Sunday Sitdown with Willie Geist - Jon Bon Jovi On Getting His Voice Back for New Album, "Forever” (June 2024)

Episode Date: April 6, 2025

Willie chats with Jon Bon Jovi about his new album, "Forever", which marks a victory in the fight to get his voice back. They also talk about his head-spinning rise from Jersey bar-singer to international superstar, and they even take a tour of his studio at his Jersey home. (Original broadcast date June 16, 2024) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hey guys, Willie Geist here with another episode of the Sunday Sit Down podcast. My thanks as always for clicking and listening along. Very, very excited to bring you my conversation today with an honest to goodness rock and roll icon, Mr. John Bon Jovi. I should disclose up front, I am from New Jersey. Bon Jovi and Bruce Springsteen are in my blood. It's part of the charter of our state. For God's sakes, John Bon Jovi now has a rest up named for him. on the Garden State Parkway.

In our land, that is the highest compliment you can receive. It actually is a really big deal. So, John and I got together ahead of the release of the band's new album. It's called Forever. It's Bon Jovi's 16th studio album. We got together at home. He invited us down to his place in New Jersey, a beautiful spread, as you can imagine. And just so you can kind of picture where we are, we're in a building on his property

that's called a man cave. It's a bar lounge, really. So we're seated at the bar. You got your pool table. You got your hangout area. Sort of memorabilia from his film career in there. The music stuff, which I'll tell you about a little bit later, is in a studio where they record their album. So we're chilling at the bar.

We popped a bottle of Hampton water, which is a rosé put out by his son, a very successful brand that John is also behind. So you might hear us clinking glasses there drinking a little of that. and sat down and talked about his career around the release of this album Forever and also the recent Hulu docu series, Thank You Good Night, the Bon Jovi story, which tells the 40-year history of the band. So a great conversation about the music, starting with a kid growing up in New Jersey with this guitar that he sold off in 1979 and recently got back from the guy. He sold it to you. You hear more about that in a bit. But his rise and the grind and, you know, the success. he got with slippery when wet 12 times platinum living on a prayer bad medicine all that but also

surviving all that and all these sort of reincarnations and navigating this career a lot of those bands of the 80s that were so big didn't come out so well the other side but he's still here doing his thing and i just have to say on a personal level just one of the all-time great dudes he's everything you hope he would be so i invite you to sit back relax now maybe you pour a little something yourself. John and I toast and talk at his place about the new album Forever and the history of Bon Jovi right now

on the Sunday Sit Down podcast. John, good to see you, man. You too. Thanks for having me over. I'm happy you're here. We're like in the inner sanctum here. All the artifacts of your career on the wall. So cool. Just the movie side of things in this, the pub

called the shoe in. The shoe in, which means what to you? The horseshoe, which is the luckiest thing, right? Yeah. And if you see the depiction of the horse where the horseshoe is placed as me, the luckiest man in New Jersey. You've done it right for yourself. It's called the shoe in. Well, if we're going to hang out at the shoe in, the water's nice, but it feels like we should have a drink of some kind, no? Or keep. Oh, look at you. You had one ready. Boom. I got a glass. Now we can have a conversation.

What are we drinking here? Hampton Water, the world's finest rosé. That's right. It is, in fact, a wine brand that my son started some eight years ago and has become very successful. And you're involved a little bit, right? I call myself Santa Claus in this equation. Cheers, man. Good to see you. Good to see you.

