Just found out this video by Richie Sambora with Orianthi.
I love it.
2017.10.31
Soundstage - Grainger Studios, Chicago, IL. USA
Richie Sambora ft Orianthi - i'll be there for you (Soundstage 2017) - RSO
Showing posts with label Richie Sambora. Show all posts
Showing posts with label Richie Sambora. Show all posts
Sunday, March 24, 2019
Richie Sambora (Ft. Orianthi) - I'll Be There For You (Soundstage 2017) - RSO
Tuesday, January 20, 2015
Richie Sambora, 2015-01-20 - Ultimate Classic Rock, Richie Sambora On His Split With Bon Jovi, Working With Orianthi + New Music
http://ultimateclassicrock.com/richie-sambora-interview-2015/
Looking back on his impressive run with Bon Jovi, guitarist Richie Sambora is quick to acknowledge that it was a really satisfying experience. “You have your first No. 1 record, your first hit single and then we had the second one and the 10th one and then you play all of the stadiums,” he tells us. “It’s just insane. It was an insane ride. Thirty years is a good run for anything. Keeping a band together for 30 years is not the easiest thing to do in the world, and we worked really hard at it.”
While plenty of bands faltered as new musical trends came and went, Bon Jovi kept a secure lock on popularity, continuing to play sold-out shows around the world. As one of the primary songwriters for the group — Sambora and collaborator Jon Bon Jovi were inducted into the Songwriters Hall of Fame in 2009 — he believes that there’s a pretty simple reason that the group was able to maintain that intense level of global popularity.
“I think [it was about] good songs and the authenticity didn’t really change. You know, you can’t all of a sudden [be] Bon Jovi and turn into f–in’ Pink Floyd! Some bands try that and it doesn’t work. Stick to who you are and be authentic — I think that was a big part of it — and then just go out there and work,” Sambora says. “I don’t care what band you’re in — you’re a live band, you’ve got to go out there and prove it every night, and we did. We kept on working really, really hard. It was all hard work and that work ethic never stopped. We’re blue-collar kids at heart.”
Eventually, Sambora came to a point where he wanted to explore different musical paths. He started that journey in 2013 when he stepped away from his duties with Bon Jovi and came home. “I just needed some kind of change,” he says. “It’s not about money; it’s about music.” He found an important musical ally when he met Orianthi, the flashy Australian guitarist who has been turning plenty of heads with her fretwork, notably working with Michael Jackson and Alice Cooper. As he told Ultimate Classic Rock, the pair have been inseparable since they met and began working together a year ago.
Recently, they filmed an appearance together on the public television series ‘Front & Center,’ which captured Sambora’s first New York solo appearance in nearly 25 years. The performance finds Sambora performing tracks from his 2012 solo album, ‘Aftermath of the Lowdown,’ some select favorites from the Bon Jovi catalog and also paying tribute to his longtime mentor and friend, the late Les Paul. We spoke with Sambora about the show, which was recorded at the Iridium, and he also gave us the inside details on the new music that he and Orianthi are currently working on …
You and Orianthi have been keeping really busy.
You know what, I’ll tell you, we’ve played so many shows in so many places. It’s been kind of a whirlwind, between the writing process and working with other artists and just us getting to know each other as artists and musicians and touring.
We did the Soundwave Festival down here, but we also headlined theaters in every city that we were in and then [it was] the same thing throughout Europe. We did London Calling and some other festivals out there. We went to Germany and different places and also headlined theaters everywhere there, sold those out too and then we went up and played Summer Sonic in Japan and a gig in South Korea. Everything was like 70 thousand people and we got it with no product, which is kind of surprising that Ori and I were able to get up there and we were second on the bill. We were killing it. We were knocking ‘em dead.
That’s the interesting thing that I feel somehow is missing in music today is people actually having a musical conversation and jamming onstage, having some improvisation happen. I demand that, because I was obviously starved for that a lot in Bon Jovi. I mean, you’re pretty much in that frame and that’s it.
So now I can go out there and both of us, we just feel each other’s rhythms and grooves at the same point. From the first time we ever went out onstage together, it was just a magical thing and everybody saw it. From there, we just kept on going. What’s happening now is that both of our musical views, Ori’s and mine, we’re kind of bringing a lot of people together and it’s becoming interesting.
Because when you’re in a band that’s that big [like Bon Jovi], it takes a lot of time. You don’t even have the time to actually have a foray and any kind of clear process with anybody else, because you’re so busy and you’re on the road. You know, because those tours were massive. The last tour that I did with Bon Jovi was like 18-and-a-half months and 52 countries — not cities. It takes forever. Nobody’s complaining; it’s a dream gig for a musician, But, now there’s a new found freedom which is really, really nice. So we’re breaking out, you know?
Your chops as a guitar player are well-known and documented at this point. It’s really something to throw Ori into that mix. It had to be a lot of fun for you, working that out.
Oh yeah. Honestly, it’s just organic, really. There really was no work, to be honest with you. I mean, we were good from [the first moment]. And honestly, I’ve never run into this in my life. Never. We were just good right off the bat. That was it. We just felt each other the same way and I think both of us were going, “Wow.” Instinctively, it was just really, really crazy. I think people can go, well, I’m just the guitar player in Bon Jovi and she’s the guitar player from Michael Jackson or something — that’s how it can be perceived, quote/unquote.
But look, I used to be a lead singer in all of the bands I was in in my life, so I think I sing pretty well and she sings great. When we sing together, it’s awesome. We’re on a different groove now and I think with this new record that we’re doing, we’re going to be able to cover a lot of ground genre-wise, because we can take it from two acoustic guitars to the heaviest sh-t you’ve ever heard.
You mentioned the album that you’re working on. I’ve heard that you’ve got about 60 songs cooking for this thing, allegedly. That’s a healthy base of material to be working with. Is that normal for you to write that many songs for a project?
No. But like I said, as you go along — it’s been 11 months now — we’ve been pretty much inseparable and we’re always just sitting around jamming. We pick up a couple of guitars and it’s a daily thing.
Do you have anything mapped out as far as when you might put something out?
I don’t know when it’s going to be out. When it’s done it will be out. We started recording right at the beginning of January. We wanted to put it down sooner than that and then all of the holidays came up and then you get a lot of philanthropic things that I do and Ori does and people get busy, you know? People are wrapping up their fourth quarters and all of that kind of stuff. We were going to try to get in there and throw a couple of songs down before the end of year and I said, “No, don’t rush it.”
