3 decades of rock, in convenient bite-sized pieces


#114 - Waltzing Matilda

Artist: Tico Torres
Album: None
Other Versions: Tom Waits, Rod Stewart (also known as "Tom Traubert's Blues")
Era: N/A

This is the closest I'm gonna come to getting Tico for my birthday, so I guess I'll take it.

I can't even begin to describe how much I love Tico's voice. Especially in this one and "Crazy" - it just absolutely takes my breath away. And I can't really define why. I like huskiness, but I've never been a big fan of gravelly voices. And I didn't like it at first, on "Only In My Dreams". But he just about kills me now.

He's passionate. Intensely passionate - he's pouring so much pure emotion into his voice I think it's impossible not to respond to it on some level. I get the same vibe from David and his piano playing. So there we go, it's passion that draws me in. Which is a way better reason than "pretty mans. Oh so pretty."

A testament to that love of passion and intensity is when he goes "it's an old shirt that's stained with A-BUH-LOOD AND HUWHISKEY". Aesthetically, it's probably the low point of his voice in the whole song, but damn does he belt it. Not belt, really, he doesn't get a lot louder, but he just ups the level he's at. Gorgeous, just effing gorgeous.

According to iTunes, I'm on my 34th listen of this song (not counting listening to it on my iPod or anyone else's computer) and I'm just noticing the instruments for the first time. David's playing is amazing here, really, really incredible. He feels it just as much as Tico does. Or at the very least, he gets how much Tico feels it and knows how to bring that across. Fucking piano genius.

This song is incredible, just incredible. Once before I die I need to see Tico sing live. Just once, then I can keel over on the spot. Well, no, I need to see David too. But after BOTH of them, I can keel over dead.

My Rating: 10/10

I'm well aware "In and Out of Love" won the last poll. Next blog I do, we will resume voting.

I don't know if I'm back for good regularly. I think so, but once again, no promises. actually, I can promise you two a week. More than that is omg bonus.

Random thought of the day: David could've been the next Billy Joel. Not that I'd necessarily WANT him to be, but he could've been.



Alright, exams are over (thanks for the well-wishes, by the by) and I'm home.

Problem: At home, we only have wireless internet. My computer (of course, this is how my life works) isn't wireless ready. So until I get what I need, I'm hopping from computer to computer in the house.

I don't want to say there will be no blog until I get my computer settled because I have no idea how long that will be. But I'm still sticking to the "no guarantees except for May 25th" thing.


This week is going to be hectic as Hell. It's the end of the school year, so I've got exams, and packing, and getting the room ready so they don't charge us $150 for having to move around a few pieces of furniture themselves, and traveling, and re-settling in at home, and job hunting and trying to write some stuff for a deadline. So I won't say that there won't be any updates this week, but don't be surprised if there's only one or two between now and the 25th. I'm guaranteeing one on the 25th, but any day before then is a coin toss.


#113 - Rockin' All Over the World (Bon Jovi)

Artist: Bon Jovi
Album: None
Other Versions: John Fogerty, and according to sing365 Springsteen's covered it too
Era: N/A


I don't have a lot to say about this one. According to iTunes, this is the second time I've ever listened to it. Huh.

I don't know the original, so I don't know how it compares.

What I do like about this version is the atmosphere. It feels very laid-back, very spur of the moment. It's chill and it's fun, and it just makes me bob my head and sing along. And it's one of the few bootlegs where when Jon says "David" it doesn't sound like "Debbie". That needs to happen more often, I'm sick of people asking me who Debbie is.

Mmm, piano solo. Not one of my favorite David moments, though, not by a long shot. Part of my problem is the quality of the version I have. It's pretty shitty, and when the piano gets high it messes with whatever this was being recorded on. But still, piano solo. Wheee.

I keep forgetting this exists. The only times I remember it are when it comes up on shuffle, or I'm searching for David's version (5,000+ songs, it's way easier to search than scroll through). It isn't bad, there just isn't anything about it that really stands out.

My Rating: 5/10

David has requested to be taken out of the voting while he still has some pride left (because I totally talk to him all the time. We do each other's hair and dish about boys and eat ice cream). So, let's go with songs from 7800 I actually don't omg love.
  • In and Out of Love
  • (I Don't Wanna Fall) to the Fire


#112 - We All Sleep Alone

Artist: Richie Sambora
Album: None
Other Versions: Cher (and I THINK there MIGHT be two Cher versions. That, or Tico's retarded)
Era: N/A


You guys are dicks. You voted Richie over David. I need to crank up the intensity of the brainwasher.

