Search - Billie Myers :: Vertigo

"Vertigo" is not just a state of mind

Tina Mrazik | Coral Springs, FL United States | 06/07/2000

(5 out of 5 stars)

"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."

She writes from the heart and soul

Scott C. Nelson | Blackwood, NJ USA | 06/23/2000

(5 out of 5 stars)

"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."

Dizzying "Vertigo"

Eso | Oakdale | 06/10/2000

(3 out of 5 stars)

"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."