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Journey Lead Singers In Order: History and Band Members

In this article, we delve into the captivating history of Journey, an iconic rock band that has left an indelible mark on the music industry. From their humble beginnings to their meteoric rise to fame, Journey has mesmerized audiences worldwide with their unique sound and timeless hits. Join us on a journey through time as we explore the remarkable story of this legendary band.

Formation of the Band

Journey was formed in 1973 in San Francisco, California, bringing together a group of highly talented musicians. The founding members included Neal Schon, Gregg Rolie, Ross Valory, Aynsley Dunbar, and George Tickner. With their combined musical prowess and creative vision, they set out to create something extraordinary.

Early Years and Musical Style

During their early years, Journey experimented with a fusion of rock, jazz, and progressive influences, creating a distinctive sound that set them apart from their contemporaries. Their self-titled debut album, released in 1975, showcased their musical versatility and marked the beginning of their incredible journey.

Evolution and Breakthrough Success

In 1977, Journey underwent a significant change that would forever shape its destiny. Steve Perry joined the band as their lead vocalist, injecting new energy and unparalleled vocal range into their music. This lineup change proved to be a turning point for Journey, leading to a series of chart-topping albums and unforgettable songs.

Chart-topping albums and Hit Singles

Journey’s breakthrough came in 1978 with the release of their album “Infinity,” which became a massive success. The album spawned the hit singles “Wheel in the Sky” and “Lights,” propelling Journey into the mainstream spotlight. They continued their winning streak with subsequent albums, including “Evolution” (1979) and “Departure” (1980), which produced hits like “Lovin’, Touchin’, Squeezin'” and “Any Way You Want It.”

The Iconic Album: “Escape”

In 1981, Journey released their most iconic album to date, “Escape.” This album elevated their status as rock superstars and solidified their place in music history. Featuring the mega-hits “Don’t Stop Believin’,” “Open Arms,” and “Who’s Crying Now,” “Escape” became an instant classic, captivating audiences with its emotionally charged lyrics and powerful melodies.

The Power Ballad Era

Journey’s success continued into the mid-1980s, defined by the rise of power ballads that struck a chord with fans worldwide. Songs like “Faithfully,” “Separate Ways (Worlds Apart),” and “Send Her My Love” showcased the band’s ability to create heartfelt and anthemic ballads that resonated deeply with listeners.

A Change in Direction

As the 1990s approached, Journey faced challenges and underwent significant lineup changes. Steve Perry departed from the band in 1987, leading to a period of transition as they searched for a new lead vocalist. Despite these challenges, Journey remained resilient and continued to produce music that captivated its loyal fan base.

Journey’s Enduring Legacy

Although the band’s popularity waned in the late 1990s, their music never faded from the hearts of their dedicated fans. Journey’s timeless classics continue to resonate with audiences of all ages, thanks to their emotional depth, infectious melodies, and inspiring lyrics. Their songs have become anthems for perseverance, love, and the power of music itself.

Past Journey band members include the following:

• Steve Perry (1977-1998)
• Aynsley Dunbar (1974-1978)
• Robert Fleischman (1977)
• Steve Smith (1978-1985, 1995-1998)
• Randy Jackson (1985-1987)
• Steve Augeri (1998-2006)

Current Journey band members:

• Neal Schon – Guitar (1973-present)
• Jonathan Cain – Keyboards (1980-present)
• Ross Valory – Bass (1973-1985, 1995-present)
• Arnel Pineda – Vocals (2007-present)
• Deen Castronovo – Drums (1998-present)

Lead Singers of Journey

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The Original Journey: Gregg Rolie’s Era

Gregg Rolie, a two-time Rock and Roll Hall of Fame inductee, served as the original lead singer of Journey. He began his musical career as a co-founder and lead vocalist of Santana before joining forces with Neal Schon to form Journey. Rolie’s soulful voice and exceptional skills as a keyboardist and harmonicist contributed to the band’s early success. He showcased his talent on albums like “Journey,” “Look into the Future,” and “Next.” However, Rolie transitioned to co-lead vocals when Steve Perry joined the band in 1977.

Steve Perry: The Voice of Journey’s Greatest Hits

Steve Perry, widely recognized as the quintessential Journey lead singer, propelled the band to unprecedented heights during their most commercially successful era. Born with a gift for singing, Perry’s powerful and emotive vocals struck a chord with audiences worldwide. With Perry at the helm, Journey released a string of chart-topping albums, including “Infinity,” “Escape,” and “Frontiers.” Iconic songs like “Don’t Stop Believin’,” “Open Arms,” and “Faithfully” became anthems for a generation. Perry’s remarkable songwriting abilities and magnetic stage presence contributed to the band’s enduring legacy.

Current Lead Singer: Arnel Pineda

Following Steve Perry’s departure in 1987, Journey experienced a series of lead singer changes. Steve Augeri, known for his vocal range and stage charisma, took over from 1998 to 2006. Jeff Scott Soto briefly joined the band in 2006, leaving his mark with his distinctive style. However, it was Arnel Pineda who breathed new life into Journey as the current lead singer. Pineda’s incredible vocal resemblance to Steve Perry, coupled with his dynamic stage presence, won the hearts of fans worldwide. Since 2008, Pineda has seamlessly integrated into the band, injecting fresh energy and passion into their performances.

Journey’s Enduring Discography: Albums That Defined an Era

Over the past five decades, Journey has released a diverse and extensive discography, showcasing their musical prowess and creativity. Let’s explore some of their most iconic albums:

“ Infinity ” (1978): With Steve Perry as the lead singer, “Infinity” marked a significant turning point for Journey. It featured hit singles like “Wheel in the Sky” and “Lights,” solidifying their place in the rock music landscape.

“ Escape ” (1981): This album became a monumental success, boasting chart-topping hits such as “Don’t Stop Believin'” and “Open Arms.” “Escape” catapulted Journey to international stardom and remains one of their most beloved records.

“ Frontiers ” (1983): Building upon their previous success, “Frontiers” showcased Journey’s evolution with tracks like “Separate Ways (Worlds Apart)” and “Faithfully.” The album’s polished production and memorable hooks solidified Journey’s status as one of the biggest rock bands of the 1980s.

“ Raised on Radio ” (1986): Released during the band’s final years with Steve Perry, “Raised on Radio” featured a more radio-friendly sound and produced hits like “Be Good to Yourself” and “I’ll Be Alright Without You.” Despite tensions within the band, the album showcased their ability to create catchy, melodic rock tunes.

“ Revelation ” (2008): With Arnel Pineda as the lead singer, “Revelation” marked a new chapter for Journey. The album featured new recordings of their classic hits, reaffirming Pineda’s vocal prowess and rekindling the band’s popularity among longtime fans and a new generation.

“ Eclipse ” (2011): Continuing their musical journey with Pineda, Journey released “Eclipse,” a record that showcased their ability to evolve while staying true to their roots. The album demonstrated their enduring songwriting skills and featured tracks like “City of Hope” and “Edge of the Moment.”

“Escape & Frontiers Live in Japan” (2019): As a testament to their enduring appeal, Journey released a live album featuring their performances of the “Escape” and “Frontiers” albums in their entirety. The release showcased the band’s timeless hits in a live setting, capturing the energy and excitement of their concerts.

Journey’s Impact and Legacy

Journey’s impact on the rock music landscape cannot be overstated. With their infectious melodies, anthemic choruses, and powerful vocals, they carved out a unique sound that resonated with millions of listeners. Their music transcended generations, becoming the soundtrack to countless moments and capturing the hearts of fans worldwide.

Steve Perry’s tenure as the lead singer marked the band’s most successful period, and his distinct voice became synonymous with Journey’s sound. His emotional delivery and ability to connect with audiences elevated their songs to new heights and created an unparalleled legacy.

Arnel Pineda’s addition to the band injected new energy into Journey and allowed them to continue their musical journey. Pineda’s remarkable vocal resemblance to Perry breathed new life into the band’s live performances, earning him a dedicated fanbase and ensuring that Journey’s music lives on.

Journey’s timeless hits continue to be celebrated and embraced today. Songs like “Don’t Stop Believin'” have become cultural touchstones, appearing in films, TV shows, and sporting events, and capturing the imaginations of new generations of listeners.

Journey Band Member’s Ages

Here, is the list of all the Journey member’s ages. It seems like all of the Journey band members are above 50 and below 80.

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JOURNEY's JONATHAN CAIN: 'We're Very Happy With ARNEL PINEDA'

In a new interview with Steve King of the 105.3 The Bone radio station, JOURNEY keyboardist Jonathan Cain spoke about the band's current working relationship with its longtime vocalist Arnel Pineda . Pineda was a bar and club singer working in Manila, Philippines in 2007 when he got an e-mail from JOURNEY guitarist Neal Schon who had seen videos of Pineda performing on YouTube and asked him to come to San Francisco and audition to become the band's new frontman.

"Yeah, Arnel 's 16 years celebrating — this is his 16th year [with JOURNEY ]," Cain said. "[It's] probably the longest tenure of any lead singer for the band. So, he's been crushing it for us. He's got his kids on the road with him this time, and he seems really content and happy. And we're really proud of everything he's done up to this point. And we see some years left. There's definitely still some gas in the tank. But we're very happy with Arnel . He's amazing."

Classic JOURNEY singer Steve Perry left the band in 1998 and was replaced by Steve Augeri . Jeff Scott Soto replaced Augeri in JOURNEY in December 2006 after Augeri began suffering throat problems on the road. But Soto lasted less than a year, and in December 2007, JOURNEY hired Pineda , who fronts the band to this day.

Back in August 2022, Schon was asked what it had been like to work with Pineda for the prior 15 years. He responded: " Arnel is just a gem. He's more amazing right now than he was when I first found him in Manila 15 years ago, when he was homeless and he was in dire straits. I was searching for the new singer for JOURNEY and I chose YouTube to look all over the world for the singer. When I heard his voice, I knew that he was it — with no other thought. It hit me emotionally in my heart. I went, 'That is the voice. He is the voice. I know he can do it.' And so I stuck to my guns, with a lot of resistance from many — from within the band and from management. They all thought I was crazy. I said, 'I know I'm right. So get him over here.' We got him over. And he proved that I was right again."

Neal continued: "The show we just played the other night, he sounded phenomenal through the whole show. We finally got his in-ears sorted out; we've got a great mixer in front now. It sounds like a record every night. And he's sounding phenomenal every night. And he's very excited about some of the new direction that we took that allows him to show how creative he can be without having to emulate our other albums, which is a requirement for any singer that would come into JOURNEY . It's either that or you throw away all your hits that you ever had. And what do you do? Start from ground zero again? It doesn't make sense.

"So I knew when I found Arnel that I had found a true chameleon like no other singer I've ever heard. He is amazing. I love him. He's a true warrior."

Born in the Philippines, Pineda has been fronting the legendary rockers since 2007. A vocal doppelganger for JOURNEY 's longtime vocalist Steve Perry , Arnel has helped put JOURNEY back in arenas once again. But some fans were not happy about the addition of Pineda , complaining about his ethnicity and dismissing his voice as a "copycat" of Perry .

Pineda and Perry finally crossed paths when JOURNEY and its former singer shared the stage at their induction into the Rock And Roll Hall Of Fame in April 2017. While accepting the award, Steve spoke warmly about his former bandmates, as well as the man who replaced him. "I must give a shout-out to a man who sings his heart out every night, Arnel Pineda ," Perry said.

Although Pineda did not get inducted with his bandmates, he did get up and join them at the Hall Of Fame induction ceremony, singing "Don't Stop Believin'" and "Lights" .

Six years ago, Perry told SiriusXM that he didn't perform with JOURNEY at the Rock Hall ceremony because he is "not in the band. I haven't been in the band for quite some time," he explained. " Arnel 's been in the band for almost 10 years, I think. He's a sweet kid — he's a wonderful kid. He sings his heart out every night. It's his gig."

As for meeting Pineda before the induction, Perry said: "There was something endearing about the way he looked at me. He was meeting, like, a grandfather. [ Laughs ] He's got the gig. It's his gig. He's doing great."

Pineda has overcome a tremendous number of obstacles throughout his life, including the loss of his mother at a young age, homelessness and borderline starvation, making him an inspiration and providing hope for millions of people around the globe. Blessed with the ability to give back, Pineda mobilized his team to join the battle against poverty and its ensuing havoc on Philippine youth.

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He Didn't Stop Believin'

By Alex Pappademas

Photography by Andrew Hetherington

arnel pineda, who turns 41 this year, has been performing in bands since he was a teenager, and by now he has mastered virtually every kick-ass lead-singer move known to rock. He can launch his compact body off the drum riser and land without twisting an ankle. He plays excellent microphone-cord air guitar. He knows when to do the reach-out-and-touch with the fans in the front row and when to turn the microphone stand upside down and lift it above his head, as if calling down the lightning. He knows how to do these things because he is a professional lead singer and a good one, which means he is a virtuoso whose instrument is his own charisma. He is also adept at the parts of the lead-singer job that involve singing.

Until recently, the only place you could see Pineda doing any of this stuff was in Manila, where he and his band, the Zoo, appeared regularly at bars and nightclubs, or on the YouTube channel of an industrious Zoo fan named Noel Gomez, who has uploaded more than sixty video clips of the band performing live, usually on stages that resemble discarded sets from early-'90s late-night talk shows. It was thanks to those videos, in which Pineda sings the songs of Deep Purple, the Goo Goo Dolls, Heart, Stryper, Styx, Toto, Aerosmith, Bob Marley, the Red Hot Chili Peppers, Simple Minds, Bryan Adams, Men at Work, the Beatles, and REO Speedwagon, that he wound up here at the Planet Hollywood hotel in Las Vegas on a Saturday in early March, playing his first U.S. show as the new lead singer of the legendary '80s rock band Journey.

It's a little after 8 p.m., and we've reached the point in "Any Way You Want It" where lead guitarist Neal Schon, who cofounded Journey in 1973, plays a precise yet impassioned hairspray-torch of a solo. This is Pineda's cue to sidle up to Schon and make your-guitar-playing-is-rocking-me-so-hard faces at him, prompting Schon to make equally ridiculous not-as-hard-as-it's-rocking-me-my-brother faces back. It's the kind of thing singers in arena rock bands have been doing during the guitar break since arenas were invented, and usually it's only entertaining if you know, for example, that the guitarist and the lead singer actually hate each other. But when Pineda does it, it's more than a gesture. He has performed this song live many times before, but he's still getting used to performing it with the band that made it famous, so when he does the grooving-on-the-solo thing, he appears genuinely awed,1 not only by the force of Schon's rocking but by the fact that he, Arnel Pineda, is actually being rocked by Neal Schon. When he turns to the audience—where fans have been waving the Philippine flag and their own homemade banners (arnel for president) in his general direction all night long—the look on his face is equal parts glee and disbelief.

"My life is a fairy tale," Pineda told me earlier. "But I'm awake, and I'm dreaming it."

if you're in a long-running classic-rock band and you find yourself without a lead singer, as Journey did last summer, you have several options, aside from retirement. The minute it's announced that you and your frontman have parted ways, aspirants to the position will begin sending you their CDs, whether or not you have asked for them.

