Bon Jovi

#719: Mystery Disc

GETTING MORE TALE #719: Mystery Disc

Cleaning out Jen’s mom’s house after she passed away was very emotional work.  Nobody’s been living there since July.  One day she got up and broke her hip.  We didn’t know it yet but the cancer was in her bones.  She never came home again.  When we started working on the house in September, everything was more or less how she left it.

Her music collection was small with a few gems.  One disc that I kept was Cat Stevens’ Icon.  I had to take it for “If You Want to Sing Out, Sing Out.”  As told in Getting More Tale #702, that song seemed to make a connection with me when she was sick.  One day we went to see her in the hospital, and she was unconscious.  No longer able to communicate.  That song was stuck in my head for reasons I can’t explain.  I like to think she was sending me a message.  Not to be sad.  It would have been like her to say that to me.  I get tears in my eyes thinking about her lying there dying, and that song playing on repeat in my head.  I had the song played at her funeral.  It just seemed like such a “mum” song, even though I have no memories of us ever listening to it together.  When I found out that she actually owned that song, I got the chills again.  Finding Cat Stevens made my heart swell.

We also found a number of CD-Rs that I made, but had no labels or covers.  For today’s chapter I’m focusing on one specifically.  I can’t figure out why I made it, or who I made it for, or what it was doing at Jen’s mom’s house!

It is a lightscribe CD, and burned into the top is the old background from my website.  It’s a photo of some model guitars and guitar picks.  The 15 song track listing is most bizarre and I can’t figure out what I was doing!

Track 1:  Craig Fee saying “LeBraaaain”.  This dates the CD to 2012 at the earliest.  I liked to introduce my CDs with something amusing, so this works.

Tracks 2-4:  “Whiskey in the Jar”.  The first is Metallica’s studio cover from Garage Inc.  The second is Thin Lizzy’s take from 1972.  Last is a live Metallica version, possibly from the CD single.  That’s a lot of whiskey – 15 solid minutes worth.  Listening back, the Metallica live version absolutely kills their studio cut.  Yeah-hah!

Track 5:  Steve Earle – “Home to Houston”.  This track is from Steve’s political 2004 album The Revolution Starts Now.  I haven’t played that album in years and I don’t remember this song.  Why it stuck out enough to put it on this mystery disc, I haven’t a clue.  Good tune, but I don’t know it anymore!

Track 6:  Jeff Bridges & Colin Ferrel – “Fallin’ & Flyin'” from the 2010 soundtrack Crazy Heart.  Now, memories are starting to form.  I can remember driving around with Jen and her mom, listening to this song in my car.  Did I make this CD for her mom?  If so, why the Metallica?

Track 7:  Johnny Cash – “The Man Comes Around”.  One of the greatest Cash songs, from the best American album in my opinion.  Goosebumps, still to this day.  Jen and I love Cash and had him played at our wedding.

Track 8:  Me doing a song intro!  The backing track sounds like Motorhead’s acoustic version of “Ace of Spades” with the main lick looped and no vocals.  I made this for a past Sausagefest countdown!  The track I’m introducing:  “Renegade” by Styx!  I mention that it was covered by Daughtry and then add sound effects of Nicko McBrain burping and farting.  I have to admit it’s a pretty great (and funny) intro!  It was #30 on the 2013 countdown.  From that I can now assume I made this CD the same year.  Which is strange because I wasn’t really making mix CDs anymore in 2013.

Track 9 is a personal favourite, “Rock An’ Roll Angels” from Whitesnake’s 1982 album Saints & Sinners.  I’ve always been into rock and roll songs with boogie woogie piano. I have loved this song for three decades.  Then Track 10, another Whitesnake classic:  “Slow An’ Easy” from the landmark classic Slide It In.  That’s another personal fave, because of the slide riff.  It’s incredible and I spent many hours as a teenager playing air slide to it.  Not to mention air drums!  Cozy Powell was so fucking cool.

Then more slide!  Track 11:  The Black Crowes – “Twice as Hard”.  I was clearly trying to make the CD flow.  Indeed I used to spend hours shuffling track order until I had it “just right”.  With all this slide business going on, I wonder if the next song is going to be some “Travelling Riverside Blues”?

