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Speaker 1: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties.

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Speaker 2: Pop culture with your co hosts James D. Graves and

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Jason Callipans. Welcome back, everybody.

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Speaker 3: Here we are for our second part in the Synchronicity

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Versus Frontiers debate, and Jason.

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Speaker 2: I've got a great idea for a video.

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Speaker 3: You should play the air keyboards and I will play

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the air guitar, and we'll get somebody else to play

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the air drop.

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Speaker 1: We think invisible instruments. Yes, that sounds incredible on a wharf,

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and have a lady walking around.

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Speaker 2: Now now a minute a minute.

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Speaker 3: That would be absolutely the worst video in the history

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of the world.

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Speaker 2: We can't do that. I don't know what I was thinking.

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Speaker 1: Let's hang out. We'll be out there in our jeans

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and tennis shoes. We'll get some lady off the street

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just to walk around.

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Speaker 2: Awesome tank top.

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Speaker 1: That you got it Target last night, and.

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Speaker 3: I'll get my haircut right beforehand. Well, welcome back everybody.

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As you can see, we're already having fun with this one.

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Speaker 2: Today.

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Speaker 3: We're here to talk about Journey if you didn't catch

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our last episode, we talked about The Police and we're

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comparing the two albums that came out in nineteen eighty three.

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The Police had Synchronicity and Journey had Frontiers Synchronicity.

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Speaker 1: That album was released in June of nineteen eighty three.

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Frontiers is actually released in February of nineteen eighty three.

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Speaker 3: Yeah, so today we will cover Frontiers and then finish

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up with our decision on which one we think is

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the best.

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Speaker 1: I'm anxious to hear what you think I really am

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because most of the time I have kind of an

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inkling of where you are. I have no idea where

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you're on these two.

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Speaker 3: So it is very, very difficult because these are two

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phenomenal albums. Like I said last episode, Police was the

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best band in the world, and this was their best

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album with the most hits and a Journey this one

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has a ton of hits. It's got my favorite of

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all Journey songs to kick things off, and so it's

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hard choice. I'll tell you when we get there. Okay,

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stay tuned, Okay, So let's jump in. You know, the

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only member of Journey that was an original member of

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Journey is Neil shown.

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Speaker 2: You know Neil shown story.

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Speaker 1: The only thing I really know about him is that

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he picked up the guitar at like age five, and

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he was born at Tinker Air Force Base, which is

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about twenty miles from where we're recording right now.

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Speaker 3: So right right, yeah, I doubt he remembers Oklahoma, but

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we'll we'll claim him anyway, right.

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Speaker 1: He is in the Oklahoma Hall of Fame, so we're claiming.

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Speaker 2: Yes, yeah, Neil shwon.

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Speaker 3: I'm sure he tells everyone he's from Oklahoma.

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Speaker 1: This band was very nearly named Oklahoma City, but instead

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they settled on Journey.

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Speaker 2: Well, they had some wild names to go through. But

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let's back it up a little bit.

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Speaker 3: So Neil shown after Obviously the big important part about

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being born on Tinker Air Force Bace here in Oklahoma.

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He ends up in California, has a turntable in his room,

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listens to Jimmy hendrickson Cream every night, falls in love

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with the guitar. And I guess that's sleep hypnotism work,

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because at fifteen years old, he is an amazing guitar

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play already.

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Speaker 1: He's a professional guitarist by age fifteen. You and I

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have talked. We both have fifteen year old boys in

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our house right now. The idea of him going out

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on the road and playing in a rock band.

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Speaker 3: It's kind of weird how that fifteen thing keeps coming up.

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I mean, you had Eddie Murphy doing stand up when

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he was fifteen. You had Rick Allen who started playing

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with def Leppard at age fifteen, and then you have

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Neil Shoan who's playing the guitar at fifteen. It's crazy,

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but he got noticed. Of all people, he.

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Speaker 2: Got noticed by Greg Rawley, who was the keyboardist and

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lead singer for the band Santana.

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Speaker 1: I mean Santana. I mean that's a big time band.

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Huge joins them at age fifteen.

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Speaker 3: I mean we're talking. They played at Woodstock. I mean

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this is this is not small potatoes here. I mean,

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these guys are an amazing band. And this guy, Greg

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Rawley was so impressed with Neil Show's ability at age fifteen,

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he would go and pick him up from high school

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in the morning, not after our school was done. Listen, dude,

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you don't need to bother with school because you.

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Speaker 2: Were going to be a rock god. Okay, so come on.

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Speaker 3: Herbie Herbert was manager for Santana at the time, and

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he heard Neil shown play and he was like, we

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need to have this guy come around a little bit

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because he was blown away, blown away by a fifteen

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year old.

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Speaker 1: Neil Showan is a phenomenal guitar player, and I think

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he's vastly underappreciated. We talked in our Van Halen podcast

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about Eddie is a rock god, but when he wants to,

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he can make his guitar scene. And Neil is that

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type of guitar player. It always compliments the song. He

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never stands out there and says, look at me, watch

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me go crazy. His guitar always helps the song.

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Speaker 3: It might be yeah, absolutely, And to say that means

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a lot because this time and history was it was

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all about the guitar solos, and so he definitely had

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that opportunity to be out there and being that guy.

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But I would say that it took some doing, but

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he appreciated what they were and where he needed to

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be in the scheme of things and didn't try to

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didn't try to take that spotlight over. So he joined Santana,

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and I mean, it's crazy you watch some of the

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old Santana videos that they have that are all psychedelic

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and weird technicolor DreamWorks things going on. And he's just

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a baby out there with his guitar playing with these

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guys who are veterans of the hard rock scene.

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Speaker 2: But he's amazing.

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Speaker 3: I mean he's a baby, but he's like, as they

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said in Bull Durham, the gods reached down and touched

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his hand and his arm became a lightning bolt.

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Speaker 1: You know. So he doesn't stay with Santana.

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Speaker 3: Yeah, well, Herbie Herbert says, hey, guys, you know, we

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need to do something different. He and Greg Rawley they

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split off. This was kind of like part two of Santana.

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And obviously they're not going to be Santana because Carlos

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Santana and Santana you can't really take that from real.

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So they go out on their own and they start

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this band called Golden Gate something or other. I don't

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even rhythm section. We think, yeah, I think so that

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sounds good. It was not a good name. It was

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a horrible heat. Air Force Base would have been a

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better name, but yes, or Oklahoma City it was a

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better names. And so they're a band unlike the Journey

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that we know today. I mean, they are a band

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that is in the kind of fusion rock progressive rock scene,

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which is a lot of instrumental solos. That's the band

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that they were for a long time, and they developed

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a significant following.

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Speaker 1: Is that kind of band they did, But they didn't

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have any hits.

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Speaker 3: Yeah, they were selling tickets, they weren't selling any records.

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The CBS was like, hey, guys, you want us to

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keep playing for your concerts, you better give.

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Speaker 1: Us a hit something. We need something we can play

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on the radio.

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Speaker 3: And Herbie Herbert realized, we need a singer. We need

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a singer who can sing well. And they went through

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a couple of guys that just didn't quite have it.

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And in the meantime, while all of this is going on,

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you got young Steve Perry who's been playing in rock bands,

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going through those same motions that early rock and rollers

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go through, and he actually gets in with the band

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called Alien Project. Looks like this band is going to

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be good. You know, they've they've got a decent song.

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They're just about to sign their record deal. And then

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the bass player gets killed in a car crash with

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a train, and when he dies, the band dies.

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Speaker 1: I mean, Steve Perry at that time felt like, man,

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just when I'm on the cusp of my dreams coming

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true whatever it is, the universe is stacked against me. Yeah,

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you feel like that was my chance and now it's dead.

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Speaker 2: Yeah, he went back home. I mean he was done.

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Speaker 1: We're talking about Steve Perry, who arguably has the greatest

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singing voice of the nineteen eighties.

