Customer Reviews

Sweet Danger

5 star:		(13)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Until about a week ago, I thought of Suzy Bogguss as strictly a country singer. Having heard a couple of her albums from the early 1990s, I remembered her as having a honey-sweet voice and a decidely pop country style. I liked her music back then, but for some reason, she didn't seem to stand out much from the crowd. That doesn't mean she wasn't a big success, though. Bogguss won the Country Music Association's Horizon Award in 1992 and Album of the Year Award in 1994. But in the past, I found that while I really enjoyed her music, I could easily move on to something else once the song finished.

Recently, I got the chance to hear Suzy Bogguss's latest album, Sweet Danger, which will be released by Loyal Dutchess Records on September 4. After listening to Sweet Danger, I can no longer think of Suzy Bogguss as stricly a country singer. On her new album, Suzy Bogguss proves that her sound now transcends country. And because Bogguss's new style is as engaging as it is pleasing, it's no longer so easy for me to move on after just one song.

Just looking at the cover art on Sweet Danger, I can tell that Suzy Bogguss has switched gears. The album cover is a cool, turquoise blue, which really seems to define how this album sounds. Bogguss is sitting on steps, wearing a spotted trench coat and a mischievous look on her face. Fans who expect country music may be surprised to hear a fascinating blend of sounds from New York and Nashville. From the very first strains of the first song, "The Bus Ride", it's clear that Suzy Bogguss is drawing on jazz, adult contemporary music, world music, pop, R&B, and yes, country.

For the most part, this new sound really works. The songs are still thoughtful, personal, emotional, and relevant. Bogguss co-wrote seven of the twelve tracks. Her husband, Doug Crider, wrote the wonderfully poignant track, "In Heaven", a moving song about a bereaved woman telling her late lover that she's moving on because she's finally found a new love. Crider also shares writing credits on three other songs. Sweet Danger also includes stylish covers of Chicago's "If You Leave Me Now" and Beth Nielsen-Chapman's and Annie Roboff's "Right Back Into The Feeling". I particularly like what Bogguss has done with "If You Leave Me Now". It's interesting to hear a woman perform this song with an updated arrangement. Other stand out tracks include "Chain Lover", which is a clever song about a woman addicted to romantic flings, and "It's Not Gonna Happen Today", a song that accurately describes the hopelessness of situational depression brought on by a love affair gone bad.

Besides offering twelve great songs on Sweet Danger, Suzy Bogguss also plays with first rate musicians, including Pat Bergeson on guitar and harmonica and Clifford Carter on piano. She co-prouduced Sweet Danger with jazz/pop keyboardist Jason Miles, who offers his talents on several songs, giving this album a sophisticated vibe. Sweet Danger runs for about 46 minutes. The liner notes include printed lyrics and a few beautiful pictures of Bogguss.

Overall, I'm very impressed with Suzy Bogguss's new style on Sweet Danger.

Like everyone else who has followed Suzy's career, I've waited four years for this CD to be released. Four years, of course, is a very long time in the music business, and I hope the delay doesn't dramatically impact the attention "Sweet Danger" receives. It is different, but in a good way.

The few reviews I've seen criticize "Sweet Danger" for not being "Swing II". Sorry, but there would be little point in Suzy cutting another swing album. That would be like Linda Ronstadt releasing yet another collection of old pop standards. And then there are those country industry insiders who are dissing "Sweet Danger" because it isn't country. Well, dammit, you stopped playing Suzy on country radio in 1994. Do you seriously expect her to keep releasing music in a format that doesn't appreciate her? For Christ's sake!

"Sweet Danger" does a lot of things very well. It gives Suzy the chance to experiment with layered and electronically distorted vocals -- nothing extreme, but enough so that any Suzy fan will immediately appreciate that she and producer Jason Miles are playing outside the box. It lets her explore some decidely deeper and darker material than she's ever tried before. "The Bus Ride", in my opinion, is the clear standout track. Though co-written by Matt Rollings (a co-writer of Suzy's signature hit "Letting Go"), it's got what an old poetry professor of mine used to call "psychic weight". "Maybe we're blinded by silent points of light that fight to be seen in a world that's quick to cast its shadows and douse the beams"...so goes the bridge, with lyrics equal in brilliance and understanding to anything ever penned by the likes of Paul Simon or John Lennon.

