In recent years, guitarist Richie Sambora has been suggesting there is a possibility of a reunion with Bon Jovi, making it apparent he has a desire to return after leaving the group in 2013. In a new interview with People, the Bon Jovi co-founder asserts that “it’s time” for the reunion to take place and that this year is the group’s 40th anniversary.

While a potential reunion remains murky, Sambora did confirm that a Bon Jovi documentary is currently in the works, which should excite fans and possibly help foster an even greater demand to see another original back in the lineup.

“There’s a documentary that’s being done about the band and stuff that I’ve participated in, and people want to come see us play, and it’s going to make everybody happy,” Sambora assesses, keeping the focus on the fans when adding, “I mean, essentially, that’s why you do it at this point.”

Reflecting on his legacy as part of the legendary group, Sambora continues, “I think that we wrote a lot of songs that changed a lot of people’s lives just by letting them have a good time. I know that’s what music did to me … kept me company. And I hope that I can reflect that in what I do.”

“So yeah, it definitely could happen. It’s just a question of when everybody’s ready to go do it,” the guitarist says of a reunion, understanding that “it will be a big, massive kind of undertaking.”

In February earlier this year, Sambora said he and the band were “talking about” a reunion, but nothing had progressed beyond discussions. And as recently as September, the guitarist confirmed he had spoken with Jon Bon Jovi

That timeline remains uncertain and Sombora is “not sure” what that situation would look like, noting that “it’s got to be right, that’s all.”

“It’s time to do it, though,” he reasserts, touching on how he physically feels at 64 years old, stating, “This is our 40th anniversary, but I feel younger than ever. I’m having a ball.”

Sambora last performed with Bon Jovi in 2018 at their induction into the Rock and Roll Hall of Fame and it’s been his only appearance with the band since leaving in 2013 to focus on family and other personal issues.

11 Bands That Never Reunited With Their Classic Singer

Pour one out for these former vocalists.

Arch Enemy

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Arch Enemy

Arch Enemy is a rare case in which you have two equally pivotal vocalists – Johan Liiva (1995 – 2000) and Angela Gossow (2000 – 2014) – appearing before a group’s modern singer (Alissa White-Gluz).

Liiva’s superb work on their initial trio of records got them noticed, yet Gossow’s lengthier tenure – across five LPs – is when they really started receiving mainstream recognition and commercial prosperity.

It’s a shame, then, that Liiva was let go (because they wanted to “try out a new vocalist”) and that Gossow chose to “step down” to “pursue other interests.” (Fortunately, she chose to pass the torch to White-Gluz beforehand.)

Cannibal Corpse

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Cannibal Corpse

For the last 25 years, Cannibal Corpse have been led by heavily memed madman George “Corpsegrinder” Fisher. Prior to that, though, they were fronted by founder Chris Barnes.

Barnes spearheaded seminal records such as 1992’s Tomb of the Mutilated and 1994’s The Bleeding. Shortly thereafter, he was dismissed due to mounting tensions with the rest of the troupe (and a desire to focus on side project Six Feet Under).

The switch caused a noticeable change not only in vocals but also in lyrics since Barnes was their primary wordsmith (whereas Fisher rarely writes). Fans still debate which era was superior.

Decapitated

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Decapitated

Polish death metal quartet Decapitated spent their first decade or so building a following with the relentlessly brutal pipes of Wojciech “Sauron” Wąsowicz.

Then, in mid-2005 (a year after issuing their third LP, The Negation), he left, stating: “I could[n’t] reconcile the welfare of the band with my personal plans. . . . Moreover, another reason that contributed to my decision [has] been some health complications.”

Short-lived replacement Adrian “Covan” Kowanek, as well as current singer Rafał “Rasta” Piotrowski, certainly earned their spots in his absence. As for Wąsowicz, he went on to lead Masachist under a new name (Pig).

Escape the Fate

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Escape the Fate

Having sung on their earliest collections, Ronnie Radke was set to soar with Escape the Fate. That is, until a fatal May 2006 confrontation in Las Vegas – involving several people – resulted in him facing charges of “challenge to a fight” and possession of a deadly weapon.

