Journey (2005)


The 2005 Journey Interviews



Deen Castronovo (Drums / Vocals)

"2 weeks later we were going to do Soul SirkUS and my doctor, he prescribed me this stuff – he thought I was bi-polar. It took this stuff and was so dehydrated that it was like getting pure doses of this stuff – I had no water, no fluids and I almost died!
I was in the Emergency Room and the doctor said, well you can either go on the road and die, or you can go home and get yourself well. And I had to tell Neal this. It broke his frickin' heart. Not only that, but it broke my heart that I had to hurt him.
Because, I tell you Andrew, if it was not for Neal Schon, my career would not exist.
I would do anything for him....

....Using drugs and alcohol is definitely an instalment plan! I thank God for the guys in this band, if it is wasn't for them I'd probably be in a box six feet under."

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Neal Schon (Guitars / Vocals)

"This is something I have wanted to do for a long time. It wasn't an easy situation. Management weren't totally into it, our agent was not totally into it and I think a lot of promoters were not into it. They finally came around and is said I think this is going to be really good. We have about 11,000 people the other night in Irvine, and we did 7 or 8 last night and we have 8 here tonight and we are doing great numbers playing by our self.
There was so much speculation when we did that three bill show a couple of years back with Styx and REO. REO fans were saying that Journey aren't selling any tickets, Styx management were saying they were selling all the tickets and Journey wouldn't be anything with out them. So I'm happy to be standing on our own ground here and doing well."

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Jonathan Cain (Keyboards / Vocals)

"The lyrics are some of the best I have ever done. For me this is one of the best lyric sessions I have ever had, 'cause I wrote a lot. I wrote from the heart and I wrote for the fans. Faith In The Heartland is about things learnt and seen on the road.
Growing up with my kids and watching fans come to the shows – Every Generation is for me really what this band is all about. I think I hit the nail on the head with that one.

I did motivational speeches to 3000 of these kids – maybe 5 or 6 speeches. I found out who I was again – the process of going back and looking at things. I told them all that there are a series of conversations you have in your life that really matter. You really have to be in the conversation – that will make or break you. About having those moments of really shining and that only comes from being in the moment at all times. And being in the conversation and people get your meaning and you are there, wholeheartedly – not just half-hearted you know….there must have been three or four conversations I had with very important people that made or broke my career and me paying attention to what was said. And that's what I left them with."

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Ross Valory (Bass / Vocals)

"The recording of Generations is some of my proudest moments. The music is strong, it's varied, it's surprisingly not necessarily what people would expect from Journey.
With the deprival of Arrival – being that nobody thoughts anything of it for whatever reason – we made a sincere and conscientious attempt at writing music that tied to our past influences and past styles. That threads, that signature…from Arrival to the songs we were most known for in the past. And it did absolutely no good. It didn't mean anything to anybody.
In spite of what I believe and what you believe, ah, were some quality songs and quality recordings representing the Journey style and all of a sudden nothing happened."

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Steve Augeri (Lead Vocals)

"Deen Castronovo takes a huge workload off of me, cause quite frankly I would not be able to do four or five shows a week without Deen's help. And that is just the bottom line. Initially it was a little bizarre but as the shows progressed and I saw how things were working out…and you know, this is about a band first and foremost – I joined a band, I walked into a situation where, frankly, they were tied of a lead singer…how should I put this…as diplomatically as possible – they were trying to resume being a band as opposed to a band with a lead singer."

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Journey - Neal Schon (2001)




Thanks for calling, great to talk to you again.
Yeah, Rindell gave me a heads up yesterday, said we were going to finally do this, you know. I've been putting this off because I thought it would be better to do like sometime before the record was coming kept on getting pushed back.

Is there any way I can get a little more volume out of your phone?

Possibly. You can't hear me real well?
Not that well.

OK. Now I can hear you pretty well. Maybe its just a case of redialing or...
That's definitely what it is, it's a bit of my tinitus.

So the years of standing next to an amplifier have taken there toll?
That and a lot of the symbols, you know, symbols are like really loud when you get drummers up on risers, you know, the sound comes right down directly at your ears. And, you know, loud motorcycles <laugh>, loud guitars and loud motorcycles.

You ride do you?

Where about, just around your home there?
Yeah, well, you know, I go for a longer ride sometimes with friends, you know, we'll go...I've driven to LA before and back, you know, up to Lake Tahoe, and you know, just down to Hollister, CA, I mean it just depends. I can go scootin' around here just to get some air or I can take a longer ride.

Nice and relaxing.
Yeah, very relaxing .

Absolutely. So Arrival is now actually getting released in America. How amazing is that?
Well, its been a long time coming. I mean I think we've been done with this thing, besides the two extra tracks that we recorded just a bit ago, we've been done with it close to a year now.

Really? That long?
Well, not quite, but it feels like it is.

Yeah, I reckon. I mean it's been 6 months since Japan got it isn't it? How do you feel finally about that now?
Well, you know what, I think it's a good record and we're ready to go tour and we're ready to support it and, you know, that's about it, that's all I can really feel right now. It's not even out over here yet and, you know, there's quite a few fans that have bought the Japanese version of it and they seem to like the material live in Japan when we just played there so we're looking forward to just touring and having some fun with it.

Yeah, It's a great album. I think people will re-buy the American version.
Yeah. Well you haven't heard the other two tracks.

No, no.
I wanted to get it to you. I remember the fax that you had...the e-mail that you had sent me and, you know, I don't even have a copy of the songs.

We like said to each other, OK, when we finish those two songs we're not...none of us are getting copies, and no one at the label are getting a copy. Nobody's getting it until it comes out.

That's cool. Therefore no one gets an advanced preview right?
Yeah, well, I felt like after all the Napster, you know, the thing that happened with the record, that's the least we could do is have a couple of surprises for people that didn't buy the record yet.

Napster's just about shut down, what's your whole take on it looking back now?
Well, you know what, I have to say that, you know the whole ordeal with us with Napster was pretty shocking in the beginning, that they had gotten it from, you know, one of the execs at Sony, and it was passed on through somebody in Europe and, you know, we were all shocked. I mean, the record was just done it wasn't going to be out for months and here it was all over Napster. I mean I knew that once the record would come out it would be all over Napster like everything else is, and then I had my feelings about that too. I felt that it wasn't a bad thing but the artists do need to receive a residual and so do the companies, you know? I mean its just like, you just can't get stuff for free like that when there's artists involved; this is how we make our living. So, you know, I think until they come up with something, you know, I've been reading about it everyday in the paper, it seems they've appointed like a mediator to come in between the companies and Napster to try to come up with some sort of solution and I think that's going to be difficult to come up with, you know, the exact solution. They'll come up with maybe some basic solution and something to work immediately but then I think its going to have to be modified as time goes on. But I think that they, you know, the attorneys have spent enough money, the companies have spent enough money that they will definitely think about that before they close the books on the first mediation sessions.

As a band, did you guys do anything to try to get the tracks removed off of Napster or try and limit the damage?
You know, there wasn't much that we could do. Once they have it, they have it. You know, the label was upset about it. I was initially upset about it then I just said well, you know what, there's nothing you can do about it, and then I just started reading, like you and I have correlated before, I started reading the reviews on the record and it was something that actually worked in our favor I feel at this point.
We got to read the pre-reviews from our fans and what they thought of the record and, you know, a lot of them said the same thing that I was saying when we were in the studio, that, you know, it was a great record but it would've been greater with another couple of rock tracks. Or just more evened out as a record, you know, with ballads vs. rockers. And so, I think that all-in-all in the end that it worked for us.

Yeah, I think it might have as well. I certainly feel the same way, I mean it's a fantastic album and I think it's your best sounding album, but yeah, a couple of rock tracks is great.
What did the band feel, what were you talking about when you gathered again in the studio? Were you all in favor of re-recording a couple of tracks?

Well you know what, it all started from me. I started the whole fire. You know, I went on our web site and I started talking about, you know, everybody was asking what ever happened to "World Gone Wild" and this other song "Good Times" that we were playing live and then all of a sudden we weren't playing it, and then it wasn't on the record because John Kalodner didn't OK it and Kevin had never heard it and so everybody was asking about the song, "Why is this not on the record, I can't believe it didn't go on the record." So I started a fire basically on the web site and I said, "How many people would like to hear this and how many people would like to hear this sort of a song and what do you think if we added it to the record" and everybody came back almost like 100%, yeah do it. And so once I got the fire started then I got on the phone with management, then I talked to everybody in the band and basically twisted arms real good and then we went back in the studio and did it.

Lets start with the recording of the album. When you first got to the studio for the first time, did you have the songs written or did you right before you went to the studio?
No, we wrote the songs, we were prepared before we went to the studio. We actually wrote for like two years.

Yeah, it's been a while hasn't it?
Yeah, we had been writing for some time, you know. It was like, quite a bit of material was sitting there before we went into the studio. Actually, there was enough for another record, and then everything went down to our A&R guy, John Kalodner. He listened to it all and he picked his favorite tunes and then he sent his favorite tunes to Kevin Shirley and that's what we recorded at that time.

How do you feel about, you know, do you have to go through Kalodner to get the budget approved or whatever?
I think that's the way business works these days. I would love it to be more amicable between the band and our A&R guy though, and John, you know, in the future - if there is a future - you know, that we can sit down at a table and we can talk about what our needs are and what his needs are. I mean obviously they want to have some stuff that they can get played on the radio, and so do we. It's not like we've never paid attention to that.

Exactly. You're a very commercial band.
When Herbie was managing us everything's changed quite a bit. In the beginning, you know, we pretty much wrote all of our own material, and we orchestrated all of our own material and we went into the studio and we played live and then we gave it to the record company. They never really heard it before it was done. And that was a clause that Herbie had put into our old contract with the label, that we would have total artistic control. And somehow when the new contract came about, that clause was not, you know, in there any longer. And so we had to go through different channels and this is just the way business is right now.

Well, you'd think with a band with your track record, they would be a little more trustworthy don't you think?
I would like to hope so, yes. I think they were very worried though because it's a new record, you know, with a new lineup and they wanted to make sure. But I think that also we wanted to make sure as well, so I wasn't really worried about it.

How did you go towards picking a producer? Was Kevin Shirley just such a success from Trial By Fire that you thought, we'll do it again?
You know, we got along really well with Kevin during Trial By Fire and I really think he was a big fan of the band, and we became very close just friend-wise as well as musically, and he became a good friend of the band and it just felt like a natural thing to do.

Was the feeling the same during the recording of Arrival?
Yeah. Absolutely. You know, I mean, the only thing that I kept saying that everybody got sick of was like, you know, we can't have all of these ballads on this record. And then Kevin will turn around and he'll say well, you know, look whose names are on the ballads. And yeah, I did write a lot of music on this album with Jon and everybody else this time, a lot of ballads and a lot of rock too, but I had no idea that, you know, they'd pick every ballad that all of us wrote, you know what I'm saying? Actually I was figuring, like, if I wrote three ballads or co-wrote on three ballads that, you know, maybe one or two would make it or one would make it and the other two wouldn't, so I mean I felt like overwriting like having more than enough material was better than just having enough.
Then you could pick the best stuff and leave the other stuff behind.

There's quite a different sound on Arrival than there was to Trial By Fire. I actually thinks it's one of the best produced albums you've ever recorded, what do you think?
I think it sounds really great myself. It definitely sounds like the band and it sounds like us live, and that's basically what we did do. We went back to playing live like we always have. Journey has never really gone into the studio, with the exception of a few songs, and ever cut like rhythm tracks, or like laid down the drums and a bass and a rhythm guitar and then go back and overdub. We always just go in and play live, and I play live solos and then I go back and put rhythm guitars on later. Or if I need to clean up the rhythm guitars, I'll do that later, as opposed to, you know, a lot of different producers like to work different ways but I know for myself it's better to catch me live as far as soloing and stuff like that and actually jamming with the band.

Well the record certainly does sound live.
Well it is.

I just think the sound of the album overall is just fantastic, are you happy with the way it turned out?
Oh yeah. Yeah I think it sounds great.

Lets maybe go through the tracks on the album and just get your thoughts on it now that you've had a bit of time to live with them. "Higher Place"?
"Higher Place" was something that I had written a long time ago, I mean actually the music and, you know, we hadn't really done anything with it. I had the music sitting up at Jonathan's and we hadn't really worked on it. And we were running out of time and he was busy doing some other things and so at the last minute I had grabbed the remainder of my rock stuff that we didn't get to and I went up to Jack Blade's house and it was really the first time that Jack and I had ever written together and worked together and, you know, that was what came out of our first day of working together.

That's pretty incredible for a first day's work.
Yeah. I had all the music basically then, you know, I mean we tossed around a few melodies and he wrote most of the lyrics and then, there it was, you know?

Amazing. You two make a great partnership if I do say so.
Thank you.

Yeah. I want to see some more work.
Well, you know, we have a natural thing going on you know, Jack and I. I mean every time we get together and we write something… we actually just co-wrote something for Ozzy Osbourne.

Oh great.
I have no idea what it sounds like now because he's re-recorded it, but the initial demo that I sent, or that we sent, I thought was awesome.

Fantastic. Ozzy Osbourne heavy, that's what I like the sound of.
Well its funny, you know, I don't get a chance to play that type of heavy guitar all the time so I was hoping he was going to leave it on the record, and then at the last minute, I think Sharon came in. He loved it apparently. Jack told me that Ozzy loved it and he loved my playing on the actual demo, and, you know, Jack for a week straight, Jack was calling me, and he kept saying "He loves this and I think he's going to use the demo and re-do the drums and bass or something."
I said wow that's cool. And then at the last minute I think Sharon came in and it was going to be a...I think he wanted to add it to his record as well, this was for some interactive game he has coming out.

Who was that that wanted to add the track?
Sharon his wife.

OK, Sharon, yeah, sorry - sure.
Yeah, she I guess got involved because she manages him, you know that.

And wanted to add it to the record as well I heard. But who knows, I mean this is just hearsay from me. I don't know the real bottom line of the deal… what it's gonna be, but Zakk Wylde came in and I think he replaced almost every guitar that I did. She had him re-do everything, and so, I haven't heard it yet.
But I think that he's a great guitar player and so I'm sure he did it justice.

Sure. What about "All The Way"? You described it earlier as a bubblegum song.
Well, you know, this is no mystery for anybody who knows me and has known me for a long time, that I'm more in to... I'm not a pop meister. You know what I mean? I mean we do play pop music but, I mean, always my role in Journey, except for on a few little occasions here and there, is to play like a really melodic solo over Jonathan Cain's songs, like "Faithfully" or "Who's Crying Now".
My role in the band is always to bring in the ass kickin' rock. And, so, this is what I do naturally and this is what I love to do naturally, even though I do melodic work very well and I realize that now, and it's something that I just added to my, you know, overall picture of everything, of how I look at music and what I like to play on, and so this was one of the more popier songs on our record and, you know, I mean I co-wrote it with the guys, but still in the end, I wasn't certain about it, you know?
But I think it's a good song though, I think that Kevin, you know, twisted it up a bit and he had me play some mandolins on it and some different instrumentation like that, that really made it come from a little bit different place.
Before the mandolins were on it, I really was not sure about it. But now when I hear it, I think it's a good song.

Oh it is. It's a great ballad. Absolutely. "Signs of Life" is one of my favorite tracks on the album.
That was actually one of the first tracks that Jon and I worked on when we got back together. We started writing for a new record when we didn't know if we were going to have a band or not.

This is after the Perry departure?
This was after we were just in, you know, we didn't know what we were going to do. The band was basically in hiatus, he had hurt himself, and we didn't know what was up. You know, I had nothing to do at the time and Jon didn't know what to do, and I said why don't we just start writing.

Actually, I think that's about the time that I interviewed Jon last time, yeah.
I said, why don't we start writing, I mean, you know, maybe Steve will decide that he wants to come back, maybe he won't, but at least when we decide what we're going to do, and we figure out what's going on, we won't be starting right at the beginning again. So I felt that we used the time wisely and we just started writing right away and we started compiling material.

Any other songs of that era that made the record?
Yeah. There is actually. "All the Things" was one of the earlier tracks that I worked on with Jon. "Signs of Life", "All the Things"...

Yeah. Absolutely, we'll run down them. On "All the Things", that is just a wicked guitar solo you've got going there.
Actually, you know what, it's a good guitar solo but the one that I played on the demo, I thought was even better.

Yeah. I just - it was like, you know, off the cuff and I always play the best when I'm not thinking and it's like usually the first take for me when I'm completely blind with what I'm going to do. And then I have to go back and try to copy it, you know, or reproduce it, you know what I'm saying, after that. And it never comes out quite as good. I thought definitely in that song, that was the case.

It's a wonderfully heavy, basic blues riff isn't it?
Yeah. I wasn't really sure about that song.

You know, when we did it, I mean, I liked it, but I wasn't sure that it was a Journey song, you know? You know, it's sort of like, that's been the consensus of people now that I've heard the record too, from what I can gather, I think it's really more of a live song, than it is a record song.

It sounds like a Hardline song, actually.
Yeah. Easily. You know, those are a lot of my riffs and ideas as well as on all the Hardline stuff. You know, I wrote a lot of those heavy riffs.

And it shows a great side of Steve's voice doesn't it on the record?
Yeah, definitely. He's a chameleon, Mr. Augeri has a lot of different things he can do and personally I think one of the best songs for him vocally on a record is like "Kiss Me Softly". I really like his R&B inflection.

Yeah. Let's talk about that track. Another Jack Blades track. You and him?
This was, you know, Jack and I were sort of on a roll at this point and we had written like four or five tunes, and, you know, I just went up to his house and we were writing every day. And I didn't really have anything in mind, and I started playing this riff that I was messin' around with, for months and I actually pictured it much heavier, the same guitar riff that it opens up with, you know, but it was much faster, and it was heavier.
And so I was explaining it to Jack and he just went back and he hit like this loop that he had, this R&B loop that sort of sounded almost like a seal R&B loop on a drum. And then, you know, he goes, "Try playing that against this". And so I played the riff, and then all of a sudden, I was playing really clean Stratty like guitar, sort of like "Walks Like a Lady" type clean Strat tones, and we just went with it that way.
And, you know, by the end of the day, we had a completed song, and we sent the DAT out to Steve, and then Steve messed with it a bit more and he changed a few of the melodies on the front. He actually sang everything in a lower register.
I had written different melodies originally and he used pretty much the same phrasing, and he lowered everything and he sang it sort of in this low sexy type thing, you know? I was really happy with what I heard when it came back; I thought that he did a really great job on it.

