Together and with The Power of We, we can start a revolution. One Soul at a time... ~Jon Bon Jovi *** There's a Story on every street corner, my friend. All you have to do is open your eyes... ~Richie Sambora

Early Incarnation of BJTV?

Saturday, March 26, 2011

Thanks Imp for dropping this bit of jovi goodness in my inbox... check out Richie at 5:33... and here I thought only David played the accordian...

and thanks to bjcrush for sharing this on youtube!


Friday Funnies...

Friday, March 25, 2011

No, I didn't forget, I'm just running a bit behind today...


Story Update...

Thursday, March 24, 2011

I'm sorry for the long delay, but life has been a little crazy lately.  But here it is, the next chapter of New Beginnings.  Thanks for your patience.



Bon Jovi: Kings of the Road?

Kings of the rock 'n' roll road

 Led by 'beautiful' frontman, New Jersey foursome continues to sell out arenas

Where: Rogers Arena
When: Friday-Saturday, 7: 30 p.m.
Tickets: $23.75-$519.50 at Ticketmaster,

A woman was asked why Jon Bon Jovi is back on top. "He's beautiful," she gasped.

Of course, that should have been obvious.

Yet a male might have scoured a round looking for another reason: Bon Jovi's songs have stood the test of time, the group has been well managed, it's been true to itself. Anything.

But there is truth to what she said. It's not for nothing that Jon Bon Jovi has become a staple celebrity on Entertainment Tonight. As superficial and trivial as that TV show is, it follows Bon Jovi more than any other rock 'n' roll celeb.

This in turn can be traced all the way back to 1986 and the album Slippery When Wet, Bon Jovi's breakthrough album. The lead vocalist's explanation for its success might have been simplistic then, but seems to ring true still. He reasoned that women had discovered the band and that discovery automatically doubled its fan base.

"And where women go," he rationalized, "the men follow."

Evidently, the top touring band of 2010 has found a way to keep that fan base. It's been to the band's advantage that Jon Bon Jovi is a selfconfessed workaholic. Even during the band's two hiatuses, dictated by overwork and a need for rest, he has recorded solo albums, maintaining a continuity of nearly 30 years. Also, the band personnel has changed only once in that time, with the replacement of Alec John Sutch with Hugh McDonald in 1994, which has contributed a consistency that fans have come to trust.

Bon Jovi hasn't been fashionable except around the time of Slippery When Wet, when it was the fashion. Every record label wanted a Bon Jovi. For a few years, the band continued to lead. Then, it took a break in 1990 and slipped out of step. In a perverse way, this has meant freedom for Bon Jovi. Instead of chasing after fashion, the band has concentrated on more important things.

This has enabled it to outlast a contemporary such as Cinderella, the grunge movement led by Nirvana, hair bands like L.A. Guns, gossip, or diminishing CD sales, while freeing Bon Jovi to dabble in country-rock or acoustic versions of its hits, expand its range of touring worldwide, promote itself by exploiting new technology, and position itself anywhere it wants. Not trapped by image or time, Jon Bon Jovi has had an acting career and can appear on duet albums with Bruce Springsteen, The Kinks' Ray Davies and others.

The participation in Davies' See My Friends only adds to Jon's profile, while being in the company of Bruce Springsteen underlines his roots. Both Springsteen and Bon Jovi, as well as Springsteen associate Southside Johnny, come from and, pay tribute to, New Jersey. Both got their start in rhythm and blues bar bands but, while the two have diverged, there is still a strong element of R&B showmanship in how they produce a concert or what they do onstage.

The band -Richie Sambora, Tico Torres, David Bryan and McDonald -has built a legacy and been around long enough to witness reassessment.

Glee, a TV show that has become a cultural monitor, this season did a routine based on an early Bon Jovi hit, "Living On a Prayer." By casting the song in a different light, it fostered a renewed appreciation.

Bon Jovi formed in 1983 and was just another big hair and spandex band until 1986 when hits including "You Give Love a Bad Name," "Living On a Prayer" and "Wanted Dead Or Alive" catapulted it to fame and made Slippery When Wet the biggest seller of 1987.

It took a break in 1990 but formed a self-management company in 1991. That was a bold move at the time, but has proven astute by giving Bon Jovi maximum leeway. The band has been able to build itself back up, develop a new audience with the single "It's My Life," take another break with confidence, refresh itself with the acoustic album This Left Feels Right, subtly explore modern country with Lost Highway, and take advantage of new media and technology.

Possibly the only other act that has been so good at promoting itself is the Black Eyed Peas.

Now 130 million albums sold later, Pollstar, a magazine devoted to the touring business, had Bon Jovi netting $70.4 million dollars last year, Billboard magazine placed it at No. 9 of the top touring acts of the decade and current album, The Circle, debuted at No. 1 in the U.S.

