Customer Reviews

Vertigo

5 star:		(7)
4 star:		(0)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

2 1/2 years after her smash debut "Growing, Pains," Billie Myers has returned doing the impossible, she has penned an almost perfect body of work. Why almost perfect? It depends on your definition of perfect. "Vertigo," encompasses some of the best music I have heard in years. Though her first debut went somewhat unnoticed, it's going to be hard to ignore her this time around. She had a hit with "Kiss The Rain," in 1997 on both radio and video. I'm betting this release takes her over the top. She is without question on hell of a lyricist, no bubble gum sentiments here. Her vocal stylings maybe be hard to pigeon hole her type of music but that isn't necessarily a bad thing. That's what makes "Vertigo" unique. Back with Desmond Child (he produced "Growing Pains,") their song "A Room Full Of View," is about as perfect as you can get both lyrically and musically. Billie doesn't merely sing, she projects the songs with great imagery and sensuality. "Vertigo," is a sensual CD. The first single "Am I Here Yet," sampled a bit of Hot Chocolate's "You Sexy Thing," should give you a clue as to what you're in for, but then again, no. Many of the songs on this CD will catch you by surprise. This is one of those rare releases that it's better to sit down and listen to rather than using it as background music. Co-produced with David Tyson, Billie Myers has out done herself. Other songs to listen for are "Without My Consent," "Never Let Them See You Cry," and "Vertigo." The dance clubs will probably jump on "Flexible," a fun jaunt for James Bond fans and those who love songs charged with sexual energy. If you're looking for a well rounded, written, produced and performed CD, Billie Myers "Vertigo," is the one. It's not often an artist brings us this close to themselves and perfection all on the same release.

It has been three years since her last album, but the wait was well deserved. When I put the CD in and heard the first notes of the first song (AM I HERE YET?), I knew this album would be as great as GROWING PAINS. Billie writes about things we all can either relate to or have pondered some. AM I HERE YET? talks about wanting to know the future, but realizing that it can only be experienced by living. SHOULD I CALL YOU JESUS? hits right to the point ("If the planet Earth stopped revolving, would religion really matter anymore...") and goes on to point out that "God is God by any God-given name". FLEXIBLE deals with the immediate attraction and willing to be anything for the right moment. NEVER LET THEM SEE YOU CRY touches the heart and reminds us all to be careful with our display of emotions. And the rest of the tracks on this CD point and clarify the feelings and desires of the heart and soul. On top of the wonderful lyrics, and her Beautiful voice, the music takes these and transcends the mundaneness of a lot of the music that can be heard on radio and at the same time makes you feel like you have known these songs for a long time. All in all, this album is something that any music lover should have in their collection. And this album will definetly put Billie in the same realm as Stevie Nicks, Sarah McClachlan, and the long list of women musicians who can relate reality through words and music.

billie myers "VERTIGO" is an inspired work of art. Starting off where the the single "TELL ME" from the first album left off...this album is chock full of anthems. Beginning with "AM I HEAR YET" which features the delicious sample..."i believe in miracles" THIS IS DEFINATELY a club song that will surpass anything whitney houston has ever released. "SHOULD I CALL YOU JESUS?" is another anthem beginning with the mystical sounds of the far east. I love the way her voice moans and stirs in this song. "A ROOM FULL OF VIEW" is the best ballad on the album. Completely beautiful. You just want to eat this music up! Of course Billie's poetry still graces the inside sleeve, which is romantic, sexy, heartfelt. I highly recommend this release for blasting out your radio. It hits hard...it rocks...it's another gem by BILLIE MYERS. GREAT ALBUM!

Billie Myers pop-rock differentiated herself from the other La Lillith divas; "Kiss the Rain" was more in an '80s "Heart" vain and "Tell Me"-though more progressive with its Eastern influenced-rock- relied on an '80s gimmick as did its predecessor. She was clearly scoping out her own path with many diverse influences that would not more obviously shine through until the release of her second album, culminating in a more stately definition of her style.

The sultry singer suggested-though not credited even in the '97, '98 female-dominated market place where grunge had died and rock lost its direction- that Lillith women were not always either Jewel-strumming pseudo neo-folk artists, nor were they Paula Cole or Tori Amos pretentious; her album made a dent in the industry not the rumble it should have. These women were overplayed, and Myers subtle one-hit-wonder "Kiss the Rain"-though powerful-did not beckon music buyers to buy her album in droves; the airwaves were already saturated by the likes of the women mentioned, and Myers second arrestingly progressive single "Tell Me" fell on deaf ears.