I'm the guy that comes around for the photo op. You know, when the client needs, you know, to photo op, I come in at the end. Oh, yeah. But Jesse started this some eight years ago, and it's become huge. success. It's delicious. Thank you. Cheers. A lot to celebrate, lot to toast. New music, most of all. New music. Amen. Yeah, Forever is the new album. And if anybody has seen the Hulu

docuseries, they know what a road it has been to forever. I was listening to it the whole way down the parkway in the car. You sound amazing. It feels to me like the voice is back. Does it feel that way to you? Knock on wood. what folks saw in the documentary was shot one and two years ago. So I'm well on that road to recovery. I wouldn't say that I'm 100% there, but I'm at the goal line at this point. Just before our interview this morning,

while you were working, I was working. I was doing two hours just across the way in the studio. Every day I sing for two hours. And the idea is, can you do two and a half hours a night, four nights a week? Then I'll say I'm ready. So what was the standard for you to cut this album? Like, how did you need yourself to sound?

How did you need to feel to say, I'm okay doing an album here? The patience you can have in the studio making a record is not the same as the voice that has to be on the road. So that's not enhanced, that's me. You know, it's just I'll probably have sung each song 10 times, you know, not three. and just wanted to get the best take of each of the songs. And I could do one, take a whole day off, you know, come in and do one on Wednesday, take a day off, come in on Friday. Because there was so much, you know, that encompasses making a record. But I felt that we had the songs, and that's when it's time to go.

You know, when do we have the songs? Got the songs, let's go. And then there was, to where it wasn't difficult by the time I went in to make the record. but I would have made it even better today because I was eight months ago when I did the vocals. So that road to get here, and again, if people have seen the Hulu docus series, which is incredible, if you haven't seen it, go do that.

There had to be moments where you thought this might be it. I might not be singing again. It might be time to hang it up. I mean, you have some of those moments in the series. Were there moments, John, where you said, all right, I'm done. This thing I've done my entire life is over. between the shot from Nashville on the 2022 short tour that I did to try to push it into shape

and the operation the moment absolutely of clarity was it's been great but I refuse to tear down the legacy and I refuse to take 40 years of hard work and for a dollar I don't need the dollar And I don't want that audience to ever think that I didn't give them the best show they could pay for. You know, so there was a, there was a moment in time. But when I went to see the doctor and I said, look, I can give you 100% of 80%. He said, well, that's good enough. And I said, no, no. That means I'm retired.

And he said, now we can talk about surgery, which really made me love Dr. Savilov because he wasn't a cut happy doctor. Sometimes doctors want to cut you. They want to be the healer. And he wasn't. He was very, very, very patient with me. So the album is titled Forever. What does that mean to you? What is that title about?

You know, one thing that I can look back on the many things of this 40-year career is that there are a lot of songs in our catalog that will live long after we're gone. Those songs are part of the patchwork of my career, American pop culture. And they played on the radio somewhere in this world every day. And so the magic of music is that it can live forever. And the idea that we had committed our lives to this project. And whether or not it went on to a stage ever again is to be seen,

but the music will now outlive us. So that's sort of the umbrella description of what the album is. And within it, Within it, you get at themes of what the last 40 years have been like for you and this family, which is your band and your family living in the house as well. You know, songs like Living Proof and Legendary to me are about the people who got you there. You betcha. Is that right?

Yeah, everyone's contribution members past and present, whether I collaborated with a writer over the years who I made no longer, no longer collaborate with. Every contribution is what got me here to be able to talk to you today. So I appreciate and applaud everyone who was a part of it,

whether or not they got off the ride at any stop along the way. But yes, in this record, really the theme has been joy. Because you and I have known each other a long time. And for instance, when your show started and we were making this house is not for sale, that was a statement.

record. I wouldn't say it was a lot of joy in the record. It was a, we got something to say. Let's get it off, you know. And, and then with 2020, we were all living through COVID. All of us watching television and here in this room were living through COVID, lockdown. Not a joy as occasion to write a record. I was the narrator. I was, I loved the songwriting on the record. It came out great. This one, in light of everything that I've been through, you know, vocally and challenges and we collectively of COVID. This record is the first time I have felt joy in a long time. That's amazing because I think people watch you move through the world

and you seem like a joyful guy who's hopeful about things and this voice thing that frankly most of the world didn't know what was going on in your life before they saw the doc was you carried that every day, right? And it was preventing you from finding the joy. Yeah, I have never not been grateful. And this isn't a life or death situation. I mean, I'm blessed with good health. If my career was going to be sidetracked, oh, well, I've had a great 40-year run at the top.

