Illustration by Arthur Rackham of the ballad The Twa Corbies

A ballad is a form of verse, often a narrative set to music. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century and used extensively across Europe and later the Americas, Australia and North Africa. Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century it took on the meaning of a slow form of popular love song and the term is now often used as synonymous with any love song, particularly the pop or rock power ballad.

Origins[link]

The ballad probably derives its name from medieval French dance songs or "ballares" (from which we also get ballet), as did the alternative rival form that became the French Ballade. In theme and function they may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf.^[1] The earliest example we have of a recognisable ballad in form in England is ‘Judas’ in a 13th-century manuscript.^[2]

Ballad form[link]

Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.^[3] As can be seen in this stanza from ‘Lord Thomas and Fair Annet’:

The horse| fair Ann|et rode| upon|
He amb|led like| the wind|,
With sil|ver he| was shod| before,
With burn|ing gold| behind|.^[1]

However, there is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabic and use consonance rather than rhyme.^[4]

In all traditions most ballads are narrative in nature, with a self-contained story, often concise and relying on imagery, rather than description, which can be tragic, historical, romantic or comic.^[3] Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.^[1]

Composition[link]

Scholars of ballads are often divided into two camps, the ‘communalists’ who, following the line established by the German scholar Johann Gottfried Herder (1744–1803) and the Brothers Grimm, argue that ballads arose by a combined communal effort and did not have a single author, and ‘individualists’, following the thinking of English collector Cecil Sharp, who assert that there was a single original author.^[2] The communalist position tends to lead to the view that more recent, particularly printed broadside ballads, where we may even know the author, are a debased form of the genre. The individualists position has tended to lead to the view that later changes in the words of ballads are corruptions of an original text.^[5] More recently scholars have pointed to the interchange of oral and written forms of the ballad.^[6]

Classification[link]

Illustration by Arthur Rackham to Young Bekie.

European Ballads have been generally classified into three major groups: traditional, broadside and literary. In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music. For the late 19th century the music publishing industry found a market for what are often termed sentimental ballads, and these are the origin of the modern use of the term ballad to mean a slow love song.

Traditional ballads[link]

The traditional, classical or popular (meaning of the people) ballad has been seen as originating with the wandering minstrels of late medieval Europe.^[1] From the end of the 15th century we have printed ballads that suggest a rich tradition of popular music. We know from a reference in William Langland's Piers Plowman, that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material we have is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495.^[7]

Early collections of English ballads were made by Samuel Pepys (1633–1703) and in the Roxburghe Ballads collected by Robert Harley, 1st Earl of Oxford and Mortimer (1661–1724).^[7] In the 18th century there were increasing numbers of such collections, including Thomas D'Urfey's Wit and Mirth: or, Pills to Purge Melancholy (1719–20) and Bishop Thomas Percy's Reliques of Ancient English Poetry (1765).^[7] The last of these also contained some oral material and by the end of the 18th century this was becoming increasingly common, with collections including John Ritson's, The Bishopric Garland (1784), which paralleled the work of figures like Robert Burns and Walter Scott in Scotland.^[7]

Key work on the traditional ballad was undertaken in the late 19th century in Denmark by Svend Grundtvig and for England and Scotland by the Harvard professor Francis James Child.^[2] They attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing a commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads.^[8] There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous.^[1]

Broadsides[link]

An 18th-century broadside ballad: The tragical ballad: or, the lady who fell in love with her serving-man.

Broadside ballads (also known as 'roadsheet’, ‘stall’, ‘vulgar’ or ‘come all ye’ ballads) were a product of the development of cheap print in the 16th century. They were generally printed on one side of a medium to large sheet of poor quality paper. In their heyday of the first half of the 17th century, they were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune tile, as well as an alluring poem.^[9] By the 18th century, they were printed in white letter or roman type and often without much decoration (as well as tune title). These later sheets could include many individual songs, which would be cut apart and sold individually as "slipsongs." Alternatively, they might be folded to make small cheap books or "chapbooks" which often drew on ballad stories.^[10] They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s.^[11] Tessa Watt estimates the number of copies sold may have been in the millions.^[12] Many were sold by travelling chapmen in city streets or at fairs.^[13] The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies.^[14]

Literary ballads[link]

Literary or lyrical ballads grew out of an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures like Robert Burns and Sir Walter Scott in Scotland both collected and wrote their own ballads, using the form to create an artistic product. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of Lyrical Ballads in 1798, including Coleridge’s ‘The Rime of the Ancient Mariner’. At the same time in Germany Goethe cooperated with Schiller on a series of ballads, some of which were later set to music by Schubert.^[15] Later important examples of the poetic form included Rudyard Kipling’s ‘Barrack Room Ballads’ (1892-6) and Oscar Wilde’s ‘Ballad of Reading Gaol’ (1897).^[16]

Ballad operas[link]