We’ve got the material — I’ve checked — I have people that tell me the truth and they don’t bullsh-t me, my friends that are great producers. We hit a nerve about probably 20 songs in that we knew we were onto something. I think those 20 are really good songs, but stylistically we started to hit our vein around 20 in and it just kept getting better and better and then we were just bouncing [songs] off of my producer friends, Dave Stewart, Bob Rock, Michael Bearden — just great people.
Who were the guys in the band that you used on this ‘Front & Center’ gig?
Some of them played on my last record ‘Aftermath of the Lowdown’ and a couple of guys, you know, sometimes people take other gigs. My drummer Aaron Sterling is an amazing drummer; he was playing for [John] Mayer for a while, so I got this guy Victor Indrizzo who is awesome. He’s an awesome drummer. Even in that little room, I mean, this room is small. There was not a lot of room for me to be a showman or do anything, but the music speaks for itself. Everybody was playing and singing their ass off. There was no overdubs — that’s it.
It’s very real. It had to be cool for you to play that room and get a chance to celebrate and remember Les Paul. Certainly, that’s a venue that had a special connection with Les, so it had to be really cool to be playing there.
I was choked up. Because I put his seat [on the stage]. His son had his seat — you know, I was family. It was further than friendship, further than musicianship. We hung out and talked about real sh-t besides music. He and I were very, very close. When I met him, a friend of mine brought him over to my house for my birthday one year. He showed up with Les Paul and Les gave me this amazingly beautiful white Les Paul that he wound the pickups for me and everything.
It was like the fairy godmother coming down and hitting you in the head with a wand, you know? [Laughs.] That was the first time I ever played it live [on ‘Front & Center’] — I’ve used it many times in the studio, but I’d never taken it out live. So I’m sitting there and Les’ chair is right next to me and there’s this really great picture of him that his son brought me and I’m playing the guitar that he gave me. I got choked up, man. I did. I miss him. He was 93, but he wasn’t 93 — not in his head. He was sharp as a tack and he was still playing. So we played together a lot. It was a pretty touching moment.
I’m here in Cleveland and got a chance to see him play at the tribute show that the Rock and Roll Hall of Fame presented in his honor not long before he passed. I know you were there. It was a great night and it was great to see him play.
You know, that evening after the show, I was in my room and Rusty, his son, calls up and says, “Hey, Pop wants to see you. Come on up here.” We ended up being there for like three hours, just eating and shooting the sh-t. That’s the way it was with Les. There was no boundaries, and we’d talk about anything. I just had an amazing relationship with him. Who the hell does that? You know? It’s like I’m blessed. It was great to do that.
You’ve been opening some of your recent shows, including this one, with a cover of Leon Russell’s ‘A Song For You.’ What brought that one into the setlist?
I sat down at the piano one day and started playing it, and I went, “Damn, I wish I wrote that song” and I said, “Well, I’m going to do it, anyway!” You know, the interesting thing about it, I thought if I walked out without the guitar, as the singer, it would change the perception immediately. I think that’s an important part of what needs to happen. You know, when you’re attached to these huge projects and bands and stuff, people have this perception of what the complexion of that looks like, whether it be a sonic complexion or a physical complexion or a general complexion of who you are as a person.
Everyone has their perceived notion of that, and Ori and I just want to be recognized as our own artists at this point. I think that we both have earned it, at least a shot at it — because if it doesn’t pay through, it doesn’t pay through. But I don’t think that’s going to happen. First of all, the songs are just really, really great and I’m going to surround this with a lot of talent and we’re going to make a record that people should be curious to hear because it’s truly an anomaly: It’s me and her. I said something in an interview the other day, I said, “You know, in my perception, I think she’s probably the best female guitar player on the planet and on any given night, she’s the best guitar player on the planet.”
The interesting thing is our voices together and there’s a relationship and all kinds of great energy that’s happening that you’re not going to see anywhere else, because nobody’s doing it. She’s my partner — I get it — that’s going to be the project right there. It’s really our two personalities that are driving this boat and everything we’ve learned. Lord knows, I’ve learned a lot. I’ve done everything in this business from being the manager to being the producer to record company president to songwriting — everything. The last 30 years, I’ve been all of those three times over, so I have a lot of experience and she’s got a ton of experience herself.
She’s a dynamite producer herself, she can run a board like nobody else, knows what to do, plays her ass off, sings her ass off, writes her ass off — she’s great. We’ve all got a lot of friends too, which is great. It’s very communal. My house out in California, Lord knows who is going to walk through that door. We have dinner parties sometimes, and it’s Gregg Allman, Dave Stewart, Stevie Wonder. It’s crazy and so wonderful. Then her friends come by and she’s got a bevy of them, like Tal [Wilkenfield], who plays bass with Jeff Beck and sh-t, she’s over at the house jamming. Brooklyn Allman, we just wrote a couple of songs with her and took her in the studio. That reminds me, I gotta mix that sh-t. She’s going to be somebody to watch.
When you’re laying stuff down, do you keep things pretty organic, or are you not afraid to build it up, depending on what the song calls for?
You know what? I’m into the deconstruction of things these days. I am utilizing space as much as I can. Piling up would decrease that and I think the more personality that you can give it — I mean, look, there are tracks that are going to be massive [with] guitars, because we want to do that. That’s what we do! The songs call for that. Then there’s other tracks that you’re very minimalist [with the approach]. There will be a good range, between the 60 songs and everything that we have.
We’ll be able to sift through what’s going to be this record, you know, because there’s two records here for sure. Right now, I can make two records, easily. Maybe one record. Like, I have this cockamamie idea — I have a pretty big house in California and I have this giant foyer with marble flooring and very high ceilings and the reverb and everything for singing and playing. Acoustic instruments, though. You bring electric stuff in there, it’s going to start being boomy. You know, put a piano in there and maybe an upright bass or a small bass rig and a couple of acoustic guitars and some percussion. It could be an interesting way to go about making a more acoustic album also.
I don’t know which way it’s turning now. I’m not really sure. We’re just going to get a studio and start cutting and see where we’re at. You know, get a bunch of musicians, all of our friends, because we’ve all played together in my house so many times now. I’m waiting on it, waiting on a dream.
That’s a good place to be. Because as you’ve said, you’ve kind of been known for one thing and it’s got to be great to be able to just break out and do whatever.
Obviously, look, as a songwriter, I certainly know when that cake is baked. I just won’t write a bad song anymore. I’ll just throw it out and I’ll stop halfway through. I mean, if you listen to my solo albums, really, those songs are pretty-good sized stories lyrically and melodically. They’re pretty much all in the ballpark.
