Vixen lives in a Canadian mountain resort with her naive pilot husband. While he's away flying in tourists, she gets it on with practically everybody including a husband and his wife, and even her biker brother. She is openly racist, and she makes it clear that she won't do the wild thing with her brother's biker friend, who is black.
Exalted as "the Female Bon Jovi," Vixen spent several years paying dues on L.A.'s hard rock circuit before enjoying national exposure in 1988 with a self-titled album and the mega-hit "Edge of a Broken Heart." The all-female band's popularity was short-lived, however. EMI had high hopes for Vixen's next album, Rev It Up, but was disappointed when it didn't do nearly as well as expected. It isn't anything to be ashamed of – although not remarkable, such slick pop-metal songs as "Bad Reputation," "Love Is a Killer," and the single "How Much Love" are, in fact, slightly stronger than the songs heard on Vixen. One thing EMI wouldn't give Vixen was a lot of chances to return to the top of the charts. By the mid-'90s, alternative rock had become the rage, and the type of pop-metal Vixen specialized in was out of vogue.
Formulated from the very glamorous elements that made hair metal in the '80s so decadently enjoyable, Vixen was the female equivalent of Warrant: rocking just hard enough so it was OK for macho hair metal dudes to enjoy and just soft enough so that they would be the darlings of the Dial MTV circuit. The formula paid off in spades, and the Richard Marx-penned lead single "Edge of a Broken Heart" blazed up the charts and usurped the throne from many of the macho hair metal dudes in all of their hair spray and make-up ridden glory. The rest of the album had the predictable, gratuitous power ballads, hard driving party tunes, and everything else in between that rock bands were pontificating about in the late '80s. It's not the best of the era, but certainly not the worst.