Painting based on The Beggar's Opera, Act III Scene 2, William Hogarth, c. 1728

In the 18th century ballad operas developed as a form of English stage entertainment, partly in opposition to the Italian domination of the London operatic scene.^[17] It consisted of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short to minimize disruptions to the flow of the story. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas D'Urfey (1653–1723), a number of whose collected ballads they used in their work.^[18] Gay produced further works in this style, including a sequel under the title Polly. Henry Fielding, Colley Cibber, Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity.^[19] Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like Isaac Bickerstaffe's Love in a Village (1763) and Shield’s Rosina (1781), using more original music that imitated, rather than reproduced, existing ballads. Although the form declined in popularity towards the end of the 18th century its influence can be seen in light operas like that of Gilbert and Sullivan's early works like The Sorcerer.^[20] In the 20th century, one of the most influential plays, Kurt Weill and Bertolt Brecht's (1928) The Threepenny Opera was a reworking of The Beggar's Opera, setting a similar story with the same characters, and containing much of the same satirical bite, but only using one tune from the original.^[21] The term ballad opera has also been used to describe musicals using folk music, such as The Martins and the Coys in 1944, and Peter Bellamy's The Transports in 1977.^[22] The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret.^[23]

Beyond Europe[link]

Native American ballads[link]

Statue of John Henry outside the town of Talcott in Summers County, West Virginia

Native American ballads are ballads that are native to North America (not to be confused with ballads performed by native Americans).^[24] Some 300 ballads sung in North America have been identified as having origins in British traditional or broadside ballads.^[24] Examples include ‘The Streets of Laredo’, which was found in Britain and Ireland as ‘The Unfortunate Rake’; however, a further 400 have been identified as originating in North America, including among the best known, ‘The Ballad of Davy Crockett' and 'Jesse James'.^[24] They became an increasing area of interest for scholars in the 19th century and most were recorded or catalogued by George Malcolm Laws, although some have since been found to have British origins and additional songs have since been collected.^[24] They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate a particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads.^[6]

Blues ballads[link]

The blues ballad has been seen as a fusion of Anglo-American and Afro-American styles of music from the 19th century. Blues ballads tend to deal with active protagonists, often anti-heroes, resisting adversity and authority, but frequently lacking a strong narrative and emphasising character instead.^[24] They were often accompanied by banjo and guitar which followed the blues musical format.^[6] The most famous blues ballads include those about John Henry and Casey Jones.^[24]

Bush ballads[link]

Cover to Banjo Paterson's seminal 1905 collection of bush ballads, entitled The Old Bush Songs

The ballad was taken to Australia by early settlers from Britain and Ireland and gained particular foothold in the rural outback. The rhyming songs, poems and tales written in the form of ballads often relate to the itinerant and rebellious spirit of Australia in The Bush, and the authors and performers are often referred to as bush bards.^[25] The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia.^[25] The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers' strike, class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such as trucking.^[26] The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial national anthem of Australia".^[27]

Sentimental ballads[link]

Now the most commonly understood meaning of the term ballad, sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with the middle classes, had their origins in the early ‘Tin Pan Alley’ music industry of the later 19th century. They were generally sentimental, narrative, strophic songs published separately or as part of an opera (descendants perhaps of broadside ballads, but with printed music, and usually newly composed. Such songs include "Little Rosewood Casket" (1870), "After the Ball" (1892) and "Danny Boy".^[24] By the Victorian era, ballad had come to mean any sentimental popular song, especially so-called "royalty ballads", which publishers would pay popular singers to perform in Britain and the United States in "ballad concerts." Some of Stephen Foster's songs exemplify this genre.^[28] By the 1920s, composers of Tin Pan Alley and Broadway used ballad to signify a slow, sentimental tune or love song, often written in a fairly standardized form (see below). Jazz musicians sometimes broaden the term still further to embrace all slow-tempo pieces.^[29]

Jazz, blues and traditional pop[link]

As new genres of music, such as ragtime, blues and jazz, began to emerge in the early 20th century the popularity of the genre faded, but the association with sentimentality led to the term ballad being used for a slow love song from the 1950s onwards.^[24] Most pop standard and jazz ballads are built from a single, introductory verse; usually around 16 bars in length, and ending on the dominant; the chorus or refrain, usually it is 16 or 32 bars long, and in AABA form (though other forms such as ABAC are not uncommon). In AABA forms, the B section is usually referred to as the bridge; often a brief coda, sometimes based on material from the bridge, was added as in "Over the Rainbow".^[30] Other key traditional pop and jazz ballads include: "Body and Soul" by Johnny Green; "Misty" by Erroll Garner; "The Man I Love" by George Gershwin; "My Funny Valentine" by Rodgers and Hart, "God Bless the Child" by Billie Holiday, "Ev'ry Time We Say Goodbye" by Cole Porter, the instrumental ballad "Naima" by John Coltrane, "In a Sentimental Mood" by Duke Ellington and "Always" by Irving Berlin.^[31]

Pop and rock ballads[link]

To emphasize the emotional aspect of a power ballad, crowds customarily hold up lit lighters.^[32][33]