Another personal favorite is "Baby July", which evokes the joy of youth, home and summer in a series of images straight out of Norman Rockwell. Two cuts that are quickly growing on me are "Everything" and "Right Back Into the Feeling". Neither is reminiscent of Suzy's back catalog. The former rolls along at a moderate pace until screeching to a halt as Suzy's electronically enhanced "Zip, zero, nada!" suddenly applies the brakes. It's not my favorite Suzy song, but it's definitely different and fun. The latter calls upon Suzy to use a lower register in her voice that is surprisingly effective.

There are only two cuts (out of 12) that I don't necessarily consider highlights. One is "No Good Way to Go." It's absolutely a cleverly written song, and Suzy handles the sung parts perfectly. I just don't totally buy into the spoken verses. The other is "In Heaven," and I am not crazy about it for the same reason I've never really liked "Far and Away" on Suzy's "Give Me Some Wheels" album. The song's theme is smart, and the melody is lovely. Lyrically, it has some easy rhymes where I'd prefer the writer (Suzy's husband Doug) cut deeper.

Two out of twelve is pretty darn good for any album, though. Hopefully Suzy will find an audience for "Sweet Danger" in spite of it being an indie recording. She and Jason Miles seem to make a pretty good team. I'd enjoy hearing more from them together somewhere down the road.

Playing Time - 46:33 -- Suzy Bogguss, winner of Country Music Association's 1992 "Horizon Award" and 1994 "Album of the Year" was probably looking for a new musical challenge when she rather impulsively decided to step out of her safe country zone and into jazz territory to produce this album with Jason Miles who has worked with Miles Davis, Luther Vandross and Sting. It's certainly a risk worth taking when you have Suzy's vocal and songwriting talents, as well as the strong musical support of her songwriting husband Doug Crider. Not to mention the supporting cast of solid musicians who perform admirably - Clifford Carter (piano), Will Barrow (piano), Jeff Miranov (guitar), Pat Bergeson (guitar), Jerry McPhereson (guitar), Paul Franklin (steel guitar), Jason Miles (keys), Carson Whitsett (organ), T-Bone Wok (accordion, bass), Tom Roady (percussion), Sam Bacco (percussion), Chris Parker (drums), Will Lee (bass), and James Genus (bass). As a result, synthesized sounds of jazzy vibes fuse in an alluring way with Nashville flavors of pedal steel in a song like "It's Not Gonna Happen Today."

Suzy had a hand in writing seven of the songs, all carefully cultivated with melody, rhythm and tempo to lend immediacy to their messages. The alluring jazz-pop with a few leisurely country tones make for a smart, tuneful set of sturdy material. Sweetly wistful remembrances like "Baby July" sit nicely in juxtaposition with evocative mood pieces like "In Heaven." Spare acoustic song settings always emphasize Suzy's expressive and rhythmically enticing vocals. A ballad-like remake of Chicago's "If You Leave Me Now" gives it a lean acoustic arrangement that works perfectly for the sentimental and romantic country crooner. "Everything" is propelled with a Latin beat, while "No Good Way To Go" has her citified bluesy rap which seems to lack a little conviction in comparison to her vocalizing.

If there's a minor criticism, some backing harmony vocals on numbers like "Even If That Were True" and "One Clear Moment" could have elevated them to truly inspiring renditions that really tug at the heartstrings. But, these musicians make beautifully smooth music together, and Suzy's warm, conversational solo style in "Chain Lover" speaks sweetly with the uncredited harmonica player. While it obviously wasn't part of the vision for this album, a few songs with added tempo could have provided a different kind of power and energy to the set. "Sweet Danger" is an oxymoron, and Suzy's album gives us a disclaimer about throwing caution to the wind. I certainly don't think she's in over her head. She's simply taking a chance, and her skill and maturity have paid off with a new, refreshing look at her musical soul and spirit. Back in the early-1990s, Suzy was headlining at Dollywood. Now, her full potential in other genres is also being fully realized. The results are exciting "sweet danger." (Joe Ross, Roseburg, OR.)

I believe there is a time in the life of an artist when change comes.For Suzy Bogguss the monent is now and that change is truly amazing.Sweet Danger is a superb CD.This is music that just wasn't formulated and recorded.It sounds like Suzy spent alot of time finding songs that had the sensibilities of country but expanded thoses sensibiliteis to embrace a change.Country radio has abandoned it's artists and with Sweet Danger Suzy shows them that she is not going to wait around for something magic to happen.She makes the magic happen.
I did some research on her producer Jason Miles and this guy is a producer who has worked with incredible artists and has made a difference with many of the artists and CDs he's worked with and created.Suzy and Jason make a gtreat pair.
The songs and performances are all very fresh.I've read reviews that criticize songs like Heaven and If You Leave Me Now.I love these songs.If You Leave Me Now has a very easy flow and Suzy's vocal is hearfelt and filled with emotion.I love the lyrical content of the songs on this CD.The Bus Ride is a great story about new paths taken in life.Sweet Danger has such a great flow to it.Chain Lover puts a smile on your face.Everything is a very innovative production with a great tongue and cheek attitude.
The summation is-Sweet Danger is a CD that will be around for a while.It has a timeless quality to it and I hope it takes Suzy Bogguss to the next step in the chain of success.She sings these songs and she believes in them.I'm hoping it does