In 1992, Bon Jovi released Keep The Faith. It's been true to its word.


Review: Bon Jovi - Energy Solutions Arena, Salt Lake City 3/22/11

Wednesday, March 23, 2011

In EnergySolutions show, Bon Jovi stays the same

At one point during the song “The More Things Change,” Jon Bon Jovi bizarrely took a moment to criticize Eminem, Jay-Z, Justin Bieber and Lady Gaga. He complained that they were all retreads of previous entertainers. But one thing always stayed the same, Bon Jovi added: he and his band, right there on that stage.
He was right. Unfortunately.

The world’s highest-grossing rock band for two of the past three years played a packed EnergySolutions Arena on Tuesday night, one of 135 shows that it will perform during its 2010-2011 world tour. It was an altogether pleasant but unremarkable show, with as many mid-tempo valleys as peaks as the band suffered from a dearth of just plain good rock ’n’ roll songs that get the juices and sweat going.

It is easy to say that Bon Jovi isn’t as good as it once was, but in this case, it seemed true, with the band writing more adult-contemporary and faux-country songs over the past two decades. The most excitement the band generated was when it played its classic-rock anthems, such as “Bad Medicine,” “Lay Your Hands on Me,” “Keep the Faith,” and “Blaze of Glory” — all written before 1992. 

But for every rousing “You Give Love a Bad Name,” there were several midtempo, enervating songs with titles that appeared cribbed from greeting cards or candy hearts: “I’ll Sleep When I’m Dead,” “Born To Be My Baby,” “We Got It Goin’ On,” “We Weren’t Born to Follow.” And the words in the songs were just as trite and uninspiring.

The core of the band — the eternally youthful Jon Bon Jovi, guitarist Richie Sambora, drummer Tico Torres and keyboardist David Bryan — was enthusiastic enough, though, for the most part, the members appeared as if they weren’t about to leave everything on the stage. And despite a sludgy mix that negatively affected Jon’s vocals, his gravelly tenor was in fine form. Sambora’s guitar playing was predictably superb, and the rhythm section was as tight as could be hoped for.

The band was best when it moved beyond the confines of the stage and its own music, especially at a point an hour into the show, when Bon Jovi finally threw off his jacket. He led the band through an epic rendition of “Bad Medicine” that included Roy Orbison’s “Pretty Woman” in the middle. Another nice moment was when Jon moved to a catwalk that separated the VIP seat-holders from the proletariats to croon a convincing version of Leonard Cohen’s “Hallelujah.”

But I soon realized that the reason I liked the Cohen cover so much was because it gave my mind something to chew on. Most Bon Jovi songs are uninteresting lyrically and musically similar in their verse-chorus-verse repetitions. Frankly, for a rock show, I wanted more edgy, heart-palpitating guitar.

Despite the flaws in the show, the stage, lights and screens were always interesting and extremely well-done. Behind the stage were robots that enabled something called RoboScreens, which reportedly used 150 computer programs and 91 different automated axes of motion to create a constantly moving visual element that helped offset the band’s fairly monotonous performance.

You just wish that Bon Jovi didn’t seem so much like … well, robots, who don’t seem to evolve. 


Digital Music to Aid Japan...

Tuesday, March 22, 2011

From NME...

U2, Rihanna, Justin Bieber, Bon Jovi for Japan charity album

Nicki Minaj also set to contribute to digital disc

U2, Rihanna, Bon Jovi, Nicki Minaj and Justin Bieber are set to appear on a charity album to benefit the victims of the recent Japanese earthquakes and tsunami.

Chiefs at record label Universal Music said they hoped that the album would be available globally by the end of this week (beginning March 21), reports BBC News.

They haven't given details of the tracklisting of the album yet, or whether it will feature new material.

Money raised from sales will go to the Japanese Red Cross.

Label bosses are also hoping to sign up Lady Gaga for the project as well as further acts.

Meanwhile, Beady Eye, Primal Scream, Graham Coxon, Paul Weller and more are set to for a benefit gig for victims of the Japan disasters in London next month.


The Band that Never Ends?

Thanks for leaving this bit of loveliness in my inbox TaraLeigh!

From The Vegas Magazine...


A Special Message for Japan...

Monday, March 21, 2011

Thanks to Catte for this!

A special message from Jon Bon Jovi to his Friends in Japan...


Queenie's Loyal Subjects

About Me

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I am and always have been a Bon Jovi fan. This blog is just my obsession taken a step further, my imagination in high gear if you will. I love to read and decided to see what would happen when I took that love of the written word and ramped it up a bit.

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