The most common use of the term ballad in modern pop music is for an emotional love song.^[34] When the word ballad appears in the title of a song, as for example in The Beatles's "The Ballad of John and Yoko" or Billy Joel's "The Ballad of Billy the Kid", the folk-music sense is generally implied. Ballad is also sometimes applied to strophic story-songs more generally, such as Don McLean's "American Pie".^[35]

Power ballads[link]

Simon Frith identifies the origins of the power ballad in the emotional singing of soul artists, particularly Ray Charles and the adaptation of this style by figures such as Eric Burdon, Tom Jones and Joe Cocker to produce slow tempo songs often building to a loud and emotive chorus backed by drums, electric guitars and sometimes choirs.^[36] According to Charles Aaron, power ballads came into existence in the early 1970s, when rock stars attempted to convey profound messages to audiences.^[37] He argues that the power ballad broke into the mainstream of American consciousness in 1976 as FM radio gave a new lease of life to earlier songs like Led Zeppelin's "Stairway to Heaven" (1971), Aerosmith's "Dream On" (1973), and Lynyrd Skynyrd's "Free Bird" (1974).^[37] Other notable examples include Nazareth's version of "Love Hurts" (1975), Foreigner's "I Want to Know What Love Is"^[36] and Scorpions "Still Loving You" (both 1984), Heart's "What About Love" (1985),^[38] and Whitesnake's "Is This Love" (1987).^[39]

See also[link]

Wikimedia Commons has media related to: Ballads

• Border ballads
• Corrido — a form of ballad originating in northern Mexico and the U.S. Southwest
• Graves, Alfred Perceval
• List of the Child Ballads
• List of folk song collections
• List of Irish ballads
• List of rock ballads
• Murder ballad
• Roud Folk Song Index
• Song structure (popular music)
• Torch song

Notes[link]

References and further reading[link]

• Middleton, Richard. "Popular Music (I)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Randel, Don (1986). The New Harvard Dictionary of Music. Cambridge: Harvard University Press. ISBN 0-674-61525-5.
• Temperley, Nicholas. "Ballad (II, 2)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Witmer, Robert. "Ballad (jazz)". Grove Music Online ed. L. Macy (subscription required). Accessed 2007-04-06.
• Marcello Sorce Keller, "Sul castel di mirabel: Life of a Ballad in Oral Tradition and Choral Practice", Ethnomusicology, XXX(1986), no. 3, 449- 469.

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (May 2011)

Wikiquote has a collection of quotations related to: Ballads

• The Ballad Society of Japan
• The British Literary Ballads Archive
• The Bodleian Library Ballad Collection: view facsimiles of printed ballads
• The English Broadside Ballad Archive: searchable database of ballad images, citations, and recordings
• Welsh Ballads Website
• The Traditional Ballad Index
• Black-letter Broadside Ballads Of The years 1595-1639 From the Collection of Samuel Pepys
• Smithsonian Global Sound: The Music of Poetry — audio samples of poems, hymns and songs in ballad meter.
• The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch
• Great Rock Ballads
• Jazz and Vocal Ballads
• English Broadside Ballad Archive -- an archive of images and recordings of over 4,000 pre-1700 broadside ballads

Richie Sambora
Background information
Birth name	Richard Stephen Sambora
Born	(1959-07-11) July 11, 1959 (age 52) Perth Amboy, New Jersey, United States
Genres	Rock, hard rock, heavy metal, glam metal, blues
Occupations	Singer-songwriter, Producer, Multi-instrumentalist
Instruments	Guitar, vocals , Talkbox
Years active	1983-present
Labels	Mercury Records, Island Records, Mercury Nashville
Notable instruments
Kramer RS Signature Model ESP SA-2 Lennox Sambora signature model Martin signature acoustic Fender Stratocaster

Richard Stephen "Richie" Sambora (born July 11, 1959) is an American rock guitarist, producer, musician, singer, and songwriter who is the longtime lead guitarist of the rock band, Bon Jovi. He and frontman Jon Bon Jovi form the primary songwriting unit of the band. He has also released two solo albums: Stranger in This Town in 1991, and Undiscovered Soul in 1998.^[1]

Early life[link]

Sambora was born in Perth Amboy, New Jersey, the son of Joan, a secretary, and Adam, a factory foreman. Sambora is of Polish and Italian descent^[2] and was raised Catholic.^[3] He grew up in Woodbridge, New Jersey^[4] and attended Woodbridge High School there, graduating in 1977.^[5] He began playing the guitar at the age of 12 following the death of guitar legend Jimi Hendrix in 1970. From his early days Sambora was strongly influenced by blues and 60s rock 'n' roll. His most important influences were Eric Clapton, Jimi Hendrix, Jeff Beck, Stevie Ray Vaughan, Johnny Winter, Jimmy Page, Joe Perry, Joe Kmiecik, and George Harrison. He was also influenced by Spanish classical music and began a life long love of the Spanish guitar. Furthermore, he has stated that psychedelic soul singer Janis Joplin crept into his heart very early in the late 60s and early 70s, having a big influence on his musical style. Classical music directly inspired several of his songs, such as The Answer which was originally written on piano.^[6]

