

9. Green Day "21 Guns"

All in all, I found Green Day's heavily hyped follow up to their modern classic American Idiot to be a fair but bloated affair. Except for a handful of cuts, one of them being "21 Guns" with its steady march beat and defiant chorus. Never did figure out what the song is actually about, after watching the overblown video for it I went off the song for a little while. I went back to it later, when you get to brass taxes I just like the beat and melody here.

8. Foreigner "Can't Slow Down"

A full review is to follow of the new Foreigner disc I got for Christmas. There's a lot of slow numbers on the new one, but the opening cut is a hard charging rocker that shares its title with the album. The current lead singer gets his Lou Gramm on (Grammophone?) to great affect as the guitars hammer onward to a charged anthemic chorus. A slice of AOR awesomeness on a stick.

7. U2 "I'll Go Crazy If I Don't Go Crazy Tonight"

Easily the catchiest tune on the recent U2 effort, you know a song is listener friendly when you hear it playing over the sound system of Home Depot while you shop for bricks. In one of those lazy susan musical influence deals, "Crazy" bears some resemblance to the sound Coldplay has employed to amazing success, the sound that borrows a lot from Radiohead and U2. What came first, the chicken or the egg? Either way, this is a pleasant pop rock feel good song.

6. Franz Ferdinand "No You Girls"

New new wavers Franz Ferdinand went from future stars to yesterdays news in a heartbeat between their first and second albums. On their third disc a desperate move (infusing their angular guitars with techno dance sound effects / beats) paid off with strong results peaking with "No You Girls". Balanced on a groove that is almost disco, the Scottish quartet bring the alternative rock cool on and back it up with a killer hook. The chorus has me flashing back to Greg Kihn's "Jeopardy". Normally I hate when a song is referred to as "hip". Franz Ferdinand justifies use of that word.

5. Dream Theater "The Best Of Times" (pts 1 and 2)

My favorite song off the musically spectacular but lyrically insipid DT disc Black Clouds and Silver Linings. The heartfelt intent of the words to "The Best Of Times" (not to be confused with the Styx song) about a man thanking his dying Dad is enough to overcome the maudlin sentimentality of the piece. Best of all, the proggy metalheads weave a tight fabric of instrumental virtuosity that pays off with a stunning John Petrucci guitar solo at the end. It's epic in all the right ways that make Dream Theater great.

4. Mandy Moore "I Could Break Your Heart Any Day Of The Week"

Unlikely 70's inflected pop from a former teen queen Britney Spears type singer, Mandy Moore hauled in a hand clap beat and cheap keyboards to finesse a tune that would have sounded right on an AM radio channel in 1973. And I'm a sucker for songs that use the days of the week in the chorus (see "Seven Days" under Sting for details). Amid the heavy clutter of machines and calculated marketing moves that make up modern pop music, Mandy Moore sounded like a breath of fresh air in '09. And yes, this is the same girl who once sang "Candy" and starred in those teen romance movies.

3. Bon Jovi "We Weren't Born To Follow"

OK, you're Jon Bon Jovi and you think: you know what a new Bon Jovi album needs? "Born To Be My Baby" with different lyrics! Yes, that's precisely what was needed Jon Bon Jovi. That sir, is why you earn the big bucks. Musical cop out that it is, I freakin love this song. Maybe it was the timing, I certainly could use encouraging music from a familiar artist. "We Weren't Born To Follow" (just noticed this title even has "Born" in it!) hit home and meant a lot to me. And thank you Richie Sambora for redoing that guitar solo.

2. Lady Antebellum "Need You Now"

Well look at that, I picked a Country song for number two. My cousin gave me the debut album which I thought was decent pop rock done Country style so when their new song for their second album popped up I gave it a shot. Well, I was floored by how good the new song is. A straightforward pop rock duet rendered nicely with able vocalists. Sure, this is about as Country as say Restless Hearts "When She Cries" (meaning its not) but that's fine with me, I don't listen to hardcore Country. This is like Starship's "Nothings Gonna Stop Us Now" for the new millennium. Which I guess isn't that new anymore since we're up to 2010.

1. Matthew Sweet and Susanna Hoffs "Go All The Way"

Duets are us it seems, Sweet and Hoffs Marvel Team Up hit a home run with their cover of The Raspberries / Eric Carmen classic "Go All The Way". The revved up guitar riff and intertwining voices make for audio ecstasy thanks to an inspired performance by the dynamic duo. It may also help that my copy of the original song sounds like crap even though it's from a Time Life collection. Anyway, this cover encapsulated everything that makes the pairing of these two great. (The only place I could find the song online is their myspace page, you have to click on the song to play)

2009, so glad its gone. Next is the year in movies, tv and whatever else I can think of media related. Vampires you say? That is so last year and I hear they suck.