I don't really think you're dicks. Honest.

Oh, the reason I call Tico (maybe) retarded is I have his stupid cheesy low-budget drumming instructional video (it is incredible - I have David's keyboard video too) and he mentions Cher's "We All Sleep Alone" as a slow ballad-y song. But the only version I've ever heard her do is a really fast, kicked-up, just-this-side-of-techno version. And when Richie sings it, it isn't ballad-y, it's upper mid-tempo. So if there isn't a slower version out there, Tico's retarded. He's the most bad-ass retard ever, but still.

(All this babbling, does she ever plan to actually talk about the song?)


And by that I mean yes.

I like Richie's version of this. Not better than Cher's, but I like them for different reasons. I love the way Richie sings this - very passionate, but still nicely rocking. And I love, love, love Crystal, the back-up singer. She's incredible, and provides this really nice contrast for Richie's voice. When they're doing the "Yeah (yeah)" thing building up into the "oh yeah, alright *syllables*" thing near the end, it's just perfect.

For someone who doesn't know the difference between ballad, mid-tempo, and fast techno-y, Tico plays the drums for this one really well. Another one of the reasons I like this one so much (which is odd, because Tico played on Cher's version, too. It's different, though). And David - I'm glad Richie had David play for him. The two of them mesh incredibly well, playing and writing and such. David and Richie as a team are sorely overlooked and underrated. His part in this isn't glaringly obvious, but when he's there it works.

I like the lyrics to this one, particularly " Independence has come/And into the night I GOOOOOOOOOOOOOOOO". Beautiful, absolutely beautiful.

My Rating: 8/10

What? They're different songs? BUT THEY HAVE THE SAME NAME. HOW CAN THAT BEEE?
  • Rockin' All Over the World (David)
  • Rockin' All Over the World (Bon Jovi)


#111 - Hearts of Stone

Artist: Jon Bon Jovi/Richie Sambora/Southside Johnny/Bobby "Hella-Ass Sideburns" Bandiera
Album: None
Other Versions: Original is Springsteen
Era: N/A (performed in 2001)


One of the things I love about Jon is how honest he is (which is part of the reason I got so mad at the David interview comment - it meant at some point in time, either now or when he was putting together the album credits, he was dishonest). So I love that this has the comments at the beginning about how they stole "Never Say Goodbye" from "Hearts of Stone". And for the record, I don't hear it so much. They both have these quietly intense verses, very emotional choruses, and they're both about how you can't get back the past. That's 90% of power ballads right there. But I really love how, in the video, when Jon says "ohhhh yeah" he smiles one of those smiles where it looks like if he opens his mouth the top half of his head will flap off.

I've never been a huge Southside Johnny fan - not because I don't like him, just because I've never bothered to check him out. And I don't even have a good reason for not checking him out. But mmm does he have a Hella good voice for this - very heartbreaking.

And Jon...oh Lord, Jon just about kills me here. He's so into it, so emotional, it's just incredible. Gets me every freaking time. The awesome thing about covers is you tend to take a lot more care with other people's work than your own - you're paying tribute, you need to show that you're covering it because you respect the song, the message, the artist. Jon's very good at that.

The last chorus, with all three of them in this absolutely KILLER harmony, that's aural death right there. I can't even function when I'm listening to it - I haven't written a single word of this during that last chorus, and I won't start. It just...God. I thought a really good Jon/Richie harmony was the holy grail of heartbreaking harmonies, but add Southside Johnny and good sweet Lord, you're dead.

I can't do justice to this one at all. I can't really put into words how exactly I feel listening to this, I can't get across that I'm sitting here crying for no real reason other than to say it. This hits me right in the gut, just twists my heart around and it hurts but in such a good, good way.

My Rating: 10/10

Sometimes, David and Richie write songs for other people. And then they sing them themselves anyway.
  • This Time (David)
  • We All Sleep Alone (Richie)
You might have noticed I'm doing a fair number of non-album tracks lately. It's because I have a ridiculously uneven amount of album tracks left compared to rarities and covers and such, so I'm trying to level it out a bit. I'll get back to album tracks soon enough.