But if you're Journey, at least a few of the innumerable bedroom karaoke-ists, tennis-racket axpersons, and car-dashboard drummers your music has inspired will have gone semipro, forming tribute bands that play your music in a Civil War–reenactment kind of way, which means you've also got a vast pool of ready-on-day-one understudies from which to draw. When Judas Priest made their first album without original lead singer Rob Halford in 1996, they drafted Tim "Ripper" Owens, an Akron office-supply salesman who sang Halford's parts in a Priest tribute band; thanks to the 2001 film Rock Star, in which Mark Wahlberg played an Owens manqué named Chris "Izzy" Cole, this is probably the most famous example of a band calling a singer up from the farm team.

It's a major crossroads, this frontman decision. You can bet on the future by tapping a singer who may have his own thing happening, or you can reinvest in your legacy by recruiting a singer who's been practicing your stuff for years. But when Journey parted ways with frontman Jeff Scott Soto last summer, Neal Schon began to wonder if there was another way to go.

What you need to know here is that the lead-singer slot in Journey has always been a high-turnover position, somewhere between "Mr. Pamela Anderson" and "drummer for Spinal Tap" on the volatility scale. Soto was either the third, fourth, or fifth guy to have the job, depending on whether or not you count keyboardist Gregg Rolie (responsible for some of the vocals on the band's first three albums) or Neal Schon (ditto) or Robert Fleischman (who sang live with the band and cowrote "Wheel in the Sky" but never appeared on a studio album). But as far as Journey's fans are concerned, there is but one true Journey vocalist, and his name is Steve Perry. Before Perry, Journey were a chops-flaunting jazz-rock outfit whose first three albums had sold poorly; when Columbia Records threatened to drop the band, their manager, Herbie Herbert, prevailed upon them to hire Perry, who had a supple tenor, a gawky, earnest stage presence, and one of the worst haircuts in rock. Together, he and Journey began writing new songs that showcased two of these three qualities, and by the turn of the decade they'd become one of the biggest bands on earth.

Sometimes pop songs are poetry, and sometimes they're art, and sometimes they're poetry transformed into art and written in airbrush on acid-washed denim. During the Perry years, Journey sang about dreamers on the run, about summer nights, about the lonely road. They once rhymed "walkin' a high wire" with "caught in a cross fire." They made videos so singularly ill-conceived—like "Separate Ways," which is clearly supposed to take place in the kind of gritty urban environment where one might find oneself caught in a cross fire while walking on a high wire but appears to have actually been filmed in the parking lot of an Ikea—that they now resemble_ Flight of the Conchords_ skits. Pete Townshend once said, "If you steer clear of quality, you're all right," but Journey played everything with an aerobic professionalism that suggested that quality was Job One. Most rock critics despised them; they were frequently lumped in with Styx and Foreigner and characterized as "faceless," an allegation the members of Journey say they neither appreciated nor understood.

By Oren Hartov

By The Editors of GQ

By Alissa Fitzgerald

They were never cool, and they were never dangerous. Cool, dangerous bands advocated the use of drugs, or at least testified to their allure; Journey signed a then groundbreaking endorsement deal with Budweiser and once arrived at a St. Louis gig in a carriage pulled by the brewer's iconic team of Clydesdales. Cool, dangerous bands lured their fans to the dark side using satanic iconography; Journey tempted their fans into arcades to pump quarters into Bally Midway's Journey video game.2 Cool, dangerous bands made parents nervous; any kid who tried to rebel by cranking the soaring and saccharine sounds of Frontiers or Escape deserved to be laughed at through his or her bedroom door (and sat down by an elder sibling for a stern talking-to about the greatness of Black Sabbath).3

But for about a decade, they could basically do no wrong in the eyes of the record-buying public, who fell hard for future classic-rock radio staples like the shamelessly inspirational "Don't Stop Believin'," the shamelessly sentimental "Faithfully," and the shamelessly self-explanatory "Lovin', Touchin', Squeezin'." 4 Cool, dangerous bands are rarely accessible; Journey wanted to speak to as many people as possible. It didn't matter what kind of car you drove; if you'd ever wished it were a Trans Am, Journey were singing to you. Between 1978 and 1986, every record they made went platinum.

In 1984, Perry made a solo album, _Street Talk, _which spawned the hit singles "Foolish Heart" and "Oh Sherrie"; Schon says its success put a strain on Perry's relationship with the rest of the band. Perry returned to the Journey fold to make one more record, _Raised on Radio, _before taking an indefinite hiatus in 1987, citing vocal and emotional burnout. Journey didn't play together again until 1995. They made a comeback album, Trial by Fire, and scheduled a reunion tour; then Perry injured his hip on a hike in Hawaii. He needed to replace the hip in order to play live, but put off getting the surgery; Schon says the band waited until they couldn't wait anymore. The next time Journey toured, their singer was Brooklyn-born Steve Augeri. He took flak from hard-core fans for sounding too much like Steve Perry, and then he stepped aside, citing a chronic throat infection, and handed the mike to Jeff Scott Soto, who took flak for not sounding Perryish enough. A subtext was developing: Journey's fans felt that no one other than Steve Perry was fit to sing Journey songs in the shower, let alone onstage.

In conversation, the members of Journey jokingly refer to Steve Perry as "He Who Cannot Be Named," like the evil wizard in the Harry Potter books. Later, I ask Schon about this, after reading an interview with their former manager in which it is alleged that Journey are somehow legally enjoined from speaking on the record about Perry.

"Oh, y'know," Schon says. "There's no legal issue. We just try not to. I mean, I didn't say anything inflammatory. I didn't talk about how he still gets paid like a motherfucker even though he shouldn't be. It's stuff like that I'm not allowed to talk about. He sorta just bitches and moans and whines about everything. And he just assumes that every time we bring up his name, that we're sayin' bad things."

no one in journey was excited about auditioning new singers, and none of the tribute-band Steves they looked at seemed like the answer. "I didn't think they had anything new to offer," Schon says, "other than making us a nostalgia act, and I wasn't interested in that."

Instead, Schon says, "I sat in my house for a couple days, hoping the almighty Internet would bring some relief."

He trawled YouTube, looking at all the live footage of male rock vocalists he could find. "You never know what you're getting on a CD," Schon says. "It can be all doctored in Pro Tools. You never know if somebody can sing unless you're watching something live." He found a few singers with potential—a couple of guys in England, doing "a Justin Timberlake–type thing." And then he stumbled on Noel Gomez's Zoo videos.

There are a few clips on YouTube of Pineda singing Journey songs like "Faithfully." His Steve Perry is almost eerily flawless; he nails both Perry's girlish quaver and the grit and pacing Perry borrowed from soul singers like Sam Cooke, and the fact that you can occasionally hear his accent makes the rest of the performance that much more uncanny. But Schon insists that what grabbed him about Pineda was his range. He slam-dunked Survivor. He tore up Toto. He made something out of "Makin' Love out of Nothing at All," and—spoiler alert—what he made out of it was love .

"The hair stood up on my arms," Schon says. "I got up off the computer and told my girlfriend, 'No way—this guy sounds too good. I don't believe it.' "

He went for a motorcycle ride. Thus are important rock-star decisions made. When he got back, he watched the clips again. Then he started calling his band. "I said, 'I found the singer,' " Schon says. "And they go, 'Where is he' And I'm like, 'He's in Manila!'

"And they go, 'Great—so you found a singer who can't speak English.' "

pineda's english is actually fine.

Right now he is trying to save his voice for tomorrow's show, so he speaks softly, which makes him seem as if he's in a state of perpetual awe (and maybe he is).

Pineda may have the most Dickensian backstory in rock history. His mother died when he was 13; his father took Pineda's siblings to live with relatives, and Pineda struck out on his own. He collected scrap metal, bottles, and old newspapers, usually bringing home the equivalent of thirty cents a day. Sometimes he'd sleep at a friend's house; more often than not, he'd sleep in Manila's Luneta Park, alone or with a group of other homeless kids. They drank from a fountain there and bathed in it, too; most mornings, Pineda would wake up sick from the dew. ("All clogged here," he says, pressing two fingers to his sinuses.)

His friend Monet Cajipe played guitar. Sometimes when Pineda wasn't working, he'd go over to Monet's house and they'd sing songs together. "He would bring me to his family," Pineda says, "and say, 'Come on, give some food to my friend,' because I was starving. They would make me sing, and then they would feed me. They would just bribe me with food."

At 15, Pineda tried out for a group called Ijos Band. He'd never sung with a real band before; during the audition, his voice was strong but his timing was weak. The bandleader saw something in him anyway, and when the other members of Ijos groused about having to split their nightly take with an extra man, one of the bandleader's friends came to the rescue, offering to pay Arnel's salary—thirty-five pesos a night—out of his own pocket. Perks of the job included a tiny room under the guitarist's front stairs, where Pineda could sleep.

He went on to cofound a band called Amo, which evolved into a band called New Age, featuring Cajipe on guitar. Like many Filipino bands, they played a mix of original material and covers of American and British rock and pop. While the U.S. occupation shaped Filipino musical culture during the late nineteenth and early twentieth centuries, the Philippines truly became a cover-band nation in the '60s, when the islands served as a way station for troops en route to or from the Vietnam War and every nightclub needed bands who could entertain American servicemen with Top 40 rock 'n' roll. To this day, Pineda says, "if you only play original songs, [audiences in the Philippines] will not appreciate you 100 percent. They want to hear you singing other bands' songs that made it to number one. Like Beatles, Led Zeppelin, Journey."

In the early '90s, New Age relocated to Hong Kong, a time-honored path for -Filipino musicians seeking their fortune. It didn't go so well. Playing the same cover tunes every night began to drive Pineda crazy. He was bored, so he drank, took drugs, and generally pursued any and all forms of rock 'n' roll self-destruction available to a boy from Manila adrift on the Hong Kong bar circuit. Before long, he'd wrecked his voice. When he found he could no longer hit the high notes in Eric Clapton's "Wonderful Tonight," he went to a doctor, who told him to retire. He was 27.

"He said, 'You're finished. Your vocal is just done,' " Pineda says. "I did not believe him. I told myself, I can get it back."

He returned to the Philippines, got straight, learned to sing again. He recorded a self-titled solo album in 2000; he and Cajipe started the Zoo. They recorded their first album,_ Zoology_. For a man who'd been told he'd never sing again, it was a happy enough ending. Then, last summer, the phone rang.

When Pineda went to get his visa, the guy who interviewed him at the embassy—"His name is Ben. I can't forget his name," Pineda says—was a fan who'd seen him play with the Zoo a couple of times, so Pineda took a request, and everybody in the office looked up from their desks at the guy singing "Wheel in the Sky."

He flew to San Francisco, spent a day jamming with the band at their rehearsal space. He hadn't slept much on the flight over, so his voice kept cracking, and he assumed he'd blown it, but he almost didn't care. He'd come to America and sung with a band he'd loved since he was 12 years old. He'd shot some home movies of them on his camcorder—a YouTube-able epilogue to his crazy YouTube adventure. He was ready to settle for that. But that jam session led to a long day in the studio, where Pineda sang two new songs and four or five of the Dirty Dozen—nailing most of them in one take—and by the time it was over, he'd passed the audition.

"Arnel cared about getting it right," band member Jonathan Cain says. "There wasn't this arrogance—the Lead Singer Disease that so many guys have when they have fantastic voices."

let us consider the New Guy.

In life, the New Guy gets the office that was once a closet full of printer paper, or maybe still is; the New Guy is told about bogus traditions involving the New Guy picking up the lunch tab; the New Guy spends a lot of time wondering what's so funny.

The New Guy's phone rings, but it's not for him. He disappoints people just by picking it up. _No, I'm sorry—he's not here anymore. Is there something I can help you with _

In rock, being the New Guy is the same, except harder. The jokes you don't know go back to some long, snowy between-concerts bus ride circa 1984. And you're trying to inhabit a stadium-sized myth, not a cubicle. You might win over a few late-to-the-party fans, but your presence alone will always be proof to some people that the band has outlived its awesomeness. A band with a New Guy on vocals is like a late-period Happy Days episode, one of the ones where nobody's left except Ted McGinley and a middle-aged Fonz who can barely zip the leather jacket. And because the only way for a band in this position to shake off the taint of the glue factory is to reunite with its original singer, the New Guy in a rock band is always a dead man rocking.

Tim Owens got seven years with Judas Priest before Rob Halford returned. Anyone not named David Lee Roth who agrees to sing for Van Halen is basically keeping the leather pants warm for Diamond Dave. And however comfortable Pineda's been made to feel during the past few months, he must know on some level that Steve Augeri and Jeff Soto once felt comfortable, too. Toward the end of our interview, as dusk bleaches the color from the desert outside the window, I ask him if he's thought about how long this is going to last.

"Well, of course," he says. "Of course I did. I'm a very realistic person. I like to plan. I like to see the future. If I'm lucky, if I'm still strong, I want to be with them for the next three years. And if they still like me after that, I still want to be with them. And hopefully we will create new Journey music that people will love."

And at some point, I suggest, you'll become essential. People will say Journey without Arnel, who wants that

"I just want to be a part of a band that will be able to reinvent themselves, you know" Pineda says. "And I think they will be able to help me build a future, with my family. They will help me financially. They can help me with that. Because all of us need a good future for our children, for our families."

It's true, we do. The members of Journey talk about Pineda like he's given them their youth back, the way thrice-married men talk about the young wives who've got them doing wheatgrass shots and yoga, listening to the Killers. It's never too late to feel like you're going to live forever. "I think we're reborn, right now, with Arnel," Schon says.

He talks about the band's first show with Pineda in Chile, how Arnel was all over the stage, jumping around, surprising everyone, and making Schon—who's playing a cordless guitar for the first time since the '80s—feel the need to step his game up. "I'm gonna be riding my bicycle a lot, and skating," he says, "and getting myself in tip-top shape so I can keep up with this little guy."

When Journey were off the road last year, during the gap between singers, it gave Schon time to get sober. When we talk, it's been nine months. "I believe I was a functioning alcoholic," he says—he'd stay straight for shows but kill a bottle of vodka on the tour bus afterward, and that went on for years. So this moment is also a rebirth for Schon; he's facing all of it straight for the first time. "I feel like I have 100 percent of myself here," he says, "and I'm really excited about getting out there and being completely in control."

Pineda's arrival lets them zero out the odometer. "Had I known Arnel was around fifteen years ago," Schon says, "singing even better than he is now—Goddammit, I would have called him!"

journey may not want to be thought of as a nostalgia act. But they are clearly totally fine with being an act that benefits from nostalgia. When I ask Cain why people still care about Journey in 2008, his response is basically a definition of the term:

"It's music they grew up to," he says. "Fell in love with. Had sex with. Got married to. Graduated from high school or college with. It's a moment frozen in time, and when they remember those moments, they remember those songs. Y'know, the '70s and '80s were awesome times. There was a lot less trouble in the world. And it's like people wanna go back to that simpler place and time. We see these housewives—they used to come to our shows when they were teenagers, and now it's like The Big Chill. They come back, they get a room, and they come see Journey. And I see 'em in the bars and buy 'em a drink and talk to 'em. Or there'll be a daughter that's bringing her mom to a Journey show as a birthday present, because she didn't get to see us back then. And you're like, 'Oh my God—I'm part of this.' "

How Journey's fan base will respond to the band's new incarnation is another question. Journey's new album, Revelation, will be available in June, exclusively at Wal-Mart. In this regard, they're following in the footsteps of the Eagles, who've sold 2.9 million copies of their album Long Road out of Eden through the big-box retailer since last October.

