A) It dissociates itself completely from the past (except for the inevitable listless play the old hits, with which one always remembers that they have it) can not be bothered more. In the documentary "When We Were Beuatiful" particularly bad that JBJ because its true face of a "CEOS" a "brand" shows (original sound!), Who has no desire for music but only goes out for chart positions and attendance. And the 80 phase is usually completely concealed. But why? BJ had a band that indeed were at the head of "Hair Bands", yet far more musical substance showed as Poison and consorts. Why distance themselves from it? I do not get it. The audience, which 1995/1996 (including me) still proudly pilgrimage to These Days Tour (the last really horny BJ-disc) and a BJ patch next to a Slayer or Megadeth did not bother on the cowl, is 99.9% away and been replaced by the easy listening audience who Unholy Silvermoon or Pur for the best invention since sliced bread holds.
B) In addition to the indescribably shallow become music it is especially the mega flat Lyrics and the "Working Man" posturing, which has given me this man so unappealing. Taking it to his New Jersey colleagues Bruce certainly from that he has a thing for the working class as it affects JBJ put and dishonest. Especially against the background that BJ the band are that exclude with "Diamond Circle", "Golden Circle" etc tickets for 500 euros and more their VIP supporters, and then put down and their rallying calls for the man on a budget get rid of. This is hypocrisy par excellence.
Anyway, since "It's My Life" (from the end, when they teamed up for me the beginning with boyband co-authors), the music became more shallow and the last discs were interchangeable and listless recorded and "rock" so virtually no trace.
It is also very sad development of Richie Sambora, who was formerly a really creative guitarist, which although it is one unravels years on student combo level and only a tragedy.
Even if it does not want to admit JBJ: BJ are trying to be "relevant" in spite of his insistence (which can be heard in every interview with him) a nostalgia band, people want to hear any new songs but the old ham and were just too well. So was the last CD "The Circle" Riesenflopp and the first BJ CD in the US for the second, which did not even crack the 500,000 mark. Clear, times have changed and BJ will not achieve sales of 80 more, but it's sale technically and artistically steadily downhill and is not by chance.
The new album is no exception, and at least now we can state that the troop has adopted to 110% of the rock music. Throughout the disc is not a single (!!!!) real rock song to listen with a hard guitar riff, the songs sound as designed on the computer and I think I dare to doubt that the band this was at all in the studio together. The drums sound like the entire synthethisch lacquered "Pop" production that every corner and edge circumnavigated not being intrusive to yes. The few very good songs, the last tooth is thus drawn.
But we go to the individual criticisms and we get it over with:
1) Because We Can
Probably the worst BJ Lead single of all time, still used to as an opener. What a tepid pop song at that of Fun's "Some Nights" 1: adopted 1. Certainly, the song is very catchy and you humming it for days in front of him, but this one makes up with tepid pop songs. How could I otherwise read: "The song sounds like" I'll Sleep When I'm Dead "in the retired version". That sums it up. The ultra poor guitar solo that sounds like having Brian May made drunk and can import sets to top it all. Mega embarrassing.
2) I'm With You
The only truly good guitar solo around the wheel there to this song. Unfortunately, the number is so boring and uninspired that it hurts again. In addition, it is also its own cover version of the 2000 number "Two Story Town" to "Crush", unfortunately, a lot was better but 13 years ago. Not really the great thriller.
3) What About Now
The title track is one of the usual 08/15 staying hymns branded "Believe in yourself and you'll". Very poor here the guitar sound of Sambora, the down gambles his boring 3 chords and the ax this sounds like a razor. Awful. The Press Voice of warlords is also very prominent advantage and that's not really meant positively.
4) Pictures Of You
One of the songs, which one could really are "good" for, he would have produced something with more corners. Then you could also go to look away the fact that the song ultimately "In These Arms" copies that counted on "Keep The Faith" to the highlights. Again an indictment of the only decent guitar to be heard.
Good song but a wasted potential for more.
5) Amen
What would a BJ disk without ballads? They used so made good, now there are tracks like "Amen", which sound as if they were taken from a sleep CD for newborns. Probably intended as a response to "Hallelujah", which so disfigured the band for years in the live set. The only thing that I associate with "Amen" that one should pray that the piece is finally over and please never listed.
