Over the weekend, former Bon Jovi guitarist Richie Sambora made numerous social media posts (while engaging with fans) regarding his role in the band and why his former bandmate and collaborator – Jon Bon Jovi – is responsible for his solo career struggles.

What Did Richie Sambora Say?

There’s a lot to unpack, but Sambora’s clarifications and accusations on X seemed to begin on Jan. 27,  when he responded to someone claiming that he struggled to remember all the lyrics for George Harrison’s “Here Comes the Sun” before he and Jon Bon Jovi played it at the 2001 VH1 Music Awards.

“Sorry guys that’s simply untrue,” he began. “I played that song every nite in the clubs in my acoustic set since i was 18. JB would come and watch. Refer to Access all Area’s. It was ready for him to sing when he walked in. I demo’ed it for him..there has been a lot of info that has been inaccurate.. i have refrained to reply to.”

Two days later, Sambora shared his “demo for the arrangement,” elaborating:

This was my demo of the arrangement. I believe it was Nov. 29, 2001. I later added a Chello. No big deal. Jon was busy with something that afternoon, it was in my set nightly. RS and friends. I also suggested that we could play acoustically on the MTV awards that evening. It went down surprisingly iconic. Unplugged was born. Ta dah…

He also retweeted several supportive tweets from fans, and on Jan. 30, he answered someone who mentioned checking out his solo work by explaining:

People still have no idea I sing write lyrics produce records.. I decided to let the music talk.. not such a bright idea. Most BJ fans didn’t give my voice a chance. It reflects in sales. I’ve accepted it. Of corse Jon and corporate killed my records to get me back to the mother ship…

Shortly thereafter, someone accused him acting immaturely with that statement, to which Sambora responded:

Please don’t call me a child. I was there, and once again it’s the truth . Of corse there were and are my solo fans. They were great shows because of the fan interaction. I ain’t complaining at all .. I’m eternally grateful. And me I had the most fun. I love my fans. Bj and RS alike. You can be as rude and crass as you like. You just showed the world how adolescent you are. you think I’d bust my ass makin those records and be on the road for 40 years to not appriciate and leave my soul on that stage every nite?? I clear that up for ya?

The same day, another user on X commented: “Sorry but you can’t blame Jon for poor sales,” prompting Sambora to clarify:

I don’t. Jon wanted me in the band back then  and corporate wanted me back cause we sold a lot more as a band then either of us did separately.. so I was able to be in one of the biggest bands in the world and make the records I wanted to also. I’ve would have liked to have more time to develop my solo stuff, but my instinct , brains and god told me from the inside the music I made with BJ would have a chance to reach more people. And thank you for being nice enough to insult me. The truth perspective wise is supposed to start healthy debate not start arguments. So I’m zipping it. All my answers won’t be. You may go back to guessing…

Another person entered the conversation by saying: “Richie you don’t have to give explanations to these people. Think of us who love you so much. Save your energy for yourself, for Ava [Sambora’s daughter], and for your music. I adore you!”

In turn, Sambora retweeted it and said: “Thanks girl, I’m shutting up. I’ll let my music do the takin…”

The supportive conversations continued on Jan. 30 with Sambora thanking someone for reassuring him: “As long as your happy putting out your music who cares if it sells big or not …im a guitar player and if Ritchie isn’t playing why would I go or listen to Bon Jovi when he’s a huge part of the sound guitar and singing.”

The person also said, “Rip to your mom…” in reference to Sambora’s mother, Joan, passing away earlier this month.

Another fan championed how essential Sambora and Bon Jovi’s chemistry was to the band’s success, to which Sambora added:

Yes I know did these fans ever think the Jon didn’t want me around? I’d been saying yes for 2 years. And I was committed.. I love my fans. To me there are no sides. Spent 32 years in that band. There were talks about the future. Then crickets for 15 months.. shows booked. ???

One person asked about the pair’s “big falling out” (and Sambora’s departure) in 2013 being the result of Sambora not being able to “tour and promote [Sambora’s third studio LP] ‘Aftermath of the Lowdown’ in ’12” so that he could “focus entirely on the garbage that is WAN [What About Now].”

