THESE DAYS

THESE DAYS

(JAMBCO/MERCURY 522 936-2, RELEASED JUNE 1995)
In many ways, this was the second Bon Jovi album all over again. If 'Keep The Faith' could be seen - as it was in most quarters - as the debut album of the 'new' Bon Jovi, then this was indeed the second opus from the band. Moreover, it saw them going through the biggest upheaval of their entire career, as Alec John Such chose to leave the band - or, indeed, was asked to leave the group, depending on who you believed.

The story of this record began with two extra tracks recorded by the band in 1994 for inclusion on the compilation album 'Cross Road', a 'Best Of' set that was designed to give them sufficient breathing space whilst they marshalled their resources ready for the next all out onslaught. The songs involved were the ballad 'Always' and the more uptempo 'Someday I'll Be Saturday Night'. In a way this was certainly a case of treading water for the band, as they trawled their way through two numbers they could literally have recorded in their sleep.

What this brace of songs did do for the band was give them the chance to work with producer Peter Collins, a veteran of the circuit who in the past had worked with Gary Moore, Queensryche, Steve Perry and a whole host of other major names. Now, the Jovis turned to him to update their sound. Bruce Fairbairn remained a man of the Eighties. Bon Jovi wanted to step firmly into the mid-Nineties.

For Collins it was a heaven-sent opportunity to get to grips with one of the biggest bands in the world, and to play his part in moulding them for a new era. The pity of it was that the all-too obvious 'Always' and 'Someday ... ' really amounted to no more than clearing the decks. They didn't display a different side to the Jovis at all!

Still, 'Cross Road' re-established the band in the US, where it went on to sell in excess of three million copies, and became the biggest selling album of the year in the UK during 1994. Moreover, 'Always' was a transatlantic sensation, buming up the charts, and giving the band fresh impetus. And it didn't do their profile any harm when Richie married soap opera queen Heather Locklear. Nor that they 'busked' in London's Covent Garden, before a very watchful media!

On top of this, Peter Collins struck up a rapport with the Jovis that convinced them he was the right choice to go with for the next full album. And by now, Jon was very much the man in charge - not just behind the scenes either! He took time off to work on a movie called 'Moonlight And Valentino' with Whoopi Goldberg, and very much dictated the pace and direction of the next Jovi album. Ostensibly, Richie and David in particular might have had a hand in the musical conun­drum, but this was Jon's ship - and he was very much steering towards Springsteenville!

Alec, though, had had enough. According to official Bon Jovi sources, he walked out. David, during early 1995, claimed that at first he just told the band not to include him in any future touring plans. He just wasn't interest­ed. But when session man Hughy McDonald was brought in to play the bass parts on the new record (which was at first to be called 'Open All Hours') and there was no sign of Alec in the studio at all, it was clear that he was out - permanently.

One could give David the benefit of the doubt and reckon that he just didn't know what the hell was going on. Or, one could take the more cynical viewpoint and believe sources which suggested David couldn't comment because Jon wouldn't let him. It was all too delicate. But Alec wasn't afraid to come out and tell the world that he was fed up with Bon Jovi - in particular Jon. He was fed up with being told that his playing wasn't up the required standard and that he couldn't do interviews. Jon's oft-quoted phrase that he ran the band like the Mafia was coming all too true.

Jon himself has mostly evaded the Such issue, skirting around the subject and prefer­ring to concentrate on the band's future. Now a four-piece, with McDonald no more than a well-paid, hired hand, they set about making arguably the most important album since 'Slippery ... '. If the jump from major rock band to all-time heroes was to be made, now was the time.

Under the aegis of Peter Collins, they succeeded. Gone was much of the cockiness that had surrounded previous releases. In its place was a mature, thoughtful exposition, neatly executed and certainly a step beyond anything previously attempted by the band. They needed to be stretched by a producer who wouldn't be afraid to tell them when something wasn't working. They had to be challenged - and this they were by Collins. A resourceful studio technician, Collins is also a master man manager. He knows how to bring the best out of his charges - be they super­stars or fledglings. And his professorial man­ner suited this band down to the ground. They responded magnificently.

Jon and Richie took a hand in the produc­tion, of course, but it was Collins who helped to elevate the Jovis to a new level. His sound was spartan and bereft of the lushness previ­ously taken for granted on a Bon Jovi album; it was in synch with the times and thus appealed easily to those who wished to hear the band playing, not merely showing off their technological expertise.