But there was nothing but gratitude. Gratitude compounded by joy, get me back out on that stage. You know, it'd be awesome. So was it fun then to sit down knowing you were back, not full strength? maybe with the voice, but to have that joy, to be excited and to sit down and start thinking about this album in a way that you probably hadn't thought about the last couple of albums. I couldn't. You know, like I said, this House is Not for Sale was a statement record. There were some, you know, finger pointing in that record.

Yeah. We're not going anywhere. And then you're writing about COVID and you're writing about guns and you're writing about, you know, items out there that are not happy topics. was really satisfying as a writer. Now, by the time we got to the studio, it was so easy to record and to go to the studio every day and work until you fell down,

because you were excited to be there. Yeah, it was joyful. How different is the experience now for you, obviously, that it was 40 years ago, but you still got a bunch of your core guys who'd been with you as long as you can remember. How different is the experience of making a record today than it's been in the past with those guys?

Well, it's like a maturity when you go in the studio. I mean, everyone's just such a better player, obviously, than we were when we were kids. Not that we were ever bad. We always knew a way around the studio, but there is definitely a maturity in the record making process now. We have an identifiable sound. Everybody's more than capable of contributing in major ways, everybody. you know and and that to me again makes the process that much easier and every day i just looked

forward and it wasn't a labor you know you go in and dave's already got it figured out on the keyboard part you're like okay you know so you're not you're not too concerned with oh man i got to think of what synth what are we doing what part no no no this is a tony award winning guy who's made 16 albums he knows how to do this you know uh tico's crazy ridiculous drummer you know and same with Huey on the base. It's a great band. And John Shanks and I know how to make this record. We've done it together for 20 years now.

You said the first song you recorded, or maybe the first one you wrote was... The first one I wrote. The first one you wrote was Hollow Man, which is a beautiful song. And also, man, it hits. What were you thinking? What were you feeling when that song came through you? When you sit to write a record, you're thinking thematically. And not just a collection of songs.

That would be one way to go about it. But at this time, in this point, I was thinking, okay, where am I? What am I feeling? I'm going through it a lot. And as I'm strumming my guitar and just sitting on the couch, you're almost asking God to take this vessel and fill it. I'm hollow.

Fill me with information. Fill me with, you know, what it is that my voice needs to say. And on a day, this is a songwriting trick I have. When you don't know what to say, write that down. You know, just literally set up the scene. So 30 years ago when I write better roses, sitting here wasted and wounded at this old piano, trying hard to remember this morning, I don't know.

That's all I had. But now it starts me on this journey. So, holly man, I'm sitting here, and I don't know what I'm about to say. What do you sing when your song's been sung? And I was like, yeah. And that's it. Now I'm off to the races.

Who do you fight when the war is won? that again what better moment in time for me in my career you know what do you write when your book is done and and then i was off to the races when you say something like that the book is gun the excuse me when you're when it's the book is what was done done when the book is done or the gun isn't loaded is that the way you were feeling about like i don't know if i have anything left sure in the tank at this point on day one of record 18 I don't know where I'm going. I know I'm not interested in a pop song for a pop song's sake.

I have no interest in that. I knew coming out of 2020 that I enjoy the narrative. It was in real time and that was a moment in time. So I knew that's where I wanted to be. It was all in the first person. And so follow them in took me there. Hey guys. Thanks for listening to the Sunday Sit Down podcast.

Stick around to hear more from John Bon Jovi right after the break. Welcome back. Now more of my conversation with John Bon Jovi. There's another song that just, as the father of a daughter, that just blew a hole through my chest, which is Kiss the Bride. Obviously, that's about your daughter. Stephanie and what's coming for her down the road. Was that a difficult song to write?