Whether you like it or not, is one thing, whether stylistically it’s your bag. But from a songwriting perspective, I made sure. I’m the the police when it comes to that. That’s how I got inducted into the Songwriters Hall of Fame, man! [Laughs.]
Richie Sambora On His Split With Bon Jovi, Working With Orianthi + New Music
Richie Sambora - Front And Center - "Every Road Leads Home To You" Live Video
Looking back on his impressive run with Bon Jovi, guitarist Richie Sambora is quick to acknowledge that it was a really satisfying experience. “You have your first No. 1 record, your first hit single and then we had the second one and the 10th one and then you play all of the stadiums,” he tells us. “It’s just insane. It was an insane ride. Thirty years is a good run for anything. Keeping a band together for 30 years is not the easiest thing to do in the world, and we worked really hard at it.”
While plenty of bands faltered as new musical trends came and went, Bon Jovi kept a secure lock on popularity, continuing to play sold-out shows around the world. As one of the primary songwriters for the group — Sambora and collaborator Jon Bon Jovi were inducted into the Songwriters Hall of Fame in 2009 — he believes that there’s a pretty simple reason that the group was able to maintain that intense level of global popularity.
“I think [it was about] good songs and the authenticity didn’t really change. You know, you can’t all of a sudden [be] Bon Jovi and turn into f–in’ Pink Floyd! Some bands try that and it doesn’t work. Stick to who you are and be authentic — I think that was a big part of it — and then just go out there and work,” Sambora says. “I don’t care what band you’re in — you’re a live band, you’ve got to go out there and prove it every night, and we did. We kept on working really, really hard. It was all hard work and that work ethic never stopped. We’re blue-collar kids at heart.”
Eventually, Sambora came to a point where he wanted to explore different musical paths. He started that journey in 2013 when he stepped away from his duties with Bon Jovi and came home. “I just needed some kind of change,” he says. “It’s not about money; it’s about music.” He found an important musical ally when he met Orianthi, the flashy Australian guitarist who has been turning plenty of heads with her fretwork, notably working with Michael Jackson and Alice Cooper. As he told Ultimate Classic Rock, the pair have been inseparable since they met and began working together a year ago.
Recently, they filmed an appearance together on the public television series ‘Front & Center,’ which captured Sambora’s first New York solo appearance in nearly 25 years. The performance finds Sambora performing tracks from his 2012 solo album, ‘Aftermath of the Lowdown,’ some select favorites from the Bon Jovi catalog and also paying tribute to his longtime mentor and friend, the late Les Paul. We spoke with Sambora about the show, which was recorded at the Iridium, and he also gave us the inside details on the new music that he and Orianthi are currently working on …
Listen to Richie Sambora Perform ‘Weathering the Storm’
You and Orianthi have been keeping really busy.
You know what, I’ll tell you, we’ve played so many shows in so many places. It’s been kind of a whirlwind, between the writing process and working with other artists and just us getting to know each other as artists and musicians and touring.
We did the Soundwave Festival down here, but we also headlined theaters in every city that we were in and then [it was] the same thing throughout Europe. We did London Calling and some other festivals out there. We went to Germany and different places and also headlined theaters everywhere there, sold those out too and then we went up and played Summer Sonic in Japan and a gig in South Korea. Everything was like 70 thousand people and we got it with no product, which is kind of surprising that Ori and I were able to get up there and we were second on the bill. We were killing it. We were knocking ‘em dead.
That’s the interesting thing that I feel somehow is missing in music today is people actually having a musical conversation and jamming onstage, having some improvisation happen. I demand that, because I was obviously starved for that a lot in Bon Jovi. I mean, you’re pretty much in that frame and that’s it.
So now I can go out there and both of us, we just feel each other’s rhythms and grooves at the same point. From the first time we ever went out onstage together, it was just a magical thing and everybody saw it. From there, we just kept on going. What’s happening now is that both of our musical views, Ori’s and mine, we’re kind of bringing a lot of people together and it’s becoming interesting.
Because when you’re in a band that’s that big [like Bon Jovi], it takes a lot of time. You don’t even have the time to actually have a foray and any kind of clear process with anybody else, because you’re so busy and you’re on the road. You know, because those tours were massive. The last tour that I did with Bon Jovi was like 18-and-a-half months and 52 countries — not cities. It takes forever. Nobody’s complaining; it’s a dream gig for a musician, But, now there’s a new found freedom which is really, really nice. So we’re breaking out, you know?
Your chops as a guitar player are well-known and documented at this point. It’s really something to throw Ori into that mix. It had to be a lot of fun for you, working that out.
Oh yeah. Honestly, it’s just organic, really. There really was no work, to be honest with you. I mean, we were good from [the first moment]. And honestly, I’ve never run into this in my life. Never. We were just good right off the bat. That was it. We just felt each other the same way and I think both of us were going, “Wow.” Instinctively, it was just really, really crazy. I think people can go, well, I’m just the guitar player in Bon Jovi and she’s the guitar player from Michael Jackson or something — that’s how it can be perceived, quote/unquote.
But look, I used to be a lead singer in all of the bands I was in in my life, so I think I sing pretty well and she sings great. When we sing together, it’s awesome. We’re on a different groove now and I think with this new record that we’re doing, we’re going to be able to cover a lot of ground genre-wise, because we can take it from two acoustic guitars to the heaviest sh-t you’ve ever heard.
Watch Richie Sambora Play An Acoustic Set With Orianthi
You mentioned the album that you’re working on. I’ve heard that you’ve got about 60 songs cooking for this thing, allegedly. That’s a healthy base of material to be working with. Is that normal for you to write that many songs for a project?
No. But like I said, as you go along — it’s been 11 months now — we’ve been pretty much inseparable and we’re always just sitting around jamming. We pick up a couple of guitars and it’s a daily thing.
Do you have anything mapped out as far as when you might put something out?
I don’t know when it’s going to be out. When it’s done it will be out. We started recording right at the beginning of January. We wanted to put it down sooner than that and then all of the holidays came up and then you get a lot of philanthropic things that I do and Ori does and people get busy, you know? People are wrapping up their fourth quarters and all of that kind of stuff. We were going to try to get in there and throw a couple of songs down before the end of year and I said, “No, don’t rush it.”
