A jobb oldali üres mezőbe kerül majd a magyar fordítás.	RICHIE SAMBORA ON SEX, CRUSH AND ROCK 'N' ROLL
	From: Guitar One Magazine July 2000 Issue Interview by Bob Gulla
Richie Sambora will be the first to tell you that the time spent with his Jersey homeboys in Bon Jovi has been a "rocket ride" of fame, fortune, wine, women, and song. From their humble beginnings in basement rehearsal spaces to the stratospheric heights of superstardom to their current Hollywood afterglow, Bon Jovi has experienced every possible aspect of being in a rock 'n' roll band. Now, on the back side of that experience, guitarist Sambora emerges as a changed man, one who has tucked away his past and is confidently prepared to face the future. That future begins with the promising new Crush.
You've been on the scene for a while now, Richie. What does rock 'n' roll mean to you these days? It was always very important to me, obviously. Growing up it was a language I understood, that I had an affinity for. I was a natural musician. Now, being at this "veteran stature" in my career, I think that it's actually more fulfilling and means more to me, not only from a musical standpoint but from a life standpoint. As you get older and more mature, things start to become clearer. When you're 20 and you think you know it all, you don't know shit. When you're 30 and you think you know it all, you still don't know shit. For me, things started to clear up when I got married and had a kid. Rock means everything to me now. It's my family and my career, that's it. It's so clear and simple. The way I balance my life is to not get caught up in the bullshit. Being focused on having a happy family and a successful career has made all the difference.
You must've learned a lot of lessons along the way that you keep with you today. Absolutely. I'm so fortunate to be in this position right now. I never take it for granted, even with some of the failures we've had. One of the lessons we learned, and one of the things I can honestly be thrilled with, is that we as a band found our voice. Today, it's hard for many musicians to find their voice stylistically. With the advent of all this corporate intervention, there's no time spent on artist development, to let a good band evolve into something unique. It took us three years to get our whole trip together. We lived together, and we got a chance to learn what it took to make it. That wouldn't happen today.
The new record sounds like the great album you guys have always wanted to make. What did you set out to do on this record? I really believe it's our best record. We wanted to make a record that was an uplifting, positive record. We wanted to write songs that folks could have a good time with. Second, we wanted to make a rock 'n' roll guitar record. The foundation of any great album is the songs. Jon and I have been sticklers for great songs, and our longevity proves that. So we really focused on our songs.
Why did you and Jon decide to produce the record yourselves? We had Bob Rock and Bruce Fairbarin slated for producing this time; they did Slippery When Wet, which was our most groundbreaking record. But with the unfortunate passing of Bruce, we couldn't get our stuff together with Bob. So Jon and I decided to do it together, with a talented guy named Luke Ebbin helping us out. Our plan was to be proud of our heritage. I mean, we're an American rock 'n' roll band! We've sold 80 million records! Let's not chase trends. Let's take what we've learned and make an honest rock 'n' roll record with a new tint of the year 2000 on it.
Would you have stayed on the solo road had your album Undiscovered Soul received more recognition? Quite possibly. People know me as a guitar player, but that album gave people a clue about me as a singer. I was out there touring. Jon wasn't sure what he was gonna do next. Our last tour was in 1996. As massive as it was, you're only as good as your last album and your last tour. So the clock was ticking on the band.
Did the success of Cross Road surprise you? Cross Road was our greatest hits album. We figured we'd sell two or three million, but it sold 16 million! We put These Days out and that sold 10 million, and we ended up doing 70 stadiums in 14 countries. Yeah, you could say it surprised me.
There's something about the songs you and Jon write together, the sound you have that really appeals to rock fans. The Bon Jovi sound is about what Jon and I write together. When Jon and I write together, people relate to the themes and circumstances. "Livin' on a Prayer" really struck a chord. When you get away from writing together, we each to to more personal places where you think more about your own life and not about your audience. We wrote 30 songs together for this album and demoed a total of 60.
Where are you as a player on this record? I'm very proud of it. When you're playing pop, you have to play what's right for the music. A lot of times, my technical abilitiy is not as important as my restraint, and it's not as important as playing melodically and creating good hooks. Producing gave me a great knowledge of the harmonic essence of playing. I think people already know what I can pull off technically. That's not my thing or the band's thing right now. I do think I improved a lot on my slide playing.
You've got that George Harrison slide tone on "Two Story Town." I'm glad you noticed! I worked hard on that tone!
You're a real gear junkie, aren't you? Totally. I can't stop. Guitars, amps, and pedals, whatever you got. I'm honestly just looking for tone and playability when I buy things. I search long and hard to get my guitars. Plus, I get to go into the studio and use them all, which is the best part. I have a slew of gorgeous old guitars.
Tell us about the guitars on the record. My '59 Strat is pristine, one my wife bought me. I used a '58 beater Strat I picked up in a pawn shop that looks like it was dragged behind a truck. I used a '50 Broadcaster, and a '53 Tele that Keith Richards signed. It looks beat up, but plays like butter and sounds excellent. I used a '59 Les Paul sunburst, which is a little piece of heaven. I also have a '60--they're the two main Les Pauls I use on the thicker, chordal stuff and on the slide parts.