Career[link]

He was a guitarist for the band Message, and with that band he gave out a record, which was re-released in 1995 under the name "Message", and in 2000 under the name "Lessons". Bon Jovi added Sambora to replace original lead guitarist Dave Sabo.^[7] Sambora went to a show and, after being impressed by Bon Jovi, approached him and informed him that he thought they should work together. They immediately hit it off as friends, and Sambora was invited to a rehearsal. By the time Bon Jovi arrived, the band was sounding better than ever and Sambora was hired on the spot.^[8]

Sambora has occasionally taken over as lead vocalist on some Bon Jovi songs, most notably "I'll Be There for You"^{[citation needed]} and "These Days"^{[citation needed]} when played live on the Bounce, Have a Nice Day and Lost Highway tours, while on The Circle Tour he has been performing "Lay Your Hands On Me" and "Homebound Train." He has also performed his solo hit, "Stranger In This Town" during live performances. One of the live performances of "Stranger In This Town", recorded during the Keep the Faith Tour, was released on Bon Jovi's CD single "Dry County" in 1994.^{[citation needed]}

Recent ventures have seen him compose television theme songs for both Entertainment Tonight and The Insider. He (along with Jon Bon Jovi) is part of the Ownership Group of the Philadelphia Soul, an Arena Football League football team.^{[9][dated info]}

Sambora made a cameo appearance in The Sims Superstar.

Sambora is featured on the track "Baby Rock Remix", from LL Cool J's upcoming album "Exit 13".^[10]

His first solo outing was Stranger in This Town in 1991, a blues-influenced album that was received well by many critics although commercially a relative flop partially due to the more adult tone of the record that was not instantly appealing to Bon Jovi fans. Eric Clapton played the lead guitar track on the song Mr Bluesman, backed by Sambora on acoustic guitars. He did a short US tour in support of the album, featuring Tony Levin (bass), Dave Amato (guitar), Crystal Taliefero (percussion) and Bon Jovi bandmates Tico Torres (drums) and Dave Bryan (keyboards). Ballad of Youth was released in the UK in summer 1991 and despite plugs from The Friday Rock Show on BBC Radio 1 the song barely skimmed the top 75.

Undiscovered Soul was Sambora's second solo album, released in 1998. The album was produced by Don Was. In support of Undiscovered Soul, Sambora toured Japan, Australia and Europe in the summer of 1998. The band featured Richie Supa (guitar), Ron Wikso (drums), Kasim Sulton (bass), Tommy Mandel (keyboards), Everett Bradley (percussion - Japan only), Gioia Bruno (percussion - Australia only) and Crystal Taliefero (percussion - Europe only).

He made a special guest appearance^[11] on Bo Diddley's 1996 album A Man Amongst Men, playing guitar on the tracks "Can I Walk You Home" and "Oops! Bo Diddley".

In 1999, Sambora appeared as a guest vocalist on the Stuart Smith album Stuart Smith's Heaven & Earth, performing a cover of the Deep Purple song "When a Blind Man Cries". Also in 1999, Sambora played the guitar solo on the track "Why Don't You Love Me" on the album Tuesday's Child by Canadian singer Amanda Marshall.

Sambora played on a recently^[when?] released album called Lessons from a band called Message. The album was recorded in the early 1980s.

Sambora sings "Long Way Around" (background audio) during the final scene in the 1997 Steven Seagal action movie Fire Down Below and is featured on the movie's soundtrack.

Sambora also recorded the song "One Last Goodbye" on the soundtrack for the movie The Banger Sisters. He also covered Jimi Hendrix's "The Wind Cries Mary" for the soundtrack of The Adventures of Ford Fairlane, released in 1990.

His guitar work is also featured on the track "Misery" on Pink's 2001 album Missundaztood with Steven Tyler.

In 2004, Sanctuary Records released a self-titled album which had been recorded in 1978 by Shark Frenzy, documenting Sambora's first recorded material. The mix tapes had been damaged in a flood and it had taken band member Bruce Foster to remaster them for them to be released so many years later.

Sambora co-wrote several tracks and played guitar on Australian rock/pop artist Shannon Noll's third album, called Turn It Up. It was released in Australia September 15, 2007.

14 years after his previous solo album, Sambora announced via his Twitter page that recording had been completed and he was hoping the album would be released in July 2012. Photographs were published of Sambora working in a recording studio. The new album is produced by Luke Ebbin who produced Bon Jovi's 'Crush' and 'Bounce' albums.

Bon Jovi[link]

In October 1984, Bon Jovi supported the group Kiss at the Queens Hall in Leeds.

