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JOURNEY

Prog Related • United States


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Journey biography
JOURNEY is a American band who started playing in the early months of '73 in San Francisco. The music of JOURNEY is divided in 2 parts, the one from early 1973 'till 1977 when guitarist Neal Schon and keyboardist Gregg Rolie, both of Santana fame, met with bassist Ross Valory and drummer Prairie Prince from The Tubes (replaced later by Aynsley Dunbar) in the summer of 1974. Their music back then was jazz rock with progressive elements and fusion interplays , instrumental passages being pretty much top notch thanks to Neal Schon's driving riffs and solid bass lines of Valory, while the keyboards (still mostly the Hammond organ) of Rollie was something " la Santana" but less latino-inspired.

In the first period the vocal parts were done by Gregg Rollie and sometimes by Schon. In this line-up Journey was recorded, in 1975. But since the mid '70's was no more a period of jazz rock or progressive music, these musical styles being considered uninteresting. Journey's first 3 albums (Journey from 1975, Look into the future 1976 and Next 1977) sold very poorly and largely ignored by the public and mass media. Their CBS label also initially expecyted sales in the Santana range.

This thing will change next year, in 1978, when it is considered that the band stepped into a new period, the second one. After three albums that were considered dissapointing sales-wise, but were in fact Journey's most progressive ones from the entire discography, Journey hired a better vocalist - Steve Perry. Actually the change was mostly enforced by CBS, or else they would drop the band's recording contract. The results were immediately felt on the fourth album, Infinity, released in 1978, who was sold in over one million copies, more than the previous albums altogether. But the sound changes were almost dramatic. From that jazz-fusion progressive music they turned in an AOR - hard rock band, not far from what FOREIGNER, STYX or BOSTON played during the same period.

Dunbar left because of this new musical direction (rumours is that he was fired for his British rowdiness and backstage antics) and was replaced by Steve Smith. The next albums Evolution (1979) and Departure (1980) had a similar success, and Journey released hit after hit. In this time Rolie was replaced by Jonathan Cain. The peak of their career was and remains the most sold album of the band Escape from 1981, with no less that 9 million records sold wor...
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Buy JOURNEY Music


Journey: Greatest HitsJourney: Greatest Hits
Reissued
Columbia / Legacy 2006
$6.90
$2.69 (used)
Greatest Hits 1 & 2Greatest Hits 1 & 2
Sony Legacy 2011
$14.90
$14.89 (used)
Greatest Hits 1Greatest Hits 1
101 DISTRIBUTION 2011
$24.94
$50.40 (used)
EscapeEscape
Extra tracks
SBME SPECIAL MKTS. 2014
$4.09
$4.08 (used)
Greatest Hits 2Greatest Hits 2
Sony Legacy 2011
$5.23
$6.96 (used)
DepartureDeparture
Remastered
SBME SPECIAL MKTS. 2008
$4.10
$0.89 (used)
InfinityInfinity
SBME SPECIAL MKTS. 2011
$3.73
$4.09 (used)
FrontiersFrontiers
Extra tracks
SBME SPECIAL MKTS. 2013
$3.73
$3.93 (used)
Original Album ClassicsOriginal Album Classics
Box set
Sony Legacy 2013
$17.13
$17.12 (used)
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JOURNEY discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

JOURNEY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.45 | 142 ratings
Journey
1975
3.07 | 100 ratings
Look Into The Future
1976
3.07 | 98 ratings
Next
1977
2.84 | 105 ratings
Infinity
1978
2.18 | 101 ratings
Evolution
1979
2.60 | 89 ratings
Departure
1980
3.25 | 59 ratings
Dream, After Dream (OST)
1980
2.81 | 128 ratings
Escape [Aka: E5C4P3]
1981
2.88 | 101 ratings
Frontiers
1983
2.37 | 85 ratings
Raised On Radio
1986
2.53 | 69 ratings
Trial By Fire
1996
2.71 | 47 ratings
Arrival
2000
2.96 | 43 ratings
Generations
2005
3.18 | 54 ratings
Revelation
2008
3.73 | 51 ratings
Eclipse [Aka: ECL1P53]
2011

JOURNEY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.31 | 44 ratings
Captured
1981
3.58 | 19 ratings
Greatest Hits Live
1998