Nope!  A total surprise to me, Track 12 is The Tragically Hip!  “50 Mission Cap” is Jen’s favourite, for reasons you’ll understand.

Bill Barilko disappeared that summer,
He was on a fishing trip.
The last goal he ever scored,
Won the Leafs the cup.
They didn’t win another till nineteen sixty two,
The year he was discovered.
I stole this from a hockey card,
I keep tucked up under.

I think the lyrics are brilliant because they tell two stories at once.  First, they tell the true tale of Toronto Maple Leaf Bill Barilko, who tragically died in a plane crash in a remote part of Quebec.  Nobody knew what happened to him until his body was found 11 years later.  The second tale is that of a young Gord Downie who read about it on the back of a hockey card.

Track 13 is another surprise:  “The Boys are Back in Town” by Bon Jovi!  Don’t scoff, this is actually a really good Thin Lizzy cover from their New Jersey period.  Lyrically, Jon and Phil Lynott were on similar wavelengths.  This is exactly the kind of tune that Jon was writing.  “Wild in the Streets” is Bon Jovi trying to re-write “The Boys are Back in Town”.

Track 14:  “Big Foot” from Chickenfoot III.  Gotta be one of my favourite car tunes.  “Got Houses Of The Holy on the box, got it all cranked up cause, yeah! That shit rocks!”  What a groove — you can’t help but stomp along.  Joe Satriani has a way with a riff.

I had a guess that Track 15 was going to be all of side one of 2112.  The track time was over 20 minutes, so I had an inkling it was either that or side two of Abbey Road.  I’ve ended mix CDs with 20 minute epics before, and I think it works.  The Beatles did it!  Granted, the 2112 epic was a side one, but it still functions perfectly in the closing position.  Try it yourself!

Listening to this mystery disc has been enjoyable, but my reasoning still escapes me.  It’s such a bizarre mix, with the front loaded threesome of “Whiskey in the Jar”.  From there it starts to make a little more sense.  But how it did it end up at “mum’s” house?

My best theory is that I made it as a gift for Jen’s Uncle Rick, and it never got mailed.  He lived in Texas at the time — maybe that’s why I included “Home to Houston”.  Rick is also a Whitesnake fan, and a Toronto Maple Leafs fan.  I’m just not sure.

How would you rate this mix CD if you were the recipient?  I think I’d give it a solid:

4/5 stars

 

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REVIEW: Bon Jovi – Red Hot and 2 Parts Live (1985 EP)

 

All hail the mighty Aaron of the KMA.  He is a very generous man.  He is known to send parcels to friends all over the world, and he always keeps an eye out for things that people look for.  He’s incredible that way, and he deserves a tremendous amount of recognition for all he does for the Community.

 

BON JOVI – Red Hot and 2 Parts Live (1985 red vinyl Polygram EP)

Preamble:  Although I forgot about this, back in the fall Aaron did his regular Toronto shopping excursion.  He found a Bon Jovi 12″ single that I’d never seen before.  But I was tapped out, cash wise.  I had done my own Toronto trip to pick up an an absolutely massive toy for my collection.  Apparently he texted me about the Bon Jovi, and I asked him to leave it there because I couldn’t afford it.  Naturally he bought it anyway and secretly stashed it away.

Aaron sent me a big box of goodies for Christmas (and reviews of those will come too!) but the Bon Jovi was the centerpiece.  I didn’t actually open this box of goodies until Easter.  Due to illness and circumstance, our family finally just got around to celebrating Christmas.  I saved his box until then.

This three song EP, on brilliant clear red vinyl, has two live tracks and one remix.  “Hardest Part is the Night” (from 7800° Fahrenheit) was mixed by David Theoner though the differences are minor.  Interestingly, it was also issued as its own single with “Always Run to You” on the B-side.

The other two tracks were recorded live in Japan in 1985.  “Tokyo Road” was later released on the remastered 7800° Fahrenheit as a bonus track, but that CD doesn’t look nearly as pretty as this vinyl.  It’s a little odd hearing Jon introduce it by saying, “Welcome back to ‘Tokyo Road’…” when in fact they were the visitors in Tokyo, but whatever!  Jon’s the professional frontman, not me.  “In and Out of Love” is the real treat, featuring an extended guitar solo, and a different version from the one on 7800° Fahrenheit.  The track is still over 10 minutes long with all that (smoking) noodlin’, but Sambora fans who miss him will want to have this.