Ultimately, and due to additional misconduct, he received a multiyear sentence in mid-2008. It didn’t take long for the band to swap him with former blessthefall vocalist Craig Mabbit.

In 2014, the two parties reconciled enough for Escape the Fate to co-headline the “Burying the Hatchet” tour with Radke’s subsequent venture, Falling in Reverse.

Immortal

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Immortal

Singer/multi-instrumentalist Olve Eikemo – a/k/a Abbath – is one of black metal’s most legendary performers; after all, he commanded hugely successful and influential Norwegian outfit Immortal from 1991-2015.

So, why did he leave? Basically, he’d been involved in legal disputes (against guitarist/lyricist Demonaz and drummer Horgh) over the group’s trademark. Not wanting to drag it out and diminish the Immortal legacy, he decided to part ways with them and start a solo project under his name.

Since then, he’s put out two albums – 2016’s Abbath and 2019’s Outstrider – while Demonaz and Horgh carried on and released Northern Chaos Gods in 2018.

Killswitch Engage

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Killswitch Engage

Jesse Leach quit Killswitch Engage in 2002 but returned in 2012; thus, he exemplifies the atypical case of an original singer leaving for a substantial amount of time before coming back indefinitely. In-between, there was the exciting addition – and woeful departure – of Howard Jones.

Jones’ soulfully deep timbre (among other attributes) gave the band’s middle three LPs a distinctive quality. Sadly, a few personal problems (such as a lack of enthusiasm for new material and his Type 2 diabetes complications) forced him to abdicate his seat at the KSE table.

Seven years later, he guested on Atonement’s “The Signal Fire.”

Marduk

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Marduk

Although Marduk had some fine frontmen on their initial LPs, there’s no denying that Erik “Legion” Hagstedt’s run (1994 – 2003) symbolized the group’s classic period. He sang on several fan favorites – Nightwing and Panzer Division Marduk, for instance – and had an especially bloodcurdling aura.

According to him, at the time, he and his bandmates were “not on the same page anymore” in numerous ways, leading to some “shit-talking” from guitarist Morgan “Evil” Steinmeyer Håkansson and bassist Roger “B. War” Svensson.

Consequently, Legion took up residency in RebelAngels, Witchery and Devian; meanwhile, Marduk have been going strong with Daniel “Mortuus” Rostén.

Queensryche

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Queensryche

It’s still kind of difficult to think of Queensrÿche without Geoff Tate. Yet, that’s what fans have had to do for a decade, as a nasty separation in 2012 led to him being superseded by Crimson Glory’s laudably similar Todd La Torre.

Long story short, the rest of the guys were tired of having Tate’s family running things (to the point that the other members “didn’t have a voice in the band anymore”). Firings, conflicts and lawsuits ensued, and Tate was terminated in June.

While the actual Queensrÿche’s latest records have fared well, Tate’s Frequency Unknown (2013) was critically panned.

Rainbow

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Rainbow

Ronnie James Dio’s contributions to Rainbow’s first three – and undeniably greatest – albums are perhaps as notable as any of his work elsewhere. Unfortunately, he wasn’t there for very long, as disagreements over the band’s direction (including what Dio can and can’t sing about) prompted founding guitarist Ritchie Blackmore to fire him in 1979.

Admittedly, Graham Bonnet, Joe Lynn Turner and Doogie White were commendable substitutes; however, none recaptured the magic of Dio (who moved onto Black Sabbath, Heaven & Hell and his own group).

Tragically, Dio passed away in 2010, preventing a reunion when Rainbow got going again in 2015.

Sepultura

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Sepultura

Sepultura was kickstarted by brothers Max and Igor Cavalera in 1984, so you’d think that both men would’ve stuck around until the very end. Instead, drummer Igor left in 2006, whereas vocalist Max left 10 years earlier due to internal quarrels and personal hardship.