JOURNEY Videos (DVD, Blu-ray, VHS etc)

3.04 | 8 ratings
Live:2001
2001
3.54 | 12 ratings
Greatest Hits DVD 1978-1997
2003
3.79 | 15 ratings
Live in Houston 1981: Escape Tour
2005
3.54 | 13 ratings
Live In Manila
2009

JOURNEY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.88 | 30 ratings
Greatest Hits
1988
3.79 | 14 ratings
In The Beginnig
1990
3.30 | 14 ratings
Time 3
1992
2.98 | 17 ratings
the Essential Journey
2001
2.09 | 4 ratings
Greatest Hits 2
2011

JOURNEY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 6 ratings
When You Love A Woman
1996
2.55 | 13 ratings
Red 13 (EP)
2002

JOURNEY Reviews


Showing last 10 reviews only
 Next by JOURNEY album cover Studio Album, 1977
3.07 | 98 ratings

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Next
Journey Prog Related

Review by TenYearsAfter

4 stars In the first half of the Seventies two members of the Santana band decided to leave Carlos and make their own music: Gregg Rolie (excellent Hammond player and strong distinctive voice) and Neil Schon (unique heavy guitar sound, just listen to Every Step Of The Way on Caravanserai!). They founded Journey, along with Zappa drummer Aynsley Dunbar and bass player Ross Valory. In 1975 Journey released a highly acclaimed eponymous debut album featuring a progressive blend of different styles with a propulsive rhythm section and great work on guitar and keyboards. The successor Look Into The Future (1976) became a huge disappointment for me, it contains some good songs but too many mediocre and even weak tracks.

But on this third album entitled Next (1977) Journey seemed to have found their musical formula. Remarkable are the bluesy overtones, this fits perfectly with Gregg Rolie his a bit melancholical vocals and Neal Schonn his moving guitarwork. Like in Spaceman (biting guitar outbursts), I Would Find You (howling guitar in the end) and the final song Karma (wah-wah guitar). The great thing on Next is the development of the socalles 'early Journey trademark'. This means a slow rhythm and a bit sultry atmosphere that gradually becomes more bombastic, culminating in excellent interplay between Neal Schon his powerful guitarplay and Aynsley Dunbar his furious drumming. It's often layered with sensational Minimoog flights or spectacular biting-guitar/flashy Minimoog duels like in People and the great instrumental track Nickel And Dime, how exciting! The keyboard work by Gregg Rolie is very tasteful, ranging frommellow Fender Rhodes electric piano and bombastic Hammond organ runs to spacey keyboards (in the Vangelis-like intro if I Would Find You) and those aforementioned spectacular Minimoog flights. Unfortunately this was the last progressive album that Journey made. The charismatic singer Steve Perry joined the band and on the following 12 albums Journey their sound turned into smooth melodic rock. For me the musical journey was over.

The musical development of Journey strongly reminds me of other USA band Angel, in their early years they made an unique blend of hardrock and symphonic rock, with sensational Moog and Mellotron. The albums Angel (75) and Helluvaband (76) are Heavy Prog 'classics' but then Angel changed their music into harder-edged melodic rock. However, the difference is that Angel only got the status of a cult band for 'Heavy Prog aficionados' while Journey became a very popular 'stadium-rock' band, their albums sold millions and millions, don't stop believing.

 Journey by JOURNEY album cover Studio Album, 1975
3.45 | 142 ratings

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Journey
Journey Prog Related