We’ve got the material — I’ve checked — I have people that tell me the truth and they don’t bullsh-t me, my friends that are great producers. We hit a nerve about probably 20 songs in that we knew we were onto something. I think those 20 are really good songs, but stylistically we started to hit our vein around 20 in and it just kept getting better and better and then we were just bouncing [songs] off of my producer friends, Dave Stewart, Bob Rock, Michael Bearden — just great people.
Who were the guys in the band that you used on this ‘Front & Center’ gig?
Some of them played on my last record ‘Aftermath of the Lowdown’ and a couple of guys, you know, sometimes people take other gigs. My drummer Aaron Sterling is an amazing drummer; he was playing for [John] Mayer for a while, so I got this guy Victor Indrizzo who is awesome. He’s an awesome drummer. Even in that little room, I mean, this room is small. There was not a lot of room for me to be a showman or do anything, but the music speaks for itself. Everybody was playing and singing their ass off. There was no overdubs — that’s it.
It’s very real. It had to be cool for you to play that room and get a chance to celebrate and remember Les Paul. Certainly, that’s a venue that had a special connection with Les, so it had to be really cool to be playing there.
I was choked up. Because I put his seat [on the stage]. His son had his seat — you know, I was family. It was further than friendship, further than musicianship. We hung out and talked about real sh-t besides music. He and I were very, very close. When I met him, a friend of mine brought him over to my house for my birthday one year. He showed up with Les Paul and Les gave me this amazingly beautiful white Les Paul that he wound the pickups for me and everything.
It was like the fairy godmother coming down and hitting you in the head with a wand, you know? [Laughs.] That was the first time I ever played it live [on ‘Front & Center’] — I’ve used it many times in the studio, but I’d never taken it out live. So I’m sitting there and Les’ chair is right next to me and there’s this really great picture of him that his son brought me and I’m playing the guitar that he gave me. I got choked up, man. I did. I miss him. He was 93, but he wasn’t 93 — not in his head. He was sharp as a tack and he was still playing. So we played together a lot. It was a pretty touching moment.
Watch Richie Sambora Perform with Les Paul
I’m here in Cleveland and got a chance to see him play at the tribute show that the Rock and Roll Hall of Fame presented in his honor not long before he passed. I know you were there. It was a great night and it was great to see him play.
You know, that evening after the show, I was in my room and Rusty, his son, calls up and says, “Hey, Pop wants to see you. Come on up here.” We ended up being there for like three hours, just eating and shooting the sh-t. That’s the way it was with Les. There was no boundaries, and we’d talk about anything. I just had an amazing relationship with him. Who the hell does that? You know? It’s like I’m blessed. It was great to do that.
You’ve been opening some of your recent shows, including this one, with a cover of Leon Russell’s ‘A Song For You.’ What brought that one into the setlist?
I sat down at the piano one day and started playing it, and I went, “Damn, I wish I wrote that song” and I said, “Well, I’m going to do it, anyway!” You know, the interesting thing about it, I thought if I walked out without the guitar, as the singer, it would change the perception immediately. I think that’s an important part of what needs to happen. You know, when you’re attached to these huge projects and bands and stuff, people have this perception of what the complexion of that looks like, whether it be a sonic complexion or a physical complexion or a general complexion of who you are as a person.
Everyone has their perceived notion of that, and Ori and I just want to be recognized as our own artists at this point. I think that we both have earned it, at least a shot at it — because if it doesn’t pay through, it doesn’t pay through. But I don’t think that’s going to happen. First of all, the songs are just really, really great and I’m going to surround this with a lot of talent and we’re going to make a record that people should be curious to hear because it’s truly an anomaly: It’s me and her. I said something in an interview the other day, I said, “You know, in my perception, I think she’s probably the best female guitar player on the planet and on any given night, she’s the best guitar player on the planet.”
The interesting thing is our voices together and there’s a relationship and all kinds of great energy that’s happening that you’re not going to see anywhere else, because nobody’s doing it. She’s my partner — I get it — that’s going to be the project right there. It’s really our two personalities that are driving this boat and everything we’ve learned. Lord knows, I’ve learned a lot. I’ve done everything in this business from being the manager to being the producer to record company president to songwriting — everything. The last 30 years, I’ve been all of those three times over, so I have a lot of experience and she’s got a ton of experience herself.
She’s a dynamite producer herself, she can run a board like nobody else, knows what to do, plays her ass off, sings her ass off, writes her ass off — she’s great. We’ve all got a lot of friends too, which is great. It’s very communal. My house out in California, Lord knows who is going to walk through that door. We have dinner parties sometimes, and it’s Gregg Allman, Dave Stewart, Stevie Wonder. It’s crazy and so wonderful. Then her friends come by and she’s got a bevy of them, like Tal [Wilkenfield], who plays bass with Jeff Beck and sh-t, she’s over at the house jamming. Brooklyn Allman, we just wrote a couple of songs with her and took her in the studio. That reminds me, I gotta mix that sh-t. She’s going to be somebody to watch.
Watch Richie Sambora Perform ‘Hard Times Come Easy’
When you’re laying stuff down, do you keep things pretty organic, or are you not afraid to build it up, depending on what the song calls for?
You know what? I’m into the deconstruction of things these days. I am utilizing space as much as I can. Piling up would decrease that and I think the more personality that you can give it — I mean, look, there are tracks that are going to be massive [with] guitars, because we want to do that. That’s what we do! The songs call for that. Then there’s other tracks that you’re very minimalist [with the approach]. There will be a good range, between the 60 songs and everything that we have.
We’ll be able to sift through what’s going to be this record, you know, because there’s two records here for sure. Right now, I can make two records, easily. Maybe one record. Like, I have this cockamamie idea — I have a pretty big house in California and I have this giant foyer with marble flooring and very high ceilings and the reverb and everything for singing and playing. Acoustic instruments, though. You bring electric stuff in there, it’s going to start being boomy. You know, put a piano in there and maybe an upright bass or a small bass rig and a couple of acoustic guitars and some percussion. It could be an interesting way to go about making a more acoustic album also.
I don’t know which way it’s turning now. I’m not really sure. We’re just going to get a studio and start cutting and see where we’re at. You know, get a bunch of musicians, all of our friends, because we’ve all played together in my house so many times now. I’m waiting on it, waiting on a dream.
That’s a good place to be. Because as you’ve said, you’ve kind of been known for one thing and it’s got to be great to be able to just break out and do whatever.
Obviously, look, as a songwriter, I certainly know when that cake is baked. I just won’t write a bad song anymore. I’ll just throw it out and I’ll stop halfway through. I mean, if you listen to my solo albums, really, those songs are pretty-good sized stories lyrically and melodically. They’re pretty much all in the ballpark.