#110 - Borderline

Artist: Bon Jovi
Album: demo-ed for Slippery, B-Side on some New Jersey single
Other Versions: None
Era: Late 80s "hair metal"


It opens with "ooh-oohs" and a slow build. That is the best sign ever that I am going to like a song. That, and it's cheesy and singable, and disgustingly overblown, and David co-wrote it. It is not physically possible for me to dislike this song.

The ooh-oohs sold me on the song right from the beginning, but I don't like it any less as it turns into an actual song with actual words. I love the way Jon sings, he's so so so intense. This is just a stupid cheesy relationship-going-bad song but goddamn does Jon think it's the most important thing he's ever sung. Especially when he hits the this or thats at the ends of the verses - end of the beginning or beginning of the end, friend of the enemy or enemy of the friend, dream a reality or reality a dream. He just belts those like they're some hardcore deep shit.

This might be the best sing-along song every. You have to get into it, have to clench your fists and wave your arms around and belt it with just as much intensity as Jon does, making all these doofy facial expressions because you're sooo into it. I get the weirdest looks when I'm singing this one, and if you know me that's saying something very big.

The keyboard in the chorus is the best keyboard work ever. Hands down, no contest. It is so exactly what is going on in the song - it's intense and cheesy and overblown and it just fits. I don't think he's ever done keyboard that is the absolute essence of a song so much as he's done it for. When I think "Borderline", I think of the keyboard, then the ooh-oohs, then the vocals.

My Rating: 9/10

Covers. With someone else. Because I say so.
  • Heart of Stone (w/ Southside Johnny)
  • Celluloid Heroes (w/ Ray Davies)
Oh, and it has been confirmed for me that Jon didn't call Tico gay. He said "y el mas macho" which is "he is the manliest". Not that thing where he claims Tico only likes men. But I'm leaving it in the entry because it makes me giggle like an idiot.


#109 - Sympathy

Artist: Bon Jovi
Album: 100,000,000 Bon Jovi Fans Can't Be Wrong (Disc 3)
Other Versions: None
Era: Don't know for certain, assuming KTF/TD, most likely KTF


If I'd known then what I know now about Tico's voice, I would have skipped this one about 30 seconds in. As it was, I was following my rule to go through new cds in order, plus I wanted to build the anticipation for getting to hear someone new (specifically, "that ugly mafia-looking one" [yep, that's what I used to call Tico. I take back the "ugly", but the rest stands]) sing.

But I didn't know, and I followed the rules and listened to it all the way through, and eh. This isn't too bad, just astoundingly mediocre. I think it could have been good - maybe if they'd done it more like "Damned", with horns and shit. This version is so toned-down (and yeah I assume it was never more than a demo, but still) it just doesn't work.

It has a neat singable chorus. Actually the whole thing is kind of singable, lyrically. It's the tempo or the instruments or something that just messes with it. And "taste your empathy" is so hilariously easy to make dirty.

Two good points: "I've never been nobody's Valentine, and you never were a bride to be" is so awesomely bitchy. That is a catfight starter if I ever heard one. And the other is maracas. I love maracas. I think I have some kind of fetish for not-stereotypically-"rock" instruments. David with the accordion just about kills me, I love it when Jon brings out the tambourine, and maracas make me oddly happy. It's just fun to hardcore rock out to something nerd-tacular, or something you played in first grade music class.

I'm estimating they say "sympathy" a kamillion times in the song. It's the title, it's the theme, but come on. Overkill. And there's something off with Jon's voice - it's got that scratch in it that makes my throat hurt to listen to. Not the huskiness he gets when he goes low, it just sounds like he has a throat disease and he's straining his voice.

My Rating: 3/10

#108 1/2 - The Tico Song

Yeah, like I was gonna not write about this.

I just about died laughing first time I heard this, and I didn't even know Tico's name. It's the way Jon and Richie sing it - how they're just laughing through the whole thing. This sounds like something my friends and I would record at 3 in the morning when we've eaten half a chocolate cake and are just a pinch caffeine buzzed. Which is awesome, because it lets me hold on very firmly to my illusion they are all very very good friends first and a band second. And for once, Richie doing a stupid voice doesn't piss me off.

Oh God, and it's David playing the organ. Which is so neat - organ is supposed to be way more serious. Seriously, hardcore awesome. But the best part, hands down, is TICO IS PLAYING THE DRUMS. He plays for the song they are singing ABOUT HIM.

