CRUSH vs BOUNCE

How do you mean exactly?

IMO there are two equally valid arguments.

One, if this was complete Jovi album with record company backing, this song would be more polished and constrained. This is a (somewhat paradoxical) blessing of the Burning Bridges record.

Second, if the band had a functioning full member guitarist and songwriter (Sambora) there would be at least a verse more and a guitar in front with subsequent soloing. Also, less formulaic passages between different parts of song. Jon could indeed be more pushed here in choruses, and that would elevate this song from "interesting" to, well, basically vintage and iconic. Perhaps even with just raising the tonality for one step.

But I digress, this one is the least example to make of Shanks misgivings. In fact, Burning Bridges in parts is good because Shanks did get to elevate his talents in finishing songs, as Jon (IMO again) didn't care enough as it wasn't complete band project. That goes in the way of argument that he is a talented guy for sure, but not in the way of his ability to produce legendary rock band's album.

If you meant something else please correct me

I still think it was a vocal take from the 2000's. Maybe The Circle era.

That song almost seems a song that was already finished in the The Circle sessions.

It's certainly the most impressive vocal since Undivided for me. Sure, Jon sang better on the HAND & LH tours than on the Bounce tour, but the actual hook of WWYDF? only works with that raspy bit. It's a piece of the actual composition. Just like the faux-gospel rasp in KTF at the end. I am not sure if we even had anything else like that in the last 20 years?

I am not sure how bad Jon's voice is now, but if we could get that back - those little vocal inflections, beyond "he's been autotuned to hit the notes", that'd be a huge step up.

I just listened to Bounce record after a long, long time. Man, this is so much better than Shanks era production that it is unbelievable almost. I normally put all post These Days album in same sense, but this is evidently wrong. Maybe these first 2000's albums are not vintage ones, but the difference in dynamics (even though it's zenith of loudness wars) is evident. Songs are there to breathe, whatever their quality versus vintage ones.

P.S. To put Hook Me Up just after All About Loving You seems like taking a piss hahah
btw are there any sources why band called the album "Bounce" exactly, while song was relegated to the end of album?

I must say, all the songs I found cringy and not good enough originally, from this day's perspective seem really good. Perhaps it's the lowering standards that many of you identified in last years. Normally we only listen to live versions

One meaning probably more official from the web is: “ The title "Bounce" was a reference to New York City's and the United States' ability to bounce back from the World Trade Center attacks as a nation.”



Another unofficial meaning I found is: “Bon Jovi's skill in having known how to "bounce" during the years…”

I'm not very knowledgeable about this era, but from today's perspective, I would use Bounce as first single. If not, I would either not include it on album, or put it in front of album, not relegate it almost last (with no reason or flow).

EDIT: This is interesting:

Stephen Thomas Erlewine from Allmusic gave the album 2 stars out of 5 stating that album "After all, this is a record where Bon Jovi seems to have consciously decided to avoid everything that gives their music character, melody, and muscle, a move that would have been odd at any point during their career, but is particularly puzzling after they delivered an album that found them growing old gracefully. It's as if they want to undo everything Crush did for them".

From today's perspective, it seems counterintuitive to go for more hard and heavy sound then (and then not go for it for 20 years, despite pleas from fanbase haha). It was perfect time for Jovi to produce another hit single, just basically anything acceptable would be a hit after IML, similar as to how today's hit artists can have follow up to hit with a (minor) hit. Also, not unlike Jovi with New Jersey's 5 top10 singles. But they just didn't do it

BTW I don't think the album is the problem, disregarding the dichotomy. But the use of singles. Perhaps even B-sides could of been regarded as potential singles, but anyhow more consideration should of been done in that sense

I don’t know if you know but the song Bounce was originally supposed to be a more a sport anthem, after the 9/11 they changed a little the lyrics and the song changed meaning.

I didn't know that. I just read it was in fact 3rd single, but didn't do anything. Odd to me

But what a solid album would a combination of Sex Sells, Crush and Bounce do

EDIT: Just something like this, a combination of officially released songs from Crush and Bounce (with exception of Stay), I would really enjoy

1. It’s My Life
2. Bounce
3. Hook Me Up/Undivided
4. Just Older
5. Stay
6. Captain Crash & The Beauty Queen From Mars
7. The Distance
8. Say It Isn’t So
9. All About Loving You
10. Two Story Town
11. Misunderstood
12. Right Side Of Wrong

It was only relased to Rock radio in certain markets but for the most part the three "official" singles were

1. Everyday
2. Misunderstood
3. All About Loving You.