It's a beautiful song, and we're going to hear it at weddings for the next 50 years. Amen to that. Right? Okay. But, man, when it's your daughter, you're not writing about some theoretical situation. No, it's my baby. You know, I have three kids that are engaged to be married.

Wow, that's a lot to put on Dorothy and I. But the beautiful thing about it is I only have one daughter. And she's my baby, right? She's the eldest. And 25 years ago, I wrote a song called I Got the Girl. The Queen of Hearts will always be a five-year-old princess to me. You know, I got. the girl. Now she's 30. She's engaged to be married. So again, it's been my life's journey,

these records. And this time, you know, you're saying, I wish that this walked down the aisle was a thousand miles. And because now I have to put this into perspective. She's going out to buy a wedding dress. And she's, you know, I'm not going to be number one anymore. And, you know, you hold on a little tighter. So I co-wrote that song with my dear friend Bill Falcon and I was crying when we were writing it and I was crying in the studio singing it and she is the last person on earth to have

heard it. And we still don't quite know how she is dealing with that song yet. In honestly God truth, we have not discussed it after I know that she's now heard. I played it for any and everyone that in these listening

opportunities and she heard me talking about it on television. She's like, Dad. What do you think? Do I have to wait till the album comes out? Here, babe. So I know what it means to both of us. Yeah, it's a beautiful song.

Thank you. I think by halfway through my third listen, I had to bail out. It was too much. I was like, oh, my gosh. And I'm a decade away from it, but you feel it all coming. And it's these milestones, isn't it, in your life? Where, like you said, she was your little five-year-old girl. You can't believe you blinked, and it's been 25 years.

Yeah. It's wild. You are in the Songwriters Hall of Fame, considered one of the greatest living songwriters. Not true, but I'm in the songwriters. Well, there's a reason you're in there, man. It's not an accident. I'm just curious, and people, whenever we have these conversations, love hearing how the great ones do it. How do you start writing a song?

Do you sit there with a guitar? Is it words? Is it music? How do you go about it? The process is different for different people. You know, some people in technology come in, they go in the studio and create a loop, and then they'll come into melody and lyrics are last. That's typically not me.

I oftentimes sit on a couch with a guitar or secondarily at a piano. And I'm not a good player. I'm good at banging out the chords, figuring out what I want to do and what it is that I want to say. And certain titles give you the mood.

And, you know, Kiss the Bride wasn't going to be a big rock song. It's just, it's not. You know, Hallow, when you're starting emotionally, it could go either way. For me, I had to tell a story. But I knew legendary was me being happy, me being upbeat, me stating me obvious.

But for those who don't know, the simplicity of that chorus means more to me than something complicated. I got what I want because I got what I need. You know, this is all, Pixie dust at the end. What do I got? I've got a wife and family that love me.

I got a band that believe in me. I've had a good life. Got what I want because I got what I need. That's legendary. That's what it means to be a legend, do you? It means something else than the outside. Yeah, yeah, yeah. It's not fame and fortune.

It has nothing to do with it. What matters is, you know, seeing the family and the friends and the people that believed in me. They went on that journey. You know, they put their lives on the line to say, okay, we'll go. We had nothing. And, you know, guys that believed in me for 40 years

or 30 years or whatever done, anyone was with me, it's appreciated. And the docu-series goes back even farther than that. It's so fun to see those early days of you, 16-year-old, Atlantic City Expressway, 17-year-old playing in the bars in Asbury Park. It seems to me, and I think you said this in the docuseries, There was never anything else.