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Speaker 3: Journey is arguably the definitive eighties band, at least the

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definitive early eighties band in my book. I mean, if

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you want to say what was the sound of nineteen

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eighty through nineteen eighty five for bands, I'm gonna go, well, Journey.

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Journey's pretty darn good example.

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Speaker 1: You could do a lot worse than Journey, that's for sure.

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If they had this formula of pumping out hits that

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everybody liked. Bon Jovi was kind of that towards the

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latter half and just everybody sort of mainstream like these songs.

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Speaker 3: But before they get there, Herbie Herbert is thinking, what

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do we gotta do to get a decent hit? We

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got to have a singer. And he's going through these

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demo tapes and he hears this tape and he's like, no,

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tell me that this is Steve Ferry? Because I just

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keep running into this guy, and sure enough it was

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Steve Ferry. And he's like, all right, where is he?

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And somebody's looking and they're like, looks like he's living

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back with his parents and working on a turkey ranch.

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Speaker 2: He's like, no, really, what's he doing? Then Nope, that's

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what he's doing.

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Speaker 3: He went back home, he had no money and he's

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working on a turkey ranch.

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Speaker 1: And he was grateful to have that job. His step

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dad's like, hey, come back home, you can fix the

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turkey cages. I'll give you a paycheck. And he was like, oh,

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thank god.

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Speaker 2: So when Herbie Herbert calls him up, he's like, nah,

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I don't think so.

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Speaker 3: Well.

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Speaker 2: I'm good, yeah, yeah, yeah, I got it. Now you know.

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Speaker 1: I got a pay rent, I got an no where,

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I got a guy on the other line sowing some

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white walls.

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Speaker 3: So Herbie Herbert says, I tell you what, I'll pick

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up your paycheck for a week. I mean, you know what,

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in the seventies was probably like thirty five bucks. Right,

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So he Herbie Herbert is making plans to fly him

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out there, and so he plays a demo of Steve

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singing for Greg and for Neil, and both of them

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are like, no hard pass, no, no, no, this guy's

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a crooner, right, we don't we want somebody who screams,

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and we want to play our.

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Speaker 2: Music loud and we're going to rock.

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Speaker 3: And Herbie Herbert says he's going to be the lead

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singer of this and that's the.

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Speaker 1: End, and thankfully he did that. I mean, where would

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we be without Steve Perry. I mean this band would

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be in obscurity, right.

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Speaker 3: So Steve gets flown out, he meets Neil. They actually

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kind of hit it off. Surprisingly, Neil's obviously against him

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at the beginning, but they get to know each other.

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They end up hanging out at a hotel room in

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Denver and Neil starts playing a little bit on his

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guitar and Steve starts singing some lyrics and they literally

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in five minutes write the song patiently, so.

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Speaker 2: Nice.

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Speaker 3: So it looks like it's going to be a good fit, right,

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Neil decides, Okay, I don't need to be the rock god.

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I don't need to be the guitar hero. I want

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to put my stuff in there, but I'm not going to.

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Speaker 2: Overpower this guy. Because this guy's got chops.

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Speaker 3: I mean, he's got a great voice, and the audience,

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you know, their diehard fans are like, what's going on

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a little bit, but a whole lot of people were like, hey,

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these guys sound good with this new lead singer. They're

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getting some more radio play, they were getting more tickets sold,

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and it looked like it was going to go. Well.

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Speaker 1: It's funny because a band is kind of like a

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basketball team. You get one or two great players and

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all that a sudden you've got a great team. You

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get Neil Sean who is an amazing guitar, and you

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pair him up with a voice like Steve Perry's mean,

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I could play drums and they could pump out hits,

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you know what I mean.

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Speaker 3: Right, So, both Neil and Greg Rawley both kind of

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pulled themselves back, you know, they said, Okay, this is

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a new direction that we're going and it seems to

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be working.

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Speaker 2: That sounds good. We'll do that.

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Speaker 1: Unfortunately, the drummer, Ainsley Dunbar didn't really feel.

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Speaker 2: The same way.

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Speaker 3: I mean, he was a hard rocking drummer and he

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wanted to bang his drums and as the band went on, Steve,

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you know, Steve was a kind of a reserved guy.

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He's not a cocky, in your face kind of guy.

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But when they start having more success with him singing,

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he starts to assert himself and say, listen, you know

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the drums are overpowering what's going on. You need to

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pull it back, And Ainsley Dunbar is like, no, I don't.

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I like drumming hard, and I'm going to drum hard.

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And eventually it just, you know, came down to an

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ultimatum and ains Dunbar didn't win that one.

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Speaker 1: Yeah, he's out for sure.

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Speaker 3: So then they replace him with the drummer from montros

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throw Back, Steve Smith.

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Speaker 2: Then they do a tour.

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Speaker 3: Things are going well, actually having a whole lot of success, right,

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and some really great songs, and Greg Rawley comes to

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Herbie Herbert and says, I don't want to do this anymore. Yeah,

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what you know, we're having the biggest success we've ever had.

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He's like, I know, and I don't understand it either,

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but I just don't want to be in this band anymore.

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And I'll just tell you what, I don't think that

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you're going to be with these guys very long anymore.

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Speaker 2: Either.

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Speaker 1: That's interesting. I mean getting off the train as it's

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leaving the station. It's always an interesting decision looking back,

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you know, well, I mean he was I mean they

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were on their way to the destination. I mean he

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was dead where they're making some big hits. But his

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departure ends up being a huge blessing because what happens

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is Jonathan Kane joins the band to replace him, and

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Jonathan Kane is responsible for so many of their hits.

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He really really adds that hit making formula to the band.

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Speaker 3: He's got a very similar personality to Steve Perry. They're

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very much about the music. They're very kind of self conscious,

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but very good at what they do, and so they

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immediately form a comrade. And at one point, Cain starts

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playing this melody and I'll play it for you right now,

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and Steve Perry's like, hey, that's good.

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Speaker 2: What is that? And He's like, oh, it's just something

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I've been messing around with. You know.

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Speaker 3: I played it for John, but he wasn't really interested

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in it. So John is John Waite from the band

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Baby and Bad English as well later on. But yeah,

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so John Waite, here's this melody that ultimately ends up

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becoming Open Arms, and he was like, it's kind of

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sentimental rubbish.

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Speaker 2: I'm not interested.

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Speaker 1: That's ridiculous. I mean, he turns down one of the

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greatest power ballads of all time and then goes on

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to make Missing You, which is one of the biggest

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weenie songs of the eighties.

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Speaker 2: Yeah, I mean talking about sentimental rubbish.

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Speaker 1: Yeah, I know.

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Speaker 3: But when Steve Perry hears this melody for Open Arms,

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he puts the lyrics to it, He's like, yeah, this

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is good, this is just I know it's going to

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be hit. And Jonathan Kaine's obviously in love with that idea,

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and Neil Sean's like, this sounds like Mary Poppins.

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Speaker 2: What is his crap?

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Speaker 3: And I'm like, okay, because I don't know what what

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am I supposed to do in this song? And they're like, Neil,

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just chillax man, It's just you don't have to be

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the guy in every song. He butted heads with him

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during the recording like he was mad. It was one

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of those standard Prima Donna tantrums. And then once they

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have it down, they played in concert later on and

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the crowd goes nuts, of course, and then Steve looks

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at Neil and Neil is just like in shock. He's like,

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what it had no anticipation of how they were going

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to react to this song.

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Speaker 1: Thankfully, he said, you know what, I changed my mind.

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I think I can play this song and I think

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we can do more like it. Yeah, all right. So

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the song that we've just been talking about, Open Arms,

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was off their Escape album, which came out in nineteen

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eighty one, huge, huge power ballad. You've heard it a

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billion times. That album also contained a song you may

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have heard of it. It's called Don't Stop Me Think.

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Speaker 2: Let me think about that? Pretty sure heard that one?

