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SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM MUSICIAN Why make a solo album now? Did that affect your playing today? TOOLS OF THE TRADE There were many reasons. Bon Jovi had I think so. Once I realized the pentatonic been ultra-busy to the point that I didn’t have scale was a movable thing, up and down time to stop and look at what was happening the neck in any key, I became a lead player Sambora tore into his vast vintage in my life. At the end of our last tour—after quickly. I was in a band within six months instrument collection for Aftermath of the traveling to 52 countries in 18 months—I of picking up the guitar, playing lead solos. Lowdown. “I used everything from a 1959 finally had a chance to think about myself. I It helped that I was an avid music listener. Les Paul to a ’58 Flying V to some ’50s Fender came home energized and started to write I bought a new album every week or two Broadcasters,” he says. “I even used an original songs. I had no idea I was making an album, and really studied them. It also helped that Gibson Explorer. I also used lots of Strats—’61s but as the songs started to take shape, they I had played the accordion, and the sax and ’63s—and lots of Gretsches, including a turned out to be very reflective of where I am and trumpet in the school band. Those 1954 Country Gentleman, a 6120 and a in my life. That’s when I decided to get some instruments came easily to me, so when I Duo Jet. I played a National Dobro on some of musicians together. started playing guitar, I already knew my ear the record as well. As far as acoustic guitars for music was very acute. go, it was mostly some really nice Martins. Which song set the tone? One of my favorites is a 1938 OM-28. I also “Seven Years Gone.” It’s about the passage What’s your writing process? played a 1938 000-42.” of time. In the past seven years I’ve gone Ideas can come at any time—but when I’m in For amplification, Sambora relied mainly through lots of low points, lots of personal a writing mode, I try to sit and come up with on “a bevy of Marshalls.” “I used a JCM2000 travails. My dad died of cancer, I was battling something every day. It might be just a title, a and a JCM800 with Randy Rhoads heads,” substance abuse, and I was in the middle verse and a chorus, or just a vibe. But usually he says. “I sometimes used Blackstar amps of a divorce and facing single parenthood. I I’m able to write a complete song. You can as well, mostly the Artisan 100. I also used looked up and all those years had passed. be the greatest guitar player in the world, but an Orange amp, all sorts of Fender tweeds, I felt compelled to take stock, and was if you don’t have a good song to play to, you and a ’62 Fender Twin.” pointed in the direction of an inward search. don’t have much. The groove of the song and For his live setup Sambora relies on the emotion of the lyric dictate what you play. lighter configurations, geared toward versatility. I’m always following the song, or chasing it. “Obviously I can’t take all those instruments on the road,” he says. “Lately I’ve been bringing inchin M ‘I took my first How is writing solo different from along one of the Les Pauls, a really nice James writing for Bon Jovi? guitar lesson at Jon and I always write together in the same room. The energy and the push and pull between us—we like to call it “healthy the age of 53.’ debate”—is at the heart of the band. When I’m writing for a solo record I’m sitting by myself, Did you have musical goals? or with one of my co-writers, telling my story. I wanted to play more emotional solos. On There’s a huge difference. There’s also the RICHIE SAMBORA the last three Bon Jovi records, my solos matter of influences. Jon’s are different have been brief, more about melody. My from mine, and his lyrical preferences are Life’s trials lead him beyond Bon Jovi to a very personal solo effort heroes—Jimi Hendrix, Jimmy Page, Eric different, too. He’s the megaphone for the Clapton, Jeff Beck, Duane Allman, Johnny band. He’s the one who has to stand up By Russell Hall Winter—were all about self-expression. there and sing those songs, not me. Listening to them made me want to play RICHIE SAMBORA ISn’t oNE TO HOLD BACK. HIS NEW SOLO Instead, he went on a writing tear. Working with co-producer solos all the time. A lot of the playing on What did you learn from session work album is the best thing he’s done outside Bon Jovi, he insists, and and co-writer Luke Ebbin, he recruited an A-list of musicians that this record was done straight off the floor prior to joining Bon Jovi? he’s not going to rein in his enthusiasm with false modesty. “People included keyboard wiz Roger Joseph Manning Jr. and guitarist Rusty in the studio. Several songs have extended The golden rule is to listen. The guys I was have been very surprised by this record,” he says. “They’re surprised Anderson from Paul McCartney’s band. “Rusty’s a great player,” solos. There’s not enough of that in rock playing with were professional musicians, it’s me. I could take that as a bad thing, I suppose, but I think it’s cool.” says Sambora. “He helped get some guitar parts going while I was music these days. Guitarists rarely take solos much older than I was. They taught me not As its title implies, Aftermath of the Lowdown comes in the putting the melodies and some arrangements together.” anymore, but I’ve always felt that’s one of the to overplay, to really listen and see what the wake of some thorny issues Sambora has faced in recent years. A Aftermath of the Lowdown shifts smoothly between glam- best things about playing guitar. song needs. That’s probably why I became James Minchin much-publicized divorce from actress Heather Locklear, a stint in tinged pop rockers, acoustic ballads and scruffy blues-rock tunes a good record maker in terms of arranging rehab and an arrest for driving under the influence made him fodder that lie somewhere between the Black Keys and the Black Crowes. How did you learn to play? and producing. It’s about what to play, and for the tabloids. He handled the tribulations by throwing himself into Sambora wanted both variety and authenticity. “I like diversity,” he I approached it a bit backward. I would put on where. What’s right for one album or one his work with Bon Jovi. Following the release of their 2009 album, says, “but I also wanted the songs to fit me well, like a comfortable something like the Live Johnny Winter And artist might not be right for another. The Circle, the band undertook a mammoth world tour that lasted coat. I think I accomplished that.” album—which has lots of fast lead solos—and ’61 Strat, and a great ’53 Telecaster.” His a year and a half. “When you come off a tour like that you usually From his home in Los Angeles, Sambora talked about the new try to move my fingers as fast as I thought What were you doing when you met Jon? effects gear included “plenty of different feel like you’re toppling off a cliff,” says the ace guitarist. “You sort album, his approach to guitar, his days as a session player and the he was playing. I didn’t know which notes I I had just come back from Los Angeles, pedals, both vintage and new.” of fall down, exhausted. But I felt none of that.” values of taking lessons at age 53. was playing, I was just trying to get the same where I was auditioning for Kiss. They Sambora claims the artistic freedom type of phrasing. I did that for a long time had asked me to come out there. I didn’t he enjoyed in making the album—no time with lots of different albums. That created get in the band, obviously. It wasn’t constraints—allowed him to try various ‘As long as people want to see me play, I’m going out a kind of muscle memory in my hands. By my style of music—but they’re a really combinations. “I really broke out the arsenal,” the time I tried to actually put notes to what good band, and important to rock ’n’ roll he says. “It was great being able to make this there. I’ve got no problem playing till I’m dead.’ I was doing, I was already pretty good. history. But I was more into blues-based record on my own terms.” 46 47 M mag 22_cs6.indd 46 10/18/12 11:17 PM M mag 22_cs6.indd 47 10/18/12 11:16 PM SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM SEPTEMBER/OCTOBER 2012 ISSUE MMUSICMAG.COM MUSICIAN Neil Lupin/Redferns Inset: Kevin Westenberg Inset: Kevin Onstage in London, 2011 ‘Listening to my heroes made me David Bryan, Jon Bon Jovi, Richie Sambora, Tico Torres want to play solos all the time.’ THE AXE FACTOR Although he’s never been on The X Factor guys.

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