With the help of their new manager Doc McGhee, the band's debut album, Bon Jovi, was released on January 21, 1984. The album went gold in the US (sales of over 500,000). In 1985, Bon Jovi's second album 7800°Fahrenheit was released, but the response was poor. The turning point came when they brought in songwriter Desmond Child for their third album, Slippery When Wet. With Child co-writing many of their hits on this and future albums the band shot to super-stardom around the world with songs such as "You Give Love a Bad Name", "Livin' On A Prayer", and "Wanted Dead or Alive". The album has sold in excess of 28 million copies worldwide since its release in late 1986.^[12]

During their 1986-1987 tour, Jon's attempt to give it his all during live shows (plus the tour's exhausting schedule) greatly strained his vocal cords. In the band's Behind The Music special, he notes that his vocal cords were given steroids to help him sing. With the help of a vocal coach, he was able to continue doing the tour. Contrary to popular belief, Bon Jovi did not have voice damage during the New Jersey Syndicate Tour.

The next album from Bon Jovi was New Jersey released in 1988. The album was recorded very shortly after the tour for Slippery, because the band wanted to prove that they were not just a one hit wonder. The resulting album is a fan favorite and a mammoth commercial success, with hit songs such as "Bad Medicine", "Lay Your Hands on Me" and "I'll Be There for You", which are still nightly stalwarts in their live repertoire.

Despite the band achieving massive success, New Jersey almost led to the end of the band as they went straight back out on the road so soon after the heavy touring for their previous album. This constant living on the road almost destroyed the strong bond between the band members. Sambora is noted on the albums as co-writer for many songs, yet he resented the attention that was heaped on Jon alone. As mentioned in VH1's Behind the Music, the band members note that at the end of the tour, each band member went their separate way, even departing in separate jets after the tour ended in Guadalajara, Mexico in early 1990.

Between 1990 and 1992, members of Bon Jovi went their separate ways after the very rigorous two year New Jersey Tour, which exceeded 200 shows on 5 continents. This time off also helped them determine where Bon Jovi would fit within the rapidly changing music scene upon their return.

In 1992, the band returned with the album Keep the Faith. The album was released in November 1992. Produced by Bob Rock, the album signified an ending to their early metal roots in previous albums and introduced a more "rock n roll"-driven groove to the album. Much more complex, lyrically and musically, the album proved that Bon Jovi could still be a viable band in 90's, despite the industry's and audience's growing affinity for Grunge.

In 1994, Bon Jovi released a "greatest hits" album titled Cross Road, which also contained two new tracks: the hit singles "Always" and "Someday I'll Be Saturday Night". Always spent six months on the Top 10 of the Billboard Hot 100 and became one of Bon Jovi's all-time biggest hits. The song peaked at #4 on the U.S. charts and at #1 in countries across Europe, Asia and in Australia. The single sold very well, going platinum in the U.S. That same year, bassist Alec John Such left the band, the first and only lineup change since Bon Jovi began. Hugh McDonald, who was the bassist on "Runaway", unofficially replaced Such as bassist.

Their sixth studio album These Days was released in June 1995 to the most critical acclaim that the band had ever received. With the album These Days, Bon Jovi took the mature rock sound they had developed on Keep the Faith further. The record as a whole was darker and more downbeat than the usual Bon Jovi fare. By 1996, Bon Jovi had established themselves as a force"in the music industry, proving much more durable than most of their 80's glam peers.

After another lengthy hiatus of nearly three years, during which several band members worked on independent projects, Bon Jovi regrouped in 1999 to begin work on their next studio album. Their 2000 release, Crush, enjoyed overwhelming success all around the world, thanks in part to the smash-hit single "It's My Life", co-written by famous Swedish producer Max Martin. Crush, which also produced such hits as "Say It Isn't So", and helped introduce Bon Jovi to a new, younger fan base.

In late 2002, Bounce, the band's follow-up to Crush, hit stores. Though Bounce did not enjoy the level of success of its predecessor, the album did produce hit singles such as "Everyday" and the title track.

Bon Jovi's ninth studio album, Have a Nice Day, was released in September 2005. "Have A Nice Day" was the first single off the new album and the second single from the album "Who Says You Can't Go Home", was released in the U.S. in the spring of 2006. In the U.S. a duet version of "Who Says You Can't Go Home" with country singer Jennifer Nettles of the band Sugarland was released, and in May 2006, Bon Jovi made history by becoming the first Rock & Roll Band to have a #1 hit on Billboard's Hot Country Chart. On February 11, 2007, Bon Jovi also won a Grammy Award, for "Best Country Collaboration with Vocals" for "Who Says You Can't Go Home".

In June 2007, Bon Jovi released their studio album, Lost Highway. The album debuted at number #1 on the Billboard charts, the first time that Bon Jovi have had a number one album on the US charts since the release of New Jersey in 1988. Thanks to the band's new country music fanbase, the album sold 292,000 copies in its first week on sale in the U.S., and became Bon Jovi's third US number one album.

On April 6, 2009, it was announced that the Tribeca Film Festival will screen a Bon Jovi documentary called When We Were Beautiful. The film follows the band on the Lost Highway Tour during 2008. The film is directed by Phil Griffin and will be the centerpiece of the festival and is considered a work-in-progress.In November 2009, Bon Jovi released their latest studio album The Circle.