The Design Of A Decade pt deux: Post Flannel Fury!

All that you can't leave behind is how to dismantle an atomic bomb because there is no line on the horizon.

The Grunge and Alterna Rock boom of the early 90's was the last significant movement in Rock music that would hit on a mass scale in my book. When the 2000's rolled around many of those flannel wearing acts had broken up or gone back to the underground. At the same time there were artists who did persevere, gliding into the second stage of their career proving they still had some potency left past their 20s. Of those that survived, here are my favorites:

All That You Can't Leave Behind...Luggage!

U2's 2000 release All That You Can't Leave Behind is my top pick from this genre, though technically they were an 80's band. Top flight songs (the hits "Beautiful Day", "Stuck In A Moment", "Elevation" and "Walk On" all stem from this disc) broadcasting a weary, melancholy sense of hope became my soundtrack to the feeling after 9/11. It also brought guitars back to the band's sound after spending the 90's tinkering with electronic noise. A great album.

With The Lights Out, It's Less Dangerous

The Smashing Pumpkins kicked off the new millennium with what was supposed to be their swan song, Machina/The Machines Of God (2000). While the album is a little abstract (it was the remnants of a planned concept disc that didn't go through) there is some good stuff here. Not the greatest Pumpkins disc, but not an embarrassment either. Anyway, it was Pearl Jam's return to anthemic songwriting that pushed their self titled Pearl Jam (2006) to the top of the ex flannel heap. Scorchers like "Life Wasted" or "Big Wave" exploded on impact. Former Nirvana drummer Dave Grohl led his Foo Fighters through Echoes Silence Patience Grace (2007), a decent disc highlighted by two outstanding jams "The Pretender" and "Long Road To Ruin". Coming in at the end of the Grunge era was Weezer, who sat out the last part of the 90's only to return armed with an inspired set of compelling nerd rock on 2001's Weezer (the green album). "Island In The Sun" still gets my head bopping.

It Is The Distant Future, The Year 2000

Like the album cover, Green Day caught everyone off guard with a masterstroke pop punk concept album American Idiot (2004) going off like a grenade. An artistic triumph, Green Day spoke to the disaffected with a strong set of songs that hung together thematically. American Idiot was one of the discs I played the most within the last couple of years. And no one saw it coming from a trio that was written off as lightweight has beens.

Radiohead has been the barometer for everything considered great about rock music following The Bends in 1995. Many Best Of The Decade lists I've seen rate Kid A (2000) near the top, an album I could not get into. Electronic doodling in rock music is nice as an additional extra, like buying an accent piece of furniture, but I hate when rock bands remove guitars completely in favor of blips and bloops (lookin' at you U2 and Radiohead!). The Radiohead album I did get into was the famous freebee In Rainbows (2007). A sturdy bunch of songs packed with that whiny croony thing Thom Yorke does so well. Along similar lines, Coldplay became one of the few new stadium bands of the 21st Century thanks to a string of polished, glossy U2/Radiohead style balladry. A Rush Of Blood To The Head (2002) was a compelling listen evoking a sort of post modern yearning for something more. It's a mellow ride through a mildly tortured soul. The lone downside is that "Clocks" threatened to become as ubiquitous in montages as Green Day's "Good Riddance (Time Of Your Life)" was five years before it. Once I heard "Clocks" used in a scene from ER I saw there was no getting away from that song. Ever.

Not to be left in the past, alternative techno rock icon Trent Reznor served up the pretty good With Teeth (2005) for his Nine Inch Nails. It wasn't as inspired as his best work, instead it was consistently good with "Only" becoming my favorite NIN song.

Shiny Happy People Marching

R.E.M. spent most of the time making mediocre albums to a fanbase that kept wondering - when was R.E.M. going to be great again? What happened to those sublime post punk songs with the riddle filled lyrics? In 2008, R.E.M. took a shot at regaining their own title back as jangle rock kings on Accelerate and came damn close to succeeding. On its own terms, Accelerate powers forward by embracing the bands past but not copying it.

R.E.M. had their roots in college rock or what's now called Indie rock which will be the next genre on my list here. Because that's me in the corner, that's me in the spot. light.

December 8th Add On

There were two CDs that I went back and forth on including and ultimately I decided to tack them on. The first is Pearl Jam's latest Backspacer (2009). I didn't think much of this disc when I first got it but since then it has grown and resonated with me strongly so I am adding it on. Also, power pop ace Matthew Sweet generated Kimi Ga Suki (2003) should have been included for its pure chimy catchiness.