Review by TenYearsAfter

4 stars How thrilled I was in 1975 to read that Gregg Rolie and Neil Schonn had founded a new band, with drummer Aynsley Dunbar (ex-Zappa), wow, two ex-Santana members and one ex-Zappa, high expectations, wasn't that a supergroup?! Well, for me Journey their eponymous debut album is still their best effort, on this highly acclaimed record the band sounds as an exciting, very progressive blend of several styles, from rock and blues to jazzrock. Their trademark is the combination of the heavy guitar work by Neal Schonn (biting and howling with frequent use of the wah-wah pedal), the often furious drumming by Aynsley Dunbar and the very distinctive vocals with that melancholical undertone by Gregg Rolie. Especially in tracks like Of A Lifetime (great build-up and grand finale), the alternating intrumental Topaz (from swinging Fender Rhodes piano to biting wah-wah guitar) and the final track Mystery Mountain (great interplay between organ, guitar and drums). The other four tracks are worth a listening session too: In The Morning Day delivers halfway a spectacular break with echo-effects, swirling Hammond and blistering guitar, the intrumental Kohoutek has an ominous atmosphere, a strong build-up and a sensational Minimoog solo and In My Lonely Feeling/Conversations contains lush Hammond organ, a dynamic rhythm-section and biting, wah-wah drenched guitar. This is the typical early Journey sound and it inpired me to go to Pinkpop in 1978 (and two years later to The Hague) to witness my beloved Journey. I was pleased with the live performance but ..... Journey with singer Steve Perry (who joined the band in 1977) is another musical story ....
 Evolution by JOURNEY album cover Studio Album, 1979
2.18 | 101 ratings

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Evolution
Journey Prog Related

Review by FragileKings
Prog Reviewer

2 stars For a brief time in the mid-eighties, Journey were a favourite band of mine. I had only four albums - Evolution, Departure, Escape, and Frontiers - but those four cassettes got played an awful lot for a few months. I never knew about their prog rock fusion beginnings nor their story of how Steve Perry came in, took control, and wrote the band into success. When I started buying CDs, the only Journey I got was Escape, and that's how it stayed for almost two decades. Finally last year, I bought the debut album but was not completely won over.

Then it happened that I heard Dream Theater's Big Medley which included a segment of Lovin', Touchin', Squeezin' and I recalled that old classic song. I thought back fancifully to Evolution and considered that it may have actually been my favourite Journey album. So I ordered a remastered copy of the album on CD.

At first, it was almost disappointing. What was wrong with the sound quality? I remembered that songs sounding stronger, the guitar playing more exciting, and Perry's vocals - fantastic in their white soul feel - not going shrill at times. When I read the reviews on PA, I was both shocked but not really surprised to read so many 1 star reviews. Basically, fans of the pre-Perry albums were not ever going to accept the band going... commercial. Although some still gave their approval begrudgingly to Infinity, Evolution was considered a giant leap backward.

Truth be told, Evolution does spend most of its energy on more straightforward rock. Though this is obviously a band with musical talent, there is little to no effort spent on creating the more progressive style of jam band that Neil Schon and Greg Rollie had set out to create after leaving Santana. In an interview with both members I watched very recently, both of them were against bringing a crooner into the band and wanted a screamer. But their manager insisted and Perry became the new vocalist. An ambitious writer, Steve Perry transformed Journey into a sing-along rock band without the prog.

As for my own opinion of Evolution, a third listen to my CD has left me regarding it more favourably. It's because the album is an old favourite that I can't be too critical of it, though I admit it is not an album for a prog list. Actually, I do like Steve Perry's voice very much; Neil Schon, though not a technical wizard, plays with great expression and emotive power; and the songs show a band with an ear for variety. The sound quality still lacks something, I feel; however, with the volume up it's easy to get into those old tunes once more. Hearing this I am now inspired to finally buy Infinity and I think I should get Departure and Frontiers again, too.

I can understand and agree with those who prefer Journey's first three albums. For a more progressive band, that's the place to look. But I think that Evolution is still only part of the journey (so to speak) before the band became the huge commercial success they were in the eighties. This album still retains some of that seventies' magic. I give it a personal rating of three and a half stars as a rock album, but two and a half stars as a prog album, rounding down for this site.

 Raised On Radio by JOURNEY album cover Studio Album, 1986
2.37 | 85 ratings

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Raised On Radio
Journey Prog Related

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars After the triumphant trilogy of "Departure," "Escape" and "Frontiers," where San Francisco based JOURNEY found huge success after having tamed down their crossover progressive tendencies that went straight for the hard rock and AOR jugular they succeeded in a short time to become one of the biggest bands in the world. And after a several year run and a slew of hit singles and successful tours, the band was on burnout mode and needed some time off. After 1983's "Frontiers," both lead singer Steve Perry and guitarist Neil Schon would release their own solo albums with Perry finding yet more success on the pop charts. After three long years in the mid-80s when the music scene was quickly changing the band finally released the followup RAISED ON RADIO in 1986 but not until after Perry got a taste for creative control where he produced his solo release and wanted to quit the band however keyboardist Jonathan Cain had other ideas and wanted Perry back in the limelight to help out on his new music, but it came with a price. Perry's newfound taste for independence resulted in both bassist Ross Valory and drummer Steve Smith being fired from the band as well as the album cover depicting the radio station that Perry's parents owned. Perry took the reins in the production department as well and as a result a JOURNEY album was released that sounded unlike anything in their previous catalogue and more like a followup to Perry's 1984 solo "Street Talk."