Instruments and equipment[link]

Sambora has been known to use a wide variety of equipment throughout his career. He has an extensive guitar collection, featuring more than 120 instruments.

1980s[link]

In the 80s, Sambora mostly played Kramer, Jackson, Charvel and Hamer superstrats as well as modified and custom Les Paul models, such as his Rod Schoepfer model. In early-mid 1987, Kramer put out a Richie Sambora signature model with three humbuckers, pointy drooped headstock, gold hardware, star-shaped fingerboard inlays and a Floyd Rose Original locking tremolo, which quit production in 1989. Today it has been reissued by MusicYo, and is named "Jersey Star", no longer carrying Sambora's actual name. He had also used several other Kramer models, including a variety of custom ones ("one-offs"). His two most notable guitars from the Slippery When Wet album/tour were his Kramer Richie Sambora signature and a custom white Jackson with gold hardware and a Floyd Rose tremolo, HSS pickup configuration and a reversed Strat-like headstock and a star on the body and headstock. There is also another of his very famous guitars from Kramer, which is a Jersey Star signature double neck used on "Lay Your Hands On Me".

During the following years Sambora played various guitars, most notably a custom black Jackson, which featured only a single humbucking pickup in the bridge position, Floyd Rose tremolo system and a maple neck and fretboard with a reversed Strat-like headstock, along with vintage Fenders and Gibsons.

Sambora with a Fender Stratocaster

1990s[link]

In 1991, Fender issued a Richie Sambora signature Stratocaster model which featured an original Floyd Rose tremolo system and an HSS combination of DiMarzio PAF Pro humbucking and 2 Fender Texas Special single-coil pickups. This guitar came in two versions; American and later in 1996, Japanese. US-made Sambora model featured an alder body with ash veneers and was available in Cherry Sunburst and Olympic White, while the Japanese version had an alder body with black paisley graphics (ltd) and a Snow White Finish. Other features included a one-piece maple neck/fingerboard with 22 frets and star-shaped position markers, as well as a 25dB active mid-boost circuit (US version only) with TBX (US & Japanese) tone controls and an active/passive push-button switch.

In the 1995 video Live from London, Sambora uses a custom orange burst double neck Fender Stratocaster featuring a traditional maple neck with star inlays and a locking tremolo (on the lower neck). He uses this guitar on the song 'Lay Your Hands On Me' on the London DVD.

There was also a Mexican-made standard version of the instrument, featuring a DiMarzio PAF humbucking pickup in the bridge position and two standard single-coils in the neck and middle positions. The guitar also sported a rosewood fingerboard with 21 frets and white dot inlays, as well as a Floyd Rose II locking bridge. Both the US and Mexican-made Sambora models were discontinued in 2002, though now there is a Fender Standard Series Stratocaster HSS Locking Tremolo with about the same specs as Sambora's own guitar, but its only available through Guitar Center.

Sambora has used Ovation acoustic-electric guitars from the early 1980s until today. He played a custom-made doubleneck designed by his longtime guitar technician Gary "Gaz" Douglas which is featured on many "unplugged" versions of Bon Jovi songs such as "Wanted Dead Or Alive" and a variety of other Ovations, such as the Adamas hybrid wood/graphite model.

2000-present[link]

This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (May 2011)

In 2000, Taylor started the production of a Richie Sambora signature model, a 6-string acoustic made of koa wood, called the RSSM. Only 100 were made all in the year of 2000. All of his double neck acoustics feature a 6 string neck on top and a 12 string neck on bottom, opposite of the normal manufacturing standard.

Since Sambora has been known to use his favourite Martin acoustic, among others, on a lot of recordings, Martin guitars put out two of Sambora's signature models in 2006, a 6-string and a 12-strings, based on his mentioned favourite 1930 Martin OM-45. He has also been seen using a Yamaha double neck acoustic at specific live shows.

Sambora in 2009 at the premiere of When We Were Beautiful

He still plays a variety of Fenders, apparently over 40 Stratocasters (mostly vintage, American Deluxe and Custom Shop models), such as the Telecaster doubleneck used on "Have a Nice Day." Sambora also has a '59 ash-body Telecaster used for These Days and Someday I'll Be Saturday Night.

In the period of 2003-2006, he played a wide variety guitars on stage, including custom "Sambora" guitars built by his guitar tech Chris "Lumpy" Hofschneider, Zemaitis Guitars, Floyd Rose guitars, Ovation, Taylor and Martin guitars, vintage and Custom Shop Gibson and Fender models, as well as guitars from his collection. One of the guitars built by his guitar tech features a fretboard made of both maple and rosewood, on an ash body with neck-through-body construction and a custom humbucking/single/single pickup layout. Currently, he mostly plays the custom black "Sambora" guitar (which is now a custom model called Sambora SA-2 for ESP), different models of Gibson Les Pauls and Fender Telecasters and Stratocasters (American Vintage, American Deluxe, Custom Shop and other models).

Sambora also used Gibson and Guild acoustics, particularly a Guild F-50 12-string, which he used on the song "Wanted Dead or Alive". He acquired this guitar directly from the Guild factory due to it having a finish flaw.

