When Stevie Nicks released her debut solo album in 1981, nobody doubted it would be successful. Nicks was not only the visual centerpiece of Fleetwood Mac's '70s achievements, but also the one member of the band who artistically always seemed to strike the right balance of "weird creative" and "pop mastermind." However, few people could have predicted that Bella Donna would wind up being quadruple-platinum, selling more copies than any of Fleetwood Mac's non-Rumours albums. It achieved that success by threading a tight needle of sounding familiar enough to Mac fans to be recognizable, but also unique—and commercial—enough to stand on its own. With a considerable assist from a few of her famous friends (Tom Petty, Don Henley, producer Jimmy Iovine) and a look that was perfect for the then-new MTV, Nicks absolutely dominated the summer and fall of 1981 with hits like "Edge of Seventeen," "Stop Draggin' My Heart Around," and "Leather and Lace," but deeper cuts like "Outside the Rain," "Kind of Woman" and the title track are equally rewarding. © Jason Ferguson/Qobuz

Gary Clark, Jr. has been hailed by a number of critics as "the New Hendrix," which seems to be the fate of any guitarist who combines blues and rock styles at a considerable volume (particularly if they cover "Third Stone from the Sun"). While that's a blurb that may look good in Clark's press kit, it rather misses the point; Clark isn't a visionary, game-changing artist like Hendrix, but instead he's a canny singer, songwriter, and instrumentalist who has learned from the past and present, fusing them into a style that's distinctive and exciting if not necessarily revolutionary. Warner Bros. is also pitching Blak and Blu as Clark's "groundbreaking debut album," when in fact it's just his major-label debut, with four indie releases preceding it, making the confidence and ambition of this set a bit less remarkable. But if Gary Clark, Jr. isn't likely to change the way we look at rock & roll or rewrite the aesthetic of the electric guitar, he is one of the most interesting talents to come out of the contemporary blues scene in quite some time. On Blak and Blu, most of Clark's tunes are solidly rooted in the blues, but he's also folded in hearty servings of hard rock, funk, retro-soul, and even a dash of hip-hop, and the way he lets the flavors mix is a big part of what makes this album work so well. There's an undertow of Northern Soul on the dance-friendly opener "Ain't Messin' Round," "Travis County" is a no-frills rocker that recalls the Stones in fifth gear, "The Life" finds Clark moving back and forth between singing and rapping in a streetwise tale of drug addiction, "Numb" recalls the punk blues attack of the Black Keys and the White Stripes in its fuzzed-out blast, and the title cut samples both Gil Scott-Heron and Albert King as Clark melds conscious themes with blues backdrops. While the typical modern-day guitar hero goes out of his way to throw his dexterity in your face at every turn, here Clark shows off a tougher and more primal style, and though his chops are certainly good, he keep his solos concise and his attack muscular throughout. And if his songwriting is a bit uneven, he has an inarguable talent with both lyrics and melodies, and he's a good-to-great singer, sounding soulful and honest on every cut. Blak and Blu's production (by Rob Cavallo and Mike Elizondo in collaboration with Clark) is too polished and processed for its own good, but if this album isn't likely to change your life, it will make an hour of it a lot more interesting, and there's no arguing that Gary Clark, Jr. is a talent strong enough to match his record company's hype.© Mark Deming /TiVo

She may be the daughter of a reverend, but Tori Amos never seemed the likeliest candidate for a Christmas album; she might sing about "God", but her music always seemed secular and never seasonal, but in a year that brought holiday albums by Bob Dylan and Sting, it makes perfect sense that Tori should deliver one, too. Amos' entry, Midwinter Graces, may be as unlikely as Dylan's, but it's closer in tenor to Sting's: it's deliberately reserved and chilly, capturing the wintriness of the season while studiously avoiding the joy. Tori reworks many familiar carols, tweaking lyrics and pushing them together into a medley, so they sound quite similar to the newly written tunes that comprise the rest of the record. Thanks to some familiar melodies, it can sometimes seem seasonally appropriate, but it always seems purely Tori, who has somehow managed to deliver an easy listening version of all her signatures in one tidy, not so-Christmasy, package.© Stephen Thomas Erlewine /TiVo

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