Technically the group was whittled down to a trio but in reality hosted a whole army of guest musicians, associate producers and engineers. The main newbies were session musician and bassist Randy Jackson who appeared on all kinds of albums by Jean-Luc Ponty, Billy Cobham and a million others and drummer Larrie Londin who also appeared on a million and one different artists' recordings. In addition there were extra bassists and drummers on board as well as Dan Hull contributing a new sound to the band - the saxophone. Despite the new arrangements and style shifts, the band found another top 10 album that would go double platinum as there was enough pop rock and AOR appeal to please the second wave fans of their career. The band would also score four top 40 hits and have yet another successful tour. However this was the end of JOURNEY at least for a while. It was clear that the band no longer functioned in meaningful way and after this album they would split until their reunion ten years later with the album "Trial By Fire."

RAISED ON RADIO is one of the stubbornly proud incarnations of the mid-80s with all of the cheese and pompous glory associated with that time period, but for what it is, i have to say that there are appealing pop rock tracks to be found on this one. And in that regard is very similar to almost every JOURNEY album i've encountered. That meaning there are a handful of extremely strong and well constructed pop rock hooks floating around in a few tracks and then a bunch of AOR filler and wimpy arena rock crap. RAISED ON RADIO is no different than the rest actually. Personally i'm quite partial to three of the singles on this one. The upbeat and catchy "Girl Can't Help It" displays the band's pop hook talents as good as anything they had ever concocted. Same with the more energetic "Be Good To Yourself." The slower ballad "I'll Be Alright Without You" also captures Perry's unique crooning abilities to weave magic around an otherwise OK melodic track, however my absolute favorite on the album is the non-single second track "Positive Touch" which is so damn catchy that if you swapped out vocalists could easily fit on Supertramp's "Breakfast In America" with its cleverly crafted groovilisciousness and sizzling sultry sax solos.

Other than the somewhat mesmerizing ballad "The Eyes Of A Woman," i find the remaining tracks to be somewhat lackluster as they exemplify the excess AOR tendencies that were aimed at post pubescent mall rats who lusted over Perry's ridiculous swooning lyrics. Particularly nauseating is the closer "Why Can't This Night Go On Forever" which just reeks of a slow wedding dance ballad when the booze has run low and the sentiments high and a raw slice of AOR hell that sounds like a reworked production of their previous hit "Faithfully". The rest of the tracks including the hit single "Suzanne" are just to syrupy and just don't come close in quality to the strongest tracks on the album. This could have been a very satisfying album overall if they would've stuck to the sultry swinging sax type of tracks that work quite well with their songwriting skills. Unfortunately that was not to be and JOURNEY once again released an album that i keep around for a few tracks that i listening to but this is just another album that has too much filler. 3 stars for the strong tracks that makes this a decent listen with some selective skipping.

 Raised On Radio by JOURNEY album cover Studio Album, 1986
2.37 | 85 ratings

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Raised On Radio
Journey Prog Related

Review by Guillermo
Prog Reviewer

1 stars "Street Talk....Part Two"