The album package will consist of a CD featuring eleven new Journey songs with Pineda on vocals, a DVD of the Planet Hollywood show, and a third disc featuring Pineda-sung rerecordings of eleven Journey classics whose original iterations featured you-know-who. Depending on how you look at it, this rewrite of the band's history is either a huge vote of confidence for Pineda or the rock 'n' roll equivalent of trying to prove to yourself that you're over your ex-girlfriend by dating a woman who looks exactly like her. And it's a move guaranteed to piss off more than a few Journey fans—even the album's producer, Kevin Shirley, compares it to "roxing the Holy Grail."5

I get a hint of the backlash that may be on the way when, a week or so before the Vegas show, I post a thread on the Journey message board at Melodicrock.com, an Internet forum for people with strong opinions about power balladry and Night Ranger side projects. I ask people to tell me their Journey stories; I ask people what they think of Pineda. I give out my e-mail address. Within minutes, my in-box fills up with e-mails—angry, passionate e-mails.

I hear from a few thick-and-thin super-fans, from plenty of reasonable people ready to give Arnel a fair shake, and even a few early Pineda converts. But I also hear from people frustrated by the band's -inability to hold on to a lead singer and from people who resent the band for continuing on at all. But mostly, I hear from people who have not stopped believing in Steve Perry. They compare him to Elvis, John Lennon, Freddie Mercury, and God. They describe the post-Perry band as "a second-class rendition of Journey." They send me all-caps e-mails—Steve Perry really brings out the caps-lock in people—that begin "IT HAD BEEN BROUGHT TO MY ATTENTION THAT YOU ARE LOOKING TO WRIGHT AN ARTICLE ABOUT WHY JOURNEY IS NO LONGER JOURNEY BUT NOTHING MORE THEN A TRIBUTE BAND TO THE BEST SOFT ROCK BAND EVER." They send me photomosaics of Steve Perry created out of many, many tiny little pictures of Steve Perry.

"You want to know why the 'fascination' with Journey all of a sudden" writes Thomas Cordea of Fort Wayne, Indiana. "With the hiring of a blatant 'sound-alike' singer, the world is 're-awakening' to the fact that THEY MISS STEVE PERRY LIKE MAD.… That is the real 'hidden' storyline of your article, not this latest frontman hire."

Maybe. But this latest frontman hire still seems like the first smart move Journey have made in years. They've got a guy who can sing the Perry material on tour. They're excited about making new music with him. And the fact that they discovered Pineda on YouTube has given them a ready-made PR hook. In a clicky, viral, cell-phone-delivered media moment where even the twice-weekly cult-of-the-amateur hour that is _American Idol _seems like a rusty piece of star-making machinery and Simon Cowell like a snooty gatekeeper, Journey—Journey!—seem like innovators, in touch with the forces shaping the culture. For a band prominently featured in people's memories of the Carter administration, this is pretty impressive.

This doesn't change the fact that they're Journey —emblematic of the way '70s rock betrayed the '60s in the '80s, part of the problem that punk's loogie-hawking historical rebuke supposedly solved. The middleman-eliminating YouTube story line can't make them cool; neither can the existence of a Journey-branded "Virtual Island" in the online nerdiverse Second Life. But coolness accrues in unexpected ways; once-verboten things slip out of cultural jail under cover of irony.

five signs the journey revival is imminent or possibly already here, in descending order of cultural impact:

1. David Chase uses "Don't Stop Believin'" in the last scene of the last episode of The Sopranos. It either is or isn't the last song Tony Soprano ever hears. (A week after the episode airs, Hillary and la famiglia Clinton parody this scene, right down to the onion rings, in a viral-video campaign ad.)

2. Drolly doleful indie rockers—Badly Drawn Boy, Of Montreal—begin slipping ironic-but-maybe-sincere "Don't Stop Believin'" covers into their live sets. Kanye West does, too—at the shows he played in Europe shortly after his mother's death, it often followed "Hey Mama," the one he couldn't get through without crying.

3. Literate classic-rock obsessive Craig Finn and his Brooklyn-via-Minnesota meta–bar band, the Hold Steady, reference Journey in song: My name is Steve Perry, but people call me Circuit City.… My name's Neal Schon, but people call me Nina Simone.

4. Petra Haden, formerly of the late, lamented three-girls-and-a-guy alt-rock band that dog., records an a cappella cover of "Don't Stop Believin'." Haden: "My favorite part is singing that guitar solo. I always end up laughing at the end. I shouldn't, because it's supposed to be so serious. But I always do."

5. Some aspiring George Romero with access to a camcorder and a backyard uploads a no-budget horror short called "Journey of the Dead" to YouTube. Synopsis: "Steve Perry (former lead singer of Journey) saves a Rock and Roll loving couple from an attack by Rock Star Drummer Zombies. After a violent and bloody battle with the zombies, Steve Perry emerges victorious (as always) and then finds himself engaged in a karate showdown with the ultimate evil lead singer mastermind, Freddie Mercury!" Best quote: "Hey, zombie-breath—you picked the wrong day to not be dead! Now you're going to have to face Steve Perry!"

tapping somebody who can do Perry as well as Pineda can may indicate that the band want that uncomplicated approval they got from their audience during the Perry years, as opposed to the problematic tough love they're getting now. Or maybe Neal Schon—who started Journey, spent years building an audience through tireless touring (traveling, in the early days, in four-door station wagons, rolling into the venue just in time to jump onstage and play—who says Journey weren't punk) before having Perry foisted upon him in 1977 for reasons of commercial expediency, and has spent the post-Perry years being accused of sacrilege for daring to continue playing in the band he founded in the first place—wants to prove that it is he and his bandmates who make it Journey.

But when I ask Schon if he's at all tired of Journey being defined by Perry's presence or absence, he answers, "Um, no. I think he contributed so much to the sound of the band. Those songs are gonna be embedded in everybody's heads and hearts forever."

I get a slightly different take from Steve Perry, who calls from his home near San -Diego. Perry, who's finally started working on his first album of new material since leaving Journey, doesn't want to talk about the vocalists who've followed in his footsteps, Pineda included. "I only know that they've been through three guys," he says, "and I've never heard any of them. I stay away from it, because it's really none of my business now. We have children together, which are the songs we wrote, but that's about all."

But he will talk about what it was like when he joined a Journey already in progress in 1977, shedding a little light on what it might feel like to be Pineda now. "You've got to remember, they didn't want to make it with a lead singer," he says. "They wanted to make it without one."

I ask him about the scene in VH1's Journey_ Behind the Music _episode in which Perry declares that he "never really felt like part of the band." Was that because Schon resented having to hire a frontman

"What that meant," Perry says, "was that there was a period of time where I always felt that I had to prove myself. But along with that, you have to print that I can't blame them. It was [Neal's] band. Herbie Herbert built that band around Neal because he's a star on his own, from a guitar standpoint. There's nobody who plays like Neal Schon, to this day. I still miss his playing. We don't get along, but I love his playing.

"They wanted to make it on their own goalposts that they had in mind. There's nothing wrong with that. And I hope you print that, because it's important that people know that. I'm not bitchin'. I'm not whining. I completely understand how they felt and why."

the security people at the Planet Hollywood show—even the women—have the hired-muscle intimidation factor of pit bosses. For all I know, they are pit bosses. But at the end of the Planet Hollywood show, when Journey come back out to redo a couple of songs for the DVD—"We have to do one of the new ones again," Schon says cheerfully, "because we fucked it up!"6—the crowd-control policy is relad and people are allowed to come down the floor-seat aisles and up to the stage to scream and clutch at Pineda, presumably because this will make the show look more exciting on-camera. Someone hands him up a tiny Philippine flag on a wooden stand, the kind a diplomat keeps on his desk, and he stares at it for what counts, in rock-show time, as a long moment, before handing it back.

The do-overs end the night with a sort of anticlimactic thud, but overall it's been a good show, particularly for Pineda. Almost half the crowd—and this is an unscientific estimate based on what the nonwhite people looked like when I turned around—appeared to be Filipino, and from the first note he sang, they were his. And while none of the new Journey songs will make anybody forget "Don't Stop Believin'"—as always, the words "Here's another one from the new album" are the classic-rock-show audience's cue for a bathroom break—some of them are pretty affecting.

Kevin Shirley described "After All These Years" to me as "like 'Faithfully: Part 2'—it's a gem," and it kind of is. Like "Faithfully" (Journey's greatest gift to wedding DJs), it's a soaring, soulful ballad, readable as both a pledge of eternal fealty and a love letter to the fans. But the "all these years" theme adds the weight of long-term commitment to the mix; a song like this is how you tell your audience you'd marry them all over again. And while it's not anywhere near as good as "Faithfully," you can imagine it someday becoming part of the canon. Someday it will be performed by a singer in a smoky room—some Hong Kong piano bar, maybe—and traveling salesmen far from hearth and home will shed a tear or two, and maybe that's all that matters.

Afterward, there's a bottleneck in the lobby of the theater. As everyone shuffles slowly toward the doors that lead to the mezzanine above the casino, someone in the crowd starts singing the Nah nah, na nah nah / Na na na nah nah refrain from "Lovin' Touchin' Squeezin'," the last song of the night. (It's the one song in Journey's catalog where you can most clearly hear the Sam Cooke mannerisms in Steve Perry's delivery, and Pineda nailed it—an Asian guy imitating a white Californian imitating a black guy from Chicago, on a stage in a Las Vegas hotel with "Hollywood" in the name. The mind reels.)

Then, as if the air-conditioning has started pumping karaoke spores, other people join in and start singing Nah nah, na nah nah / Na na na nah nah, too. It only lasts for a few seconds, but those seconds are maybe the most sincere moment of community I've experienced at a rock show in a long, long time—and they feel like proof that the Pineda-fronted version of Journey has succeeded in giving people the kind of life-affirming Journey experience they were looking for.

Later there's a VIP meet-and-greet in a high-ceilinged Planet Hollywood banquet room. Trickling in like they've timed their entrances, the band pose for pictures and sign T-shirts, albums, ticket stubs. The energy is a little flat until Arnel appears, wearing a shiny long-sleeve T-shirt, his hair pulled back in a ponytail. People immediately crowd around him, waving digital cameras; somebody shouts, "Move back, move back!" He makes it to the other side of the room, still swarmed by fans—many of them Filipino, many of them girls. I try to ask Arnel a couple of questions about the show, which yields a brief interview, reproduced here in its entirety:

Q. How's it going, Arnel A. Hey, man!

Then someone else gets his attention and he's off, posing for another photo. Instead, I interview Patty Zaragoza, who's a flight attendant "representing the Cathay Pacific cabin crew." She doesn't know much about Journey, but she's a fan of Pineda's—she used to see him perform in Hong Kong, at a bar called Grammy's. She gives me a blue Cathay Pacific lanyard, in case the one that came with my Journey backstage pass ceases to function. I turn around to try to get another word or two with Pineda, but he's mobbed. The crowd swallows him. He is, at least for now, a rock star.

the day before the show, I ask Kevin Shirley if he feels Pineda has fully processed everything that's happened to him during the past few months.

"No," Shirley says. "No, I don't think he has. I think the record needs to come out. I think he needs to go on tour. I think he still has a lot of fear about whether he can play this set every night. But he can. I feel very confident. But yeah—once all that settles in, and maybe once he gets his first royalty check. In the meantime, it's like, 'Can you buy me a sandwich I'm the lead singer of Journey!' "

alex pappademas is a GQ staff writer.

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Who Sang the Most Journey Songs? Lead Vocal Totals

Journey will always be associated most closely with Steve Perry . Over the years, however, they've actually had a total of six frontmen. Four other members, including stalwart Neal Schon , have also taken a turn at the mic.

Gregg Rolie (1973-80) was the group's first singer, though his role quickly diminished when Perry arrived in 1977. Over the next 20 years, Perry would take Journey to unprecedented commercial heights, though it ultimately became an off-and-on relationship: Journey were inactive from 1987-91 and then again until 1995.

A pair of those other lead singers, Robert Fleischman (1977) and Jeff Scott Soto (2006-07), didn't last long enough to do much in the recording studio. Journey also had a second Steve as their singer – Steve Augeri (1998–2006) – before settling in with Arnel Pineda , their longest-tenured frontman, in 2007.

Which one sang the most Journey songs? We dove into their official catalog to find out, focusing on officially released new songs, including B-sides, soundtrack recordings, bonus tracks and a live song that appeared only on 1981's Captured . We stayed away from re-recordings and in-concert versions of earlier songs, as well as the leftover demos that dotted Journey's expansive Time3 box set, since those don't count as original material.

Journey (1975)

Gregg Rolie - 5: "Of a Lifetime," "In the Morning Day," "To Play Some Music," "In My Lonely Feeling/Conversations" and "Mystery Mountain"

Journey debuted with co-founder Gregg Rolie firmly entrenched as their frontman, but this self-titled debut also made room for two lengthy fusion-rock instrumentals – "Kohoutek" and "Topaz." The former, co-written by Rolie and Neal Schon, became an in-concert staple for years. Still, these musical flights of fancy ultimately cut into Rolie's lead-vocal totals, as did Journey's subsequent decision to showcase other singers.

Look Into the Future (1976)

Gregg Rolie - 8: "On a Saturday Nite," "It's All Too Much," "Anyway," "She Makes Me (Feel Alright)," "You're on Your Own," "Look into the Future," "Midnight Dreamer" and "I'm Gonna Leave You"

The best effort from the pre-Perry lineup is also Rolie's most consistent showcase, with a most-ever eight vocals. Look Into the Future found the band in an appropriately forward-thinking mood, as it took a more song-oriented approach. That said, Journey still unleashed an eight-minute title track – the longest song they'd ever recorded – and the titanic closing song , "I'm Gonna Leave You."

Next (1977)

Gregg Rolie - 5: "Spaceman," "People," "Here We Are," "Hustler" and "Next" Neal Schon - 2: "I Would Find You" and "Karma"

Rolie began sharing the mic well before Steve Perry arrived, as guitarist Neal Schon takes over for two of his four career lead vocals. They also returned to instrumentals, including "Nickel and Dime" – which manager Herbie Herbert consistently described as the uncredited inspiration for Rush 's "Tom Sawyer." It was a sign of things to come: Rolie continued with Journey for five more releases, but never had another solo vocal.