Fans of early Bon Jovi — hunt down this EP.  Get it or live your life without this awesome live Bon Jovi that you won’t get otherwise.

4.5/5 stars

 

#658: Wanted Dead or Alive

Happy belated birthday to this single, released March 3 1987!

 

GETTING MORE TALE #658: Wanted Dead or Alive

I didn’t care for Bon Jovi. They seemed like a “girls’ band”. It seemed to be all about the screaming ladies. I did like Europe. “The Final Countdown” was a pretty cool anthemic track, with a sci-fi lyric. The rock press were pitting one band against the other: “Who’s better, Bon Jovi or Europe?” I took Europe every time.

Besides, what the hell was a “Bon Jovi” anyway?*  Bon means “good”.  “Good Jovi to you, sir!”

I continued to ignore Bon Jovi, while receiving Europe’s The Final Countdown as a gift for Easter 1987. The album took a couple listens to get into, but once I did, “Rock the Night”, “Ninja” and especially “Cherokee” blew me away. Europe weren’t a “girls’ band” to me, with songs about Ninjas and Cherokees.

My sister and her friends loved Bon Jovi. One of them had a crush on keyboardist David Bryan. I thought he looked weird, like he had gummy worms in his hair. I remember they were writing “BON JOVI” and “DAVID BRYAN” in the sand at the beach. I erased it and changed it to “BON SCOTT” and “BRIAN JOHNSON”. Take that, eh? No wonder I thought Bon Jovi were a “girl’s band”. Anyone who had a younger sister at the time probably thought so too.

Considering that I own an extensive Bon Jovi collection now (Richie Sambora era only), something must have changed. What was it?

Jon Bon Jovi and Richie Sambora wrote a song together in Richie’s mom’s basement. It was an acoustic song called “Wanted: Dead or Alive”. When I saw the music video in July of 1987, it changed all my impressions.

That 12 string acoustic rang true, on a song that deserves all the awards, video play and accolades. Something about the song was very real. Writing in that New Jersey basement about the road life was about as honest as Bon Jovi get, and you can hear it in the recording. “Wanted: Dead or Alive” turned me around rather quickly. I taped the video, and from there put “Wanted” on a cassette tape. The cassette tape had a lot of new songs from the summer of ’87: Ace Frehley’s “Into the Night”, and Ozzy’s live “Crazy Train” were among those tracks. Eventually I had to get all those albums.

I received the Frehley and the Ozzy for my birthday. I bought Bon Jovi later on in September. By then, I was familiar with all the singles and a track called “Raise Your Hands” from the movie Spaceballs. I just had to digest the album tracks.

Slippery When Wet was…OK, I guess. Not as good as The Final Countdown was.  Not all it was hyped to be, but good enough. “Social Disease” was pretty bad. Slippery struck me as a couple songs short of a great album. Good enough, though, to hang on ‘til the next one.

1988’s New Jersey was the next one. It seems they ditched 80% of the schlock and really tried to get back to their roots. I loved New Jersey and it was my first Bon Jovi CD once I had a player. Whatever authenticity they had on “Wanted: Dead Or Alive” spilled all over New Jersey.

“Wild is the Wind”, “Blood on Blood”, “Ride Cowboy Ride”, “Stick to Your Guns”, and “Homebound Train” had the magic. There is something real and close to perfect about those songs. Bon Jovi put out an album soaked in passion, as opposed to the sterile and clean Slippery When Wet. It didn’t match the 12 million copies sold of Slippery, but New Jersey was so slouch at 7 million.

It’s funny to be using words like “integrity” when speaking of Bon Jovi today. They’ve become an adult contemporary project; no longer a rock band. “Wanted” was their first acoustic hit and it’s often considered one of the landmark ballads of the era. In many respects, the lite-rock Bon Jovi of today was forged by “Wanted”. But that doesn’t tarnish the song itself. “Wanted: Dead or Alive” is still fantastic. Even better is the 1987 acoustic version, only available on cassette single (or Japanese CD single).