You used the Les Paul for slide? Yeah, a plastic slide. The metal slides tend to be a little bit heavier and you get fret and string noise, so it's a little harder to mute with the other hand.
What about acoustics? Tons of old Martins. I've got a 000-42 from 1938, an OM from 1932--the orchestra body Martin. I like them because they don't have the runaway bass. I've also been using Taylors. I'm doing a signature series with them. It's very exciting. The top will be koa and the sides will be mahogany or rosewood. I used one on the acoustic guitar compilation Wood and Steel 2.
How about amps? I love Jeff Beck's stuff on his last record, where he used a new Marshall 2000. I also have a Dumble that I used a lot. My VHT Pitbull always makes an appearance, and so do a bunch of old Vox AC30s and old tweed amps, my favorite one being a 1959 Super Twin. A guy had these old tweeds in his garage; I bought two and Keith Richards bought the other four. I also used a '56 Super tweed, a couple of old Champs, Silvertones--all kinds of stuff. Gear is one of the few things I can say I am totally addicted to.
You have a relationship with Keith Richards? Only in passing, but enough to say I know him. The only time Bon Jovi's opened for a band in the past 12 years was for the Rolling Stones in Paris in front of 85,000 people.
What about pedals and effects? I used an octave pedal called an Octavia. I use an 8-channel amp splitter, which allows you to take one guitar and play through four amplifiers at the same time if you want to. Gives it a little bit of the bottom octave. I didn't use too many effects besides a Cry Baby wah--no distortion pedals. I tried to keep it a pretty oganic thing. We worked with new mics and getting good mic placement. Using good gear sure helps.
What kind of practicing did you do before making this record? I didn't have too much time to practice before this record because we spent so much time demoing. We demoed 60 songs. I always play, though. If you've got a guitar in your hand, your muscles are ready to go. I've had a guitar in my hand every day since I started to play when I was 14. I'm always play-ready. I enjoy the spontaneity of approaching a tune fresh. Then you let the song lead you to where you need to be.
When you remember back to breaking through as a player, what were your habits like back then? I was teaching myself, listening to a lot of records. I used to love playing along to records. I'd turn on "Layla" and be the other guitar player. I did the same with the Band of Gypsies--I'd accompany Hendrix. Once I started to get better, I did a lot of scale work to get my fingers in shape. I'd listen to guys like Al Di Meola and try pulling that off. I was diversified in my listening and in my practice habits. The love I have for the blues, metal, Di Meola, the Beatles, or James Taylor helped me master some different techniques. For me, that's been the difference.
Was there any question in your mind whether you'd make it as a player? I was totally convinced. The only question I had in my mind was whether I'd have a shot. I didn't care whether it was alone or with a band. I was always in three different original bands at the same time. Sometimes I'd sing, sometimes I'd just do the guitar playing. But I was always busy. That's important.
Looking back, did you ever regret anything you did? I don't think so. I followed every lead, I left no stone unturned. I didn't have relationship ties. I lived with my parents when we were off the road. I kept myself free to follow anything, should it transpire.
That said, what advice do you have for younger players? Besides having fantastic listening habits? Don't get stuck down one avenue of playing or one style of music. If you're just into jazz, let metal seep in, too. If you're just into rock, listen to jazz, and see how that will affect your playing. The assimilation of these styles is almost as important as practicing. Also, focus on songwriting. It's the foundation of our business, and if you don't have good songs to play, you can be the best musician on earth and still not have a chance. The best advice I can give is to really try to be a great songwriter. If you don't have the songs, you've gotta find someone who does. Find outside material. You have to have great songs. That'll set you apart. You have to make a living out of it forever. Really work on the craft of songwriting, and that'll determine your style.
What about personnel issues? If you wanna be in a successful band, you've gotta find the right guys. If there are three guys who wanna make it and two guys who don't, you're not where you wanna be. You need five guys that are dedicated to doing it.
What do you think of the state of rock 'n' roll guitar today? It's pretty cool. Not a lot of people are playing solos, which is surprising to me. Solos are like sex. Sometimes it can be so emotional and such a great release, so it's surprising to me that there aren't more guys doing it. I think there are a lot of good players out there, but no one's killing me. I'm not getting bowled over like when Jimmy Page or Eddie Van Halen or Steve Vai came along.
For a few years, Bon Jovi was the biggest band on the planet. What do you remember about that peak period? It was like riding a rocket ship. To be honest with you, I had a blast! It was amazing! You watch that "Behind The Music" stuff, and people die. They lost everything--all their bread--and did drugs. We had a blast. We toured the world endlessly. A lot of the time was spent working. The playing was the highlight of the day. We never had families or relationships. Now we're back to reality.
When you listen to the old studio stuff, what do you think? Sometimes I like it. Sometimes I don't. It's like people looking at your baby pictures. But there's some stuff that I'm really proud of. I don't like the first two records too much, but I think everything else was pretty good.
What's your legacy? That I was a soulful player, that I had good melodic lines, and that I played the right thing for the right songs. I'd like people to think I was Jimi Hendrix, but that's not gonna happen. Nowadays, to have the chance that I've had in this business to do what I do is really all I can ask.