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Could you have a few bars?

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Speaker 3: No?

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Speaker 1: So I mean you have these two major, major songs

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right at the beginning of the eighties. So that brings

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us to nineteen eighty three. We're going to talk about friends.

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Speaker 3: Right, And I got a question. I failed to look

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00:14:03,200 --> 00:14:05,960
this up. I feel like it was not nineteen eighty three.

333
00:14:06,000 --> 00:14:08,159
I feel like it was nineteen eighty four. But do

334
00:14:08,240 --> 00:14:11,039
you know what year the Journey video game came out.

335
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Speaker 1: It had to be eighty three. It had to be

336
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eighty three. I played that game in the arcade.

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Speaker 3: Yeah, I played Actually in Fort Smith, Arkansas, they had

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00:14:17,799 --> 00:14:19,799
that game in the arcade for a little while, and

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then it went away and it was devastating. And then

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the big new movie theater opened up, the AMC, and

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they had the game in the movie theater, and I

342
00:14:25,960 --> 00:14:28,480
found myself going to the movie theater just to play

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the game. I probably missed out on the beginning of

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00:14:30,200 --> 00:14:31,440
a few movies because of that game.

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Speaker 1: I mean, you walk around with Neil Sean and he's

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You're shooting out of the end of your guitar.

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Speaker 2: Favorite song, favorite part of the game.

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Speaker 1: I think would they play? They played. They played like

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separate Ways. Yeah, Neil Sean was the one doing separate

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ways and shooting things.

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Speaker 2: With his guitar.

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Speaker 1: Yeah, nineteen eighty three.

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Speaker 3: It was out of nineteen eighty three Bingo Bongo, And

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00:14:50,080 --> 00:14:52,639
it has the logos. It has the same logo as

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the Frontiers.

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Speaker 1: Yep, sure does.

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Speaker 3: Yeah, which to me is I mean, that's every time

358
00:14:57,080 --> 00:14:58,679
I think a Journey, I think of that logo. I

359
00:14:58,679 --> 00:15:00,960
don't think of the Beatle or anything else like that.

360
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It's always the large blue head which that game.

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Speaker 2: You know.

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Speaker 3: Our one of our listeners, Arlon Bullard, pointed out to

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me that that game and the Tron game are very similar, which, thinking.

364
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Speaker 1: Back, they are, Yeah, definitely, very very similar.

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Speaker 3: Yeah, and so you even that big Head is kind

366
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of similar to the tron Giant Head and the Rainebow

367
00:15:17,480 --> 00:15:20,759
Spinny Thing, both awesome soundtracks on a video game. I

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mean I could just stand there and listen to people

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play the game.

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Speaker 1: Yes, for sure, for sure. I gotta give a quick

371
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shout out to I tell you, I've got these two

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00:15:33,879 --> 00:15:35,799
women that I go to church with who are eighties

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music freaks. One was Melissa Mingle and she helped me

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00:15:38,600 --> 00:15:41,159
with Synchronicity. The other is Cindy Smith, and she was

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a big Journey fan. And I was asking her what

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she remembered about Frontiers.

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Speaker 2: Uh huh.

378
00:15:44,519 --> 00:15:46,279
Speaker 1: What she told me She was a freshman in high school.

379
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She got caught sneaking the car out at a friend's

380
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house and got grounded and could not attend the Frontiers

381
00:15:52,559 --> 00:15:57,720
concert in Oklahoma City. Oh devastating to her, And I

382
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thought that is a very eighties She said, her friend

383
00:16:00,960 --> 00:16:03,639
didn't get in trouble, still got to go. She couldn't

384
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go to concert.

385
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Speaker 2: Oh that's rough, that's rough.

386
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Speaker 1: All right. Frontiers was released February first, nineteen eighty three.

387
00:16:10,120 --> 00:16:12,000
Are you ready to dive in and talk about the tracks.

388
00:16:12,200 --> 00:16:13,399
Speaker 2: Yeah, let's do it all right.

389
00:16:13,600 --> 00:16:16,320
Speaker 1: So the first song, the first track in the album,

390
00:16:16,559 --> 00:16:17,240
Separate Ways.

391
00:16:22,200 --> 00:16:31,759
Speaker 2: I'm banging my head right now. So freaking good. Such

392
00:16:31,919 --> 00:16:32,600
a good song.

393
00:16:32,759 --> 00:16:35,799
Speaker 3: I mean, I don't care about any other song on

394
00:16:35,840 --> 00:16:38,840
this album. This song seals the video for him fan

395
00:16:39,159 --> 00:16:40,159
freaking test two.

396
00:16:50,799 --> 00:16:54,200
Speaker 1: It's a great song. It's a pump your fist sing along.

397
00:16:54,480 --> 00:16:57,879
Top down, turn it up, summertime, crank it out.

398
00:16:57,960 --> 00:17:00,200
Speaker 3: You know, I've said it before. I was listening this

399
00:17:00,279 --> 00:17:02,960
when I've been running. This song gives me legs more

400
00:17:03,000 --> 00:17:05,359
than any Like if I'm if, I'm like even and

401
00:17:05,400 --> 00:17:06,920
I'm like I can't make it, I'm like okay.

402
00:17:07,680 --> 00:17:09,200
Speaker 2: Siri plays several ways.

403
00:17:11,400 --> 00:17:15,799
Speaker 1: Several ways, has this great i mean, pounding chorus, you know, yeah,

404
00:17:15,960 --> 00:17:17,720
the synthesizers and the guitar.

405
00:17:18,119 --> 00:17:20,599
Speaker 3: This is one that I was like, Perry's vocals, My gosh,

406
00:17:20,880 --> 00:17:23,720
You've got this very interesting thing where you've got this

407
00:17:23,960 --> 00:17:24,960
melody playing the.

408
00:17:27,880 --> 00:17:30,240
Speaker 1: And so it's the same melody, but then the chords change.

409
00:17:30,279 --> 00:17:32,400
Speaker 3: So despite the fact that the chords are changing, the

410
00:17:32,440 --> 00:17:34,680
melody stays the same even over different chords.

411
00:17:34,759 --> 00:17:35,519
Speaker 1: Sounds perfect.

412
00:17:35,680 --> 00:17:38,200
Speaker 3: And then the bass keeps pumping this same bassline throughout

413
00:17:38,240 --> 00:17:41,759
the whole thing. It's a beautiful, beautiful mixture of musically

414
00:17:41,839 --> 00:17:44,000
that I you know, I just sound like Chris Farley R.

415
00:17:44,079 --> 00:17:46,079
Speaker 2: I love it. It's really great.

416
00:17:47,319 --> 00:17:50,000
Speaker 1: Okay. So this this song was actually written in nineteen

417
00:17:50,039 --> 00:17:52,039
eighty two while they were on the Escape tour. Yeah,

418
00:17:52,119 --> 00:17:53,359
so that's kind of unusual for them.

419
00:17:53,480 --> 00:17:57,119
Speaker 3: Yeah, Jonathan Kine wrote this on a thirty dollars cassio keyboard.

420
00:17:58,799 --> 00:18:01,160
Speaker 2: That's insane. I mean he had the same keyboard that

421
00:18:01,200 --> 00:18:02,160
like I had at my house.

422
00:18:03,319 --> 00:18:05,160
Speaker 1: The thirty dollars one you get a radio shack, right.

423
00:18:05,880 --> 00:18:07,759
So this song reached number one on the Hot Rocks,

424
00:18:07,920 --> 00:18:10,160
number eight on the Hot one hundred, number one that week.

425
00:18:10,200 --> 00:18:12,640
Billy Jeane by Michael Jackson got one.

426
00:18:12,720 --> 00:18:15,240
Speaker 2: Yeah, that guy's always in there spoiling people's fun.

427
00:18:15,400 --> 00:18:19,160
Speaker 1: He's he blocked Paramania, he blocked Synchronicity, and he's blocking

428
00:18:19,200 --> 00:18:19,839
Journey right now.