Infinity (1978)

Steve Perry - 10: "Lights," "Feeling That Way" (with Rolie), "Anytime (with Rolie), "La Do Da," "Patiently," "Wheel in the Sky," "Somethin' to Hide," "Winds of March," "Can Do" and "Opened the Door" Gregg Rolie - 2: "Feeling That Way" (with Perry) and "Anytime" (with Perry)

The addition of Perry shifted the vocal focus decisively, as Rolie's total makes clear. Within just two albums, the new guy almost eclipsed Rolie for career lead songs. In fact, Journey would release eight more records – including a movie soundtrack and a live project – before anyone not named Steve Perry sang another note. Fans responded by sending Infinity to the edge of the Top 20, a best-ever finish at the time.

Evolution (1979)

Steve Perry - 10: "Too Late," "Lovin', Touchin', Squeezin'," "City of the Angels," "When You're Alone (It Ain't Easy)," "Sweet and Simple," "Lovin' You Is Easy," "Just the Same Way" (with Rolie), "Do You Recall," "Daydream" and "Lady Luck" Gregg Rolie - 1: "Just the Same Way" (with Perry)

They switched out a member, as former Ronnie Montrose drummer Steve Smith took over for Aynsley Dunbar, but otherwise kept apace with a huge musical shift. This album confirmed Journey's move from hard-rocking jam band to multi-platinum pop stars: "Lovin', Touchin', Squeezin'" from Evolution became their first Top 20 hit single.

Departure (1980)

Steve Perry - 12: "Any Way You Want It," "Walks Like a Lady," "Someday Soon" (with Rolie), "People and Places" (with Schon), "Precious Time," "Where Were You," "I'm Cryin'," "Line of Fire," "Departure," "Good Morning Girl," "Stay Awhile," "Handmade Love" Gregg Rolie - 1: "Someday Soon" (with Perry) Neal Schon - 1: "People and Places" (with Perry)

Rolie shares the mic one last time on the utterly gorgeous "Someday Soon," but this album's No. 8 finish had everything to do with Perry's turn on the radio favorite "Any Way You Want It." Like both of its predecessors, Departure sold 3 million copies – an impressive figure, but also one that indicated a commercial plateau. Journey issued two place-keeping projects, including a movie soundtrack and a concert recording, while plotting their next move.

Captured (1981)

Steve Perry - 2: "Dixie Highway" and "The Party's Over (Hopelessly in Love)"

This live document celebrating Journey's early years included two previously unreleased songs, both featuring Perry at the mic. Rolie had already exited by the time Captured arrived, so "The Party's Over" – a new studio addition – featured a different keyboardist: Stevie Roseman later worked with Schon and Valory on solo projects.

Escape (1981)

Steve Perry - 10: "Don't Stop Believin'," "Stone in Love," "Who's Crying Now," "Keep On Runnin'," "Still They Ride," "Escape," "Lay It Down," "Dead or Alive," "Mother, Father," "Open Arms"

Keyboardist Jonathan Cain came over from the Babys to give Journey another creative voice, but he didn't possess the vocal chops of his predecessor. Steve Perry continued to dominate every subsequent Journey album he appeared on. Together, however, they found another commercial gear as the career-making Escape sold as many copies in the U.S. as Infinity, Evolution and Departure combined.

Frontiers (1983)

Steve Perry - 10: "Separate Ways (Worlds Apart)," "Send Her My Love," "Chain Reaction," "After the Fall," "Faithfully," "Edge of the Blade," "Troubled Child," "Back Talk," "Frontiers," "Rubicon"

Journey entered a period of stops and starts. The next trio of albums all sold very well. In fact, they scored the band's highest-ever chart position in the U.K. with Frontiers . But success can sometimes be a double-edged sword: Their subsequent total of nine platinum awards in the states only equaled what Escape had done all by itself. Under enormous pressure, Journey's most successful lineup fracturing along the way.

Raised on Radio (1986)

Steve Perry - 11: "Girl Can't Help It," "Positive Touch," "Suzanne," "Be Good to Yourself," "Once You Love Somebody," "Happy to Give," "Raised on Radio," "I'll Be Alright Without You," "It Could Have Been You," "The Eyes of a Woman" and "Why Can't This Night Go On Forever"

Now trimmed to a core trio of Jonathan Cain, Steve Perry and Neal Schon, Raised on Radio  featured drummer Steve Smith on only three of its 11 tracks – and didn't include co-founding bassist Ross Valory at all. The project ended up producing four Top 20 singles, becoming the fourth of five consecutive Top 10 Journey albums, but a lengthy split followed.

Trial by Fire (1996)

Steve Perry - 15: "Message of Love," "One More," "When You Love a Woman," "If He Should Break Your Heart," "Forever in Blue," "Castles Burning," "Don't Be Down on Me Baby," "Still She Cries," "Colors of the Spirit," "When I Think of You," "Easy to Fall," "Can't Tame the Lion," "It's Just the Rain," "Trial by Fire," and "Baby I'm a Leavin' You"

Journey reformed a decade later with their Escape / Frontiers -era lineup intact, scoring a No. 12 hit with the Grammy-nominated "When You Love a Woman." Unfortunately, the good times wouldn't last: Perry elected not to take part in a companion tour. Journey decided to move on without him.

Arrival (2000)

Steve Augeri - 15: "Higher Place," "All the Way," "Signs of Life," "All the Things," "Loved by You," "Livin' to Do," "World Gone Wild," "I Got a Reason," "With Your Love," "Lifetime of Dreams," "Live and Breathe," "Nothin' Comes Close," "To Be Alive Again," "Kiss Me Softly" and "We Will Meet Again."

Journey found a new guy who could manage the old songs in concert, and he was even named Steve. At the same time, tracks like "All the Way" showed Augeri could maintain the band's now-signature pop-rock sound. "Higher Place" even recalled some of their proggier early moments. But fans apparently weren't sold, as Arrival became the first Journey album not to at least go gold since 1977's Next .

Red 13 (2002)

Steve Augeri - 4: State of Grace," "The Time," "Walkin' Away From the Edge" and "I Can Breathe"

This is a tour-de-force EP for Augeri, who got to show off his vocal prowess on songs that delve into Journey's career-spanning penchant for jam-band excursions, melodic rock, hard-rocking blues and soaring balladry. ("Walkin' Away From the Edge" was co-written by an uncredited Geoff Tate from  Queensryche .) The only knock is that those four things happen over the course of just four songs.

Generations (2005)

Steve Augeri - 8: "Faith in the Heartland," "The Place in Your Heart," "Butterfly (She Flies Alone)," "Believe," "Knowing That You Love Me," "Out of Harms Way," "Better Together" and "Beyond the Clouds" Neal Schon, 1: "In Self-Defense" Deen Castronovo, 1: "A Better Life" Jonathan Cain - 1: "Every Generation" Ross Valory - 1: "Gone Crazy"

The underrated Augeri ends his time in Journey with an album where everybody – literally everybody , even bassist Ross Valory – gets a turn at the mic. Augeri managed to eke out a minor hit with "Faith in the Heartland," but only drummer Deen Castronovo really stands out among the others on Generations . Adding insult to injury for Augeri: This is Journey's worst-charting U.S. album ever.

Revelation (2008)

Arnel Pineda - 9: "Never Walk Away," "Like a Sunshower," "Change for the Better," "Wildest Dream," "After All These Years," "Where Did I Lose Your Love," "What I Needed," "What It Takes to Win," "Turn Down the World Tonight"

Stuck in a commercial dive, Neal Schon turned to YouTube to find Augeri's replacement. Arnel Pineda, a big-voiced Filipino unknown, ended up becoming Journey's longest-tenured singer. But not before being asked to redo a whopping 12 previously recorded songs on Revelation , including the very-recent "Faith in the Heartland." He fared much better on the originals, finally pushing Journey back to platinum-selling status.

Eclipse (2011)

Arnel Pineda - 11: "City of Hope," "Edge of the Moment," "Chain of Love," "Tantra," "Anything Is Possible," "Resonate," "She's a Mystery," "Human Feel," "Ritual," "To Whom It May Concern" and "Someone"

Eclipse initially rose to No. 13 on the album chart before everybody realized it lacked enough of the signature ballads that pushed Journey to out-sized fame in the '80s. Still, Pineda showed he could go toe-to-toe with a resurgent Schon on a series of songs that recalled the furious energy of Journey's earliest recordings. The album ends, appropriately enough, with an instrumental.

Soundtracks, B-Sides and Bonus Tracks

Steve Perry - 10: "Destiny," "Sand Castles" and "Little Girl" from 1980's 'Dream, After Dream'; "Natural Thing" (b-side, 1981's "Don't Stop Believin'"); "La Raza del Sol" (b-side of 1982's "Still They Ride"); "Only Solutions" from 1982's 'Tron'; "Ask the Lonely" from 1983's 'Two of a Kind'; "Liberty" (bonus track from 1983's 'Frontiers'); and "Only the Young" from 1985's 'Vision Quest'; "I Can See It in Your Eyes" from 1996's 'Trial by Fire' Steve Augeri - 1: "Remember Me" from 1998's 'Armageddon' Deen Castronovo, 1: "Never Too Late" from 2005's 'Generations' Jonathan Cain - 1: "Pride of the Family" from 2005's 'Generations' Arnel Pineda - 1: "Let It Take You Back" from 2008's 'Revelation'

Dream, After Dream was a forgotten, mostly instrumental 1980 soundtrack that included Rolie's final studio work with the group, but the three tucked-away vocals were all reserved for Perry. "Little Girl," the rare moment that tried to connect their updated pop sound , was later included as a bonus track on an expanded reissue of Departure . "Only the Young," "Ask the Lonely and "Only Solution," key songs recorded during sessions for Frontiers , ended up on contemporary soundtracks instead. "I Can See It in Your Eyes" was a Japanese-only bonus track from Perry's finale with Journey. Augeri actually made his Journey debut on the soundtrack for Armageddon . Castronovo and Cain's songs were extras attached to Generations . "Let It Take You Back" was a bonus cut on Pineda's first album.

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Neal Schon on Journey’s ‘New Strut,’ Possible Arnel Pineda Biopic, and His New Solo LP

By Andy Greene

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Three years ago, Journey guitarist Neal Schon finished a solo album of instrumental tracks that mixed classic-rock covers like “Hey Jude” and “Voodoo Child” with originals he created with producer-drummer Narada Michael Walden. Since that time, Journey fired drummer Steve Smith and bassist Ross Valory after a bitter business dispute, brought in Walden and Raised on Radio –era bassist Randy Jackson to take their places, and canceled a 2020 summer tour with the Pretenders due to the pandemic.

During his forced downtime, Schon decided it was finally time to share his instrumental album, The Universe , with the world. “This has been a hellacious year,” he says. “There’s some healing music on here. I feel like it’s going to ease a lot of people’s pain and give them something new to listen to and some hope.”

Schon called up Rolling Stone to talk about The Universe (which is streaming right now), the legal battle that split Journey apart, parting ways with manager Irving Azoff, repairing his relationship with keyboardist Jonathan Cain, cutting Journey’s new album while on lockdown, his continued hopes of making peace with Steve Perry, the possibility of an Arnel Pineda biopic, and why he thinks this new lineup of Journey will lead to a whole new era for the band.

Tell me the backstory of The Universe. About three years ago, I ran into Narada Michael Walden. I said, “Narada, why don’t you write me a record?” We’d known each other forever and had jammed and played live together, but we’d never really worked together with him as a producer and me as a guitar player.

I said, “I really want to veer away from anything that sounds like Jeff Beck.” That’s because there’s only one Jeff Beck and only one Jimi [Hendrix]. But I said, “You’ve known me for a long time and you know what I like to play. What I’m hearing is a very majestic, symphonic-type blues-R&B-fusion rock album.”

He goes, “That’s the whole spectrum.” I go, “Let’s just diversify it.” And so he said, “Let me have a few days and I’ll call you when I have some tracks.” Three days later, he calls me and says, “Why don’t you come by the studio? I have some stuff to play for you.”

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Where did it go from there? I went by the studio and he had like six tracks that he had written with drums on them, keyboard bass, and voice singing the main melody of a guitar. He said, “Take this home and get comfortable with it and let me know when you’ve got it down.”

This was something new for me because I usually write my own material. I took it home, listened to it, and worked my way around it. I felt like I was going to improv my way through the melodies and add my own shtick to it.

I went into the first session with him and I started playing something from the heart where I veered away from the melody. He said, “What are you doing?” I said, “I’m just playing what it is.” He said, “No, you have to play that melody exactly like I’m singing it.” I went, “Oh. OK.” He goes, “I’m treating you like you’re a vocalist and your guitar is the vocal.”

After conforming to that, I managed to get things down very quickly on the record. We worked on it in different time periods. We got as much done as I could when I was home and then I’d go tour and come back and work with him when he was available. We finished it over the duration of about a year with three, four weeks in the studio altogether.

Let’s talk about some of the specific songs. Tell me about your version of Prince’s “Purple Rain.” There’s a clip of me on the internet playing it in the Twin Cities right after he passed [in 2016]. I get a few sections in the [Journey] set to do my own thing. And I’ve been looping for years. And so a lot of times I’ll loop some chord changes to a song and improv my way through it.

That night, I didn’t really know what I was going to do. But I felt his presence and I played the chord changes. I overdubbed one of the melodies he did on the end. I put that in there and just blew through it and the audience really came unglued. It was his hometown, but he just passed and I captured the moment.

That stuck with me and I said to my friend Gary Cirimelli, who I did the [2001]  Voice record with, “Please do me an orchestration of ‘Purple Rain.'” He did an amazing job and I actually recorded that before I started the record with Narada.

You also tackle “Voodoo Child.” Clearly you weren’t shy about taking on some of the greatest guitarists of all time. You know what? They are in my blood. I grew up with these people and I’ve been playing a long time. I’d actually been jamming with Narada before at Golden Gate Park in front of about 100,000 people. He said, “We’re going to play ‘Voodoo Child.'” I said, “Great, I know it.” I jumped onstage and we jammed for a while and the audience loved it. It actually goes back in time where I played the Crossroads Festival for Eric Clapton. It was Narada, myself, Randy Jackson, and Jonathan Cain. It’s ironic that’s what Journey has become with Arnel.

We did play “Voodoo Child” that day, too. It was a no-brainer for me. I was like, “Why don’t we jam it out and have a live jam in the studio?” That is what we did. We played live, one take. You can tell that it falls apart a little when it goes into “Third Stone From the Sun” at the end. I was lost and playing and I had to find a place to put my arm up and then everyone jumps in a few seconds later. You can tell it was a little loose and we were just finding our way through it. I felt there was some magic there and being real since it wasn’t overdubbed to death. It was just what it was.

Why did you decide to revisit the Journey song “Lights?” That was Narada’s idea. I was not sure about it. I had done, with Gary Cirimelli the year before, a little EP [ Ave Maria ] around Christmas where I had done an instrumental version of “Faithfully,” “Open Arms,” and “Can’t Help Falling in Love” by Elvis Presley. I had done it before with guitar instead of voice, but “Lights” I had never considered doing as a lead vocal on guitar. He talked me into it. I didn’t know what to think of it, but it sounded good for a guitar version. I tried to capture as many Steve Perry melodies as I could and implement them into the guitar in a soulful way. I think it came out well and people are loving it.