There was no plan B for you, right? So you were going to be a professional musician, maybe not selling out giant stadium, but you were going to be playing music somewhere. No one on my radar was selling out giant stadium. You know, the Asbury Jukes, you know, a big part of my influences as a kid. A 3,000 seat con to the theater,

the East Street band went, you know, at the time when I was going down there for the first time, we're playing 3,000-seat theaters. They graduated to arenas, you know, in 1980. So that was the big time. Yeah. Yeah, and every step along the way at that time, you thought was the big time,

whether you're playing in a bar for your first time of 16 and 17 and 18, you thought you had made it. So I never had a plan B, but I always had naivete. I was very young. The drinking age in New Jersey, Being 18 was integral to the story, not because of the joke of all you can get a drink.

No, it was that you could go to a club at 16. Back in the day when licenses were made of paper and you could use a little bit of whiteout. I'm laughing because we did it in New Jersey. We're probably had the same license. You know, and you just mush your hand across a little bit and hold that paper license up and it was up to the bouncer. And, you know, I mean, I remember getting. Boston playing in a bar and the owner would lose his mind on you, you son of it, you could get, I could lose my license. You know, being reprimanded and told to sit at a table at the door on our breaks and don't you move and you can't even have water.

You know, but for the most part, I was able to go in and play, which again is integral because my folks support was there because they said, well, at least we know where you are. Yeah. And I took it so damn seriously that I quit my own cover band. at 18, just barely 18, to join someone else's band as a singer because I thought if you don't learn to write, you're going to be playing, you know, other people's music.

And by the time I was 20, you know, I had runaway. So then the rest was written for it. The point you make, which I think is so relatable, is Led Zeppelin, the Stones, lived on a different planet. Sure. Never forget that's just... Too big. Too big.

but the Jukes East Street band Even Bruce He's up there Right And you go Okay I can be that Not that I could be that

But you could see that Right You know They were our heroes The Jukes And the East Street band That means 17 men

That you would see In and about the clubs So at any time You were seeing One of You know Snow White's dwarfs Or Sanizels

However you want to look at You know, you were seeing one of the 17, as far as we were concerned, greats. And so Southside produced the rest. Peruse jumps up on stage with me when I'm still in high school. Those are pretty good words of encouragement when La Bamba, the trombone players, coming to teach the expressway the right way to play the horned parts. I mean, you know, Kevin Kavanaugh coming and jumping on stage was a big deal. The actual eighth notes on Runaway on the record is not David Bryan.

it's Roy Bitten. I did not know that. Roy Bitten played the actual keyboard part on Runaway. Wow. Yeah, so those guys were all like, that kid. Yeah. It's not about that kid. Yeah.

Well, you obviously, I mean, you've got talent. You've got all the things you need to have to be a star. But it seems to me there's another very important, maybe more important element to it, which is force of will, drive, whatever that is, you were not going to be denied, whether it was running around power station, getting studio time on the weekends or late at night, or finding, what was it, WAPP, right, to get runaway? Like, at a young age, you knew how to navigate

and get what you wanted. Is that right? To get the job done, not necessarily to get what you wanted. I guess the end result is I got what I wanted, but I was never the best singer. I was never the best guitar players, never the best writer. But I outworked everybody. Yeah.

You don't think anybody can ever deny that. You know, they'll definitely be guys in my, you know, past, they'll say, you weren't even good. I was like, I know. But you were home and I was out there doing it. Right. You know, and I was the crazy kid that thought, a DJ. You know, that's my crazy way of thinking. Yeah.

You know, no one else I know ever thought of that shit, you know? So that was the magic is that it was just relentless desire. to do that. And it feels like even when you were blew up with slipper, when wet and everything, that continued because there is this mythology around rock stars, you're out all night, you're doing this and that. When the truth we learn in the docu-series, you had your fun, of course. But you were the guy up early the next morning making sure that the train kept rolling.

And as the singer, you tried to take care of yourself. Right. You know, your job was to do it the next day. So it wasn't as if I didn't have as much or more fun than anybody else, but I had the responsibility of waking up and doing it again. And then I had the mindset that we have to do it again. Yeah. And again, you know, it was on my, you know, primarily on my shoulders to get everybody else to believe in it.