429
00:18:19,880 --> 00:18:21,240
Speaker 2: It was a good thing the police blocked him for

430
00:18:21,240 --> 00:18:22,160
at least a little bit.

431
00:18:22,039 --> 00:18:24,519
Speaker 3: For a little bit before we take back over, right,

432
00:18:25,240 --> 00:18:27,680
So this one the basis for this song. While they

433
00:18:27,680 --> 00:18:30,559
were on tour, Neil Showen and Ross Valerie were both

434
00:18:30,640 --> 00:18:35,920
going through painful and expensive divorces, and Perry said to Caine,

435
00:18:35,920 --> 00:18:38,039
hey man, there's got to be a more soulful way

436
00:18:38,079 --> 00:18:40,200
to look at what's going on. And they worked up

437
00:18:40,240 --> 00:18:42,720
after Jonathan had put the music together on his thirty

438
00:18:42,759 --> 00:18:43,920
dollars cassio keyboard.

439
00:18:43,960 --> 00:18:45,880
Speaker 2: Perry does the melody and the lyrics.

440
00:18:45,559 --> 00:18:47,319
Speaker 3: And they're like, yeah, this is actually this is actually

441
00:18:47,400 --> 00:18:49,720
pretty decent. And so they show it to the band.

442
00:18:49,880 --> 00:18:51,920
They were, like you said, they were on tour while

443
00:18:51,960 --> 00:18:54,000
this was going on. They work on it during their

444
00:18:54,000 --> 00:18:56,880
sound check, you know, like before the concert starts, they're like, Okay,

445
00:18:56,920 --> 00:18:57,839
let's see if we can play this.

446
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Speaker 2: They work on it for a little I mean, you

447
00:19:00,119 --> 00:19:00,960
have that long on stage.

448
00:19:00,960 --> 00:19:02,440
Speaker 3: They work on it for a little bit, and they

449
00:19:02,519 --> 00:19:06,119
played it that night, played it that night, live, love

450
00:19:06,160 --> 00:19:08,519
it it. I mean, I think I think Steve Perry

451
00:19:08,559 --> 00:19:10,359
even had to like mumble through half the lyrics because

452
00:19:10,359 --> 00:19:13,319
he couldn't remember what he just read three hours before.

453
00:19:14,480 --> 00:19:16,200
Speaker 2: But people went insane.

454
00:19:16,440 --> 00:19:18,519
Speaker 1: Listen to what Neil Shan said about the song. He said,

455
00:19:18,920 --> 00:19:22,279
like many other songs from this band, motown mixed with

456
00:19:22,559 --> 00:19:25,319
R and B and blues. So that's what Separate Ways is.

457
00:19:25,720 --> 00:19:27,559
But it's got heavier guitar than an R and B.

458
00:19:27,720 --> 00:19:29,440
But he said, that's what I think makes it sound

459
00:19:29,480 --> 00:19:29,920
like Journey.

460
00:19:33,359 --> 00:19:35,480
Speaker 2: And then they decided to make the video.

461
00:19:37,680 --> 00:19:38,680
Speaker 1: Let's talk about the video.

462
00:19:39,759 --> 00:19:40,799
Speaker 2: I have an idea.

463
00:19:41,000 --> 00:19:43,079
Speaker 3: We let us have the band that some of the

464
00:19:43,079 --> 00:19:45,519
best musicians of all time play the air.

465
00:19:47,440 --> 00:19:50,960
Speaker 1: Jonathan Kine is like, he looks like a bear or

466
00:19:50,960 --> 00:19:53,519
something so hard.

467
00:19:53,759 --> 00:19:55,400
Speaker 2: I can't even imagine being the band.

468
00:19:55,440 --> 00:19:57,279
Speaker 3: And the direct I mean, you get got to remember

469
00:19:57,319 --> 00:19:59,640
this is early early eighties, so you know, you get

470
00:19:59,680 --> 00:20:02,079
guys who the day before were directing like a bud

471
00:20:02,160 --> 00:20:04,920
Light commercial or something. I mean, those are the directors

472
00:20:05,000 --> 00:20:07,119
you have because because nobody's thinking, nobody's gone coming out

473
00:20:07,160 --> 00:20:09,960
of USC going, let's think I'll make us a music video.

474
00:20:10,039 --> 00:20:13,759
Because nobody cared. Nobody knew what that was. It was insignificant.

475
00:20:13,759 --> 00:20:16,079
And so you get this director who's like, Okay, you guys,

476
00:20:16,119 --> 00:20:18,519
let's put your instruments away. Okay, what are we gonna do?

477
00:20:18,559 --> 00:20:22,000
You're gonna play your instruments? Wait a minute, what, No,

478
00:20:22,079 --> 00:20:22,799
it's gonna be awesome.

479
00:20:22,839 --> 00:20:25,279
Speaker 1: They're invisible, and then we'll flash them in and then

480
00:20:25,279 --> 00:20:26,599
all of a sudden you'll be playing them for real.

481
00:20:26,920 --> 00:20:29,440
Oh and then oh, hey, honey, you're you're one of

482
00:20:29,440 --> 00:20:31,319
the guy's girlfriends. Okay, I want you to walk across

483
00:20:31,359 --> 00:20:34,000
the screen, Just just walk across the screen. Yeah.

484
00:20:34,039 --> 00:20:36,720
Speaker 3: Actually, when Steve Perry showed up and he had just

485
00:20:36,759 --> 00:20:39,119
cut his hair, like, I mean, he had his fresh

486
00:20:39,200 --> 00:20:43,000
mullet going on, and his girlfriend Sherry, who the song

487
00:20:43,039 --> 00:20:45,440
Oh Sherry is all about, who he dated all the time,

488
00:20:45,480 --> 00:20:49,279
and he was in Journey. She was livid about the

489
00:20:49,279 --> 00:20:51,240
fact that there's another girl in the video, and she's

490
00:20:51,240 --> 00:20:53,079
a good looking lady. But I mean, how do you

491
00:20:53,119 --> 00:20:55,920
come to the video. I mean, you're not like a

492
00:20:55,960 --> 00:20:58,319
world renowned actress or something. How do you come in

493
00:20:58,359 --> 00:21:00,000
and say I don't like this some other girls.

494
00:20:59,839 --> 00:21:00,440
Speaker 2: In the video?

495
00:21:00,519 --> 00:21:01,519
Speaker 1: It's crazy crazy.

496
00:21:01,559 --> 00:21:03,200
Speaker 2: And then you see the video and I don't even think.

497
00:21:03,359 --> 00:21:05,759
Speaker 3: I don't even think Steve Perry and the random, very

498
00:21:05,880 --> 00:21:08,039
very eighties looking girl, even.

499
00:21:08,000 --> 00:21:10,319
Speaker 2: In the same scene one dime, it's like he was

500
00:21:10,359 --> 00:21:10,799
kissing her.

501
00:21:10,880 --> 00:21:12,240
Speaker 1: My gosh, she just walked in front of him while

502
00:21:12,240 --> 00:21:13,079
he was singing.

503
00:21:12,920 --> 00:21:15,599
Speaker 3: Screaming in somebody else's face as she walks in between him.

504
00:21:17,400 --> 00:21:21,599
So ross Valerie has the porn stash and porn glasses on.

505
00:21:21,880 --> 00:21:26,119
Yes he does, and Steve Smith is wearing a foosball switch.

506
00:21:27,720 --> 00:21:30,480
I mean, these guys, I just I'm looking at this

507
00:21:30,559 --> 00:21:32,880
video and I'm like, did you guys like fall in

508
00:21:32,920 --> 00:21:34,480
the mud and have to stop at Walmart on the

509
00:21:34,480 --> 00:21:35,119
way over to the video.

510
00:21:35,200 --> 00:21:37,960
Speaker 1: It looks like it's just like they got the call.

