This Left Feels Right

把心交给邦乔飞『心的方向』，在情歌经典里恣意飞翔！ 成军二十週年飞常企划，抒情摇滚最精选，不插电深情无限！ 1989年【MTV音乐录影带大奖】颁奖典礼现场，全球千万观众与媒体屏息以待当红的摇滚天团Bon Jovi/邦乔飞，会带来什麽样的超炫舞台效果；只见主唱Jon跟吉他手Richie各自抱着一把空心吉他走向舞台、坐在高脚椅上，就这麽静静地响起"Wanted Dead Or Alive"的第一句’It’s All The Same…’；随之而起的掌声、叫好声、跟挑剔乐评的佩服声，已经是后来众所皆知的事了。这就是邦乔飞纵横乐坛20年的诀窍，永远站在时代潮流的前端，永远给乐迷新的味道、心的方向。 今年，邦乔飞20岁了！成军20年的今天，精选辑的诞生与纪念是一定要的。邦乔飞大可以挑选一些他们的代表作品，直接集结成时下一般的精选专辑。但是如果这麽平凡，就不像邦乔飞了。他们是挑了一些经典曲目没错，而且还是经过网路票选、歌迷们最喜爱的抒情摇滚经典；不仅如此，邦乔飞所有团员于今年向录音室报到好几次，把20年来的心得一次集合，重新弹奏、演唱、录音，赋予每一首熟悉的经典一个新的生命、心的方向。 为了庆祝成军20週年、全球专辑销售堂堂突破一亿张，邦乔飞特地与製作人Pat Leonard精心企划精选大碟【This Left Feels Right/心的方向】，以他们擅长的“Unplugged”方式，让12首叱吒风云、轰动全球的摇滚经典回归本源，重新创造出熟悉、却又出乎意料之外的旋律。 来吧！如果过去20年，你参与过邦乔飞的摇滚霸业，今天，你就有资格把心交给邦乔飞，感受「不插电」深情无限的惊人魔力。 by Stephen Thomas Erlewine God knows why Bon Jovi felt the need to recut its best songs in an adult alternative style with Patrick Leonard as the producer. In the thorough liner notes -- presented as an interview between Jon Bon Jovi and guitarist Richie Sambora -- by the suddenly ubiquitous David Wild, Jon claims that the roots of the album derive from a Japanese show he recorded where the intent was to release live, acoustic versions of the band's standards. Alas, the recordings weren't up to snuff, so the band reentered the studio and cut versions that have more overdubs than the original releases. To its credit, the band sounds committed to this rather bizarre project, an endeavor so unconnected to reality that actress Olivia d'Abo -- best known for either her role on The Wonder Years or her lead in the brilliant '90s indie film Kicking and Screaming, depending on your viewpoint -- provides counterpoint vocals to "Living on a Prayer," while "Bad Medicine" boasts breathy, echoed vocals that suggest it was conceived as a reflective affair, not as a dumb hard rock song. This holds true throughout the album, and while the arrangements are relatively interesting, they're rarely improvements on the originals and rarely rise above the level of novelties. And while longtime fans may find it worthwhile on that level, it doesn't offer proof that the band's songs are resilient enough to withstand new arrangements, nor does it shed new light on Bon Jovi or prove that the group is maturing gracefully. And all of that is really too bad, because the songs have stood the test of time, sounding better in their original incarnations than they did upon release, plus the group was moving in the right direction with its last album, adjusting to the sound and feel of middle-aged maturity seemingly effortlessly. This, however, sounds simultaneously safe and hazy; it's the sound of a band that's earned the right to indulge itself and has followed that inclination here.