It's really a neat song. It's a real change of sort of angle isn't it? While remaining flowing with the rest of the album, it's just a little something different.
Well, you know, I think it's important that we move in different directions. In the future I would like to even, you know, be more experimental like, you know, I love the time period in the band when we were doing Frontiers and Escape; I mean we were really experimenting a lot. I think now is not the time to be really, really safe all the time. You know what I mean? Everybody knew we needed to get our foot in the door with this record and just make people aware that we are working, we've got a working entity here, we are gonna tour, and that we can make music again, you know? I'm just hoping that the next stuff we work on, everybody's got an open mind to be a bit more experimental and try to go in to some new directions.

Talking of something like that, I love, I think "Living To Do" could've come off of Late Night.
Thank you. Yeah. It was something that my father and I had written a lot of the chords before he passed away. It was a couple of years before he passed away, and it was one of the last things that him and I sat down on a piano and we were playing together and I've got a couple still in my head that we wrote that I've never done anything with yet and they're probably going to pop out somewhere. I was like…I woke up one morning and I remembered all the stuff that we were doing in that song, and I was going up to Jonathan's to write and Kim Tribble was out, the lyricist that we worked with, on that song, and went up to Jon's and I just started playing it. I said I've got this bluesy idea and before the day was out, that song was sitting there. We really didn't change much at all in the studio on that one from the demo.

It's the first time I've heard that guitar sound I think since Late Night, it was great.
Well it's more of a blues inflection for me, you know?

Absolutely, Absolutely. It's a great track.
"I'm Not That Way" got left off of the American release...

Yeah, this is another one of the songs that I brought into the band.
You know, I brought in all the chords and originally I was playing it on acoustic guitar and it had more of a Sting feel to it. And in the end it ended up sounding more like a Backstreet Boys thing to me, I don't know. I think that we missed it a little bit on that song. Even though it turned out well, I think that we missed the boat on that one a bit. And, I think it's a good song; I still think it's a great song, but I would've preferred it to be done a different way and I think that it was smart, you know, removing that one from the record at this point.

To me, it sounded a little bit like, "It's Just the Rain" from Trial by Fire.
Yeah. I mean we needed some uplifting stuff, you know what I mean. We didn't need another slow song. I'm talkin' tempo, I'm going, you know, we've got a lot of same tempos here, we need some up tempo, up tempo, you know?
I think that we made the wise move there.

Now the record goes out on a great song with "We Will Meet Again". I really liked the drum sound. Where did the drum rhythm come from?
Well, you know, it started a long time ago. I came up with the drum riff and Deen changed it. He changed it into his own thing. Then we changed the whole song around, with the addition of the piano to it and Steve's melodies that he put on it.
It just blossomed into a very cool song. We were playing it live in Japan and it was just a great song to play live. It actually jams a bit more live than it does on the record.

How are you finding working again with Deen?
I love Deen. Besides being a phenomenal drummer he's a phenomenal singer and he really adds a lot vocally in this band.

Awesome. And how do you find the lineup on stage these days compared to the old lineup?
Well, you know, it's different, it feels different, but if feels great. It's a bit more rocky, everything seems to rock a little more with Deen. You know, you can't take anything away from Steve Smith, he's an amazing drummer, and Deen will be the first guy to tell you that. It feels different, but it feels good.

Steve Augeri, really, I don't think you could've picked a better singer.
Yeah, I know what...<laugh> I've got a friend over here that's delivering a Buddha right now, in my garden <laugh>. That's awesome. Hold on one second Andrew.

Sure, sure.
<talking to another person> He's like, come down here.

Where's he from?
It's Michael Carabello, my friend the conga player from Santana. He's getting me a birthday present, a concrete Buddha in my garden.

Lovely! A Buddha! When's your birthday Neal?
It's February 27. There's a bunch of birthdays in this last month. Jonathan's is the 26th, I believe his wife's is the 22nd or 23rd, and Rindell, our tour manager, was at the beginning of the month, Steve Augeri's was at the beginning of the month. February was full of birthdays.

Well happy birthday for the other week!
Well thank you.

All right. Tell me, what songs didn't make the album then? How many have you got left over that you actually recorded?
You know what, I really haven't counted, but there's quite a few.

That many? <laughs> Not two or three or anything?
Yeah, and some really good stuff as well.

OK. Any plans for it?
You know what, when it gets around time and we get done with the tour, when we start thinking about putting another record together, we'll have to go back through and decipher that and sort of skim through everything and see what lives and what doesn't. But I think it's good stuff even if it doesn't end up being Journey material I think that it does have life somewhere else.

About a year or two years ago you shopped a demo with Steve Augeri and you gave it to your friends to listen to. Was that right?
Oh yeah, we let people listen to it and they thought it sounded great.

How many tracks was on that?
We had recorded "Remember Me" and it was a few others. There was about four or five songs.

OK. I just wondered if there were any songs on there that didn't make the album?
Yeah, there was probably...I can't remember exactly what was on there, to tell you the truth, it's been a while. Jonathan might be able to tell you, he would probably remember.

OK. So what are the chances of you and Jack Blades doing a record?
Well you know what, we've got some really great material that I actually wrote for Journey that we didn't end up using that I was dumbfounded at, actually I thought it was really a lot of the stuff we were missing elements of, you know.
And Kevin, I guess, didn't hear it, the material, he didn't think it was what we needed. Although I thought it was what we needed and what I wanted to do, you know. So there's some great stuff sitting there and I think I'm going to sit on it a while more cause Steve Augeri has added to it and he's actually co-written some of the stuff with us now and he put vocals on it and it sounds wonderful.
So I'm going to sit on it for a bit and wait and see what happens when we go back in to do another record. If it doesn't make it at that point, then I'd have to say, yeah, that Jack and I are going to do something with it. Obviously we'll get a different singer to sing it.

Maybe Jack? Or maybe you and Jack?
Well, you know, I was thinking actually, if we were going to do something like that, Jack can sing, I can sing, and, you know, we can use Deen on drums and he can sing all the high stuff.

That'd be cool. I want to see that recorded.
Yeah, well it's not going to sit there forever I can tell you that because I think the stuff is smokin'.

Awesome. But there's no immediate plans?
I want to sit on it for a little bit. It sounds like it's the type of material that's not going to get old really fast.

Yeah. Now you're an all right singer, when are we going to get to hear you on lead vocals again?
You know what, I'm ready to open my mouth again and start singing. I really am. I'm just completing two records right now.

What are you working on?
I've got two solo projects that I've been finishing, and they're both instrumental records. One is, of all things, this is for Higher Octave, so I came up with this idea a while ago because I was well overdue to give them another record and they started calling and said, "We'd really like to get another record, you were supposed to have one like a year ago, or two years ago, you know, we haven't gotten one since Electric World", and I'm like, Oh man I'm so busy, what can I do? And so the first thing that popped into my head, I was like so what if I do a record of all, the biggest hit ballads of all time.

Yeah. And so they ran it by everyone at the company and they ran it by Virgin because Virgin distributes them and they all loved the idea.

What kind of tracks do you have on there?
I did "Caruso" by Andrea Bocelli, and it's a great version of it. I did "Hero" by Mariah Carey and it's rippin' guitar, it's not a little jazz record. It's not supermarket music or K-Mart music, or elevator music, is what I'm trying to say. It's actually very bold, screamin', singin' guitar. "Hero" sounds amazing I think. I think they all sound really good. I've got "Hero", and then I did Roberta Flack, "Killing Me Softly", and I did Bryan Adams, "Everything I Do, I Do it For You", I did Shania Twain, "From this Moment", I just did "Our Love Goes On (The Titanic Theme)", which is like ripping. And these were all very challenging songs to do, if you can imagine, because they've got amazing vocals on them, first of all; so I have to sort of simulate this vocal without sounding like elevator music, so you can't really just play the melody on the guitar. You have to dig into the melody, find the melody, and then you have to do your own thing to it. For the most part I'm really happy with the way everything has turned out. Now I only have one song left to do and I'm doing a Leon Russell song, "Your Song", but I'm doing a Ray Charles version of it.

Ray Charles, great stuff.
Yeah, Ray Charles does an amazing version of this with orchestration, so it's a really well orchestrated record and its actually just myself and Gary Siramelli and he is like this amazing programmer and he basically did all the strings, he did everything, the drums, the bass, everything, on the computer. And I could just not believe how good they sounded when I heard it back. What was the other song the Andrea Bocelli had that was a big single?

I don't recall the name.
It has an Italian title. I can't remember the name of the song, but I did that one as well.

Hey, I need some music for my...actually, I've got to congratulate you here in a minute, but I'm getting married in January, so I need some music and this sounds ideal.
Wow! Cool! This record will be out by then.

When's it due?
It's going to be done very shortly. They're going to stick it out pretty quick here. The going title I have for this record right now is called, Voice. It's basically, my guitar is the voice on all these songs. And then the other one that I'm just finishing right now too, is more of a techno fusion type record, and it's very cool. I've got Omar Akeem flying out here next week to put on drums, and this one is a bit more jammin', you know, there's like some jammin' guitar on this record. I don't really know what the title of this record is going to be yet. I'm thinking of calling it Playground.

What label is that for?
That's for Higher Octave as well. I had some time off here and I owe them three more records, so I figured I'd knock out a couple while I had some time off and that's what I've done.

Nice to have the talent around to do that.
Well, you know what, it was a lot of work. My playing is the least work out of everything, I mean I have to sit there and mess with it and end up being happy with it until I'm happy, I'm not going to let it slide. Igor Lynn did this record, so what I did, I found two of the greatest guys that do this sort of work where they build the tracks and everything, which takes a lot of time, and I hired them both at the same time and got them working on two separate projects. Then at the end, they're both getting done about the same time and I just come in and I play on everything. Then we move things around if things are not working. It's a great way to work man, I love Pro Tools.

Yeah, everyone raves about that program.
It's a really wonderful way of thinking and working. One of the records I made right downstairs at my house in a bedroom. It's amazing and it sounds huge.

You're getting married very shortly? Congratulations.
Yeah. I'm getting married this month (April) on the 28th.

Great stuff. Congratulations.
Thank you.

Where are you getting married?
In Minneapolis. I've got Prince's old band The Power Generation, most of the people from that are playing at it.

That's nice. A nice wedding band! <laughs>
Yeah, Michael Bland and his band.

Hey, can I hire you guys to play at mine?
I'd love to say yes, but I really don't want to start playing weddings <laughs>

I could never afford it.
You can use our records though.

You guys did play a wedding though last year didn't you? Whose was that?
Oh man, I can't even remember. I tried to forget about that, because I couldn't believe that I was doing it. It was for quite a bit of money and this guy was this big, you know...

I heard he had some money.
He had a lot of money. I mean he flew us down in Lear Jets and flew us back in Lear Jets, it was all pretty incredible.

I couldn't offer you that.
Actually, Rod Stewart played at it, we played at it, REO played at it, and I think one other guy...I can't remember his name...a guitar player/songwriter.

Have you got the support of Sony for this? Are you pretty happy with their support, do you think?
We're going to find out here. I think they've got a lot to work with and I hope they don't blow it.

Me too.
I know they won't blow it and I'm really not worried about it because I'll tell you what's going to happen. As soon as we hit the road, that's when it's going to start picking up, I really believe that. And "Behind the Music" has helped already.

Really? I heard it was a great show. People are saying it's one of the best ever.
It was a good show...I would've liked to have seen more of some of the other members of the band in it. I thought it was mostly the Steve Perry story. But I think that in the end, it was all a very positive thing for everyone, and the ratings of the show were very high. As soon as the show came out, our catalog just went nuts.

Really? That's great. Steve Perry's last words on the show left everyone shaking their head, what was up with that?
You know what, I have no idea what was up with that, and that's what everybody said on the show. I said it on the show, I said I don't know how you can not feel a part of something that you're completely controlling.

Tell me this. You guys were out on the road on the Raised On Radio tour and you were playing two Steve Perry solo tracks in your set. How is that not being a part of the band?
Yeah, I'd like to know that myself, I don't know.

How did you feel about playing "Strung Out" and "Oh Sherry" in the set?
You know what, to be quite honest about it, I did it because we had played one of my songs off of the record I did with Jan Hammer; we were playing "No More Lies". So I very well couldn't say, "No I don't want to play something from your solo record", because I had already done the same thing.

I didn't know that.
But I would've preferred to have just played Journey material.

This time around there are so many songs to choose from, are you just going with the hits and the best tracks off the new album?
Actually, no. We're digging back into a lot of our old material as well.
Before we went to Japan, we rehearsed for a couple of weeks, and we worked up all kinds of stuff. Sort of wiped the webs off everything and refreshed it and brought it up to date. We're digging back into the past and then we're digging into more of our obscure rock songs, and we're updating them. You know, when we played in Japan, we played a different set every night.

Yeah, I heard that. Rindell said that.
We're going to be doing that more in the States and we're even going to be mixing it up more so.

Great. What about playing outside the states? Have you go any plans at all at this point?
Well, you know what, we need to get offers. We definitely...we played Japan, we played Central America, and we had a blast doing both of those. We would love to come to Europe, we'd love to come to Australia, but we need to get offers from promoters.
Before we can do something like that, and preferably what I'd love to do...I mean I've been to Europe before and I've played the little theaters tour, and that would be all right to do that, there's nothing wrong with playing smaller places and that's not where I'm coming from, that I don't want to do that, but you end up losing your ass, money-wise, doing that. I'd prefer if there's some big festival, like rock festivals going on, where there's a lot of bands...I want to get in front of a lot of people. If we come over, I would love to get in front of a lot of people and just do an ass-kicking set, and not play a bunch of small venues.

What about a club/pub tour - something on a smaller scale?
The only thing, the only problem is, there's not much money in it, and it gets very expensive to load all the equipment, and road crew, it's just expensive bringing everybody like that when you're playing very small places and you're not big.
You end up losing a lot of money. Which, at this point, we really can't afford to do as a band.

What about doing a stripped down tour, just you guys and your guitars and jut picking up stuff there.
Well that's a possibility, you know, I've been talking with everyone about that, there's definitely...I don't need to bring all my stuff. I can rent gear and I can still get away with that, there's no big problem.. I think we can all do that. But we have to get an offer on the table so we can all look at it, so management can look at it and we can say yeah or nay.

You guys would love to play the UK, I guess? Have you got any firm plans, other than the US at this point?
No. Not really, we've got like about close to three months worth of dates I just saw yesterday in the US and that's it for right now. The tour is now is with John Waite, Peter Frampton, and us.

Tell me, you've just jumped into my next question, John Waite, what's happening there? Is he going to join the tour?

That's awesome I think.
Yeah, he's decided that he's in.

Too cool...
You know, I kind of started a rumor on our web site to see what kind of excitement it would generate from our fans. I'd have to say most of them were very excited about it. So a lot of them weren't crazy about my idea, I had an idea about John Waite opens the show, Peter Frampton plays, we play, and then John comes back on and plays with us at the end of the night and we play some Bad English songs, and our fans went, "No, I think that Journey should close the show, Waite should not close the show with you guys, but it would be great to see you guys play with him in his set, at the end of his set." So I went, that's a pretty cool idea.
So once again, using our web site and the Internet you can get it first hand from what your fans think you know.

It's a great medium isn't it.
I love it.

Yeah. I remember, I think I was the first one, I was talking to Jonathon, I was talking to Rindell, I was the first one to put online that Steve Perry was officially out, and I got absolutely abused and shit-canned for it.
Yeah, well that's a touchy subject. Ever since "Behind the Music" came out, I mean all kinds of people have different feelings about that show. All I can tell you is that it is just the topping of the ice burg, that show.

I mean, they didn't want to make a big controversial show even though it was sitting there. You know, they had interviewed Herbie Herbert, they had interviewed Irving Azoff, a lot of us, you know, were tied and gagged and were not able to talk because of contracts we had signed with each other. But I'd have to say that a lot of this stuff, they could easily do a Part 2, and a lot of it got left on the floor, a lot of the real stuff people want to know about.

Really? Was there more to the Steve departure than just his hip then?
Well, no, I'm not going to say that, I mean who knows what the real reason was, but there were a whole lot of logistics that were not gotten into, and pros and cons about a lot of things.

Yeah. But I think you guys have picked up and done the right thing, you know, you can't sit around so long and wait. I think you've got a wonderful singer working for you now.
Well, you know, that was one thing in the show that caused a lot of controversy, in one section it said we waited months for him. And I called up the producer and I said months? Are you kidding? We waited years. We waited ten years and then we got back together and then it was close to two years.
We asked for a commitment from him, we just said, "Do you want to do this or do you not want to do it, we'll wait for you if you do want to do it, if you'll commit to it", "No, I can't commit to it, and I can't commit to doing my operation", and so at one point Jon and I turned around to each other and just said, look, we could be sitting here forever, I mean, do you want to move on, or do you not? And I said, we've got nothing to lose at this point. We had already rebuilt this thing somewhat, and I want to continue doing it.

You guys auditioned, or thought about a couple of singers - you only auditioned a couple - one of which was a bigger name. I really couldn't see it working, but you must tell me, describe how it sounded, with Geoff Tate from Queensryche?
Yeah, he was a really great guy, a super nice guy, we got along really well.
We ended up writing a song, but it sounded nothing like Journey.
You know, and a lot of people are like, you know, I'm reading...I haven't posting anything on our site because there's so much heat and commotion going on there right now, and everybody's feelings about Perry being gone and the new singer Steve Augeri and how he's just a copy of Perry and blah, blah, blah.
Naturally, we had to get someone, because most of our music was based around Steve's vocals. It was not like Van Halen where everything was based around my guitar playing. It would've been much easier had it been like that, just to pick up somebody completely new that didn't sound anything like Perry.
But years ago when I heard Steve Augeri's voice when he was in Tall Stories, I said, this is when I was in Bad English years ago, and I heard him on the radio and I go, man if we ever wanted to put Journey back together, and Steve Perry didn't want to do it, I would call this guy, because I know we could make it sound like Journey.
It's nothing verbatim you're trying to copy everything this guy has done, but you need to have someone that has similarities to be able to pull off the old material.