Well. I mean: this album sounds more like another mid eighties solo album from Steve Perry than an album by JOURNEY. "Raised on Radio" was recorded in late 1985, and released in 1986, and it sounds very influenced by Steve Perry's previous solo album titled "Street Talk" from 1984, which I listened to several times in 1985 and I never liked it. In fact, I saw this "Raised on Radio" album in a record shop in 1986, and I didn't buy it after I listened to the song "Be Good to Yourself "in the radio several times. Full Corporate Rock music. That is: very commercial Pop Rock from that period of time, sounding very influenced by some bands from the same time (TOTO, STARSHIP). With typical mid eighties's keyboards sounds, reverberation, even the use of sax in some songs (something that the band used for the first time, I think, in this album). There are some very good lead guitar parts played by Neal Schon which identify this album as being an album from JOURNEY. But the album for the most part is very influenced by Steve Perry's successful "Street Talk" album. Of course, he co-produced the "Raised on Radio" album (with Jim Gaines), a thing which then caused some problems. First, bassist Ross Valory left the band before the recording of the album startet, and later drummer Steve Smith left the band after playing the drums on three tracks, saying years later in an interview that for this album it was the first time that he was asked to use a "click track" (a metronome) to record his drum parts, a thing that he didn't like then, because he liked more to play and to record the songs in a more spontaneous way (with him being a very good drummer, I think that he was right). So, the band became a trio (Steve Perry, Jonathan Cain, Neal Schon), with the three of them being the main composers of the band anyway, and recruiting some session musicians to record this album and later to go on tour.

This album is not bad as a typical Pop Rock album from the mid eighties. But the sound of the band really changed a lot from previous albums like "Frontiers" (1983) and "Escape" (1981). Maybe the record label executives and A&R personnel wanted this album to be like it is. I was right to never buy this album. It really is for the very dedicated fans of the very typical mid eighties Pop Rock music. Steve Perry is a very good lead singer, and he was going to record a much better solo album for 1994 ("For the Love of Strange Medicine"). But his 1984's "Street Talk" solo album, despite being more successful, was maybe the first step to influence JOURNEY's music in 1985-86 to the point that the band lost some of its original sound and identity. They split after the tour for this album.

 Greatest Hits by JOURNEY album cover Boxset/Compilation, 1988
2.88 | 30 ratings

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Greatest Hits
Journey Prog Related

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars Journey is a band that normally is not considered a prog band, sometimes people even don't consider them a rock band, but well, sometimes labelling is merely subjective and what people should do is to enjoy the music they like without making comparisons and strict categorizations. Now that I found that they are here in the archives (I had completely forgot it) and that I've been a bit nostalgic listening to old records, I wanted to write a few words about this compilation album.

A "Greatest Hits" release might sum up the band's most successful tunes, which does not necessarily mean those are their best compositions, but might be some iconic songs that people around the world identify and love. This 1988 release is a perfect example of commercial success which gathers some rock tunes and some ballads that people from all ages and eras could enjoy, which makes it even a timeless record, because not matter where or when you play it, there will be people excited singing those songs, having memories and also introducing the band to others. I don't play it frequently, I actually don't listen to Journey frequently, but when I do, I tremendously enjoy singing songs such as "Separate Ways", "Open Arms" and of course "Don't Stop Believin'" among others.

So well, I think this release is actually worth it, pretty nice for those who like the band and a nice introduction for those who are not familiar with Journey's music. For that, despite there only a 5% of prog rock here, I wanted to review it and want to recommend it to those nostalgic minds who enjoy AOR.

Enjoy it!

 Trial By Fire by JOURNEY album cover Studio Album, 1996
2.53 | 69 ratings

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Trial By Fire
Journey Prog Related

Review by Chicapah
Prog Reviewer

1 stars Whenever I'm feeling snarky I always know I can take my dour mood out on groups like Journey instead of my lovely wife or close relatives. But the joke's ever on me because, as usual with this band's records, what I foolishly presume will be a relatively painless aural exercise turns out to be an agonizing ordeal of yearning for it to be over. One of the drawbacks of the CD era is that commercial-minded ensembles like this bunch were now able to fit a lot more of their anemic, anti-prog material on a single disc. I should get a special Boy Scout merit badge just for sitting through this! In reference to this album singer Steve Perry boasted that "we didn't try to reinvent ourselves." He wasn't kidding. I'll say this up front: If you liked the music Journey was making just before they went on hiatus in '87 you're gonna be happy as a clam with what's on this, their 1996 comeback release, "Trial by Fire." Times changed. They didn't.

