Bon Jovi were always very well known for their acoustic performances. The band was always able to take a big anthem, heavily produced, and strip it down to a simple arrangement of two acoustic guitars. So it wasn't surprising that after starting to tour the Bounce record in early 2003 the band decided to release an acoustic album in time for the Christmas season of 2003. The record label would have an easy album to promote and the band would release something they had already been doing for years. But what first started as being a straightforward recording of old hits and some new songs, became a more challenging exercise as the band added a creative process to the equation.
The first time Bon Jovi became noticed for their acoustic performances was in 1989 during MTV's Video Music Awards, when Jon and Richie surprised the audience performing an acoustic medley of their hit singles Livin' on a Prayer and Wanted Dead or Alive, and since then the band never quit playing acoustic versions of either their songs or other Rock'n'Roll classics. During the Jersey Syndicate, they played a handful shows at London's tiny Hammersmith Odeon, performing a half acoustic, half electric set; In the 90s they kept doing acoustic busks either in record stores, down town appearances or tiny theaters. In their 1996 Japanese and European tour they included a 3 song acoustic set in every single show, while during the 2000s they kept performing acoustic versions of old and new songs either in radio or TV shows, concerts or interviews.
By 2003 the band announced a full acoustic show in Yokohama as part of their Japanese tour promoting their 2002 record Bounce. The show was heavily advertised and supposed to be recorded and released. Unfortunately Jon and Richie both had colds at the time and if Richie could hide his condition, for Jon it was harder since he is the band's lead singer and his nasal voice could easily be spotted. Although recorded, the 3 hour long marathon of acoustic hits, album tracks, fan favorites and surprising cover songs, was not good enough for the band's standards (even though they had an orchestra included and some reprises of songs that didn't sound right on the first take). The band then went to the studio in some days off during the tour and eventually manged to add a handful of half acoustic, half electric shows toward the end of their world tour. Fans loved the initiative, since they would play rare songs and covers, leaving the big hits for a second half of the shows. It was exciting and new for most fans who attended to those shows and probably challenging and demanding for the band. After the tour was done, in the beginning of August, the record company was pushing them to hand out the acoustic greatest hits they wanted to release, so they had little time to finish the recordings, in order for the album to be produced and mastered on time for a Christmas release.
The band then made the decision to go to the studio with producer Patrick Leonard, who had previously worked with artists like Madonna, Jewel, Roger Waters or Elton John, and starting with a blank page, deconstruct their hits and completely rebuild them with new arrangements. For the band it was definitely a challenge since they would 1) compose new melodies in a different endeavor, 2) use song structures of songs that already had proven to be hits and 3) do all this with a time constraint extremely tight. As always, the band didn't chose the easy road and opted for a harder and unknown path.
By November, 4th the album came out. It was titled "This left feels right", being advertised as a "Greatest Hits with a twist". Although initially planned to include 2 new original songs, both were eventually removed from the final track list. The album included 12 completely re-arranged songs from their catalog, spanning their biggest hits over the years, from the 80s hair metal days of "Slippery When Wet" and "New Jersey", their 90s comeback "Keep the Faith" and subsequent power ballads to "Crush" and "Bounce" leading singles. Sure 7 out of the 12 tracks on the record were from the 80s, but nonetheless the song selection couldn't be more accurate as to identify their most relevant hits. The European and Japanese markets also got bonus tracks from the acoustic show the band had originally planned to release.
The album kicks off with what seems to be a Led Zeppelin version of "Wanted Dead or Alive" where the most charismatic lines on the cowboy anthem were changed to give it a more intimate atmosphere. Although able to build a brand new context for the quintessential guitar riff, it eventually sounds as a remix of the original.
Livin' On a Prayer is next and for the first time in their career the band includes a duet on a record. In this track Jon shares the lead vocals with Olivia d'Abo (the producer Patrick Leonard's wife), trying to create a dialogue between the song's mythic characters Tommy and Gina. Musically the song is not very different from previous versions the band had already recorded (either live or for the American version of their 1994 compilation, Crossroads, the Best of Bon Jovi), hence not being very surprising (except for the duet factor).
The album's 3rd track is "Bad Medicine" and it is probably the first time the listener feels the intimate atmospheres of the album taking over. Founded on a country arrangement with slide guitar and piano chords, Jon whispers through most of it, creating an overall emotion that truly highlights the lyrics.
"It's my Life" is probably one of the album's finest moments with keyboard's memorable riff being played by an acoustic guitar. The piano, guitars and vocals are flawless, being able to create a brand new endeavor for the anthem, making it shine in a different, yet incredibly refreshing, way. Although not released as the album's first single it gained some radio airplay, becoming for many the album's best memory.
The timeline then goes back to 80's with "Lay your hands on me" where the groove and echoing choirs are actually pleasant, although not particularly memorable. A decent album track that doesn't come close to its predecessor's quality, but which is able to provide a the "album track" vanilla effect.
Next is the album's most Country moment. If "Bad Medicine" had provided some good vibes, it's "You give love a bad name" that definitely gets the crown for best slide guitar work. The song has such a passion and groove it isn't possible to stay quiet. One of best Country and Blues moments on the record. The only down side is probably the song's short length, since it could have easily be stretched to include an extra groove. Nothing that can harm too much one of the record's best moments.