Of course.
Because basically, that's what our fans want to hear, all the greatest hits, and then they want to hear everything up and above that. And how would you do it with someone that can't even sing that stuff? So that's the whole reasoning.
I mean people are like, some people are pissed off that we got someone that sounds like Steve, but I just know that there was no other way.

Yeah. I think if you go back and look over history, most bands that have had a successful replacement vocalist have done the same thing.
Plus, I know we made the right decision because this man is a great guy.

Yeah, I keep hearing that.
He's got his feet firmly planted in the mud, and he's a Brooklyn, New York guy. He comes off that way, you know I've never seen him act different, he's just a very cool guy, he's a very gracious guy, he's got the ultimate respect for Steve Perry, and our fans. He's trying to do as much justice as he can do to the older material.

Yeah, I heard a little bit of the live stuff, I'm looking forward to seeing the DVD come out, when's that due out?
No, not the DVD, but the live TV. There's a free TV thing that Irving has worked out, Irving Azoff has worked out where people that have dishes, satellite dishes, are going to get an hour free show of that, and it'll be running the whole month of April, I think.

Cool. And what about the DVD release?
We don't know when we're going to put it out. We're still talking with them, it's already finished, and it's very good, I actually haven't heard the 5.1 yet, but Kevin did.
My company Nocturn, my company with Herbie Herbert, is going to be going out with this this time, so we're going to be using the brand new screens we got in back of the band, so we'll be having cameramen on stage with us every night. There's a zillion different ways you can record the band every night with hard disk recorders that are out there, and I'm just saying, we've go the cameras, technology is here to be able to record the band every night. I said, "Lets record every night", you know what I mean? And then we're going to capture one of these shows is going to be pure magic. It always happens. But it never happens when you only set up one date to record. It always turns out to be good, but it's always not your best show. So how can you do it unless you record every show?

So you might do a live record down the track?
Well, who knows? If we go out and we end up recording every one of our shows, that would be easy to do. I could see us doing a double live record.

Yeah, please don't cut it to just 15 tracks, let's do a double.
Especially, we'll be switching setup every night, we'll have so much material that by the end of the tour we'll have covered, like, you know, 40 or 50 songs.

Describe to me with one word, or one sentence, your last live album, Greatest Hits Live.
I don't know. <laugh> That's my word, "I don't know".

I heard you weren't happy.
I wasn't happy with the choice of....everything that was picked, once again, I had no control over. Steve had picked the material and Kevin mixed it, and I thought the performances that were picked, were definitely not some of the better ones that I had heard that we had done.

Is it a little bit studio fixed?
No. It was not fixed at all.

Completely live?
Completely live.

Although some of it needed to be fixed. That's what I'm saying, I mean, it seemed like all of the tracks that were picked were tracks that I had out of tune guitars in, or Jonathan had glitches in the keyboard. Usually the band is right on, but you do have nights where people make mistakes and it seemed like all the tracks that were picked were guitar mistakes and keyboard mistakes and not sounding that great and, I don't know, I just did not care for the sound.
If you listen to Captured and then you listen to that, it's very weak.

Well hopefully, you'll get a chance to make it up. Let me ask you about a couple of songs quickly if I can. One of my favorite tracks, I don't think I've asked you this before, is a track called, "I Can't Stop the Fire".
Oh, with Eric Martin. Yeah, I wrote that years ago for that movie "Teachers".

You played on that though didn't you?

Because I've never read the credits on who played on it.
That's me on guitar. Actually, I wrote the song with Eric.

Yeah, I though so. And who else is in the band there?
I can't remember who played drums on that or bass. That's a very long time ago.

Did you record anything else, or just the one track?
No, I remember I did that track, I did "Just One Night", that was off of one of Eric's first records.

Of course, his first solo record, yeah.
I think that was it I'm not sure, there might have been one other track I can't remember.

So it wasn't like an album project or anything
No, we just got together and wrote a few tracks.

OK, because I'm a huge fan of Eric Martin, I must interview him soon here one of these days, but I thought he'd be a good person to do a project with.
Oh absolutely. We haven't actually been talking about that, but it's funny I run into him every once in a while and him and I definitely had some chemistry when we worked together. That would be interesting to toss around again, actually.

I actually think it's one of his best vocals he ever did.
Yeah, he can sing, man.

He's awesome. Another guy I know you're a bit of a friend of and I'm a big, big fan of and one day I'll get a chance to speak to is Sammy Hagar.
Yeah. Actually I just spoke to Sammy.

Oh did you really?
Yeah, and so I talked to him about...I'm going to be going over to his house in the next few weeks. I'm going to go over there and I think him and I are going to sit down and write a few songs.

Fantastic. You two guys have to make a record together.
Well I told him that, you know, the Piranha Blues release we did I said man, he goes, I'm talking to him and he's in Mexico and he said, "What's this record you stuck out Piranha Blues?", and I said, "Man, I played some of it for you" and he didn't seem to like much of it when I played if for him, it was in the rough stages, and he says, "Man, my cousin called me and he says this record just kicks ass", and I said, "Well, yeah, it does kick ass and I would've loved to have you singing on it". Richard Martin did a great job, but I would've loved to have Sammy Hagar, you know?

Yeah, cause you did the HSAS didn't you, that still sounds great today.
Yeah, I know, I love that record.

Oh God, it's so good. Did you get the re-mastered CD?
Yeah, I have the CD.

Oh it's fantastic.
We rehearsed for two weeks, wrote like 20 songs, in two weeks, rehearsed for two weeks, and then went and recorded live, and then we went back into the studio and I added a lot of overdubs on some songs, but basically all the end tracks were live, like all the lead guitar solos, and the bass and drums and vocals.
And then I just enhanced it on some tracks, I put more rhythm guitars, whatever.

I was in San Francisco in '92 and saw Hardline with Mr. Big. That must've been like a San Francisco rock reunion or something, because you had Eric Martin there, but you brought Sammy Hagar out to do "Top of the Rock" at the end of the Hardline set.
Yeah. Then you heard some real lungs <laughs>. That guy has got some serious lungs, I'm mean full out volume. Him and Jimmy Barnes, man.

Oh Barnes, yeah.
Him and Jimmy Barnes, have got sirens.

Did you know, it's an absolute fact, to this day - they still regard Freight Train Heart across the world, and definitely here in Australia, as his best record.

Absolutely, without a doubt. He's singing some absolutely appalling shit these days.

Oh yeah, he's doing these cover records and these horrible soul blues records, even his rock albums don't really hit the spot, he needs good song writers with him. Working Class Man and Freight Train Heart were just wonderful records.
Well that's the only time period that I paid much attention to him because you don't hear much of him in the States.

I should send you what he does these days, I mean he's still a great vocalist, but, you know. You guys were going to do a band thing with him permanently weren't you?
With Jimmy?

I don't know, I don't recall talking about a band. I mean, I had played a few shows with him and played on the record, that's about it.

Yeah, OK. You didn't think of a more permanent thing to do with him in the States?
Well at the time I was still in Journey, I mean, we still had some stuff going on and I wasn't about to leave that, and really I had not gotten an offer from him to play in a band permanently. He had another guitar player, Johnny Diesel, and he was a great guitar player.

Yeah, he still is, he's good. I'm sorry I diverse on the subject a bit...Sammy Hagar, what are you going to write with him for, just anything?
Who knows until we get together, it's been a while since him and I sat down and tried to write anything so who knows what it's going to turn out to be, it's going to be very interesting.

Fantastic. I'd love to see you guys do a record.
I'd like to write him a really classic heavy ballad, like a heavy power ballad, something that's just classic though. You know, it's easy to write rock with Sammy, you know, it's so easy for me to write rock and roll with the guy.

Yeah. I like his softer stuff actually, so that'd be good if you could. I like it when Sammy slows down. Have you heard any of the craziness of what Van Halen are up to?
I haven't heard anything and I have no idea. I'm just like whatever man, I can't tell what's up.

Do you think Journey could get away with going 18 months without even a press release?
Well we went along for 10 years without a press release!!
We never broke up and we never had a press release. Steve just didn't want to work and we were on a hiatus. Hiatus for ten years you know.

That is a shocker isn't it?!!
OK, tell me, to wrap up Neal, I sent you that cover CDR of bands doing Journey songs.

Oh you sent me that tape, right.

What do you think of bands going out and doing Journey stuff. What do you think of the material?
I was not that impressed to tell you the truth. I thought "Edge of the Blade" was interesting....

Actually I thought that was probably one of the better ones.
Well I thought it was one of the better ones of all of them but there were really some not so good ones.

Yeah, I know, there were a couple of shockers.
But it's flattering that somebody even wants to do your material.

I thought the last track, "Separate Ways" wasn't great. (James LaBrie version on the Rock Superstars Vol. 3 CD)
It was not that great.

I think probably the best track on there was actually the acoustic, "Send Her My Love".
Yeah, I recall that.

But I did like "Edge of the Blade" (Jorn Lande), I thought that was pretty good and I thought "Stone in Love" (House Of Shakira) was pretty good too. Do you get a laugh out of bands doing that?
Well I wasn't laughing, no...well actually I was laughing a little bit inside, it was funny to hear someone else doing your stuff. I've never actually heard a Journey cover band. I know there's a lot of different cover bands in different parts of the States that do Journey material, one in Chicago, and one in...I can't remember, there's a band called Escape that does our stuff, I don't know if they're Cleveland or Chicago, or something like that. There was one in LA a while ago, and I've never heard any of them, so I don't know, you know, so it was strange to see or hear anybody doing our material.

One last question to wrap up. I'm actually doing a second web site to run in conjunction with my current one. It's going to be based on classics, all of the old stuff that people have missed, because that's what I get asked all the time, you know.
Oh, I think that's a great idea. Records that sort of went by the wayside.

Yeah, exactly. The most common question I get asked is, "I love all this stuff that you've got on your site, I've just come back into the fold after 10 years in the wilderness because of MTV and all that. What have I missed in the mean time?" So this is what the site is going to concentrate on.
One of the things I'm going ask different artists is "What do you consider the best rock albums out there"? Have you got favorite records that you really admire?

Yeah, absolutely. They're all really old records. Any one of the three Jimi Hendrix records, the first three. I love all of Led Zeppelin's stuff, but I really like the first record. I love all of Jeff Beck's stuff, but I really love that first record Truth. For rock records with vocalists, I think that him and Stewart were really great in that time era. And I love the first Small Faces record with Rod Stewart.
I thought that was a great party band. There's so much good stuff man, but I loved all the Cream stuff. I particularly loved Wheels of Fire, because that was the record that really sort of took me and stuck me in the improvisation world of guitar. Listening to that record I sort of figured out how I could move around on the guitar. And then you know, that's just rock, but I have my favorite Blues records and Jazz records and all different genres.

What do you think of Mr. Santana making a good comeback in the last year or so?
I'm really happy for him. I'm especially happy for him that he's a guitar player <laughs> and, you know, that I play with him and I'm glad to see someone that's a bit older than me that had a big comeback like that. It's exciting, you think to yourself, "Well, the same thing could happen to anyone, you know."
You come with the right record at the right time.

It could even happen to Journey.
Absolutely, I definitely think we're a contender.

Lets hope it starts with Arrival!
Lets hope man I'm keeping my fingers crossed. We're going to give it our all. We're going to pull out all the stops and we're going to give it our all.

Fantastic, fantastic. Well, I think you and John Waite on tour together is the most marvelous idea, I hope that comes off.
Well it's funny, you know, John and I had talked about a while ago, and I was saying to Jon, "We couldn't find anybody that we liked that was available to go out with us."

I thought Jonathan wanted to beat John Waite up.
No, no. I mean the past is the past. I heard that Waite thought that we both hated him. You know, maybe at the time when the band broke up we were not fond of each other.

Things just got frustrating?
Yeah, things got very frustrating and twisted up, but I mean so many years have gone by, I don't hold grudges against anyone. I don't hold grudges against Perry, I don't hold grudges against anyone. It's just, time moves on, people change and this is what you have to go with.

Actually, I've got one last question. Everything's going so well with you now, the record is fantastic, it's one of my favorites, I think it's better that Trial By Fire, etc. Steve Perry comes back to you now and says, "I'm ready to come back to the band. I'd like to." What do you say to him?
I think that we've got a solid band right now and there's no going back. Like he said in the interview on TV, he said, you know, when Jon called him and talked to him and said, "Well we'd like to move on", and Steve said to him, "Well there's no coming back", and Jon said, "We realize that."

I think that's the right thing to do, have some consistency. Lets hope there's many more Augeri fronted records to come.
You know what man? This is our first record in a lot of sense to me, it's almost like, I'm looking at it like we don't have any other records out there. Sure, we're playing the greatest hits and we're able to pull that off with Augeri, but really it's our first record, and so I think we're going to acquire a lot of new fans as well as take some old fans with us. We'll lose some of our old fans which is natural when you change the front man. But I think all and all, all we have to do is stick with it and keep pumping out great music and we're going to be fine.

I agree. Fantastic. OK Neal.
All right Andrew.

I think that's about it. I think I've covered everything.
That should hold us over for a while.

Absolutely. Great stuff. OK well we'll talk via e-mail.

Thanks for you time man
You're welcome.

Thanks buddy, I appreciate it.
Yeah, thank you. G'Day now!

Thanks Neal. Bye, bye.













Journey - Jonathan Cain (2001)





Thank you for the call, I've been looking forward to talking to you for a while. How are things?
Things are good.

Excellent. You must be in a pretty buoyant mood, two weeks out from the Arrival release.
It feels a little anticlimactic with the Napster thing, you know, it kind of took a little of the shine off of it, but I think all in all, our fans are ready for it, and it's just nice to be surfacing with a new album and some new energy out there.

It's been about a 6 month drawn out process now hasn't it? How have you found that? It's pretty odd isn't it?
Well, I think you have to have some sort of launch today, and when you've been gone as long as we've been gone, and obviously we've made some changes, you have to be careful not to just drop it out in a crowd.
I think when our schedule release in October... it looked awfully crowded and it didn't look like the record company was ready, nor I think, did we have the kind of tour we wanted either. I think we have a summer crowd, you know, truly I think our fans like to go to concerts in the summer. So we're just catering to what our core audience seems to lean towards today, to be user friendly, you know.
They've really stuck with us through thick and thin, and it's a shame that a lot of them knew about the album, or were waiting for it. If you really wanted it you'd get it from Japan and so many people did, which was great. And so that's why we decided to come out with some new art work and put a couple of new songs on it. We actually paid for it out of our own pocket.

Did you really?

This is what, to keep it from the label or to keep hands on control over the songs?
It was sort of to give our fans something extra for waiting. You know, we've got a lot of respect for people that've stayed with us. I think that's the main thing, you know?

OK. Well the feedback I've heard is absolutely phenomenal.

It's almost universally in high praise, not only just acceptance but in high praise.
That's good. We felt like we were going in with a lot of stuff. I mean, Neal really got amped up there right in the 11th hour and really got inspired. It was pretty cool, he really got into it. I'm actually very proud of what he did as a writer; I think he's really stepped up a few notches as a songwriter on this album. I think he was great before, but I think he really came through with some great stuff.

Absolutely. There were a few preview tapes being handed out there by Sony in Europe wasn't there, which I created a bit of a fuss in the beginning there, as you know.

I hope I've been forgiven for that!
Yeah, what are you going to do, everybody makes mistakes!

Yeah, but the record, unfortunately, these preview tapes and the quality thereof and also the tracks that were missing don't actually give the depth to the album they deserve...
It's unfortunate that we have people like that, they get one track and that's it, you know, but there's so much music, that they don't really go any farther than that. It's really funny, you know, they haven't even listened to the album. So what are you going to do. If they have that kind of mentality, it's very difficult...and I think in the end they were just being cautious, but it's a little bit nervous. Probably the new singer and whatnot, so they were probably holding their cards close to their chest.

Tell me how the label in the US have been towards Steve and the recording.
Well, they've been very good, I have to say.
The label has been very generous. This latest commitment to the Direct TV special was really awesome. They came through with some big dough to tape the show in Vegas, you know, and that was really a sign for me that they're totally into this and they're in for the long term.
And when you look at any big corporation, you have to look at, what have they done for you lately, and lately they've done a lot. I have to say that I feel the love. <laugh>
I think we all do, we feel very grateful to be sitting on a Direct TV month long concert.
It came out great.

I hope somebody can do a VHS copy for me over there because I look forward to hearing that.
It's awesome, it really is.

And that's going to be the same print for the DVD isn't it?
Well the DVD is much longer. We have two hours, the DVD is two hours long, and this is only 87 minutes so we had to cut it short.

Do you have a DVD planned release date?
Not yet. I think we're still playing with it. We're going to wait and see. Who knows, Sony may just bomb it out there.

Just this week, or the last couple of days, you've come out with a great list of concert dates.

That's a pretty long tour for a 30 year old band or 20 year old band.
Yeah, but you know, we're up for it. It's worth it when you go out there and you're promoting your new album even though many people are rooted in the old stuff, this tour is going to be good because we're going to mix it up quite a bit and probably play a different set every night. We have so much to play, that we just decided that ala Springsteen, you know, we turned it around.
We did that in Japan, we had 7 shows and 7 different sets.

That makes it really interesting for the people who come the other nights.
We have a lot of return visitors I've noticed in the crowd.

You notice familiar faces out there?
Oh yeah. A lot of them will travel to six shows maybe over the summer, or five shows, as many as that. And certainly it's worth giving we're down to 90 minutes because of Peter Frampton and John Waite so it's not going to be a 2 hour show. It'll be more brief, you know, so it's more important to spread it around a little bit.

Tell me, how did John Waite get on the bill? I'm so impressed, I'm a huge fan of John.
He's a friend of ours from way back and we just thought it made sense in a rock and roll history sort of way, and he's available. We knew he was out there traveling…we hadn't spoken to John in years, and we were kicking it around. Supposedly the Baby's re-issue that's coming out on One Way really got everybody kind of thinking about, Hey what about…and of course Bad English, and just the connection with our band. I think in a way we've come full circle, we really have. Journey has evolved back into a touring band and a rock band.
After the Central America, then it was just like, wow, people are very excited for the music. There was really an amazing welcome there. They were so excited, and it's good to have people interested. They were great, and it just made sense that if John was willing to come, we could have fun with it.
But certainly it's not one of the best slots to open up with the sun in your eyes and all that, but he's going to be a trooper, he's going to go out there and give it his all, and, you know, he's a very professional guy. When he gets onstage he's pretty awesome.