Sambora replied:

I did tour.. Europe, Japan , Korea, Australia, S America, the promoter messed up America, so I did some lecture acoustic gigs.. came back and Jon and shanks said they didn’t need my writing, they had it done. In the documentary. Did Theater dates and festivals with Aerosmith and Queen, Jimmy Barnes. Orianthi was with me. Great time and my musicians that played on Aftermath..while I worked Jon and shanks wrote. Cut that shit out of the documentary..

Later that day, a different fan said, “We are on your side Richie” and that he was “always the heart and soul of [Bon Jovi], the best voice in the band, and an awesome guitar player. Bon Jovi is not Bon Jovi without you. . . . I know it hurts cause they were your ‘friends.’ You deserve better, you worked so hard for so many years with them.”

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Sambora cleared the air further: “No dear , no sides… I worked hard every time I played, from weddings bowling alleys, pubs clubs to stadiums. Trying to to keep learning still…”

Regarding someone comparing Sambora’s claims to “Michael Anthony telling David Lee Roth, Sammy Hagar, and Eddie and Alex Van Halen that they all held him back,” Sambora snapped back:

Sorry pal , once again, every relationship in any walk of life is different from each other and can get very complicated. You my man are taking an uneducated guess.. have you been in a mega successful band? As the music buissness changed under your feet? Do you know these guys or me ? And the nuance of my life?did you know my mom died a few days ago? And on and on…I ain’t judging you. If you were a Bon Jovi fan you were a fan of mine. Because I was obviously an intricle piece of 32 years of planetary success. Facts are facts my man. We all get there different ways.

Yesterday (Jan. 31), Sambora posted an update, too:

Hey everyone, before I hit the sack I’d like to thank everyone for cheering me on me up yesterday..my mom passed a few days back and it was fun to talk with ya’ll. Someone said I was airing grievances, no grief except my mom, another said I was jealous, and angry, oh and old. None of that happening here. I apologize if I pissed someone off, the questions came from my fans and the answers were all public knowledge. Someone called me a nazi!  Wow..that’s new. Touchy..nite.

Of course, there’ve been many other supportive and critical responses to what Sambora said over the weekend, with him also clarifying at one point: “Ya know I’m really enjoying this conversation with my fans. Good or bad it’s good to communicate.”

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As of this writing, neither Bon Jovi the band nor Bon Jovi the person have responded to Sambora.

READ MORE: The Best Rock Song of Each Year Since 1970

More About Sambora’s Time in Bon Jovi + Solo Career

Sambora replaced original Bon Jovi lead guitarist Dave Sabo (who went on to form Skid Row) in 1983, and he contributed to the instrumentation, vocals and/or songwriting of every LP from 1984’s Bon Jovi to 2013’s What About Now. As such, he’s partially responsible for hits such as “Runaway,” “You Give Love a Band Name,” “Livin’ on a Prayer,” “Wanted Dead or Alive,” “It’s My Life” and “Because We Can.”

Sambora left Bon Jovi in mid-2013 (during the Because We Can tour), with no confirmed reason given at the time. In 2014, Sambora told Lust for Life magazine [translated by NJ.com]:

There’s no bad blood with me any more. I love Jon, and I still see the possibility of a return. There are just a few steps I want to — need to — take. I wanted to make my own music and I preferred doing a few shows with my own band. I said I wanted a break. . . . The Bon Jovi machine had to go on. I could choose — join or leave. That’s hard when you share joys and sorrows for 30 years.

In 2018, Sambora joined Bon Jovi to perform at the Rock and Roll Hall of Fame, and in 2023, Sambora said that he’d spoken to Jon Bon Jovi about a reunion. He’s also admitted that he wishes he’d quit Bon Jovi sooner, and as of early 2024, Jon Bon Jovi specified that he’s “not in contact” with Sambora.