You can go ahead and scoff at Bon Jovi, in light of the last 10 or even 20 years. They’re a mere fraction of the group they used to be. Yet “Wanted: Dead or Alive” still stands as a high water mark that any band would be jealous to have.

 

 

*Real name:  Jon Bongiovi

REVIEW: Bon Jovi – “Please Come Home for Christmas” (1994 single)

BON JOVI “Please Come Home for Christmas” (1994 Mercury single)

Christmas of ’94 was a good one for Bon Jovi.  Their first greatest hits Cross Road was a smash, returning Bon Jovi to the charts.   It spawned two hit singles:  “Always” and later on, “Someday I’ll Be Saturday Night”.  With all that going on, it is understandable if you missed another Bon Jovi single that was just under the radar.

“Please Come Home for Christmas” is billed as a Bon Jovi single, but in actuality it’s a Jon Bon Jovi solo track.  It was first released exclusively to the album A Very Special Christmas 2 (1992), billed to Jon Bon Jovi and not performed with the band.  By ’94, solo and band Bon Jovi were becoming blurred.  Jon’s solo track “Blaze of Glory” was on Cross Road even though it’s from Jon’s first solo album.  Nowhere on the “Please Come Home for Christmas” single is it indicated that this is a Bon Jovi solo recording, further blurring the lines.

None of that really matters; Bon Jovi is Jon’s band and this single gathers together his first three Christmas recordings in one place.  It’s actually a great value.

The old Charles Brown seasonal classic has been covered over and over, notably by the Eagles.  Jon’s version isn’t bad either.  You either like Bon Jovi or you don’t.  If you like Bon Jovi then this will probably be right up your alley.

Next up, one of the B-sides from Keep the Faith and an original song too:  “I Wish Everyday Could Be Like Christmas”.  This has the vibe of Keep the Faith, with full production by Bob Rock.  Why can’t everybody be kind to each other every day like they are on Christmas?  It ain’t easy to write an original Christmas song, and Jon did an excellent job on this one.  I’ve always preferred it to “Please Come Home for Christmas”.

Finally, from the first Very Special Christmas album (1987), it’s a live take of “Back Door Santa” (Clarence Carter).  That means it’s from the Slippery When Wet tour.  Vintage Bon Jovi with cheesy keyboards right out “Social Disease”.  It’s not good but it’s here!  Meaning, Bon Jovi fans don’t have to look for A Very Special Christmas to complete their collections.

Two for three decent songs isn’t bad.  All are non-album tracks, so that’ll make this single worth it to you.

3/5 stars

Richie Sambora, Bret Michaels, Robin McAuley and more! The stars rock Kitchener (11/17/2017)

Boppin heard a rumour that Bon Jovi was coming to town. Then an anonymous source informed us that a super-secret private concert was taking place Friday night right here in Kitchener Ontario.  The list of talent:

Bon Jovi’s Richie Sambora, Foreigner’s Lou Gramm and Stephanie Calvert of Starship.
Backed by an all-star cast of legendary rockers and potential surprise guest performers:
Howard Leese
-Guitar- Heart, Bad Company, Rock and Roll Hall of Fame
Hugh Mc Donald
– Bass- Bon Jovi
Doug Aldrich
– Guitar- Whitesnake, Dead Daisies, Dio
Jay Schellen
– Drums- Asia, Yes
Michael Ross
– Keys- Lita Ford Band, Missing Persons
Robin McAuley
– Vocals- MSG/Survivor
Andrew Freeman
– Vocals- Offspring, Last in Line
Paul Shortino
– Vocals- Rough Cutt, Quiet Riot
Mark Boals
– Vocals- Yngwie Malsteen, Dokken

And then our sources tell us that Bret Michaels showed up!

Richie played guitar, but also sang lead vocals without one.  According to our source:

“He did both. He was out for the middle bit of the show. He did two Bon Jovi songs, “Dead or Alive” and “Livin’ on a Prayer” and then a super extended (self serving if I’m honest) rendition of “Respect Yourself”. General consensus was that he was the low point of the night!! Even his back up singers, Robin McAuley, Mark Boals, Paul Shortino and Stephanie Calvert looked confused by the end. The night was amazing. So much energy and so much sound.”