You guys have had a slight history of animosity; it's good to see that that's sort of disappeared.
Oh I've never really ever had animosity towards John. Nothing but respect, you know. Maybe that's been played up a lot, but John had to do what he had to do. We all got to do what we've got to do. In the face of a fight, whatever it is, whatever it is John was wrestling, during that time in his life, you just have to look at that as, that was then. But it doesn't erase what you do together.
What he and I have done together with the music we've made over the years, we both cherish. And I don't think he'll tell you any different. When you look at what the two of us accomplished in our brief encounter, we always came up with a winner, and we've always had some sort of radio action and critics response to what we did. He was going through a real chemical kind of time in his life where his brain was all wound up with whatever, that's just what you expect from those creative people, that's out of control, there's no breaks, just like his album.
He is kind of a no brakes guy, you know.

I have interviewed him and talked at some length and, yeah, he's a wonderful character. I really do enjoy talking to him.
Yeah, well, he's right out of David Copperfield.

Absolutely. I was going to say before, you said, "Coming full circle", that sounds like a good name for a song....
Actually I did one on my solo album.

That's what I was referring to!
You guys, you and John Waite, write some incredible tunes together. A lot of those, to this day, still remain unreleased. Do you think there's a chance they could see the light of day on a compilation or something?

I don't know. He was so weird about that. We have an album full of stuff we've written, and I know the bootlegs have gotten around. It's funny, I thought at least a couple of them would turn up, and that's why I did "Wish I Was There With You" because I thought, hey this is too good, you know.
And I can think off of the top of my head at least three other songs that are worthy of…but, I don't know, I think he's pretty fussy and picky about what he does these days. He figures, hey, that's then and this is now. It's all disposable, you know, to him. So unless he wants to put demos out, but he's too much of a perfectionist I think. Most singers are, especially great singers. He's just very much a perfectionist and I don't think he would want that so enjoy the demos while you've got them.

I have got some of them, but I'll tell you what, they're in pretty shoddy condition. They're like 27th hand copy generation or something.
I know. I've got it, but he'd probably kill me. I still have the DAT copies of a lot of the stuff we did. I wish I had more of the multi-tracks, because now with Pro-Tools we can do anything. They're all gone.
We didn't do anything on multi-track. We had a lot of those weird machines. They were kind of like a KY, 12 tracks or something, we did most of our demos on. Did you hear the Dr. Pepper commercial, The Baby's cut?

<Laughs> No.
It was a good one. We pulled that one out of the archives. It was the last thing we recorded as a band.

What a swan song.
Yeah right, but we had to pay the rent. That's how desperate we were. We just did it, you know, so we could get through the summer.

Wow. You know what. I was listening to a Westwood One, you know, they do their live recordings. It was a Westwood One box set from a Sammy Hagar concert, and the first major corporate commercial for the whole box set was a Coke commercial, and I said, "I swear I know that voice", and it was actually John Waite.
There you go.

Paying the rent.
He did the rent.

Exactly. Jon, are you going to do…back to the live sort of thing…are you going to, you know, there's talk of doing maybe some Babys or a Bad English sort of mini set or some songs.
The problem is time. Time is like an issue there because we have the fans there for a long time. I think a song or two would be nice. I imagine we could do a mystery song a night. We could work some up at sound check and then let it rip. I think that's what we'll probably end up doing. I don't know how exactly that's going to work out, but certainly we have to take advantage of that.

I remember John saying once, he thought you were such a tight band, that you were such a great live outfit, that he really regretted not recording a live album. Do you think anything like that might ever happen?
Which with what, The Baby's?

No, Bad English.
With Bad English? Oh man, I don't know, you know, the Bad English thing, it just kind of, you know, it was the end of that mainstream rock, you know.
It was a shame that we never did anything live; I mean, we should've; we could've, certainly, and I had some tapes that were pretty special, you know, that we had done at the Wharfield. I mean, if we had taken a truck into Wharfield and recorded, it would've been good, but there wasn't a lot of money. We spent a lot of money on the videos, there wasn't any, you know...we spent so much making those silly videos that there wasn't any cash to do that. So unless there was a reunion kind of thing where we go do a bunch of clubs, and Baby's and Bad English, in the same breath, you know.

That would be awesome.
Which could actually be fun, but it would have to be just for fun and somebody would have to be willing to promote it, and book it, all of that. It's just so expensive to tour, you know.

It is, absolutely.
I don't think it would sell any tickets.

Oh, come on!
No, I swear. Small theaters is a possibility, but then you have to have somebody to open up, and you gotta make people come. It's pretty tough, we've all got our own careers now and that would have to be something that a promoter would have to come to us with and say, "Hey, I really want to do this, what do you think."
I know a few crazy promoters that would probably go for it, but I'm gone so much with the Journey thing, which comes first; we've got to get the good time in while we can.

That's absolutely the priority, yep. I had a lot of response to a lot of things, one is the very positive response to The Baby's reissue. You must be glad to see that on CD in stores finally?
Yeah. It was great, it needed to happen. Is it out yet?

Yeah. Absolutely.
It's for sale?

How are they selling it?

The Baby's?

There's three albums on...
On the internet?

Yeah, I think it's actually through a's in stores and everything.
Yeah, I thought it came out good, I did. I think they did a great job. I'm actually working on putting my album out with them too, a compilation of the best of the different releases that I have, so we're going to try and do that too.

Great. Now what releases would that take in? The Piano With a View and Body Language?
No, that would just basically be...because those are still out on Higher Octave.

That's what I thought.
Intersound went out and then the Swedish thing had some different songs so I did get to put an 18 song compilation together and we're working on trying to get a Jonathan Cain best of on the shelves that way.

Great. Any unreleased stuff on that maybe?
Yeah, I do. We're going to try to do a bonus CD so there's an extra five songs that are sort of polished demos that I've done.

Wow. Fantastic.
It should've been together by now, but it's taking forever, so I don't know if it is going to happen before these or not, but I got to talking with them and it seemed like a good thing to do with it since I don't have a label anymore.

That's led me into two separate questions, but I'll jump back one just quickly. The Baby's, there was apparently a few bonus tracks that could've been included, but someone or whoever, maybe yourself maybe someone else changed not to go with that.
Yeah. They weren't going to give us any money for them.

Oh, OK so you felt...
Yeah. About money.

That's all right.
Yeah, I had one song...I don't know if "Stick to Your Guns" made it or not, did it or not?

I'm not sure. I think it was a straight reissue of the exact album.
Yeah, that was it, it was over money I think. I have one with the extra tracks, you know. But the studio sessions one, no, there isn't any. Yeah, bonus tracks, "Stick to Your Guns" and the Dr. Pepper commercial, but see, this is a special thing they did just for us, so you guys don't have that.

No. We need to get that.
<laugh> Too bad.

Well, I mean that would be giving away a free track.

Yeah, for sure. They should give you a small royalty.
Well, they would have. If we would've put it out, you know, but...

Nothing up front eh?
I don't know, it was just one song and I wrote it anyway so... and I own the publishing, so I don't know what they're going on about. It was me singing actually.

Yeah, it was me. I did the lead vocal. I actually pulled it off the Union Jacks album in the final hour because it was one of those sort of dark songs that didn't quite fit with the feeling of Union Jack so it just seemed like a good thing to take it off, because it stuck out, it wasn't flowing well so it probably would still stick out, you know? "Hey, what's that?" Who knows, I may put it on my Best Of, you know?

Yeah, do it. Do it. Go on. Absolutely.
Put it on the Best Of Jonathan Cain and so people get to hear it.

Yeah. Throw it on there.
Well it's a terrific track by the band, they played great. It sounds a lot like Robin Trower actually. It's got that same smoky thing, and Wally played his Blues and Tony and Ricky played awesome. It's very, very sort of almost Bad Company I sent the song actually to Lynyrd Skynyrd just recently for consideration on their new record so maybe it'll turn up.

Good for you.
It's called "Stick To Your Guns".

Yeah, you know, twenty years later. Twenty-one years later.

Can you believe that? Twenty years.
Yeah, I'm an oldie but goody now.

Yeah, well I just turned 30 and everyone's calling me old, so. It's an amazing career isn't it?
Yeah. It's been great. There's really so much to be thankful for, you know, with the songs and the fans but I've been very lucky and fortunate over the years.

If I dare say so, it's a tribute to your songwriting.

Well, it's what I love the most to do. It's great to be able to look back on it all and say "Wow", I mean it really started with John, you know, so he and I really...I joined the band and I was in awe of what he could do and he's really in my mind one of the guys that were important for opening the door, because he showed me integrity, he showed me style, and certainly in a rock and roll sense. And also how to live, and how to act, how to behave. How to be silly, you know? You need to learn the game, to learn the ropes from somebody, and he was kind of like the guy who showed me all the tricks.

That's awesome. Tell me, you were talking about bootlegs earlier and I don't even have a bad copy of it, but I'm absolutely losing sleep over it, because I hear there's an album of demos, or at least a selection of 10, 12, 15 or whatever, that you did with one of my favorite singers in the world, Eric Martin.

What was that for?
That was for publishing, our catalog. Eric was actually singing songs for my publishing company, Warner Chapel. And he was such a great singer that I'd pay him to sing these songs, and yeah, he did some beautiful demos for me. It's funny that you say that there's a bootleg of what he's done, because, yeah, he did great stuff and I have quite a bit of it.

I don't even know any one who's got a copy of it; I just heard the two of you had done something, and I thought, "Oh my God, this just sounds perfect."
It was good. Some of the songs were kind of silly, but a lot of them are legitimate pop songs. There wasn't a lot of rock on them, they were pretty much pop ditties, but some great ballads that he sang for me. I think they could still be hits, you know, but they're just sitting there in the Warner Chapel catalog getting old and dusty.

Shame on them, shame on them.
Yeah, right. And we never got any of them covered which was crazy; I think Eric sang them too good.

Yeah, isn't he an absolute gem of a singer.
Yeah, wait till you hear this stuff, it's like, "Ooh, now who would sing this."

Yeah, one day I'll get to hear it.
E-mail me your address and I'll see if I can get some archives for you.

Well if you dig Eric you'd like some of this stuff cause I think there's like 5 songs, I don't even know if there's that many, I'd have to look. I just found an old copy of Allies, my original version, you know, and it's so funny because I did it on my little 4-track so it's all hissy and stuff but I must've scared somebody because I wrote it for the Frontiers album, and it never saw the light of day.
Steve Perry just refused to let me have a shot at it. We tried to do it as a duet, and it just wasn't his song, and it just sort of went down the wayside.
I'm glad that Heart got a hold of it and recorded it, but a lady just asked me for a copy of it so I went digging for it and actually found it so I'm going to have to see if I can de-hiss it and send it to her. It's funny, the sound of my voice and everything is very, very, intent, I can tell I was really on ten, you know.

I like the sound of your voice.
I did one song for the Journey album that didn't make the light of day either.

Oh did you really?
Yeah, it's really good, but it's not Journey. I wrote it with Eric Bazilian.

Oh God, I love Eric Bazilian; I can't believe that because you wrote "To Be Alive Again" with Eric didn't you?
Yeah, this is the other song from that session and that's one of the songs I'm going to try to include on my Best Of, you know. It's brilliant; it's really a cool tune.
I thought I could maybe get me a deal somewhere but wishful thinking.

I think you're both genius songwriters; I think Eric's brilliant.
Yeah, this is definitely Eric; the song is very sort of Celtic, you know. It's funny because when I got with him I just kind of got that vibe from him so I came in with the song the next day after we wrote "Alive Again" and we went to town on it, and it was some of the most fun I've had in a while, you know. We just got out there and I brought back this real funky piece. I've just done a baby band too I'm very excited about Nicole Murphy Lady Day here at the studio I just produced them, I'm trying to get them a deal now...that's exciting, some young blood.

So you take a producer helm them?
Well, I just did it here at the house. I liked their demo so I had them come up and I gave them a little more of a manly sound.

Great. Just to sidetrack quickly, I've got Eric Bazilian's solo album here.
It's brilliant isn't it.

Some great stuff isn't it. There's some killer stuff on that record. He's worked very hard on it...I have a copy of it. It's a shame, you know, it's not getting any publicity.

Yeah, it's disappeared.
It's hard.

It is hard. I was going to say I'll send you a copy if you haven't got one.
No, I do have one, yeah. It's excellent, really, really good.

Fantastic. Another one of your solo works...I don't know anything about it, but I've got a CD-R of it here is Taine Cain.

That sounds old, if you don't mind me saying so.
Tiny Cain?

Tanne , T-A-I-N-E
Yeah, that was my ex-wife's that was old, that was 1979.

It sounds late 70's. Sorry to bring up you ex-wife there. <laughs>
I did that before I joined Journey. Actually right at the end of The Baby's I was making that record with Keith Olsen.

Oh, great producer.
Yeah, I made the record with Keith. There's some good songs on there.

It's a very sort of fairly pop rock album.
Yeah. She ended up getting a lot of action in Europe on that. She did very well in South America. She went over to France; they loved her over there. But she's a B-Movie queen now, you know?

Is she? <Laugh>
She's in all those soft porn movies. I've been gone from that for like 18 years or something. I've distanced myself from that.

We'll move right along from that one then.
Yeah <laughs>

Tell me then...favorite tracks off of Arrival?
I think "Higher Place" is awesome. Great performance from the band, great song from Neal and Jack. Even though I didn't write it, I gotta love it. And then I love "Signs of Life".

I love "Signs of Life"
Thanks. "Loved By You"

It's a killer song.

A great Blues track.
Yeah. I like, of course, "Alive Again" is awesome, you know. And then, "Kiss Me Softly"; I didn't write that one, but really like it.

Great piano. You're playing in a higher octave sound there aren't you?
Yeah right, we went a little into that Sade kind of thing.

That great soft piano, it's beautiful.
"We Will Meet Again" is a cool track and nothing comes close... well you haven't heard the new song, but "Nothin' Comes Close (To Your Kiss)"; it's a pretty slammin' rock track.

You haven't heard it yet.

No, I can't wait. I'm going to have to wait for that one.
Yeah, it's one of the new ones. I just threw that one in there.

What did you think of "World Gone Wild", how did that one turn out?
It came out very good. It's one of those songs that just kicks butt. The ladies don't seem to get it but guys seem to. I know a record company guy that didn't like it, but it's all right, they get over it <laughs>, "The lads want it on."

Too bad.
Well we play it live and people just kind of motors. It's one of those powerful...I think lyrically I really dig it. I think the lyrics and. actually it was an old lyric that we had had from some other...some other guy had the title and John and I were trying to write the darn song. We made a demo of it and nothing ever happened with it so I said, you know what, this will work. A good title. I keep titles, you know, in my notebook.

What about the new cover. Is that to distinguish it from the Japanese?
Yeah, it's very different. It's very sort of black and manly, you know. I don't think we have a black album, and we just thought that it is a departure from what we've done. Well actually there was...Departure had a little black in it I think, but this is very kind of statement like, you know, with our logo in the center. You can spot it from a mile away because it just stands out. You'll hear a Journey fan he'll go, "Hey, I don't have that." We tried to get visual with it. The other cover was a bit soft, the Japanese cover. We thought, maybe it'd get lost. You know, CD's are so small.

Yeah, aren't they.
And that's all you've got. You need something to stand out and jump out.

For sure. Tell me, I heard a rumor, or somebody e-mailed me a question, is there a different version for Best Buy stores?
Very good question.

I just heard...somebody E-mailed me and said there may be a different version with one extra track from Best Buy.
They might've done that. They might've put the Japanese song on. I don't know that to be true.

OK. I'll check that with Rindell.
Yeah, I know there's 15 on the new one, so that would be 16 if there was an extra track.

Steve Augeri. I talked to him last week. An absolute gem.
Yeah, a wonderful guy.

Could you have picked a better singer?
Yeah, I think he's the guy. One of the reasons why we're still moving, you know. I mean I don't think we would've been as successful on moving this thing forward if we hadn't met Steve. He was another guy who opened up the door for Neal and I. We were just like chomping at the bit and enter Steve, you know.

I remember talking to you at the time when you were sort of getting real shitty with Steve Perry just sitting around and waiting.
Yeah. It was a long time. It seemed a lot longer than 14 months, but that's a long time when you're waiting especially when you're going to tour and you had a platinum album. Fourteen months is a lot of sitting around when you had a big tour on the board.

Absolutely. I think Augeri is an absolute legend.
He's the guy that goes to the next plane, he's an ambassador that represents the legacy of what Journey's about. He's a great guy to have at the helm, you know. He's got the moxy. He's tough, and he's humble, and he's talented.
And he's funny too. He's always joking and doing his Marx brothers thing. He's just one of those guys that are very passionate and dedicated to his craft.

Was the studio atmosphere and was the whole thing much better for recording wise?
Yeah. We had a lot of fun. It was easy. And Kevin Shirley made it easy because he's a fun guy and we tried to keep it in a club house atmosphere.

I think the production on this is second to almost none as far as previous studio ones.
Yeah I think so too. I'm very happy with it once again. Kevin is quite a master at that. He was the link from the past.

Tell me. Have you spoken or heard from Steve Perry at all?
Have not. I'm not sure what we'd say to each other at this point, you know. He kind of said it on VH-1 on Behind the Music.

Yeah tell me about it.
I know he wishes we weren't doing this but we're doing it's against what he really wants to happen but he's classy enough not to stand in our way. I have to give him that. He's very classy to stand back and let us move forward and not be pulling lawsuits and what not.
It could be much worse so we have to look at it from the good side of what he's allowing us to do in carrying on.

Yeah, you're not heading into a Styx or a Survivor type thing.
No. It's not like Creedence Clearwater where John Fogerty is suing for the 12th time. You'd think he'd just leave them alone, they're just making a living, you know, singing his songs. Selling records for him. So, yeah, but Steve got us there, the resolve on that was, it was all done business-like and very, leaving member with a lot of respect kind of situation.

That's good.
Yeah, we treat each other pretty good, and maybe some day we will talk, you know.

