Bella Donna (1981, Modern) A + Nicks’ first full-length outing outside Fleetwood Mac remains her finest hour as a solo artist. Produced by Jimmy Iovine (best known at this point for producing the Patti Smith Group’s Easter and Tom Petty’s Damn the Torpedoes), this disc is roughly half-comprised of older songs that were never used on another project (“Think about It,” in fact, was first recorded during the sessions for Rumours but missed the final cut) and half-comprised of newly-written originals. There are quite a few major hits here, including the haunting Tom Petty duet “Stop Draggin’ My Heart Around,” the lovely country-styled Don Henley duet “Leather and Lace” (actually written with Waylon Jennings and Jessi Colter in mind), and the hard-rocking “Edge of Seventeen” (featuring an iconic guitar riff from Waddy Wachtel that would go on decades later to be sampled in the Destiny’s Child song “Bootylicious”). There’s also a fourth Top 40 hit here as well, the oft-forgotten and seldom-heard “After the Glitter Fades,” one of Nicks’ most underrated singles.

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There are quite a few memorable non-singles here as well, namely “Think about It,” “Kind of Woman,” “How Still My Love,” and the fantastic album-opening title cut (which really belongs on a Nicks best-of package but somehow always gets left out). Rock a Little (1985, Modern) B – Less organic than either of her first two solo albums, Rock a Little is definitely a more distinctly ’80s-sounding album and consequently hasn’t aged quite as gracefully as most of Nicks’ other albums (which is not helped any by the fact that Nicks’ voice sounds rougher than normal), but the songs themselves are fairly good. The Other Side of the Mirror (1989, Modern) C + Nicks’ downward slide continues here on this, her final album of the Eighties. While the album (produced by Rupert Hine, best known for his work with The Fixx, whose guitarist Jamie West-Oram plays on most of the cuts here) is thankfully much less dated-sounding than Rock a Little, the album suffers from a major lack of strong melodies and solid hooks; perhaps not surprisingly, then, this would be her first solo album to yield only one solitary Top 40 hit. [That song, “Rooms on Fire,” co-penned with Rick Nowels, is a real monster, however, and is arguably even the best single of all from her post- Wild Heart solo output.] The album also strangely boasts multiple cameos from both Bruce Hornsby and Kenny G, neither of whom really fit in here at all.

While the album’s second side is almost completely forgettable (with the possible exception of the decent “Fire Burning”), the album’s first side has its moments; besides the must-hear opener, “Rooms on Fire,” it also boasts the bluesy “Whole Lotta Trouble” and the clever “Ghosts” (both of which were co-written by the Heartbreakers’ Mike Campbell), as well as “Ooh My Love,” which ranks right up there with Rock a Little’s “No Spoken Word” as one of the most underrated non-singles in Nicks’ vast catalog. Street Angel (1994, Modern) C – Stevie’s first solo outing after leaving Fleetwood Mac, this is easily also her worst solo album to date. There are some interesting ideas that simply just don’t work, like bringing in David Crosby to harmonize with her on the title cut, or covering Bob Dylan’s “Just like a Woman.” (Dylan himself actually guests on the latter, but the remake pales wildly in comparison to his own version.) But the inherent problem with the disc is that the songs just aren’t very good. The only one of Nicks’ new compositions here that is all that memorable is “Blue Denim,” but even that one is upstaged by the more memorable melodies of the two songs here penned by Sandy Stewart, “Maybe Love Will Change Your Mind” and “Unconditional Love.”. Trouble in Shangri-La (2001, Reprise) B It’s not quite a return to form, but Trouble in Shangri-La is easily Nicks’ best solo album since Rock a Little.