Our source also enjoyed Robin McAuley.  “He was awesome. ”

Enjoy these photos!  Thanks to Krista Ward, our anonymous source!

 

#613: Writer’s Block

GETTING MORE TALE #613: Writer’s Block

Writer’s block?  I’ve got it.  Can’t tell?  That’s because I have built up a backlog of posts ready to fill the gap when needed.  It’s called planning ahead.  Being prepared for the inevitable.  Writer’s block strikes when it wants to.

Staring at giant piles of CDs…over 3000 of them aching to be listened to, reviewed, discussed, and appreciated.

“I can’t find anything I wanna listen to.”

Collecting music for over 30 years.  Selling it to the public for 12.  Managing a Record Store for 10.

“I can’t think of any good stories to talk about.”

Fuck you, writer’s block!  Can’t be inspired to write about anything?  Then I’ll write about you, writer’s block!  Take that, you asshole.

There are ways around just about anything – especially when the only thing stopping you is you.

It’s absolutely incredible that I can be sitting here with over 3000 of my favourite pieces of music and can’t be arsed to put two thoughts together.  What’s the deal?  Well, I’m distracted.  Distracted by real life, by loved ones who are more important than words, and by sheer exhaustion.

Take a break?  I am on a break!  See above note about backlog and try to keep up!

Writing is one of my great joys.  Music is another.  Combine the two together and I have the most enjoyable, rewarding creative endeavour.  It’s work, but it doesn’t pay very well, so in reality it’s pleasure.

It’s a pain in the ass when my brain refuses to be inspired.  That’s life.  It could get worse before it gets better.  Sometimes, the heart lies elsewhere.  Family comes first, as it should.  Life happens whether you like it or not.

I love putting an article or review together.  The process of polishing and finishing one is actually even more enjoyable than the writing.  Coming up with accompanying photos, replacing old tired words with better ones – it’s all fun and invigorating.  Seeing the finished published product and reading the comments are all things that bring me great happiness.

Even though I currently “can’t find anything to listen to,” I have no intention of stopping.  I’ve slowed down in the past – 2016 had fewer posts than 2017 – but this is far too much fun.

Fuck you, writer’s block.  Writing about music isn’t a chore, it’s just the opposite.  I won’t let you stop me.

 


Bon Jovi wrote “While My Guitar Lies Bleeding in My Arms” about writer’s block

#607: Every Picture Tells a Story

GETTING MORE TALE #607: Every Picture Tells a Story

 

If you’re like me, you probably look at childhood photos and are immediately flooded with a million memories. Music, pictures and memories…they all go together don’t they? One triggers another and all three merge together in your grey matter. With that in mind, put on something nostalgic and join me with some short stories about some old pictures. If you can’t think of something to listen to, here’s Bryan Adams doing “Summer of ’69”!


I can tell by my hair that this picture is winter of 1989-1990. On the far left, you’ll notice my Darth Vader lamp, hand made by my mom a long time ago (though not very far away). Darth is priceless to me, and I still have him on that very same dresser today. Next to Darth, I notice that I didn’t think to remove the Speed Stick before taking a photo.

That was my first guitar. I just had to have a whammy bar. That thing would simply not stay in tune. In the 80s, you had to have a whammy bar, although Slash was slowly causing them to go out of fashion. My mom found a guitar teacher, a really nice guy named Gary Mertz. He was teaching my sister, myself and my best friend Bob all in one shot. He came to the house, and did 30 minute lesson with my sister on keyboards first. Then 30 minutes with me and 30 with Bob on guitar. I just wasn’t any good at it. I just don’t have the coordination. How my sister got to be such a great musician, I really couldn’t tell you. I got the shitty genes.

A year and a half later, and look at that hair. Sleek?

Second guitar. A flying V I bought off a guy from work.  He was a huge Eddie Van Halen fan, and he customised the V with different pickups to try to emulate Eddie’s brown sound.  I still had to have a whammy bar.  Constantly diving for it made it sound like I was playing something other than random notes.  I was pretty useless on guitar.

A little older now, this is about 1993 and that’s my first beard! Zeppelin and the USS Enterprise (NCC-1701 D) on the same walls as before.  The Enterprise and the Kiss sketch I’m holding were both birthday gifts from my buddy Peter. I still have that Kiss sketch on my wall right behind where I work at LeBrain HQ.