Right. But I'm not sure everyone else in that era, the famous frontmen that people knew also subscribed to that. Yeah. They had the fun and maybe burned out because of it, right? No, I don't know. You know, teach their own, right? Yeah. From where we came and the stories that you get out of Johnny or Bruce or those kind of guys,

they'll say, yeah, well, I did was work. So that's all part of it. I don't know. For me, that was, that was, and it was fun. It wasn't like I was crying in my room because I was, you know, miserable that the kids were out playing in the, you know, in the rain. I was, like, enjoying my work. but I drove myself and others too hard, you know, several times throughout my career and the burnout comes.

Right. Stick around for more of my conversation with John Bon Jovi right after a quick break. Welcome back now to the rest of my conversation with John Bon Jovi. I'm curious, too, as I watched the series, what you think it is about you and Bon Jovi, the band, that made you survive that era of the 80s. where a lot of bands didn't. They did not.

And not only survive, but thrive and find new ways, whether it's young guns, too, going out and doing that. And then just, how did you do that? I mean, because the 80s are, you know, nostalgic,

littered with the, you know, the bodies of old bands that just didn't continue. Again, it was that forward thinking, to be honest, in retrospect, I thought differently. I was nuts enough to say self-management is the way to go.

That was unheard of. After I had written that soundtrack for Young Guns and that was really emotionally rewarding. I wanted to do more things like it. My first manager didn't believe in it. And so we had a falling out over it. And self-management began. When the grunge movement necessarily came to be,

we didn't chase that. We didn't suddenly go. and pull out our flannel shirts and pretend to be from Seattle. But we didn't try to be who we were yesterday. For me, I had turned 30. I had gotten married. The Berlin Wall came down. The Rodney King beatings happened in L.A.

You're maturing while you're witnessing history. You're seeing, you know, what's going on in the music business. You write differently. We get in a room. We write keep the faith. You know, I cut my hair simply because I was like, I need a haircut. I'm 30 years old.

Now I'm married. I got a different viewpoint and I'm not interested in trying to be something I'm not. Right. You know, so all of those things worked in our favor and then keep the faith and better roses and those songs are big hits. A lot of people didn't make it to the other side of grunge, as you say, right?

That was supposed to squash the 80s. As they should. As they should. Because in truth, record companies find Bon Jovi, Def Leopard, Guns and Roses. And then they sign 15 other things to make. make it sound and look like that. Right.

You know, and the ones that, you know, we've forgotten the names of are gone. And the same thing with Nirvana Pearl Jam, you know, the big ones live forever. And then the ones that they pretended to be like that to capitalize, don't. And it's every boy band or pop star. That's what record companies do. You mentioned Dorothea a couple of times. That's another big reason, is it not, that you're the man sitting here today, that you did survive everything that comes and be a rock star.

My support system was sound from day one, and a lot of that had to do with us growing together. You know, we went to high school together. So, like you and Christina, you've known each other since school. And that's a big deal, because no matter what twist and turn, you lived it together. And for me, that was a very big deal. She was, I'm sure it wasn't always easy, right? No. No, how great.

But in my defense, we're the same age, doing the same stupid. stuff. Yeah. We just did it together. Right. Right. So when you look now, John, ahead, encourage you have to be by this new album, by your ability to continue to make music. You got your voice back from what I can hear. It sounds amazing. The songwriting is great. What else is out there for you? What do you want to keep doing? To keep doing, I think, would be the gift. there have been things in my life that I've tried and some succeeded and some didn't but there isn't anything on the horizon they go now I want to be the best gardener no I'm not very good in the garden I've come to that conclusion so for me I think I've

attempted some things that have failed or won but nonetheless if I could just continue to make music the way I do, I'd be quite content. Would you like to get back out on the road? Yeah, in a controlled manner, regardless of, you know, how great I can sing or not. I don't think there's ever going to be a 240-show tour again. But, you know, when I look to the Stones and you two and Bruce and, you know, that kind of thing, I could do that. Yeah, that would be all right. Get you in the sphere for a couple of months, maybe? I don't know about the sphere, But that was pleasurable. I enjoyed it immensely.

