Native Tongue – Poison

Producer: Richie Zito

Released: February 8, 1993

Rating: **

Dedication: …. To C.C. DeVille, thanks for eight years together. Here’s to your health and happiness.

When Poison recorded and released Native Tongue in 1993, the musical climate was drastically different than it was just 10 years earlier when they began their unapologetic quest for super stardom. Glam/hair metal was no longer the popular choice among teens. In fact, now that grunge had taken over the airwaves and MTV, Poison’s brand of music was downright despised. In the blink of an eye, Poison was reduced to a punch line in a joke. They literally became what everyone wanted to and was told to believe and hate about hair bands. In addition, in a highly publicized battle with substance abuse C.C. DeVille and Poison had parted ways. With absolute class the band dedicated Native Tongue to C.C. DeVille’s health and happiness.

Bret, Bobby and Rikki replaced C.C. with Richie Kotzen. As the story goes, Kotzen wasn’t simply a hired gun and was given creative freedom during the writing and recording of Native Tongue. This typically never happens in the hard rock world. The results are immediately obvious when you start listening to the album. All of the power pop hooks that made Poison famous were gone and in their place were funk and blues riffs courtesy of Mr. Kotzen. Native Tongue might have made more sense if it had been released by Extreme.

In any case, the album doesn’t sound believable and therefor is far less memorable than the bands first three studio efforts. Flesh & Blood was a natural progression for the band which offered a somewhat more mature sound from everyone’s favorite party band. Native Tongue sounds contrived, as if they were trying to prove something to all their disapproving critics.

At 13 songs (plus an intro and 1 acoustic instrumental) Native Tongue might be 3 songs too long. The stand out tracks are Stand and Until You Suffer Some (Fire and Ice). With church choir background vocals, both songs are a tad more grandiose in their approach than Talk Dirty To Me or Fallen Angel. All of the songs on Native Tongue are more complex than any of the bands previous efforts. It certainly sounded as if Poison had been reading their reviews and had taken what their critics said to heart.

Songs aside, the appearance of both the album and the band were drastically different than the look that made them famous. The “poison” green logo that adorned their 3 previous albums was replaced by a rusty, or perhaps grungy looking version. The album cover itself looks like it could be Native American art or a lost set piece to the Wizard Of Oz. All of the sepia toned photographs within the album packaging showcased a very dressed down version of Poison.

Richie Kotzen and Poison weren’t meant to last. During the supporting tour it had been discovered that Kotzen had been having an affair with Rikki Rockett’s fiance. He was immediately ejected from the band. Native Tongue was only able to reach gold status in the United States and sold 1 million copies worldwide. Hardly a failure, it was far from the success that Poison had become accustomed to. In 1993 there wasn’t much that Poison could have done to sustain their popularity. Even if C.C. had remained in the band and stuck to their bleach blond roots it’s unlikely that you would have found them sitting on top of the charts during the days of flannel shirts and grunge. It’d be another 6 years before they’d be able to cash in on 80’s nostalgia. Native Tongue isn’t an awful album. It just isn’t a great Poison album.

Swallow This Live – Poison

 

Producer: Poison

Released: November 12, 1991

Rating: *** 1/2

If you’ve read any of my posts you’ll know that I’m somewhat cynical (putting it mildly) when it comes to “live” albums. Years ago, they were looked at as a way for a band to thank their fans and earn some credibility. The proof was ideally in the pudding. Live albums are especially important in the metal world where bands make a living through their live performances.

Spend enough time researching live albums and you’ll find that many of them have been criticized for being nothing more than a studio album with the addition of requisite crowd noise. Many of these accusations are exchanged between bands, but the most telling testimony regarding live albums came from Paul Stanley. When asked about Alive II, Paul offered that, “Alive II is as live as it needs to be.”

Live albums also serve another purpose. They’re a fantastic way for bands to fulfill their obligations with record labels, but it’s an even better way for the labels to issue new “product” while their tired (strung out) bands take a break (sober up). This definitely appeared to be the case when Poison released Swallow This Live. They’d been recording albums, touring and, yes, partying for 5 years. They were literally falling apart at the seams.

All the pieces are in place for Poison to give fans a kick ass live experience. A raucous intro, a kick ass live shot for a cover complete with lasers and explosions and all of the bands greatest hits. Poison gets points for making their first live album a double disc release. Oddly, nearly 20 minutes are divided up between Rikki Rocket’s and C.C. DeVille’s respective solos. Following in the footsteps of KISS‘ Alive II, Poison chose to include 4 new “Bonus” tracks for their fans. So Tell Me Why kicks ass and is actually one of my favorite Poison tracks. The 3 other new tracks sound like and probably were left over tracks from Flesh & Blood. Since fans are always clamouring to hear unreleased songs, this is a great way to get them in their hands.