Oh, and the only things they know about Tico: His name, where he's from, he plays the drums, and he is their hero-slash-friend.

And, icing on the cake, according to my little translator thing, "Quiere mas macho" is "he wants but male". He wants only men? Are you SERIOUS?

THEY CALLED TICO GAY IN HIS SONG. While he is sitting there playing drums for them! That is so amazing. Too amazing for words.

His name is Tico
Quiere mas macho
His name is Tico
His name is Tico
He is my hero
(he's my amigo)
He is Cubano
His name Hec-Tico
His name Hec-Tico
(he plays the drum-o)
He is the Cubano
His name Hec-Tico
(he is my friend-o yeeeah)

My Rating: A Million

Ok, and for tomorrow, cheesy unreleased 80s goodness:
  • Does Anybody Really Fall in Love Anymore?
  • Borderline


#108 - Bounce

Artist: Bon Jovi
Album: Bounce (interestingly enough)
Other Versions: None
Era: Early 00s "hard pop"


You know what would be great? If, when they performed this live, Richie just hollered "FUCK!" when Jon was stuttering. And Jon would just shoot him this look, and Richie would be all "who, meeee?"

That would be so, so awesome.

I really didn't like this at all at first. I have this huge aversion to computer effects in rock songs - Jon and Richie have both said they like to write their songs so they can do it with two acoustic guitars or a guitar and a piano, simple like that. They do NOT need effects on Jon's voice and drum machines and weird industrial-ish noises. I can tolerate synth keyboards - not in any song recorded after 1990, though. That's a big part of why I don't like Destination Anywhere (the album), there's so much not real there. "Bounce" to me at first was a kind of eh anthem-ish song that made Jon sound like a 12-year old (the pussyfooting around "fuck"...seriously, who out of middle school thinks it's cool to imply profanity?).

And then I heard it live. Totally, totally blew me away. When they started it, I was kind of disappointed, because I really really didn't like it at that point. But it won me over. Part of it was the atmosphere - this song takes on a new life when you're in the middle of a crowd singing it, fists in the air, and goddammit do you feel that "nothing's gonna keep me down!". And part of it was it was less electronic, of course. Jon's voice was Jon's voice, the instruments were instruments, it was real and that made the lyrics take on a totally new life for me.

When I got home from Boston, I gave the album version another listen. Still didn't like it. This is one that, like "Raise Your Hands" that just needs to be live. Except it could have been done right, they could have done a bare-bones hardish rock song without all the computer-ness and it would have been fine on the album.

I love the "if you're breathing, you know how it feels" and "I'll take the hit but not the fall" (I like it better in "Two Story Town", but it's a line I respond to regardless). I get a giggle out of "this ain't no game, I play it hard" because would it have killed him to put a "but" in there so it made sense? IT'S NOT A GAME, I'M PLAYING IT. I'm sorry, what?

This gets extra points for being so awesome live. Minus several for being flubbed on the album, for recycling lines (as much as I like them) and how fucking juvenile the stuttering is. Seriously, Jon, you're 44 years old. It's okay to swear now.

My Rating: 5/10

Whee, one-word titles that end in y.
  • Sympathy
  • Billy
("Sympathy" gets my vote, even though mine doesn't count)

Oh, and wanna see the two coolest things EVER?



#107 - Dry County

Artist: Bon Jovi
Album: Keep the Faith
Other Versions: None
Era: 90s "moody rock"


