Dennis Hall41 said:I think even if there were a million of us here, we'd still recognize Barib's suggestion. 😁
Not that ševa is any better😁—if someone tried to camouflage themselves this skillfully during a war, they'd probably get shot in five minutes because they're just too obvious.
Both versions are actually great. 👍 I’m not sure if anyone else caught this, but—I guess it might just be me—the chorus from Braketrue(Queen) feels almost identical to that Henley track.
quietbison86 said:Trish Keenan was really something else when it came to female vocals—she just had this way about her. She didn't go overboard with all that extra drama or constantly try to hit those impossible high notes, you know? It was just... effortless. It’s pretty obvious how many tired stereotypes get tied to female vocals—and I guess it's probably why that whole thing bothers you so much about them.
If you actually liked Candy Claws, why didn't you guys vote for them? I guess I just don't get it—maybe I'm missing something, but it seems weird.
I mean, sure—he’d still be pretty far from winning, but he’d probably pull in a much bigger number of votes regardless. The cover art is honestly one of the most impressive things I've seen—it just fits that dreamy sound perfectly.
I mean, I went ahead and gave him my vote—even though, by that point, he was pretty much out of the running for the win anyway... I guess.
Edit: I guess could someone explain what the bolded part means? 🙂
Nathan Murphy said:Candy Claws - Ceres & Calypso in the Deep Time (2013) This album is surprisingly good—really. Almost every track has this catchy melody that's just fun to listen to. I guess some songs get a little cluttered at times, which maybe takes away from the music slightly, but still. The cover art is honestly amazing.
I totally missed this bit in the movie—her voice sounds so different from how she usually sounds (I barely even recognized her). It says here she sounds a bit like Marilyn Monroe 👍
I mean, where would I even get with life if I had to listen to every single suggested album from start to finish before deciding which one gets my vote. I really don't have the time to sit through a whole Department record just to realize halfway through that it’s not my vibe—even though it was pretty obvious after about three seconds of the first track 😁. So, I usually just give a few songs per album a quick spin, just to see if anything actually catches my ear, and then I split my votes among the most interesting picks. Though, if something specifically grabs me—like, say, Joan—then I'll listen to that whole album regardless of what the poll says.
That VMware concert is pretty good, though I feel like a section might be missing. No way it was finished right after that last clip. And I'm still waiting for you to suggest something from them for Album of the Week—not that I'm trying to pressure you or anything...
While we wait on VMware, I wanted to share one of those underrated bands from the 60s and 70s—they’re basically pioneers of psychedelic rock. Along with Jefferson Airplane and Grateful Dead, they really defined the San Francisco sound back then, but somehow always ended up in their shadow. I think this performance at Winterland features their best (or at least most famous) lineup: David Freiberg (bassist and founder, if I recall correctly), Gary Duncan (guitar), John Cipollina (guitar), Greg Elmor (drums), and Dina Valenti (vocals/guitar), who I guess is the only one here not part of the original lineup. Honestly, any fan of Far Coast should at least check out the first track from this set.
Quicksilver Messenger Service - Live at Winterland, San Francisco 1975.
Look, I know—I was actually planning on heading over to lay some groundwork and keep the debate going with those guys from the site, but I guess I’m just not feeling it lately. 😁 Just keep the funk, soul, rock, and whatever else you can get your hands on coming my way.
Jesse Jackson3 said:On this album, Frenkie actually did a cover of that artist you have in your profile—though, I have a feeling you might not be a huge fan of his take on it. 😁
Anyway, you should definitely give that longer version of Power of Love I posted earlier a listen.
Man, I can't believe it. The worst part is I actually started listening to them, but I gave up after a few tracks because they just didn't really hit me—maybe I just wasn't in the right headspace for it. But that Talk Talk album you suggested? I'll happily spin a few tracks from that whenever I'm craving that 80s sound.
