1. 	"Runaway"   	3:50
2. 	"Roulette"   	4:41
3. 	"She Don't Know Me"   	4:02
4. 	"Shot Through the Heart"   	4:25
5. 	"Love Lies"   	4:09
6. 	"Breakout"   	5:23
7. 	"Burning for Love"   	3:53
8. 	"Come Back"   	3:58
9. 	"Get Ready"   	4:08

Bon Jovi
    Jon Bon Jovi – lead vocals, guitar
    Richie Sambora – guitar, background vocals
    Alec John Such – bass, background vocals
    Tico Torres – drums, percussion
    David Bryan (credited as David Rashbaum) – keyboards, background vocals
+
    Roy Bittan – keyboards
    Chuck Burgi - additional drums
    David Grahmme - background vocals
    Doug Katsaros - additional keyboards
    Frankie LaRocka – drums
    Hugh McDonald – bass
    Aldo Nova - additional guitar, additional keyboards
    Tim Pierce – guitar
    Mick Seeley - background vocals

From the opening track, "Runaway," which rode to glory on E Street Band-mate Roy Bittan's distinctive keyboard riff, to the sweaty arena rock of "Get Ready," which closed the album, Bon Jovi's debut is an often-overlooked minor gem from the early days of hair metal. The songs may be simple and the writing prone to all clichés of the form, but the album boasts a pretty consistent hard rock attack, passionate playing, and a keen sense of melody. The prominence that keyboardist David Bryan (credited as David Rashbaum in the liner notes) gets on this record is an indicator, perhaps, that Bon Jovi had more than a passing interest in the pop market, which was then dominated by new wave and synth pop. Mixing Journey-like '70s rock ("She Don't Know Me") with shout-along stadium anthems ("Love Lies"), the self-titled Bon Jovi lay the foundation for the band's career, which reached its apex several years later with that very same combination of pop melody and arena-sized amibiton. ---Leslie Matthew, AllMusic Review

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01. A Teardrop To The Sea (5:07)
02. We Don't Run (3:17)
03. Saturday Night Gave Me Sunday Morning (3:23)
04. We All Fall Down (4:05)
05. Blind Love (4:48)
06. Who Would You Die For (3:54)
07. Fingerprints (5:58)
08. Life Is Beautiful (3:44)
09. I'm Your Man (2:44)
10. Burning Bridges (4:34)

Jon Bon Jovi – lead vocals, acoustic guitar, backing vocals
David Bryan – keyboards, piano, backing vocals
Tico Torres – drums, percussion, backing vocals
Hugh McDonald – bass, backing vocals
+
John Shanks - guitars, background vocals (track 2, 4)
Lorenza Ponce — string arranger and viola/violin/cello (track 5)
Mike Rew - backing vocals (track 10)

Labeled not as a new record but a "fan album," 2015's Burning Bridges contains, in Jon Bon Jovi's words, "songs that weren't finished, that were finished, a couple of new ones." Usually, this kind of hodgepodge is called a contractual obligation or a stopgap, but "fan album" not only sounds kinder, it also identifies precisely the audience that would be interested in this brief, power ballad-heavy collection. In a way, Burning Bridges clears the deck for a new incarnation of Bon Jovi, the first where guitarist Richie Sambora is no longer part of the equation. Sambora gets a co-credit on "Saturday Night Gave Me Sunday Morning," a song dating back to The Circle that's easily one of the liveliest things here, rivaled by "I'm Your Man," which punches like it was left over from New Jersey. Elsewhere, things are pretty turgid, as Bon Jovi tries in vain to splice Coldplay with Springsteen in an attempt to scale previously unheard heights in arena rock. The sound is there but not the songs. Apart from "Fingerprints," which benefits from a hint of 12-strings from "Wanted Dead or Alive," these seven songs have no flair and virtually no melody, a pretty clear indication that Bon Jovi completed Burning Bridges out of a sense of obligation, not inspiration, but just in case you missed the point he lays it all out in the closing title song. Here, Jon Bon Jovi doesn't mince words about his label, singing "After 30 years of loyalty, they let you dig the grave/Now maybe you can learn to sing or even strum along/Well I'll give you half the publishing, you're why I wrote this song," then delivering the coup de grace with the chorus: "Here's a last song you can sell/Let's call it Burning Bridges, it's a singalong as well...hope my money and my masters buy a front-row seat in hell." Not since Graham Parker snarled about "Mercury Poisoning" has a rocker not bothered with parting niceties to his benefactors, and the venom invigorates Jon Bon Jovi, allowing him to write a nagging melody that immediately hooks under the skin and revealing just what a slog the rest of this fare-thee-well actually is. --- Stephen Thomas Erlewine, allmusic.com