For most of the 80s and early-mid 90s, he used Marshall amplifiers, particularly the JCM800 models with 4x12" speaker cabinets and a variety of rack and pedal units (including effects). During his Stranger in This Town tour, Sambora used 2 Marshall JCM800 2203 heads and a Fender amp head (model not specified), with 3 4x12" Marshall cabinets. In 1995, Sambora started using Fender ToneMasters with Fender ToneMaster 4x12" speaker cabinets, following the These Days Tour. On tour, he used up to 12 cabinets on stage. For the studio sessions of his second solo album, Undiscovered Soul, he also used a Fender Bassman 4x10" combo and a Vox AC30. On the tour, he used Fender ToneMasters, a Marshall amp head, a Vox amp head and a VHT Pitbull in combination with Fender ToneMaster 4x12" and 2x12" speaker cabinets. In 2000, Sambora started using the Marshall JCM2000 DSL series (both on the tour and recording sessions of Crush). The song "It's My Life" was also recorded with a Mesa Boogie Dual Rectifier. He has also used the Marshall DSL series on the Bounce tour, as well as a Hughes & Kettner amp, occasionally. During their Have a Nice Day tour, Sambora used Diezel and Divided by 13 amplification and custom made 4x12" speaker cabinets. During the studio recording sessions of the Lost Highway album, he used Matchless, Bogner Ecstasy and Diezel Herbert amps. In 2007, he started appearing on stage with 2 halfstacks, again featuring Marshall JCM2000 DSL amplifiers and custom made 4x12" cabinets.

In late 2007, Sambora became an endorsee of The ESP Guitar Company, and a new Richie Sambora signature model, the LTD SA-2, is being debuted at the 2008 Winter NAMM show.

According to "Young Guitar" (Japanese magazine), Richie Sambora use (during the Tokyo shows in 2008) an A/B box, Framptone Talkbox, Jimi Hendrix Dunlop Wah, Keeley Sd-1, Stock SD-1, Roger Mayer Octavia (butane paintjob), Boss CH-1, EHX Electric Mistress Deluxe. He also uses a MIDI rig.

Now, from 2010/2011, Sambora is using a rack system. Some effects the rack includes are: Furman Power Conditioner, Lexicon and Eventide rack effects. Some of the pedals that Sambora is using on the Circle tour are: BOSS OD-1, Hermida Audio Zendrive, Tone Freak Effects Naked OD and Abunai 2, Klon Centaur, Analog Man Octron, EHX Micro POG,Tone Freak Effects MelloTremo, BBE Soul Vibe, Retro-Sonic Chorus, MXR EVH Flanger, MXR Phase 90, Maxon Auto Filter, EHX Deluxe Memory Man. These effects are all run by a MIDI Controller. The effects he has running from his guitar to his amp are: BOSS TU-2 Chromatic Tuner, Moollon Wah, and an Ernie Ball Volume Pedal.

Public service and recognition[link]

Over the years, Sambora has been an ardent fundraiser for many charities,^[13] such as Dream Street, the Steve Young Forever Young Foundation^{[citation needed]} and Michael J Fox's Parkinson's disease charity. He has donated money privately to various cancer charities since the death of his father, including both hospitals where his father was treated, Memorial Sloan Kettering Cancer Center and M D Anderson.^[14] Sambora's fundraising with the charity Stand Up For a Cure allowed for three mobile full service hospital units to be brought to the streets of New York, two of which were named after his parents, respectively.^[15]

In May 2004, Sambora was bestowed with an Honorary Doctorate of Letters by Kean University^[16] where he attended the awards ceremony and gave a speech of acceptance. He attended Kean University as a freshman, but then dropped out to pursue a career as a professional guitarist and session musician.^{[citation needed]}

Sambora and Jon Bon Jovi were inducted into the Songwriters Hall of Fame on June 18, 2009.^[17]

On November 24, 2009, Sambora launched the charitable effort You Can Go Home in his home town of Woodbridge, New Jersey, which unveiled a street renamed Richie Sambora Way. He also donated funds to renovate part of his alma mater Woodbridge High School, which opened a new weight room, the Adam Sambora Fitness Center, dedicated to Sambora's father.^[18]

On May 7th 2012, Sambora will be recognised by the Midnight Mission charity for his work, dedication, and support to their cause, with the Golden Heart Award.

Personal life[link]

Sambora married actress Heather Locklear in Paris on December 17, 1994.^[19] Daughter Ava Elizabeth Sambora was born October 4, 1997.^[20][21] Locklear filed for divorce in February 2006 citing irreconcilable differences.^[22] The divorce was finalized on April 11, 2007.^[23] Just nine days later, on April 20, Sambora's father Adam died of lung cancer.^[24] Sambora resides in Los Angeles and owns a beach house in Laguna Beach as well as other properties.