Oh, and I just finished listening to that Born to Run cover... turns out you were right, it’s actually really good. 😁
He just played that version for his friend—I guess he missed 😁 Honestly, they sounded great on that '97 tour, and I've probably lost count of how many times I've watched those clips on YouTube. I should mention that I usually end up playing Landslide—it might actually be the best thing Stevie has ever written. Hearing it paired with Lindsey like that is just pure perfection... easily one of the best live performances I've ever seen. I could probably write two whole pages just about this song, but I'll stop there before I run out of time. 😁
Her later albums are decent too—though, I guess, the quality dipped a bit over time, at least in my memory. I really need to revisit some of her stuff to refresh my brain, but I remember there being a few standout tracks on almost every record. She definitely drifted away from that classic Fleetwood Mac sound as time went on, but I don't really hold that against her—everything she puts out has its own vibe. And since I'm such a sucker for her, I tend to forgive pretty much everything.🙂
PS—that first track, "Has Anyone Ever Written Anything For You," was actually dedicated to the daughter of Joe Walsh from the Eagles. She passed away when she was just a little girl, maybe five or six... I can't be certain, but I think she was very young.
How can you say you don't remember all those times we went back and forth about Fleetwood Mac? I mean, I always make it clear—Stevie Nicks is easily my favorite female musician. You’re really killing me with this 😁
Not to mention, we actually already discussed the track you linked before—back when I was talking with Vance—and there's zero doubt in my mind that Storms is one of the best songs Stevie ever wrote. The atmosphere in that track is just unmatched... honestly, in my opinion, it’s one of her best vocal performances. Every time I hear it, I just melt. I’d even go as far as saying I see a bit of myself in one part of the lyrics, so Storms is definitely in my top three Stevie Nicks songs—counting both her solo work and her time with the band.
I’ve been feeling the urge to write lately, so I figured I’d start this thread about the ventilator—I mean, the record.
While working and performing with her main band, Fleetwood Mac, Stevie Nicks kicked off her solo career in the early 80s with her debut album, "Bella Donna." To get things moving, she pulled together a great crew—mostly session musicians who eventually joined her on tour—but she also had some heavy hitters helping out. Tom Petty and The Heartbreakers lent their talents to a few tracks (I'll circle back to them later), along with guys from the Eagles—specifically Don Felder on guitar and Don Henley handling drums and backing vocals on "Leather and Lace." There was also Bill Payne, the co-founder of Little Feat, and Roy Bittan from the E Street Band played a bit of a role on keys. Actually, Roy co-wrote "Think About It" with Stevie, and he ended up joining her for that first big tour after the debut dropped.
The album itself has 10 tracks. Stevie wrote almost all the lyrics and music herself, with the exception of "Stop Dragging My Heart Around," which was a Petty lyric paired with Campbell's music. Aside from Roy, the only other co-writer mentioned is Benmond Teach from The Heartbreakers, who worked with Stevie on "Kind of Woman." As for production, besides the inevitable Tom Petty, Jimmy Iovine was in the booth—he’s actually the one "responsible" for "Stop Dragging My Heart Around." Apparently, after reading through the letters Stevie prepared, he told her everything was beautiful, but the album just didn't have a single. So, they brought in Tom Petty and The Heartbreakers to play on it, which turned out to be the biggest hit on the album—and maybe even her solo career, at least according to Billboard.