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01. Lost Highway (4:13) 
02. Summertime (3:18) 
03. (You Want To) Make A Memory (4:37) 
04. Whole Lot Of Leavin' (4:17) 
05. We Got It Going On (With Big & Rich) (4:13) 
06. Any Other Day (4:03) 
07. Seat Next To You (4:23) 
08. Everybody's Broken (4:13) 
09. Will We Ain't Strangers Anymore (Feat. Leann Rimes) (4:44) 
10. The Last Night (3:33) 
11. One Step Closer (3:37) 
12. I Love This Town (4:39) 
13. Lost Highway (Live) (4:07) 
14. We Got It Going On (Live) (4:23) 
15. Any Other Day (Live) (5:52) 
16. I Love This Town (Live) (4:55)

Musicians:
    Jon Bon Jovi - lead vocals, acoustic guitar
    Richie Sambora - guitars, backup vocals, talkbox 
    Hugh McDonald - bass, backup vocals
    Tico Torres - drums, percussion
    David Bryan - keyboards, backup vocals

Serious country fans know that "Lost Highway" is a Leon Payne-written Hank Williams classic, but even though Bon Jovi's 2007 album shamelessly trades on iconographic country imagery in a bid for a genre-skipping crossover hit, it's designed for those country fans who don't much care about Hank's legend (never mind knowing anything about Leon Payne). Lost Highway has little to do with any country prior to Garth Brooks, a move that makes sense since Garth was the gateway drug to country music for old Bon Jovi fans in the '90s. In that regard, it makes perfect sense for Bon Jovi to refashion themselves as a modern country act, because their heartland anthems are as thoroughly middle American as any country artist, and in 2007 country was at the core of mainstream pop music; in other words, the band's fans already have made the crossover, so they wouldn't see this crossover move as crass, just as catching up. But when it comes right down to it, Bon Jovi's self-styled country album has little to do with contemporary country in 2007, either. Despite duets with LeAnn Rimes and Big & Rich, despite the occasional fiddle or steel guitar, Lost Highway recalls nothing so much as a latter-day Bon Jovi record in how it balances fist-pumping arena anthems with heavy doses of sentiment. Not long after the buried fiddles on "Lost Highway" fade from memory and enough time passes to excuse the bad Toby Keith knockoff "Summertime," it's virtually impossible to distinguish this album anything after 1992's Keep the Faith. Which isn't necessarily bad, mind you -- Bon Jovi has a flair for commercial craft, knowing how to hit the sweet spot between the mundane and melodic, and there are times on Lost Highway where the group does so again. Ironically enough, what hurts is when they really try to fit into the conventions of country -- usually on the rockers, as on the aforementioned "Summertime" and the even-worse Big & Rich duet "We Got It Going On," which manages to cram in every sports-bar cliché into an unpalatable mess, a talent that also emphasizes Jon Bon Jovi's unfortunate tendency to rely on hackneyed imagery -- but when they're just being the smooth, efficient pop crooners they are, Lost Highway is as good as, and no different than, any Bon Jovi album since Keep the Faith. Which may not make it as adventurous as it appears, but it should still be satisfying all the same to those loyal fans. --- Stephen Thomas Erlewine, Rovi

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1. We Weren't Born To Follow 4:03 
2. When We Were Beautiful 5:18 
3. Work For The Working Man 4:04 
4. Superman Tonight 5:12 
5. Bullet 3:50 
6. Thorn In My Side 4:05 
7. Live Before You Die 4:18 
8. Brokenpromiseland 4:57 
9. Love's The Only Rule 4:38 
10.Fast Cars 3:16 
11.Happy Now 4:21 
12.Learn To Love 4:39

Personnel
    Jon Bon Jovi – lead vocals, rhythm guitar
    Richie Sambora – lead guitar, backing vocals
    Hugh McDonald – bass guitar, backing vocals
    Tico Torres – drums
    David Bryan – keyboards, backing vocals
    +
    Hugh McDonald - bass guitar
    Charlie Judge - additional keyboards and strings

New Jersey rockers Bon Jovi return with their eleventh album and are reunited with Lost Highway producer John Shanks, fresh from recent stints working with Take That and Alesha Dixon.