Whether you like it or not, is one thing, whether stylistically it’s your bag. But from a songwriting perspective, I made sure. I’m the the police when it comes to that. That’s how I got inducted into the Songwriters Hall of Fame, man! [Laughs.]
You Think You Know Bon Jovi?
Monday, June 23, 2014
Richie Sambora, 2014-06-23 - Classic Rock, Bon Jovi gave me ultimatum - Sambora
http://classicrock.teamrock.com/news/2014-06-23/bon-jovi-gave-me-ultimatum-sambora?utm_medium=twitter
Estranged Bon Jovi guitarist Richie Sambora says he was given a stark ultimatum when he decided he needed some time off – he could tour with the band or
leave.
He disappeared from the lineup at short notice last year, giving rise to rumours of a feud between him and mainman Jon Bon Jovi, which seemed to have some credence after both hinted at unhappiness with the other in interviews.
But Sambora, who's currently touring Europe with his solo outfit, says he has no anger left – and believes it's still possible he could rejoin the band he helped build.
He tells Lust For Life: "It's hurt me that more and more untrue things have come out in the media. I just wanted to do something for myself. We had just finished a tour, I had just quit a band habit, and I was enjoying time with my daughter.
"I saw a year of other priorities ahead of me; I wanted to make my own music and I preferred doing a few shows with my own band. I said I wanted a break."
But he reports that his request "was just not accepted," adding: "The Bon Jovi machine had to go on. I could choose – join or leave. That's hard when you share joys and sorrows for 30 years."
Sambora believes he made the correct decision, however. "It's fantastic," he says of his current situation. "We enjoy every night. I've done a lot of wrong things in my life and I've regularly made bad decisions. But I think this step was the right one at last."
He continues: "There's no bad blood with me any more. I love Jon, and I still see the possibility of a return. There are just a few steps I want to – need to – take."
And if a reunion doesn't happen, Sambora will continue in his own direction. "We're going to record an album; I'd to do a tour after that," he says. "Not a tour of 14 months in more than 50 countries. Just a nice tour, playing music then being home for a while."
Sambora returns to Britain for the Calling Festival on June 28 and three solo shows:
Jun 30: Dublin Olympia
Jul 01: Belfast Ulster Hall
Jul 03: Glasgow O2 ABC
Bon Jovi gave me ultimatum - Sambora
Richie says he was offered two choices when he wanted time off.. but believes reunion can still happen
He disappeared from the lineup at short notice last year, giving rise to rumours of a feud between him and mainman Jon Bon Jovi, which seemed to have some credence after both hinted at unhappiness with the other in interviews.
But Sambora, who's currently touring Europe with his solo outfit, says he has no anger left – and believes it's still possible he could rejoin the band he helped build.
He tells Lust For Life: "It's hurt me that more and more untrue things have come out in the media. I just wanted to do something for myself. We had just finished a tour, I had just quit a band habit, and I was enjoying time with my daughter.
"I saw a year of other priorities ahead of me; I wanted to make my own music and I preferred doing a few shows with my own band. I said I wanted a break."
But he reports that his request "was just not accepted," adding: "The Bon Jovi machine had to go on. I could choose – join or leave. That's hard when you share joys and sorrows for 30 years."
Sambora believes he made the correct decision, however. "It's fantastic," he says of his current situation. "We enjoy every night. I've done a lot of wrong things in my life and I've regularly made bad decisions. But I think this step was the right one at last."
He continues: "There's no bad blood with me any more. I love Jon, and I still see the possibility of a return. There are just a few steps I want to – need to – take."
And if a reunion doesn't happen, Sambora will continue in his own direction. "We're going to record an album; I'd to do a tour after that," he says. "Not a tour of 14 months in more than 50 countries. Just a nice tour, playing music then being home for a while."
Sambora returns to Britain for the Calling Festival on June 28 and three solo shows:
Jun 30: Dublin Olympia
Jul 01: Belfast Ulster Hall
Jul 03: Glasgow O2 ABC
Wednesday, August 28, 2013
Richie Sambora, 2013-08-28 - RumorFix, Richie Sambora: Intervention Rumors Are A Bunch Of BS
http://rumorfix.com/2013/08/richie-sambora-intervention-rumors-are-a-bunch-of-bs-exclusive/
Rocker Richie Sambora is coming exclusively to RumorFix to set the record straight on a nasty rumor.
The guitarist is disputing a gossip website’s report that Jon Bon Jovi demanded Richie undergo “rehab on the road” before he could be allowed to join the “Because We Can” world tour.
Richie tells RumorFix exclusively, “This is not true. This is the biggest bunch of BS.”
As RumorFix first reported Richie is not returning to the tour and he was fired by Jon over money issues.
Richie tells us, “No intervention ever took place. I truly wanted to come back to Bon Jovi for the fans.”
The 54-year-0ld rock legend is in Japan, where he appeared on ShopChannel with his business partner Nikki Lund. We are told his NikkiRich Clothing sold out. “I’m happy,” he says, “Business is booming, but I’m sad for the fans.”
Richie Sambora: Intervention Rumors Are A Bunch Of BS — Exclusive
Rocker Richie Sambora is coming exclusively to RumorFix to set the record straight on a nasty rumor.
The guitarist is disputing a gossip website’s report that Jon Bon Jovi demanded Richie undergo “rehab on the road” before he could be allowed to join the “Because We Can” world tour.
Richie tells RumorFix exclusively, “This is not true. This is the biggest bunch of BS.”
As RumorFix first reported Richie is not returning to the tour and he was fired by Jon over money issues.
Richie tells us, “No intervention ever took place. I truly wanted to come back to Bon Jovi for the fans.”
The 54-year-0ld rock legend is in Japan, where he appeared on ShopChannel with his business partner Nikki Lund. We are told his NikkiRich Clothing sold out. “I’m happy,” he says, “Business is booming, but I’m sad for the fans.”
Tuesday, August 27, 2013
Bon Jovi, 2013-08-27 - MusicBizAdvice, 30 Years Gone? The Real Story of Richie Sambora’s Current Status in BJ
http://musicbizadvice.com/advice/features/30-years-gone-the-real-story-of-richie-samboras-current-status-in-bon-jovi/
by Randi Reed
I hope everyone affected by the subject of this post understands why I’m writing it. Longtime readers of MusicBizAdvice.com know my mission: to give musicians the truth and help them protect their interests, even when it’s hard to hear. This post has certainly been hard for me to write.
