Posts Tagged ‘Jon Bon Jovi’

CD Review: Bon Jovi, “The Circle”

Trends may change and empires may crumble, but at least one thing always seems to stay the same: Bon goddamn Jovi can’t take a dump without it coming out platinum.

During the great hair metal die-off of the early ’90s, Bon Jovi didn’t exactly seem like the first band that should have seen its career fade into an unpleasant, acid-washed memory — they were huger than huge at their peak, and unlike a lot of their peers, they were always more of a straight-ahead commercial rock band than a metal band toning down its act for the Top 40 — but neither did they seem like they had any real long-term commercial viability. When was the last time you watched the video for “Bad Medicine”? It featured dialogue, enough quick cuts to make you throw up before the one-minute mark, trendy saturated colors, and Sam Kinison. The ’80s should have clamped down on Bon Jovi like a bear trap:

But Bon Jovi didn’t tank in the ’90s. No, you know what they did? They released an album in 1992, just as grunge was building momentum and their name recognition was enough to sell two million copies of Keep the Faith. Then they smartly hid out for the rest of the decade, releasing a greatest-hits compilation (1994’s quadruple-platinum Cross Road) and one studio album (1995’s platinum These Days) before re-emerging in the broken musical landscape of the 21st century with 2000’s double-platinum Crush. (more…)

CHART ATTACK!: 8/18/90

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Hi, everybody! Welcome back to another edition of CHART ATTACK! So I’m assuming that every single one of you sat at your computers two Fridays ago, furiously refreshing my Twitter page to follow my exciting adventures at the Jack Wagner concert. What? You didn’t? You guys are jerks. That’s the last time I invite you to…watch me do something. Well, here it is in a nutshell: my two-hour drive wound up taking five hours in the rain and traffic. I showed up halfway through the show, which wasn’t necessarily a bad thing. I shouted for “Right Here Waiting” when he asked for requests and Jeff hit me. Then, he played “All I Need,” and…well, if you haven’t read it already, check out Jeff’s awesome account of the evening.

Anyway, last time we met here, we covered a summer week in 1992. I was convinced there were better weeks within the decade to be found. Let’s see if you agree — here’s the chart for the week ending August 18, 1990!

10. King of Wishful Thinking — Go West Amazon iTunes
9. Cradle of Love — Billy Idol Amazon iTunes
8. Have You Seen Her — M.C. Hammer Amazon iTunes
7. Do Me! — Bell Biv Devoe Amazon iTunes
6. Blaze of Glory — Jon Bon Jovi Amazon iTunes
5. Unskinny Bop — Poison Amazon iTunes
4. The Power — Snap! Amazon iTunes
3. If Wishes Came True — Sweet Sensation Amazon iTunes
2. Come Back to Me — Janet Jackson Amazon iTunes
1. Vision of Love — Mariah Carey Amazon iTunes

10. King of Wishful Thinking — Go West

I’m having a serious debate with myself right now. Do I admit to you that I really like this song a lot? That if it comes on the Lite-FM radio station, I totally won’t turn it off? And after that, do I admit to you that the first compact disc I ever owned was the Pretty Woman soundtrack, followed by Richard Marx’s Repeat Offender? Because if I tell you these things, you might think less of me, and I don’t want you to think less of me. So okay, I won’t tell you. Problem solved.

Go West, consisting of Richard Drummie and Peter Cox, was formed in England in 1982. Although they had a number of hits in their native country, the duo literally hovered around the Top 40 before 1990: “We Close Our Eyes” reached #41 (you can find out more about the single by checking out either Popdose series White Label Wednesday or Bottom Feeders) and “Don’t Look Down — The Sequel” reached #39, leading me to wonder how anybody hits the Top 40 with the word “sequel” in the title. (Only one other artist has done it — if you know who, shout it out in the comments!) It wasn’t until veteran A&R exec and producer Ron Fair included the song on the Pretty Woman soundtrack that Go West received their moment in the spotlight. “King” peaked at #8 and received an ASCAP award as well. You may recall one other Go West song, “Faithful,” aka “King of Wishful Thinking  — The Sequel,” which reached #14 in 1992. Both songs were written by Drummie and Cox in collaboration with Martin Page, the man behind “In the House of Stone and Light.” Go West are still together, although Peter Cox has released a few solo albums — including one that contains his cover of “What a Fool Believes.”

9. Cradle of Love — Billy Idol

If you were watching MTV in the early part of the decade, surely you remember the huge news of Billy Idol’s motorcycle accident: in February of 1990, Idol ran a red light while on his Harley and was hit by a car. He almost lost his right leg; he wound up having a steel rod inserted instead. Billy’s album, Charmed Life and the single, “Cradle of Love,” ended up serving as “comeback” releases for him. They might have been determined as such anyway, as he hadn’t released a truly new album since 1986’s Whiplash Smile and hadn’t released a single since 1987’s live version of “Mony Mony,” from the remix album Vital Idol. The hype surrounding his return to the industry, coupled with inclusion in an overrated movie (The Adventures of Ford Fairlaine) and a tremendously hot video (directed by David Fincher) all helped the song reach #2 in early August. Billy hasn’t reached the Top 40 since then.

Now here’s the bad news: Billy lost two movie roles as a result of his accident. You may have heard about the first one — his role in Oliver Stone’s The Doors was significantly reduced since he couldn’t really walk. But the second role he lost?

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I’m not kidding you. Billy Idol was James Cameron’s first choice to play T-1000 in Terminator 2. It’s totally true!

8. Have You Seen Her — M.C. Hammer

Okay, look. I understand that “U Can’t Touch This” was a huge hit. I’d even call it a deservedly huge hit. It’s awesome. The only thing wrong with it is that it gave Rick James more money for blow. But just because one song is a hit doesn’t automatically mean that every song after it should be given a free pass. This song is just terrible. Absolutely terrible. And even worse, it reached #4, beating “U Can’t Touch This” by four spots. How does “Have You Seen Her” beat “U Can’t Touch This”? This is bullshit. I’m glad he went broke.

I’m not just randomly bitching here. I can back this up.

Jason’s Top Three Reasons Why “Have You Seen Her” Sucks (more…)

How Bad Can It Be?: “Oh Happy Day: An All-Star Music Celebration”

Rock ‘n’ roll and Gospel music have a long and contentious history, traditionally operating at odds to one another; and while it’s tempting to view that divide as entirely racial, that’s a needlessly reductive reading; and so we must guard against the temptation to find racial subtext everywhere.

Let’s look instead at the evidence. Both genres arise from the same musical wellsprings. Both depend on a certain level of ecstasy, although the sources, sacred and profane, are very different. And on a personnel level, there seems to be a competition for resources; Gospel artists who cross over to a mainstream audience often end up leaving sacred music behind, and — more rarely — secular artists such as Little Richard and Al Green have abandoned pop (temporarily or not) after a religious awakening.

When the two forms are hybridized, all too often it becomes a race competition to reach bottom, as lowest-common-denominator signifiers are shoehorned into one genre, like troweling makeup onto a drag queen — only less convincing. There’s more to rock music than a few power chords; there’s more to Gospel than tambourines and wailing vocals.

The multi-artist compilation Oh Happy Day: An All-Star Music Celebration — out this week from EMI/Vector — brings together Gospel and pop performers, and showcases a few ways to try to split the musical difference. Three Doors Down demonstrate what might be called the Foreigner option. The only God being revered in their “Presence of the Lord” is Eric Clapton; it’s played as a straight rocker, with the Soul Children of Chicago choir mixed low, providing color texture — felt, more than heard.

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