Whenever the Jovi boys drop a new album the same questions are asked; is it a return to their 80's sound? Is it guitar driven? Is it a proper rock record? Regardless of shifting over a hundred million units and selling out stadiums around the globe, most fans still crave the kind of record they haven't delivered since 1992's 'Keep The Faith'. Sure, they still capture that style occasionally, but their evolution into a more contemporary outfit has seen the pop infused rock & roll ditched in favour of an MOR sheen reminiscent of U2, Coldplay and Snow Patrol. Even dabbling in country territory on 2007's 'Lost Highway', much to the dismay of many older fans. On the strength of their twelfth studio album - 'What About Now' – such frustrations will only intensify.
This sounds nothing like vintage Bon Jovi. A hard rock record it ain't. There are no swaggering Sambora riffs propelling the songs. No classic gang chant choruses a la 'You Give Love A Bad Name'. There's a criminal dearth of extended guitar solos. Not even the kind of chest beating ballad that had women swooning back in the day. Essentially, this is such a different band they should probably re-brand themselves like the Labour party did in the 1990's. New Jovi anyone? Maybe liberating themselves from their past would dampen down expectations? Although tongue in cheek, such an idea could be useful because the quality of their output since 2005's 'Have A Nice Day' has been pretty good. As is 'What About Now'. It delivers decent melodies and the kind of spirited 'us against the world' ethos that's been their trademark for nigh on 30 years. The problem is, once it's over the material isn't particularly memorable and there's little likely to be deemed 'classic' in years to come.
First single 'Because We Can' may be a poptastic radio anthem, but it's a stylistic red herring. 'What About Now' is quite a moody affair that's tonally similar to 1995's 'These Days', whilst sounding like a mixture of their 'Lost Highway' and 'The Circle' albums. That's particularly evident on 'I'm With You', a brooding mid tempo ballad with a fist pumping chorus that's shouty and melodic in equal measure. It's one of the album's highlights, along with the excellent 'Army Of One'; unlike anything Bon Jovi have done before, it begins with a light gospel glaze and boasts heavily reverberated choral vocals that are powerfully communal, echoing The Killers 'Hot Fuss' album in the process. It's a shame they didn't pursue this style further as it's a great mixture of the old and the new.
The album's darker feel derives from the global economic meltdown, with Jon trying to ape Springsteen both thematically and lyrically. Whereas 'Wrecking Ball' took angry, cerebral swipes that pulled no punches, Bon Jovi's attempts are less subtle as their endless optimism seeks out hope and redemption. The title track typifies that, with it's U2 meets 'Lost Highway' vibe cruising along on a chiming drive time Americana rhythm. It's an effervescent call for resilience, preaching personal empowerment with a stirring chorus that's guaranteed to banish storm clouds. Likewise, 'That's What The Water Made Me', a slice of open road escapism that embraces the battered beauty of the self, boasting a superbly insistent refrain that'll be bouncing around your head from the first listen. It's decidedly middle of the road as guitars flesh out the songs with rhythmic textures rather than powering them with overdriven riffage, but the melodies are still well constructed, albeit more measured and less bombastic than they used to be. It's difficult not to enjoy these songs, but harder to shake the nagging itch that they aren't particularly remarkable. Solid and entertaining, rather than fizzing with the energetic zest the band built their success on.
Famed for soaring power ballads, the ones here are more restrained than of old, burning like a candle in a dimly lit room rather than packing a grandiose punch. 'Amen' and 'Thick As Thieves' both sizzle slowly to boiling point. The former's acoustic delicacy decorated with plenty of strings and an impressively impassioned vocal from Jon, whilst the latter begins with tender piano work and more swooning orchestration before swelling to a rousing finale. The pick of the bunch, however, is 'Room At The End Of The World', which feels like latter day Tom Petty as covered by Snow Patrol. It's nice hearing them try a different style, but will anybody want to hear these ballads live over the likes of 'Always', 'Bed Of Roses' and 'Never Say Goodbye'? It's doubtful.
The major fault with this record is that Sambora's solos are too short, and that's when he's allowed them. He doesn't get any time to really flex his muscles and some of his leads end so abruptly it's like they've been chopped down in the edit. Utterly baffling. Rousing guitar work in the vein of 'Keep The Faith' or 'Dry County' would have enhanced the songs immeasurably. In fact, where the band sometimes threaten to become another plodding contemporary rock act, Sambora's genius would easily mark them out from the crowd, providing a significant link between their past and present in the process.
Although 'What About Now' is a well produced and performed collection of laid back modern day rock tracks, it's impossible not to pine for the band of old. That isn't to say they should be writing 'Slippery When Wet 2', but rather giving their classic guitar fuelled dynamic a modern day makeover, retaining their core traits and expanding on them. They're certainly capable, as post millennial beauties like 'Bounce', 'Dirty Little Secret', 'Complicated' and 'We Got It Going On' have shown. They just don't want to make a whole album in that style. It's in stark contrast to the likes of Aerosmith, Whitesnake and Van Halen, who've all released scintillating rock albums over the last few years, turning back the clock and proving bands needn't lose their edge and identity as they get older. Bon Jovi should take note. After all, didn't Jon once sing “I'll never grow up and I'll never grow old – blame it on the love of rock & roll”? Maybe this is the sound of a band who've grown too comfortable conforming to the commercial trends of the day? Happily playing it safe, knowing a low risk strategy delivers a guaranteed audience and assured sales figures. Which was something that eluded messers Tyler, Coverdale and Van Halen, in spite of their respective albums superior class.
Taken on it's own merits, 'What About Now' is a solid album, even though it needs a couple of stronger tracks towards the end as it crawls to a rather dull conclusion. But, the shadow of the eighties still looms large, and the strength of the new songs can be summed up by asking how many of them will get on future best of Bon Jovi albums in place of much loved classics? If any.
'What About Now' is available now. For those that miss that classic Bon Jovi sound, check out Stereoboard's latest top ten feature here. Bon Jovi return to to the UK for a stadium tour this summer.
Sat June 8th 2013 - Etihad Stadium, Manchester
Sun June 9th 2013 - Villa Park, Birmingham
Wed June 12th 2013 - Cardiff City Stadium, Cardiff
Thu June 13th 2013 - Stadium Of Light, Sunderland
Sat June 15th 2013 - Slane Castle, Slane
Wed July 3rd 2013 - Hampden Park National Stadium, Glasgow
Fri July 5th 2013 - Hyde Park, London
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This sounds nothing like vintage Bon Jovi. A hard rock record it ain't. There are no swaggering Sambora riffs propelling the songs. No classic gang chant choruses a la 'You Give Love A Bad Name'. There's a criminal dearth of extended guitar solos. Not even the kind of chest beating ballad that had women swooning back in the day. Essentially, this is such a different band they should probably re-brand themselves like the Labour party did in the 1990's. New Jovi anyone? Maybe liberating themselves from their past would dampen down expectations? Although tongue in cheek, such an idea could be useful because the quality of their output since 2005's 'Have A Nice Day' has been pretty good. As is 'What About Now'. It delivers decent melodies and the kind of spirited 'us against the world' ethos that's been their trademark for nigh on 30 years. The problem is, once it's over the material isn't particularly memorable and there's little likely to be deemed 'classic' in years to come.
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