6) That's What The Water Made Me
The second small bright spot of the plate. Flotter Beat & Drive and good Melodie.Auch here again the guitar quite the background growling (which can never be Sambora) what the song again herunterzieht.Der track with more guitars and a harder production would be really good. So, unfortunately, only a verpoppter rock song, which is not to scare the housewives. Lost opportunity. Even citations there again and this for "Just Older" whose beginning was taken over 100%.
7) What's Left Of Me
Had been "Someday I'll be Saturday Night" not already written in 1994, could be stamped as original and well the song perfectly. So it's own cover version garnished with Country of my personal nightmare album "Lost Highway". Skip ....
8) Army Of One
The only track that you can certify a certain originality, even if the keyboard intro of "Lay Your Hands On Me" comes. But other than that a good song with a - surprise, surprise - a long (!!) guitar solo at the end. The best song of the disc.
9) Thick As Thieves
Time again for a bombastic ballad in the style of "Thank You for Loving Me" with embarrassing lyrics. "If I robbed a bank you would not care you d come sit on my lap on the electric chair and When They Pull the switch we just kiss" - really Jon? Musically adapts the on the Rosamunde Pilcher-shallow level and will hopefully be soon forgotten.
10) Beautiful World
Bon Jovi goes PINK. This is a song that could have come from Pink. What would sound quite charming with her acts at BJ as if the 80 year old grandpa suddenly the guitar takes on a wedding party at hand and a pop song sings. What is this? And here again the unspeakably plates lyrics about how great everything is. This could also Hartmut Engler wrote only not in so glued shallow prose as our New Jersey Ex-Rocker. Needless to say that the song musically nothing on the pan, guitars are nowhere to be found to hear and you're lucky if the tragedy is over.
11) Room At The End Of The World
The next shallow slip. When the end of the world is so terribly like this song, I never want to get there. Unlike the previous shallow songs on the CD that does not even have a chorus to whistle along and goes completely down the drain. More is about to say.
12) The Fighter
Well done: Were the above songs already partially lifted at the pain threshold so have the guys the worst song at the very end. When trying to Bruce Springsteen's "The Wrestler" to tie, JBJ is really all on the wall what he has to offer: An ultra kitschy noel chorus sung with the weinerlichsten voice he has anno 2013 plan. This song would bring an entire cattery to whine. Underground !. Where Springsteen with wandering guitar and charismatic vocals delivers magic, this is probably by far the worst BJ song that was ever immortalized on plastic.
13) Bonus Tracks:
About the bonus tracks one is fast away: "With These Two Hands" is also a fleet and naturally shallow pop Schunkel number that is as far away from such a thing as "claim" something like the South Pole from the North Pole. "Not Running Anymore" and "Old Habits Die Hard" are solo songs in the style of "The Fighter" only not quite so bad (but close). The only acceptable track remains then "Into The Echo", but also spread again through its shallow mega style after the second or third listening boredom.
What "Every Road Leads Home To You" has lost on the plate, I now do not know, it is but loosely around a Sambora solo song by his unsuccessful concoction "Aftermath Of The Lowdown", which "What About Now" anyway inserted into the pocket.
Conclusion:
Bon Jovi have music now "demanding" final adoption of rock music or even from the remotest sense music and deliver with "What About Now" to "Lost Highway" and "This Left Feels Right" their weakest disc at all from. The (rock) band that existed until 1995, no longer exists and I've heard a rare pleasure looser and kalkulierteres album like this. The whole sounds like "oh we have to make an album - na dann mal los but as quickly as possible" and not for a band album. The artificial production relies on the full horror nor the crown and so although nice pop melodies, but they are frighteningly shallow and a former world-class rock band are unworthy stay. Sometimes one wonders while listening if you want to be really serious.
That the new target audience is a completely different shows also a (not gefakter!) Snapshot of the last US concert: The music has become so boring that the grannies even bored on the front row and start knitting.
There is nothing to add - AMEN (or RIP)
Martin
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