Yeah, I mean, you look back and think about those tours you were on where you go 240 nights, come home and rest for a couple of months, and then they ran you right back out there. Right back. Write a record, record, and be on the road within a year. When you think back to that, I mean, it's been a while, but can you believe your body did that? The exuberance of you.

And it was three nights in a row night off, two to three nights in a row night off. You know, it was, that's being a kid. Yeah. You don't need that anymore. I don't really, yeah, I don't think I'd want to do that anymore, no. You've got your band together. I was talking to before we started that Richie pops up in the Hulu series, which felt like had to be a part of it.

Sure. Tell his part of the story. Is he somebody you'd like to see back with the band going forward? You know, why would I say no, right? He left us 11 years ago. So, you know, it was a very difficult time for all of us because there was no falling out. It was just issues, you know,

and that he had had in substance abuse and he was a single parent, and he wanted to bring his daughter up. So we were very dismayed by the whole thing. But for the first three chapters of the band's history, he was there and, you know, a beloved member. But he'd have to, you know, figure out how does this work now? You know, how does it work now?

That Phil X and John Shanks and my sister, and you know we've gone on so he'd always be welcome uh one other cool thing you did was american idol just a couple of nights ago the finale how much fun was that daunting you know talk about the kid with his chip on his shoulder again you know i mean like you're gonna sing but it's on the biggest show on tv and yeah and uh go but i i i was ready for the um for the challenge you know and the voice is far enough along that i i knew i could hold me my own. So yeah, that was good. It was good. It was good. It's a good confidence building. Do you still get those little butterflies before you went stage?

Well, not prior to my injury. You know, I always would welcome something like that. It was never afraid of butterflies and performing or anything like that. You'd get excited about a performance, but I was never afraid. Then it was a question of, you know, does this work or not? And you're on a show that features singers. Right. They're all good singers. Yeah. You know, so it was pleasurable.

The reaction's been very good. Oh, good. Very good. Yeah. People want you on the show and they want the whole thing. One of the songs on the album is about your first guitar. I think we're actually going to go take a look at it. Okay.

You have it back in your possession. I do. I do. So we'll go check that out. So after our conversation of the bar, we hopped up and kind of walked across the yard to the studio, which is a monument really to Bon Jovi where they've recorded a whole bunch of their albums. The walls have posters from all their concert tours going way back into the 80s. It's got the sound room.

It's got the control room. It's got everything where you can record an album. And it's the place where John now is working to get his voice back after that vocal surgery two years ago. And he does exercises almost every day for a couple of hours with a therapist to recover the voice that is so famous. So now inside the studio at home with John Bon Jovi. So this is the recording studio. This is where we made every record from, wrote, It's My Life in here, recorded it in here, the Crush album,

bounce, have a nice day, lost highway, the circle, and what about now, all done here. And now this is where we rehearse. So those would be like the boards, would have the song titles from varying albums and what you're doing when you're recording them. So some of that history is in here as well. Deciding set lists and stuff like that?

No, no, no, that's the recording. That's the recording. Now, this is basically where I do my therapy every day. By the way, I saw this in the dock and immediately recognized it. Oh, you did, did you? You introduced me to. Yeah, yeah, yeah.

Quite the character that one. Mm-hmm. Mm-hmm. This is... One-two-two-two-two-two-two. So you go through your exercises? Well, you put on a rock show, really. So it's just...

Yeah, plug in my guitar, and it's like my part in the show. Sing and play. And how did it feel this morning? Great. Yeah, yeah, yeah. Yeah, yeah. There'd be a list of what I do on a daily basis. And that's every day.