Do you think, if he walked back and said, "I'm ready to sing for the band and tour" and that stuff...
I don't even want to touch that. <laugh> No way. Can't go there. At this stage of the game, we're moving forward and I think Steve's moving forward with his life.
I don't even think he'd consider something like that.

I appreciate your answer there. I said the same thing to Neal, and he just kind of cracked up and said, "Get out of here".
Yeah, we ain't going there. It's true he's very, very proud and responsible for what he's about, so there's just no way he would even consider it.
Like I said, he and I when we talked, it was just like, you know, "OK well then carry on and don't expect anything to ever return the way it was," and there was no going back, just like I said in the interview on VH-1.
We wish him the best and if he gets out there again, then we wish the best for him, because he's also a big part of this thing. All those contributions are mightily regarded here at our camp. So we're not in the business of undoing anything that he's done and certainly we hold his contributions in the highest esteem if anything. We went to Central America and were playing "Lights" and they were all singing it, you know. We were carrying on his tradition and his contributions and his passion for what people love about Journey.
If anything, we keep his spirit alive in our own way.

Great stuff. Anything you want to add Jonathan to the fans.
Oh boy. I just want to thank them all for being so passionate and loyal in an age where loyalty seems to be crumbling. We seem to have some awfully staunch and dedicated fans and I think there's no greater rock and roll fan than a Journey fan, and honestly, I think they're right up there with Metallica fans.
They're die-hard and we owe a lot to them and to their interest and passion, and we thank them. That's why we do what we do, and why we're continuing to do it. The fans are certainly a big part of it and make it bearable and fun enough to be gone from your family for months on end. They're the fun part and they should know that that's how we feel about it. I know both Neal and I and the rest of the band can say that they make it really, really worth it every night. That's what we look forward to is getting to play that stuff and sort of coming together in maybe a spiritual way and having that celebration of music that we share in common.

Fantastic. Fantastic. Well I wish you the best of luck.
Thanks Andrew, yeah.

I'm sure you will, you're all seasoned pros.
Yeah, send me that E-mail and I'll see if I can dig up some old junk for you.

I would absolutely, totally…junk.
It's going to be all hissy and stinky, but you'll have it for posterity.

Fantastic. G'Day now. I appreciate your time, and it's great talking to you again.
OK Andrew. Carry on!

Thank you.
We appreciate what you're doing for our side of the business.

Most of the time <laughs> when I'm not causing shit storms or anything.
Well, yeah. Be a good boy now.

I will.
Keep me out of trouble, OK?

I will.
Otherwise, management will call me and go, "Do you know what you said." <laughs> No, I think I was pretty succinct in wrapping it up and certainly, yeah so… you've got to stir it up once in a while.

Hey, did you see Behind the Music, the VH-1 thing?

No. We do have it here in Australia, but I have no idea how many months we are behind. I'm going to try to get someone, even Rindell said he might try and do a VHS for me.
Yeah, Rindell should send you one. You should see it, it's something.

I'd love to see it.
It's definitely something.

Especially that last three minutes. <laughs>
Oh, you heard about it?

Yeah, I heard about that.
Yeah, I was like…I think my mouth dropped. I wish somebody had a picture of me when I was watching. I was like, "What?" But see, I was the first one. They hit me with that and I didn't say anything to anybody.

I walked out of there and I think Ross was next and of course I had not said two words to anybody about what they spoke to me about because they wanted everybody to just be off the cuff, right?

Surprise, yeah.
Yeah. OK. Well take care then.

Thanks Jon, I appreciate your time.
All right. Bye, bye now.

G'Day now. Bye, bye.









Journey - Steve Augeri (2001)




I can not tell you how long I've been bugging Rindell to set this up for me, and hoping that it would come together. Because I am a huge fan of your work, let me say.
I'm flattered, I truly am. I've read your reviews and the kind words that you've said about me. I'm thankful, I truly am.

You have some big shoes to fill. I think you've done it with ease.
For me, although I've been at this for nearly three years now, it still seems, for this first record, I still feel like we got a ways to go as far as finding the right niche. But I think we're on the right track. I think every time we play together whether it's rehearsal, recording or shows, we still get a little closer to our final destination. And I think as time goes by, I think by the next record, I think we're going to get it. If you like it this time out, I hope to think you'll really like it next time, cause I think it will be that much more where it should be.
We did a lot of experimenting through the past three years. We were fearless. We tried a lot of different styles, a lot of different directions and we figured hey, you know, we've got time. Let's break down the barriers, let's not be this or that, let's try it all. After Kevin picked his songs, it became Arrival.
But before Arrival, we were all over the place. That was a lot of fun. We learned a lot about each other, we learned a lot about each other's musical influences and backgrounds, we dabbled in a little of this and a little of that. It was a lot of fun.
I'll tell you, it was a great deal of fun.

I've got some questions regarding the songs. What I think is very cool, and somewhat ironic, is the first line you sing on the whole album - 'So I think I've got it all in place now'. What do you think, does that just about sum it up?
You know, it's funny how that just happened to be the opening lines. Sort of like when we do our shows, when I sing "Separate Ways" its like 'here I stand' kind of a thing. It just worked out that way. Yeah. I mean, I have Jack Blades to thank for that lyric (laughs).

It just seemed very fitting. Your voice sounds immaculate. It's a fabulous line and it just sounds great.
I appreciate it. I first heard a batch of songs. That was a batch of, I think, three that Neal had sent me that he had written with Jack. And each and every one of them was better than the last. One after the other knocked my socks off. That one was absolutely wonderful. In fact, there were a handful of others that I couldn't believe didn't make the record. I personally think you would have absolutely flipped out because they were really melodic, really in vain of classic melodic rock. One song in particular, that we hope to see on the next record.

This is your first recording in several years as a singer. You've been with the band nearly three years. I can't believe how quickly that's gone. On the eve of the U.S. release, what emotions are you feeling now?
Well I'll tell you, just now I'm getting a little excited. The record could have easily been out a year ago, as far as I remember. My memory isn't as good as it should be. After age 40 , I kind of lost it (laughs).
Right now, everything is starting to come together. We've released two singles out through American Radio here in the states. And they are slowly but very, very surely gaining chart position. I just checked the charts yesterday. It's a nice sure movement. They are jumping up about 10 spots a week. If we continue this gradual climb up the charts, by the time the record gets released, in about a month's time, I think we're going to have some really great chart position.
And by then, hopefully the record company will feel very confident in promoting the record as they should. We all have our fingers crossed. There are no guarantees in life. No matter who you are. Especially not for Journey. Especially in the position we are here, right now. But I think, I take a look at the charts, and things seem to be taking shape very nicely and we're feeling very confident.

What support to you feel from the label. Do you have the feeling that they are behind you?
I'll put it to you this way. I've heard from their mouth, that we're going to get wonderful support. That they love the material and they are going to give us the support. But seeing is believing. The truth of the matter is, you can only have faith. We are all going to put our faith in the music and in the band. As long as we have faith in ourselves, we're going to make this thing happen.
I have all the faith in the world in these guys. With that alone, I feel very confident.

That's a great attitude for sure. I don't think I've seen any interviews with you thus far, or not many at least, a couple in Japan obviously. For those who don't really know the story, I just wanted to cover how you got hooked up with the band in the first place. You've got a mutual friend in Joe...
His name is Cefalu. I'll try to make it brief. Because it's long distance. I don't know, what time is it over there?

It's eight in the morning.
Ah, good morning! Have your coffee? I'm making a cup of coffee right now, how about yourself?

I just make one for my fiancée actually.
Congratulations. Good luck to you.

Thank you.
Well, I'll make this short and sweet, or as short as I can.
Joe was a fellow Brooklynite who since moved to Neal's neck of the woods in San Francisco. It seems he was a Journey fan as a child. Neal was basically one of his idols growing up. Anyway, he turned out to be quite some guitarist. Before he moved out there, I had made his acquaintance and I actually sang on a few of his demos. Just brilliant. Along the lines of Satriani and Steve Vai.
This was after Tall Story's first record. And we were just getting ready to do the second album, more writing for our second album, and we befriended each other. Anyway, I did some demos with him. Off he goes to San Francisco.
Hadn't heard from him in quite some time until one day I get a phone call from him and by the time I speak to him, I had sung with Tyketto for a short time and basically went into retirement.
To put it as simply as possible, I had a great deal more success in my career than a great deal of other musicians, especially people that I know. I was able to release a couple of records. I toured some of the world. I made a lot of friends along the way. I was able to perform my music in front of thousands of people and I felt myself very fortunate. But at the time, success hadn't come my way. And the fact is, I have a family, I had a child. I guess I was doubting myself perhaps. I guess that's reality. I had to take care of business, so I took myself a nine-to-five with The Gap.
Actually, I did 2 years of construction here in New York. I became a manager. I was a maintenance manager for thirty stores in Manhattan. So when they would fall apart, I'd have to fix them. Everything from broken plumbing to electrical and painting, you name it.
So a year goes by and Joe Cefalu, this wonderful guitarist gives me a call. He says listen, Steve, I'm friendly with Neal and I was speaking with Neal the other day and he tells me that Steve Perry is no longer with the band and they're starting to look for vocalists. They are wanting to reform Journey and go on with another singer. It had been a year since I was working at The Gap and it was two years since I even sang a note in public. So I was like, that's really great but, regardless of whether I was singing or not, I thought it was just crazy. Out of my reach. It was a wonderful, flattering thing but I thought he was just bonkers.

I love this story, I love it (laughing).
Seriously. Put yourself in my position. You're talking about Journey, you're not talking about a baby band. You're not taking about amateurs. You're not talking about the little leagues. You're talking about the major leagues. Yankees, World Series.

I really do love this story, I'm enjoying this.
That's the truth. I was yeah, yeah, yeah. He said look Steve, you can do it.
Send me a tape. Tall Stories records at the time, or CDs were very scarce and rare. He said please send me a CD and I'll give it to Neal.
I told him yeah, OK, I'll do that. And a week went by. We're calling on weekends and after certain hours because we're both poor. So he takes a whole week until the rates drop like after nine o'clock. He calls me and says, Steve what happened? I'm waiting a whole week for this tape. I said look Joe, to be honest with you, I was never going to send the tape. I said I just don't think so, I really appreciate it, but you're crackers.
He said listen, I'm going to put it together. What three songs do you want me to put together on the tape? I said Joe, I don't even know. He said, I'll tell you what, I'll put this tape together. I'll pick the three songs, you leave it to me.
I did exactly that. We hung up. I thought he was out of his mind and I didn't think anything of it, truly, until I get a phone call three days later from Neal, or at least someone who said it was Neal. I wasn't quite sure if someone was putting me on or perhaps it was truly Neal. I didn't acknowledge that it was him, nor did I blow him off totally. I waited until we got off the phone.
I called Joe back immediately and he said Steve, you might want to sit down because what I'm going to tell you is going to blow you away. I spoke to Neal and I gave him a tape and it seems as though Neal knew of me from my Tall Story days. He was aware of the band. He and Jon both, when they were in Bad English, he was living in Los Angeles at the time and heard a Tall Stories record on the radio out there all the time. When Joe handed him the CD, he said we were already thinking about this guy. So it was just one of those synergy things, it was synchronicity, things just seem to come into place.
The only thing I needed to do was I begged Neal and Jon to give me a couple of weeks to prepare. Because after two years of not singing, I was basically like... nothing was really there. I auditioned; I had a weeks worth of singing with them. On the last day of the auditioning process, which was a writing and a get to know each other as well as a singing audition.
Things seemed to come into place in the clutch. Just at the right moment, the last day, down at the final wire. I guess I pulled it out of my hat. It's incredible. Sometimes I still don't believe it. But on the other hand, this is something I've dreamed of all my life. As crazy as it sounds, I was just telling somebody this today, this is what I've wanted to do all my life. I've just expected to do...not with Journey, it's still ridiculous. I always wanted to sing for people ever since I saw the Beatles on national television on the Ed Sullivan show here in the states. It just took me a little longer than everybody else (laughs).

Good luck to you. Good luck. I just think that's fantastic. And what does your wife think of this?
Well you know, she couldn't be any more happy. You know, obviously the pitfalls are for a touring musician, when you have a family. The hardest part is leaving them every so often for a couple of months at a time. How do say goodbye to your wife and children? Except thank goodness for long distance bills and cell phones. So you're constantly on the phone and you fly them out as often as you can whenever the schedules allow. We've done that the last two tours and we'll do it again this summer.

That's wonderful. This may be too broad of a question but is there any song you auditioned on for the guys? Like your first song.
Absolutely. The three main songs were "Don't Stop Believing", "Faithfully" and "Separate Ways". Here's the beauty of the story, at least for me.
As I said, I hadn't sang for two years and when I first got in there, it was pretty rusty, the pipes were real rusty. It took about a week to get them warmed up and I was a little intimidated at first sitting down with the guys. By the last day I said this is a do or die situation. Things seemed to be going my way that particular day. We recorded these three songs. After the recording they were going to send it off to John Kalodner at the record company to get his opinion. After the third song, the guys were pretty happy and Neal was kind of high-fiving Jon.
I was feeling pretty cocky and pretty proud of myself. And I had one foot out the door, I was on my way back on an airplane to New York City and I turned around and I said listen, there's one song I really, really would love to sing. All the while to myself I thinking, if I blow this, I very well could be blowing the audition.
But I turned around and said listen, can we just try "Open Arms"? I don't know what came over me, I was just crazy. But I did it, and I guess it turned out OK, because here I am, speaking with you. But it could have went the other way.

I doubt it!
I've never been much of a gambler. I'll tell you what's funny too. I was working at this day job and I told my boss over at The Gap, I said listen, I need a week off, a leave of absence. Which they were good enough to give me. But is was a gamble, going out there and doing this thing. Chasing that dream, that lifelong dream. Because I'd never been a gambler. I mentioned to somebody else, I've never been very ambitious. In fact I'm what I call an under achiever. You can give me that title. This was something..., there is a wonderful song by Ricky Lee Jones called "Last Chance Texaco". Basically it's about that last gas station before you hit the desert. This was my last chance Texaco. This was my last shot at my dream. That's the way I looked at it. And well, it worked out.

Fantastic. I did hear it once said that you used a vocal coach, is that correct?
Oh absolutely.

Just to train it up - to get fit again?
Well, for sure. I saw the coach immediately after I left the guys in San Francisco.
I flew to Los Angeles to see one of the finer coaches in the Los Angeles area. And this guy got me on track real fast. And then I saw a couple of people here in New York. And quite frankly, I truly needed one.
Whether or not I hadn't sang for two years or not because I kind of grew up singing just the way I wanted to and never had any true guidance. Going out on the road for months at a time you've got to be in've got to be an animal to be able to last five shows, two hours a night during the week and go a few months at a time.
When I was younger, when you're younger, period, you have the muscle stamina, you have the muscle tone. But once you hit a certain age, this goes for female vocalists as well, just like your body, just like the biceps kind of wither away if you let them, if you're Charles Atlas.
Do you guys know Charles Atlas over there? I mean, Arnold Schwarzenegger works twice as hard now than he did when he was a kid. That's just biology. Long story short, you really have to whip yourself back into shape and I just couldn't do it, what I used to be able to do when I was twenty out of pure adrenaline and pure youth. So I had to go and see somebody that would teach me the finer techniques of singing and think of something that would get me over those long two, three month tours. And low and behold, I've had some great teachers along the way, and it's still a work in progress. Just like anything else in a profession or any kind of educational area you can always keep learning.
Different people can teach you different things. I'm happy to say that I'm studying with a couple of different people for the different reasons and it's great fun to be honest with you.

Are you conscious at all of your natural vocal comparison to Steve Perry? Or is it something that's just there?
Yeah, you know I wasn't aware of it so much until people kept approaching me and I kept on hearing it more and more and more.
Within the last 15 years or so, especially with Tall Stories. Obviously there are similarities in timbre and even style wise. But honestly, it was a subconscious thing initially. Then when we did the Tall Stories record, as much as Jack Morrow, the guitarist would deny it, he was the first one to keep telling me Steve, you got to lay off of the Perryism. That was the word he used. The Perryism.
That was the little joke, and I was like, I don't get it. I don't understand what you're talking about. Perhaps I was in denial at the time. I just didn't see it.
He was a wonderful writer and he wrote wonderful songs that were not unlike Journey songs. He was very similar in his guitar approach, they're both really great, wonderful guitarists and they have a lot of similarities too. So I think that also added to the Journeyisms, not just the Perryisms.
But was I aware of it. Initially no, until it was brought up to me.
Before Tall Stories, I worked with a band, in fact three members of Tall Stories other than myself were originally three Brazilian musicians. And one by one, they were replaced by an American musician in New York City. Before that, we shot the tape to Columbia and they actually said this sounds like Journey meets Sade (laughs). That was the very first time anyone compared me to Steve Perry. And then it opened the flood gates after that.
But I'll tell you one thing, I'm getting more comparisons now to Kenny G lately. The visual thing. I can't walk down the street without people saying hello Kenny!!

That's funny (laughing).
You should try it someday (laughing).

I'll jump forward a little. I'm a big fan of the Tall Stories album and I had that long before you were in Journey. It took me a long time to find it on CD as you were saying. But I have it, thankfully. And I think half the album you're yes, Journey-Steve Perryish, but the other half you sound more your own person obviously but there's a little bit of another favorite lead singer of mine called Glenn Hughes in there.
Way back when, I was watching television here at home, and this is going back in the seventies, and I saw...put it this way, Burn, I was just crazy about that particular record, and Stormbringer. Glenn just absolutely blew me out of the water. I had the pleasure of meeting him during the recordings of Arrival. He was in town writing with Pat Thrall. Those two, that Hughes/Thrall record just slays me. That record kicks.

'I Got Your Number'... ah yeah...
Cover to cover, from the coolest, grooviest stuff to the two heaviest tracks you ever heard. "Muscle and Blood" and ... anyway, huge fan. Just absolutely huge fan. That dude, what he does with his voice. He takes it from a whisper to a scream. He takes it from..., the dynamics that that cat has, I truly aspire to sing with his kind of passion and his kind of control. Never mind the technical side is the emotion. Just beautiful what he does. He's my kind of guy. He's my kind of vocalist.