511
00:21:38,000 --> 00:21:40,359
Hey guys, listen, be down the wharf in twenty minutes.

512
00:21:40,720 --> 00:21:42,680
I'm playing now, I'm meant the arcade. That's okay, just

513
00:21:42,680 --> 00:21:44,880
come on over. Yeah, where's it gonna be. It's gonna

514
00:21:44,880 --> 00:21:48,039
be at the wharf. Well, good news. There's a giant sign.

515
00:21:48,079 --> 00:21:50,640
This is wharf across the building. It's a big important

516
00:21:50,640 --> 00:21:53,440
part of the video. It's an industrialar area. Nobody bothers there.

517
00:21:53,480 --> 00:21:54,880
Don't worry, it's it's gorgeous. Listen.

518
00:21:55,240 --> 00:21:57,200
Speaker 2: Talk song is a god awful video.

519
00:21:57,279 --> 00:21:59,319
Speaker 1: Okay, let's talk about that, because we talked during the

520
00:21:59,359 --> 00:22:01,920
def Lebert His Stereo podcast a few weeks ago. Yeah,

521
00:22:01,960 --> 00:22:04,680
Poor Some Sugar on Me had a terrible video along

522
00:22:04,799 --> 00:22:07,599
with this great, great song. Yes, and we questioned whether

523
00:22:07,680 --> 00:22:09,400
or not Poor Some Sugar on Me would be as

524
00:22:09,400 --> 00:22:11,599
remembered as it was as it is because of that

525
00:22:11,640 --> 00:22:12,240
crappy video.

526
00:22:12,599 --> 00:22:15,680
Speaker 3: Right, Well here the difference well, but the difference here

527
00:22:15,720 --> 00:22:18,720
of five years is huge as far as music videos

528
00:22:18,720 --> 00:22:19,279
are concerned.

529
00:22:19,319 --> 00:22:21,720
Speaker 1: Well, that's true, but this video has a great song

530
00:22:21,960 --> 00:22:23,680
and a horrible video.

531
00:22:23,759 --> 00:22:25,920
Speaker 3: Yeah, this this song is great because of the radio.

532
00:22:26,039 --> 00:22:28,640
I mean, it wasn't much longer before songs had to

533
00:22:28,680 --> 00:22:30,319
be great on MTV, before they were going to be

534
00:22:30,319 --> 00:22:32,160
great on the radio. But this was still when the

535
00:22:32,359 --> 00:22:33,680
radio waves ruled the day.

536
00:22:33,920 --> 00:22:36,759
Speaker 1: Oh man, And this song is great. This song was great. Okay,

537
00:22:37,279 --> 00:22:42,880
second track of the album Center My Love. This was

538
00:22:42,920 --> 00:22:45,400
the fourth single released in September of nineteen eighty three.

539
00:22:45,519 --> 00:22:47,440
Speaker 2: Yeah, this one was written by Jonathan Kane.

540
00:22:47,880 --> 00:22:50,319
Speaker 3: He had been listening to a lot of Beatles albums

541
00:22:50,839 --> 00:22:53,799
and he had this experience like he was on stage

542
00:22:54,160 --> 00:22:57,720
and he got called backstage and somebody said something about Virginia,

543
00:22:57,759 --> 00:22:59,480
and Virginia was like this girl he dated when he

544
00:22:59,519 --> 00:23:01,759
was a teenage and they said, you know, she still

545
00:23:01,759 --> 00:23:05,119
talks about you and your relationship and he said, you know,

546
00:23:05,160 --> 00:23:06,960
it was just one of those off handed comments that

547
00:23:07,000 --> 00:23:08,960
you make. And he said he looked at her and

548
00:23:09,480 --> 00:23:10,640
just said send her my love.

549
00:23:11,160 --> 00:23:13,039
Speaker 2: Wait a minute, that's a song.

550
00:23:13,640 --> 00:23:15,799
Speaker 3: That's a song we got to make that song, and

551
00:23:16,200 --> 00:23:17,920
my gosh, break out the cassio.

552
00:23:18,079 --> 00:23:21,799
Speaker 1: This song has that wonderful eighties synth rock mix. I mean,

553
00:23:21,839 --> 00:23:24,039
it's just I mean, how many people learn to skate

554
00:23:24,079 --> 00:23:26,000
backwards to this song. It's just one of It's one

555
00:23:26,039 --> 00:23:29,200
of those roller skating ring specials.

556
00:23:29,240 --> 00:23:29,400
Speaker 2: You know.

557
00:23:29,599 --> 00:23:31,920
Speaker 1: Yeah, write a couples back out to the center of

558
00:23:31,920 --> 00:23:34,119
the drink, turn it on, crank it.

559
00:23:34,119 --> 00:23:35,400
Speaker 2: Up this one. He says.

560
00:23:35,599 --> 00:23:37,519
Speaker 3: I went home and I called Steve Perry up and

561
00:23:37,519 --> 00:23:39,400
I said, I came up with this idea and I

562
00:23:39,440 --> 00:23:41,039
wrote it on the spot, and a lot of stuff

563
00:23:41,119 --> 00:23:43,799
was just on the spot, very spontaneous. We kind of

564
00:23:43,799 --> 00:23:45,720
wrote with an urgency because we didn't have a lot

565
00:23:45,759 --> 00:23:47,960
of time together and the road was hard enough. And

566
00:23:48,000 --> 00:23:50,720
when we did write, we wrote very intensely and all

567
00:23:50,720 --> 00:23:53,920
the lyrics were like within hours, which didn't mess around.

568
00:23:54,160 --> 00:23:57,759
And so once again they have this amazing song that

569
00:23:57,799 --> 00:23:59,519
they put together spur of the moment.

570
00:23:59,559 --> 00:24:01,200
Speaker 2: Off handed comment. Beautiful song.

571
00:24:01,279 --> 00:24:03,079
Speaker 1: Yeah, I love it. I love it. This reached number

572
00:24:03,079 --> 00:24:05,920
twenty three in the US charts. I'm surprised didn't get higher. Frankly,

573
00:24:05,920 --> 00:24:08,240
it's a great It's on the makeout mix of nineteen

574
00:24:08,279 --> 00:24:09,319
eighty three for people.

575
00:24:09,920 --> 00:24:11,559
Speaker 2: Right, I'll give that tape back to you next week.

576
00:24:11,559 --> 00:24:17,440
Speaker 1: Okay, we're adding to our makeout mix list here. Okay,

577
00:24:17,519 --> 00:24:19,359
the next song. This song is called Chain Reaction.

578
00:24:23,839 --> 00:24:25,000
Speaker 2: This song I told you before.

579
00:24:25,039 --> 00:24:27,119
Speaker 3: I'm listening to these songs running and as listening to

580
00:24:27,119 --> 00:24:29,119
this one, I feel good. But I'm like, I feel

581
00:24:29,119 --> 00:24:31,480
like I'm in a rocky montage moment right now, Like

582
00:24:31,519 --> 00:24:34,039
I'm rocky running along this song, and I'm pretty sure

583
00:24:34,039 --> 00:24:35,599
that it's gonna We're gonna do a fast cut to

584
00:24:35,640 --> 00:24:37,039
me getting punched in the stomach or something.

585
00:24:37,039 --> 00:24:37,400
Speaker 2: I don't know.

586
00:24:38,400 --> 00:24:40,079
Speaker 1: I think this is kind of a fist pumping song.

587
00:24:40,160 --> 00:24:42,640
This would be great in concert. They released this it

588
00:24:42,720 --> 00:24:44,680
was a video but not a single. It was a

589
00:24:44,799 --> 00:24:46,480
hit on the Hot Rocks chart. It's featured in the

590
00:24:46,519 --> 00:24:48,279
Journey video game that we talked about a few minuts ago.

591
00:24:48,440 --> 00:24:51,200
Speaker 3: Yeah, but unfortunately, this one is a song that is dated,

592
00:24:51,359 --> 00:24:51,960
like dated.