Today I’m breaking my policy of never speaking publicly about an artist, because someone’s health is at stake, and our mutual friends and colleagues are worried. It concerns Bon Jovi guitarist Richie Sambora and his future with the band.
2013 is the 30th anniversary of the release of Jon’s first single, “Runaway” and of the subsequent formation of the band Bon Jovi. Unfortunately, the band’s anniversary is overshadowed by Richie Sambora’s absence from their current tour to promote the band’s 12th studio album, What About Now.
“Personal issues” was the explanation given for Richie’s absence. Guitarist Phil X was hired to stand in, and the first leg of the tour came and went. Richie was still absent when the band hit the UK and Europe on the next leg of the tour, and Jon Bon Jovi said questions regarding Richie’s absence were best answered by Richie himself. (Bon Jovi have never been a band to air their dirty laundry in public, and as Richie Sambora’s employer, legally Jon Bon Jovi can’t speak about him due to privacy laws.) Meanwhile, Richie stayed mum and began promoting his fashion line with Nikki Lund, leaving fans baffled as speculation about his employment status went public via the tabloids. Now well into the band’s August break, Richie appears to be more focused on the fashion line than music.
I’ve been in and around bands since I was a kid, and I’ve seen this scenario play out before. From a personal standpoint, it’s especially sad to see this happen, because Bon Jovi was the first globally successful artist whose entire career (thus far) I’ve observed.
There’s much I could say about Bon Jovi from a professional and personal standpoint…like that time when, as a young intern new to the job, I picked up my boss’s phone to hear a voice I recognized from MTV interviews. It was Jon calling to negotiate his own deal. (It took maybe less than five minutes, everyone hung up happy, and it’s still the most amicable negotiation I’ve ever witnessed. I learned a lot from Jon that day.) Since then we’ve had many mutual colleagues and friends, and I’ve known the real story of what’s happening with Richie and the band for a while.
Again, it’s not my policy to speak publicly about artists. But the tabloid media are spreading tales that my colleagues and I know are lies, and it’s getting uglier, so here’s the truth:
1. Richie has NOT been fired. As one of my colleagues said, “Jon’s not going to kick a man when he’s down.”Additionally, Bon Jovi band policy is, as an original member of the band, Richie retains the title of “Bon Jovi Guitarist.” Whether or not Richie is actively using his title depends on him.
2. Richie is in control of his own destiny in the band, and there are conditions and parameters for his return if he wants to come back. He can’t just walk in and be welcomed back with open arms as if nothing has happened. Jon and the band love Richie and want him to be well, and his health is the most important thing to everyone. They want to welcome him back, as long as he’s healthy.
3. If you have a job, no matter what your title is, from Walmart Associate, to CEO of a Fortune 500 company, to Wall Street magnate, if there are multiple instances when you don’t show up for work and no one can reach you, there are repercussions. If you’re an athlete on a sports team and are a no-show without talking to the coach or the team, you’re suspended. If you’re in the army and you don’t show up, you go jail. And for all those jobs, when you show up, you must be physically able and ready to perform your job.
Being a rock star is no different. If you don’t show up or are physically unable to perform when you do show up, there are repercussions.
People count on you to be there: the audience who paid to see you (and maybe even traveled to do so). The fans who support you. Your crew members who take care of you and help you sound great and look pretty. Your Brothers onstage. Your singing partner. The talent buyer, record label, and partners in your 360 deal. Your corporate sponsors, and the TV and radio networks who invest millions of dollars to present your talent. The venue staff. All those people count on you to show up and do your job with the same excellence you ask of them.
4. It kills me to say this…but I happen to know there are multiple times when Richie didn’t show up for work, or was unfortunately physically unable to perform.
There are multiple, documented times when Richie was physically unable to perform at the band’s important events– including live concert broadcasts attended by press and music industry people who are important to the band’s career. The “Unplugged” show in Brooklyn is just one example of an event when Richie was unreliable.
5. This is not about slagging Richie. It’s about concern for Richie’s health.
6. Everyone wants Richie to be healthy, happy, and well. They all love Richie and are united in this. There’s no “Team Jon” and “Team Richie.” It’s The Brotherhood.
7. The major news organizations who copied and pasted or cited the “Rumorfix” article as a source never called the Bon Jovi organization for comment. They did this to stretch out headlines and get more ratings and page views out of it. When people learn the truth, there’s no more story.
8. Someone who has a lot to gain–I won’t mention names–is orchestrating a full-on media takedown of Jon Bon Jovi, and they’re taking advantage of the fact that Jon, as Richie Sambora’s employer, is legally prevented from saying anything about Richie’s absence from the band. Even worse, the people orchestrating the attack are using unsuspecting, well-meaning Bon Jovi and Richie Sambora fans to do it.
That’s why I’m writing this: my colleagues and friends are hurting, and we all hate what these people are doing.
9. It’s painful for Jon’s friends and colleagues to watch Jon take the fall for his Brother Richie’s actions and take the high road while people make up tabloid lies about Jon. (Would you be strong enough to do that for a friend?)
Everyone I’ve ever known in the industry who has worked with Jon Bon Jovi says he’s a good guy who inspires decades-long loyalty. I’ve never heard anyone who’s worked with him say anything bad about him (and believe me, they say plenty about other people).
10. Everyone I’ve ever dealt with in the Bon Jovi organization has been a pleasure to work with. In any organization, the CEO sets the tone, and it comes from the top down. Bon Jovi’s teamwork, loyalty, and “can do” spirit start with Jon Bon Jovi.
One of the things people like about working with Jon and the Bon Jovi organization is that when the project begins, their first question is a sincere, “What can we do to help?” Or “What do you need from us?” Later, they follow up with “Do you have everything you need?” It’s such a simple thing, but Bon Jovi is the only artist I’ve ever dealt with who does this consistently.
So to see Jon Bon Jovi portrayed as the bad guy by people who have their own agenda (or by their team of minions who’ve never worked with, let alone met anyone in the band’s orbit) is unfair beyond words. It’s also unfair and disrespectful to Tico Torres, David Bryan, Hugh McDonald, and Bobby Bandiera, who have known and worked with Jon since he was a teenager. It’s also unfair to Phil X, who’s doing a fantastic job in a strange situation.