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As for Sambora’s solo career, he’s put out three LPs so far: 1991’s Stranger in This Town, 1998’s Undiscovered Soul and 2012’s Aftermath of the Lowdown. To Sambora’s point, they weren’t exactly huge albums (although Undiscovered Soul peaked at No. 1 on the UK Rock & Metal Albums chart).

He’s since worked on other projects.

Other Bon Jovi News

Loudwire recently crowned 1986’s Slippery When Wet Bon Jovi’s best album and the best hair metal album of 1986. Similarly, “You Give Love a Bad Name” was chosen as the best song of that year, and “Bed of Roses” (from 1992’s Keeping the Faith) was declared Bon Jovi’s best ballad.

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How do you feel about Sambora’s statements? Let us know!

 

The Best Album by 11 Legendary ’80s Rock Bands

These bands from the ‘me’ decade certainly had something for lots of you.

Gallery Credit: Chad Childers, Loudwire

bon jovi slippery when wet album cover
bon jovi slippery when wet album cover

Mercury / Vertigo

Bon Jovi: Slippery When Wet (1986)

Singles: “You Give Love a Bad Name,” “Livin’ on a Prayer,” “Wanted Dead or Alive,” “Never Say Goodbye”

Peak Position: No. 1

It feels surprising now, but Bon Jovi had actually been struggling a bit early on in their career. Their first two records really yielded one song that could possibly be called a hit (“Runaway”) while their sophomore set had peaked at No. 37 on the Billboard 200 Album chart. But then came the album that changed everything.

Opening up to outside collaboration, Bon Jovi welcomed fellow artist and rising songwriting talent Desmond Child who helped the band make the most of the music they had been putting together. This time radio took notice. Likewise, unhappy with their earlier music video attempts, manager Doc McGhee hooked them up with Wayne Isham who managed to capture their live experience and make it a selling point for the band. Both gambles worked.

Bon Jovi dominated the MTV airwaves with the lead single “You Give Love a Bad Name,” the song shot to No. 1 at radio and the group made the jump from openers to one of the hottest headliners of 1987. Both “Livin’ on a Prayer” and “Wanted Dead of Alive” would meet the success of “You Give Love a Bad Name” and the album itself would rise to No. 1 on the Billboard 200.

These days, you can look at Slippery When Wet as a moment of catching lightning in a bottle. While there had been what would become known as hair metal albums and songs prior, Bon Jovi’s ascendence kicked off a period in music where their sound, look and style had labels rushing to sign other acts of a similar ilk. And for the remainder of the ’80s, hair metal dominated with Slippery When Wet seemingly being the album that broke down the barriers.

The Cure Disintegration album cover
The Cure Disintegration album cover

Fiction

The Cure, Disintegration (1989)

Singles: “Lullaby,” “Fascination Street,” “Lovesong,” “Pictures of You”

Peak Position: No. 12

Perhaps teasing the alternative music boom of the ’90s to come, The Cure had their first massive album with 1989’s Distintegration.

The group has spent most of the ’80s in the college rock underground, honing a reputation for dark, lush and gothically inspired ditties, but as the decade continued singer Robert Smith’s songwriting chops started to include more pop influences. That could be seen in their first commercial hit “Just Like Heaven” from the previous record Kiss Me, Kiss Me, Kiss Me.

But where that album had been lighter, Disintegration only leaned into the darker themes even more. Writing on his own, Smith was fueled by his disillusionment with fame and the depression of his approaching 30th birthday. The album was layered with a growing dependence on synths and keyboards, featured lots of guitar effects and overall yielded a more trippy sound. It also resonated with listeners in its more dark and introspective narrative.

Though the unsettling “Lullaby” was a modest alternative hit, the band hit their stride with the chart-topping “Fascination Street” while “Lovesong” became a timeless classic that crossed over to No. 2 on the pop chart and the reflective “Pictures of You” also found moderate success at alternative radio.