Bon Jovi fans, and there’s plenty of them, who have not been put off by recent output will find plenty to love here. The band long ago developed into a slick, stadium-filling act, and although this album marks a slight return to their more traditional rock roots after the Nashville-influenced Lost Highway, not much has changed. Like a hairier and less-subtle version of Bruce Springsteen, they like to give voice to the blue-collar worker and refuse to progress stylistically beyond a form that's served them so well already.

Long-standing bands often believe their own hype; indeed, they are often the last ones left believing it, and someone’s clearly exploded a lyrical cliché bomb in the studio here. They’ve even titled a song Live Before You Die, which is wrong on too many levels to even begin listing here. There is no denying their skill with a tune, but there is the lingering sense that were Flight of the Conchords to do a heavy metal pastiche of, say, millionaires sticking it to the ‘man’, it would sound exactly like Work for the Working Man. It is commendable that Jon Bon Jovi can keep a straight face while writing lines such as “working man, empty pockets full of worry / had to get two jobs”, presumably referring to a rock star’s need for an acting career on the side.

That said, other than the band, few listen to Bon Jovi with a straight face, and stupid grins are to be found. The atmospheric Broken Promiseland could be lifted from Slippery When Wet, while swelling keyboards herald moments of genuine emotion, such as on Fast Cars. Love’s the Only Rule also utilises synthesized strings to great effect, and perhaps illustrates where referees are going wrong around the country.

The Circle is not going to surprise anyone, but maybe in such turbulent times this is exactly what people need: dependable drive-time rock dripping with references to getting up from your knees and not giving up. ---Tom Hocknell, BBC Review

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01 Because We Can
02 I’m With You
03 What About Now
04 Pictures Of You
05 Amen
06 That’s What The Water Made Me
07 What’s Left Of Me
08 Army Of One
09 Thick As Thieves
10 Beautiful World
11 Room At The End Of The World
12 The Fighter
13 With These Two Hands
14 Not Running Anymore
15 Old Habits Die Hard
16 Every Road Leads Home To You

Jon Bon Jovi – lead vocals, guitar
Richie Sambora – guitar, backing vocals
Hugh McDonald – bass, backing vocals
Tico Torres – drums
David Bryan – keyboards, backing vocals
+
David Campbell – string arranger & conductor

One of the great unheralded midlife crises of rock & roll belongs to Jon Bon Jovi, who decided sometime around the turn of the millennium that he wasn't being taken seriously, so it was time to make music that mattered. He wound up taking detours after 2002's Bounce, the album that inaugurated this phase -- and, it has to be said, that 2007 country detour Lost Highway was both his best and biggest record of the decade -- but as he crept closer to 50, the music of Bon Jovi got increasingly somber. What About Now, following a long four years after 2009's The Circle, continues down this sober path, as the group splices elements of U2, contemporary country, Coldplay, finger-plucked folk, and, yes, Bruce Springsteen into a monochromatic dirge. Aesthetically, this is a veritable reiteration of The Circle, where Bon Jovi spent much of their time playing big songs about big topics. As Jon Bon Jovi ponders the state of the union in 2013 (he raises the question "What About Now," then proceeds to answer it throughout the album), he repeats images -- faith intermingles with the military, although rarely in a way that suggests his politics lean to the right; rather, they're just underscoring the troubles within the American heartland -- as he cites but never explores the big issues of a changing world. He laments the passing of CBGB, but the sound is all dusky Auto-Tuned arena rock, powerful in its attack but colorless in its texture. Also, there aren't so many big hooks on What About Now -- just the raise-your-fist anthem of "Because We Can," with most of the sweetest melodies coming from the softer, quieter moments, such as the acoustic "The Fighter," which may (or may not) contain elliptical references to Simon & Garfunkel's "The Boxer." What ties all these songs together is Bon Jovi's adamant refusal to rely on anything that comes easily to the band. For that, you have to turn to the nice adult contemporary pop of "Into the Echo," a bonus track on deluxe editions of the album. On the proper What About Now, the group is striving to sound big and important yet winds up sounding small. --- Stephen Thomas Erlewine, Rovi