I’m not a spokesperson for the band, nor do I work for the band, but I’ll try to address some concerns Bon Jovi fans may have, based on what I know:
1. “The Brotherhood” is real. As a band, Bon Jovi may be big business, but they’re not just business. After 30 years together, the ones on the inner circle think of each other as Brothers. That doesn’t mean they don’t have disagreements, or that they don’t get angry or frustrated with each other. As in any family, you can laugh with your brother, you can cry with your brother, or you can be irritated or even angry with your brother, but you still love him no matter what and want him to be OK.
2. The band and crew hate the whole “Team Jon” and “Team Richie” thing. Jon hates it when the band’s fans fight amongst themselves. That goes against the concept of the Brotherhood. These are the guys who wrote “Undivided,” remember?
This situation isn’t about hate. It’s about love…tough love, but love nonetheless. It’s also about worry, and about fear for someone’s health.
3. The onstage chemistry between Jon and Richie was real. Here’s how I see it: I once saw a T.V. interview with Lucille Ball in which she talked about working with Desi Arnaz on “I Love Lucy”(a huge pop culture phenomenon of a TV show) and about making people laugh when their marriage was collapsing. Lucy and Desi were collaborative partners who were great onstage together. In the interview, Lucy said, “It helped to go to work.“ What she meant by this was, onstage, the magic was still there. I think that’s how it would be with the band if Richie came back healthy.
4. As to why Jon didn’t cancel the tour, this answer is based only on my experience in the industry:
i. “The Show Must Go On” for the people who bought tickets, and for the crew, who count on that employment. There are only so many tours out at a time, with very few crew slots available.
ii. Contractual obligations to AEG and the label. A recording contract includes promotional clauses that require artist and label to each do their part to promote an album, and a 360 label deal structure brings additional weight and meaning to the word “promotion”. Jon’s label is owned by one of the largest media organizations in the US, so it’s advantageous to keep them happy. Regarding AEG, the Michael Jackson O2 Arena contract for ten shows had a clause that gave AEG the right to sue for $24Million if Michael could not perform. You can imagine how large that figure would be for an entire long tour. (Tour insurance coverage varies depending on the situation…I’ve seen a situation where an artist with a cancer diagnosis had a hard time getting the insurance company to pay, and another where a flaky artist cancelled with no hassle from the insurance company. Then there’s the question of whether or not everyone in a given band is insurable.)
There you have it. I’ve given you facts and I stand by my words enough to post them under my real name. Hopefully, you understand this was written out of concern for Richie’s health and that no one wants anything to happen to him. He has not been fired, and the band wants to welcome him back if he’s healthy and meets the conditions and parameters for his return.
Randi Reed
Founder/Editor-in-Chief
MusicBizAdvice.com
August 27, 2013
30 Years Gone? The Real Story of Richie Sambora’s Current Status in Bon Jovi
Posted: 27th August 2013 by Randi in FeaturesI hope everyone affected by the subject of this post understands why I’m writing it. Longtime readers of MusicBizAdvice.com know my mission: to give musicians the truth and help them protect their interests, even when it’s hard to hear. This post has certainly been hard for me to write.
Today I’m breaking my policy of never speaking publicly about an artist, because someone’s health is at stake, and our mutual friends and colleagues are worried. It concerns Bon Jovi guitarist Richie Sambora and his future with the band.
2013 is the 30th anniversary of the release of Jon’s first single, “Runaway” and of the subsequent formation of the band Bon Jovi. Unfortunately, the band’s anniversary is overshadowed by Richie Sambora’s absence from their current tour to promote the band’s 12th studio album, What About Now.
“Personal issues” was the explanation given for Richie’s absence. Guitarist Phil X was hired to stand in, and the first leg of the tour came and went. Richie was still absent when the band hit the UK and Europe on the next leg of the tour, and Jon Bon Jovi said questions regarding Richie’s absence were best answered by Richie himself. (Bon Jovi have never been a band to air their dirty laundry in public, and as Richie Sambora’s employer, legally Jon Bon Jovi can’t speak about him due to privacy laws.) Meanwhile, Richie stayed mum and began promoting his fashion line with Nikki Lund, leaving fans baffled as speculation about his employment status went public via the tabloids. Now well into the band’s August break, Richie appears to be more focused on the fashion line than music.
I’ve been in and around bands since I was a kid, and I’ve seen this scenario play out before. From a personal standpoint, it’s especially sad to see this happen, because Bon Jovi was the first globally successful artist whose entire career (thus far) I’ve observed.
There’s much I could say about Bon Jovi from a professional and personal standpoint…like that time when, as a young intern new to the job, I picked up my boss’s phone to hear a voice I recognized from MTV interviews. It was Jon calling to negotiate his own deal. (It took maybe less than five minutes, everyone hung up happy, and it’s still the most amicable negotiation I’ve ever witnessed. I learned a lot from Jon that day.) Since then we’ve had many mutual colleagues and friends, and I’ve known the real story of what’s happening with Richie and the band for a while.
Again, it’s not my policy to speak publicly about artists. But the tabloid media are spreading tales that my colleagues and I know are lies, and it’s getting uglier, so here’s the truth:
1. Richie has NOT been fired. As one of my colleagues said, “Jon’s not going to kick a man when he’s down.”Additionally, Bon Jovi band policy is, as an original member of the band, Richie retains the title of “Bon Jovi Guitarist.” Whether or not Richie is actively using his title depends on him.
2. Richie is in control of his own destiny in the band, and there are conditions and parameters for his return if he wants to come back. He can’t just walk in and be welcomed back with open arms as if nothing has happened. Jon and the band love Richie and want him to be well, and his health is the most important thing to everyone. They want to welcome him back, as long as he’s healthy.
3. If you have a job, no matter what your title is, from Walmart Associate, to CEO of a Fortune 500 company, to Wall Street magnate, if there are multiple instances when you don’t show up for work and no one can reach you, there are repercussions. If you’re an athlete on a sports team and are a no-show without talking to the coach or the team, you’re suspended. If you’re in the army and you don’t show up, you go jail. And for all those jobs, when you show up, you must be physically able and ready to perform your job.
Being a rock star is no different. If you don’t show up or are physically unable to perform when you do show up, there are repercussions.
People count on you to be there: the audience who paid to see you (and maybe even traveled to do so). The fans who support you. Your crew members who take care of you and help you sound great and look pretty. Your Brothers onstage. Your singing partner. The talent buyer, record label, and partners in your 360 deal. Your corporate sponsors, and the TV and radio networks who invest millions of dollars to present your talent. The venue staff. All those people count on you to show up and do your job with the same excellence you ask of them.
4. It kills me to say this…but I happen to know there are multiple times when Richie didn’t show up for work, or was unfortunately physically unable to perform.