Check out this model kit I build. That’s a Klingon Bird of Prey, a Romulan Warbird and a Ferengi ship. I bought it for the Warbird, truly a beautiful ship design. If you look close enough, you can see where I painted in little yellow windows on the forward section, just like the show. I did the same on the Ferengi craft, which actually turned out the best of the three.

And finally, I don’t know what compelled me to take pictures of all my stuff. Here it is, and all laid out specifically just so. Why? Couldn’t tell you. But there’s some cool stuff there!

With the exception of the cassette tapes, I still own most of this stuff.  Some CDs have been replaced by expanded editions.  The vinyl didn’t go anywhere though, and I definitely hung on to those Star Trek figures.

My collections for each of these bands has expanded so much that I couldn’t fit them all into a single photo anymore.  It’s funny to look back and think, “Wow, that’s all I had!?”

REVIEW: Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989)

Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989 Polygram)

In 1989, I proudly sported my Moscow Music Peace Festival T-shirt in the highschool halls.  It was cool to see the rock bands on the forefront of heavy metal bringing music to the Soviet Union.  Scorpions, Bon Jovi, Motley Crue, Cinderella, Ozzy Osbourne and Skid Row joined Russian metal band Gorky Park in the name of peace and being drug free.

Drug free?  Ozzy?  It’s true that this was a little strange, but Motley were at least clean for the first time in their lives.  The Scorpions had played behind the Iron Curtain before, and Sabbath were huge in Russia.  Meanwhile Bon Jovi were one of the few bands to legally release an album in the USSR, and in return they brought Gorky Park to the US.  I was lucky enough to have a girlfriend who recorded the televised part of the concert off MTV and sent me a copy.  It was a pretty mindblowing video.  Those Russians were going absolutely nuts, seeing their idols on stage.

Later on, the bands each contributed a song to a compilation album called Stairway to Heaven/Highway to Hell, each covering an artist who had been touched by substance abuse.  The CD was produced by the biggest name at the time, Bruce Fairbairn himself.  The proceeds went to an anti-drug charity, for all the good “just saying no” does.  The album itself was a pretty great compilation of mostly exclusive music.  Though almost all of it is now available elsewhere, that wasn’t the case in 1989, making this a tempting buy.

Gorky Park, the up and comers, started off with “My Generation”.  Some find it too putrid to stomach.  It’s virtually an original song with only the lyrics recognizable.  The riffs and melodies seem otherwise new.  So give Gorky Park some credit for at least not attempting a carbon copy, but then you gotta take off some points for turning “My Generation” into a Bon Motley song.  Unfortunately for Gorky Park, their momentum halted when singer Nikolai Noskov quit in 1990.

Skid Row surprised the hell out of everyone with the Pistols’ “Holidays in the Sun”.  It was the first indication that Skid Row had punk roots.  “Holidays” was very much a look ahead to where they would go on Slave to the Grind.  They were on the punk bandwagon a full two years before Motley decided to cover the Sex Pistols.  It’s always strange to hear flashy metal guitar solos on a Pistols song, but it’s sheer joy to hear Sebastian spitting and screaming up a storm.

Scorpions had a new compilation out called Best of Rockers ‘n’ Ballads.  Another Who song, “I Can’t Explain” was taken from it to be used on this CD.  It is by far the better of the Who covers, as Scorpions really made it their own.  Next, Ozzy’s track is quite interesting.  It’s the only studio recording of the lineup including Zakk Wylde, Randy Castillo, and Geezer Butler.  Geezer quit the band shortly after, and this incredible lineup never recorded anything else.  I consider it the strongest band that Ozzy had after Randy Rhoads.  The quartet did a live sounding cover of “Purple Haze”, unfortunately not the greatest version.  It is at least a showcase for Zakk Wylde to go nuts on the wah-wah pedal.

I will argue that the best track on this album came from the band that was riding a brand new high:  Motley Crue.  Clean and mean, they were incredibly strong in 1989.  They the balls to choose an obscure Tommy Bolin (Deep Purple) solo tune:  “Teaser”.  Motley put on that Dr. Feelgood groove, and Mick Mars laid waste to the land with his slidey guitar goodness.  It’s no surprise that “Teaser” has reappeared on Motley compilations several times since.  It has balls as big as a bus!