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A1 	Let It Rock 	5:24
A2 	You Give Love A Bad Name 	3:44
A3 	Livin' On A Prayer 	4:10
A4 	Social Disease 	4:18
A5 	Wanted Dead Or Alive 	5:09
B1 	Raise Your Hands 	4:18
B2 	Without Love 	3:40
B3 	I'd Die For You 	4:31
B4 	Never Say Goodbye 	4:49
B5 	Wild In The Streets 	3:55

Acoustic Guitar, Electric Guitar, Synthesizer, Effects, Backing Vocals – Richie Sambora
Bass, Backing Vocals – Alec John Such
Drums, Percussion – Tico Torres
Keyboards [All], Noises [Various Noises], Backing Vocals – Dave Bryan
Lead Vocals, Backing Vocals – Jon Bon Jovi 

Slippery When Wet wasn't just a breakthrough album for Bon Jovi; it was a breakthrough for hair metal in general, marking the point where the genre officially entered the mainstream. Released in 1986, it presented a streamlined combination of pop, hard rock, and metal that appealed to everyone -- especially girls, whom traditional heavy metal often ignored. Slippery When Wet was more indebted to pop than metal, though, and the band made no attempt to hide its commercial ambition, even hiring an outside songwriter to co-write two of the album's biggest singles. The trick paid off as Slippery When Wet became the best-selling album of 1987, beating out contenders like Appetite for Destruction, The Joshua Tree, and Michael Jackson's Bad.

Part of the album's success could be attributed to Desmond Child, a behind-the-scenes songwriter who went on to write hits for Aerosmith, Michael Bolton, and Ricky Martin. With Child's help, Bon Jovi penned a pair of songs that would eventually define their career -- “Living on a Prayer” and “You Give Love a Bad Name” -- two teenage anthems that mixed Springsteen's blue-collar narratives with straightforward, guitar-driven hooks. The band's characters may have been down on their luck -- they worked dead-end jobs, pined for dangerous women, and occasionally rode steel horses -- but Bon Jovi never presented a problem that couldn’t be cured by a good chorus, every one of which seemed to celebrate a glass-half-full mentality. Elsewhere, the group turned to nostalgia, using songs like “Never Say Goodbye” and “Wild in the Streets” to re-create (or fabricate) an untamed, sex-filled youth that undoubtedly appealed to the band’s teen audience. Bon Jovi wasn't nearly as hard-edged as Mötley Crüe or technically proficient as Van Halen, but the guys smartly played to their strengths, shunning the extremes for an accessible, middle-of-the-road approach that wound up appealing to more fans than most of their peers. “It’s alright if you have a good time,” Jon Bon Jovi sang on Slippery When Wet’s first track, “Let It Rock,” and those words essentially served as a mantra for the entire hair metal genre, whose carefree, party-heavy attitude became the soundtrack for the rest of the ‘80s. ---Andrew Leahey, AllMusic Review

Przełom w karierze Bon Jovi – przełom w świecie muzyki popularnej. O losach zespołu decyduje oczywiście talent i łut szczęścia, który pozwoli gdzieś temu talentowi rozbłysnąć. Ale gdy szczęścia trochę brakuje, można wezwać fachowców.

W 1986 roku, w przypadku zespołu Bon Jovi, który nie przynosił swojej wytwórni spodziewanych zysków, wezwano speca od tworzenia wizerunku, Jonathana Kinga. Ten „oblukał bend i postanowił go przeformatować, pozycjonując nowy target”. Którym to targetem była już nie tylko męska publiczność metalowa, ale i dziewczynki w wieku dojrzewania, mogące skusić się urodą Jona. Do tego doszła konsultacja muzyczna: za podrasowanie kompozycji grupy wziął się etatowy specjalista od przebojów, Desmond Child. Efekt? Siedemnaście milionów sprzedanych egzemplarzy. Musimy sobie uświadomić, że Slippery When Wet to rewolucja. Bon Jovi otworzył nim drzwi do świata pop zespołom używającym gitar. Fakt, zapoczątkowali falę pudel metalu, ale bez nich nie byłoby ani sukcesu Guns N’ Roses, ani triumfalnego powrotu Aerosmith... A być może i czarnej Metalliki (Bob Rock – na Slippery jeszcze jako inżynier dźwięku).