593
00:24:52,240 --> 00:24:52,440
Speaker 2: Yeah.

594
00:24:52,519 --> 00:24:54,759
Speaker 3: If I listen to this song now, it just says

595
00:24:54,839 --> 00:24:57,079
eighties to me. These other songs, I'm like, I don't

596
00:24:57,079 --> 00:24:58,880
care when this came out, It's still good now.

597
00:24:59,119 --> 00:25:01,920
Speaker 2: This one, I'm like, this is stuck in the eighties, right.

598
00:25:01,799 --> 00:25:04,200
Speaker 1: Here see. I like this song, okay, and I didn't

599
00:25:04,200 --> 00:25:06,440
have a relationship with it before we dove into this podcast,

600
00:25:06,440 --> 00:25:09,000
but I like it. It's catchy. Once again, anything Steve

601
00:25:09,039 --> 00:25:11,440
Perry sings automatically kind of has a head start with me. Yea,

602
00:25:11,599 --> 00:25:15,240
but I like it. Have you seen the video Di

603
00:25:15,279 --> 00:25:16,119
George the video for this?

604
00:25:16,160 --> 00:25:17,039
Speaker 2: No, I haven't seen the video.

605
00:25:17,119 --> 00:25:20,279
Speaker 1: Okay, so picture this. All the guys that you saw

606
00:25:20,319 --> 00:25:23,200
in the Separate Ways video are now in tuxedos. They

607
00:25:23,240 --> 00:25:25,079
look like they're at the senior prom though they don't

608
00:25:25,079 --> 00:25:28,039
look like James Bond. They look like my seventeen year old. Then, right,

609
00:25:28,680 --> 00:25:30,799
and there's this you know, it's this pumping sort of

610
00:25:30,880 --> 00:25:34,000
rocker chain reaction and Steve and Neil are sort of

611
00:25:34,039 --> 00:25:35,839
like yelling at each other and d'ur In the course

612
00:25:35,839 --> 00:25:37,920
of the video, Neil actually pushes Steve to the ground.

613
00:25:37,960 --> 00:25:38,400
Speaker 2: It's weird.

614
00:25:38,440 --> 00:25:39,000
Speaker 1: It's eighties.

615
00:25:39,079 --> 00:25:41,599
Speaker 2: But does anybody have a tuxedo shirt on tuxedo tea?

616
00:25:42,160 --> 00:25:49,680
Speaker 1: No, it's actual tuxedos. I like it. I like it

617
00:25:52,839 --> 00:25:54,799
all right. Next, the number four track on the album

618
00:25:54,839 --> 00:25:58,839
third single is called After the Fall. Now it's.

619
00:26:02,440 --> 00:26:02,960
Speaker 2: What'd you say?

620
00:26:03,079 --> 00:26:05,200
Speaker 1: Well, okay, this is another song written by Jonathan Kane

621
00:26:05,200 --> 00:26:06,920
and Steep Perry, peaked at number twenty three on the

622
00:26:06,960 --> 00:26:09,519
Hot one hundred. This song appeared in Risky Business. You

623
00:26:09,599 --> 00:26:10,759
might recognize the Risky Business.

624
00:26:10,960 --> 00:26:12,519
Speaker 3: That's what I was gonna say. Yup, it appeared in

625
00:26:12,519 --> 00:26:15,279
the film Risky Business. Is the only fact that about

626
00:26:15,319 --> 00:26:15,799
this song.

627
00:26:15,880 --> 00:26:16,640
Speaker 1: Did you see this video?

628
00:26:16,880 --> 00:26:17,119
Speaker 2: Nope?

629
00:26:17,119 --> 00:26:21,000
Speaker 1: All right, this video same guys from the Separate Ways video,

630
00:26:21,119 --> 00:26:24,599
the band, Yes, all dressed in khaki pants like Jake

631
00:26:24,599 --> 00:26:27,359
from the State Farm. Right now, they're all falling out

632
00:26:27,400 --> 00:26:30,400
of the sky past an open window. What they're falling like?

633
00:26:30,480 --> 00:26:33,559
You see this open window and they're like falling. They

634
00:26:33,640 --> 00:26:35,839
keep falling right after the fall, and you get told

635
00:26:35,839 --> 00:26:38,119
they're diving into a swimming pool or something, fully dressed

636
00:26:38,119 --> 00:26:38,799
in their khakis.

637
00:26:39,200 --> 00:26:39,880
Speaker 2: Oh my word.

638
00:26:40,039 --> 00:26:43,079
Speaker 3: Yeah, that was the That's the other thing about directors

639
00:26:43,160 --> 00:26:46,640
of early eighties music videos. Let's treat this song as

640
00:26:46,759 --> 00:26:48,519
literally as we possibly can.

641
00:26:48,680 --> 00:26:50,920
Speaker 1: But I like the song. It's catchy, that sort of

642
00:26:51,119 --> 00:26:51,799
power ballad.

643
00:26:52,039 --> 00:26:53,920
Speaker 3: This one, like a lot of these songs, kind of

644
00:26:53,960 --> 00:26:56,559
falls into that category of it's the filler.

645
00:26:56,559 --> 00:26:58,079
Speaker 2: To me, this is another this is a filler.

646
00:26:58,200 --> 00:27:00,400
Speaker 1: It doesn't stand out. It doesn't belong in our greatest

647
00:27:00,440 --> 00:27:00,960
hits for sure.

648
00:27:01,000 --> 00:27:01,400
Speaker 2: Okay.

649
00:27:01,599 --> 00:27:04,000
Speaker 1: Now, then fifth song on the album. This song's called

650
00:27:04,000 --> 00:27:05,559
Faithfully where.

651
00:27:05,400 --> 00:27:15,319
Speaker 3: You rom you go around and round.

652
00:27:16,400 --> 00:27:21,839
Speaker 2: Love so beautiful, So so beautiful.

653
00:27:22,400 --> 00:27:23,960
Speaker 3: We covered this one when this was one of the

654
00:27:23,960 --> 00:27:27,960
songs my band covered in high school. And just the way,

655
00:27:28,839 --> 00:27:30,559
the way the piano comes in and then then the

656
00:27:30,599 --> 00:27:33,519
guitar comes in leading over the piano is just if

657
00:27:33,559 --> 00:27:36,119
it doesn't pull out your heartstrings, you are a soulless creature.

658
00:27:36,160 --> 00:27:37,799
Speaker 2: I don't. I have no pity for you.

659
00:27:38,200 --> 00:27:40,200
Speaker 1: Every time I listen to this song, it blows me away.

660
00:27:40,279 --> 00:27:43,839
It crescendos, and when Steve Perry is singing that whoa

661
00:27:44,400 --> 00:27:47,240
you know, yeah, I want to pull over and light

662
00:27:47,319 --> 00:27:49,680
up my lighter and like wave to nobody. You just

663
00:27:49,720 --> 00:27:50,680
sway with the crowd.

664
00:27:50,720 --> 00:27:50,880
Speaker 3: You know.

665
00:27:50,920 --> 00:27:52,559
Speaker 1: It's so good that.

666
00:27:52,599 --> 00:27:55,759
Speaker 3: This one was written completely by Jonathan Kane, and he says,

667
00:27:56,400 --> 00:27:57,440
God gave.

668
00:27:57,240 --> 00:27:57,839
Speaker 2: Me that song.

669
00:27:58,240 --> 00:28:00,400
Speaker 1: You heard this, This is interesting to me, he said.

670
00:28:00,400 --> 00:28:03,599
Speaker 3: He's on a bus heading to Saratoga Springs and then

671
00:28:03,759 --> 00:28:06,119
he wakes up the next day and there's a napkin

672
00:28:06,279 --> 00:28:09,039
on his nightstand and he looks at the lyrics which

673
00:28:09,039 --> 00:28:11,039
are in his handwriting, but he doesn't even remember writing him.