Now that the novelty of "Where Have all the Cowboys Gone", and "I Don't Wanna Wait" has worn off, and Jewel's firm hold has diminished comes Myers with her second release-that if released in '98 along side the likes of Jewel or Paula-would have garnered her the attention she deserved, and hopefully still could.

For fans of that fleeting moment in time where Joan Osborne's novelty "One of Us" was popular, Billie offers "Should I Talk to Jesus" that relies on the same religious references-the Kaballah, Buddah, where Osborne used the saints, all the prophets-suggesting that as the sons of God we are all prophets a la Jesus manipulating religion to our own ends.Several songs in the book jacket-including "Should I Talk to Jesus" -include prose instead of lyrics to the featured songs that emphasize her points. Myers' depth reflects that she is less kitsch than Osborne in "One of Us"; where God was amidst us and a "slob like one of us", Billie suggests in her prose that "too many(men) wannabe martyrs" exploit religion and its icons and use it to justify wars. The George Harrison citars and the funkafied faded-finish suggests that this gimmick should have led the invasion of the US market as opposed to the misguided release of "Am I Here Yet?", which is more a "Life is a Highway" send-up.

A post-grunge anthem such as "Vertigo" evokes the "Every Rose has its Thorn" guitar-ish '80s vibe, but the chord progressions are more Zepplin than Poison- a clear indication of the original rock territory Billie has scoped out.

"Afraid of Spiders" rivals "Maria,Maria" for its insinuatingly hypnotic ethnic vibe; it is as if we have been transported to some Carribean or Eastern-African island where the tribes arrive on "Bitter Fruit (Dead Weight)". Both these songs-more the former than the latter-are smooth jazz/NAC easy listening staples in the making. Incidentally, fans of Sophie B. Hawkins' "Nocturne" from her "Timbre" set will get immersed in Billie's "spider web.

Although I greatly enjoyed Billie Myers' first album, Growing Pains, I believe that Vertigo is my favorite. Alternating between funky, thought-provoking, upbeat dance songs to low, mournful, passionate ballads... this album is comprised of a roller-coaster's highs and lows. I love it! Many of the songs are sing-able/dance-able. Several made me stop and think about the meaning behind the lyrics. A lot of political and religious opinions are woven into the lyrics of this album. A little bit of sex and a little bit of playful edginess round out the track listing. I greatly enjoyed this CD in every aspect.

Billie provides the same quality in thought-provoking material with beats and rythms that stay in your head. This second cd shows excellent growth and integrity. I anxiously await more of this delicious work.

I was hooked from the minute I first popped Billie's "Growing, Pains" CD into my stereo. I couldn't wait to get my hands on her second (and virtually unknown) album, "Vertigo" ... I had kept my standards low. I mean, after all, this album wasn't very popular. But now, my day is not complete unless I give this CD a listen.
We begin with the opening track, "Am I Here Yet? (Return To Sender)" with a catchy, poppy beat very different from her previous works. But the lyrics are extremely Billie-esque, ironical and clever. The second track, "Should I Call You Jesus?" is probably the most thought-provoking and brutally honest of all Billie's songs, looking at the world's religions and questioning each one. And in good tongue-in-cheek humor, Billie closes the track with a witty catch: "Jesus, come over here, have a beer!"
The title track "Vertigo" returns to the G,P feel, soft and poetic, and sorrowfully romantic. "A Room Full Of View" also has the same feel, starting out as a soft, whistful melody about a failed relationship, then as the chorus approaches, it belts out into a heavy rock tune, justifying the entire meaning of the song. "Where Romeo Never Dies" is my favorite piece on the album, returning to AIHY?'s catchy beat but with more rock flavor. The sound is uplifting and the lyrics are enchanting and clever. Then at the end, Billie declares "Satisfaction is the death of desire!," making us all question the true meaning of love.

Moving on, we come to "Roll Over Beethoven." I wasn't sure what to expect with this one, but what we have here is a sort of Hispanic fiesta-ish song with lots of shouting and clapping in the background. But the lyrics are absolutely hilarious and extremely well put. Billie questions her partner, "What did I do to deserve you?" and tells of the 'Karma Boomerang' that will eventually crash into us one day. The next track, "Afraid of Spiders" carries on the Hispanic feel, but this time in a soft and haunting ballad, with an honest, desperate romantic feel to it. The closing track "Bitter Fruit (Dead Weight)" tells of the evil hopelessness of slavery with a haunting African feel and deeply poetic lyrics.