During their August 1996 tour for Roots, Cavalera’s stepson, Dana Wells, died in a car accident. A few months later, his bandmates said that they wanted to replace his wife, Gloria Bujnowski, as their manager. Grieving and feeling betrayed, he left in December 1996.

The next year, Max Cavalera formed Soulfly and Sepultura hired Derrick Green.

Skid Row

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Skid Row

Technically, Skid Row remain active with ZP Theart, and their last LPs (from the 2000s) featured decent turns from Johnny Solinger. That said, Sebastian Bach – who was there until summer 1996 – will always be their classic frontman.

As Bach recalls, he was “kicked out” by guitarist Dave “Snake” Sabo and bassist Rachel Bolon because he – unlike them – wanted to accept an invitation to open for Kiss on their Alive/Worldwide tour. Plus, he didn’t like the new music they were working on.

In 2019, Bach invited the band to play Skid Row on stage for its 30th anniversary, but Sabo declined.

10 Rock + Metal Albums Critics Hated That Became Classics

What were they thinking?!

Gallery Credit: Jordan Blum

AC/DC, ‘High Voltage’

Atlantic/ATCO

AC/DC, ‘High Voltage’

Not to be confused with AC/DC’s Australian-only first collection from 1975, this compilation of standout tracks from that album (and follow-up T.N.T.) introduced the band to the world. It also featured staples such as the title track, “T.N.T.” and “It’s a Long Way to the Top (If You Wanna Rock ‘n’ Roll).”

That’s why it’s still astounding to read Billy Altman’s notorious Rolling Stone review, wherein he states that the “mindless” High Voltage brought hard rock to “its all-time low.” He also declares that “AC/DC has nothing to say musically” and that “calculated stupidity offends [him].” Us, too, Mr. Altman.

Led Zeppelin, ‘Led Zeppelin’

Atlantic

Led Zeppelin, ‘Led Zeppelin’

Say what you will about Led Zeppelin’s ethics, but there’s no denying the importance of their self-titled debut. (It helped kickstart heavy metal!) Yet, once again, we turn to Rolling Stone, who chastised its “weak, unimaginative songs” and “waste [of] . . . considerable talent.” They weren’t the only naysayers, either, as bassist/keyboardist John Paul Jones later noted: “We had appalling press at the time. Nobody . . . want[ed] to know us for one reason or another. . . . After that we were very wary of the press.”

Maybe the bad times actually come before the good times.

Black Sabbath, ‘Black Sabbath’

Warner Bros. / Vertigo

Black Sabbath, ‘Black Sabbath’

Speaking of stylistic pioneers, Black Sabbath’s eponymous introduction debatably invented heavy metal. Like its immediate successors, it became a multigenerational classic, which goes to show that The Village Voice’s Robert Christgau was misguided in calling it “the worst of the counterculture on a plastic platter.” Elsewhere, Lester Bangs from – you guessed it – Rolling Stone lambasted it for being “a shuck” made by “unskilled laborers” crafting “stiff recitations of Cream clichés.” Puzzlingly, Bangs seemed determined to compare the “plodding” Black Sabbath to Eric Clapton’s famously combative trio at every turn despite the fact that, you know, they had little in common.

The Rolling Stones, ‘Exile on Main St.’

Rolling Stones

The Rolling Stones, ‘Exile on Main St.’

Today, many publications – such as UCR and The Guardian – rank Exile on Main St. among The Rolling Stones’ greatest works. That stands in stark contrast to what the press said 51 years ago, though. As Mick Jagger subsequently admitted, “the critical reaction was no better than lukewarm.” Three decades later, Keith Richards boldly concurred: “When the record came . . . it was also pretty much universally panned. But within a few years the people who had written the reviews saying it was a piece of crap were extolling it as the best frigging album in the world.” Damn right.

Pink Floyd, ‘Wish You Were Here’

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Pink Floyd, ‘Wish You Were Here’

The Dark Side of the Moon might be Pink Floyd’s signature sequence, but its warmer follow-up – Wish You Were Here – is arguably superior. Although many writers at the time recognized that, a few saw things quite differently.

