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.


Excellent album!   May 30, 2009
Lisa Modlesky-Duggal (Pennsylvania, USA)
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.