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How beloved is Stevie Nicks? All six of her original solo albums, spanning 1981.2001, plus two best of collections,have been certified at least gold. With rock's superstar chanteuse about to go back on the road after guesting on Tom Petty's Highway Companion tour, Crystal Visions... covers her entire solo career for the first time in a CD+DVD package. Featured are several previously unreleased live tracks on the CD, as well as Stevie's voice-over commentary for each video and her artwork on the DVD. Crystal Visions...The Best Of Stevie Nicks is exactly that.
How do you put together a soundtrack for a comedy about witches--'90s style? Well, if she's young and her name is Sabrina, you compile an album of relentless teen pop and R&B hits. But if your witches are a little more mature (and, perhaps, suburban), as in Practical Magic, you use a different formula. And the brew found here is actually a good mix: Faith Hill gets as much play (one track) as Nick Drake and Joni Mitchell. Mitchell's "A Case of You" is simply great, and Bran Van 3000's "Everywhere" fits the folk-pop mold nicely, as does upstart Michelle Lewis's "Nowhere and Everywhere." The guys are the oddities here: Elvis Presley's "Always on My Mind" and Harry Nilsson's "Coconut" give this disc some fun quirks. --Jim Young
How beloved is Stevie Nicks? All six of her original solo albums, spanning 1981-2001, plus two "best of" collections,have been certified at least gold. With rock's superstar chanteuse about to go back on the road after guesting on Tom Petty's Highway Companion tour, Crystal Visions... covers her entire solo career for the first time in a CD+DVD package. Featured are several previously unreleased live tracks on the CD, as well as Stevie's voice-over commentary for each video and her artwork on the DVD. Crystal Visions...The Best Of Stevie Nicks is exactly that.
While Stevie Nicks had the most recognizable voice in Fleetwood Mac, there was no guarantee she could craft the same kind of pop-rock magic without the help of the Mac's guiding musical force, Lindsey Buckingham. As such, Bella Donna found her emerging surprisingly strongly as a solo talent. Part of the credit goes to Tom Petty, who gave her an excellent song in "Stop Dragging My Heart Around" (and duets with her on it). But other high points are Nicks's own creations, including the urgently rocking "Edge of Seventeen" and the country-tinged ballad "Leather and Lace" (a duet with Don Henley). A few tunes here are forgettable, but overall Nicks started her solo career on a high note. --Peter Blackstock
The California girl who wanted to be a Welsh witch has always been best when her mysticism and mooniness has been offset by harder-headed collaborators. Though this box set doesn't include the Fleetwood Mac stuff that made her name, it does pull together curious stuff she's done elsewhere: pre-Mac work with Lindsey Buckingham from the Buckingham Nicks days, duets with the likes of Tom Petty and Don Henley, and a few soundtrack numbers. The first two discs have everything worth saving from her five solo albums (actually, one disc would have done that too, though "Edge of Seventeen" appears in a live version rather than the hit), plus some B-sides, and the third has rarities and obscurities, including an enlightening demo of "Rhiannon." --Douglas Wolk
Stevie Nicks hasn't scored an incredible number of post-Fleetwood Mac hits, but she's had enough to fill this CD. (Her 1998 four-CD box set may qualify as overkill). Her best solo songs are ones that sound like they could have come from Fleetwood Mac, including "Stand Back," "Leather and Lace," and "If Anyone Falls"--all included here. The highlight of this CD, and of Nicks' solo career, is "Stop Draggin' My Heart Around," her collaboration with Tom Petty. Petty proves to be Nicks's best foil since Lindsey Buckingham. --Charles R. Cross
Rock enchantress Stevie Nicks strips off the shawls, scarves, and most of the rest of her trademark witchy esoterica for her first album since 1994's rather precious Street Angel. Seemingly more comfortable in her skin, Nicks also settles more comfortably into her croaky, lived-in voice, and is a stronger presence for it. While Trouble in Shangri-La was produced in part by Sheryl Crow, Nicks also tapped the talents of John Shanks (Melissa Etheridge) and Sarah McLachlan producer Pierre Marchand (McLachlan adds her haunting pipes to "Love Is"). Also on hand are Dixie Chick Natalie Maines (on the rockabilly-like "Too Far from Texas"), and the ubiquitous Macy Gray growls on "Bombay Sapphire," a blistering, hard-charging track that recalls the best moments of Fleetwood Mac. Other standouts on the album are the unflinching, autobiographical "Fall from Grace," recorded at punk rock speed, and the winsome "Everyday," with its elegant, soulful lyrics. --Jaan Uhelszki