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The impact of this twelfth work of Bon Jovi is immediate, as expected. Within three songs seem to be precipitated directly into the Wikipedia page for the item "images and stereotypes of the United States of losers" dusty highway, pick-up with boxes full of furniture removals coast-to-coast, leather boots mangy, they die fast food stories of love between hot dogs and gallons of soft drinks, unshakable faith in a God who mistreats as a baseball during the All Star Game Major League, dust from urban cowboy happen ... the hint?
Besides, Jon Bon Jovi and his loyal cronies (he are together since 1983, Sambora, Bryan and Torres) have always been heroes of the imagination - which, however, is linked to a double-edged sound very precise, with stakes and styles absolutely uneducable, disqualification and withdrawal of the boot spurred by the evaluation committee.
And then we put the cowboy hat and take the keys to the pick-up to afford the trip to the stars and stripes - longish, however: it sforano the 51 minutes total in twelve pieces, though in different deluxe editions and regional goes so far to 17 pieces by the Japanese.
Those who already loved Bon Jovi "What about now" will find the crystal and reassuring confirmation: there are melodies warm and simple, the guitars hypervitaminic, romance a bit 'Hollywood that makes you dream without problems at low cost rates and, to a than usual, there is also a good dose of social consciousness-style Obama (of which, however, Jon Bon Jovi is a very active supporter). Who has never had an interest, on the other hand, in the music of the band scoverà some new ideas of interest listening to the new album. It is a classic situation where the status quo - for better or for worse - is maintained.
Perhaps, to love analyzing a product that still has a dignity of its objective (especially when considered in a continuum of proposal-based adult / album oriented rock and contextualized in the band's career), jumps ear a pinch of coating and more softness, as if the spicy aroma of hard rock were sometimes eclipsed by a horse dose of wax polish with which everything was polished to mirror a much eighties, in fact, that rewards the enamel and the 'appearance, where now the general public has learned - thank goodness - even to love a bit of dust and some stains, dirt true, in the production phase.
Anyway, the interesting side, and - paradoxically - it works in this album is the ability to live the rock most typical corporate and commercial law (in the sense of object designed to meet a specific market with a view to sale) with a poetic from typical "underdog" with a position in favor of the forgotten and the classes most devastated the U.S. population. Evidently the blue collar roots of Jon (born and raised in Sayreville, New Jersey, a place totally working class in the economic crisis of the mid-seventies and eighties was devastating) are still alive and well, in spite of his superstar status world.
And then, in good order, we have a new album Bon Jovi they do - well, no doubt - Bon Jovi and that will not disappoint their legion of faithful and converts.
There is a note, however, that I can not stop myself from doing: it is true that the AOR and mainstream rock are areas in which almost everything has been said, living - as happens to many kinds - in part of self- and constant adherence to certain patterns defined Jon ... but, damn, can that "I'm with you" you managed to clone the verse of "Sick and tired" of Anastacia and the chorus of "Poison", one of the most famous songs of the late eighties good Alice Cooper, without realizing it, and no one has told you anything? Mystery.