"Bed of Roses" follows, but stripped out of its grand arrangements of power ballad, it lacks the strength the song got us used to, becoming a flat and pallid rendition of itself. Nevertheless the restless piano must be highlighted, both creating the atmosphere and populating the lead melody. The problem is probably it still resembles the original version, hence falling short to its older version's credit.
Bounce's lead single "Everyday" is the next track and what one year before had been released as a heavy, fast paced rocker, is now presented as an organic ballad. It comes to mind the same feeling "It's my Life" had a few tracks back, great arrangement, completely creating a new context for the song. By this time it becomes clear that the more the new arrangements differ from the original ones, the better the song sounds.
"Born to be my Baby" is another example of a good arrangement that still somewhat resembles the original, hence not being able to shine at its full potential. Nevertheless it is able to stay balanced and not to fall into the album's lowest moments, much to its echoing harmonies, that along rhythm section and singer's emotion, give the song the texture it needs to fit among the album's average tunes.
"Keep the Faith" becomes an emotional ballad with violin and guitar providing the background melody, even if (as in its original version) it's during the solo that the song reaches its climax. Once again an average track with a couple of interesting details that allow it to stand out.
The ballad "I'll be there for you" follows, but apart from a couple of details regarding choirs and guitar, it isn't able to sustain the album's quality. Again it brings to memory its original version with all its bitterness.
The album wraps up with the band's greatest power ballad "Always". Much like "Bed of Roses" the song can still resembles its original version, hence becoming flat. Maybe if its original version wasn't such a masterpiece this, much more of an organic approach, could sound better, but having such an acclaimed predecessor, it is easy to be overshadowed.
Overall the album is able to create a coherent atmosphere, being in general pleasant to hear. There is no doubt there are failed versions that mostly bring the originals back to our memories, hence obliterating the new melodies. However there are also moments when old classics were completely re founded with quality arrangements that barely make us think we are listening to an old hit. Maybe if Lou Reed, Tom Waits or Leonard Cohen had sung or contributed to the album, it would had earned a different reaction, becoming more acclaimed, even if the end result wouldn't be all that different. However, since the band is called Bon Jovi, critics and underground music lovers are automatically unable to give them a chance.
The reactions to the album didn't take long and many were the fans shocked by the drastic change of their favorite songs. The band stated the album didn't target huge sales, which in fact proved to happen, since "This Left Feels Right" had the poorest chart positions since the band had its breakthrough in mainstream rock in 1986 with "Slippery When Wet". There were nonetheless some fans who were able to surpass the initial shock and embrace the album, understanding its foundations and its atmospheres. There is no doubt this is an extremely difficult record to market both to fans, who already love the original recordings and are not usually into eclectic sounds, and non fans, who don't give the band enough credit to even consider listen to it.
The band released a video for Wanted Dead or Alive (which was the album's lead single) with live footage from the tour (something really odd given the song had never been performed live with this arrangement). Interesting is the fact that some Music TV channels opted to promote the video for the acoustic live version of In These Arms, recorded at the Yokohama show, which can provide proof that a simple acoustic album would have a much better acceptance in mainstream channels.
The truth is the band didn't even try to promote the record extensively, betting all their cards on a live presentation in their home state of New Jersey gamble city, the one named after the ocean the east coast of America is next to. The Borgata Casino and Hotel was the chosen place to make the 2 only live presentations of the album. The shows included not only the performance of all the tracks on the record, as additional album tracks (Love for Sale, Misunderstood and Joey), fan favorites (Someday I'll be Saturday Night and Blood on Blood) with simpler arrangements resembling their original versions, an unexpected cover (Sylvia's mother) and the 2 previously unreleased tracks that were recorded and initially planned to be included on the album ("Thief of Hearts" and "Last man standing"). The shows were recorded and the best moments were soon released on a DVD package. In fact this is probably one of the finest video releases the band ever made, since every aspect of it was carefully thought, from the cardboard cover (in its extended version), track list selection, mixing and production, as well as bonus material, which included interactive Poker game with band members and exerts from the band's historical concert in Hyde Park London during 2003.
The band also performed some of the versions included in this record during their 2005/2006 world tour, promoting Have a Nice Day, but even if they were able to somehow fit in indoor atmospheres and allow some originally high songs to be brought back to the set lists, during open air stadium shows these versions completely lost their context and weren't able to be digested by the masses.
Personally, I believe the idea of an acoustic album can still come to life eventually, but as a result of a live recording, where the band is comfortable and is not pursuing artistic acclaim, but simply having fun with their acoustic guitars. "This Left Feels Right" was not the last approach of the band to the acoustic universe, since they kept acoustic renditions either in concerts or on more intimate performances. It is also worth to mention that this project provided some of the initial roots to the band's subsequent approach to country music, a quest which would eventually take them back to the top of the charts.
Although not commercially successful "This Left Feels Right" remains one of Bon Jovi's most challenging moments, embodying an eclectic approach to their most significant hit singles. As Jon would put it a couple of years later they "shouldn't have messed up with people's memories" which wasn't very rewarding after such a hard work. Eventually the best solution could had been the recording of brand new songs in this format, although it is impossible to know exactly what would had happen then. The best part of the whole project ended up being the amazing Borgata concerts the band released on DVD, during which they created an appropriate atmosphere for the songs to be contextualized and breath among "album tracks" and entertaining chats that filled the project with the consistence it lacked in its album version. 6/10
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