Poison Albums (8)
'Hollyweird'
Release Date 5/21/2002
Tracks 13
Label Cyanide Music Inc
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What The Critics Say
It was inevitable that the original lineup of Poison would make a comeback effort in 2002 -- they had spent so long on the VH1 airwaves, they had set the stage for a storming return. Like many bands of their era, they were smart enough to make the comeback on a small indie label, which meant they had little pressure to conform to the shifting tastes of their time, and instead could offer a new record in their old style. And that's exactly what Hollyweird (wonderful title, eh?) is -- a return to the sound of Open Up and Say Ahh, but by an older, wiser, more ambitious band. "Ambitious" shouldn't be read as if the group has gone prog, although at times they can have the pomp and circumstance of Meat Loaf ("Wishful Thinkin'" has a chorus straight out of Jim Steinman). Instead, they're sprinkling serious subjects among the party anthems, in an attempt to draw a portrait of their hometown. Their (largely) serious intentions are given weight by their leanest, hardest production yet, the first to really showcase the band as a rock band, not a pop-metal outfit. The thing is, it all works, and the result is one of Poison's best records, if not their best; it says a lot that by far the worst moment is not an original, but an awful cover of a Pete Townshend song (granted, it's "Squeeze Box," the worst song he ever wrote). It may not really appeal to anybody but the converted -- despite their wide exposure on VH1, only the diehards are likely to buy a Poison album in 2002 -- but the weird thing is, this would be the album to convince doubters that the band is actually pretty good after all. ~ Stephen Thomas Erlewine, All Music Guide
'Power to the People'
Release Date 6/13/2000
Tracks 17
Label Cyanide Music Inc.
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What The Critics Say
Following right on the heels of the release of the aborted Crack a Smile sessions, Power to the People might interest some longtime fans, but it's probably borderline at best for anyone who isn't still a complete devotee. There are two distinct sections -- five new studio tracks and a sort of greatest-hits-live show recorded on their 1999 reunion tour with C.C. Deville -- and the liner notes don't give much background about either. The new material isn't bad, although the title track's nod to rap-tinged alternative metal comes off as awkward, more like an Aerosmith/"Walk This Way"-type rocker with no hooks. The others will appeal to longtime fans, though -- "Can't Bring Me Down" is a defiant rocker, "The Last Song" a typical Poison power ballad, and "Strange" a sort of electric/acoustic in-betweener. Furthermore, C.C. Deville makes his Poison lead vocal debut -- complete with vocoder-style effects! -- on the catchy (if unfortunately titled) "I Hate Every Bone in Your Body But Mine." The concert portion is decent, but it isn't really necessary either (and Bret Michaels seems to have lost a bit of range). Hardcore fans will be pleased to have a memento of Deville's return to the band, and the decision to combine new studio tracks with what's essentially a fan souvenir certainly reflects Poison's status as a cult band in the year 2000. But it can't help giving the impression that the band didn't have enough songs (or, perhaps, confidence) to issue a full-fledged new studio album, and the release ends up less than satisfying. ~ Steve Huey, All Music Guide
What The Critics Say
An energetic double-disc live set that touches on nearly all of the group's hits up through Flesh and Blood, plus many of their better album tracks, Swallow This Live is of definite interest to the devoted Poison fan. Of course, it's largely over the top and has moments of excess -- the 6:30 drum solo and the 9:30 guitar solo being prime examples -- but that nicely sums up the spirit of the time period. Four new studio tracks are included as an added enticement. ~ Steve Huey, All Music Guide
What The Critics Say
On their third album, vocalist Bret Michaels puts in his best performance. "Unskinny Bop" and the anthemic "Something to Believe In" were both Top Ten hits. ~ John Book, All Music Guide
'Open Up and Say...Ahh!'
Release Date 4/27/1988
Tracks 10
Label Capitol
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What The Critics Say
Poison's best album still has a bit of filler that fails to deliver the big hooks and catchy riffs of their best material; when that happens, Bret Michaels' affected "rawk & rowl" singing accent begins to grate. But thankfully, that doesn't happen very often on Open Up and Say...Ahh!, which solidified the group's status as hair metal's top party band. The ballad "Every Rose Has Its Thorn," Poison's only number one hit, and the Top Ten "Nothin' But a Good Time" became their most widely recognized signature songs; a cover of Loggins & Messina's "Your Mama Don't Dance" also hit the Top Ten, and the sometimes-overlooked "Fallen Angel," one of their best songs, got plenty of MTV airplay. But the agreeable raunch of album tracks like "Love on the Rocks," "Good Love," and "Look But You Can't Touch" helps make Open Up and Say...Ahh! Poison's best overall album. ~ Steve Huey, All Music Guide
'Look What the Cat Dragged In'
Release Date 1/1/1985
Tracks 10
Label Capitol
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What The Critics Say
Poison's debut album took its cues from the big, anthemic pop hooks of Def Leppard and the rebellious street-tough posturing of Mötley Crüe, as well as a raunchy, adolescent obsession with sex. But Poison really carved out their niche as the ultimate glam metal band, using tight-assed boogie and over-the-top visual extravagance -- costumes, makeup, teased hair, and so on -- to an even greater extent than most of their contemporaries. It was derivative and formulaic, to be sure, but Poison wholeheartedly embraced that formula from the beginning with a conviction often missing in their peers, and it's that ridiculous, good-time excess that keeps Look What the Cat Dragged In's catchiest songs, especially the party anthems "Talk Dirty to Me" and "I Want Action," just as much fun today, if not more so. ~ Steve Huey, All Music Guide