I like hearing vocal melodies on the guitar. Jeff Beck does it a lot, but it’s hard to pull off exactly right. Yeah. There’s something very difficult about it. I see a lot of young guitar players today that have dexterity beyond. I can comprehend what they’re doing technically, but I’m not that interested in trying to do it myself because I’ve never been a scale guy. I was listening more to horn players and vocalists.

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To convey a melody and play it very simply is not an easy task, especially when it’s a slow melody. There’s plenty of room for mistakes and loss of feel. You can lose the feel of it in two seconds flat because there’s no lyrics you’re playing along with. That actually helps you dictate the melody when you hear a singer sing. It’s all about placement, phrasing, and how the vibrato goes, where you put it. It’s complicated and it comes much easier to me as a musician than it does to other guys because I’ve always been a melody guy.

Tell me about your version of “Hey Jude” that ends the record. I had played “Hey Jude” back east in New Jersey, I believe, in some theater we were playing. I looped that one night. I played the chords first, just the ending, and then I looped the melody and had the whole audience singing the song. I went, “Wow, this could be a possible way just to end the record.” As a Beatles fan, I loved it.

What’s the status of the new Journey record? We’re deep in it. It’s coming along, man. It’s really shaping up. Narada and I have been working nonstop. Jonathan [Cain] is also working from his houses in Florida and Nashville. Arnel is working from Manila. Randy Jackson is working mostly from L.A. And it’s one of those Zoom sessions and it sounds phenomenal. It sounds like we’re all playing in the room at the same time. I actually can’t wait until we do get together and start putting the show together. The new single should be coming out mid-February.

Working remotely must have been a big adjustment at first. Yeah. It was at first. What I was really grateful for is that I’m willing to get together with Narada and work with just drums and guitar, which is something I’ve always done with drummers working on records. We’re able to map out and get things feeling right. Narada is very accomplished. He can play keyboards and bass keyboards, and we kind of fill out the tracks. And then everyone does their parts. The end result is sounding amazing.

How is Arnel doing? Arnel sounds very, very strong. I think this break has been good for him. He’s back in there, I feel, like when we first got him. His vocals sound very, very good. We’re planning on a full album release in 2021 before we get back to touring. We did book our first show of 2021. We’re going to be headlining Lollapalooza in Chicago on July 31st unless they move it. My fingers are crossed that everyone is going to get the vaccine and feel good and get back to it. I’m just so looking forward to playing with the new band. Post Malone is headlining at the same time as us about a mile away on another stage. It’ll be interesting.

How have the new members changed the band’s sound? Do you have a different groove now? You have to hear it for yourself. It still sounds very much like Journey thanks to the songwriting, my guitar playing, and the vocals. But the rhythm section is definitely a powerhouse. Narada has been known for years, and Randy Jackson is a completely monstrous bass player. Some people may not be aware of his work, but they have credentials that go way, way back. Randy and I have always been pretty in tune, and Narada and I are in tune. And now it’s coming together. It’s got a new strut to it.

There’s nothing we really can’t play. I’ve got a track I laid down with Narada the other day. I sent it to Arnel and he was freaking out. He said, “This sounds like brand-new Hendrix or Prince. Please write more of that.” And I was just messing around. It was just a jam we did and it turned out to be monstrous. We’re creating. We aren’t afraid to go to new places. It’s easy to stay safe and write where we have always been. We have a bit of that so we don’t lose everyone, but at the same token, this is a new chapter of Journey. I want to go where we have not gone before.

Why did you leave Azoff management and sign with Q Prime? It was a long time coming from myself. I had a falling out with old management and just didn’t agree with a lot of things the way they were coming down or the way that things were being treated that I was bringing up. I felt like they made it seem like I was an outcast even though this was a band that I started. Azoff actually said to me, “Why don’t you quit?” at one point. I said, “I’m not quitting. I’ve been here all my life. Why don’t you quit?”

We kind of went at it. Finally, I made the move. I said, “I don’t know what’s going to happen from here, but I feel like it’s time.” I remember that I talked to Peter Mensch over at Q Prime about a year before that, telling him that I really wanted to make a change. He said that contractually we had to get to this point before we could do anything. When we finally got to that point, I called Peter back up. He said, “This is a no-brainer. We’d love to manage you.”

I’m really happy. They understand the guitar. Cliff [Burnstein] is awesome. I’ve only talked to him a few times, but I can tell we’re on the same wavelength. I send him stuff, unfinished and finished, and I’ll crank up the guitar and he goes, “Oh, yeah. That’s it.” Then we’ll get on the phone with Jonathan [Cain], myself and him, and Jonathan will go, “Do you want the softer version?” They’ll go, “No, we don’t want the softer version. We want the heavier version.” I love the guys.

You and Jonathan Cain are clearly in a much better place than you were a few years ago. How did you patch things up? We found out that there was a lot of miscommunication that I felt was coming from management. The divide-and-conquer situation was going on. They were saying I said things that I didn’t say. I heard it had happened with other bands from guitar techs that I had been with. It was happening in the Van Halen camp between Eddie and Sammy. I was just like, “I’m seeing the same scenario.”

Once we got past all the crap and we talked everything out, we found out that a lot of it was just b.s. and we were actually good. Him and I are still very tight as songwriters. There’s still magic there. He’s still creating amazing music, even without me, but us together, we create something that really sounds like Journey.

Some fans were surprised to see him play in the house band at the White House during the RNC a few months ago. What did you think about that? You know what? I learned to just stay in my music lane through that whole fiasco. I think everyone knows my feelings about politics and religion in music. I just decided that I was going to keep my friendship with him and the music with him. We’re still creating great stuff. I got to a place where I said, “It’s a free world. Everyone has the right to do whatever they want to do.”

In a way, it’s like Mick and Keith. They are two very different people, but they come together in a band and it works. Exactly. That tension leads to great music and not agreeing … Jon and I always have been like that. We’re like bookends with all the music in between. Where we start from is two completely different places. He usually starts from music, melody, and piano. I start from a rocking track. There’s a lot of melody on the new songs we’ve been laying down. We’ve gotten very comfortable with singing on it right afterwards with Narada helping me, giving me the confidence, and so I have a lot of the melodies. I recall even in the old Journey with Steve Perry when I’d hum a few things and he’d go, “Oh, I like that.” Then he’d do his own thing to it. There’s a road map there if you aren’t afraid to put it down.

How about tour-wise? The Pretenders 2020 tour was called off. Might you go out with them in the future? I don’t know what management has planned. We love playing with the Pretenders, but I don’t know if that’s where they are going or even if they are available. I definitely enjoy playing with them. They have so many great songs. Chrissie [Hynde] was very nice. The whole band was. I felt that it was complementary to our show, even with Def Leppard. I don’t know what Peter and Cliff are thinking over at Q Prime, but I’m definitely open to that. And I love the Def Leppard guys. I’m open to that, too. But this time we have to bring our PA. [ Laughs ]

I’ve heard rumblings about a biopic about Arnel. Do you think that’s going to happen? I think it’s something that will come down. The story of me finding him on YouTube is sort of unbelievable. I remember when I first told people I had found him. They were like, “Come on, man. Did you just make this up?” It was like a Cinderella story that was too good to believe. We made the documentary [ Don’t Stop Believin’: Everyman’s Journey ] off the fact we found him in Manila, not New York or L.A., and I heard his voice and went, “This is the guy. I know it’s the guy.” Apparently Warner Bros. thinks is a great story too. I think they are going to make it. I don’t know when. I don’t believe they’ve even started. I think they are still writing the script.

Who would play you? Uh … the only meeting we had took place when we last played in Vegas. They were they talking about Joaquin [Phoenix]. That’s what this director said. [ Laughs ] I was like, “OK!” [ Laughs ]

You could play yourself, I suppose. Have you thought about that? I have not thought about that, but it’s not ruled out. I’d probably prefer not to. It’s gotta be so time consuming. At one point, I was going to try and get into some movie stuff and I was taking some acting classes. Everyone was like, “You look like a young James Caan.” This was way back in the Eighties. There were a couple of producers that were approaching me. But I went on a set and thought about it and auditioned and I was like, “Wow. This is so time-consuming. I can do four albums in the time it takes to do one movie.” I’m too impatient. I like to move quickly, so I doubt I’d be the right choice for it.

Is your Journey spinoff band Journey Through Time something that can get back on the road in the future? Fans loved seeing you back with Gregg Rolie and playing the really old songs. I was met with a lot of resistance from some of the former band members and the trademark guy that was sort of working for Journey, I’m finding out. There were many trademark issues I’ve gotten to the bottom of. I’ve cleaned everything up 1,000 percent. There were too many handshake deals and money deals and no real contracts. I was like, “OK, it’s time for all this to stop and for everyone to get treated fairly and equally.”

They were having a real problem with me using Neal Schon’s Journey Through Time, the name of the band. I don’t see why. It has been my journey from my life and the fans loved it. But to tell you the truth, I foresee us being able to do that with the new band; I foresee us being able to play in two different places. I feel like we can play these outdoor festivals with bands like Phish or for that audience and dive into the older material and play that stuff very well and take it to a new place.

Also, we can play in the 20,000-seaters or the coliseums we were doing with Pretenders and Def Leppard. I feel like it’s two different audience we can play to. The main thing is just playing longer where you can dive deeper into the older stuff and making it all work together.

Do you think you could bring Gregg Rolie into the fold at some point, at least for the jam-focused shows? We might talk about that. I’d have to see what Jonathan thought about that. But it’s not really on my plate right now. It’s something I definitely enjoyed. We were picking up speed very quickly before it was taken down. We had a whole tour that was ready to go. And then Gregg unavailable and then [drummer-vocalist] Deen [Castronovo] wasn’t available. There was a lot of politics involved.

Are you close to resolving the legal dispute with Steve Smith and Ross Valory? Unfortunately, no. [ Laughs ] We will, eventually. I have confidence that we will. It is going to be what it is. We’ve already made that choice and we’re moving on. But we’re not about to get held up, either. We’re going to start playing and ultimately we can settle this and come to a mutual agreement.

Do you ever see a day in the future where you’d play with them again? Who knows? I’ve known these guys for a long time. I didn’t agree with the way they went about business. I had been in a situation in the band with management and some of them for a long time where I felt like they were trying to make me leave. I was catching on to a lot of things that I’m getting to the bottom of now, business-wise.

I spoke with Steve Perry a few weeks ago. He says he misses playing live. As just a fan of his, are you hoping he’ll tour? I am. I was hoping he would tour when he released his record a couple of years ago. After going through the pandemic, I imagine that most everyone that has ever toured is dying to tour. I miss it so much, that energy you get from the audience that you throw back. I’m totally missing that. I’m sure everyone that has ever been onstage is missing that. I’m hoping that he would really do it. He should. He sounds in good voice and he could do it. I hope he’ll actually do it because he talked about it last time.

Are you still hoping that at some point in the future, the two of you will be able to sit down and be friends again? I’m still trying to talk to him directly on the telephone. For some reason, I don’t know if it’s him or his attorney, they do not want us to talk, or he feels uncomfortable. I’m sitting in the same place where I’m waiting to get on the phone or get together and have some coffee, but it just isn’t happening and it’s not because of myself.

It’s crazy that one rock band can get so complicated with all these feuding factions. It’s just people playing music together that a lot of people love. You know what? There’s a lot of things that get in the way, the conquer-and-divide thing. I believe that that’s been happening with him, too. When we got inducted into the Hall of Fame, I felt really connected to him again where it was emotional to see him after not seeing him for a long time. He was moved too. I felt, “Why is all this other crap happening for so long? Why did I feel like we couldn’t get together and talk?”

But at the end, it went right back to that. I watched him do the first interviews that he did. He talked very highly about myself like I’ve always talked about him and how happy he was to see me and the rest of the guys, but he said it was mainly me he was happy to see. And then all of a sudden, in all the interviews after that, after the first two where I felt like he was speaking from the heart, it took a left-hand turn and I was never mentioned again. It’s very weird, man. I felt like politics, once again, were in the way.

I guess the one constant in the whole Journey saga is you marching forward and keeping it alive. It is the ship I’ve been in from the very get-go. I’m the only guy that’s been there for every show, every record, every date. I’m the only guy. And my heart is still in it. We’re definitely moving forward and I’m happy with what I’m hearing. I’m moving. I’m going forward. I’m not going to sit in neutral and wait for things to settle out.

We’ll soon be approaching our 50th anniversary. It’s kind of mind-boggling to me, even sitting here telling you it’s been 50 years for me. It should be a great one. What I do know is that we’ve hardly spent any time abroad, but we are going to be taking this around the world and playing in countries and cities we’ve never been to before. Anytime we’ve done this before — like our first first show with Arnel [in Chile] when the audience went wild — we’d never been there before, but they went crazy. His audition was in front of 30 million people. He was scared to death. I had to push him out onstage.

I really feel like late 2021 and certainly 2022 will be a celebration of live music. I’ve got butterflies about the vibe I’m getting or what it’s going to be like when we put our show together. We’re not just going to play the same old show. We’re going to be adding a lot of new stuff. I know Randy and Narada, because I’ve jammed with them before.

It’s going to conform into a whole new thing. They aren’t afraid to try anything right on the spur of the moment onstage, which is where I’ve always been. I play by ear. If you go there, I’m going there, man. I learned to do that playing with Carlos Santana and Rolie and all the original Santana guys. I’m from that school and I love it.

I think we’ll construct a set in a way where we’ll have time for all of it and it won’t have to stay the same every night. We don’t have to conform to that. Everyone will be able to carry it and feel strongly about improvising on the spot and going with it.

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Arnel Pineda on JOURNEY’s Potential Reunion with Steve Perry and Career Impact

via GIGS / YouTube

In a chat with Rolling Stone, Arnel Pineda, the frontman of the iconic band Journey, shared his thoughts on the possibility of reuniting with the former lead singer, Steve Perry. Pineda, known for his upbeat personality and powerful vocals, revealed his openness to the idea, sparking excitement among fans.

Dreamy Encounter with an Icon: Arnel Meets Steve Perry

Expressing his amazement at the unexpected encounter with Perry, Pineda shared,

“I posted on Instagram that I had waited 35 years for that. It was dreamy. I couldn’t believe I met him since he’s very reclusive and he avoids people.”

Pineda reflected on the profound influence Perry had on him, stating,

“He’s one of my heroes when it comes to singing. I remember back in the ’80s, I would sleep on the bus with my Walkman on in my ears as his voice sang all these favorite songs from Journey.”

  View this post on Instagram Modafinil 5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;”>   A post shared by Journey (@journeyofficial)

A Career Sacrifice for the Love of Perry and Journey

When asked about the possibility of Perry’s return and the impact on his role in the band, Pineda responded,

“I miss them so much together. Every now and then, I watch their videos together. It’s always them with Steve Perry that I watch.”

Acknowledging the sentiment of fans who proclaim, “No Perry, No Journey,” Pineda sympathized,

“I understand it. Where I come from, we’re so influenced by Western music. We loved the originals, if you know what I mean.”

