| | Stevie Nicks Bella Donna CD Stevie Nicks Discography of CDs
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Following up strong on the weak sales and confused reviews of Fleetwood Mac's misunderstood experimental extravaganza, TUSK, was Stevie Nicks's first solo album, BELLA DONNA. The 1981 record featured two smash singles, "Edge of Seventeen" and the Tom Petty duet "Stop Draggin' My Heart Around," that reaffirmed that the Arizona native was one of the biggest female stars of the era. The surprising thing, given Nicks's fairly limited songwriting role in Fleetwood Mac, is that the entire album is start-to-finish solid, particularly the spectral ballad "After the Glitter Fades" and the striking title track. Recorded with the help of Petty's Heartbreakers and members of Bruce Springsteen's E Street Band, and produced by Jimmy Iovine, BELLA DONNA has a more rock-oriented sound than Fleetwood Mac's wispy California soft pop, and Nicks sings in a tougher, less self-conscious voice, adding unexpected heft to her diaphanous image.
Live Recording
Personnel: Stevie Nicks (vocals); Tom Petty (vocals, guitar); Don Henley (vocals, drums); Sharon Celani, Lori Perry (vocals); Davey Johnstone, Don Felder, Richard Wachtel, Mike Campbell , Waddy Wachtel (guitar); Dan Dugmore (steel guitar); Benmont Tench (piano, organ, keyboards); Roy Bittan, Bill Elliott, Bill Payne (piano); David Adelstein (synthesizer); Russ Kunkel, Stan Lynch (drums); Phil Jones, Bobbye Hall (percussion).
Recording information: Goodnight L.A; Record One; Studio 55.
Personnel includes: Stevie Nicks (vocals); Tom Petty (guitar, background vocals); Waddy Watchel, Michael Campbell, Don Felder (guitar), Davey Johnson (acoustic guitar); Dan Dugmore (pedal steel guitar); Bill Elliott, Roy Bittan, Bill Payne (piano); Benmont Tench (organ, piano); David Adelstein (synthesizer); Tom Moncrieff, Duck Dunn, Bob Glaub (bass); Stan Lynch, Russ Kunkel (drums); Bobbye Hall, Phil Jones (percussion); Sharon Celani, Lori Perry (background vocals).
Engineers include: Shelly Yakus, Don Smith, Thom Panunzio.
Stevie Nicks Bella Donna Songs Bella Donna Music Review Average Rating: (4.8 out of 5 stars)   List All Reviews wonderful CD !!!!
I enjoy Stevie Nicks her voice is an original that will be remembered for decades to come. This CD emphaises her vocal talents. I enjoy ALL the songs on this CD. If you are a REAL Stevie NIcks fan this CD should be included in your collection
Submitted by medpro (CA, USA) 
Was This Review Helpful? Yes No Stevie the Songbird
Stevie Nicks had always brought out the brightness of any music she sang. Hearing this CD brought back memories of the days I had the 33 1/3 LP.
Submitted by snowdog74 (Glendale Hts,IL,USA)
Was This Review Helpful? Yes No  Bella Donna : Really
Dans l'esprit FLEETWOOD MAC période pop (75-80), la belle Stevie NICKS nous propose un 1er album réussi avec de superbes envolées de Pop mélodique. Duos avec Tom PETTY ET Don HENLEY (EAGLES)- Livret avec textes.
Submitted by gilasfo (Angers, France)
Was This Review Helpful? Yes No
the best of the best
im 13 to and i love stevie ive got every solo album besides rock a little thats coming in two weeks and this is my fav you carnt beat it i love all the cds but this is amazing she sings like velvet gravle and i love her i recomend this cd and the singer/ song writter to who ever knows what a legend is
Submitted by trav (mildura;vic;australia)
Was This Review Helpful? Yes No Stevie's first solo album still well known to her fans!!!
A magnificent album done by Stevie Nicks, her first solo effort since parting ways with Fleetwood Mac contains a great bundle of songs. The title track, "Stop Draggin' My Heart Around", "After the Glitter Fades", "Edge of Seventeen", "Leather and Lace", and the closing track, "The Highwayman" are the ones I like. I would say (in my own opinion) that "Edge of Seventeen" and "Leather and Lace" (and possibly "Stop Draggin'....) are the well known songs on this title. A must have for any Stevie Nicks fan!
Submitted by Matt (Macomb, IL, USA)
Was This Review Helpful? Yes No List All Reviews | Have you heard this album? |  |
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Based in the Grand Rapids, MI, metro area, Fenton Records was not a unique phenomenon. Like many other small regional labels in the '60s, Fenton would record any band able to cough up enough cash for a single that might be little more than a vanity pressing designed to be handed out to friends and family, given to radio, or perhaps sold at gigs. Some of these labels were little more than traps for bands; others wound up cutting some blistering rock & roll. Fenton falls into the latter camp, as its head honcho, Dave Kalmbach, was a blend of musician and mogul who wanted Fenton to be a place where local groups got the chance to see what it felt like to act like a real band by laying down tracks in a studio. Although the label never broke out of Michigan -- likely never making waves outside of western Michigan, to be honest -- there is a peculiar purity to the 45s Fenton rapidly released in the '60s, as they preserve a whole gaggle of bands that were bashing out three chords for the love of the music with little hope of hitting the big time. As such, the double-disc/triple-LP set Scream Loud!! The Fenton Story -- a collection of these rare, collector-cherished 45s assembled by those very same collectors -- almost functions as a piece of regional folk art, capturing bands from Grand Rapids, Holland, Lansing, Muskegon, and elsewhere in western Michigan and thereby offering a specific portrait of a place, or perhaps more specifically a time. Western Michigan wasn't that dissimilar from other areas of the U.S. in the '60s, as there were garage bands everywhere from California to Connecticut, and they had the same influences as everybody else, but as they had no scene or sound to call their own -- or even future superstars, as only guitarist Danny Gatton cut early work at Fenton -- the Fenton sides illustrate just how deeply the garage rock phenomenon of the '60s really ran.
Band after band on Scream Loud!! recycle the same sounds -- the tinny organ, the razor-thin guitars supported by tin can drums -- and some bands even go so far as to cut faithful covers of beloved inspirations, as when the Soul Benders tear into Love's "7 and 7 Is" with a bit too much reckless abandon. As such, much of this is generic but in the best possible sense; it may not define the genre but it embodies it, embracing all the conventions long before they turned into clichés. To anybody who isn't an aficionado -- and quite frankly, anybody who isn't an aficionado has no business with this collection, as only ...
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