I already mentioned the duet with Petty, but for "Leather and Lace," Don Henley from the Eagles provided those backing vocals, and honestly, it's one of my absolute favorites on the record. The way their voices blend and respond to each other is just perfection. I should also mention "After the Glitter Fades," which was actually written way back in 1972 when Stevie was still far from the spotlight. If you believe some of the stories, she was actually picturing Dolly Parton singing it while she wrote it—which probably explains why that country vibe is so present. Along with those three, I think "Edge of Seventeen" really rounds out the four strongest tracks on the album, though maybe that isn't fair to some of the other songs that carry a lot of weight too. I'm thinking specifically of the final track, "The Highwaymen." I also have a soft spot for "Think About It"—which she dedicated to her Fleetwood Mac bandmate Christine McVie—as well as "Kind of Woman" and the title track, which both have their own special qualities. Since I’ve pretty much singled out almost every song, I guess it’s only right to leave the rest to you, so you can decide which ones hit home for you. 😁
I don't want to clog up the Robert Flack thread, so I'll just jump in here with some thoughts on Joan Armatrading after listening to those two other albums you suggested. Her 1972 debut, "Whatever's for US," is honestly great—though if you asked me right now which song was my favorite, I probably couldn't give you a straight answer 😁. Mostly because there are so many good contenders, and the whole thing feels pretty cohesive—like it works best as one single unit. I really dig the piano work (it reminds me a bit of Carola King in that sense), and there’s plenty of it here. Not to mention, her voice and the guitar work are just... perfect. And I think it's safe to say she was a huge influence on Tracy Chapman, since you can't help but notice the similarities at times.
Then there's "What's Inside" from the nineties, which I also found more than good on first listen, even if it feels a bit more leaned into blues (maybe I'm wrong here, but a few tracks have a bit of a Clapton vibe to them) and jazz or soul. While she's playing around with more genres, the arrangements feel even richer than her 70s stuff, which adds this extra layer of depth to certain songs. Since she kept much of that songwriting style from her early days, this album feels a bit more diverse and colorful than the previous two. To me, it shows how well she handles stepping outside the specific style she started with, which—I guess—is a real mark of a solid musician. Anyway, I'm pretty stoked and plan to keep digging through her discography.
Her Love and Affection has been on my Spotify playlist for a really long time now—she just has such a magical voice. Her debut and What's Inside are definitely my favorites, highly recommend them!
I'll definitely take suggestions and let you know what I think. And if I end up following the trail of the album you suggested, I might just find a new favorite artist 🙂
Even though this week's winner had a great voice, I'm honestly a little bummed some other albums didn't make the cut, since there were plenty of solid candidates. Take Morrissey (and the Smiths), for instance—I've never really felt much from him before, but thanks to this forum, I'm starting to pay attention. I'm seeing him through a slightly different lens now. It was a good chance to get to know his work better and see what you all think about him, and what I should be listening for.
It's a similar story with Franko; I only know a couple of songs by him, and I haven't really had the chance to dive into anything beyond those two radio hits. Not to mention there are tons of other names I only know a little bit about (even if I do like their stuff)—but I haven't been diligent enough to actually sit down and listen to a full album, a compilation, or even a live concert. I guess that's just how I am sometimes 🙄
It looks like Joan isn't going to make the winners circle, so I'm taking this chance to give Unknown a shoutout for the suggestion. She’s been sitting on my wishlist for a while now—I guess I just kept putting it off—but this album was the perfect nudge to finally give her a listen. Honestly, no regrets at all. It really hit the mark 👍
And John Doe—of course I was thinking about her when I brought up Jane Doe 😁 Man, I can't even describe how jealous I was when those letters came out. They were just... spot on. Every single bit. And to make matters worse, right at that same time, we got hit with eleven sea lions from John Smith, and now I can't get that white color from Jill out of my head. It’s honestly unreal how bad and disgusting it is. Honestly, if you're sitting there at .08 BAC listening to stuff like that through five trumpets, you just feel like jumping off the roof of Yankee Stadium. And the worst part? That guy still plays it to this day 🙄
I just had to vent, so don't try to talk me down 😁
Lisa Davis46 said:hey, Thomas is making moves too! the head mod is dealing with some serious work stuff... but we've double-checked all the ballots, so yeah, go ahead and grab those Thomas tracks. 🙂
I've always loved this one—even though I don't really have any connection to Florida.
Are you saying you guys forgot about the overseas votes? 😁
Well, you don't necessarily need a tie to Florida to love this song. Since the lyrics aren't about actual seafood—it's more about how small and insignificant we all feel on this planet—it hits home regardless. And since you brought it up, I don't have much of a connection to Washington, D.C. either, but certain songs that are strictly about that city still move me (just a side note, that one thing by Pips definitely doesn't fall into that category).