Really pleased to hear you say that.
Oh forget about it. Forget about it. But before him, my very first concert was a Humble Pie concert. Steve Marriott was my truly, very, very first..., aside from the Beetles which everybody liked. I was fifteen when I saw Steve Marriott and Humble Pie here in New York I was first row, my brother had taken me for my birthday. And that's when I knew, I've got to do this. I really have to do this.
I connected with Steve. It's a funny thing, we share the same birthday.

Oh, do you really?
I could swear, I'm telling you there was some connection that particular night and I said that's what it's all about. I mean I'm a bigger fan that I am...that's why I'm so charged about music today, because I'm such a huge fan.
When I got back to music, after coming back to sing with Journey, after I left the guys, when I turned around I said listen: this is kind of a far fetched thing, me coming out here and auditioning for you guys. I told them, one thing I have to thank you for is this could go one way, it could work out, it may not.
But I have to thank you guys so much for just having me out here and getting me back in touch with my love of music. Because I actually lost it. Because when I turned my back, you kind of, sort of try to bury the past because it was very painful. They unearthed it and they gave it back to me. I said if this thing doesn't work out, that's cool because I got a chance to meet you and have a little fun.
But I said you really did give me a gift in just singing again. And I said the one thing I'll do, I'll go back and I'm going to sing again. You got me back into it and you gave me back my music. I thanked them. So I've actually had this kind of rebirth thing and I've been getting in touch with my old records that I grew up and was inspired from and influenced way back when.
That's one of them, those early Glenn Hughes records and Coverdale. Those two guys were brilliant together. What a team.

I'd love to see them on a record together. There was some word that someone was trying to do that.
Yeah, I don't know. You know Tall Stories, we had another great vocalist in the band that never really got a chance to sing as much as he probably should have, and that was our bassist Kevin Dutorian. Looking back in hindsight, I would have loved to have done something like the Coverdale/Hughes thing. I'm sure there would have been some tension between the two but boy, did it make great records. Don't you think?

Yeah, oh absolutely, absolutely. Magic.
Those guys were just better. One guy was just better than the next every song you put on. Holy man.

Two enormous egos and both really going at it.
I imagined, I imagined. But the talent was there so you got to give it to them.

Oh absolutely. Look, I've interviewed both of them and it was an absolute joy talking to them, it really was. They're really nice.
Yeah Glenn was really a sweetheart, he was great. And Pat Thrall, he's wonderful.

Looking forward to their new record.
Oh, same here. It's got to be great.

I'll jump to Tall Stories still while we're on that. I actually had an e-mail from Jack a little while ago, your guitarist.
You're joking, no kidding!

Yeah! I don't know if you two are still in contact, or do you see each other do you?
It's funny, the last I saw him was at that fellow who got me that Journey audition, Joe Cefalu. He invited me to his wedding and my wife and I arrived at the reception and there was Jack sitting next to me. So it was wonderful.
It was a great re-union of sorts and we just laughed and had a few. Actually we didn't have any cocktails. Not that we don't drink or anything but we just happened to stay sober that particular day. That same night I was flying to San Francisco to meet with the guys so I was minding my P's and Q's. We had a great reunion and we talked over old times. So how was he doing? What was the e-mail about?

He was good. I actually mentioned him on the site that the Tall Stories CD was getting re-released in Japan in conjunction with the Journey back catalogue. And he emailed me going, What!!?
Oh how cool is that?

I'll have to forward his e-mail address to you.
You know, in fact, I think he had given it to me but I misplaced it. I would love it. I understand, did he mention, right now he's on tour with a Broadway show?

He didn't tell me what he is doing.
Yeah he's doing a show out here called Swing. And he's on tour with them throughout the states and he's back on the road. In a different capacity. Let me tell you, Jack, he's a guitarist's guitarist.
He went to school at a very high level music college down in Florida, University. And he can play inside out. He knows that thing inside out, upside down.
He'll play anything from Wes Montgomery to Django Reinhardt and then Jimi Hendrix. And his boy was really Eric Clapton. Boy he could whip out any Cream song at the drop of a hat. And then he had his own thing, which was wonderful.

Did you guys ever start recording or finish recording any extra tracks other than the original?
We did tons of demos. In fact, this is the crazy thing about, unfortunately, what the demise of Tall Stories was this; we were demoing and demoing and demoing and at that time we got the record out, very similar to the Journey record, about a year after it had been finished and should have been released already.
It had been, I wouldn't say shelved, but it was definitely postponed, the release date. So by the time it had come out, the timing was so wrong, it coincided with Pearl Jam's release. The writing was on the wall. The music industry in the states was going to change, was going to push this new sound. Which is very healthy, I guess, to business. Not very healthy to Tall Stories.
Wonderfully for us, we happened to go out on the road for two months with Mr. Big and that was great. It got us some exposure. We did some gigs. We did two months of touring with them, which was wonderful. They were very inspiring. The history was, this music right now was starting to get ignored by the record company. Although you'd never know it because we rolled into Seattle, the home of grunge, back in '92 and we thought it was going to be the worst gig ever.
But it was the best response that we got out of the whole tour. It was ridiculous. That was the irony thing. The irony was that the folks, the rock and rollers that were truly into melodic and hard rock were...maybe they just didn't want to hear another grunge song. They really wanted to hear something fresh for a change. Which is kind of what's happening now I think, here in the states.
You know things are kind of cycular. I think this sound, just good melodic rock and roll is coming around again. It'd be played at least commercially on radio stations that is. I think we're at a good time, here right now. Things are starting to look good right now. As far as the Arrival CD is concerned.

So you've got a whole bunch of Tall Stories demos lying around.
Oh yeah, bunch of demos. And what happened was, we were playing them this, we were playing them that. And basically they were telling us that this sound was over. Steve, you sound like Steve Perry.
They sound like Journey tracks. That's when the Journey comparisons were really heavy. Basically the demise of Tall Stories was that we were getting compared to Journey a great deal at the time.
So it got to the point that we were starting to do songs that were absolutely out of my style, vocally. And I was trying, I was experimenting you know. I was brave, I was courageous. I'd give anything a shot, but it wasn't me. And as much as we tried, I was just going to feel like I wasn't true to myself any longer.
So quite some time passed by and I got a phone call from Brooke St. James of Tyketto. And Brook tells me, he says, you know what? We're writing a new record and I was wondering if you had some time. Won't you come down and we'll play some guitars together, try to write a couple songs.
So we had been friends together, Tyketto and Tall Stories. We were mutual friends. We'd go see each others shows here in the New York area. They're a great bunch of guys. I really like Brook a lot, and I said sure. At the time he never mentioned anything about Danny not being present.
So I took a drive out to the next state, to Jersey and started writing some songs. And as a week or two go by I start getting the vibe that Danny is no longer in the picture. I'm now three weeks into the writing sessions and their drummer lays on the deal that Danny is no longer with the band and would I consider, instead of just writing, would I consider singing with the band.
Actually, at the time, it wasn't even a Tyketto thing. They said, would you like to form a band? We were just jelling, and it was a lot of great energy and a lot of positive vibes happening. So much that, it hadn't felt like that with Tall Stories in quite some time. We were just getting a lot of negative responses from record company and management. As mush as we loved each other's music and music ideas, the thrill was starting to leave. The thrill was starting to go, and it was starting to emerge within the Tyketto camp. So it only felt natural, it felt like the right thing to do at the time, to join up with the guys.
And I said I had learned that Danny Vaughn was no longer with the band and I really enjoyed working with them so we gave it a shot. We started writing the record and I tell you we must have wrote it in a month. And we recorded it in even less time. We must have recorded it in two weeks. It seemed like that, everything went down that fast. Just before the record was going to be released, we had another name picked out, we were going to do music that we felt like doing. We just felt, stylistically, it was just the thing that happened. We didn't try to do this or that or the other thing. It's just what came out. Just before the release of the record, the record company gets back to the guys in the band and says listen, we are not going to release the record unless you release it as Tyketto.

And it was the worst thing for us because it really stiffed the fans. It kind of limited our chances of any kind of success because everyone that expected the record out really was waiting for a Tyketto record.
Not a rhythm and bluesy, we were kind of doing 70's influence in a lot of the songs and it was just not as melodic as the Tyketto stuff was. Unfortunately we turned off a lot of their old fan base. We wound up winning back a couple of them and making some new fans along the way but I tell you, no regrets.
Great guys. We really had great times. We went over to Europe a couple of times. Traveling with a rock and roll band is always a lot of fun and we really enjoyed each other's company. Made a lot of friends.
Again, as I said, just going out and playing music for people. You don't have to go out and make a million dollars. You get into this business initially because you love the art form. The music. And that's what we did. We had a good time. And like I said, no regrets. We went our separate ways.
But that, replacing Danny Vaughn in Tyketto, was a very huge learning experience for me. Because, when I got the opportunity to work with Journey, I had learned a lot of lessons and I knew I made quite a few mistakes. Well, not so much mistakes, I knew some things to do and some things not to do. Again, I think it was meant to be.

Obviously on your first tour, maybe even your second tour, a lot people didn't know that Steve Perry was out of the band. Did you feel a lot of pressure to pull off the best performance you could?
Whether or not you're replacing such a heavyweight of a vocalist in the first place, you always go out with always want to give two hundred percent. Then you add the Steve Perry factor, and the replacement factor. Ask Gary Cherone and ask Sammy Hagar. Although, obviously both those guys were established. They had one up on me. Getting somebody who's an unknown, actually maybe it worked a lot in my favor also, it's hard to say.
Because it might have actually helped. But yeah sure, I felt the pressure. But as I learned early on, you just have to do your best. Because the minute you start thinking about it, that's when the slope gets slippery. You just do your best, as with anything. If you're a shoemaker, you just try to make the best pair of shoes you can. Same thing with singing.

Were you happy with the fan reaction?
Absolutely. I mean really. I didn't expect the response that we had gotten. We didn't expect to get everybody back, all the Journey fans. But I can honestly say that I think that we got the majority of the old fan base back. It's hard to believe. And I never thought it would happen, but they were open-minded and open-hearted enough to give it a shot. To give it a chance. And for that I'll be forever thankful.

The response to, the feedback I've got from people emailing me about the shows and any reaction to the album has been absolutely, unanimously positive.
I couldn't be more thankful. Not to say anything negative but you really can't expect..., and there are some folks. Neal and I laugh about it.
Every once in a while, there'll be a show and there will be one person out there in the audience. And for some reason, there's a beacon on them. They'll have their arms crossed and they won't have a happy face, a very sad face.
And you know, you have to respect it because they had the love enough for the band to come to see the band, and hear the music. I have to respect it. One of my most favorite bands also of all time was Led Zeppelin. And as much as I love David Coverdale, now they didn't try to reform Zeppelin, but I don't know if I would have been able to see Led Zeppelin formed with anybody else but Robert Plant singing. So I understand it, I respect it, and that's exactly how I approached singing with Journey. I'm not a cocky guy, although, maybe come talk to me a year from now. I've never had much of an ego (laughs). I hope it doesn't change.

I doubt it (laughing).
I mean that's just the way it is. I'm a pretty blessed guy. I'm just happy with my life. I've got a good life. No complaints.

Nervous heading into the studio to record Arrival?
Yeah, big time. Definitely big time. As much as I was telling myself, no.
The fact of the matter was, yes. In fact, just before the recording, we happened to get into this rehearsal studio. And do you think, after all this state of the art technology that you have, you get a world class band, get some rehearsals a week before, of pre-production, before a major recording.
And there's a less than adequate P.A. system, and monitor system. So for a week, I'm singing into the equivalent of, pick a Deep Purple concert, the loudest band in the world. I'm singing out of a, what do they call it, a vocal master. Which was a couple of ten inch speakers. My voice was toast. And here we are going in to record a Journey record (laughs). So I had to take two weeks off.

Absolutely. And I was frightened to death. I thought, oh my God, what did I do to myself? That's part of the game. You learn as you go. I was never experienced enough, never had I been in this situation where I would have known any better. I'll tell you now, next time I'll be a great deal more careful. You'll know to ask, look, I have to have this, I have to have that. I can't sing unless I can hear myself a little. Now I have that information. I'm programmed now, so I'll know that next time I go in to do the record. Everything turned out all right in the long run.
It gave me a little more grit, a little more gravel. Probably would have preferred to have been a little sweeter at times but that's all right, I was always a big Rod Stewart fan.

Rod's awesome but I think you sound sweet enough, believe me.
You know that was actually, my very first single, record actually, that I ever owned was "Maggie May". He was also one of my very, very early influences.

He's got a great voice.
Rod could do no wrong.

He's got an energy, hasn't he?
The best. He's got it all. The voice, the attitude, the look. He always did. And he still has it. He's still out there, just released a record, he's still on the radio. You turn on the radio and they'll play his new single and they'll play, you know, "Maggie May" back to back. And I'll say, That's my man.         

Yeah, I've got several of his records. I like them a lot. I was pleased to see that you're involved in the writing process on the album. You've got five songs that made the album. I thought that was great.
Yeah, I think in fact, I'm not a hundred percent sure but, I think with the American release there's seven. But none the less, whether it was a hundred percent of the record or no involvement, the fact was when I was getting into the situation it was enough to sing. Just singing. That was enough of a case load, enough of a work load to deal with. The great thing about being with the guys in this band is that they gave me the opportunity to get involved in the writing process.
A part of the audition in fact when I first met them was, as I said, was not only to the singing part, as well as seeing if we were actually compatible. If we could stay in the same room for like an hour and not end up at each other's throat. You know, any fist fights. Which is very important. But they also wanted to see if I had any kind of input as far as creativity. Coming from them, to be able to do that to a novice, or an unknown, was very generous and they certainly didn't have to. So, as I said, they were gracious to offer that to me and I couldn't tell you how happy I am that they did.

How may songs did you demo for the album? I mean there's like fourteen on there.
I would say a minimum of thirty. There had to be at least forty.

Oh wow! So there's that many demos sitting out there.
And if I may say so, there were some songs that were left off the record that I really wish had gotten onto the record. In fact, there's a song that the guys wrote with Geoff Tate.

Oh really!?
Yeah. That was absolutely amazing. Just amazing. The week that I went out to audition, we recorded four Journey songs and we recorded about four new songs. And one of them was a song they had written with Geoff and one other was "Signs of Life". In fact that was the very first song out of the bag as a Journey song. And it wound up making the record. So it has some staying power.

That's one of my favorite tracks on the album.
Yeah, I'm glad. Thank you. It didn't change much from the very first day. So it was a keeper from the beginning. And the Geoff Tate song was spectacular. Stellar. And it was just brilliant. And it didn't make the record and I swore it would. It had a great ethereal, great moody vibe to it. It was very Pink Floydish. It had that dark thing going on. And I hope perhaps a soundtrack. I think it would be definitely suited for a soundtrack or something like that. "Walking Away From the Edge" it's called.

I would love to hear some of this stuff.
You know what, if we meet up, I'll make sure we have a tape.

That would be great.
I should hope that we make it your way.

I don't think so (laughs).
Oh I think we're going to get there. We'll get to Australia.

I hope so!
I only hope so.

But if not, I'm going to try to make it to the States because I've got to see you guys.
That'd be great.

Favorite songs off the album, that did make the album?
I swear it changes. In fact, I'll tell you what, going in to the recording I felt exactly the way Neal did. We wanted to make a rock and roll record. And then after everything was recorded, I found myself listening to ballads, or at least the less up-tempo, and the less mid-tempo. I jump depending on the mood that I'm in, I play the music that I can relate to. And so if I feel like jumping into the car and I've got to get to an appointment that I'm late for already a half hour, I'll throw on "Higher Place". And it gets me there. It makes that hour drive turn into twenty minutes, and a speeding ticket.

I play it on the way to work to, believe me.
You know, I think one of my favorites is "We'll Meet Again". It's one of my favorites and I'll tell you, it turned out a great deal different than the initial conception of the song. I especially like it because the inspiration to writing it was...after coming off tour on the first record, I was so impressed, getting back to the fans and the fans reaction. I was so impressed with their reaction.
And it was so difficult at the end of the night, after a two hour and fifteen minute set, to leave these audiences that went from skeptical to just charged and happy and elated that they had been to a Journey concert. And I was equally as elated that they were enjoying us, that when we came off the road I had this idea of just trying to express how I felt about how I can't wait to get back on our next tour. And how we would meet again. And that was kind of the general idea of the song. And the funny thing was, Neal had written a song years ago and laid a demo on it of a couple of really incredible rock and roll tracks, and that was one of them. In fact if you ever heard it, it was a guitar song. It was a major, major guitar song. It was a huge guitar song with like the guitar, rock and roll song. And it turned out to be quite less than that, but still I think it turned out to be one of my favorite tracks.

Yea, it's a real moody track, isn't it?
What Jon turned it into was beautiful, and I'm happy it made the record. I love that.

It's a great track to end the album, isn't it?
I think so, yeah. I'll tell you what I like, getting back to the up-beat thing.
What I do like about the record is that, and probably what I'd like about Journey or what I've always liked about them is they are...there's always room for negativity in life. And one thing that these guys have always been able to do for me, is lift me up a little bit when I'm down. Or put a smile on my face, or make me feel a little more hope than there may actually be. Or hopeful for tomorrow.
And I think that's what I really like about this record is that it seems to have a common thread. Although the songs may be diverse, stylistically, there seems to be a common thread in positively. It's not for everybody, and not for all times because sometimes I like to put on a Black Sabbath record, especially with Dio, like Heaven and Hell or Mob Rules. My point being, I like to turn a Marshall up on eleven just like the next guy, and play hard and heavy and dark stuff.
But then you have to have the other side, and I think the other side, a perfect example of that is a Journey record. I think that although it may not be the Journey of yesterday, I think it still carries on that positive direction that the band always had before.

I think it picks up perfectly where you left off. I think it carries on perfectly.
We've been torn about the balance of the record, whether a slow, up-tempo, hard, heavy or this or that. But in the long run, at the end of the day, I was happy with the integrity of the music and definitely, definitely satisfied with that.

Tell me about the two new tracks you went in and recorded.
Here's the thing about the two new tracks, Neal is a rock and roll animal. This is what makes this band, or for that matter, many bands very special. This is what fuels them. You have two definite and dynamic personalities in the writing team. That being Jon Cain and Neal Schon. Jon can rock like the rest of them but his forte in my opinion....