674
00:28:11,079 --> 00:28:14,000
He just sees Highway run into the midnight sun and

675
00:28:14,079 --> 00:28:16,960
he says, I got this supernatural download. And that was

676
00:28:17,000 --> 00:28:19,640
the rest of the song. He wrote like frantically, trying

677
00:28:19,640 --> 00:28:21,480
to get it to it as quickly, put it down

678
00:28:21,519 --> 00:28:23,680
as quickly as it just seems to supernaturally come into

679
00:28:23,680 --> 00:28:25,839
his brain. And in thirty minutes he had written the

680
00:28:25,920 --> 00:28:29,039
entire song on that napkin, which he then took to

681
00:28:29,079 --> 00:28:31,039
his piano. This wasn't on this gassio.

682
00:28:31,160 --> 00:28:33,960
Speaker 2: This one. He had his big grand piano and played

683
00:28:34,000 --> 00:28:36,680
it through and thought to himself, this is good.

684
00:28:36,839 --> 00:28:39,559
Speaker 3: If somebody were to say, name a song by Journey

685
00:28:39,559 --> 00:28:42,279
that is divinely inspired, I wouldn't have any hesitation but

686
00:28:42,319 --> 00:28:43,880
to say Faithfully, Yeah, I'm.

687
00:28:43,680 --> 00:28:44,240
Speaker 2: With you on that.

688
00:28:44,680 --> 00:28:46,960
Speaker 1: Brian Adams opened for Journey on their nineteen eighty three

689
00:28:46,960 --> 00:28:47,559
Frontiers tour.

690
00:28:47,960 --> 00:28:48,160
Speaker 2: Yeah.

691
00:28:48,319 --> 00:28:50,759
Speaker 1: During that time he wrote the song Heaven, which he

692
00:28:50,839 --> 00:28:54,480
believes was heavily influenced by Faithfully, and actually on that track,

693
00:28:54,799 --> 00:28:56,279
Journey drummer Steve Smith place.

694
00:28:56,440 --> 00:29:00,240
Speaker 3: The guy who directed this video was found by Herbie Herbert,

695
00:29:00,400 --> 00:29:03,799
and it was a guy who shot NFL films like playing.

696
00:29:03,519 --> 00:29:04,400
Speaker 2: Footage that you just see.

697
00:29:04,400 --> 00:29:06,799
Speaker 3: So like, the guy who's shooting Walter Payton scoring touchdowns

698
00:29:06,839 --> 00:29:10,400
is now filming Steve Ferry shaving his mustache.

699
00:29:10,000 --> 00:29:13,400
Speaker 1: Right exactly. That's cool. I thought this was super interesting.

700
00:29:13,640 --> 00:29:17,519
After recording the song purple Ring, Prince called Jonathan Kane

701
00:29:17,519 --> 00:29:20,160
worried that it might sound too similar to Faithfully and

702
00:29:20,160 --> 00:29:22,319
asked him to listen to it. Kane reassured Prince and

703
00:29:22,400 --> 00:29:25,240
told him the songs only shared the same four chords.

704
00:29:25,359 --> 00:29:27,799
I'm not a musician, but it's that just as interesting

705
00:29:29,400 --> 00:29:32,359
the video. It's like the first road video you actually get.

706
00:29:32,640 --> 00:29:34,680
I mean, throughout the eighties, I mean, bon Jovi does it,

707
00:29:34,759 --> 00:29:37,400
Guns of Roses does it, Genesis does it, Poison does it,

708
00:29:37,559 --> 00:29:40,279
Richard Marx, Motley Crue, I mean, everybody has this sort

709
00:29:40,279 --> 00:29:42,160
of here we are out on the road making a video.

710
00:29:42,519 --> 00:29:44,119
It kind of became a staple for the eighties.

711
00:29:44,559 --> 00:29:46,559
Speaker 3: I got to say that that bon Jovi's Wanted Dead

712
00:29:46,599 --> 00:29:47,880
or Alive is my favorite of this.

713
00:29:48,119 --> 00:29:50,240
Speaker 1: I'll take I'll take Motley Crue Home Sweet Home.

714
00:29:50,359 --> 00:29:53,599
Speaker 3: So Journey hated making videos and I can talk because

715
00:29:54,440 --> 00:29:57,400
not good. They don't look like they like being there.

716
00:29:57,400 --> 00:30:00,319
For the most part, but they couldn't ignore how much

717
00:30:00,319 --> 00:30:03,680
of an impact MTV was having. And MTV loved them

718
00:30:03,799 --> 00:30:06,160
because they were a huge favorite with the audience, and

719
00:30:06,400 --> 00:30:08,599
as we've mentioned before, they were really trying to promote

720
00:30:08,599 --> 00:30:11,119
that rock format which was just coming back into style.

721
00:30:11,160 --> 00:30:11,400
Speaker 2: Again.

722
00:30:11,640 --> 00:30:14,359
Speaker 1: Here's the deal. When with Steve Perry's voice, and I

723
00:30:14,400 --> 00:30:16,559
know I keep harping on this, but his voice is

724
00:30:16,680 --> 00:30:19,400
made for arena rock. So when you show this song

725
00:30:19,680 --> 00:30:22,559
being played to tens of thousands of people and you

726
00:30:22,680 --> 00:30:24,640
get the feel of being at the concert, I mean

727
00:30:24,759 --> 00:30:27,640
the video really I think helped launch the song. It's

728
00:30:27,759 --> 00:30:30,000
just they go together well, and I like the video.

729
00:30:30,039 --> 00:30:32,000
I love the song. If they'd have made this in

730
00:30:32,079 --> 00:30:34,359
tuxedos in a sound stage, it would not have worked

731
00:30:34,359 --> 00:30:34,799
as well.

732
00:30:34,839 --> 00:30:38,160
Speaker 3: Right the road videos are they're classic, they're good to

733
00:30:38,240 --> 00:30:40,000
and it kind of it sounds like this one was

734
00:30:40,039 --> 00:30:41,240
the one that kind of set the stage for that.

735
00:30:41,400 --> 00:30:41,599
Speaker 2: You know.

736
00:30:41,720 --> 00:30:44,799
Speaker 3: We talked about Jonathan Kane being a devout Christian he

737
00:30:44,799 --> 00:30:46,680
had actually wanted to be a priest, went to the

738
00:30:46,759 --> 00:30:49,880
Lady of the Angels School in Chicago, Philly about this.

739
00:30:49,960 --> 00:30:52,839
Yeah no, and he actually there was a huge fire

740
00:30:52,880 --> 00:30:55,279
there that killed ninety five people. He survived that, but

741
00:30:55,359 --> 00:30:57,119
he stepped away from his faith for a while. And

742
00:30:57,160 --> 00:31:01,039
then when he was going through turmoil with Journey and

743
00:31:01,359 --> 00:31:04,200
going through two failed marriages, he had this epiphany on

744
00:31:04,240 --> 00:31:06,480
the road to Florida and he found himself calling out

745
00:31:06,519 --> 00:31:09,400
to God and he joined this church down in Florida.

746
00:31:09,559 --> 00:31:12,440
In twenty fifteen, he married the pastor there, Paula White,

747
00:31:12,480 --> 00:31:15,519
and twenty sixteen he released an album of worship music

748
00:31:15,599 --> 00:31:16,559
called What God Wants to Hear.

749
00:31:16,559 --> 00:31:17,279
Speaker 2: It's a cool story.

750
00:31:17,359 --> 00:31:20,279
Speaker 3: Yeah, well, and he said, he said, looking back on faithfully,

751
00:31:20,640 --> 00:31:22,559
he started to see it in a different light. And

752
00:31:22,599 --> 00:31:25,039
if you replace the words oh girl with oh God,

753
00:31:25,119 --> 00:31:26,240
you've got a Christian.

