{"id":58436,"date":"2023-06-14T05:38:53","date_gmt":"2023-06-14T10:38:53","guid":{"rendered":"https:\/\/producelikeapro.com\/blog\/?p=58436"},"modified":"2023-06-15T03:48:35","modified_gmt":"2023-06-15T08:48:35","slug":"livin-on-a-prayer-bon-jovi","status":"publish","type":"post","link":"https:\/\/producelikeapro.com\/blog\/livin-on-a-prayer-bon-jovi\/","title":{"rendered":"Working Class Metal: How Bon Jovi Changed the Hair-Metal Game with \u201cLivin\u2019 On a Prayer\u201d"},"content":{"rendered":"<div class=\"produ-leaderboard-placement\" style=\"margin-left: auto;margin-right: auto;text-align: center;margin-bottom: 30px!important;\" id=\"produ-1459079507\"><script async=\"async\" src=\"https:\/\/securepubads.g.doubleclick.net\/tag\/js\/gpt.js\"><\/script>\n<script> var googletag = googletag || {}; googletag.cmd = googletag.cmd || [];<\/script>\n<div id=\"gpt-ad-4733721018886-0\">\n  <script>\n\tgoogletag.cmd.push(function() {\n\t\t\t\tgoogletag.defineSlot( '\/21927241144\/728x90-Leaderboard', [728,90], 'gpt-ad-4733721018886-0' )\n\t\t.addService(googletag.pubads());\n\t\t\t\twindow.advadsGamEmptySlotsTimers = window.advadsGamEmptySlotsTimers || {};\n\t\tconst timers                     = window.advadsGamEmptySlotsTimers;\n\n\t\ttimers['gpt-ad-4733721018886-0'] = setTimeout( function () {\n\t\t\tconst id = 'gpt-ad-4733721018886-0';\n\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\tdelete ( timers[id] );\n\t\t}, 1000 );\n\n\t\tif ( typeof window.advadsGamHasEmptySlotListener === 'undefined' ) {\n\t\t\tgoogletag.pubads().addEventListener( 'slotRequested', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] === 'undefined' ) {\n\t\t\t\t\treturn;\n\t\t\t\t}\n\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\ttimers[id] = setTimeout( function () {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}, 2500 );\n\t\t\t} );\n\t\t\tgoogletag.pubads().addEventListener( 'slotResponseReceived', function ( ev ) {\n\t\t\t\tconst id = ev.slot.getSlotElementId();\n\t\t\t\tif ( typeof timers[id] !== 'undefined' ) {\n\t\t\t\t\tclearTimeout( timers[id] );\n\t\t\t\t\tdelete ( timers[id] );\n\t\t\t\t}\n\t\t\t\tif ( ! ev.slot.getResponseInformation() ) {\n\t\t\t\t\tdocument.dispatchEvent( new CustomEvent( 'aagam_empty_slot', {detail: id} ) );\n\t\t\t\t}\n\t\t\t} );\n\t\t\twindow.advadsGamHasEmptySlotListener = true;\n\t\t}\n\n\t\tgoogletag.enableServices();\n\t\tgoogletag.display( 'gpt-ad-4733721018886-0' );\n\t} );\n  <\/script>\n<\/div>\n<\/div>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGcEpMZWozaGl0bzQlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTNCJTIwd2ViLXNoYXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text]\n<p dir=\"ltr\">In the 1980s, harder rocking songs were dominating the airwaves and the newly premiered MTV. With their heavy drums, metallic guitar solos, and in-your-face riffs, these songs shared common themes of partying and girls. The glam-rock scene coming out of Hollywood\u2019s Sunset Strip, in particular, epitomized this quality.\u00a0 When Bon Jovi entered the scene in the early 80s, many of their songs fit this description. But as their songwriting took off, they began to look for inspiration in other places &#8211; namely their working-class backgrounds. And in 1986, in collaboration with songwriter Desmond Child, Bon Jovi released the hit that changed the game.<\/p>\n<p>\u201cLiving\u2019 on a Prayer\u201d brought the hard-rock anthem to the people &#8211; with lyrics that spoke to a working-class human experience &#8211; and proved that songs that rocked could also mean something. It has become an iconic song that has remained a staple of classic rock radio, bars, parties and the band\u2019s own live shows. Its rising, ringing chorus has brought together generations of listeners to sing in its resounding refrain.