The Cure were underground no more. Disintegration portended much bigger things to come in the ’90s and beyond as we’ve seen with their Rock Hall induction.

def leppard hysteria
def leppard hysteria

Mercury

Def Leppard, Hysteria (1987)

Singles: “Animal,” “Women,” “Pour Some Sugar on Me,” “Hysteria,” ‘”Armageddon It,” “Love Bites,” “Rocket”

Peak Position: No. 1

While many think of Hysteria as one of the biggest rock albums of the ’80s, it didn’t exactly start out that way. Success was far from guaranteed and rightfully there was plenty of concern going in.

Coming off the hugely successful Pyromania, Def Leppard’s next album was delayed when drummer Rick Allen lost his left arm in a December 1984 auto accident. Rather than a lineup change, the group reconfigured a drumkit that would allow Allen to continue with the band. Testing the drummer out in the studio and then on a brief tour, the group forged ahead with producer Mutt Lange at the helm as they started to work on Hysteria.

But upon its release in 1987, “Women” was modestly sampled despite peaking at No. 7 on the Mainstream Rock chart and “Animal” fared slightly better peaking at No. 5 while crossing over to No. 19 on the Billboard Hot 100. But this was far from the massive success that they achieved on their previous record.

It was their third single that finally catapulted interest in the album to new heights. The last minute addition “Pour Some Sugar On Me” became an MTV and radio hit, soaring to No. 2 on the Billboard Hot 100 chart and reigniting more interest in the album. From there, it was full steam ahead for the better part of two years while “Hysteria,” “Armageddon It,” “Love Bites” and “Rocket” commanded both the pop and rock airwaves.

The album has since gone on to achieve Diamond certified status (currently at over 12 million sold) in the U.S. and its success helped in securing the band’s place in the Rock and Roll Hall of Fame.

guns n roses appetite for destruction
guns n roses appetite for destruction

Geffen

Guns N’ Roses, Appetite for Destruction (1987)

Singles: “Welcome to the Jungle,” “Sweet Child O’ Mine,” “Paradise City,” “It’s So Easy,” “Mr. Brownstone,” “Nightrain”

Chart Position: No. 1

Though hair metal was taking over the music world, Guns N’ Roses provided a heavy, hard-rock alternative when they arrived on the scene with 1987’s debut album, Appetite for Destruction. While they may have come up through the Sunset Strip scene that spawned many a hair metal hero, their sound was something less glam and more raw in spirit.

But it took a minute before they found their audience. Released in July 1987, the album struggled out of the gate. But it wasn’t until MTV took a chance on the video for “Welcome to the Jungle” in the fall of 1987 that the band finally found its footing. Increased airplay of the video soon led to radio giving it more play as well and the rest is history.

The rough and tumble “Welcome to the Jungle” was followed by the sweetly melodic “Sweet Child O’ Mine” and nearly a year after its release, the record was topping the Billboard 200 Album Chart. “Paradise City” became the third smash single, while success of the album led to “It’s So Easy,” “Mr. Brownstone” and “Nightrain” all receiving some radio play in different parts of the world.

Today, Appetite for Destruction is considered not only one of the biggest selling debut albums of all-time but one of the more influential records of the ’80s. And it certainly paved the path for nearly a decade of dominance until the band started to splinter.

inxs kick album artwork
inxs kick album artwork

Atlantic Records

INXS, Kick (1987)

Singles: “Need You Tonight,” “Devil Inside,” “New Sensation,” “Never Tear Us Apart,” “Kick,” “Mystify”

Chart Watch: No. 3

While they had consistently released solid albums throughout the ’80s, INXS had been lacking up to this point in having that big commercial smash moment. But oh did it come in a big way with 1987’s Kick album.

Their previous album, Listen Like Thieves, had spawned their first Top 10 single with “What You Need,” and it looked like the music world was finally tuned into what the Aussie rockers were laying down. That proved out when Kick arrived and spawned four Top 10 singles on both the Mainstream Rock and Hot 100 charts.

Leading the way was the chart-topping “Need You Tonight” which was also accompanied by the visually stunning mixed media video that paired live action with animation en route to the 1988 MTV VMA Video of the Year victory.

