Have a Nice Day
专辑同名单曲《Have A Nice Day》旋律感最强，属于那种听完就能记住的单曲，但是仔细听来，似曾相识，几乎就是他们经典歌曲的杂合：《It's My Life》式的结构，《Undivided》式的旋律，《Livin' on a Prayer》式的演唱与和声。甚至这首首支打榜单曲的MV都与《It's My Life》MV类似的具有现场感。 《I Want To Be Loved》有意营造的金属节奏似乎在刻意的向着80年代嚣张的硬摇滚时代的邦·乔维回归。前两首歌就已经表明了邦·乔维在这张专辑中有意的突出自己依然能创作出优美旋律，依然能创作出金属感很强的单曲。《Welcome To Wherever You Are》延续了邦·乔维式情歌，这首木吉他单曲也是专辑中最出色的两首有木吉他伴奏的流行摇滚单曲之一。《Who Says You Can't Go Home》也是一首不错的流行摇滚单曲，旋律非常流畅，唯独欠缺了一些经典感觉。 《Last Man Standing》的吉他riff简直有点Iron Maiden般的速度感，旋律和中段Richie Sambora的solo都很不错，一首令人眼前一亮的佳作，稍有遗憾的是Jon Bon Jovi的演唱似乎回避了高音，略欠完美。《Bells of Freedom》则是一首柔情单曲，就像经典的《Bed of Roses》一样，但内容则大相径庭，从歌名便可感受到，这是又一首关于时政的歌曲。摇滚乐又迎来了一首不错的以教堂钟声作前奏的木吉他伴奏歌曲。 邦·乔维式的流行金属情歌《Wildflower》水准相当高，无论旋律还是编曲都比《Bounce》中一味求软的催眠歌曲好很多，不管玫瑰，家花还是野花，每当邦·乔维创作关于“花”的单曲总能成为专辑中的经典。 这张专辑后半段的歌曲较前半段而言明显的要弱一些，旋律性也差一些，甚至有些段落的编排听起来有些流行朋克，或者有意增加了些吉他噪音，几乎失去了邦·乔维的风格。让人感觉他们实在太想把专辑做硬，威力过猛，结果进错门了。 《Last Cigarette》的木琴开篇，编曲和旋律虽然搭配歌词氛围尚佳，但也都不甚出彩，甚至有点像流行朋克，只有Richie Sambora布鲁斯味道浓郁的吉他让人值得品味这“最后一支烟”。《I Am》这类歌如果让艾薇儿，阿什莉·辛普森或者其他的女歌手唱还可以接受，邦·乔维唱这种歌则显得平庸，流行摇滚得几乎留不下印象。《Complicated》也毫无新鲜感可言，一段强烈riff开篇之后逐渐分解的结构，似乎连国内乐队都已经烂熟于胸了，实在是一点都不“复杂”，最重要的是丝毫体现不出邦·乔维的特点。《Novocaine》几乎不能麻醉人，与《Bad Medicine》相比，天壤之别，如果去掉Richie Sambora的solo换成任何一支流行朋克乐队演唱都可以一样好。《Story Of My Life》中的鼓点似乎要做出些类似80年代硬摇滚的变化，但效果并不十分理想。好在这些单曲做出的效果也都不难听，都在可容忍的范围内。 这张专辑共有三个版本包含了不同的附赠单曲，美国版隐藏单曲为《Dirty Little Secret》，英国版又多了《Unbreakable》，日本版又多出了一首《These Open Arms》。三首歌中，《Dirty Little Secret》是一首某几个小节有点像《Everyday》的流行金属单曲，只是听起来不像《Everyday》那样high。略感怪异的四不像歌曲《Unbreakable》则有些令人抓狂，节奏像是AC/DC一样复古，但在高潮副歌部分却又居然像极了后街男孩《Larger Than Life》的BOY-BAND风格，Jon Bon Jovi也更像是在说词，而不是在唱，幸好还有Richie Sambora的一段solo，不过即便如此，这首歌想要听得舒服一些还要多听几遍。最好的是《These Open Arms》，或许是为了迎合亚洲歌迷对邦·乔维式情歌的心理寄托，这是一首柔情金属单曲，甚至可以说是专辑里最温柔的单曲，套路也是邦·乔维最擅长的，足以让众多歌迷情愿投入他的怀抱。 by Stephen Thomas Erlewine Have a Nice Day, Bon Jovi's ninth studio album of original material, picks up where 2002's Bounce left off, showcasing a harder, heavier band than either 2000's Crush or Jon Bon Jovi's 1997 solo effort, Destination Anywhere. Not only that, but this 2005 album finds Jon Bon Jovi picking up on the serious undercurrent of Bounce, writing a series of angry, somber neo-protest songs that form the heart of this record. While he's not exactly explicitly political here, there's little question that he's dissatisfied with the world today, whether it's about life in small town America or the sorry state of pop music; he even goes so far to write a variation on Bob Dylan's classic "Chimes of Freedom" with "Bells of Freedom." Since he's stretching out lyrically, the band finds a comfort zone in sticking in the tried-and-true arena rock that's been their signature sound for 20 years now. While they sound appropriately grand and powerful -- this is one of the few groups that sounds right at home in large venues -- at times they pump up their choruses a little bit too much, so they sound strident, not anthemic. That heavy-handness, coupled with a loud but colorless production from Bon Jovi, guitarist Richie Sambora, and John Shanks, with Desmond Child acting as executive producer for the whole thing, gives Have a Nice Day a sound that's a bit too monochromatic for the band's ambitions, or for its own good: at times, getting through the record can be a little bit of a chore, since there's not much fun to be had here. Nevertheless, it's hard not to admire Jon Bon Jovi's attempt to stretch himself, particularly when he balances his earnestness with tunes as gentle as "Wildflower."