First, to realize how cool this song really is, you have to read this little story. Postedo n Dry County, compiled and paraphrased from a bunch of interviews with Richie in the early 00s.
After New Jersey the band got together at the urging of a Japanese concert promoter. Jon and RIchie were each paid 1/2 million dollars US for that one show. The first X-mas show was a warm up for this high paying gig. They only played a handful of songs and parted ways for a good long stretch. Jons physical exhaustion and mental fatigue were very evident. He tried to recharge himself with Young Guns II and got the band together to play for the Academy Awards that year, but the band was unofficially separated at this point. The same promoter in Japan offered them the chance to play Japan again the following year as an exclusive engagement which was billed sometimes in Japan as the last Bon Jovi show. Jon and Richie got a cool 1 million each for this. But afterward Jon said to the band "we can't do this anymore" as he left. Richie released and toured behind his first solo record which he called "the greatest tour of my life". Meanwhile Jon tried a few things to "find himself, and deal with the end of the band". He toured with Southside Johnny as a backup musician and then took a long road trip across the country with a few close friends. In a little town in the middle of nowhere at a hotel where they stopped for the evening Jon headed down to the hotel restaurant for a little nightcap to help him sleep. The restaurant told him they didn't have a bar and when he asked for directions to the closest establishment, he was told that it was over an hour away due to local liquor laws. In the banquet room, still unable to sleep, Jon wrote at the grand piano the song that would save the band, a piano part, 2 verses and the chorus to Dry County. The next morning after breakfast Jon called Richie and left him a mesage on his machine. "Rich, it's me........I'm not ready to give up yet, I should be home in a few days, I got a song I think would be great, can you call the guys and see what they are doing, I think we should try" Richie said he kept the tape from the answering machine and he did hear Jon's song a few days later and it made him cry. "He never wrote a song like that before, it was real grown up music, no tits and ass, no fun and games but powerful", "when I laid down my track it was one take, Jon's voice just led me to the right solo". "Whatever happened that night in the desert changed our course, we were set on being apart" "shit that piano saved the greatest band in the world, (laughs)"
I love that story.

Whenever anyone tells me Bon Jovi are a fluff band, fun music but no real substance, I point them to this song. This is no fluff, no fun, this is entirely substance. Ten minutes of real, serious, thought-provoking, emotion-inducing musical genius.

"Dry County" sucked me in right from the beginning with that piano part. It's kind of low, meandering, it's a slow drift into this story and you want to know what gets that kind of lazy-important buildup.

Then Jon starts singing, and he does that quietly intense thing that no one does as well as he does. Even if you don't listen to the words, let them drift over you and just focus on that tone, Jon is saying something hella important. But you want to listen to the words, 'cause Lord they're good. "Across the border, they turn water into wine." That is one Goddamned awesome intro line. And it doesn't weaken at all as it goes on, like can be a problem with such strong openers. The "we're just born to die" line is a little cheesy, but I'd say that's the song's weakest point, and if the weakest point is "a little cheesy", that's good.

And then when everything kicks in, when it's guitar and drum and piano and Jon's intensity just fucking burns you, and "you can't help but prosper when the streets are paved with gold" it's just...wow. You fucking feel this guy's pain and you want to throw your hands up and holler the chorus right along with him.

The piano in the chorus...oh God, that piano. I will never cease to be impressed with how one instrument in the right hands can just take over your feelings and control you so much for two or three or TEN minutes. Take away the guitar, take away the drums, this song would be just as powerful with just that piano and Jon's voice.

Not to discount the guitar and drums. This is easily Richie's best guitar solo - it's huge and epic and powerful and it's the song all condensed into one instrument. And then the drums kick in and it's like sex - it's the two of them just going at it and they're playing off each other and building and building and building and it is incredible. That kind of interplay, that ability to suck you right in while at the same time having this very sublime personal experience, it's what I want from my music, and holy Hell do they deliver.

And then there it goes, right back down to that amazing piano work and Jon's quiet intensity and it's just what you need after that fucking orgasmic guitar work. Oh God, I just described something Richie did as orgasmic. I'm losing it, people. But that quietness is somehow even more powerful after what you just went through. The big blowout, the extremity of the pain in that guitar and the drumming, it drains you, it drains the man in the song. But he still hurts, still needs to get it out.

This song is a masterpiece, plain and simple. It is every one of them playing at their best, for a song that is writing at its best. And when you realize the impact it had on the band, it only makes it better.

My Rating: 10/10

I'm not sure if you guys are aware, but nothing is going to keep Jon from living his life. But something sure keeps him from saying "fuck".
  • Everyday
  • Bounce


#106 - On A Full Moon

Artist: David Bryan
Album: Lunar Eclipse
Other Versions: None
Era: N/A

This might not be the best day for me to write about David without going into some huge ridiculous rant, but we'll see.

"Full Moon" isn't a happy song, really. But it isn't sad, either. It's...contemplative, I guess. It very much invokes the image of sitting outside on a clear summer night with a full moon and just laying in the grass and thinking about things. And sometimes your thoughts get depressing, and sometimes they're happy, and you don't audit them at all. You just lie there and think things as they come and go completely passive, just watching the sky and letting stuff drift through your head as it will.