The darkened ditty “Devil Inside,” the highly energetic “New Sensation” and the band’s tortured soul ballad “Never Tear Us Apart” would all meet the success of “Need You Tonight,” making it one of 1987’s biggest albums. It peaked at No. 3 and has since gone on to be certified six times platinum in the U.S.

janes addiction nothings shocking album
janes addiction nothings shocking album

Warner Bros.

Jane’s Addiction, Nothing’s Shocking (1988)

Singles: “Jane Says,” “Mountain Song”

Peak Position: No. 103

Jane’s Addiction’s career was brief, but highly influential. Finding much of their success in the ’80s college rock underground, the band’s combustible spirit saw them split after two studio albums just as an alternative music boom was coming in the ’90s. But it’s fairly easy to connect the dots between what Jane’s Addiction were doing in the late ’80s and early ’90s to where music as a whole went over the early part of the ’90s.

Honestly, you can’t go wrong with either of their albums, but we’ll give the nod here to their 1988 debut Nothing’s Shocking. Being a debut album and in a genre that had yet to see commercial returns, the record peaking at No. 103 on the Billboard 200 Album Chart was definitely viewed as a victory at the time. Part of that came from positive word of mouth from critics who praised the chaotic, gritty and rambunctious style of the album. The record even earned a Grammy nomination for Best Hard Rock / Metal Performance Vocal or Instrumental.

The album is largely recognized for its two most played songs that were widely different in style. “Mountain Song” was an anthemic rocker built up from Eric Avery’s opening bass line into a full fledged banger, while “Jane Says” was a percussively melodic masterpiece featuring bongos and steel drums. However, songs such as “Ocean Size” and “Had a Dad” also became deeper cut standards for the band over the years.

Though not having the commercial support upon its release, the album has gone on to be certified platinum by the RIAA.

motley crue shout at the devil
motley crue shout at the devil

Elektra

Motley Crue, Shout at the Devil (1983)

Singles: “Shout at the Devil,” “Looks That Kill,” “Helter Skelter,” “Too Young to Fall In Love”

Peak Position: No. 17

Were Motley Crue the first hair metal band to find success? They were definitely one of the firsts to toil in the glam metal style and look to enjoy a more commercial breakout and that really took hold on 1983’s Shout at the Devil album.

The group’s second album leaned more metal than the records that would follow and the band even used a pentagram on their album cover, which heightened the ’80s Satanic panic and likely led to more looks upon its release. But beyond that cover was a great, hard hitting heavy rock record led by the titular album anthem as well as “Looks That Kill.” A cover of The Beatles’ “Helter Skelter” and the driving rocker “Too Young to Fall In Love” also found their audience with listeners.

The album peaked at No. 17, which for a “metal” album at the time was a significant achievement. It would go on to reach four times platinum status in the U.S. And it would also be the album to put Motley Crue on the map as they became one of the most commercially successful heavy bands of the ’80s.

poison look what the cat dragged in
poison look what the cat dragged in

Enigma

Poison, Look What the Cat Dragged In (1986)

Singles: “Cry Tough,” “Talk Dirty to Me,” “I Want Action,” “I Won’t Forget You”

Peak Position: No. 3

Though preceding Bon Jovi’s Slippery When Wet in terms of release, Poison’s Look What the Cat Dragged In eventually benefitted from the newfound commercial support of glam metal.

The album didn’t start out a smash. The lead single “Cry Tough” about making your dreams come true actually didn’t. It failed to chart in the U.S. over late summer and early fall of 1986. It was nearly nine months before the album truly found its audience when “Talk Dirty to Me” was released as a single in February 1987.

The rollicking anthem caught fire in part due to the band’s eye-catching video on MTV, which featured a high energy performance from the glammed-up, makeup wearing musicians. The song became the band’s first Top 10 single (No. 9) on the Billboard Hot 100 and opened the door for their future success to follow.

Though not as big, the anthemic “I Want Action” and the power ballad “I Won’t Forget You” also charted well for the band, ensuring their spot as one of the hottest new bands in rock. They would then go on to become one of the most commercially successful groups in heavy music over the latter portion of the ’80s and early ’90s.