<\/p>\n<p>The band Bon Jovi draws its name from its frontman, born John Francis Bongiovi Jr.. The singer grew up in New Jersey and started his first band when he was only 13 years old. Jon recorded his first tracks at the Power Station in New York, which was co-owned at the time by his cousin Tony Bongiovi, and was where Jon worked part-time. The band we now know as Bon Jovi came together in response to a single, written and recorded by Jon \u2013 \u201cRunaway\u201d<\/p>\n<p>\u201cRunaway\u201d made its debut on the local radio station WAPP 103.5FM, &#8220;The Apple,&#8221; in New York. As the song\u2019s popularity grew, Jon was offered a record deal. Keyboard player David Bryan was the first member of the band to get the call. Searching for that perfect gathering of like-minded musicians, Jon and David began calling other local musicians. This included bassist Alec John Such and drummer Tico Torres. At first, Jon\u2019s friend Dave Sabo filled in on lead guitar, until the group found guitarist Richie Sambora. While they were looking for talent, the band was also looking for drive and commitment. Building on the success of \u201cRunaway,\u201d the band needed musicians who were ready to fully commit to the long road ahead. David Bryan recalled: \u201cJon got a record deal and the band was formed around that. The deal was in Jon\u2019s name. Jon was signed to the label and we were signed to him. The cement was Jon. He always had that vision. He always saw the whole picture. As much as we were a band, he was the captain of the ship\u2026But it was everybody\u2019s efforts and everybody\u2019s sacrifice that really made it work. You knew then and there, from all the other players you\u2019d played with, that you had to have a certain heart and a certain amount of determination to sacrifice everything to make it. You give up everything.\u201d<\/p>\n<p>Bon Jovi was signed to Mercury Records and released their eponymous debut album on January 21, 1984. The album included \u201cRunaway\u201d (the band&#8217;s first hit single), and was moderately successful internationally. Touring provided another avenue for spreading their music as the band got opening slots for the Scorpions and Kiss. Their second album 7800\u00b0 Fahrenheit was released shortly after, in 1985. While neither album was a massive success, both did well enough to keep the band\u2019s hopes &#8211; and record deal &#8211; alive.<\/p>\n<p>The album\u2019s third album, Slippery When Wet, changed the game and brought the band unprecedented success. Part of that album\u2019s new equation was the addition of a new songwriter to the efforts &#8211; Desmond Child. Desmond had been writing with KISS and other bands when he got the call to collaborate with Jon and Ritchie to create material for the band\u2019s third album. Desmond had an idea for a title which then became the first song they wrote together &#8211; \u201cYou Give Love a Bad Name.\u201d The song became the album\u2019s first single and the band\u2019s first number 1 hit.\u00a0 It was a hard-rocking track which reinforced the band\u2019s heavy sound and reputation. However, it was the album&#8217;s second single, \u201cLiving On a Prayer,\u201d which would become the band\u2019s signature song, and which would reveal a working-class image and optimistic face of hard rock.<\/p>\n<p dir=\"ltr\">Prior to this, Bon Jovi had established their reputation in the vein of hard rock \u2013\u00a0 tiptoeing on edge of heavy metal. In 1986, Dennis Hunt proposed in the Los Angeles Times that perhaps Jon Bon Jovi was to become heavy metal\u2019s sexy Messiah, declaring that the genre \u201cneeds a young, handsome, macho singer who can electrify metal addicts but also has enough mainstream appeal to make the cover of People magazine. Mainstream acceptance, spearheaded by this Messiah, would also help break down the radio barriers that have been lethal to the genre.\u201d And while the traits that Hunt saw as metal\u2019s salvation would perhaps prevent the band from ever being accepted into metal\u2019s ranks, they were also the qualities which found the hard-rocking common ground between metal and pop: not just good looks and polished performances, but an ability to tap into a universal human spirit &#8211; admired by many, but accomplished by few.