Aside from the cover, the album also includes several band and individual live shots. These pictures as well as the album itself do a good job of accurately capturing the live experience. Poison have always been known for their highly energized concerts and these photos accurately capture that experience. What’s shocking is the two back stage photos of the band. They look like shit. Quite honestly, the band looks like they just woke up. Burn out, fatigue and various addictions had indeed taken their toll. Gone are the infectious smiles that the world fell in love with just 5 years earlier and in their place are 4 beat up looking rock stars. Bret and especially C.C. look the worst.

Truth be told, Swallow This Live is as good a live album as any other. I suppose I’m simply not as big a fan of live albums as I used to be. The album succeeds where it is supposed to and accurately represents the concert experience as much as any live album is able to. I think diehard fans prefer bootlegs because they know they’re getting the real deal and opposed to a greatest hits album with crowd noise. Perhaps I’m not to fond of this album because it also represents the end of an era for both Poison and hair metal. Not long after the release of this album C.C. DeVille would exit the band and they would not again reunite for nearly 10 years.

Flesh & Blood – Poison

Producer: Bruce Fairbairn Co-Producer: Mike Fraser

Released: June 21, 1990

Rating: **** 1/2

One of the oldest cliche’s within the music world (especially the hard rock community) is to claim that, “We don’t care what the critics think, we make music for the fans.” It sounds great and sells magazines (when magazines used to be a viable medium), but somewhere in there is a harsh underlying reality. While some artists may indeed make music for the fans, many of those same artists do care what the critics think. There’s nothing like spending a year or more writing and recording what you feel is your “best work yet” only to have the critics label it as pure trash. Sure, vindication often comes in the form of multi-platinum success, but sometimes that does little to ease the sting of bad album reviews.

Somehow I have to believe that when Bret, Bobby C.C. and Rikki entered the studio to record Flesh & Blood some of their critics not-so-nice reviews weighed heavy on their minds. I don’t think they set out to record an album for the critics, but it certainly sounded as if they had grown up…… a little.

Look What The Cat Dragged In and Open Up And Say… Ahh! proved that Poison knew how to party. Sure, songs like Every Rose Has Its Thorn indicated that there might be some depth beyond their party rock image, but for the most part Poison truly were interested in “nothin’ but a good time”.

Oddly, when they entered the studio to record Flesh & Blood they chose not to have Tom Werman produce the album who produced their 5 million seller Open Up And Say… Ahh! Instead they chose to use Bruce Fairbairn who had most recently produced Aerosmith’s mega hit Pump. Fairbairn also produced Aerosmith’s comeback album, Permanent Vacation and Poison have always been huge fans of Boston’s Bad Boys. Coincidence? Probably not.

The results? The albums opener Strange Days Of Uncle Jack is a moody intro that lets the listener know that this album will be a bit more ambitious in its approach than the bands first two releases. After the nearly 2 minute long intro, Valley Of Lost Souls kicks in and the albums biggest difference is immediately realized.  When compared to the bands first two releases, Flesh & Blood’s production is much thicker. Open Up And Say… Ahh! is the bands best-selling album, yet I always felt the production was flat. Surprising because Tom Werman is no slouch, but for whatever reason I’ve always felt that the production on Open Up And Say… Ahh! leaves something to be desired.

Valley Of Lost Souls offers up another side to the party rock band, but fear not, the next two songs remind the listener what this band is all about. Perhaps a tad more complex in their arrangements, (Flesh & Blood) Sacrifice and Unskinny Bop are a return to the bands favorite subject matter. Oddly, they’re two of the just three songs on the album about sex. Had glam’s poster children grown up?

With songs like Let It Play, Life Goes On, Come Hell Or High Water and Ride The Wind it sure seemed as if Poison were offering fans a glimpse into another side of the bands personality. At times the songs on Flesh & Blood suggest a road weary, cynical point of view that only a band being pushed to the brink of self-destruction could offer. Lucky for Poison, that’s exactly what was happening.

Flesh & Blood’s highlight comes in the form of the albums most cynical tune, Something To Believe In. The song wreaks of disillusionment which may have caught diehard fans off guard. Somewhat gut wrenching, the song proved that Poison were capable of delivering more than an awesome soundtrack to high school keggers.

Beyond the songs, Flesh & Blood also showcased a drastically different looking Poison (for the time). Bret Michaels strapped on a bandanna that hasn’t left his forehead since. The albums accompanying pics show an un-teased, less made-up band. This was definitely a good indication of where the glam scene was headed.

In addition, the first pressing of the album cover featured blood dripping from the tattoo that was later “cleaned up” for future pressings.

While not as successful as Open Up And Say… Ahh!, Flesh & Blood was certified triple platinum. Hardly a failure, I happen to think it’s the bands crowning jewel. With Flesh & Blood, Poison was able to offer their fans (and, yes, critics) a more mature sound without sounding pompous. Flesh & Blood is a pretty accurate representation of a band who’d just completed their first lap around the rock n’ roll roller-coaster. Tired and worn down, Flesh & Blood wasn’t as much a party soundtrack as it was a snapshot of a certain moment in a band’s career. It’s a must have for all Poison fans.

