Although 1986’s classic Slippery When Wet unquestionably represented Bon Jovi at its peak both commercially and artistically, the band also enjoyed some of its finest moments on its first two albums. While the group’s early efforts are not as well known, the songs display a better grasp of heartland rock melody and passion than most of the songs on 1988’s New Jersey. Perhaps by then a certain amount of cynicism had set in for the band, sapping some of its earlier positive energy. Still, here’s a take on Bon Jovi’s 10 best '80s tunes.
1. “Runaway”
It may be a bold statement to say that a band’s first sniff at a hit may have been its finest moment, but I feel just about that strongly about this great, keyboard-heavy rocker from Bon Jovi’s 1984 debut. The product of some of Jon Bon Jovi’s earlier demo sessions, the song clearly had been shaped to near-perfection. Fueled by E Street Band member Roy Bittan’s excellent keyboard riff, the tune stands as prototypical mainstream rock: melodic, hard-driving and passionate. This one should have launched immediate stardom for the band but was instead criminally overlooked upon initial release.
2. “She Don’t Know Me”
Here is the sleeper of all sleepers from Bon Jovi’s '80s catalogue, an early song that has traditionally received little airplay or attention. But I have a feeling the band’s fans cling to this one as a special favorite, a sort of best-kept secret only they know about. And for good reason: This mid-tempo gem plays to the band’s strengths, spotlighting Jon Bon Jovi’s soaring vocal style (which was especially prevalent during the band’s early years) and a fist-pumping, crowd-frenzy-inducing chorus. Bryan Adams must still be envious over this one.
3. “In and Out of Love”
On its second album, 1985’s puzzlingly titled 7800 Fahrenheit (the temperature at which rock melts, according to Jon Bon Jovi the geologist), the band amped up the hair metal trappings, possibly to keep up with the Ratts and Def Leppards of the world. Therefore, the song employs vocal effects that suggest a veritable army of harmonies in the chorus, and the lyrics focus on party-time-excellent sorts of concerns, parties and women and the importance of boys’ night out. Still, it’s a highlight of the record, full the compelling anthemic qualities the band would soon perfect.
4. “Let It Rock”
As the lead-off track to Bon Jovi’s megahit 1986 album, Slippery When Wet, this tune worked hard to set a new standard for the essence of arena rock. Ritchie Sambora’s muscular rhythm guitar really sets the stage well for some of his most blistering leads, and the empty-headed but lively chorus takes the notion of anthemic clear to the rafters of any stadium Bon Jovi ever played. It’s a fitting start to a classic album that still fell short of anticipating the heights the rest of the album would reach.
5. “You Give Love a Bad Name”
I wrote a raunchy parody to the tune of this classic back in ninth grade, but that’s not the whole story of why I recall it so fondly. From the rousing a cappella beginning to the tantalizing pre-chorus, the song is simply mid-tempo rock nirvana, delivered five years before a band of the same name almost spelled the end for arena rock once and for all. But a song this good can never die, and the deft songwriting touches that help form the nifty groove in the verses confirmed the rising talents of a true blue-collar rock band.
6. “Livin’ on a Prayer”
Although the band’s lyrical deficiencies become a bit more obvious on this decidedly more serious tune, which tackles adult concerns the band had not really considered previously, the winning template for rootsy pop metal was forever forged through its passionate glory. Jon Bon Jovi’s justified obsession with Bruce Springsteen’s world-changing, working-man rock had always been somewhat apparent, but the tale of Tommy and Gina stands reputably in the long shadow of the Jersey legend’s hard-hitting if more complicated story songs. Sambora's talk box intro remains unforgettable.
7. “Wanted Dead or Alive”
The band spreads out and reveals a folky, even slightly countrified strand of its sound with this acoustic guitar-heavy ballad that is as haunting as it is ultimately exhilarating. Still, the song’s fresh elements don’t detract in the least from the band’s expected and beloved anthemic sound, as Jon Bon Jovi offers some of his most convincing vocals and Sambora some of his most spirited lead guitar work here. Bon Jovi himself would later explore Western themes further, but this is the band’s legendary gunslinger moment.
8. “Never Say Goodbye”
Perhaps the band’s first true power ballad smash hit, this song suggests prom memories even before you realize that rite of passage actually receives direct lyrical treatment. Indeed, the band’s slowed tempo and lilting instrumental approach create a nostalgic cloud so thick the listener almost has to wipe it away from his or her face. But let’s be honest, it’s probably the ladies who get into this one the most, though the guys happily tolerate it in hopes of “losing the keys,” and possibly more than that, after the show.
9. “Born to Be My Baby”
For my money, Bon Jovi’s slightly disappointing 1988 album, New Jersey, is most certainly at its best when it indulges the heartland rock impulses only hinted at previously. Where “Bad Medicine” is schlocky and silly, this straight-ahead tune benefits from its very depth of earnest innocence. The Springsteen influence certainly remains, but the band’s unique way of building up to transcendent choruses makes for a pretty entertaining listen. As always, Sambora’s rhythm work builds a nifty foundation, especially in the verses.
10. “I’ll Be There for You”
The slightly Eastern feel of this song’s guitar intro somehow melts perfectly into the sultry slow burn of the verse, and that provides a fine showcase for some great singing from both Bon Jovi and Sambora in the chorus. In fact, most rock bands would be very lucky to have their lead singers sound half as good as Sambora does in a backup role. Anyway, the theme of passionate devotion has possibly never fit a band as well as Bon Jovi, and this tune provides further evidence of that notion.