Well, at least four times a week, you know. So these are the lists of those days. That's what I do here. I don't think people who listen to music like yours or any music appreciate what goes into it. When you come into a place like this. You think Tom Brady just throws touchdowns? I wish.

So does Tom Brady. Yeah. It's not quite the way it comes. No, there's a lot of work before you walk out at MetLife Stadium. Yeah. Now, is that the guitar? Yeah. Your first guitar.

That is my first guitar. And there's a story about you giving it away or selling it. Selling it. And then getting it back. Yeah. So about 1979-ish, I'm going to guess. I'm aspiring to get a Fender guitar. And so I have this Univox Stratocaster kind of a knockout, knockoff.

And if you look really close, you can see there's three lines here in the letter E from Expressway that was written like in sparkles. Wow. So this cardboard case. And I sold it to a guy in the neighborhood. And there was a volunteer at the Soul Kitchen. Her name was Denise. She made a point of making me remember her name so I could say it. said, I know the guy, and he still has it,

and I don't think he's touched it in these 45 years, and he'd be willing to get it back to you. And he said that it's where it belonged, so I gave him another guitar sign that I met his kids, and he sold me this back. But I swear that these spots, or the originals, only because he never played it. Right.

And there's only five strings on it, which, again, I'm going to just expound upon the story and say that that's how I sold it to him. And so then I wrote the title of the song that I picked this up and wrote a song on the back. That's incredible that that would come back around to you. And the shape it's in and everything else. Yeah.

It's probably like, can't even. But it's cool. And yes, it was my first electric guitar. You remember what you got for it back in 70? 100 bucks. 100 bucks? Yeah. That's pretty good number.

$7. Come on. And that got you the fender? No. No, no, no, no, no. It was that in shows and asking my parents and everything else. But that is the cardboard case, as the lyric says. Cardboard case in her starburst finish, one power accord, and I'm right back in it.

Wow. Playing old Kiss records in my folks' backyard. I'm 17 years old and a rock and roll style. Boom. And the guitar is shocked to see where you come since then. Yeah. I woke up and there it was. Look at you, man.

I know, I was so pleased, and it was in such good shape that you could just tell that the guy, you know, didn't play it or anything. That's so, I'm so happy you got that back. What are the odds, right? Yeah. I thought you'd see that again. Yeah, yeah, yeah. It was cute. That's awesome.

Cool, man. That's great. Good. So, this is that. This is it. Tomorrow, another day. Do you, so will you record in there? So, yeah, what this is, this would have been the control.

room. Right. But like I said, the gear had gotten antiquated. Yeah. After that album, we stopped recording here. So I gave the gear to our engineer. So he could work at home. Right. The board would be here. So now it's a quiet booth for Tico to play. So when we're out there and he's in here and we're on headphones, we can all hear well without, you know, going cuckoo. And so it's a drum room. But this would have been the control room. This where we you see it all over the documentary yeah yeah um this is the control room so now it's just

the rehearsal space but a lot of history here that just left the way it was you know just the way it was yeah um and some of the you know different albums and the places you've been man with this music you know yeah yeah yeah yeah yeah yeah moscow the guadalajara yeah wow yeah we've we've lived a couple lives and then some over the years. Pretty fun stuff, good memories in this room. And more to come, more to come. Absolutely more to come. Awesome, man. Thank you, dude.

Yeah, yeah, yeah. My big thanks to John for opening his home to us and for just a great conversation, one of my favorite dudes. You can check out his latest album, Forever, wherever you stream your music. And if you haven't yet seen the Hulu docu series, thank you, good night, the Bon Jovi story. It is excellent. And of course, my thanks to all of you for listening again this week.

If you want to hear more of these conversations with our guests every week, be sure to click follow so you never miss an episode. And don't forget to tune in to Sunday today every weekend on NBC. I'm Willie Geist. We'll see you right back here next week on the Sunday Sit Down Podcast.