Open Up and Say… Ahh! – Poison

Producer:  Tom Werman

Released: May 3, 1988

Rating: *** 1/2

How do you follow-up your multi-platinum selling debut album? Well, if you are Poison you start by not messing with the formula. It was 1988, hair metal was still in full swing and there was no reason for Bret, Bobby, C.C. and Rikki to second guess what made them famous in the first place. Critics hated them, but critics don’t buy albums or concert tickets. Next, you ask Tom Werman to produce the album. Tom made a name for himself in the hair metal scene producing albums for Twisted Sister, Motley Crue, L.A. Guns and Kix. He is often credited for helping create the sound of hair metal in general. Finally, you write a killer ballad, Every Rose Has Its Thorn, that will help insure that your album sells 5 million copies. Job well done, boys.

In 1988 Poison were living the good life coming off the success of Look What The Cat Dragged In and the supporting tour, so there was no reason to upset the apple cart. Instead, Poison recorded nine new hair metal classics and one very appropriate cover tune, Your Mama Don’t Dance. Open Up and Say… Ahh! literally picks up where the band’s debut album left off. Think of this album as day two of the party.

When Open Up and Say… Ahh! is good, it offers some of the best examples of hair metal you can find including; Nothin’ But A Good Time, Look But You Can’t Touch, Fallen Angel, Every Rose Has Its Thorn and Your Mama Don’t Dance. Releasing tunes like this in 1988 was a no brainer, as well as a recipe for multi-platinum success. Continuing on their shameless mission to not break any new ground, Open Up and Say… Ahh! also increased Poison’s fan base. In 1988 they were the hottest ticket in town. Fueling the popularity flames was a controversial album cover (seen here) that mass retailer Wal-Mart took issue with. Apparently the length of the young ladies tongue was deemed inappropriate. An alternate, PG version of the cover was offered so that Poison could reach as many fans as possible. Smart move on their part.

Every Rose Has Its Thorn proved the band was capable of chart topping success (the single reached #1) and the song sounds as fresh in 2010 as it did over 20 years ago. Truly, the result of quality song writing. The video showcased another, rather un-glamy side of the band, depicting the not-always-fun life on the road. Regardless, this very well may be the ultimate “get your lighters out” song.

If there’s anything I don’t like about the album it’s, surprisingly, the production. I am typically Tom Werman’s biggest fan. I’m not sure if it’s the actual production of the album or simply the sound (umm, in other words the production). At any rate, I’ve always thought that this album sounds too “bright” and awfully “thin”. In other words, the bottom end is nearly non-existent. I think with a “thicker” sound, this album would have a much different, much more appealing “rock” vibe.

Nitpicking aside, this album is a must have for fans of the genre.

Look What The Cat Dragged In – Poison

Producer: Ric Browde

Released: August 2, 1986

Rating: ****

Detractors of this band have always lambasted them for an emphasis of style over substance. One look at the cover of the bands debut release, Look What The Cat Dragged In, and it’s easy to understand why. Made up like cheap hookers, it was clear that Poison was an image conscious band, to say the least. Critics immediately hated them. Fans had a different reaction and Look What The Cat Dragged In was a huge hit. The question is, has it stood the test of time?

I suppose the answer to that question depends on who you ask. A band like Poison will never receive critical acclaim no matter what they do. Then again, a band like Poison exists for the fans not the critics. Poison’s brand of music is pure rock n’ roll. It’s fun, doesn’t require much thought and often puts a smile on the listeners face. The notion that rock n’ roll somehow needs to “mean” something came about in the 60’s, but at its core rock n’ roll was intended to be fun music for “the kids”. Based on that, Look What The Cat Dragged In has stood up very well over 20 years after it was released.

Boasting 3 hit singles (I Want Action, I Won’t Forget You and Talk Dirty To Me) the album is more or less a template for the entire genre. in 1986 they certainly weren’t pioneers of the glam scene, but they did help redefine it for the second wave of hair metal bands that would dominate the charts in the late 80’s and early 90’s. Poison wasn’t a “dangerous” band like Motley Crue, although they pretended to be with songs like #1 Bad Boy (one of the albums best tracks). Poison was pure party rock. Escapism at its best and most shameless, Look What The Cat Dragged In was an invitation to the party that every teenager hoped to throw when their parents were out of town.

At just over a half hour long, Look What The Cat Dragged In gets straight to the point. Highlights include Cry Tough, I Won’t Forget You, Play Dirty, Talk Dirty To Me and #1 Bad Boy.  In later albums Poison’s sound and the subject matter of their songs would mature, although the critics still detested them. As they say, this is the album that started it all and is without a doubt the most fun to listen to. This is the album that Poison made before the critics knew who they were and therefore their most honest. They weren’t out to change the world, they, as their follow up album would declare, were looking for nothin’ but a good time.