I love how this starts. He just kind of pounds the low end of the keyboard and makes you sit up and take notice, then he dances around at the high end, hits the low end again, then he moves on. It is, at the same time, simple and complex. You know how a little kid at a piano just puts all their fingers down at once to hear the "DUNNNNN" at the low end? It's kind of like that, but with this air that comes from David not being a little kid. It isn't unpleasant, it's unexpected and it draws you right in.

I would pay so much money to watch David play for a while. Assuming I had money, of course. Just to sit and watch. Especially this song, because I can see the way his hands are moving very clearly in my mind, and I'd like to see it for real. Plus I'd get a kick out of watching David play when he isn't on stage trying so hard to "rock out".

David's moon thing is interesting. Interesting because watching stuff like Access All Areas and the BJTV segments and any other behind-the-scenes stuff, David's just this big giant goof who you kind of get the feeling never really grew up, but the moon is a very calm sort of thing. And yet he's named his two solo albums after moon things, two of his kids have moon-related middle names, his website has a moon cycles thing. Hell, he did the Moonlight Sonata for that Steinway to Heaven cd. It doesn't totally mesh. Except it works for him, it does. And it's interesting, because it gives you this little glimpse into his personality that isn't there if you just watch him on the aforementioned backstage stuff.

As far as Bon Jovi is concerned, David kind of is the moon. I mean - Jon is the sun, most definitely. He's bright and flashy and if he wants you to notice him you damn well notice him. Richie would be the clouds, and not like the bad "oh no it is going to rain goddammit" clouds, but just clouds. He's the one with the ability to overshadow Jon if he so chooses. And clouds covering the sun is kind of negative, I know, but that's not really how I mean it. And David, he's the moon. Because he depends on the sun for you to even notice him (we all know David wouldn't be famous without Jon) but he is his own thing. And you get a bit more of a chance to study him because he doesn't have to worry about keeping up any image he doesn't want to. He's got all these nuances the sun does have, but you can't see 'em because if the sun de-brightened itself enough for you to really look at it, it'd fuck everything up. So yeah, that's my dorky-ass metaphor. Analogy? Whatever. I have no idea what celestial body Tico is. Something that smokes a lot and could kick your ass.

My Rating: 9/10

My faith in Jon needs a lot of restoring. A lot, lot, lot of restoring.
  • Keep the Faith
  • Dry County
Read my LJ if you want to know why it needs restoring. I don't need to rant about it any more right now.


#105 - I'd Die For You

Artist: Bon Jovi
Album: Slippery When Wet
Other Versions: Acoustic Yokohama 1996
Era: Late 80s "hair metal"

I fell in love with this one right from the first time I heard it. It's got prominent keyboards, anthemic sing-a-long-able vocals, strong backing vocals, pounding drumming, and just a touch of pretentiousness. Good deal.

This is some of David's best keyboard work, hands down. It's vaguely reminiscent of "Runaway", but updated a little, toned down a little, so you get that cool recognizable synthy keyboard sound but not so over-the-top. It's very definitely 80s, but it isn't "haha this is terrible" 80s.

This pre-chorus is some of the best writing they've ever done. It's so big and singable, and it gets that way without resorting to cheesy simplicity. It's a bit smarter than the average hair metal sing along song, but not so smart as to sound like they're trying. It's different and creative and the backing vocals are excellent. Great, great fling your arms out and belt it chunk of song.

Lyrically, the chorus is terrible. "Hey, let's rhyme lie, die, and cry. No one's done that, right? And just for kicks, we'll rhyme you, you, and you." Simplicity is fine, but that's so overkill. The thing is, it doesn't negatively affect the song too much, because that pre-chorus gets you singing so much you don't even notice what utter crap you're singing next.

I have a hard time listening to the acoustic version of this for the same reason I have a hard time listening to "Wanted Dead or Alive" - David. Not that the piano ruins the songs for me, far far from it. It's atmospheric and it gets right to me and really I have a hard time focusing on anything else. And then I get thinking about how fucking talented David is, how integral he is to the Bon Jovi sound - subtle as his parts are sometimes, there are very few songs where you wouldn't notice at all if the keyboards were completely removed - and what a raw deal he gets. And that's no one's fault, it's the nature of the beast. Rock keyboardists just don't garner that much attention. It's just a shitty situation - if fame were doled out based on sheer talent, so much more attention would be paid to him. It's a minor injustice, in the scheme of things, but it bugs me. I'd love for a song David co-wrote to become a huge hit, I'd love for him to release a solo album that makes people go "holy shit that keyboard guy is awesome", but it's not likely to happen. Feh.