Namely, Melody Maker professed: “From whichever direction one approaches Wish You Were Here, it still sounds unconvincing in its ponderous sincerity and displays a critical lack of imagination in all departments.”

Likewise, Rolling Stone condemned the quartet’s “lackadaisical demeanor,” “skillful manipulation” of basic “instrumental abilities” and “gimmicky” sound effects. “…passion is everything of which Pink Floyd is devoid,” the magazine concluded.

Excuse me?!

Stone Temple Pilots, ‘Core’

Atlantic Records

Stone Temple Pilots, ‘Core’

Housing songs such as “Sex Type Thing,” “Creep” and “Plush,” Stone Temple Pilots’ debut record – Core – was a seminal grunge statement. Not everyone agreed, however, with the most prominent accusation being that they were ripping off Pearl Jam, Alice in Chains and Nirvana. Then there’s Entertainment Weekly’s indictment that “Sex Type Thing” might be “Mike Tyson’s rape defense transcribed into grunge rock.”

Ironically, late frontman Scott Weiland told Entertainment Weekly in 2008: “It was really painful in the beginning because I just assumed that the critics would understand where we were coming from, that these just weren’t dumb rock songs.”

The Beatles, ‘Abbey Road’

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The Beatles, ‘Abbey Road’

You read that right! Not even The Beatles’ swan song LP (it was recorded after Let it Be) was immune from the press’ ire. Specifically, The New York Times’ Nik Cohn asserted that it’s “nothing special” because “most of the melody lines have been used elsewhere, and some of the lyrics are quite painful.”

Similarly, Life felt that Abbey Road is “not one of the Beatles’ great albums” due in part to its “round-the-clock production of disposable music effects.” Meanwhile, The Guardian claimed that it’s “a sight matter” whose overly familiar contents lack the “energy and purpose” of earlier collections.

Tool, ‘Lateralus’

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Tool, ‘Lateralus’

Although it’s relatively new compared to the other entries here, Tool’s Lateralus is a prog metal classic. After all, it broke new ground, garnered numerous awards and premiered at No. 1 on the Billboard 200 chart.

How, then, could Pitchfork give it 1.9/10, proclaiming that Tool takes “their ‘defining element’ (wanking sludge) and stretch[es] it out to the maximum digital capacity of a compact disc”? As for Robert Christgau, he deemed it “meaning-mongering for the fantasy fiction set,” while Blender said that it “sounds like Black Sabbath jamming with Genesis at the bottom of a coal shaft” (whatever that means).

Pearl Jam, ‘Ten’

Epic

Pearl Jam, ‘Ten’

Regardless of how Pearl Jam compares to other grunge progenitors, it’s damn near impossible not to view Ten as one of the greatest rock debuts ever.

Back in 1991, however, it had a somewhat gloomier reputation.

For instance, NME surmised that the band were “trying to steal money from young alternative kids’ pockets.” Entertainment Weekly’s David Browne reprimanded it for containing little that wasn’t already presented on “records by fellow Northwestern rockers like Soundgarden, Alice in Chains, and the defunct Mother Love Bone,” adding: “Pearl Jam . . . flail about in search of a groove and a song.”

Ouch.

KISS, ‘Destroyer’

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KISS, ‘Destroyer’

Recently, publications such as Classic Rock, UCR and Loudwire have praised Destroyer as either KISS’ best or second-best release.

With “Detroit Rock City” and “Beth” on offer, it’s easy to see why.

What’s difficult to comprehend, though, is The Village Voice’s insistence that producer Bob Ezrin’s “bombast and melodrama” resulted in the foursome’s “least interesting record.”

Even more demeaning is Rolling Stone’s belief that the album “lacks that flash of creative madness that could have made their music interesting, or at least listenable.”

According to them, its chief offenses included “bloated ballads,” “pedestrian drumming” and “undistinguished and emotionally empty” vocals.

Read More: Richie Sambora Says ‘It’s Time’ for Bon Jovi Reunion | https://loudwire.com/richie-sambora-its-time-bon-jovi-reunion/?utm_source=tsmclip&utm_medium=referral