He's the mellower one, isn't he?
I will be opinionated now. He can write a ballad or love song, whatever you want to call it better than anybody. And then Neal can write a rock and roll track better than anybody's business. So to me, in my opinion, again this is not factual, this is just my observation.

I tend to agree with you.
I think these guys have their fortes. So that being said, you got the best of both worlds. Somewhere along the line, I hope, somewhere down the line I want to find my place somewhere in the middle (laughs). But I like being the middle man right now. Where was my point?

Two new tracks...
The two new tracks, OK. I think one of them, to me, is absolutely stellar. And that would be "World Gone Wild". I think it's on the level of "Higher Place".

I can't wait to hear it.
To me, it's on that level. It's got a real musical and lyrical level of integrity. That's what I'm saying. The other track is definitely more of a party rocker. You know it's kind of, I'm not going to say it's a throw away. But it's definitely a party song. Every record needs to have a good time and it's like a no brainer.
It's a rock and roll song.

Something like "I've got a Reason" maybe.
Yeah, precisely like "I've got a Reason". So you know, it's like put on your jeans, let's have a good time, let's have a party or get a six pack and let's have our friends over and let's dance, kind of thing. Where the other one's a great deal more deeper. That's my view on them.

Fantastic. When are you off on tour again?
It sounds like we're going to be starting in the first week of June, it looks like. They haven't got everything one hundred percent confirmed yet. I'm still waiting for the actual schedule. It looks like something around June, first week of June.

And you've got my other vocal hero out on the road with you opening, John Waite.
Oh, you know, that's another crazy thing. I've had the Baby's Greatest Hits, or is it The Best Of? I think they call it The Best Of. The one with the bronze baby shoes on the cover. I've had it in my glove compartment box for a year before Jon and Neal called me. I used to go and I'd play that all the time. When I was stuck in traffic or something.
So I've always been a fan, I've always loved John's voice. And I've always loved their music. And it's funny how things come full circle. It's silly. It's really crazy. Honestly, I was as big a Babys fan as I was a Journey fan. It's going to be interesting to say the least. To have all these guys on the same stage and the same backstage area.

That's why I'm going to get over and see it. I don't know how I'm going to do it, but I'm going to get over and see the show.
It's going to be a rock and roll circus I assure you (laughs). They've got some great John Waite stories and they always amuse me with them. So I want to make our own stories for 2001. If we don't tell you in person, I'm going to make sure I have a couple of stories for you next year. Or at least after the tour.

That sounds pretty good. That sounds like a date.
Yeah, please make sure you come out first. That would be wonderful. If you come out, you could come see a couple shows.

Well, that's the only problem, you have to sell your third born, or first born to be able to afford the airfare out to the states.
I bet. And that flight's a bitch too.

And it's a shocker. It's not something you can do and just come over for the weekend. It takes a weekend to get there.
I hear that. Well you know what's crazy, it's just the time difference is wacky. That's what really knocks you out.

It is, it is. Like It's Sunday morning here, 9am. And it's the end of summer.
Yeah, and your toilets flush opposite.

When I went to Brazil I found that out, and I thought, that's amazing! Then I wondered, why do I even know this (laughs).

One of those things.
It's scary.

Look, it's been a real joy talking to you. And one of the things I've really picked up on while speaking to you, and I'm really pleased with, is that you're a fan of great music along the way as well.
I've got a young son, he's twelve. And I look at him and I think... wonder where he's going to be in ten, fifteen, twenty years. Where his life and his path will take him. And you can't choose for your children, just like my parents couldn't choose for me. Somewhere along the line, you see something that inspires you or you gravitate towards. And somewhere as a child I gravitated towards music as many of us do, whether as a listener or a performer.
It's such a wonderful part of life that should never be ignored. It's funny that I actually did it one short time, and I promise you I'll never do it again. It shines sun where there's been absolutely none, there's been a void for a long time. Puts a lot of smiles on a lot of faces where there normally wouldn't be. I'm in a kind of feel-good business and I'm glad to be doing it.

Well, you're certainly doing that now for a lot of Journey fans I can tell you that.
Well, I appreciate it. Andrew it's a pleasure to speak to you man, especially after all this time. I enjoy your website very, very much.

I appreciate the comments back. Thank you.
I'm curious, in addition to your website, do you publish a magazine as well? Or is it strictly the website?

No, it's strictly the website.
It's great. Because it's international. It's great to be on board.

Absolute pleasure. And you're helping me out by just doing this interview. Like I said it's great to speak to you finally. I can't wait to get it on line basically and see the reaction.
Cool! Well that makes two of us.








Journey - Jonathan Cain (1997)

Despite many of you probably thinking this was going to be another routine Q and A, and considering that Jonathan had already stated there were things he 'Could not discuss', I think the interview you are about to read will surprise you.

Jonathan was quite open and honest with his answers, and I think let a few things slip over the course of the interview. At least, for once, we now know where things stand with one of the great bands of the era.

So how are things!
Oh, pretty good.

Journey is still regarded today as the cornerstone of the AOR genre.
People have said that, and we are flattered that people are still enjoying our music, and it's pretty cool that the records are continuing to do well.

Congratulations on Trial By Fire.
Yeah, we like that very much. It was kinda a labor of love. We just got together and wanted to do it the way we thought we should do it.
We thought there was a kind of a void there.

I think it's a great album.

Something I did notice about the album – everybody gets to shine somewhere.
Yeah, we tried to do that. We really thought about featuring everyone this time.
You know, everyone has played so much on their own, as solo artists, it seemed almost like we had to go that way.
And yeah, I don't think there were too many solos. There was a lot of guitar solos on this record, but Neal had a lot to pay.

They blended in so well. And you had a couple of fantastic keyboard/piano solos.
Thanks, yeah. We had a really good producer this time in Kevin Shirley.
He was stunning. He had a lot to do with the arrangements, and we worked hard with him.
We were done with the basics in about two and a half weeks. It was pretty amazing.
It was all live, we played live at the site. We had these isolation rooms for the drums, and guitars and keyboards even. But we could see each other and played live. Most of the record you hear is live.
The overdubs are just little things here and there. You know, like backing vocals and a lot of the vocals.
Steve kept some of the things we did live.

Disappointed you haven't been able to tour on the back of it?
Yeah, it's been frustrating for us. It's because of unforeseen events. Sort of like the hand of God comes down, and has hit Steve with arthritis in the hip and in the neck.

What actually happened to Steve?
Well, it (the arthritis) just really attacked him. And it has taken his hip and swollen it up and the joints and everything else.
So that's really it. He has gone for therapy to try to get better. To have surgery would really be ideal, but I don't think he's ready for it to go to that extreme.

That is pretty drastic.
Yeah, and you know, it's not getting better. It's like Eddie Van Halen needs it too.
The only way he will go out is with a real hip, so go figure.
If you really want to do it bad enough, you know, you get it done.
It has been over a year now, and he hasn't gone and got it done. And It's his body and we can't say anything about it.
It's frustrating for us, because we were sort of left at the alter with the dress on.

That's what I am hearing.
Yeah, frustrating, but it's an act of God, and what are we going to do.
We are just disappointed that we missed out on some great opportunities.
The album is just part of it. Just a small part of it.
We could have sold four times the amount of records. It came out, then nothing much happened.
We just didn't want to disappoint the fans. I think, number one is that we knew there were a lot of our friends waiting for us to come, and I think that is the most disappointing thing.

A major part of the e-mail and feedback I have received is why hasn't anyone been able to find out what's going on.
Well, he hasn't come forward. You know, we tried to get him to come forward with some television and talk about the problem and what he is going through. Just share it with everybody, tell the fans what's up and come out and sing a little bit. Sit on a stool or something, and tell people what's going on.
We had an opportunity to all these television programs and he passed on all of them, the American Music Awards and everything.
It was really sad.
We all wanted to do these things, but we couldn't. that's the end of that, and I don't know what we are going to do now.

That's the rest of the questions. What's next?
We are in limbo really. That's all I can tell you.
We are all doing solo projects, and you know, everyone is just moving on with their life.

It took me about 6 months just to get that out of Irving Azoff!
Everything has been really secretive.
Well, we have been waiting for something to resolve, and see what Steve should do. But you really can't force somebody to go that way.
There is enough pressure on him as it is. You know, the record company has put the pressure on him. We just leave him alone.
We feel sad for him, but jeez, what are you going to do?
It's his life, his body, his thing.
You go to a certain point, and go what do we do now?
We are going to have some meetings and so forth.
But there has been talk about possibly a live compilation from '81 to '87. Some of that stuff. The stuff the box set didn't get. There was a lot of neat stuff just sitting in the can. People have been asking about live Journey, so we thought we could do that.
Sort of put that out in the interim, and maybe we can come up with a plan.
That's probably what's going to happen next. We are moving towards that.
I don't know what else to tell you. It's frustrating.
I have another album coming out in Spring, that's a new age album.

Is that 'Songs In The Key Of The Heart'?
Yeah, actually we changed it. It's called 'For A Lifetime' and we are just fixing to get the cover ready.
It's a wedding album for lovers and so forth. There is an instrumental version of Open Arms, it's really tender kind of romantic piano music that I have collected over the years, for my friends.
I am playing at a wedding New Years Eve, for a friend of mine. I have been doing this for fun over the years, and have written a bunch of songs, and I thought it would be a lovely kind of souvenir to have out there.
So we are putting that out, that's going to be exciting. Neal's got something coming out, I think it's called 'Piranha Blues'. It is a combination of guys. It's Prairie Prince an Ross Valory and he's got a blues singer from LA.
I have just mixed that here at the studio, and that's going to be on his own label, or an Internet thing. And I am supposed to do another solo vocal album.

Great, I love 'Back To The Innocence'.
Thanks, it will kinda be like that. That is going to be on a little label called Mystic, distributed by BMG.
The Steve Smith is on the road with his new album. I haven't heard it yet, but I know it's probably really good. That's a jazz album. He's touring now with that.
I think that may be out or about to be released.
We have all been pretty busy really.

There sure is some talent in the band isn't there?!
Yea, it's a pretty good band! We just keep busy. I was trying to get a jazz tour together with Smith and Neal. But Neal wants to play the blues, so he is going to do that.
Then I will probably promote my wedding CD.
Actually South Africa wanted me to come and play, so I am not sure if I am going to do that.

That's almost as far away as Australia!
Yeah, that's a ways. I wanted to hit Australia. Maybe one of these days I will get a chance to get there.

Can I throw a big question at you? I have heard you may be looking for a new lead singer.
Is that right? You heard that already?

Yeah, I have.
That is unbelievable. You know, right now, we really can't say, because there is so much stuff up in the balance. And Steve hasn't really signed off yet. So until he really decides that he doesn't want to.
We still want Steve number 1, and we are just giving him a little bit of space here to see what he wants to do.
So that's really the truth, in the interim that's what we are doing.
We owe it to him and ourselves to give him a little space and check it out, and if he's into it, and really wants to come back.
And if he doesn't, we will face those consequences.

You will have to go on maybe?
Well, everybody has worked hard to make this band a success and we feel the music is powerful and has a lot of life left to it. I feel that, the band still feels that.
If the band sounded old and tired, it wouldn't even be a consideration, but the band sounds so darn good. It would be a shame to let it go to waste.
We'll see.
Ultimately, it will be Steve's choice to carry on or not with the band.
We are hoping that's what he decides to do. But it is something you don't want to rush.
That's funny that the rumors are out already.
At this stage in the game, we are hoping he changes his mind.

Okay Jonathan, thanks very much for taking the time out to talk.
Nice talking to you, take care and thanks for calling.

What I haven't printed here was a little side conversation where Jonathan asked if I had seen Kevin Chalfant's web site and did I know where he could find it.
Indeed I did, and have since passed to him Kevin's website and his e-mail address. Interesting!


Is NEAL SCHON'S JRNY Something To Watch For

News Feed
It seems something has broken the camel's back in the Journey camp, with Neal Schon filling social media today with cryptic talk of inner turmoil in the world of Journey.
Although officially the word is "No", something is definitely transpiring between founding member Neal Schon and long time keyboardist Jonathan Cain.
It appears that Jonathan's marriage to high profile Pastor Paula White in 2015 is the catalyst. It is the third marriage for both.
At the time Cain said: “She gave me the news that God loved me and wanted his son back. She spoke to the king in me and gave me new hope I could get right with God. The God I had hungered for, the Father I had been missing.”
White remains the personal minister to President Trump and chairs his Evangelical Advisory Board. She became the first woman ever to pray the invocation at a presidential inauguration on Jan. 20.
Of his recent Christian solo album Cain stated: “This is my love letter to God. It’s my thanks for the grace He gives me.”
Shortly after marrying, Cain was caught up in a controversy when addressing a congregation both were preaching to, when he suggested methods for wives to get to know what their husband’s like, saying: “figure it out. Get a book, get some porn, do something. If he likes to watch porn, watch porn with him, you know what I mean…”
Now Neal has taken to Instagram and Twitter – under the recent new handle “Neal Schon’s JRNY” to post the following:
“Bringing it every night. I want to be elevated by whom I play with not feel like I've got cement shoes. If anyone is unhappy they are Not running My band then They should Leave. God has bigger plans.”
“Yes I've stated how I felt about mixing Religion and Politics and how our music is not of 1 religion - democratic or republican. This is and has been an issue with myself Mr Cain and his now wife since he married. I've had to fight this whole time to protect the Brand I built with Steve Perry way before Gregg and I picked Cain to replace himself when he wanted to retire from the road back then. Well frankly I'm tired of having to defend all by my self. Ross is no help. I continue to grow and be completely creative and want to take the band Neal Schon's JRNY on an exciting new trip musically. Yes we will always have all hits to play But there must be musical growth also. I also need to surround myself with people that care as I do. I'll never stop.”
“I've finally gotten to the point of Enough. Im a very patient person - so I've been told by many including Carlos Santana and he's said wow - How and Why do you do it ? I did it out of love but not receiving any back. They don't give a shit so now I don't either. Your skin becomes tough but it has to to endure ... bottom line I'll always be JRNY as it's been my baby from birth. Herbie and Steve Perry will tell you the same as he did at RRHOF  thank you Steve for the truth.”
“No worries. I will not cave about my beliefs or protecting Journey as I always have. I believe in God.”
Now a news item about the Woody Guthrie Center honouring Neal has been removed from all Google references and the originating news site, with Neal claiming jealousy and sabotage are at play. "Wow this national story has already been removed from google and channel 6 site here in Tulsa Oklahoma. This is totally criminal sabotage but it will not stop the actual ceremony tomorrow..."
As of right now a lot of fans are joining in the conversation to back Neal - an example of which is below.
Stay tuned for more…

JOURNEY: Gregg Rolie, Neal Schon, Steve Perry Reveal Hall Of Fame Career

Wednesday, November 26, 2014
Podcasts & Radio
Dallas, TX - March 30, 2017.  North American syndicated Rock radio show and website IN THE STUDIO with Redbeard: The Stories Behind History’s Greatest Rock Bands maps out Journey’s long road to the Rock and Roll Hall of Fame with a two-part, two week career-spanning radio special. 
From 1981 to 1986 the biggest band in America was Journey. This band from “the city by the bay” sold more than 30 million records in that short time. Millions of people have seen them perform live over years of nearly endless touring to this day. Journey songs became the soundtrack for a whole generation of fans “raised on radio” and for new generations of fans of TV shows like The Sopranos and Glee.  It’s hard to imagine anyone who has grown up in America over the last 40 years who has not been touched in some way by the music of Journey.
The musical Journey began in 1973 with two former members of Santana, Gregg Rolie and Neal Schon, looking to form an ambitious musical outfit to perform rock fusion and rule the live music circuit. There would be multiple member changes, but none more important than the addition of singer Steve Perry.  In Part 1 episode, Gregg, Neal and Steve speak with IN THE STUDIO producer and host Redbeard about the early incarnation of the band and the breakthrough success of their 1978 fourth album, Infinity.
“The real idea behind the band was ‘Let’s go play live’. We used to knock people out. In fact as (Journey’s manager) Herbie Herbert put it, we sold  more tickets than we did records then. People would come to see the band for the instrumentation and energy of it . It wasn’t following suit with anything else on the radio.”  - Gregg Rolie
“Everybody’s feeling at the time was, ‘Look, we’re all starving to death’, you know? And it’s time we gotta make a living at this or I was going to have to get a job selling ladies shoes or something. I wanted to play music and make a living at it.”  - Neal Schon
“I had no idea what I was in for. I really didn’tt realize what a real workhorse this band was until I’d say 178 shows later, that same tour, non stop. But I gotta tell you, I wouldn’t change one thing.”  -  Steve Perry
JOURNEY  Best Of  PART 1  /InTheStudio interview is available now to STREAM at:
Part 2 will be available next week at:



Facing Crossroads, JOURNEY Embraced With Open Arms On Escape

Wednesday, November 26, 2014
Podcasts & Radio

Dallas, TX - June 14, 2016.  North American syndicated Rock radio show and website InTheStudio: The Stories Behind History’s Greatest Rock Bands  explores an Eighties classic, Journey’s 1981 album Escape, on its thirty-fifth anniversary.

In every journey there are crossroads, pivotal moments where paths must be chosen, where there are opportunities to change direction or to go straight ahead. The rock band called Journey never stuck to the straight path through an odyssey of twists and turns, changes and certainly, crossroads.

The first change came in 1978 when Steve Perry joined the band as lead vocalist, transforming Journey from an improvisational progressive rock band into a mainstream commercial success.  In 1981 there was another turning point when keyboardist and songwriter Gregg Rolie, one of Journey’s original members, left the band. In came former Babys member Jonathan Cain, and his gift for melody, especially ballads, meshed perfectly with Steve Perry’s voice.

It was no accident that Journey’s first album with Jonathan Cain, Escape, went all the way to No. 1. Selling nearly ten million copies and staying in the Top 40 for more than a year, the band scored the hits, “Don’t Stop Believing”, “Who’s Cryin’ Now”, “Stone in Love” and Journey’s first # 1 hit “Open Arms”. 

Neal Schon, Steve Perry, and Jonathan Cain share with InTheStudio host Redbeard an in-depth look at the making of Escape, with the musical choices that ultimately underscored the success of this classic album.