Addressing the potential impact on his career, Pineda shared a surprising perspective,

“That would be OK to me! I’m telling you. That’s how much I adore him and I adore Journey and how much I adore Steve Perry.”

  View this post on Instagram   A post shared by Retro and Nostalgia Creator (@70sandbeyond)

Anticipation for the Future: Pineda’s Genuine Enthusiasm

Recounting a personal anecdote, Pineda revealed,

“Back in 2005, I resigned from my job in Hong Kong because I lost my voice due to acid reflux. I was telling my friends back then that my only regret was I lost my voice before I had the chance to sing side-by-side with Steve Perry.”

He continued,

“I just wish that one show with him… it would change my life forever. It’s been 30 years now, and the band keeps changing my life in ways nobody would ever guess would happen.”

Arnel Pineda’s genuine admiration for Steve Perry and his eagerness for a potential reunion add a layer of anticipation to Journey’s future. As fans speculate on what could be, Pineda’s words reflect the profound impact that music and collaboration can have on an artist’s journey, transcending the boundaries of time.

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Arnel Pineda: Journey lead singer talks solo tour, meeting Steve Perry

It’s been a decade since Arnel Pineda stepped into a spotlight once held by his hero, Steve Perry.

He'd been recruited by Journey guitarist Neal Schon, who was duly impressed by the young singer's eerily Perry-esque vocals on classic-rock staples by Journey, Survivor and more at the helm of the Zoo in a series of YouTube clips.

This discovery led to an email from Schon, then a phone call, a two-day audition and eventually his first gig – a Chilean music festival, in which they opened the set with a song he'd covered many times, "Separate Ways (Worlds Apart)."

As Pineda recalls with a laugh, it was "nerve-wracking," as were his first several years in the band.

“But as soon as you started to sync in with the band and get accustomed with their lifestyle and the way they tour, it’s still not easy but it’s more of getting in the groove with them, the rhythm. You don’t have to worry all the time over what are you gonna do and how are you gonna face a crowd. You have become a part of the band already.”

They’ve been “gelling good,” he says, for six or seven years now.

“We don’t have to look at each other and wonder ‘What the hell are we doing?’” says the Philippines-born singer with a laugh. “It’s like we just go out there, hit the crowd, play the legacy and have fun with each other, have fun with the crowd. That’s how it is these days.”

Journey fans are good for self-esteem

Singing with Journey has helped him become a more confident frontman and conquer his fears.

"My self-esteem is just way up there,” he says. “I’m more confident with my songwriting now. It’s like they gave me that , that confidence. And the way I present myself for the crowd now. Six or seven years ago, it was like ‘Oh my god, how do I do this?’ I was always terrified and pinching myself, like 'My God, is this really happening?'”

He’s especially thankful, he says, that the fans were so quick to embrace him when he stepped into that daunting role as Journey’s lead singer.

“I was not expecting that at all,” he says. “It’s just such a huge blessing. I’m still so amazed that they have embraced me like this because, I mean, it’s pretty clear that I’m not Steve Perry. And it won’t happen anytime soon that I will be Steve Perry. But you know, they embraced it. It’s a miracle.”

Steve Perry at Hall of Fame induction

To say he was thrilled to meet Perry last year at the Rock and Roll Hall of Fame induction ceremony would be something of an understatement.

“Like I claim on my IG post, I waited 35 years for that,” Pineda says. “And of course, it was one of the most momentous days of my life. It’s like meeting the pope, you know? He’s one of my heroes when it comes to music – one of the few singers that I have adored all these years, along with Robert Plant and Ann Wilson.”

What did he and Perry talk about that day?

Pineda laughs.

“Oh, just some random things, you know,” he says. “We were just talking about the gig – How is it? How do I feel? And he joked to me saying ‘Are the boys treating you nice? If not, I’m gonna call them and straighten them out,’ you know?”

Pineda did not get inducted with his bandmates, but he did get up and join them at the Hall of Fame induction ceremony, singing "Don't Stop Believin'" and "Lights."

As Pineda recalls, "For the record, I never really wanted to be there because I respect Mr. Steve Perry so much and I think that Rock and Roll Hall of Fame induction, that’s for them, you know? It’s for the band and not for me. I was really adamant about not being there"

But Journey's manager John Baruck talked him into it.

"And then it was so gracious for Steve Perry that he doesn’t want to sing and said that it should be me that should be singing with the band," Pineda says. "I said, 'It’s not right. It should be them playing together and singing together. I was kind of shaky. I mean, how would you feel when your hero is watching you singing his legacy?"

Journey hiatus, solo work, 'AP'

Asked how things are in the Journey camp these days, Pineda says, "It’s started to go back to where they really started, where they came from, which is really like brothers in music. It should be that way. I mean, oh my God, the legacy that they have built together."

With Journey taking next year off, Pineda says he plans to do a lot of songwriting and spend time with his family.

He'll also perform the occasional solo gig, like his upcoming concert in Phoenix.

"I like to keep my voice going," he says. "I don’t want it to lose its chops. You know, as you age, it’s easier for you to lose it."

Pineda has released two solo albums, a self-titled effort in 1999 and "AP" in 2016.

"It makes me happy," he says of his solo career. "I hope that it will get noticed by a bigger crowd eventually but I have no expectations. It’s just a part of me that I’m trying to fill up. My own creativity."

He's pretty sure the crowd size at his solo gigs may have a lot to do with him being the singer for Journey. 

"And I’m really grateful," he says. "Because if my solo music came first, before Journey, I don’t think I’d make it this far."

He's especially grateful that his Journey bandmates took a chance on him and welcomed him into the fold.

"These boys, they’ve been really generous to me," he says. "I mean, sharing their legacy with me?! It’s really helped me a lot. It carried me through to where I want to go right now, you know, with my solo career."

Arnel Pineda

When: 6 p.m. Sunday, Dec. 2.

Where: Celebrity Theatre, 440 N. 32nd St., Phoenix.

Admission: $58-$118.

Details: 602-267-1600,  celebritytheatre.com .

Read more on music: 

• Rolling Stones return to Phoenix area for the first time since 2006
• At age 86, Petula Clark is so much more than 'Downtown'
• Alice Cooper's Christmas Pudding adds Gretchen Wilson 

Steve Perry

Who Is Steve Perry?

Steve Perry played in several bands before joining Journey in 1977. The band achieved tremendous pop rock success with its 1981 album Escape , which featured the now-classic "Don't Stop Believin'." As the group's lead singer, Perry became one of the era's most famous singers. He also had some hits on his own, including "Oh Sherrie." Perry left Journey in 1987, and except for a brief reunion, he remains a solo artist.

While attending high school in Lemoore, California, Perry played drums in the marching band. He tried college for a while, performing in the choir, but eventually abandoned school for his musical dreams. Hoping to break into the business, he moved to Los Angeles for a time. There, he worked a number of jobs, including singing on commercials and serving as an engineer in a recording studio. All the while, Perry played with a number of different groups as a vocalist and drummer. He seemed to be on the edge of a breakthrough with the group Alien Project, when it suddenly disbanded — tragically, one of its members was killed in a car crash.

Journey: "Oh Sherrie" and "Don't Stop Believin'"

In 1977, Perry caught his big break, landing a gig as the vocalist for Journey, which began performing as a jazz rock group in the early 1970s, in San Francisco. With Perry on board, the band moved more toward mainstream rock, and began to see some chart success with the first album with Perry, 1978's Infinity . The band's ode to San Francisco, "Lights," became a minor hit as did "Wheel in the Sky" and "Anytime."

Journey broken into the Top 20 with "Lovin', Touchin', Squeezin'" on their next album, Evolution (1979). Buoyed by such hits as "Open Arms," "Who's Crying Now" and "Don't Stop Believin'," Escape (1981) became the band's first No. 1 album, selling more than 7 million copies. While the band was hugely popular with music fans, many critics were less than kind.

By the early 1980s, Journey had emerged as one of rock's top acts. Perry proved that while he may have been short in stature, he possessed one of the era's biggest and most versatile voices. He was equally adept at ballads, such as "Open Arms," and at rock anthems, such as "Any Way You Want It." Behind the scenes, Perry helped write these songs and many of the band's other hits. He penned their most enduring song, "Don't Stop Believin'," with guitarist Neal Schon and keyboardist Jonathan Cain.

Journey continued to be one of the era's top-selling acts, with 1983's Frontiers . The album featured such songs as "Separate Ways (Worlds Apart)" and "Faithfully." To support the recording, the band undertook an extensive world tour. Around that time, Journey also became the first band to license their music and likenesses for a video game.

With 1986's Raised on Radio , Journey enjoyed another wave of success. However, Perry was ready to part ways with his bandmates. Perry left the band in 1987 after the album tour. In a statement to People magazine, Perry explained: "I had a job burnout after 10 years in Journey. I had to let my feet hit the ground, and I had to find a passion for singing again." Perry was also struggling with some personal issues at the time; his mother had become very sick, and he spent much of his time caring for her before her death.

Perry reunited with Journey in 1996, for the reunion album Trial By Fire , which reached as high as the No. 3 on the album charts. But health problems soon sidelined the famous singer—a hip condition, which led to hip replacement surgery—and his bandmates decided to continue on without him.

Solo Projects

While still with Journey, Perry released his first solo album, Street Talk (1984). The recording sold more than 2 million copies, helped along by the hit single, "Oh Sherrie." Burnt out after splitting with Journey, Perry took some time out before working on his next project.

Nearly a decade later, Perry re-emerged on the pop-rock scene with 1994's For the Love of Strange Medicine . While the album was well-received—one ballad, "You Better Wait," was a Top 10 hit—Perry failed to reach the same level of success that he had previously enjoyed. In 1998, he provided two songs for the soundtrack of Quest for Camelot , an animated film. Perry also released Greatest Hits + Five Unreleased that same year.

Recent Years

While he has largely stayed out of the spotlight, Perry continues to be heard in movies and on television. His songs are often chosen for soundtracks, and Journey's "Don't Stop Believin'" even played during the closing moments of the hit crime-drama series The Sopranos in 2007. In 2009, a cover version of the song was done for the hit high school musical show Glee , which introduced a new generation to Perry's work.

According to several reports, Perry began working on new material around 2010. He even built a studio in his home, which is located north of San Diego, California. "I'm finishing that room up and I've written a whole bunch of ideas and directions, all over the map, in the last two, three years," Perry told Billboard in 2012.

In 2014, Perry broke from his self-imposed exile from the concert stage. He appeared with the Eels at several of their shows. According to The Hollywood Reporter , Perry explained that "I've done the 20-year hermit thing, and it's overrated." His return to performing "has to do with a lot of changes in my life, including losing my girlfriend a year ago and her wish to hear me sing again" — referring to his romance with Kellie Nash, who died in late 2012 from cancer.

Although Perry and his old bandmates had long since ventured in separate directions, the group did reunite for their induction into the Rock and Roll Hall of Fame in April 2017.

In the meantime, the singer began recording again. On August 15, 2018, he released his first new song in 20 years, the ballad "No Erasin." The track arrived ahead of his new album, Traces , his first full-length studio recording since For the Love of Strange Medicine in 1994.

Regardless of what the future holds, Perry has already earned a place in rock history. Rolling Stone magazine named him one of music's top 100 singers. According to American Idol judge and former Journey bassist, Randy Jackson, Perry's voice is one of kind. "Other than Robert Plant, there's no singer in rock that even came close to Steve Perry," Jackson said. "The power, the range, the tone—he created his own style. He mixed a little Motown, a little Everly Brothers, a little Zeppelin."

QUICK FACTS

• Name: Steve Perry
• Birth Year: 1949
• Birth date: January 22, 1949
• Birth State: California
• Birth City: Hanford
• Birth Country: United States
• Gender: Male
• Best Known For: Steve Perry was the lead singer of pop rock band Journey from 1977 to 1987. He is known for having a wide vocal range, which can be heard on such popular hits as "Don't Stop Believin'" and "Oh Sherrie."
• Astrological Sign: Aquarius

We strive for accuracy and fairness.If you see something that doesn't look right, contact us !

CITATION INFORMATION

• Article Title: Steve Perry Biography
• Author: Biography.com Editors
• Website Name: The Biography.com website
• Url: https://www.biography.com/musicians/steve-perry
• Access Date:
• Publisher: A&E; Television Networks
• Last Updated: July 23, 2020
• Original Published Date: April 2, 2014

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The Truth About How Arnel Pineda Joined Journey

Arnel Pineda's path to Journey is something out of a Hollywood movie, complete with tragedy and triumph.

Pineda, who became the lead singer of the band in 2007, was discovered by lead guitarist Neal Schon on Youtube and the rest was history. According to Pineda's official website biography, Schon saw Pineda singing with his then band The Zoo on Youtube and was impressed by how much he sounded like former Journey lead singer Steve Perry. But his path to stardom was very different.

Pineda grew up in the Philippines, where he began his career from the very bottom. He said in a 2010 interview that he left school early after his mother died and his family had to leave their old apartment. He lived in the streets of Manila for two years, working odd jobs, bathing out of gas station water barrels, and surviving off sardines and rationed biscuits. By the time he was 15, he had joined a band and began making a name for himself.

Over the next decade, he would continue performing to larger audiences, which eventually led to gigs in Hong Kong. A friend of Pineda's uploaded one of these performances to Youtube and a star was born.

The journey to Journey

Pineda told Rolling Stone  that Schon found his friend's email and asked how he could contact the singer. When news reached Pineda that Journey's guitarist was looking for him, he thought it was a joke.

"When my friend forwarded the email to me, I was just laughing," Pineda told Rolling Stone in 2017. "I just told him that this is one of the biggest jokes I have ever received from someone. 'It's a hoax,' I tell him. 'You shouldn't believe it.'"

But Pineda did email Schon back and flew to California to meet with him for a week of intense, nerve-wracking auditions. Finally, in December 2007, Journey announced Pineda as its new lead singer.

Now, Pineda's story may soon be turned into Hollywood film, directed by Crazy Rich Asians director Jon Chu. According to the Philippine news website ABS-CBN , Pineda met with the director and other producers to get the ball rolling, stating in Filipino that he's excited for the movie to happen so that other dreamers like him can find much-needed inspiration, and that it might open more doors for other Filipino and Asian artists.

If it pans out, this won't be the first time Pineda's story was told on film. The 2012 documentary Don't Stop Believin': Everyman's Journey followed the band on one of its tours, including Pineda's homecoming concert in Manila.

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Silverdocs: How Journey Found A New Lead Singer And Made Friends In Manila

Linda Holmes

Arnel Pineda became the lead singer of Journey in late 2007. Silverdocs hide caption

Arnel Pineda became the lead singer of Journey in late 2007.

One of the oddest things about the story of Arnel Pineda is that it's not actually quite as odd as it might seem.

Pineda was a bar and club singer working in Manila in 2007, doing some original material but finding an audience mostly for his covers, when he got an e-mail from Neal Schon, the guitarist from Journey. Schon had seen videos of Pineda performing on YouTube and asked him to come to San Francisco and audition to become the band's new lead singer. From Journey fan to Journey member, because of YouTube.

