Bon Jovi's self-titled debut album (Number 43, 1984) included the hits in "Runaway" (Number 39, 1984) and "She Don't Know Me" (Number 48, 1984). But Tony Bongiovi sued the band, claiming he had helped develop its sound; Jon Bon Jovi called his cousin's influence "slim to none," but settled out of court. Their next album, 7800° Fahrenheit (Number 37, 1985), went gold.
Bon Jovi then made two crucial marketing moves: bringing in composer Desmond Child (former leader of the Seventies New York disco-rock band Rouge, he also wrote for Aerosmith, Cher and Kiss) as a song doctor, and basing the next album's content on the opinions of New York and New Jersey teenagers for whom they played tapes of more than 30 possible songs. The resulting selections formed Slippery When Wet (Number One, 1986), which sold more than 12 million copies with the help of some startlingly un-metal synthesized hooks and straightforward performance videos that showcased the videogenic band. Hit singles included "You Give Love a Bad Name" (Number One, 1986), the hardscrabble romantic anthem "Livin' on a Prayer" (Number One, 1986) — both of which Child cowrote — and "Wanted Dead or Alive" (Number Seven, 1987). The latter, perhaps in part due to Bon Jovi calling himself a "cowboy," would be covered by more than one Nashville country act a couple decades down the line.
Bon Jovi regrouped in 1999 with to record "Real Life" for the EdTV soundtrack. The following year, the band released Crush (Number Nine, 2000), collaborating with Swedish teen-pop svengali on the hit single "It's My Life" (Number 33, 2000), which included sound-effect hooks that harked back to the band's Eighties singles. Demand for Bon Jovi's old-style pop-metal turned out to be so big that, since the reunion, the band has gone on to release more successful albums than it did even during its pin-up prime. Crush went double platinum in the U.S. and sold 8 million copies worldwide. After a successful tour, Bon Jovi returned with Bounce (Number Two, 2002. And to keep momentum with their younger audience, Bon Jovi had adopted a more alternative-rock look and sound and played dates with the alternative-identified pop-rock band Goo Goo Dolls. For This Left Feels Right (Number 14, 2004), the band re-recorded some of its biggest hits as slowed-down adult contemporary songs. The four-disc box set 100,000,000 Bon Jovi Fans Can't Be Wrong (Number 53, 2004) — the title and packing art playing on the similarly titled Elvis Presley album — compiled 50 rare and unreleased tracks and a behind-the-scenes DVD.
Bon Jovi returned the following year with an album of new material, Have a Nice Day (Number Two, 2005), which produced not only a pop single in the title track (Number 53, 2005) but also the band's first country crossover hit, "Who Says You Can't Go Home" (Number One Hot Country, 2005; Number 23 pop, 2006). The duet with singer Jennifer Nettles of the country band Sugarland won a 2007 Grammy for Best Country Collaboration with Vocals. The twangy move suited the changing tastes of aging Bon Jovi fans, many of whom had begun listening to the more adult-contemporary, rock-oriented sounds of post-Garth Brooks country radio. After releasing a live disc and comprehensive greatest-hits package in 2006, Bon Jovi's next album of new material, Lost Highway (Number One, 2007), was marketed more directly to the country audience, with country-charting singles "(You Want to) Make a Memory" (Number 27 pop, Number 35 Hot Country, 2007) and "Till We Ain't Strangers Anymore" (Number 47 Hot Country, 2007), a duet with LeAnn Rimes. To support the record, the band recorded an episode of MTV's Unplugged.
But the band's next album, The Circle, was more rock than country; it debuted at Number One in Billboard in November 2009, five months after Jon Bon Jovi and Richie Sambora's induction into the Songwriter's Hall Of Fame. At decade's end, Billboard ranked Bon Jovi as the ninth highest grossing touring artist of the 2000s; The Circle Tour, scheduled to begin in early 2010, was slated to be their biggest and most extensive since their late Eighties hair-metal heyday.