"Message of Love" - A spacey intro leads right into a "formula rock" ditty that holds no surprises. The only thing more predictable is the sun rising in the east every morning. "One More" - Following a sappy orchestral snippet that includes a "dramatic" spoken-word section I was mercilessly subjected to Perry's overwrought, Broadway stage-worthy vocalizing. In my mind I could picture him slowly rising from a smoking volcano and then strolling down a long lava-lined staircase while gesturing provocatively to the audience. (Hell, I had to think of something to take my mind off the banality of the tune.) "When You Love a Woman" - A very Michael Bolton-ish power ballad snooze fest complete with a faux gospel chorale swaying in the background. (I find I'm already having to restrain my gag reflex and I'm only 3 cuts in!) "If He Should Break Your Heart" - What's truly breaking my heart is that this kind of shlock is on a progressive rock music site. I mean, even cotton candy isn't this sugary. "Forever in Blue" - These guys evidently bought into the record label's motto of "If it worked a decade ago it'll work again. Trust us." Sadly the suits were right but to my ears this is a vile piece of embarrassingly dated crapola. "Castles Burning" - An example of what happens when a pop act tries to get "heavy." It's extremely difficult for me to imagine anyone playing this for a friend and exclaiming "Isn't this FANTASTIC?" And, like most of the tracks on this record, it's about four minutes too long. "Don't Be Down on Me Baby" - Here's where they roll out their obligatory "bluesy waltz" number. I found it almost as entertaining as clipping my toenails. Neal Schon is an okay musician but he always comes off as an insecure lead guitarist trying to impress his peers with how fast he can play. That approach gets real old real fast.

"Still She Cries" - Perhaps if they'd made this an instrumental it would've provided me with a much-needed ray of light but no, they just had to turn it into a song only a lovesick 12 year old Daddy's little princess could relate to. "Colors of the Spirit" - Oh, great. Now I'm on safari with these jokers. I reckon this is their attempt to create a "world beat" sound but Perry's pasteurized voice makes that a mission impossible. Good grief, this is torture. "When I Think of You" - I can almost hear one of the band members saying "Hey, fellas, let's manufacture another clone of 'Forever Yours!' Cha-ching!" Um, somebody nudge me when this dull-as-a-butter-knife dirge is over. Or not. "Easy to Fall" - At this juncture it's almost as if they're intentionally parodying themselves. This is so awful it defies description. "Can't Tame the Lion" - This tune begs the question; "Don't y'all have any flavors other than plain vanilla?" "It's Just the Rain" - Deafening white noise would be preferable to this. I feel like I'm trapped in an elevator. Alone. Evidently they felt it necessary to add a lot of "stormy night" sound effects to make sure I "got" the theme. Segue into "Trial By Fire" - Who actually paid good money for this stuff anyway? Did Steve just warble the line, "Hello, Mister Moon?" Yes. He did. Just shoot me. "Baby, I'm Leaving You" - Enough already. They just had to go full pseudo reggae on their way out, huh? This is about as soulful as a Lawrence Welk YouTube video. Pitiful. Journey has no shame whatsoever. I'm definitely leaving. To go throw up.

Dig this, though. This CD made it to #3 on the album charts! What? And the syrupy "When You Love a Woman" not only rose to #12 on the singles chart, it was nominated for a Grammy! If you don't believe me look it up for yourself. In addition, three other singles culled from this album charted! Yark! That means a substantial amount of people actually missed Journey's hit- making monotony machine and welcomed them back with um, open arms. If there's a bright spot to behold it's that this was the end of the Perry period. Seems he broke a hip in Maui before the support tour began and that forced the band to cancel the whole strolling-down-the-volcano thing they had planned. Bummer. It would've been neat-o. As I indicated earlier, if this is your cup of tea then be my guest. Dive in. Stay in. As for me, I'd rather hear fingernails scraping down a chalkboard. No stars.

 Captured by JOURNEY album cover Live, 1981
3.31 | 44 ratings

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Captured
Journey Prog Related

Review by Prog Leviathan
Prog Reviewer

3 stars Journey is just one of those bands that can generate very strong, fan-boy level of enjoyment... or groan filled, nausea inducing levels of syrupy sweet distaste. As one of the first rock bands that I fell in love with during my adolescence, for me Journey music is mostly filled with good memories. While only their early releases qualify as fusion, and therefore just prog enough to make it to this site, Captured is still a solid a showcase of the band's talent for crafting excellent pop-rock songs with all the right combination of hooks and melodies and feel-good memorability to make it a great live purchase for fans of the band.