I just recently purchased this new release by Suzy and at first I was a bit confused by it. I really enjoyed her prior album "Swing" and was half expecting another light and fun album, but was a bit taken back by this moodier-bluesy album. Her vocals are outstanding as usual, and there are some excellent songs like "Bus Ride", "Baby July" and the title track "Sweet Danger". The cover of "If You Leave Me Now" is currently stuck in my head-and I'm torn as to whether that's a good or a bad thing. The one disappointment as to be the second track, I don't think "Everything" works, it masks and layers the best voice in music under a lot of reverb and techno processing. It's also pretty obvious who wrote "Chain Lover", it's all Suzy, all the way. The remaining songs are all nicely crafted and add to this wonderful little jumble and yields a great album for those quiet rainy days at home. Great job!

A fan of everything from Country to 40's Standards, I find it difficult (and unnecessary) to classify Sweet Danger. I just know I'm impressed. The timbre of her voice has brought me back to this recording again and again. Unlike most of my music collection, I simply don't tire of listening to this album. There is a resonance to her voice so pleasing to my ear, coupled with an ease and sincerity of delivery that is just a pleasure to experience. I'm anxious to see more of this type of material from Ms. Bogguss.

Several years ago,Suzy won over Chet Atkins who fell in love with her beautiful,clear voice. The voice is still there and her choice of material,including several of her own songs,is very good indeed.When country began to be dominated by singers who looked better than they sang-Shania,anyone?-Ms.Bogguss wisely turned her dimming commercial possibilities into artistic gold.The trend continues here and I can only hope that her old fans can think outside the box and get aboard Suzy's new vehicle.If not,I hope non-country listeners will realize she's talking to them now,too, and give a listen.Their ears will be happy.

Suzy Bogguss proves once again that she is indeed one of the best singers and interpreters..of song to come out of Nashville during the last 20 years..Her version of "Heaven' will move you emotionally..and spiritually..with it's crytalline vocals. I only hope it can find a wider audience,because THIS is definetly a song that should be heard by all..Being with an independent label may hinder it's success..

Bravo..Suzy..ANOTHER great CD..

Ken Kostyra

This is a 5-star rating! Suzy's voice is sweet. I'm happy to add this album to our collection of her songs. She does Chet Atkins proud!

Sweet Danger would appear to be Suzy Bogguss' attempt to do the put her years as one of Nashville's darlings behind her. She enlists a number of talented New York musicians to "jazz" up a decided dated formula from Music Row. It also works - for the most part. The album opens with the delightfully vibey "The Bus Ride." It's the charming kind of song that Norah Jones should be doing. Neither "Everything" nor "No Good Way to Go" do anything to diminish the flow of what appears an engaging departure for an artist who had been something of a rectangular peg when it came to the square holes of Nashville's Music Factory.

Unfortunately, the album stumbles with the next two songs. The first is a low-key cover of Chicago's soft-rock classic "If You Leave Me Now." While harmless, it really offers nothing more to a song that had its day during homecomings and proms of decades past. Overproduction smothers the life from "In Heaven", reducing it to a painful variation of Celine-Lite.

"Baby July" almost puts the album back on track with a reassuring backbeat, but once again the album bogs down from the following two tracks that lack sufficient passion to bring them to life. Too little, but not too late, "Sweet Danger" restores faith by reminding everyone that Suzy Bogguss is indeed a talented vocalist. The album remains steady for the remaining tracks with "It's Not Gonna Happen Today" being a quiet gem that should have been a hit back in her early 90's hey-day.

Overall, this is a decent album that could be and, given Suzy Bogguss' talents and taste, should be better. But the overriding question is whether or not this album represents a new direction or only a detour. (Remember, Bogguss' last outing was a well-done, if underappreciated album of country swing aptly titled "Swing.") If this is indeed a new direction, then more attention to song selection and production will make Round Two an improved experience. If not, then let me suggest her next venture wander into bluegrass where that honey-sweet voice should be right at home.