Another strong contender is Bon Jovi’s take on Thin Lizzy.  “The Boys are Back in Town” fits seamlessly with that small town New Jersey vibe that Bon Jovi used to have.  Lynott must have had some influence on a young Jon Bon, because all his old tunes are about the boys – back in town!  Dino’s bar and grill could be in Sayreville NJ.  Of course, Bon Jovi are a competent enough band to be able to cover Thin Lizzy and do it well.

Another surprise:  Cinderella doing Janis Joplin.  Singer Tom Keifer suited Joplin, though you don’t immediately associate the two!  “Move Over” takes advantage of that Keifer shriek that isn’t too far removed from Janis.  From there on though, it’s filler.  Jason Bonham, Tico Torres and Mickey Curry do a pretty boring “Moby Dick”.  It’s funny how John Bonham sounds bigger on the original, than three drummers on this remake.  Then it’s a bunch of live jams from the Moscow concert:  “Hound Dog”, “Long Tall Sally”, “Blue Suede Shoes” and “Rock and Roll” (Bonham on drums again for the latter).  Vince Neil is hopelessly out-screamed by Sebastian Bach on the Zep tune.  All the singers participated, but Sebastian Bach and Tom Keifer blew ’em all away.

This disc has been out of print a while, but isn’t too hard to find.  80s rockers need to have it for its historical value.

3/5 stars

REVIEW: Richie Sambora – Stranger In This Town (1991 2 CD deluxe)

scan_20161021-2RICHIE SAMBORA – Stranger In This Town (1991 Mercury 2 CD deluxe)

Bon Jovi went on hiatus after the lengthy New Jersey tour.  Their future appeared uncertain.  Jon had released his first solo album, a soundtrack called Blaze of Glory. Alec John Such was reportedly opening carwashes in Hungary, although that was probably a joke answer in a magazine interview.   Meanwhile, the rest of Bon Jovi (Richie Sambora, David Bryan and Tico Torres) gathered in the studio to record.  With Tony Levin on bass and Chapman Stick, the group assembled Richie’s first solo album, Stranger In This Town.  Although fans were worried about a possible split, there was much excitement for Richie to have a chance to sing his own songs.  Adding to the hype, Eric Clapton appeared as a special guest.  (Randy Jackson played bass on one song, “One Light Burning”.)

Sambora seemed to determine to fly his own colours.  Predominantly, that’s blue, as in the blues.  He also mixed in soul, pop, and rock to create an album that wouldn’t alienate any Bon Jovi fans.  David Bryan contributed songwriting, and there is even one Bon Jovi song in the mix.  It’s not a guitar album, although it need not be stated that the guitar playing on this album is brilliant.  Richie went for feel and atmosphere rather than flash.

This is apparent on opening track “Rest in Peace”.  It’s not really a full-fledged song, but more an introduction to the album.  It even has listening instructions:  “Turn down the lights…light a candle…welcome.”  That doesn’t sound very rock and roll, does it?  But it is good advice.  That’s the kind of album this is.  “Rest in Peace” is loaded with soul, and this merges with the pop rock on “Church of Desire”.  A song like this wouldn’t have worked with Bon Jovi.  It has more soul, and its quiet production lets the music breathe more than Bon Jovi songs do.  It’s a brilliant track, and Richie’s solo just blasts.  Different from Bon Jovi, but accessible for Bon Jovi fans:  it’s an ideal song for a first Sambora album.

The blues single “Stranger In This Town” sounds like something Richie had been aching to do for years.  Backed by a choir of vocalists, this is Richie fulfilling some musical dreams.  Both blues fans and rock fans should enjoy the middle ground where they meet on “Stranger In This Town”.  As a single, it seemed to represent the image Richie was going for.  This album has three singles in a row, making the first side a little more consistently strong.  “Ballad of Youth” was the debut single, combining Bon Jovi’s anthemic melodies with Richie’s new laid-back vibe.  It even has a Bon Jovi-like positive message.  “Don’t waste your life away, thinkin’ ’bout yesterday’s blues.”  The excellent third single was the synth ballad “One Light Burning” which almost sounds like Richie Sambora joined the Cars.  For the programmed sounds and percussion, Richie said they had “about 100 computers” networked together.  Oh, 1991!  Though a ballad, it’s the centerpiece of the album.