Hot Topic: the soundtrack

The enemy within

I don't know if it's a national chain, in California there's these stores in the Malls all over the place called Hot Topic. It's a gothy kind of place where you can shop for your teenage rebellion after eating a Wetzel Pretzel and browsing Bath & Body Works. Interesting how times change, in my day people into goth were outsiders. When I went to a Depeche Mode concert in '88, I saw all these other people with their homemade anarchy grafittied jackets and chains that were clearly done on their own. Some one saw money in that and now you have a safer place to buy your goth stuff Hot Topic. I don't have a problem with Hot Topic or goth, I'm just an old man observing the passage of time. Kind of like how you can buy AC/DC shirts at Wal Mart when 20 years ago their music was considered "Satanic". What once was considered a threat to a nation's morals are now playing in the background while you fill your basket at the supermarket.

One band that fits that demographic really well is Green Day, a band that had a reputation as lightweight punk poppers with a downtrending career until they took an artistic risk in 2004 on the concept album American Idiot. A punk opera didn't sound promising, yet it gave the Day the opportunity to show musical virtuosity and make pointed social / political commentary while retaining their punk energy. Idiot was an inspired record that revitalized and transformed the band's career as artists with something to say.

Which brings us to five years later with the proper follow up to Idiot called 21st Century Breakdown. I've had this disc for over a month to try to digest it all, this album is like American Idiot just bigger, longer and uncut. The album is cut into three sections and tells the story of Christian and Gloria who are rebels that...I don't know, I've listened to this album for a month and I still don't know specifically what they're against here. I get that they're alienated and mad and don't want to be part of the modern world-I just don't get much more out of it.

Still, there's good news. On the musical front, Green Day is still pretty inspired. They can still tie together memorable melodies to tightly packed punked out guitars to create a frenzy on cuts like "East Jesus Nowhere" or the single "Know Your Enemy". I like it when any group pulls out those Cars synthesizer moves so "Last of the American Girls" doesn't disappoint. Sometimes I get lost in the sprawl of the different segments and their extended arrangements, but Act III packs a punch with the rampaging "Horseshoes and Handgrenades", the quick "The Static Age", the steady beat of "21 Guns" (one of the best songs on the album), a strong two part punker "American Eulogy" and ending with the Simple Minds worthy "See the Light".

They've certainly gotten more polished with the concept album idea, the sections piece together cleanly held by glowing stately keyboards in between the taut punk rhythms. Producer Butch Vig gives the group the clean punch he gained fame for on Nirvana's Nevermind. What stops this album from being great for me is that it seems a little pat. Part of what made American Idiot great was that there was an enervated feeling of risk and relevance. It took 21st Century America and held up an outsider's mirror on a society it viewed as browbeating, fear mongering and conformist. The punk fueled rhythms matched the vitriol and verve of the concept. By contrast, 21st Century Breakdown feels like a pose - a sequel that pushes to further the musical ideas yet emptier in purpose.

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That's not to say 21st Century Breakdown is bad, I'll probably play this one for a few more months as it does have tremendous energy, some powerful tracks and a terrific sound. Individually the songs are all strong, though lyrically they suffer a bit from having to cow tow to the themes. Green Day can still rock with the best of them, they just had less to say this time. Or at least less that interested me. I ran this by Dixie for final approval, she says:

and a half

Breakdown Dead Ahead

Green Day is preparing to release their new album 21st Century Breakdown and since I liked American Idiot a lot, I'm looking forward to this one. The new single "Know Your Enemy" is making the rounds and it ain't bad. It's an insistent song with that marching beat they like to do. I am a little concerned about the overblown nature of the video though, with the fenced barb wire and flame explosions and snow it seemed a little overdone for Punk, even if it is Pop Punk. They just feel a little more safe and comfortable this time out (and given how American Idiot sold why wouldn't they?), which for an "edgy" band can be deadly career wise.

Looking back at Green Day you can't count them out because they've managed to succeed in spite of expectations on a regular basis. When they hit the big time with Dookie I was a fan and really liked "Basket Case". At that time everything was Grunge and no one expected a Pop Punk band to catch on. That whole album had a hyperactive silliness matched with good hooks and rampaging guitars which was awesome. After that, I lost interest and didn't really follow them except of course for the ubiquitous "Good Riddance (Time Of You Life)" which was played everywhere. Nearly killed a good song with over exposure even showing up in a Seinfeld montage without irony. Even then I didn't run out and get their music, just enjoyed it when it was on. And though "Warning" had one of the funniest videos I had seen in a while, I still didn't buy their stuff.