<\/p>\n<p>\u201cLiving on a Prayer\u201d was the song that first tapped into that widespread potential and reminded the world that standing strong and living tough could be done with hope and optimism. The song\u2019s opening builds layers of very David Brian synth-strings into a deep bass groove. Tico Torres\u2019 drums and Richie Sambora\u2019s voice-box guitar sound catapult the track into its iconic driving pulse. About 40 seconds into the track, Jon finally opens up the song\u2019s narrative with a storybook intro: \u201cOnce upon a time\u2026not so long ago\u2026\u201d Thus, in the midst of a rockin\u2019 track, the band takes us into the world of Anytown, America\u2026where your local couple, Tommy and Gina, are trying to make ends meet.<\/p>\n<p>The opening verse sings:<\/p>\n<p dir=\"ltr\">Tommy used to work on the docks, union&#8217;s been on strike<\/p>\n<p dir=\"ltr\">He&#8217;s down on his luck, it&#8217;s tough, so tough<\/p>\n<p dir=\"ltr\">Gina works the diner all day, working for her man<\/p>\n<p dir=\"ltr\">She brings home her pay, for love, mmm, for love<\/p>\n<p dir=\"ltr\">The second verse extends the story and the couple struggles. Tommy has had to hock his guitar, and Gina cries at night as they comfort each other.\u00a0 The verses set up a familiar tale to many young people beginning their lives and trying to chase their dreams, while facing reality of work and paying the bills.<\/p>\n<p>&nbsp;<\/p>\n<p dir=\"ltr\">The pre-chorus and the chorus, however, offer the hope the song has become so known for:<\/p>\n<p>We&#8217;ve gotta hold on to what we&#8217;ve got<\/p>\n<p dir=\"ltr\">It doesn&#8217;t make a difference if we make it or not<br \/>\nWe&#8217;ve got each other and that&#8217;s a lot for love<br \/>\nWe&#8217;ll give it a shot&#8221;<\/p>\n<p dir=\"ltr\">Whoa, we&#8217;re halfway there<br \/>\nWhoa oh, livin&#8217; on a prayer<br \/>\nTake my hand, we&#8217;ll make it, I swear<br \/>\nWhoa oh, livin&#8217; on a prayer<\/p>\n<p dir=\"ltr\">Desmond Child told Louise Goffin in 2020 that the song lyrics were built from an amalgamation of all of their experiences:<\/p>\n<p>\u201cThe story of that song had our three stories woven through it. Jon Bon Jovi &#8211; working-class kid, tryin\u2019 to do good, you know, with his six-string in hock. And that was so his story. And Richie too. For me, I lived in New York City with my girlfriend at the time, Maria Vidal. We were boyfriend and girlfriend for like four years while I was a NYU and then I had just started songwriting full-time and she was working at a waitress at a bar\/restaurant called \u201cOnce Upon a Stove\u201d and they had singing waitresses and waiters and she had her waiter-stage-name &#8211; Gina Velvet. So\u2026 \u2018Gina works at the diner all day, working for the man, she brings home her pay for love.\u2019 And that&#8217;s where those lyrics came from.<br \/>\nSo when I was telling the story, my original name was Johnny Barrett, and I love alliteration, so it was \u2018Johnny and Gina\u2019\u00a0 and Jon looked at me and said \u2018It can\u2019t be Johnny! That\u2019s my name! Everyone calls me Johnny.\u2019 And then\u2026maybe it was Richie who said \u2018well, how about Tommy\u2026\u2019 &#8211; so that&#8217;s how Tommy and Gina were born.\u201d<\/p>\n<p dir=\"ltr\">One of the reasons this song is so powerful is the way it combines these meaningful lyrics with hard rockin\u2019 instrumentals and Jon\u2019s incredible vocals.\u00a0 The bass player at the time was Alec John Such and is credited on the album, but it&#8217;s commonly accepted that Hugh McDonald wrote the bassline and played on the final version. Richie Sambora\u2019s guitar stands out for its use of a Talkbox effect, and of course his polished and yet expressive guitar. Tico Torres brings a powerful drum and percussion part that perfectly matches the different elements of the song. The nuances of the percussion part (such as the chimes during Bryan\u2019s keyboard intro) are one of the ways the song sounds so polished.