BON JOVI: CRUSH (2000)
1) It's My Life; 2) Say It
Isn't So; 3) Thank You For Loving Me; 4) Two Story Town; 5) Next 100 Years; 6)
Just Older; 7) Mystery Train; 8) Save The World; 9) Captain Crash & The
Beauty Queen From Mars; 10) She's Mystery; 11) I Got The Girl; 12) One Wild
Night; 13*) I Could Make A Living Out Of Lovin' You.
Thirty-eight is not an age to joke about — for
some people, the nostalgic pull is stronger than ever around that particular time,
and Crush is the first Bon Jovi
album to ride the nostalgia vibe real seriously. Textual, musical, and
atmospheric references to past idols abound here — the Beatles, Bowie, James
Brown, and, of course, the young Bon Jovi themselves: ʽIt's My Lifeʼ opens the
record with unmistakeable references to ʽLivin' On A Prayerʼ — in the reference
to "Tommy and Gina", and in The Return Of The Son Of The Talkbox. On
the whole, for the first time in his life, Jon seems to be looking backwards in
his career rather than forward. Could this help to improve the music,
considering how it had mostly been awful all the time he had been looking
forward? Will the Beatles help?..
Not bloody likely. Given that «Bon Jovi» is
really a disease, the best we can do about it is to keep it relatively harmless
— sometimes even slightly enjoyable, as in a nice light warm fever when we are
looking for an excuse to not get out of bed. From that point of view, Crush alternates between sickly
convalescence, when the mind is no longer delirious but still too weak to
pursue a serious course of action, and occasional painful relapses — whenever,
for example, the band strikes up yet another «knight-in-shining-armor»-type
power ballad (I am still trying to figure out which one makes for more
efficient torture — ʽThank You For Loving Meʼ or ʽSave The Worldʼ; current bets
are on the latter, if only for the atrocious lyrical metaphors: "I wasn't
born a rich man / I ain't got no pedigree / The sweat on this old collar /
That's my Ph.D.").
But there are some interesting lines of
experimentation. The album's most ambitious undertaking is ʽNext 100 Yearsʼ, an
epic anthem with grand harmonies à la ʽHey Judeʼ and swooping psychedelic
orchestration that also apes the Fab Four circa 1967 (a few string lines are
lifted almost directly from ʽI Am The Walrusʼ). Although the main part of the
song is rather boring, the instrumental coda, especially when the tempo is
accelerated and Sambora steps in with a harsh, but melodic solo, merging the
borders between orchestral art-pop and hard rock, for a few minutes I manage to
almost forget about what band it is that I am listening to. At the very least,
ʽNext 100 Yearsʼ is miles above any overtly sentimental power pop ballad they
ever did.
Another «kinda fun» track is ʽCaptain Crash
& The Beauty Queen From Marsʼ, the band's tribute to the classic era of
glam rock whose title by itself, as you can see, is immediately associated with
Elton John and David Bowie at the same time. Nothing particularly inspiring
about the generic midtempo rock melody of the song, but its nostalgic flair is
surprisingly free of irritants — even the allusive line about "dressed up
just like Ziggy but he couldn't play guitar" is funny, especially if you
take it to be self-referential. And if I am not mistaken, ʽI Got The Girlʼ is
an intentional attempt to write (and even sing!) a song in the style of Tom
Petty's ʽAmerican Girlʼ or the like, and if you ask me, it's a big relief to
hear it bounce and rock like that after the first verse has just threatened
your life with the perspectives of yet another
power ballad. In other words, if retrograde nostalgia results in unpredictable
surprises, so be it.
That said, three decent songs are not enough to
make up for a good album — which is still being dragged down, not just by the
ballads, but also by stuff like ʽIt's My Lifeʼ (where the talkbox sounds stupid
rather than scary, and the chorus is even more pedestrian than the one in
ʽPrayerʼ) and the neo-country-rock of ʽMystery Trainʼ (no relation to the Elvis
classic). At least, with all this nostalgic flavor, they had the good sense to
end the record with a throwback to the good old days of totally dumb hair metal
— ʽOne Wild Nightʼ is just the kind of song that goes perfectly well hand in
hand with lion manes, freaky outfits, and flying over the stage with golden sparks
rattling off the sides of your guitar. So, generally speaking, Crush is an improvement over These Days — a little less pretense, a
little more surprise, maybe showing a little more maturity and sensibility to
the band, but the tasteless parts and the boring parts stay as tasteless and
boring as they'd ever been. Hey, God bless nostalgia in the children of the
1960s and early 1970s — at least it shows how growing up on the Beatles and
David Bowie was healthier for the spirit than growing up on Bon Jovi.
Well, this review is a pleasant surprise. Going by that awful single, I was expecting the worst - a solid hour of '80s cheese-rock, but with the Backstreet Britney Bastard himself as the corporate hack wingman du jour. Given what might have been, it's a miracle that this thing could be as "relatively harmless" as you've described.
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