Substance problems[link]

On June 7, 2007, it was announced that Sambora was entering an "undisclosed rehab facility in Los Angeles" for treatment related to alcoholism.^[25][26] Following his release, he told an interviewer, "I was just drinking too much and I needed to get my life together. I'm still in therapy and stuff like that, but it's good. I'm great. I feel fine."^[27] In the Bon Jovi documentary "When We Were Beautiful", Sambora talks candidly about his addiction to painkillers following a slip in his bathroom. He credited his bandmates and mother with helping him through the difficult time.^[28][29]

On April 28, 2011, it was announced that Sambora had made the decision to enter rehab again. The date of entry into the facility has yet to be announced but the band made an official statement that it will result in his absence from some shows during the Bon Jovi Live tour.^[30][31] This is Sambora's second stint in rehab and was announced just a week after he finished probation for drunk driving charges.^[32] Sambora returned to join the band in June 2011 in Zagreb, Croatia for the start of the European leg of the tour.

Legal issues[link]

On March 26, 2008, Sambora was arrested for drunk driving in Laguna Beach, California.^[33][34] At the time, his ten-year-old daughter and her friend were both in his Hummer.^[33] He was pulled over at 10:52pm after an officer noticed his car "weaving on the road", but was "quiet and cooperative and didn't cause any problems."^[33][34] At his May 2008 arraignment, he pled no contest "to driving with a blood alcohol level of .08 or higher", was fined $390, placed on probation for three years, and was required to attend a drivers education course.^[35]

Discography[link]

Studio albums[link]

Solo singles[link]

Other album appearances[link]

[edit] With Shark Frenzy

• Shark Frenzy - 2004, Sanctuary

[edit] With Message

• Message - 1980, unknown label
• Message - 1995, Long Island Records
• Lessons - 2000, Escape Music
• Message Live - 2006, Two Sun Songs

With Cher[link]

• Cher (1987)

With Bon Jovi[link]

References[link]

Wikimedia Commons has media related to: Richie Sambora

Johnny Cash
Cash in 1969.
Background information
Birth name	John R. Cash
Born	(1932-02-26)February 26, 1932 Kingsland, Arkansas, United States
Origin	Kingsland, Arkansas, United States
Died	September 12, 2003(2003-09-12) (aged 71) Nashville, Tennessee, United States
Genres	Country, rock and roll, folk, americana, gospel, blues, rockabilly
Occupations	Singer-songwriter, musician, actor
Instruments	Vocals, guitar, harmonica, mandolin
Years active	1955–2003
Labels	Sun, Columbia, Mercury, American, House of Cash, Legacy Recordings
Associated acts	The Tennessee Three, The Highwaymen, June Carter Cash, The Statler Brothers, The Carter Family, The Oak Ridge Boys, Area Code 615, Roy Orbison, Jerry Lee Lewis, Carl Perkins, Bob Dylan, Tom Petty and the Heartbreakers
Website	johnnycash.com
Notable instruments
Martin Acoustic Guitars[1]

John R. "Johnny" Cash (February 26, 1932 – September 12, 2003), was an American singer-songwriter, actor,^[2] and author,^[2] who has been called one of the most influential musicians of the 20th century.^[3] Although he is primarily remembered as a country music icon, his songs and sound spanned many other genres including rockabilly and rock and roll—especially early in his career—as well as blues, folk, and gospel. This crossover appeal led to Cash being inducted in the Country Music Hall of Fame, the Rock and Roll Hall of Fame, and Gospel Music Hall of Fame.

Cash was known for his deep, distinctive bass-baritone voice;^[4][5][6] for the "boom-chicka-boom" sound of his Tennessee Three backing band; for his rebelliousness,^[7][8] coupled with an increasingly somber and humble demeanor;^[4] for providing free concerts inside prison walls;^[9][10] and for his dark performance clothing, which earned him the nickname "The Man in Black".^[11] He traditionally started his concerts by saying, "Hello, I'm Johnny Cash."^[12][13] and usually following it up with his standard "Folsom Prison Blues".

Much of Cash's music, especially that of his later career, echoed themes of sorrow, moral tribulation and redemption.^[4][14] His signature songs include "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Get Rhythm" and "Man in Black". He also recorded humorous numbers, including "One Piece at a Time" and "A Boy Named Sue"; a duet with his future wife, June Carter, called "Jackson"; as well as railroad songs including "Hey, Porter" and "Rock Island Line".^[15] Late in his career, Cash covered songs by several rock artists, most notably "Hurt" by Nine Inch Nails - the resulting music video was voted one of the best of all time and is sometimes seen as Cash's epitaph.

Cash, a troubled but devout Christian,^[16][17] has been characterized as a "lens through which to view American contradictions and challenges."^[18][19][20] A Biblical scholar,^[2][21][22] he penned a Christian novel titled Man in White,^[23][24] and he made a spoken word recording of the entire New King James Version of the New Testament.^[25][26] Even so, Cash declared that he was "the biggest sinner of them all", and viewed himself overall as a complicated and contradictory man.^[27][28] Accordingly,^[29] Cash is said to have "contained multitudes", and has been deemed "the philosopher-prince of American country music".^[30][31]