“(Escape) was an ambitious broad stroke of the brush... It tried to cover a lot of territory. We could have been killed for it, but Journey was in the place where that statement could be made, musically. They had the freedom to actually make an artistic statement and be heard. People were listening.”   - Jonathan Cain

JOURNEY Escape @ 35 /InTheStudio interview is available now to STREAM at:

Direct Link to InTheStudio broadcast affiliate radio station list: “

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Direct Link to InTheStudio website: “

JOURNEY's STEVE SMITH Talks 2016-2017 Tour

Release Year: 
Tour News
From STEVE SMITH'S facebook page today:

I have been invited to tour with Journey for the 2016-2017 touring season and I have agreed to play drums for the group during this period!

I’ve enjoyed working with Journey guitarist Neal Schon for many years and playing on his solo albums, including The Calling and his latest release Vortex. In fact, Neal and I still share the creative chemistry we had when I was a member of Journey. When we work in the studio on his music, it's essentially just the two of us, jamming, writing, arranging and recording.

Over the years, he has mentioned that he'd like to have me tour with Journey again. The invitation has always been appreciated but with my busy schedule always being booked at least a year in advance, the timing was never right. Some changes within the band have once again brought me the invitation to tour and this time we were able to plan in advance and work a Journey tour into my schedule.

Like an actor capable of playing a wide variety of roles, I'm a musician who enjoys, and is comfortable performing, diverse genres of music. My group Vital Information, as well as the other great jazz and world music artists that I tour and record with, remain a musical priority. I will also be performing with them during the next two years and by 2018 will resume my career full-time as a touring and recording jazz musician.

My decision to tour with Journey in 2016-2017 is based on many factors:

My relationship with Neal is strong and we enjoy playing together. I've been in touch with Jonathan Cain and Ross Valory and we have a good rapport both personally and musically. All four of us share a common history and have created some enduring music together. I've met and spent time with Arnel Pineda and have great respect for him both as a person and vocalist.

I am excited to revisit a role that was a formative part of my career, performing music that has touched many people for more than 30 years. My kids Ian, Elizabeth, Kasia and Zac have not seen me play with the group (Ian has but he was too young to remember), it will be fun to have them see me perform with the band. Finally, I can say "yes" to the many fans who have asked if I would tour with Journey again.

My hope is that Journey fans will appreciate a new line-up similar to the Escape and Frontiers era -- and will want to revisit this timeless music with me. By bringing my musical experience to the table along with the years that the members of Journey have spent touring, I'm sure this new incarnation of Journey will develop its own special magic. It's going to be amazing. I look forward to seeing all the fans on the road!



JOURNEY Recalls Drummer STEVE SMITH For 2016 Tour

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Tour News
JOURNEY and THE DOOBIE BROTHERS will launch the San Francisco Fest 2016 tour on Thursday, May 12, again bringing together two of the iconic groups that helped define the San Francisco sound. The tour launches at the Irvine Meadows Amphitheatre in Irvine, California — with concerts scheduled through August 30, and includes special guest Dave Mason. A limited number of VIP packages will be available and include premium tickets, pre-show party, exclusive merchandise and more.
Tickets go on sale to the general public beginning Saturday, December 5. A fan pre-sale will be offered starting Monday, November 30.
Neal Schon (founding member and lead guitarist), original member Ross Valory (bass), and longtime members Jonathan Cain (keyboardist) and Arnel Pineda (lead singer), are welcoming virtuoso drummer Steve Smith back into JOURNEY, marking the first time he will perform with the band since 1998. Schon and Smith have always remained close friends and musical collaborators. Smith has lent his incredible talent to several of Schon's solo albums, including critically acclaimed "The Calling", and, most recently, "Vortex".
Schon was thrilled when Smith accepted his invitation to rejoin JOURNEY, exclaiming: "I'm so looking forward to the very exciting 2016 we have planned, starting with my 'Neal Vortex Schon' Japan tour in February and then our major summer tour with THE DOOBIE BROTHERS and Dave Mason. We will see you all soon!!!!"
THE DOOBIE BROTHERS' Tom Johnston (founding member, vocals/guitar), Patrick Simmons (founding member, vocals/guitar), and longtime member John McFee (guitars/strings/vocals) are adding LITTLE FEAT co-founder Bill Payne to their band on the 2016 tour. Payne performed on many of THE DOOBIE BROTHERS studio albums as well as on the road; a relationship the band is looking forward to rekindling.
"It's gonna be a great summer for fans of Bay Area music, and for guys like us who have the pleasure of teaming up with our good friends from JOURNEY and the Dave Mason band," said Tom Johnston and Patrick Simmons of THE DOOBIE BROTHERS. "We look forward to taking the stage with JOURNEY. We love their songs, and think we will all complement each other musically. It is going to be a powerful tour. We can't wait to share it with the fans!"
Tour dates:
May 12 - Irvine, CA - Irvine Meadows Amphitheatre
May 14 - Phoenix, AZ - Ak-Chin Pavilion
May 15 - Albuquerque, NM - Isleta Amphitheater
May 18 - Austin, TX - Austin360 Amphitheater
May 20 - Dallas, TX - Gexa Energy Pavilion
May 21 - Woodlands, TX - The Cynthia Woods Mitchell Pavilion presented by Huntsman
May 23 - Wichita, KS - INTRUST Bank Arena
May 25 - Memphis, TN - FedEx Forum
May 27 - Indianapolis, IN - Indianapolis Motor Speedway
May 28 - Kansas City, KS - Sprint Center
May 31 - Rogers, AR - Walmart AMP
Jun. 02 - Birmingham, AL - Oak Mountain Amphitheatre
Jun. 04 - Charlotte, NC - PNC Music Pavilion
Jun. 05 - Raleigh, NC - Walnut Creek Amphitheatre
Jun. 08 - Atlanta, GA - Aaron's Amphitheatre at Lakewood
Jun. 10 - Tampa, FL - MIDFLORIDA Credit Union Amp.
Jun. 11 - W. Palm Beach, FL - Perfect Vodka Amphitheatre
Jun. 22 - Bangor, ME - Darling's Waterfront Pavilion
Jun. 24 - Bethel, NY - Bethel Woods Center for the Arts
Jun. 25 - Holmdel, NJ - PNC Banks Art Center
Jun. 27 - Wantagh, NY - Nikon at Jones Beach Theater
Jun. 29 - Cuyahoga Falls, OH - Blossom Music Center
Jul. 01 - Virginia Beach, VA - Farm Bureau Live at Virginia Beach
Jul. 02 - Bristow, VA - Jiffy Lube Live
Jul. 05 - Saratoga Springs, NY - Saratoga Performing Arts Center
Jul. 07 - Toronto, ON - Molson Canadian Amphitheatre
Jul. 09 - Darien, NY - Darien Lake Performing Arts Center
Jul. 10 - Mansfield, MA - Xfinity Center
Jul. 13 - Syracuse, NY - Lakeview Amphitheater
Jul. 15 - Camden, NJ - BB&T Pavilion
Jul. 16 - Burgettstown, PA - First Niagara Pavilion
Jul. 27 - Nashville, TN - Ascend Amphitheater
Jul. 29 - Cincinnati, OH - Riverbend Music Center
Jul. 30 - Maryland Heights, MO - Hollywood Casino Amphitheatre
Aug. 02 - Grand Rapids, MI - Van Andel Arena
Aug. 04 - Clarkston, MI - DTE Energy Music Theatre
Aug. 06 - Omaha, NE - CenturyLink Center
Aug. 07 - Des Moines, IA - Wells Fargo Arena
Aug. 09 - St. Paul, MN - Xcel Energy Center
Aug. 11 - Sioux Falls, SD - Denny Sanford PREMIER Center
Aug. 13 - Tinley Park, IL - Hollywood Casino Amphitheatre
Aug. 16 - Oklahoma City, OK - Chesapeake Energy Arena
Aug. 17 - Little Rock, AR - Verizon Arena
Aug. 20 - Denver, CO - Pepsi Center
Aug. 21 - West Valley City, UT - USANA Amphitheatre
Aug. 23 - Auburn, WA - White River Amphitheatre
Aug. 25 - Ridgefield, WA - Sunlight Supply Amphitheater
Aug. 27 - Las Vegas, NV - Mandalay Bay Events Center
Aug. 28 - Fresno, CA - Save Mart Center
Aug. 30 - Chula Vista, CA - Sleep Train Amphitheatre




News Feed
"Two weeks ago, I, Deen Catronovo, made a plea deal with Salem, Oregon prosecutors. I plead guilty to one count of coercion, one count of unlawful use of a weapon, two counts of assault 4, and 2 counts of menacing. Ref: Case #15CR23974 in Marion County Court."
"Anyone who witnessed the events remains adamant that my abrasive behavior stemmed from the fact that I was at a drug-induced psychosis level of intoxication at the time of the occurrences. Otherwise, I am an easy-going guy who loves being a father and a musician."
"After my Indictment in June, I completed a 75-day inpatient treatment program at the Hazelden Betty Ford Springbrook Center, the most comprehensive drug abuse treatment center in the State of Oregon. It was at Hazelden that I quickly realized how dire the situation had become. I made a vow to myself and my family to not only stay sober but to dedicate time telling my story, speaking to promote sobriety, being a good example to my sons and advocating for the rights and assistance of domestic violence victims. I hope by telling my story I can help prevent someone else from making the same mistakes I did."
"Taking into consideration that I have been able to stay completely sober since my Indictment in June as well as the fact that I have continued domestic violence and drug counseling without any difficulties, Judge Jamese Rhodes sentenced me to four years of probation. The probation requires me to continue the domestic violence and drug abuse counseling."
"At the sentencing I apologized to my ex-fiancé, Deidra, and her family for the hurt I have put them through. I continue to wish Deidra the best. I know Deidra is not at fault for my behavior nor the consequences I have suffered because of it. Again, I want to apologize to Deidra, her family, my family, my band-mates in Journey and the fans of Journey. I’m sorry I let you all down. I have hit my bottom and I’m taking the necessary steps to ensuring that this never happens again."
"As devastating as this was for me it was far more devastating to Deidra and our children. Had it not been for her calling the police and the intervention of the prosecutors I’d probably be dead. 
I’m going to focus on my family, finding happiness in sobriety and helping others who might be going down the wrong path to avoid destruction. For now I’m taking it one day at a time and looking to discover what new path God has planned for me."

DEEN CASTRONOVO Pleads Guilty; Handed 4yr Probation

Release Year: 
News Feed
Deen Castronovo is lucky not to be facing jail time after pleeding guilty to domestic violence charges in court earlier today:
Journey drummer Deen Castronovo was handed a suspended sentence and four years of probation after pleading guilty to domestic violence crimes on Monday, Oct. 12.
Castronovo, 51, pleaded guilty to two counts of fourth-degree assault constituting domestic violence, two counts of menacing constituting domestic violence, unlawful use of a weapon and coercion.
If he violates the terms of his probation, a sentence of five years and five months in prison could  be imposed.
While on probation, Castronovo cannot enter into a romantic relationship without permission from his probation officer, use controlled substances or alcohol, contact the victim, leave Oregon or enter into any bars unless for employment purposes, among other things.
Marion County Circuit Judge Jamese Rhoades also required Castronovo to undergo counseling for domestic violence and drug abuse.
For the record - here is a post from Deen's ex-wife:
Shelly Baughman Castronovo writes:
I feel like the media has made people into sheep! The truth... Deidra Witmer the woman who accused Deen of these charges has had a pattern of of bad relationships. They pushed each other...yes...but she was on a flight to Cabo the day after the arrest. She was riding horses on the beach an partying 2 days after that. Deen was in a toxic relationship.
...he at the height of drug abuse...she...with 3 dui's. He did violate the no contact order due to drugs but she has been in fights with prior issues with the law except with her. The same can not be said of her. I am tired of people villafying a man I have known and loved for 33 years...married for 10. He is the father of my son and another beautiful boy. PLEASE don't be so quick to cast the first stone! He was wrong in pushing her...she was wrong on pushing back!!!! He has a beautiful heart and has been clean for 104 days. Please don't judge what you don't know!

What Is The Status Of Drummer DEEN CASTRONOVO In JOURNEY

Release Year: 
News Feed
Drummer Deen Castronovo has been stood aside from his role in JOURNEY while he faces domestic violence charges in his home state of Oregon.
Some media outlets have been reporting that Deen has been ‘sacked’ or ‘kicked out’ of the band, replaced with Neal Schon’s Vortex drummer Omar Hakim for the current and upcoming Canadian dates.
But at this time, Deen remains part of Journey and his absence is currently only temporary.
The official comment on Deen’s status is “no comment”, but I can suggest that his arrest is being treated very seriously by the Journey camp. However, it is hoped that Deen is found innocent of the charges he faces and should that happen, his path back to the drum stood should be unimpeded.

JOURNEY Adds NEAL “VORTEX” SCHON As Special Guest On Canadian Tour

Release Year: 
Tour News
Omar Hakim Tapped to Play Drums for both JOURNEY and NEAL “VORTEX” SCHON
NEAL “VORTEX” SCHON has been added as the special guest to JOURNEY’s upcoming Canadian tour, which launches Monday, July 6 in Winnipeg Manitoba with concerts scheduled through August 3 in St. John’s, Newfoundland and Labrador. This tour marks the first time the American rock greats perform a Canada-only tour, including markets in which band has never previously performed such as Penticton; Prince George; and Dawson Creek, British Columbia; and Lethbridge, Alberta. See below for a complete list of tour dates. Tickets are on sale now - visit for complete tour and ticketing information.
NEAL "VORTEX" SCHON features Schon on guitar, Omar Hakim on drums, Rachel Z Hakim on keyboards and Jerry Brooks on bass. NEAL “VORTEX” SCHON will perform selections from Schon’s brand new, all-instrumental 2-CD album, Vortex, released June 23 through the Mascot Label Group. The albumfeaturing Neal Schon on guitars and bass, drummer Steve Smith, GRAMMY-winning keyboardist Jan Hammer, and keyboardist Igor Len - utilizes rock as its foundation, and embraces elements of jazz, classical and world music in an 18-track, sonically explosive collection of original compositions.  The music of Vortex came to life at Berkeley’s Fantasy Studios, Schon’s preferred spot for recording since Journey cut the 10-times-platinum number-one album Escape there in 1981.
Blazing hotter than ever with the lineup of founder Neal Schon (lead guitar and backing vocals), Jonathan Cain (keyboards and backing vocals), co-founder Ross Valory (bass and backing vocals), and lead vocalist Arnel Pineda (who was discovered by Schon), Journey has created some of the best-known songs in rock, such as “Wheel In The Sky,” “Separate Ways,” and “Faithfully.”  Neal Schon recruited Omar Hakim to play drums for Journey’s recent Hollywood Bowl Opening Night concert, the band’s July 4th performance in Provo, Utah, and the Canadian tour.
The Hollywood Bowl, one of the most iconic concert venues in the world, launched its 94th season with its 2015 Opening Night Concert featuring JOURNEY who performed with the Hollywood Bowl Orchestra and Youth Orchestra Los Angeles (YOLA), on June 20. The Bowl’s opening night is traditionally a fundraiser for the Los Angeles Philharmonic’s many education and community programs, which serve more than 150,000 youth, families and teachers every year, and this year it raised a record $1.6 million; the previous best was $1.4 million in 2011.
Following the Hollywood Bowl opener, and Hakim’s debut with Journey, Neal Schon stated, “I'm very happy I was able to bring Omar Hakim in to help us pull together a very elaborate and complex show at the last minute. It was a nearly impossible feat, and tall order for anyone, but with Omar’s musical integrity and talent, we pulled it off and had a blast! Glad to know I've still got the ears and now I'm 2 for 2: first was finding Arnel and now, recruiting Omar Hakim.”
Over the years JOURNEY has earned multiple accolades, including 19 Top 40 singles; producing 25 Gold and Platinum albums; and receiving a Diamond certification for its Greatest Hits album, marking U.S. sales in excess of 15 million. In 2011, they drew nearly a million fans to their Eclipse World Tour and was awarded the prestigious "Legend Of Live Award" at the Billboard Touring Awards in honor of their significant and lasting contributions to live music and the touring business, and in acknowledgement of their commitment to the fans and the art of performing live.
The group’s seminal anthem - “Don’t Stop Believin’” - is the top-selling digital catalog track inhistory, after being featured in the last scene of the electrifying series finale of HBO's ‘The Sopranos’  and then reaching another level of stratospheric success when it was covered by the cast of FOX's wildly successful series ‘Glee.’  Three decades after its original release, "Don't Stop Believin'” has reached a new generation of young fans welcoming this legendary band as it continues to bring its signature sound of classic hits around the world.
The intensely creative guitar giant, Neal Schon, has always had an innate ability to make glorious music. He began playing at age five and was inspired by soul vocalists like Aretha Franklin and Gladys Knight, and blues and jazz guitarists ranging from B.B. King Albert King, and Eric Clapton to Wes Montgomery. When Schon was just 15 years old, Carlos Santana invited him to join his band. Schon’s recording debut was on the classic 1971 album Santana III. He played the solo on the LP’s hit single,“Everybody’s Everything.” Recently Schon  completed the album Santana IV with Carlos Santana, co-writing songs and playing guitar. Additionally, Journey, co-headlined with Santana on Carlos’ recent homecoming concerts in Mexico.
6-July                         Winnipeg, MB                      MTS Centre
8- July                       Calgary, AB                           Fort Calgary – Stampede Roundup
10-July                       Penticton, BC                       South Okanagan Events Centre
11-July                       Vancouver, BC                     Rogers Arena
13-July                       Victoria, BC                          Save-on-Foods Memorial Centre
15-July                       Prince George, BC               CN Centre
16-July                       Dawson Creek, BC               EnCana Events Centre
18-July                       Edmonton, AB                     Rexall Place
19-July                       Lethbridge, AB                     ENMAX Centre
21-Jul                         Regina, SK                             Brandt Centre
22-Jul                        Saskatoon, SK                      SaskTel Centre
25-Jul                         Hamilton, ON                      FirstOntario Centre
26-Jul                        Kingston, ON                        Rogers K-Rock Centre
28-Jul                        Montréal, QC                        Centre Bell
30-Jul                        Moncton, NB                        Moncton Coliseum
31-Jul                         Dartmouth, NS                    Alderney Landing
2-Aug                         St. John’s, NL                       Mile One Centre
3-Aug                         St. John’s, NL                       Mile One Centre
For more information, visit:


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