By Seth Colter Walls
By Brett Koshkin
By Spencer Wilking
By Christina Black
By Calum Marsh
By J. Pablo
By Phillip Mlynar
By Jenna Sauers
Maybe a girl can't give her address out to bad company. But she can visit. Mandy Moore not only graced the cover of Elle Girl with pal Kelly Osbourne a few months ago; she was even spotted on the family's MTV show hanging out with brother Jack (in his room!!). "I'd love to have somebody in mind when I sing," Moore once said; no sign that it was ever Jacktennis star Andy Roddick has been squiring Moore for months. Her association with the fucking Prince of Darkness, though, signaled one teen star who goes her own modest (often midriff-hidden) way.
Moore's much discussed album of remakes, Coverage, doesn't contain an acknowledgment of Ozzy's musical break- throughs, nor even the Bonnie (Valley Girl) Hayes song that could've served as its title tune. The selection of mostly soft-rock classics is supposedly the result of Moore's exposure to fave tunes of her parents and manager. But where padre's girl Linda Ronstadt too often got lost in the beauty of the melody, at her best Moore discovers her own glee (XTC's "Senses Working Overtime") or ambiguity ("Anticipation," Todd Rundgren's "Can We Still Be Friends"). That the newest song here is John Hiatt's '87 plea "Have a Little Faith in Me" is a problem, though. Why not some Bright Eyes or Donnas or (as on '87-born Joss Stone's Soul Sessions) White Stripes? Still, the CD's the best thing Mandy's done since going back to brunette. Or getting Punk'd.
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