Kompozycje dotknięte magiczną ręką Childa oczywiście najbardziej wyróżniają się w materiale. Szczególnie Livin’ On A Prayer – z genialnym gitarowym motywem uzyskanym za pomocą talk box (modulacja dźwięku za pomocą rurki umieszczonej w ustach). Tu delikatny klawisz, tam chóralny zaśpiew i narastanie napięcia do porywającego refrenu... Niewiele ustępuje mu kolejny hit, You Give Love A Bad Name. Co nie znaczy, że chłopcy kiepsko radzili sobie sami. Wspaniała ballada Wanted Dead Or Alive weszła do klasyki, a dzięki wykonaniu na uroczystości MTV Awards trzy lata później zapoczątkowała serię koncertów Unplugged. Szkoda tylko, że z drugiej strony pojawiły się tu nudne lukrowane ballady, od których już nigdy się nie uwolnili (Never Say Goodbye) i banalne kompozycje, które po zdjęciu gitar mogłyby robić za drugi sort u Huey Lewis And The News. ---Bartek Koziczyński, terazmuzyka.pl

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01. In And Out Of Love
02. The Price Of Love
03. Only Lonely
04. King Of The Mountain
05. Silent Night
06. Tokyo Road
07. The Hardest Part Is The Night
08. Always Run To You
09. To The Fire
10. Secret Dreams

Personnel:
    Jon Bon Jovi – lead vocals, guitar
    Richie Sambora – guitar, background vocals
    Alec John Such – bass, background vocals
    Tico Torres – drums, percussion
    David Bryan – keyboards, background vocals
+
    Phil Hoffer – background vocals
    Tom Mandel – synthesizer
    Jim Salamone – programming

Bon Jovi's sophomore release found the New Jersey group continuing with its engaging mix of hard rock dynamics and blatant pop-metal overtones, and primed the pump for the coming popular explosion of Slippery When Wet. Ever since the keyboard call to arms of the breakthrough "Runaway," Bon Jovi had understood that real success lay in a billowing smoke, soft-focus derivation of true metal, where Journey-style synthesizers and soft rock chorus vocals were the name of the game. To that end, 7800° Fahrenheit tempered its black-leather rock & roll with a rudimentary form of the sound that would make Bon Jovi superstars. They puffed out their chests for the groupie-groping, Mötley Crüe-style catcalls of "In and Out of Love" and made sure "King of the Mountain" rumbled with boys-night-out bravado. But they seemed much more comfortable with the twittering ballad "Silent Night" or "Price of Love," where arena-ready riffing met smoke machine keys and vocal trills. There was even "Tokyo Road," a valiant attempt at the epic scope of Springsteen that featured a Japanese-language intro and full-on character development. It was in these moments -- when the tenets of metal tried on the hairstyles of pop -- that 7800° Fahrenheit burned its brightest; the professional songwriting and increased cash flow of Slippery When Wet just made the existing mercury burst. --- Johnny Loftus, allmusic.com

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01. Livin' on a prayer 
02. Keep the faith 
03. Someday I'll be Saturday night 
04. Always 
05. Wanted dead or alive 
06. Lay your hands on me 
07. You give love a bad name 
08. Bed of roses 
09. Blaze of glory 
10. In these arms 
11. Bad medicine 
12. I'll be there for you 
13. In and out of love 
14. Runaway              play
15. Never say goodbye    play

Personnel
* Jon Bon Jovi - lead vocals
* Richie Sambora - guitar, backup vocals
* Alec John Such - bass, backup vocals
* Tico Torres - drums, percussion
* David Bryan - keyboards, backup vocals

Cross Road is the first greatest hits album by American rock band Bon Jovi, released on October 11, 1994 by Mercury Records. The album contains hits from between Bon Jovi (1984) and Keep the Faith (1992) and two new tracks: the hit singles "Always" and "Someday I'll Be Saturday Night", as well as a new, updated rendition of "Livin' on a Prayer" entitled "Prayer '94" available only on the North American versions.

"Runaway" was never recorded with the current band, though at that time there were plans to put a "Runaway '94" on the album but it was never recorded. The diner located on the cover of the album is the Roadside Diner in Wall Township, NJ, near the crossroads of Route 33 and Route 34.

"Always", the album's first single, became Bon Jovi's highest selling single in the United States, spending six months on the top ten of the Billboard Hot 100 and was also an international hit which helped the album peak at number one in 13 countries. Cross Road was the best-selling album of 1994 in the UK. The album is Bon Jovi's best selling album in many countries, and continues to sell well. The album has sold over 21.5 million copies worldwide, and has been cited as one of the best-selling albums of all time.