American Idiot turned it around as the Day managed to take a really bad idea (Punk concept album? Talk about a conflict in terms) and make it a classic. Now they're upping the ante by going for a bigger approach on the concept album format, I'm staying optimistic they can pull it off again.

Green Day - New Music - More Music Videos

Numbers 25, 24 and 23

Rock On Gold Dust Woman: Stevie Nicks warns people about the Sister of the Moon. Yeah, you read that right, the moon has sisters. Is that weird or what?

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Time to add three more to my 100 Favorite CD list and shake it like a Polaroid picture (sorry, Outkast is playing on the IPOD). On this round we have Bay Area Punks, Beantown Blues Rockers and a Gypsy Woman to throw on the CD player.

Number 25: Green Day American Idiot (2004)


When Green Day exploded on the rock scene with Dookie (1994) they were revered as the return of Punk. Then when they couldn't match Dookie, they were dismissed as one hit wonders. It didn't seem likely that a Pop Punk band writing a concept album would make a comeback vehicle, but the Berkeley trio bucked the odds when they returned with a vengeance on American Idiot. The story of a disaffected suburban teen who gets lost in his outsider world of drugs ("Give Me Novocaine") and infatuation ("Extraordinary Girl") connects as the music pounds out a feeling of unfocused rage. A slew of hits spawned from this disc, the sardonic punk of the title track, the up-in-arms Holiday and the depressed Boulevard of Broken Dreams. It's all topped off with the poignant ballad Wake Me When September Ends complete with a topical video of young love and war. A real challenge and accomplishment artistically, Green Day even puts the Punk ethos of short-fast-loud on its head with two ten minute multi segment tracks ("Jesus of Suburbia" and "Homecoming"). A complete and cohesive album from a Punk band.

Number 24: Aerosmith - Toys In The Attic (1975)


When music critics hail the best this Boston based band has to offer, they almost universally cite Rocks (1976). That is a great album, no doubt, but my preference is the slightly goofier Toys in the Attic. In any case Aerosmith was in full swing by the mid 70's and Attic contained 9 cuts of limber blues rock. The classic rock staples Sweet Emotion and Walk This Way groove and shake providing an anchor for the rest of the album. The band shows range between the rampaging Title Cut and the retro blues of Big Ten Inch Record. For me, the highlight is the straight ahead Arena Rock of No More No More. Yes, Aerosmith would rock harder and sell more records after Attic but this album has the right mix of indelible riffs and sleazy fun for me.

Number 23: Stevie Nicks - Bella Donna (1981)


I think I've mentioned before I was so into Stevie Nicks as a teenager that my parents referred to her as "my girlfriend". Back in the day I was hot for Ms. Nicks with her warbly voice, low cut lace tops and witchy woman ways. I even followed her through her late 80's slump of illegal drug addiction followed by her early 90's slump of prescription drug addiction. It's funny, but in 1990 I had a sort of epiphany as I played this tape in my car - I really liked her singing and songwriting separate from her looks. Now this is probably not the most macho thing I can write, Nicks writes in all these metaphors about snow covered mountains, white winged doves and maybe even little ponies that ride on candy colored rainbows for what my memory is worth. And one of the best put downs of her famous voice I've heard included the phrase "Black and Decker Vibrator". Yet in her best work (meaning Fleetwood Mac and her first two solo albums) at the center of her mystique is real emotion and artistic originality.

Bella Donna is one of the best examples of what Nicks is capable of, hooking up with Tom Petty Producer and future Interscope Records guru Jimmy Iovine (both figuratively and literally) Nicks rock sound toughens up and has a little more twang than her Fleetwood Mac work. The jittery guitar of Edge of Seventeen launches Nicks into a fanciful eulogy of death and remembrance of youth. To ensure some chart action, Nicks stacked the deck by having two duets: the first being the Tom Petty penned Stop Draggin My Heart Around performed with the man himself. The second is the ballad inspired by Waylon Jennings and his wife, Leather and Lace, trading lead vocals with the slightly less raspy Don Henley. Other album tracks hold up well, like the countryish "After the Glitter Fades" and the slow trance like "Kind of Woman". The extended length Title Song serves as a mission statement even if I can't make literal sense out of the lyrics. Stevie Nicks channels both sensitivity and fury with a touch of bittersweet resignation. And she looked great on the album cover too.

To close I think I will write out one of those Stevie Nicks sentences...that have a...lot of...ellipses...now...