That's the hook of Don't Stop Believin': Everyman's Journey , which opened Silverdocs on Monday night. Director Ramona S. Diaz followed Pineda and the band from the time shortly after he started rehearsing with them through their very successful 2008 tour and their – the word is a cliché, but it applies – triumphant show in Manila in March 2009 when they brought him back home a hero, the successful lead singer of an iconic American band.

There is a certain fairytale quality to all of it – the guy who was singing Journey covers when he suddenly got The Call – but really, it's not that weird. Schon didn't stumble on him accidentally or get an e-mail from someone that said "You've got to see this guy!!!"; he found Pineda while specifically searching YouTube for lead singers, because it's a not-unusual way to find musicians. Maybe he was even looking for lead singers doing Journey songs. Maybe even for lead singers doing Journey songs who sounded a lot like former lead singer Steve Perry – which Pineda surely does. Other than the fact that he was in the Philippines, Schon found his guy the way he set out to find him.

Pineda isn't quite as young as he sometimes seems in the film; he can seem like a kid, but he turned 41 during the 2008 tour. He's a stretch younger than guys like Schon, who's pushing 60, but he's not Justin Bieber being plucked from YouTube because he's never done anything. The story threatens at times to become a wacky internet novelty, but at its best, it's something a bit more satisfying than that. At its best, it's about a working singer – not a YouTube fluke, but a working, day-in-day-out singer who's been playing for years and years – can suddenly find himself jumped to the head of the line, playing to 22,000 people with musicians he's admired all his life. It doesn't have a lot to do with YouTube; the better story is about a band taking a huge risk on a completely unknown quantity because they need a guy and they found one they think will be a fit.

(As a side note, as tempting as the "Don't Stop Believin'" title is, I would have gone with a variation on "Journeyman." Just a suggestion, pun-wise.)

The best parts of the film focus on Pineda; he has a playful attitude toward his own sometimes overwhelming anxiety about the situation into which he's been thrust. He turns out to be a terrific fit for the band, despite his own comment that partly because he's "so Asian," he looks like they Photoshopped him in when Journey has photos taken. In fact, one of the guys in the band comments that bringing something a little more "international" to the "all-American" group is probably an advantage – a prediction that proves true when Pineda helps the band develop an impassioned following of Filipino-American fans in addition to the people back home in Manila. (The security team notes at one point that for some of Arnel's fans, he's "like Elvis.")

But at almost two hours, the film feels long. It comes to what seems like a natural ending at one point, and then it goes on for probably another 20 minutes. There are some background segments on the general history of Journey that don't seem to have been made with the love that went into the Pineda-era stuff, and a persistent subplot about Pineda getting colds and drinking tean — while care of the voice makes a nice tour detail — keeps coming back and back and back but never really goes anywhere.

Then there is also the problem of "Don't Stop Believin'" itself. I don't think it's a spoiler – I really, truly cannot imagine how it could be – to tell you that the film builds to the performance of that particular song. This tour happened after The Sopranos put "Don't Stop Believin'" in the spotlight but before Glee put it there again, and the closing titles of the film point out that it's now the most downloaded song written in the 20 th century. But at some point, waiting for it becomes a bit of a tease, and the build to the performance (and the holding out on playing much of that song after playing most of Journey's others that are well-known, sometimes more than once) turns into a game. I would have dropped the bomb a little sooner, just to avoid the sense of inevitability.

But the film is fun, and it's worth seeing, not because it's the tale of an internet sensation, but because it's the tale of a bunch of guys who really, really want to hear crowds scream – either again or for the first time ever. As much as it's about how a band lifted an unknown singer into a dreamlike world of screaming crowds and far more money than he'd ever known, it's also about how a band found just the right guy at just the right time to help capitalize on the surprise comeback of one of the band's most famous songs. Pineda says at one point that it's like hitting the lotto, what happened to him, but in truth, Schon hit the lotto, too. You can see the guys standing around him at certain moments, looking at him or watching him perform, realizing that he's incredibly grateful to them, but in fact, without him, they are out of luck .

There's an argument to be made that when you set out to find your new lead singer looking specifically for someone who can sing your existing hits and make them sound just like they did when your old lead singer sang them – rather than being primarily focused on a guy who can contribute to whatever your next identity is – you run the risk of essentially covering your own music. Under this theory, Pineda was originally recruited to be the lead singer of the most famous Journey cover band in the world – the one called Journey. But they have since released two albums of new material, and it seems to be a little more than that. It may even be a little more than Schon expected to find on YouTube.

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Steve Perry Walked Away From Journey. A Promise Finally Ended His Silence.

By Alex Pappademas

• Sept. 5, 2018

MALIBU, Calif. — On the back patio of a Greek restaurant, a white-haired man making his way to the exit paused for a second look at one of his fellow diners, a man with a prominent nose who wore his dark hair in a modest pompadour.

“You look a lot like Steve Perry,” the white-haired man said.

“I used to be Steve Perry,” Steve Perry said.

This is how it goes when you are Steve Perry. Everyone is excited to see you, and no one can quite believe it. Everyone wants to know where you’ve been.

In 1977, an ambitious but middlingly successful San Francisco jazz-rock band called Journey went looking for a new lead singer and found Mr. Perry, then a 28-year-old veteran of many unsigned bands. Mr. Perry and the band’s lead guitarist and co-founder, Neal Schon, began writing concise, uplifting hard rock songs that showcased Mr. Perry’s clean, powerful alto, as operatic an instrument as pop has ever seen. This new incarnation of Journey produced a string of hit singles, released eight multiplatinum albums and toured relentlessly — so relentlessly that in 1987, a road-worn Mr. Perry took a hiatus, effectively dissolving the band he’d helped make famous.

He did not disappear completely — there was a solo album in 1994, followed in 1996 by a Journey reunion album, “Trial by Fire.” But it wasn’t long before Mr. Perry walked away again, from Journey and from the spotlight. With his forthcoming album, “Traces,” due in early October, he’s breaking 20 years of radio silence.

Over the course of a long midafternoon lunch — well-done souvlaki, hold all the starches — Mr. Perry, now 69, explained why he left, and why he’s returned. He spoke of loving, and losing and opening himself to being loved again, including by people he’s never met, who know him only as a voice from the Top 40 past.

And when he detailed the personal tragedy that moved him to make music again, he talked about it in language as earnest and emotional as any Journey song:

“I thought I had a pretty good heart,” he said, “but a heart isn’t really complete until it’s completely broken.”

IN ITS ’80S heyday, Journey was a commercial powerhouse and a critical piñata. With Mr. Perry up front, slinging high notes like Frisbees into the stratosphere, Journey quickly became not just big but huge . When few public figures aside from Pac-Man and Donkey Kong had their own video game, Journey had two. The offices of the group’s management company received 600 pieces of Journey fan mail per day.

The group toured hard for nine years. Gradually, that punishing schedule began to take a toll on Journey’s lead singer.

“I never had any nodules or anything, and I never had polyps,” Mr. Perry said, referring to the state of his vocal cords. He looked around for some wood to knock, then settled for his own skull. The pain, he said, was more spiritual than physical.

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As a vocalist, Mr. Perry explained, “your instrument is you. It’s not just your throat, it’s you . If you’re burnt out, if you’re depressed, if you’re feeling weary and lost and paranoid, you’re a mess.”

“Frankly,” Mr. Schon said in a phone interview, “I don’t know how he lasted as long as he did without feeling burned out. He was so good, doing things that nobody else could do.”

On Feb. 1, 1987, Mr. Perry performed one last show with Journey, in Anchorage. Then he went home.

Mr. Perry was born in Hanford, Calif., in the San Joaquin Valley, about 45 minutes south of Fresno. His parents, who were both Portuguese immigrants, divorced when he was 8, and Mr. Perry and his mother moved in next door to her parents’. “I became invisible, emotionally,” Mr. Perry said. “And there were places I used to hide, to feel comfortable, to protect myself.”

Sometimes he’d crawl into a corner of his grandparents’ garage with a blanket and a flashlight. But he also found refuge in music. “I could get lost in these 45s that I had,” Mr. Perry said. “It turned on a passion for music in me that saved my life.”

As a teen, Mr. Perry moved to Lemoore, Calif., where he enjoyed an archetypally idyllic West Coast adolescence: “A lot of my writing, to this day, is based on my emotional attachment to Lemoore High School.”

There he discovered the Beatles and the Beach Boys, went on parked-car dates by the San Joaquin Valley’s many irrigation canals, and experienced a feeling of “freedom and teenage emotion and contact with the world” that he’s never forgotten. Even a song like “No Erasin’,” the buoyant lead single from his new LP has that down-by-the-old-canal spirit, Mr. Perry said.

And after he left Journey, it was Lemoore that Mr. Perry returned to, hoping to rediscover the person he’d been before subsuming his identity within an internationally famous rock band. In the beginning, he couldn’t even bear to listen to music on the radio: “A little PTSD, I think.”

Eventually, in 1994, he made that solo album, “For the Love of Strange Medicine,” and sported a windblown near-mullet and a dazed expression on the cover. The reviews were respectful, and the album wasn’t a flop. With alternative rock at its cultural peak, Mr. Perry was a man without a context — which suited him just fine.

“I was glad,” he said, “that I was just allowed to step back and go, O.K. — this is a good time to go ride my Harley.”

JOURNEY STAYED REUNITED after Mr. Perry left for the second time in 1997. Since December 2007, its frontman has been Arnel Pineda, a former cover-band vocalist from Manila, Philippines, who Mr. Schon discovered via YouTube . When Journey was inducted into the Rock & Roll Hall of Fame last April, Mr. Pineda sang the 1981 anthem “Don’t Stop Believin’,” not Mr. Perry. “I’m not in the band,” he said flatly, adding, “It’s Arnel’s gig — singers have to stick together.”

Around the time Mr. Pineda joined the band, something strange had happened — after being radioactively unhip for decades, Journey had crept back into the zeitgeist. David Chase used “Don’t Stop Believin’” to nerve-racking effect in the last scene of the 2007 series finale of “The Sopranos” ; when Mr. Perry refused to sign off on the show’s use of the song until he was told how it would be used, he briefly became one of the few people in America who knew in advance how the show ended.

“Don’t Stop Believin’” became a kind of pop standard, covered by everyone from the cast of “Glee” to the avant-shred guitarist Marnie Stern . Decades after they’d gone their separate ways, Journey and Mr. Perry found themselves discovering fans they never knew they had.

Mark Oliver Everett, the Los Angeles singer-songwriter who performs with his band Eels under the stage name E, was not one of them, at first.

“When I was young, living in Virginia,” Mr. Everett said, “Journey was always on the radio, and I wasn’t into it.”

So although Mr. Perry became a regular at Eels shows beginning around 2003, it took Mr. Everett five years to invite him backstage. He’d become acquainted with Patty Jenkins, the film director, who’d befriended Mr. Perry after contacting him for permission to use “Don’t Stop Believin’” in her 2003 film “Monster.” (“When he literally showed up on the mixing stage the next day and pulled up a chair next to me, saying, ‘Hey I really love your movie. How can I help you?’ it was the beginning of one of the greatest friendships of my life,” Ms. Jenkins wrote in an email.) Over lunch, Ms. Jenkins lobbied Mr. Everett to meet Mr. Perry.

They hit it off immediately. “At that time,” Mr. Everett said, “we had a very serious Eels croquet game in my backyard every Sunday.” He invited Mr. Perry to attend that week. Before long, Mr. Perry began showing up — uninvited and unannounced, but not unwelcome — at Eels rehearsals.

“They’d always bust my chops,” Mr. Perry said. “Like, ‘Well? Is this the year you come on and sing a couple songs with us?’”

At one point, the Eels guitarist Jeff Lyster managed to bait Mr. Perry into singing Journey’s “Lights” at one of these rehearsals, which Mr. Everett remembers as “this great moment — a guy who’s become like Howard Hughes, and just walked away from it all 25 years ago, and he’s finally doing it again.”

Eventually Mr. Perry decided to sing a few numbers at an Eels show, which would be his first public performance in decades. He made this decision known to the band, Mr. Everett said, not via phone or email but by showing up to tour rehearsals one day carrying his own microphone. “He moves in mysterious ways,” Mr. Everett observed.

For mysterious Steve Perry reasons, Mr. Perry chose to make his long-awaited return to the stage at a 2014 Eels show at the Fitzgerald Theater in St. Paul, Minn. During a surprise encore, he sang three songs, including one of his favorite Eels tunes, whose profane title is rendered on an edited album as “It’s a Monstertrucker.”

“I walked out with no anticipation and they knew me and they responded, and it was really a thrill,” Mr. Perry said. “I missed it so much. I couldn’t believe it’d been so long.”

“It’s a Monstertrucker” is a spare song about struggling to get through a lonely Sunday in someone’s absence. For Mr. Perry, it was not an out-of-nowhere choice.

In 2011, Ms. Jenkins directed one segment of “Five,” a Lifetime anthology film about women and breast cancer. Mr. Perry visited her one day in the cutting room while she was at work on a scene featuring real cancer patients as extras. A woman named Kellie Nash caught Mr. Perry’s eye. Instantly smitten, he asked Ms. Jenkins if she would introduce them by email.

“And she says ‘O.K., I’ll send the email,’ ” Mr. Perry said, “but there’s one thing I should tell you first. She was in remission, but it came back, and it’s in her bones and her lungs. She’s fighting for her life.”

“My head said, ‘I don’t know,’ ” Mr. Perry remembered, “but my heart said, ‘Send the email.’”

“That was extremely unlike Steve, as he is just not that guy,” Ms. Jenkins said. “I have never seen him hit on, or even show interest in anyone before. He was always so conservative about opening up to anyone.”

A few weeks later, Ms. Nash and Mr. Perry connected by phone and ended up talking for nearly five hours. Their friendship soon blossomed into romance. Mr. Perry described Ms. Nash as the greatest thing that ever happened to him.

“I was loved by a lot of people, but I didn’t really feel it as much as I did when Kellie said it,” he said. “Because she’s got better things to do than waste her time with those words.”

They were together for a year and a half. They made each other laugh and talked each other to sleep at night.

In the fall of 2012, Ms. Nash began experiencing headaches. An MRI revealed that the cancer had spread to her brain. One night not long afterward, Ms. Nash asked Mr. Perry to make her a promise.

“She said, ‘If something were to happen to me, promise me you won’t go back into isolation,’ ” Mr. Perry said, “because that would make this all for naught.”

At this point in the story, Mr. Perry asked for a moment and began to cry.

Ms. Nash died on Dec. 14, 2012, at 40. Two years later, Mr. Perry showed up to Eels rehearsal with his own microphone, ready to make good on a promise.

TIME HAS ADDED a husky edge to Mr. Perry’s angelic voice; on “Traces,” he hits some trembling high notes that bring to mind the otherworldly jazz countertenor “Little” Jimmy Scott. The tone suits the songs, which occasionally rock, but mostly feel close to their origins as solo demos Mr. Perry cut with only loops and click tracks backing him up.