In 2005, Cross Road was re-issued as a 3-disc box set under the name "Deluxe Sound & Vision", which included the original remastered album, a bonus CD containing b-sides, rarities and fan favourites, and the Live from London DVD. The original remastered album was released in 1998. A video, also entitled Cross Road, was simultaneously released, containing 16 of the band's music videos. ---discogs.com

Cross Road - kompilacja zespołu Bon Jovi wydana 10 października 1994 za pośrednictwem Mercury Records. Album zawiera wybrane utwory grupy od albumu Bon Jovi (1984) do Keep the Faith (1992), a także dwa nowe, niepublikowane wcześniej nagrania: "Always" i "Someday I'll Be Saturday Night". Ponadto do amerykańskiego wydania albumu dodano utwór "Livin' on a Prayer" w nowej wersji, pod tytułem "Prayer '94". Równolegle z kompilacją wydano DVD Cross Road zawierające 16 teledysków formacji.

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1. It’s My Life
2. Say It Ain’t So
3. Thank You For Loving Me
4. Two Story Town
5. Next 100 Years
6. Just Older
7. Mystery Train
8. Save The World
9. Captain Crash And The Beauty Queen From Mars
10. I Got The Girl
11. One Wild Night

Personnel
    Jon Bon Jovi - lead vocals, guitar
    Richie Sambora - guitar, backing vocals, talkbox on "It's My Life"
    Hugh McDonald - bass, backing vocals
    Tico Torres - drums, percussion
    David Bryan - keyboards, backing vocals
+
    David Campbell - arranger (strings)

Even if it was classified as pop-metal, Bon Jovi never really was much of a metal band, relying on big, catchy melodies and not guitar riffs to make their songs memorable. That's why, in 2000, they're able to make an album like Crush, which strays far enough into pop/rock to actually stand a chance of getting airplay (which it did, with the hit lead single "It's My Life"). The guitar crunch on the uptempo numbers keeps Bon Jovi from becoming a full-fledged pop/rock band, but in addition to the typical hard rockers, there are nods to heartland rock, Bryan Adams-style adult contemporary balladry ("Thank You for Loving Me"), the Beatles (the surprisingly effective "Say It Isn't So"), and even British glam à la T. Rex or David Bowie ("Captain Crash and the Beauty Queen From Mars"). Occasionally, it sounds like the band is attempting to cover as many bases as possible for multi-format appeal, but for the most part, the variety -- coupled with the consistently polished songcraft -- makes for a surprisingly listenable album. The production is a little more electronic-tinged, but not obtrusively high-tech, so the band doesn't come off as desperate to sound contemporary. Aside from a couple of missteps (the soppy, aforementioned "Thank You for Loving Me" and the mawkish posturing of "Save the World"), Crush is a solidly crafted mainstream rock record that's much better than most might expect. Even if Crush is more measured than Bon Jovi's early work, "Just Older" sums up the band's acceptance of their status nicely: "The skin I'm in is all right with me/It's not old, just older." --- Steve Huey, allmusic.com

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CD1
01 Livin’ On A Prayer 04:11
02 You Give Love A Bad Name 03:43
03 It’s My Life 03:45
04 Have A Nice Day 03:49
05 Wanted Dead Or Alive 05:09
06 Bad Medicine 05:17
07 We Weren’t Born To Follow 04:05				play
08 I’ll Be There For You 05:46
09 Born To Be My Baby 04:41
10 Bed Of Roses 06:36
11 Who Says You Can’t Go Home (Duet with Jennifer Nettles) 04:40
12 Lay Your Hands On Me 03:49					play
13 Always 05:53
14 In These Arms 05:19
15 What Do You Got? (New) 03:47
16 No Apologies (New) 03:45

CD2
01 Runaway 03:52								play
02 Someday I’ll Be Saturday Night 04:39
03 Lost Highway 04:14
04 I’ll Sleep When I’m Dead 04:42
05 In And Out Of Love 04:26
06 Keep The Faith 05:44
07 When We Were Beautiful 05:18
08 Blaze Of Glory Jon 05:39
09 This Ain’t A Love Song 05:06
10 These Days 06:27
11 (You Want To) Make A Memory 04:37
12 Blood On Blood 06:16
13 This Is Love This Is Life (New) 03:25		play
14 The More Things Change (New) 03:53

Personnel: 
Jon Bon Jovi (vocals); 
Richie Sambora (guitar, background vocals); 
David Bryan (keyboards); 
Tico Torres (drums, percussion).