The setlist covers the three albums from the band's middle period (1978-1980). This means there's no "Don't Stop Believing" or "Faithfully," which may make it more appealing to prog fans. I consider this to be one of the best periods of Journey's output: they're still crafting good old fashioned rock and roll, but with a high level of polish and approachability. Highlights from Infinity and Departure are the clear winners. The band plays quite well, with Schon being the obvious standout, though not so much that he steals the show. Greg Rolie's piano are very strong throughout; while he never gets much solo duty on these songs, the tones of his keyboards are easily heard throughout thanks to a nice production. Ditto for Ross Valory's bass; he even gets a groovy solo during the vamp of "La Do Da." Fans of the group will be interested to know that Captured features two songs not heard on other albums... bonus!

The band plays extended versions of a few of their tunes, such as a second solo verse in "Lights," and chorus extension in "Walks Like a Lady." Overall though these are very clean versions of songs so don't expect many "wow" live moments. Captured's production shows the band playing very tightly, doing what they do best. If you're into Journey, that's a good thing. If you aren't, this probably won't change your mind unless you're open minded about their '70's output.

Setlist: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 3 - Stage/Energy: 3

 Arrival by JOURNEY album cover Studio Album, 2000
2.71 | 47 ratings

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Arrival
Journey Prog Related

Review by Necrotica
Prog Reviewer

3 stars Journey will generally be known to the general public as that band who made all the cheesy prom ballads and arena-style hard rock staples for the airwaves. With this knowledge, most people are in the dark about the real talent some of their work held. Take a trip back to the humble days of 1975; Journey were just getting their feet wet with a debut that mixed classic hard rock with progressive and fusion-based flourishes. The result was an album that the public doesn't notice much today, much less back then. Two more albums followed in this vein before Steve Perry joined and made the band more commercial.

Now, why am I telling you all this?

Simple: because this specific album takes a bit of a joyride back to the pre-Perry era. Sure, Perry's time with the band is clear with similarly cheesy love ballads (see the awful "All the Way"), but there's a certain feel that makes it stand out quite a bit in Journey's catalog. First of all, rejoice because this kicks the ass of 1996's Trial by Fire! The band sounds much more energized, and while singer Steve Augeri sounds eerily close to our previously mentioned former frontman, he packs a great deal of energy even with the daunting running time of 74 minutes. The rest of the members hold their own as well and create a nice sense of balance by not being overly flashy or low in the mix.

Speaking of balance, the songs are more varied this time around, ranging from fist-pumping hard rock anthems ("Higher Place," "To Be Alive Again"), soft rock ballads ("Loved by You," "Kiss Me Softly") and even some progressive hints ("Livin' To Do," "World Gone Wild"). Also, this album marks a much-needed lack of the horrid adult-contemporary style of the previous album, once again catering back to their old fans. Just one listen to opener "Higher Place" is a sign of a return to the old lively energy that Journey had back in the 80's.

One extremely pleasing quality here is how the band give a little bit of something to multiple generations of fans. The old guitar style and inclusion of Steve Augeri is obviously a way to regroup the old fanbase, while the modern production and shiny polish to the mix screams "2000's". Songs like "Higher Place," "To Be Alive Again" and "We Will Meet Again" certainly work well in this regard, with flourishes of the Perry era and the polished production of modern rock, almost like the band is tapping into The Darkness in some way (albeit with less of that cheeky humor).

Then there are the ballads; what a mixed bag. This slice of the album is where you'll hear some real and unfortunate inconsistency. For instance, "Loved by You" is a fantastic ballad worthy of the old Journey tag, and also adding a slightly folky atmosphere to it ("Livin' To Do" does a similar thing). But then, you hear the song "All the Way". This song is H-O-R-R-E-N-D-O-U-S. Essentially, it's like Journey's prom ballads x10; it ranks up there with "Forever Young," but at least that's a good song. This song takes "corny" to a whole new level. The rest of the ballads follow suit, ranging from bad-to-decent-to-great.