The idea that the album might kick-start a comeback for Mr. Perry is one that its maker inevitably has to hem and haw about.

“I don’t even know if ‘coming back’ is a good word,” he said. “I’m in touch with the honest emotion, the love of the music I’ve just made. And all the neurosis that used to come with it, too. All the fears and joys. I had to put my arms around all of it. And walking back into it has been an experience, of all of the above.”

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Journey to celebrate 50th anniversary with 30 shows in 2024: See where they're headed

Journey is continuing the celebration of its five-decade career with a run of 2024 shows.

The 50 th Anniversary Freedom Tour kicks off Feb. 9 in Biloxi, Mississippi and will play 30 dates in North America through April 29 in Bridgeport, Connecticut. Tickets go on sale at 10 a.m. local time on Sept. 29 via ticketmaster.com.

Toto, which supported Journey on their tour earlier this year to celebrate their "Freedom" album, will again join Journey founder, guitarist Neal Scho n, keyboardist Jonathan Cain, lead singer Arnel Pineda, keyboardist Jason Derlatka, drummer Deen Castronovo and bassist Todd Jensen as show openers.

Journey's tour finds the Rock & Roll Hall of Famers tearing through a set list of anthems including "Any Way You Want It," "Faithfully," "Be Good to Yourself" and, of course, "Don't Stop Believin'."

When "Freedom" arrived in July 2022, Schon told USA Today that the album title was originally tapped for the band's 1986 release, "Raised on Radio," but then-singer Steve Perry didn't like it, "so we sat on it for many years … when we were tossing around album titles said, why not just call the whole thing 'Freedom?' It's for the times right now."

Schon was also sanguine when reflecting on the band’s legacy.

"It’s quite an accomplishment and I’m very proud of what we’ve done and how we’ve gotten through emotional and personnel changes and survived," he said. "It’s pretty mind-boggling but also a lot of hard work."

More: Journey co-founder George Tickner dies: 'Fly free above the stars'

Here are Journey's 2024 Freedom Tour dates

*Sioux City on sale Thursday, October  5

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Another Crab’s Treasure Brings a Charming Yet Shallow Undersea Journey (Review)

Many titles love to put their own spins on traditional formulas by bringing them to unusual settings. Sometimes they mix it with other genres for varying results. Another Crab’s Treasure goes for both approaches at once and succeeds at hooking you with its quirky features. But the line, unfortunately, breaks apart while trying to sink you under its deep waters.

Twenty Thousand Crabs Under the Seas

The adventure begins when Kril, a hermit crab living peacefully on the shores, gets his shell… sorry, I mean his home, taken by a loan shark. Yup, a literal loan shark. Apparently, there’s a new duchess out there and she demands taxes from her subjects. Kril is completely oblivious to what taxes are, to begin with, but is eager to retrieve his home sweet home, no matter what it takes.

His fervent wish leads him to a violent, fierce journey where the young crab has to stand up for himself in the only way the gaming industry knows: through Souls-like combat. With crabs. Once he finds out he’ll need to bring something big to retrieve his shell, he’s dragged into a race for a legendary treasure worth more than all microplastics you can imagine.

Being a crab Souls-like (or a Shells-like if you prefer) is the game’s whole gimmick, but that’s not all there is to it. Beneath its stiff shell, lies an open-world platformer game as the soul. Sometimes I felt like I was playing a licensed THQ game from the PS2 era. But that’s not necessarily a bad thing, although it does come with its own issues that I’ll get into later.

The game still works mostly as a Souls-like, despite all. You have the usual combat dance, hard-hitting enemies, big bosses, hidden secrets (to a degree), death as part of a cycle and even poison swamps. Miyazaki would be proud. Collect all Microplastics (the equivalent to Souls, Runes or whatever you want to call it) your claws can hold as there’s always some bigger fish to fry.

A crab wouldn’t be complete without his shell. While searching for his one true home, Kril can take up many different shells he finds during his journey, claiming their abilities for himself by using the ancient Umami magic. He can use soda cans to throw magic bubbles at his enemies or spin wildly on that ketchup nozzle he just found. You wouldn’t believe the things people throw under the sea.

Shells also work as your shield. Hiding inside them negates almost all incoming damage while you wait for your chance to strike back. You can also host Stowaways inside it, and each of them gives you another special skill. Did I mention that Krill also learns skills from his opponents and becomes stronger? Yeah, he’s just built differently.

Such an unusual mash-up brings some unexpectedly chill vibes for a soulslike game. Dying isn’t as frustrating as you would imagine, and you even get the option of activating some of the “Assist Mode” features, which tunes down the difficulty a bit more to make it more accessible for everyone. If you don’t like soulslike that much, there’s still a funny crab game for you.

So. Many. Coddamn. Puns.

It’s just impossible to keep a straight face while talking about this game. Hard to do so when you’re a crab killing other crabs with a fork while chomping down some tasty Microplastics. And the game won’t shy away from delivering some of the most ridiculous dialogue lines possibly imagined by humanity. And I love it for it.

Okay, I might have a slightly broken sense of humor, but I couldn’t help but crack up whenever I saw things like “For the love of Cod” being said unironically. Or when Kril exclaims “Oh, crab!” whenever he’s in a pinch. And those puns keep going the whole shucking time! Not even the most “serious” characters abstain from these, and that always got me a small giggle. Maybe they crossed the line when a crab called me an inshell, but I’ll let that one slip.

But they work because Kril is just a little guy. The littlest guy of them all. A little crab guy, even. He genuinely doesn’t know why this is all happening to him. Seeing the world through his innocent eyes makes the writing sound a bit more natural, if that makes any sense. It’s not like the puns wouldn’t grow old after some time (especially when the game feels longer than it should), but it’s still interesting to see them committing to their themes until the end.

Speaking of themes, Aggro Crab definitely did their research when designing these depths, as it tackles a lot of good, the bad and the ugly found beneath the waves. Many of Kril’s shells are straight-up junk he finds. Take a look at any map and all you’ll see is abandoned human trash, pollution and other nasty things invading the natural undersea formations. The criticism is silent but it’s undeniable there.

Sometimes it’s not that subtle, though. Many characters complain about the bad conditions they have to live in, and eventually start to rebel against the big collars ruling the city, sitting in their trash thrones. But these themes are dabbed upon in the same joke-ey manner and without much depth. Much like the later portions of the title.

A Shell Also Has Its Cracks

Another Crab’s Treasure delivers its proposal and shows immense heart, but struggles with its identity crisis. Level design is the first thing that comes to mind. Some areas bring too much from the platformer side, but fail to acknowledge that it doesn’t mesh well in Souls-like games. Dying by itself isn’t a problem, but revisiting the same jumping sections you just finished a few minutes ago is not the coolest thing on the reef.

The formula works for bigger areas such as The Shallows and The Sands Between, two open areas filled with secrets and hidden paths. But for the more secluded locations, there’s little to no payoff in your repeated endeavors.

Combat is a love-and-hate relationship for me. The grappling hook and the shell mechanics fit perfectly in this game and are quite amazing by themselves, but your other tools suffer in comparison. You have your fork and that’s it. You can change it to a heavy stance and make it more akin to a claymore, but that’s as far as you go. The skill tree does give you some new moves, but nothing too special.

Enter Adaptations. The skills you learn from defeating bosses break the game’s thin balance as using them turns any crab on its shell immediately. And there’s no downside to spamming them as much as you can. They’re fun to mess around with and allow for slightly different playstyles, but they never go too far from what’s set in stone.

Combine it with a seemingly uninspired final row of bosses. The first few conflicts are a delight, but the closing fights avoid diving into new waters and keep things simple. The sole exception was the final fight, which I enjoyed despite being so overpowered. Most opponents feel more like platformer big baddies rather than Souls bosses. This is a shame, as they proved they can make terrifying sea creatures if they want to.

The final moments of the game also take an unexpectedly dark turn, which is not a bad trope per se. However, the execution falls flat as the game is always at its strongest when it embraces its silliness rather than avoiding it. I mean, I wouldn’t expect a somewhat serious plot in a game that I can use a rubber duck as a shell.

Maybe the game dragged itself for too long in a setting that wasn’t that promising, to begin with. But that doesn’t mean it’s not worth a visit, as I still enjoyed meeting Kril and his crew. There are a lot of funny interactions here and there, and some areas are really satisfying to go through. As I said previously, the game is incredibly chill and cozy, as well as being quite accessible for newcomers.

Animations are always on point, and you can see how much love went into the development with so many details, biologically accurate sea facts and references to pop culture and other games in general. While its downsides are somewhat prominent, I had my fair share of bad games and this one is not even close to any of them.

Another Crab’s Treasure is great if you don’t dive in with big expectations. More than just a joke game, it serves the role of a relaxing game to play once in a while, and it’ll probably have you under its claw for some hours. Just be careful or you might end up with (even more) microplastics in your blood.

Verdict: Recommended

Another Crab’s Treasure releases on April 25, 2024, on PC, PlayStation 5, Xbox Series X|S, PlayStation 4, Xbox One, and Nintendo Switch. Review on PC/Steam Deck. A review code was provided by the publisher.

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Hallelujah: Leonard Cohen, A Journey, A Song Streaming: Watch & Stream Online via Netflix

• Oops! Something went wrong. Please try again later. More content below

Hallelujah: Leonard Cohen , A Journey, A Song transcends the typical concert film genre, offering a profound exploration of a beloved song. The documentary intertwines the life story of singer-songwriter Leonard Cohen with the captivating journey of his iconic hymn, “Hallelujah.” Featuring insights from musical legends influenced by the song, viewers uncover the hidden narratives and revisions that contributed to the creation of this timeless masterpiece.

Here’s how you can watch and stream Hallelujah: Leonard Cohen, A Journey, A Song via streaming services such as Netflix.

Is Hallelujah: Leonard Cohen, A Journey, A Song available to watch via streaming?

Yes, Hallelujah: Leonard Cohen, A Journey, A Song is available to watch via streaming on Netflix .

This documentary delves into the profound impact of Leonard Cohen’s iconic hymn, interweaving his life story and artistic journey with the fascinating evolution of “Hallelujah” itself. It presents candid moments from music legends influenced by the song, revealing the countless revisions and hidden meanings that have contributed to making “Hallelujah” a timeless masterpiece.

Hallelujah: Leonard Cohen, A Journey, A Song includes Leonard Cohen himself through archival footage and interviews.

Watch Hallelujah: Leonard Cohen, A Journey, A Song streaming via Netflix

Hallelujah: Leonard Cohen, A Journey, A Song is available to watch on Netflix. It is built for viewers who enjoy devouring seasons of shows in one sitting, with features like autoplay, personalized recommendations

You can watch via Netflix by following these steps:

Visit netflix.com/signup

Choose a payment plan from the following:

$6.99 per month (standard with Ads)

$15.49 per month (Standard)

$22.99 per month (Premium)

Enter your email address and password to create an account

Enter your chosen payment method

The cheapest Netflix Standard with Ads Plan provides all but a few of its movies and TV shows. However, it will show ads before or during most of its content. You can watch in Full HD and on two supported devices at a time.

Its Standard Plan provides the same but is completely ad-free while also allowing users to download content on two supported devices with an additional option to add one extra member who doesn’t live in the same household.

The Premium Plan provides the same as above, though for four supported devices at a time, with content displaying in Ultra HD. Users get to download content on up to six supported devices at a time and have the option to add up to two extra members who don’t live in the same household. Netflix spatial audio is also supported.

Hallelujah: Leonard Cohen, A Journey, A Song synopsis is as follows:

“This feature-length documentary explores the life of singer-songwriter Leonard Cohen as seen through the prism of his internationally renowned hymn, Hallelujah.”

NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.

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The post Hallelujah: Leonard Cohen, A Journey, A Song Streaming: Watch & Stream Online via Netflix appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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Hallelujah: Leonard Cohen, A Journey, A Song Streaming: Watch & Stream Online via Netflix

By Areeba Masood

Hallelujah: Leonard Cohen, A Journey, A Song transcends the typical concert film genre, offering a profound exploration of a beloved song. The documentary intertwines the life story of singer-songwriter Leonard Cohen with the captivating journey of his iconic hymn, “Hallelujah.” Featuring insights from musical legends influenced by the song, viewers uncover the hidden narratives and revisions that contributed to the creation of this timeless masterpiece.

Here’s how you can watch and stream Hallelujah: Leonard Cohen, A Journey, A Song via streaming services such as Netflix.

Is Hallelujah: Leonard Cohen, A Journey, A Song available to watch via streaming?

Yes, Hallelujah: Leonard Cohen, A Journey, A Song is available to watch via streaming on Netflix .

This documentary delves into the profound impact of Leonard Cohen’s iconic hymn, interweaving his life story and artistic journey with the fascinating evolution of “Hallelujah” itself. It presents candid moments from music legends influenced by the song, revealing the countless revisions and hidden meanings that have contributed to making “Hallelujah” a timeless masterpiece.

Hallelujah: Leonard Cohen, A Journey, A Song includes Leonard Cohen himself through archival footage and interviews.

Watch Hallelujah: Leonard Cohen, A Journey, A Song streaming via Netflix

Hallelujah: Leonard Cohen, A Journey, A Song is available to watch on Netflix. It is built for viewers who enjoy devouring seasons of shows in one sitting, with features like autoplay, personalized recommendations

You can watch via Netflix by following these steps:

• Visit netflix.com/signup
• $6.99 per month (standard with Ads)
• $15.49 per month (Standard)
• $22.99 per month (Premium)
• Enter your email address and password to create an account
• Enter your chosen payment method

The cheapest Netflix Standard with Ads Plan provides all but a few of its movies and TV shows. However, it will show ads before or during most of its content. You can watch in Full HD and on two supported devices at a time.

Its Standard Plan provides the same but is completely ad-free while also allowing users to download content on two supported devices with an additional option to add one extra member who doesn’t live in the same household.

The Premium Plan provides the same as above, though for four supported devices at a time, with content displaying in Ultra HD. Users get to download content on up to six supported devices at a time and have the option to add up to two extra members who don’t live in the same household. Netflix spatial audio is also supported.

 Hallelujah: Leonard Cohen, A Journey, A Song synopsis is as follows: 

“This feature-length documentary explores the life of singer-songwriter Leonard Cohen as seen through the prism of his internationally renowned hymn, Hallelujah.”

NOTE: The streaming services listed above are subject to change. The information provided was correct at the time of writing.

Kraven the Hunter & Karate Kid Reboot Release Dates Delayed by Sony

Recommendations: 5 great movies inspired by seven samurai, bridgerton showrunner reveals season 3 ending will include clues about next lead couple, exclusive duchess images preview neil marshall gangster movie starring charlotte kirk, distribution set.

As a versatile writer with a background in graphic design and two years of experience in academic writing, Areeba infuses creativity and precision into every project. Specializing in entertainment media, including TV series and movies, she brings captivating narratives to life, offering fresh perspectives on the ever-evolving landscape of cinema.

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Kraven the Hunter & Karate Kid Reboot Release Dates Delayed by Sony

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