2 Very Special Bon Jovi Projects

I don't know if anyone made a quote so here it is.

As we all know as researchers, checking those leak versions that we have a long time, we have two diferent recordings for almost every demo versions, one kind of those versions sounds more like a pre-prodution live in studio version and another kind sounds more like each instrument was recorded separated.

Listening to 'homebound' and 'full moon high' from NJ deluxe it seems that they are using those pre-production versions live in studio versions.

The thing is, what about the rest of the material?

I don't believe that they have all songs in the same level of quality as 'love is war' (b-side) and 'let's make it baby' (bonus track from TD), but maybe this material that are going to be released in july 30th are not the best recording, or maybe it is but we still have more songs for future releases.

Based on what though? There's video footage of them recording both Bitter Wine and Prostitute and judging by hair length (I hate myself too for making that point) they were recorded early early on in the process so if Prostitute was recorded early on it's not out of the question to think When She Comes, Lonely at the Top etc were not done at the end but the beginning.

Wasn't Wedding Day released between KTF and TD? Or am I mis-remembering dates.

I haven't got a boat, so I can't answer that question.

yeah, it was mentioned in a Metal Edge interview from 1994. i scanned the article a while back, on here. Jon mentions a couple lines from the track. "This ain't about love, this ain't about money.. this is a drinking song." i'll try and dig up article again. it is an altogether different song, it seems.

Oh awesome, thanks. I'd love to hear this!

There was an article in one of the magazines. Again, I'm testing my memory here but before the interviewer interviewed Jon, he had to wait for them to finish the recording sessions. He writes about it stating that the guys were exhausted, professional, and needed to crank these songs out. They were the last recordings done for the album.

I'm sure someone here could dig it up

I know the article/interview you're talking about, they were talking about the A&M sessions for Always and Someday I'll be Saturday Night. Pretty much done in one take around the time the recording of TD was completed. The TD b-sides were a completely different batch of songs.

no problem

http://s212.photobucket.com/user/pow...?sort=4&page=1

here's the page where he mentions Drinking Song
http://s212.photobucket.com/user/pow...tml?sort=4&o=5

Talk about getting lucky. First try and I found it...

Looks like someone manually retyped this so there are some spelling mistakes but still a great read.

I don't know what to make of this. I thought they were talking about b-sides for TDs but if you read it further they mention Always and Sat Night so maybe those are the live studio recordings we got. I was going off of 20 years of memory and maybe got it wrong.... Check it out!

Bon Jovi, the biggest Rock band in the world, are back with a killer new album! And Steffan Chirazi is in the studio with ‘em as Jon ‘n’ the boys finish the last coupla tracks!
A&M Studios, Los Angeles. Friday March 31. 4.25pm. The very end of Bon Jovi’s ‘These Days’ recording sessions. The door to Studio A swings open and in strides a man with a silly voice and sunglasses complaining with a laugh about being tired. He’s coming on all Mexicano/Italian with these fahnee voice. He is Richie Sambora, Bon Jovi guitarist.
Behind him follows a man quieter but no less fatigued. There are two more b-sides to lay down and he wants to get ‘em done quickly. He is Jon Bon Jovi.
Already in the large control room are drummer Tico Torres, irrespressible keyboard player David Bryan and
bassist Hugh McDonald. McDonald, of course, replaced long-serving bassist Alec John Such last year. He’s done the album and will do the tour, but still isn’t a ‘band member’ in the gang sense, although it’s obvious from his friendship with Jon (he worked on the first Bon Jovi album in 1984) that he is maybe the only person who could have worked out.
Engineer Obie O’Brien, a warm practical joker, is revving up the gears for final ‘off the floor’ recordings of ‘Always’ and ‘Someday I’ll Be Saturday Night’. Obie’s been one of Jon’s best friends from the days when Jon swept the floors of the Powerstation studios. He’s had a hand in engineering most Bon Jovi projects: he just knows how the band tick.
JBJ is vibin’ up the band: ‘Okay guys, let’s do it!“ And in they go, setting up very quickly
”Make yourself comfortable,“ says Jon, suggesting I stay in the room where the band are about to record. So I park myself between McDonald and Bryan as the band lay down each track in one take, off the floor, no f**k-ups registered!
It’s a glorious sight: five people of such consummate musical ability that they need no second chance to get an excellent job done. Masters of their craft, Bon Jovi have just put down the last two b-sides in twenty minutes!
”One more take?“ Asks O’Brien. Jon shakes his head, picks a beer off a nearby flightcase and strikes up a smoke before walking upstairs into the playback room.
Torres and Bryan are both flying back to New Jersey tomorrow. Bryan is relishing his role as father of baby twins while Torres, recently engaged to Wonderbra model Eva Herzigova, has got his pilot’s licence.
Richie Sambora is looking forward to a few weeks off with his new bride Heather Locklear. Jon Bon Jovi meanwhile will spend some more time in Southern California trying to kick back a little before Bon Jovi head over to Europe to play a few small gigs here and there with Van Halen, including a few at Wembley Stadium and some shows with the Rolling Stones. As one does, eh?!