"Vertigo" is an extremely artistic album, at sometimes too artistic for all to appreciate. But if brutally honest and provacative is what you want, you've got it.

myers last cd "gorwing, pain" was a great cd! it had beautiful lyrics, adn a great talented singer singing these heart felt lyrics... here is what i thin about every track!:

1. am i here yet (return to sender): great dance, lyrics, voice, the first single and the reason for y i bough the cd (5/5)

2.should i call you jesus: sure its contrversial but its awesome the message and the beat .. awesome (6/5)

3.vertigo: very heart felt and beautiful (5/5)

4.without my consent: i think it is one of the best songs, very very well written she sounds great! (5/5)

5.a room full of view: good, great , awesome one of the best tracks (6/5)

6.flexible: another contreversial song but it is great and fun (6/5)

7.where romeo never dies: its sooo cute and well written one of my other favs. (6/5)

8.never let them see you cry: sincere and fromt he heart (5/5)

9."rool over beethoven": this song is halarious and great the beat is hot and the lrics are great!!! (6.5/5)

10.afraid of spiders: sincere and from her heart and aBOUT her.... beautiful (5/5)

11.bitter fruit (dead weight): another sincere cte strong song and contrversial but for a good reason... slavery it sucks !!! and a good closing! (6/5)

this cd is great go and buy it now if you are readingt his and buy her first if you don't have it !! SHE IS AWESOME!

Billie Myers pop-rock differentiated herself from the other La Lillith divas; "Kiss the Rain" was more in an '80s "Heart" vain and "Tell Me"-though more progressive with its Eastern influenced-rock- relied on an '80s gimmick as did its predecessor. She was clearly scoping out her own path with many diverse influences that would not more obviously shine through until the release of her second album, culminating in a more stately definition of her style.

The sultry singer suggested-though not credited even in the '97, '98 female-dominated market place where grunge had died and rock lost its direction- that Lillith women were not always either Jewel-strumming pseudo neo-folk artists, nor were they Paula Cole or Tori Amos pretentious; her album made a dent in the industry not the rumble it should have. These women were overplayed, and Myers subtle one-hit-wonder "Kiss the Rain"-though powerful-did not beckon music buyers to buy her album in droves; the airwaves were already saturated by the likes of the women mentioned, and Myers second arrestingly progressive single "Tell Me" fell on deaf ears.

Now that the novelty of "Where Have all the Cowboys Gone", and "I Don't Wanna Wait" has worn off, and Jewel's firm hold has diminished comes Myers with her second release-that if released in '98 along side the likes of Jewel or Paula-would have garnered her the attention she deserved, and hopefully still could.

For fans of that fleeting moment in time where Joan Osborne's novelty "One of Us" was popular, Billie offers "Should I Talk to Jesus" that relies on the same religious references-the Kaballah, Buddah, where Osborne used the saints, all the prophets-suggesting that as the sons of God we are all prophets a la Jesus manipulating religion to our own ends.Several songs in the book jacket-including "Should I Talk to Jesus" -include prose instead of lyrics to the featured songs that emphasize her points. Myers' depth reflects that she is less kitsch than Osborne in "One of Us"; where God was amidst us and a "slob like one of us", Billie suggests in her prose that "too many(men) wannabe martyrs" exploit religion and its icons and use it to justify wars. The George Harrison citars and the funkafied faded-finish suggests that this gimmick should have led the invasion of the US market as opposed to the misguided release of "Am I Here Yet?", which is more a "Life is a Highway" send-up.

A post-grunge anthem such as "Vertigo" evokes the "Every Rose has its Thorn" guitar-ish '80s vibe, but the chord progressions are more Zepplin than Poison- a clear indication of the original rock territory Billie has scoped out.

"Afraid of Spiders" rivals "Maria,Maria" for its insinuatingly hypnotic ethnic vibe; it is as if we have been transported to some Carribean or Eastern-African island where the tribes arrive on "Bitter Fruit (Dead Weight)". Both these songs-more the former than the latter-are smooth jazz/NAC easy listening staples in the making. Incidentally, fans of Sophie B. Hawkins' "Nocturne" from her "Timbre" set will get immersed in Billie's "spider web.