One more gripe is that Steve Augeri, as I said, sounds a bit too much like Steve Perry, and it would really have been nice to hear some more variety in his vocals. It's clear that he's a talented and capable singer, but it'd be great if he adds a few extra things to the table the next time around. Aside from that, things are good the way they are.

Whether you want to purchase this album depends on a simple question: do you like Journey or not? If you don't like Journey, this won't exactly change your mind. However, I think fans of the band will find a bit of a treat in spite of the initial backlash this record received. Arrival is a nice revival of the old classic rock hits and hooks we all knew Journey for, and for some people that just might be enough.

 Generations by JOURNEY album cover Studio Album, 2005
2.96 | 43 ratings

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Generations
Journey Prog Related

Review by Necrotica
Prog Reviewer

4 stars There just comes a time when a musician comes to his/her senses and decides to call it quits, and some have done this better than others. In the case of Journey, it would be a huge loss when Steve Perry decided to leave the group after 1996's abysmal Trial By Fire. It's an unfortunate situation when an artist ends on such a disappointing note. To make matters worse, Journey decided to press on with a different singer, and what do they do? They hire a Steve Perry clone. As much of a cop-out as that is, it was received much worse by the fans; rather, not at all by the fans. The problem with that is that Journey fans had always been a particularly resonant bunch with a lot of energy as an audience, so being lukewarm toward news such as this must have been a bit of a blow.

Going into this album with those tidbits of info, I approached an album like this with pretty low expectations... but just like 2001's Arrival, this was a surprising solid release... DAMN good, in fact! For being over 70 minutes worth of material, the band manage to really inject a firm dose of life into their aging sound. The result is a modern album full of classic cuts worthy of Journey's 70's/80's records, as well as some that really surprise on manifold levels.

The first thing you notice is that the songs are exceptionally long for a Journey release... the first song, "Faith in the Heartland" is a daunting 7 minutes long, a length not seen since 1976's title track "Look Into the Future" which clocks in at over 8 minutes. In that sense, the band give a subtle nod to the pre-Perry days, much like Arrival did. The second thing you notice is singer Steve Augeri's resemblance to old classic rock legends like Steve Perry (of course) and Robert Plant. Unfortunately, while he is a capable singer and frontman, he is probably the weakest link on this release, not offering much in the way of anything new from Steve Perry.

The songs comprise what is perhaps the band's most daring material yet. First of all, the album is a lot heavier than previous Journey albums, and some songs were really shocking in how brutal they could be. Take album highlight "Out of Harm's Way" for instance; in the middle after a particularly solid chorus, the band go into a heavy metal breakdown. Yes, you read this right... A JOURNEY METAL BREAKDOWN. Yup, and you know what? It's a very well-done breakdown; I could even see Dream Theater doing this kind of groove on an album like Awake or Falling Into Infinity.

The other daring aspect of the album is to allow other band members to sing a few songs. This is unfortunately one of the areas where it's a mixed bag. Neal Schon's performance in "In Self-Defense" is really solid, and Schon is a very capable singer; unfortunately, I can't say the same about bassist Ross Valory. His performance on "Gone Crazy" is extremely weak despite the song being pretty decent, and he sounds like he's doing a bad pseudo-bluesy ZZ Top impression. Luckily, Augeri still sings the majority of the songs on here, so the album still retains its consistency.

Despite the situation with mixed vocal performances, the songs are in no way mixed or inconsistent. Everything here retains the classic 70's-style Journey sound, and adds its tricks to keep things fresh. The highlights are definitely the hard-rockers like "In Self-Defense" and "Out of Harm's Way," but the band's subtle side sees some fantastic moments as well. "Butterfly (She Flies Alone)" is the big standout in this regard; a soft, distant piano melody starts the song off, and the way Steve's vocals and Jonathan Cain's piano chords fit together is simply sublime in this song. Neal's guitar work adds an overlaying texture to the main melody, and the song never gets boring in its 6-minute runtime.

Overall, this album improves upon Arrival's initial attempt at quasi-recreating the old Journey sound. Generations proves that you in fact CAN retain an old flame years after it's passed, as long as you bring new tricks to the table. It may not have performed favorably in terms of sales, but for non-buyers, it's their loss. This one's a keeper.

Thanks to b_olariu & Ricochet for the artist addition. and to easy livin for the last updates

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