\u00a0 The way David Bryan\u2019s keyboard is used in the song also helps it stand out from so much of the hair-metal of the time. We find a unique diversity of sound in the haunting synth strings, the way the rising bassline in the keyboard synth sets up the core tension of the song, and of course the pulsating chords throughout the song which has an underlying drive.\u00a0 All of these elements paired with Jon Bon Jovi\u2019s powerful and expressive vocals brings the song\u2019s storytelling to life.\u00a0 The melodic line contrasts between the verses and the chorus. The verses are characterized by descending melodies which require him to start in the tense sound of the upper register of his voice.\u00a0 The falling melody brings out the tension and hard-times depicted in the song&#8217;s lyrics and are in contrast to the chorus which has the rising \u201cwhoas\u201d. The chorus provides the uplifting response to the problems presented in the verses<\/p>\n<p dir=\"ltr\">At first Jon wasn\u2019t sure the song was the right fit for the band. The original demo didn\u2019t have the powerful, anthemic sound that ended up being released on Slippery When Wet. You can hear it as a hidden track on the 2004 box set 100,000,000 Bon Jovi Fans Can\u2019t be Wrong. During the \u201cRunaway to Paradise\u201d fan cruise, Jon revealed the reasons for his hesitation during a fan Q&amp;A:<br \/>\n\u201cUltimately, the song was so unique. It didn\u2019t sound like anything. You know, \u2018Runaway\u2019 had eight notes, like a lot of songs on the radio at the time. Even \u2018[You Give Love a] Bad Name\u2019 was reminiscent of other songs that were on the radio.<br \/>\n\u201c\u2018Livin\u2019 on a Prayer\u2019 didn\u2019t sound like anything. So, I was sort of indifferent. I thought, Well, it\u2019s different, but is it a rock song? Is it us?\u201d<br \/>\nDesmond has stated in multiple interviews that he and Richie had to literally get down on their knees to beg him to give it a second chance: \u201cThat song had a majesty, a kind of upward lift that just exuded hope. And at that time, Jon was thinking about making a more hard rock record. So when we wrote the song, he was a little bit\u2026 the song a bit sentimental. It\u2019s a bit soft, and he said \u201cI was hoping we could rock harder\u201d. And Richie and I literally got on our hands and knees and begged him to record it. I mean, half joking, but half for real. Just record it! See what happens\u2026\u201d<\/p>\n<p>With the benefit of hindsight, we can now see how the elements that made Jon wonder whether the song was the right fit for the band\u2019s sound, are exactly the elements that made \u201cLivin\u2019 on a Prayer\u201d stand out from the rest of hard-rock radio and transcend into a classic rock anthem for all time.\u00a0 The revised version of the song (the one that made it onto the record) is polished and tight. All the iconic elements \u2013 the synth introduction, the talkbox guitar effect, the deep, powerful bassline \u2013 came into the picture as the band worked with the producer Bruce Fairbairn.<\/p>\n<p>Before his untimely passing in 1999 at age 49, Fairbairn recalled the moment they came up with the talkbox idea for Richie&#8217;s guitar: &#8220;We were digging around in Richie&#8217;s guitar effects box\u2026I grabbed hold of this old tube and up comes this talk box, and I thought, &#8216;Stick this in, I haven&#8217;t heard one of these since the (Peter) Frampton album.'&#8221; Fairbairn was referring, of course, to Framptom Comes Alive, the best-selling live album from 1976.<\/p>\n<p dir=\"ltr\">All of these effects came together to create a unique sound &#8211; polished and yet hard-hitting &#8211; giving \u201cLivin\u2019 on a Prayer\u201d the perfect makings of a hard-rock stadium anthem. \u201cLivin\u2019 on a Prayer\u201d was the type of song to get a whole stadium of fans singing together. It builds and gathers its listeners in before exploding into the chorus.