Extreme volume in music very often disguises a lack of actually important content.
Kenny G, I have to be grateful to him for proving that the instrument can be played all different kinds of ways.
My songs used to be significantly more bizarre. I used to play a big electric piano and a loop pedal. I was really into Regina Spektor, and I liked her narrative lyrics that were quite off the wall. I used to layer things up and try and replicate what I'd been doing with my bedroom recordings.
We still play three or four hits every night. Now, we don't play them like the record. We try to find new ways to do it.
Well, I like songs that have like a little bit of quirkiness to them.
I don't think you can replaces great themes. But I think people do want to hear fresh arrangements of them. They don't want to hear them played the same way all the time.
I often use dropped D or C - I even go all the way down to A. What can be really cool is drop a guitar down there and have the rest of the band continue in standard tuning. It gives it a lot of power and texture.
There are a lot of really good guitar sounds and new kind atmospheres on the new Bon Jovi record. I think people are going to dig it, man. And it rocks hard.
I don't like when a song goes from one mood to another unless it's going to be out of sight.
It's always been based around the song, and guitar-playing in the service of the song... The sensibility is about songs. I like to think of it as kind of 'refined primitive.'
I'm a fan of odd meters. For example, I've decided to sing 'No Business Like Show Business,' but I'll be doing it in constantly changing 5/4, 7/4 and 11/4 time signatures. I've found a way to make that work.