Bitching aside, the acoustic version is gorgeous, and this is a song I never would have thought would lend itself to that kind of mellow slowness well. It works, because there's honest emotion in the lyrics and when it's stripped down that all comes through very clearly. At the heart of this synth keyboard/weedly wee guitar/poundy drum/hollered vocals rock anthem is a very simple, very sweet love song.

My Rating: 9/10

Yeah, I just did a solo song yesterday, and a semi-solo song a couple days before that. But eh, I'm obviously in a David mood.
  • On A Full Moon
  • Second Chance


#104 - Little City

Artist: Jon Bon Jovi
Album: Destination Anywhere
Other Versions: None
Era: N/A


There are several things I like about this song. This is one of my favorites from the album, but if I were to rank every solo song by members of Bon Jovi in order of how much I liked them, it'd probably still be near the bottom. It'd be a bit more even if I just ranked all Jon's solo songs, but I don't think it'd be above anything from either of his other two albums. It's a personal taste thing - nothing against the song, just when I'm listening to music for the most part I prefer upbeat-ness.

I like the feel of this one. It kind of reminds me of "Diamond Ring" - it's dark, most certainly not happy, and it's incredibly lush. The production is very thick, it adds a sense of warmth even as the lyrics and Jon's voice are incredibly mundane and cold. It's one of those songs that just wraps around you when you listen to, like a big heavy blanket that kind of weighs you down but not in a bad way. Sort of like the led apron when you get head x-rays. I would like it noted that this is probably the only time in history any of his songs have been compared to getting pictures taken of the inside of someone's skull. But yeah - it's like a led blanket. Heavy and warm and not necessarily good, but not totally unpleasant.

This song is a triumph of stream-of-consciousness writing. If I were a teacher, or just giving someone advice on writin s-o-c, I'd give 'em this and "The One That Got Away" as examples of how to do it right. This is what is going on in Jon's head, given to you straightforward, a very matter-of-fact line of unhappy, disjointed thoughts. "I got my last cigarette, but I ain't got no light" and "In the rearview mirror, I see someone else's hairline" are absolute gems. There's so much said in those few words, so much emotion brought across with very few, very simple images.

I can't stand when he squeaks - "on the ROCK and doing hard time". I don't know what he's doing there, but it's ridiculous. He's a grown man, his voice stopped squeaking long ago. The sha la la las are neat, though.

My Rating: 7/10

It rained here today, and I was wearing these yellow sandals I have. I jumped over a puddle, and my friend asked me if getting my feet wet was really so bad. "Yes," I replied, "because these sandals get really slippery when wet."
  • Without Love
  • I'd Die For You
Oh, and if you happen to look at the comments, Queen of New Orleans actually has more votes, but the last vote was cast after I had already started writing.


#103 - Burning for Love

Artist: Bon Jovi
Album: Bon Jovi
Other Versions: None
Era: early 80s "synth rock"


I shouldn't like this song. No one should like this song. It's cheesy and kind of generic and eh. But I like it, I do.

It's Jon. I like the way he sings it - drawing out some syllables, clipping others. He really messes with the words, and I like it. It's the second verse where he really does this - "Youuu're the vic.timit's. in. your. ey-eyes. Iiiiiii'm the sus.pect. and love's the crime. Ten. sions. mount. ing and bod. ies. ach. ing. Iiiii can't take theantiiiiciiiipaaation."

Because other than the way Jon sings, there's nothing to really set this song apart. How many songs on Earth do you think there are that rhyme "fire" and "desire", use that same "burning for you" kind of thing? Tons. And the guitar riff is cool, but nothing too new. The drumming is a fairly basic rock beat. The piano is nice, but not as good as most of the piano work on the album. It's something you'd expect from a band that's just starting out, not used to each other yet, so I can't be too hard on it.

This is a fun rocker that I have no guilt about occasionally forgetting it exists. Neat to sing along to.

My Rating: 5/10

Here Jon goes again on his own. Going down the only road he's ever known.
  • Little City
  • Queen of New Orleans
And I would like to congratulate Richie Sambora on his spectacular work making the cover of every gossip rag currently stocked in the school's convenience store.