<\/p>\n<p dir=\"ltr\">\u201cLivin\u2019 on a Prayer\u201d and the entire Slippery When Wet album were produced at Little Mountain Sound Studios in Vancouver in the first half of 1986. The album was released on August 18 that same year, and \u201cLivin\u2019 On a Prayer\u201d came out as the album\u2019s second single in October. On February 14, 1987, \u201cLivin\u2019 on a Prayer\u201d gave the band their second consecutive number 1 spot on the Billboard Hot 100 \u2013 \u201cYou Give Love a Bad Name\u201d had hit the milestone 3 months earlier. It was also an international hit, hitting the number 1 spot in Canada, New Zealand and Norway, and peaking in the top 5 in Australia, Belgium, Ireland, Netherlands, Scotland, South Africa, Spain, Sweden and the UK.<\/p>\n<p dir=\"ltr\">\u201cLivin\u2019 on a Prayer\u201d brought a down-to-earth, common-man attitude to the age of hard-rock and hair metal.\u00a0 The December 13, 1986 Billboard review of the song declared: \u201cmetal muscle meets gritty reality in a tough, clanging rocker.\u201d The song moved the sound of hard-rock away from the glittery glam metal of the sunset strip and to the roots-rock of Bruce Springsteen\u2019s New Jersey. Much like Springsteen had a decade earlier, Bon Jovi was now addressing topics that mattered to people.<\/p>\n<p dir=\"ltr\">But more than just a hard-rocking track with lyrics that meant something\u2026.\u201dLivin\u2019 on a Prayer\u201d became an anthem of hope. Further, it is an anthem that has transcended decades. In its excellent songwriting, it is also extremely adaptable &#8211; the song exists in different arrangements and formats that bring out different elements of its meaning and beauty.\u00a0 In 1994, the band rearranged a completely different version for their Cross Road album \u2013 calling it \u201cPrayer 94.\u201d\u00a0 In 2001, following the 9\/11 attacks, the band performed an emotional, acoustic version of the song for New York &#8211; famously televised in the benefit concert America: A Tribute to Heroes.<\/p>\n<p>The harmonic colors, the melody, and the powerful lyrics allow \u201cLivin\u2019 on a Prayer\u201d to reach audiences in a variety of arrangements, but the song has never lost its original meaning as a hard-rock anthem for the common man. It remains a staple of the band\u2019s live shows and one of the 80\u2019s most beloved and often-played songs \u2013 even four decades later.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_raw_html]JTNDaWZyYW1lJTIwd2lkdGglM0QlMjI1NjAlMjIlMjBoZWlnaHQlM0QlMjIzMTUlMjIlMjBzcmMlM0QlMjJodHRwcyUzQSUyRiUyRnd3dy55b3V0dWJlLmNvbSUyRmVtYmVkJTJGcEpMZWozaGl0bzQlMjIlMjB0aXRsZSUzRCUyMllvdVR1YmUlMjB2aWRlbyUyMHBsYXllciUyMiUyMGZyYW1lYm9yZGVyJTNEJTIyMCUyMiUyMGFsbG93JTNEJTIyYWNjZWxlcm9tZXRlciUzQiUyMGF1dG9wbGF5JTNCJTIwY2xpcGJvYXJkLXdyaXRlJTNCJTIwZW5jcnlwdGVkLW1lZGlhJTNCJTIwZ3lyb3Njb3BlJTNCJTIwcGljdHVyZS1pbi1waWN0dXJlJTNCJTIwd2ViLXNoYXJlJTIyJTIwYWxsb3dmdWxsc2NyZWVuJTNFJTNDJTJGaWZyYW1lJTNF[\/vc_raw_html][vc_column_text] In the 1980s, harder rocking songs were dominating the airwaves and the newly premiered MTV. With their heavy drums, metallic guitar solos, and in-your-face riffs, these songs shared common themes of partying and girls. The glam-rock scene coming out of Hollywood\u2019s Sunset Strip, in particular, epitomized this quality.\u00a0 When Bon Jovi entered the scene&hellip;<\/p>\n","protected":false},"author":25,"featured_media":58438,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[12320],"tags":[11307,12748,12750,12749,19,12747],"class_list":["post-58436","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists-that-changed-music","tag-acoustic-treatment","tag-best-drum-shield","tag-drum-cage","tag-drum-shield","tag-drums","tag-the-5-best-drum-shield-options-for-your-home-studio-in-2023"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - 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