There are multiple, documented times when Richie was physically unable to perform at the band’s important events– including live concert broadcasts attended by press and music industry people who are important to the band’s career. The “Unplugged” show in Brooklyn is just one example of an event when Richie was unreliable.
5. This is not about slagging Richie. It’s about concern for Richie’s health.
6. Everyone wants Richie to be healthy, happy, and well. They all love Richie and are united in this. There’s no “Team Jon” and “Team Richie.” It’s The Brotherhood.
7. The major news organizations who copied and pasted or cited the “Rumorfix” article as a source never called the Bon Jovi organization for comment. They did this to stretch out headlines and get more ratings and page views out of it. When people learn the truth, there’s no more story.
8. Someone who has a lot to gain–I won’t mention names–is orchestrating a full-on media takedown of Jon Bon Jovi, and they’re taking advantage of the fact that Jon, as Richie Sambora’s employer, is legally prevented from saying anything about Richie’s absence from the band. Even worse, the people orchestrating the attack are using unsuspecting, well-meaning Bon Jovi and Richie Sambora fans to do it.
That’s why I’m writing this: my colleagues and friends are hurting, and we all hate what these people are doing.
9. It’s painful for Jon’s friends and colleagues to watch Jon take the fall for his Brother Richie’s actions and take the high road while people make up tabloid lies about Jon. (Would you be strong enough to do that for a friend?)
Everyone I’ve ever known in the industry who has worked with Jon Bon Jovi says he’s a good guy who inspires decades-long loyalty. I’ve never heard anyone who’s worked with him say anything bad about him (and believe me, they say plenty about other people).
10. Everyone I’ve ever dealt with in the Bon Jovi organization has been a pleasure to work with. In any organization, the CEO sets the tone, and it comes from the top down. Bon Jovi’s teamwork, loyalty, and “can do” spirit start with Jon Bon Jovi.
One of the things people like about working with Jon and the Bon Jovi organization is that when the project begins, their first question is a sincere, “What can we do to help?” Or “What do you need from us?” Later, they follow up with “Do you have everything you need?” It’s such a simple thing, but Bon Jovi is the only artist I’ve ever dealt with who does this consistently.
So to see Jon Bon Jovi portrayed as the bad guy by people who have their own agenda (or by their team of minions who’ve never worked with, let alone met anyone in the band’s orbit) is unfair beyond words. It’s also unfair and disrespectful to Tico Torres, David Bryan, Hugh McDonald, and Bobby Bandiera, who have known and worked with Jon since he was a teenager. It’s also unfair to Phil X, who’s doing a fantastic job in a strange situation.
I’m not a spokesperson for the band, nor do I work for the band, but I’ll try to address some concerns Bon Jovi fans may have, based on what I know:
1. “The Brotherhood” is real. As a band, Bon Jovi may be big business, but they’re not just business. After 30 years together, the ones on the inner circle think of each other as Brothers. That doesn’t mean they don’t have disagreements, or that they don’t get angry or frustrated with each other. As in any family, you can laugh with your brother, you can cry with your brother, or you can be irritated or even angry with your brother, but you still love him no matter what and want him to be OK.
2. The band and crew hate the whole “Team Jon” and “Team Richie” thing. Jon hates it when the band’s fans fight amongst themselves. That goes against the concept of the Brotherhood. These are the guys who wrote “Undivided,” remember?
This situation isn’t about hate. It’s about love…tough love, but love nonetheless. It’s also about worry, and about fear for someone’s health.
3. The onstage chemistry between Jon and Richie was real. Here’s how I see it: I once saw a T.V. interview with Lucille Ball in which she talked about working with Desi Arnaz on “I Love Lucy”(a huge pop culture phenomenon of a TV show) and about making people laugh when their marriage was collapsing. Lucy and Desi were collaborative partners who were great onstage together. In the interview, Lucy said, “It helped to go to work.“ What she meant by this was, onstage, the magic was still there. I think that’s how it would be with the band if Richie came back healthy.
4. As to why Jon didn’t cancel the tour, this answer is based only on my experience in the industry:
i. “The Show Must Go On” for the people who bought tickets, and for the crew, who count on that employment. There are only so many tours out at a time, with very few crew slots available.
ii. Contractual obligations to AEG and the label. A recording contract includes promotional clauses that require artist and label to each do their part to promote an album, and a 360 label deal structure brings additional weight and meaning to the word “promotion”. Jon’s label is owned by one of the largest media organizations in the US, so it’s advantageous to keep them happy. Regarding AEG, the Michael Jackson O2 Arena contract for ten shows had a clause that gave AEG the right to sue for $24Million if Michael could not perform. You can imagine how large that figure would be for an entire long tour. (Tour insurance coverage varies depending on the situation…I’ve seen a situation where an artist with a cancer diagnosis had a hard time getting the insurance company to pay, and another where a flaky artist cancelled with no hassle from the insurance company. Then there’s the question of whether or not everyone in a given band is insurable.)
There you have it. I’ve given you facts and I stand by my words enough to post them under my real name. Hopefully, you understand this was written out of concern for Richie’s health and that no one wants anything to happen to him. He has not been fired, and the band wants to welcome him back if he’s healthy and meets the conditions and parameters for his return.
Randi Reed
Founder/Editor-in-Chief
MusicBizAdvice.com
August 27, 2013
Monday, June 24, 2013
Richie Sambora (Bon jovi) - Stranger In This Town (Seoul 1995)
"Because We Can - The Tour" is in Europe right now. Today they are in Prague, Czech Republic. Only 2 days to Bon Jovi play here in my town, Lisbon.
We can see Richie Sambora singing the amazing "Stranger In This Town", his own song.
I love this version. It's a video uploaded on youtube by PabloSantaFe87.
We can see Richie Sambora singing the amazing "Stranger In This Town", his own song.
I love this version. It's a video uploaded on youtube by PabloSantaFe87.
Bon Jovi Ft. Richie Sambora - Stranger In This Town (Seoul 1995)
Thursday, June 20, 2013
Bon Jovi - 2 funny videos from 2009 & 2010
"Because We Can - The Tour" is in Europe right now. Only 6 days to Bon Jovi play here in my town, Lisbon.
These 2 videos are very funny. Hope you like them.
Videos uploaded on youtube by mrjameseyboo.
These 2 videos are very funny. Hope you like them.
Videos uploaded on youtube by mrjameseyboo.
Richie Sambora Goofing Around In The Studio
Bon Jovi Funny Interview 2009
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