It’s possible they intended “Mr. Bluesman” to be the centerpiece, but the lyrics are difficult to digest.  When you write a song as a tribute to your hero, such as this tribute to Eric Clapton, lyrics are always the trick.  Thankfully Mr. Clapton’s guest guitar appearance, though brief, does tell us the story.  Hearing him rip on this blues ballad is like a searchlight cutting through the murky haze.  But here’s the weird thing.  Didn’t Eric find Brian May’s tribute song “Blues Breaker” embarrassing?  Yet he appeared on this ballad?

IMG_20151004_091117“Rosie” is a Bon Jovi song that was heavily bootlegged, from the fruitful New Jersey sessions.  It sounds like Bon Jovi, but Richie’s version has way more guitar.  Unfortunately the Bon Jovi version has never been released.  It was mysteriously not included on the Sons of Beaches demos that came out in 2014, even though the other songs were.  One has to assume Jon didn’t include it on his set because Richie already had his version out.  The next track “River of Love” is a title that has nothing to do with the Bon Jovi demo of the same name.  This is the first and last really greasy rocker on the album.

It’s ballads from there out, but terrific songs nonetheless.  “Father Time” (written with Desmond Child) is a melancholy rock ballad that Jon probably wishes he wrote.  It’s a powerful song, like an amped up “One Light Burning”.  Guitars burn up and down your spine while Sambora soothes your ears with his soulful croon.  Tico and David provide the solid base upon which the song is built.  Their expert chops are essential parts of the entire album.  Things draw to a close on “The Answer”, an acoustic lullaby-like song that has a lot of heart.  A sentimental ballad asking existential questions is an unconventional way to end an album, which is part of what makes it special.

Mercury did something unusual for the era, but very common today.  They released Stranger In This Town as a single CD, and a 2 CD deluxe edition.  The deluxe is housed in a long box, and has two bonus tracks.  At the end of CD is “The Wind Cries Mary”, which saves fans from having to buy the atrocious Ford Fairlane soundtrack on which it originated.  It’s a smoking Hendrix cover, and the best tune on that soundtrack.  On the second CD you will find an almost 20 minute interview with Richie discussing the songs on this album.  No revelations here; it’s really just an extended promo for the album.  Half of it is music anyway…snippets of the same music from disc one!  An OK extra, but the real bonus is “The Wind Cries Mary”.

The final extra, usually missing on the second hand market, is the metal guitar pick shaped pendant.  It has Richie’s solo logo on it, but nobody’s going to be wearing this thing.  All this is packed in the box, which is a beauty but awkward to store.

As an introduction of the “real” Richie to the fans, Stranger In This Town was a success.  He differentiated himself from Bon Jovi, and also proved he could sing an entire album easily.  Critically and commercially, the album was less successful.  There were mixed reviews, with the rock press hung up on the soft songs.  With the benefit of 25 years’ hindsight, Stranger has aged well, better than Bon Jovi itself.

4/5 stars

 

 

REVIEW: Bon Jovi – “This House is Not For Sale” (single)

BON JOVI – “This House is Not For Sale” (2016 Island single)

THE GOOD: Decent song, a little bit of rock, some tasty guitar work from Phil X, very much another Bon Jovi singalong for the working man.

THE BAD: More of the same. We’ve heard Bon Jovi do this exact kind of song many times over the last 15 years. Apparently the addition of Phil X hasn’t injected much new into the sound.

THE UGLY: It’s nice to see Phil X and Hugh McDonald on the cover art…but why did it take 20 years to finally put a picture of Hugh on the cover?

The new Bon Jovi album This House is Not For Sale will be out October 21. It’s far too early to judge, but the lead single doesn’t indicate that much has changed in Jovi Land. If you liked their last bunch of albums (basically everything from Have a Nice Day to Burning Bridges) then you’ll enjoy “This House is Not For Sale”.

3/5 stars

THIS HOUSE