Bon Jovi started as underdogs, became top dogs, were underdogs again and with ‘These Days’ they’re back as top dogs once again.
Proof? Three night at Wembley Stadium in June. But Bon Jovi ain’t slacking off. No, when you’re born with a work ethic, you die with a work ethic.
”We’ve worked very hard with this record,“ sighs Jon Bon Jovi.
Yet, on first listen, ‘These Days’ sounds like it came so easily and naturally that it’s hard to imagine the band sweating over it. But then, great albums always sound effortless.
And ‘These days’ is the ultimate Bon Jovi album, a superb collection of songs from superb songwriters with a few twists in the tail too.
The seeds of this record were sown long ago.
”After the last tour I went off to the Caribbean with my family to chill out,“ says Jon, ”And that’s when I started writing songs for the album! And, before you know it, I’d invited Richie out. So, we ended up drinking a lot and writing a lot together. This was in January of ’94, so it took 11 months of writing and rewriting before we even demoed the songs. We started recording in Nashville but ended up trashing everything because I didn’t like the guitar tones, the tuning, the keyboard parts. Then we came out here and started all over again. We took about 2 weeks out for the Christmas holidays, but I had the tapes all of December - and, being the lunatic that I
am, I couldn’t help but go in the studio! I started doing vocals at home, and hated it! So we came out here to LA, initially as a favour to Richie. He was a newlywed and because of his and Heather’s schedule, he wanted to spend as much time with her as he could because he knew about the heavy touring schedule coming up. I had a house here so it wasn’t any big deal. So we spent January here, did all the guitars, went back to my house for February to finish the vocals, then came back here in March for overdubs and mixing. Overall this record has takes 11 months to write, demo, make. A lotta time!“
Why did Bon Jovi ever go to Nashville in the first place, especially as it seemed to be so unproductive in the end?
”I loved the idea. First of all, we always go away when we make a record. I never considered just staying in my house. I like that whole thing of being a Rock band and going off to work on the album, the five of us. With this one it’s changed a little because of kids, but we wanted to go to Nashville. We’d been there for a week during the greatest hits record and I loved the idea that on every street corner, there’s a songwriter. So we gave it a shot but it didn’t really work out, so we went back to LA. The songs are meant to sound like they’re gonna sound live, that’s all. I have an idea of the kind of guitar tones I’d like Richie to have, he knows how to get ‘em and it’s almost unspoken. Same with the arrangements, same with everything.“
”We did a fine job together,“ Jon purrs with satisfaction, taking a long draw on his cigarette. And with the recording finished at last, Jon begins a track-by-track breakdown of ‘These Days’ exclusively for Kerrang! Readers.

Yep, this is the one I remember. Those two b-sides are specifically labelled as A&M Sessions, I never took it to mean they were all recorded there.