It has been nearly 30 years since Bon Jovi broke out of New Jersey, and have driven many rock fans to tears and cheers. Since then, they've made mostly not just the cornerstones of arena rock that we've seen today, but honestly some of the most timeless songs that are still just as exciting to hear today, as they were back in their success days in the 80's and 90's. Hard to believe, they've still shown that they've got it after those eras as well. But when it has came down to it, they just keep getting better with age not just with new fans, but for those hard core fans who've owned their first copies of Slippery When Wet when they were first released back in the 1986. But, yet witha soon to be possible induction into the Rock & Roll Hall OF Fame, they have released a pair of hits albums not just to remind new fans and hard core that they weren't just born to follow, they were born to hit home runs.

Bon Jovi Greatest Hits: The Ultimate Collection double album is a simple and straight-forward hits collection that delivers mostly well for all-around fans that've loved Bon Jovi through thick and thin. The collection does show it mostly well by including their prime cuts into one nice hits package. The songs have been remastered well, and feel like a new breath of fresh air, ina industry that stopped making really strong acts, and stronger songs. The Ultimate Collection sums up the over quarter-century that Bon Jovi has delivered with hits like Always, the driven Cruch smash It's My Life, the groups breakthroughs' from the 80's like Wanted Dead Or Alive, Lay Your Hands On Me, and Bad Medicine to just name a few. The collection handles very well, at showcasing the primes of Jon, Richie, Tico and David's strengths of songs, even with some of their most recent songs like We Weren't Born To Follow and Who Says You Can't Go Home. While the collection handles strongly, I was surprised that there were still a few great songs from the group that weren't delivered here like Something For The Pain, Misunderstood & Everyday from 2003's Bounce, and Superman Tonight from last years' The Circle. I was honestly surprised when they included the overshadowed This Ain't A Love Song from 1995's These Days was put into the mix, but some of their other bright gems weren't.

Still, despite a few great overlooked tracks, Bon Jovi Greatest Hits: The Ultimate Collection is a great reflection to why Bon Jovi became one of the biggest bands in the world, and took the power ballads for all audiences into the stratosphere. The collection is a great buy for anyone who has never-owned a Bon Jovi album before, or for anyone that wants something a bit of Jon into their MP3 Player, and its still Bon Jovi's life. There have been very few greatest hits albums that've shown to be worth their money that came out this year, and this is honestly one of them. So lay your hands on Bon Jovi: Greatest Hits - The Ultimate Collection. ---Michael Kerner, amazon.com

It’s been a long 16 years since Bon Jovi was last compiled, when Cross Road arrived for the holiday season of 1994, two years after Keep the Faith capped off a near-decade long run of dominance for the Jersey rockers. As it turned out, it was the first act of Bon Jovi’s career. A subdued second act followed in the ‘90s, with Jon Bon Jovi flirting with a solo career once again before returning to the fold late in the decade, with the band setting out for a decade of professionalism, sometimes cresting into the charts -- usually with the assist of a canny country crossover -- sometimes not. Greatest Hits condenses the highlights of this journey in a mere 16 songs, just two longer than Cross Road -- its simultaneously released cousin, Ultimate Greatest Hits, adds a disc with 12 additional songs -- and two of those are new tunes that are unlikely to show up on any subsequent best of. What’s left is indeed the cream of the crop, albeit presented almost randomly, opening with the twin hits “Livin’ on a Prayer” and “You Give Love a Bad Name” before winding through “It’s My Life,” “Have a Nice Day,” “Wanted Dead or Alive,” “Bad Medicine,” and “Runaway,” finding time for extracurricular detours like Jon's solo “Blaze of Glory” and hid duet with Jennifer Nettles, “Who Says You Can’t Go Home.” There are hits missing, but you’d need to consult a chart book to figure out what they were, and if their absence matters, pick up the Ultimate Greatest Hits instead, which has another ten hits, mostly from the ‘90s on (“Keep the Faith,” “Lost Highway,” “Bed of Roses,” “These Days”), plus two additional new songs that will likely not make any subsequent best-of. But what these two collections prove is that less is indeed more: there’s nothing left unsaid on that first disc, no hit that would be missed; it tells everything. --- Stephen Thomas Erlewine, allmusic.com

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