Poison’s Look What the Cat Dragged In has gone on to achieve triple-platinum status. And while the follow-up Open Up and Say … Aah was a bigger seller, we’ll still give the nod to Look What the Cat Dragged In as their best album.

the pretenders learning to crawl
the pretenders learning to crawl

Sire

The Pretenders, Learning to Crawl (1984)

Singles: “Back on the Chain Gang,” “2000 Miles,” “Middle of the Road,” “Show Me,” ‘Thin Line Between Love and Hate”

Peak Position: No. 5

The Pretenders were the rare ’80s band that managed to find both college rock and commercial radio success simultaneously. And while it was a tough decision picking which album is actually their best, we’re giving the nod to 1984’s Learning to Crawl.

At this point in their career, The Pretenders were clicking on all cylinders. Their third studio album gave us the all time classic “Back on the Chain Gang” (which finally appeared on an album nearly two years after its release) as well as the chaotically raucous hit single “Middle of the Road.” But this album gets the nod primarily for the depth in quality.

There’s not really a miss on this album. “Show Me” received significant airplay and both “2000 Miles” and “A Thin Line Between Love and Hate” would also chart. “My City Was Gone” was carried over from a previous EP and is one of their most well-known tracks and deeper cuts such as “I Hurt You,” “Watching the Clothes” and “Thumbelina” also resonated with listeners.

The album peaked at No. 5 on the Billboard 200 chart en route to a platinum certification in the U.S. And the hits from this record also played a big part in the band’s eventual Rock and Roll Hall of Fame induction.

rem automatic for the people
rem automatic for the people

Warner Bros.

R.E.M., Automatic for the People (1992)

Singles: “Drive,” “Man on the Moon,” “The Sidewinder Sleeps Tonite,” “Everybody Hurts,” “Nightswimming,” “Find the River”

Peak Position: No. 2

You would be hard pressed to find a band more credited for the explosion of the ’80s college rock radio scene than R.E.M. Their breakout album Murmur was one of the most critically hailed releases of the ’80s and the band eventually grew their following to achieving commercial success by the end of the decade. But their best album actually came in the ’90s when they released the 1992 masterpiece, Automatic for the People.

The band’s eighth studio album was a big change of pace from 1991’s Out of Time album, a record that had yielded their biggest success to date with both commercial and Grammy acclaim. Much like The Cure, the band went more introspective after their most commercial record to date. Automatic for the People was a more somber effort, finding the beauty in melancholy and experimenting more with string arrangements and baroque and chamber pop styles.

The most upbeat offerings were the Andy Kaufman-inspired “Man on the Moon” and the politically-tinged “Ignoreland” that felt more in line with previous records. But the remainder of the album largely leans into more darker vibes, led by the haunting lead single “Drive” and the raw never ballad “Everybody Hurts.”

The album placed third on the annual Pazz & Jop Critics Poll for 1992. It peaked at No. 2 on the Billboard 200 Album Chart and it has since been certified four-times platinum.

u2 the joshua tree
u2 the joshua tree

Island

U2, The Joshua Tree (1987)

Singles: “With or Without You,” “I Still Haven’t Found What I’m Looking For,” “Where the Streets Have No Name,” “In God’s Country,” “One Tree Hill”

Peak Position: No. 1

U2 have had some massively successful records, but nothing tops their 1987 breakthrough with The Joshua Tree. Having come up through the college rock scene, the band had their first commercially successful single “Pride (In the Name of Love)” on the previous record The Unforgettable Fire.

That seemingly opened the door for bigger things and the Irish rockers delivered in a big way with The Joshua Tree, which spawned five singles. The hauntingly intense love song “With or Without You” was the focal point, topping the Billboard Hot 100 and Mainstream Rock charts. “I Still Haven’t Found What I’m Looking For” likewise was a chart-topper, while “Where the Streets Have No Name” was also a radio smash (and one of the great all-time concert openers).

The album hit No. 1 and has since gone on to be Diamond certified in the U.S. (for over 10 million sold). Meanwhile, the band’s tour in support of the record was the No. 1 grossing tour of the year in the U.S., while taking in over 56 million globally.