754
00:31:25,960 --> 00:31:26,480
Speaker 2: Song, all right.

755
00:31:26,519 --> 00:31:29,240
Speaker 1: So interestingly enough, Jonathan Kane wrote this song about his

756
00:31:29,319 --> 00:31:33,079
then wife Tony Kane, this beautiful ballad professing his love

757
00:31:33,160 --> 00:31:36,480
to her, I will stand by you faithfully. They divorced

758
00:31:36,480 --> 00:31:38,119
like shortly after the song was released.

759
00:31:38,240 --> 00:31:40,039
Speaker 2: Yeah it's terrible, which is terrible.

760
00:31:40,079 --> 00:31:41,640
Speaker 1: And then he's kind of go up there on stage

761
00:31:41,720 --> 00:31:45,319
and play this wonderful song that everybody loves about a

762
00:31:45,359 --> 00:31:48,519
woman that is dumping you. You know, I feel bad

763
00:31:48,519 --> 00:31:51,039
for him, And what a terrible thing to happen, all right.

764
00:31:51,079 --> 00:31:54,039
So that ends side one. Pushedop in your tape player,

765
00:31:54,119 --> 00:31:56,079
kick out your tape, flip it over. First song on

766
00:31:56,119 --> 00:31:59,720
side two is called Edge of the Blade. Edge of

767
00:31:59,720 --> 00:32:01,759
the Blade. To me, this is like the biggest rocker

768
00:32:01,759 --> 00:32:03,640
on the album. I would call this heavy for them.

769
00:32:03,720 --> 00:32:06,440
Neil Shown's guitar playing on full display on instrum.

770
00:32:06,480 --> 00:32:09,720
Speaker 2: They're introing side too with a big heavy fist pumping.

771
00:32:10,160 --> 00:32:13,599
Speaker 3: Yeah, this is rocking out and it's an isn't angry song.

772
00:32:13,680 --> 00:32:14,680
Speaker 2: This isn't angry, elf.

773
00:32:16,680 --> 00:32:26,920
Speaker 1: He's not using his love song voice on this.

774
00:32:30,079 --> 00:32:32,680
Speaker 3: And I can't tell you know, it almost seems to

775
00:32:32,720 --> 00:32:35,400
me like he's singing to some record ezech or somebody

776
00:32:35,400 --> 00:32:37,160
who's making money off of it. Doesn't seem like he's

777
00:32:37,160 --> 00:32:39,319
singing to a girl too. You know, the contracts and

778
00:32:39,400 --> 00:32:42,160
lawyers and the champagne downtown. You're caught up in the

779
00:32:42,160 --> 00:32:44,440
power and you better see which side of the blade

780
00:32:44,440 --> 00:32:46,440
you're holding. I don't know, man, that's to me, he's

781
00:32:46,480 --> 00:32:49,400
he's kind of angry at somebody who's taken advantage of

782
00:32:49,480 --> 00:32:55,119
their fame or something.

783
00:32:58,720 --> 00:33:01,359
Speaker 1: This is a head bomber. I really like Nil Shawn's

784
00:33:01,400 --> 00:33:04,359
guitar on this one, he's demonstrating what he can really

785
00:33:04,359 --> 00:33:13,440
do with the guitar. All right. So the second song

786
00:33:13,480 --> 00:33:23,319
on side too is a song called Troubled Child. Okay,

787
00:33:23,359 --> 00:33:25,160
to me, this track sounds like it needs to be

788
00:33:25,160 --> 00:33:27,920
played on Miami Vice after Crockett get Somebody Killed.

789
00:33:28,200 --> 00:33:30,359
Speaker 2: Yeah, I was thinking. I was thinking.

790
00:33:30,440 --> 00:33:34,240
Speaker 3: Okay, so if Chain Reaction is like the working out montage,

791
00:33:34,240 --> 00:33:35,759
this is the song that plays.

792
00:33:35,519 --> 00:33:37,200
Speaker 2: Whenever Rocky is doubting himself.

793
00:33:38,559 --> 00:33:40,720
Speaker 3: You know, at some point he's throwing his helmet, his

794
00:33:40,839 --> 00:33:42,119
motorcycle helmet at.

795
00:33:41,960 --> 00:33:43,240
Speaker 2: The statue of itself.

796
00:33:43,599 --> 00:33:44,119
Speaker 1: That's the song.

797
00:33:44,160 --> 00:33:46,200
Speaker 3: This is the song that should be playing it is.

798
00:33:46,440 --> 00:33:48,079
I think that'd be a great idea if we could

799
00:33:48,119 --> 00:33:51,240
just like re engineer all of the music in the

800
00:33:51,240 --> 00:33:54,279
old movies and just throw in completely different so totally

801
00:33:54,279 --> 00:33:55,880
could Yeah, yeah, that'd be fantastic.

802
00:33:55,920 --> 00:33:56,200
Speaker 2: I want to.

803
00:33:56,240 --> 00:33:57,839
Speaker 3: So I'm gonna put this on. Two songs off of

804
00:33:57,880 --> 00:34:01,759
Frontiers are gonna go onto rock Okay, that sounds like

805
00:34:01,839 --> 00:34:05,519
playing this one is. Yes, it's sad and it's sweet,

806
00:34:05,960 --> 00:34:07,920
and I knew it complete when I wore a younger

807
00:34:07,960 --> 00:34:10,639
man's clothes. But to me, it does again, it doesn't

808
00:34:10,639 --> 00:34:12,559
sound quite like Journey. It sounds like a group's trying

809
00:34:12,559 --> 00:34:13,320
to sound like Journey.

810
00:34:13,360 --> 00:34:16,559
Speaker 1: Okay, it's got a darker tone, but the chorus is great,

811
00:34:16,639 --> 00:34:20,039
and I think the vocals are great. It is very dated, Okay,

812
00:34:20,440 --> 00:34:24,800
it's the sense and the tone sounds. I mean, like

813
00:34:24,840 --> 00:34:27,119
I said, it belongs in Rocky three or Miami Vice.

814
00:34:27,280 --> 00:34:30,519
Speaker 2: It's probably that sound on the tape that you.

815
00:34:31,639 --> 00:34:33,360
Speaker 1: I don't know, man, if you skip past this one,

816
00:34:33,559 --> 00:34:35,400
I'm worried about the next two on this side.

817
00:34:35,559 --> 00:34:38,039
Speaker 3: Yes, yeah, So the next track that we have on

818
00:34:38,239 --> 00:34:40,000
the album is back Talk.

819
00:34:45,519 --> 00:34:48,519
Speaker 1: Backtalk, heavy drums. I think this sounds similar to Jon

820
00:34:48,639 --> 00:34:49,760
Jet's bad reputation.

821
00:34:54,440 --> 00:34:56,119
Speaker 3: So this is the song that I play when I

822
00:34:56,119 --> 00:34:59,400
get home from work every day, not for me, but

823
00:34:59,440 --> 00:34:59,920
for my kid.

824
00:35:00,280 --> 00:35:04,400
Speaker 1: Right, no, right, I work all day, Megan A.

825
00:35:04,440 --> 00:35:07,360
Speaker 3: Liven, No one needs your kind of attitude, your sharp tongue.

826
00:35:09,920 --> 00:35:12,039
This is this is another angry song. We got a

827
00:35:12,039 --> 00:35:14,119
couple of angry ELF songs on this one. And this

828
00:35:14,199 --> 00:35:16,239
is a guy who's he's had his day and he

829
00:35:16,280 --> 00:35:19,000
doesn't want any of the nonsense that he's getting. He

830
00:35:19,000 --> 00:35:19,880
walks through the door tonight.

831
00:35:19,960 --> 00:35:21,719
Speaker 1: All right. I'm not a fan of this song. This

832
00:35:21,760 --> 00:35:24,400
is just silliness. I mean Neil Showan's guitar solo, I

833
00:35:24,400 --> 00:35:27,239
mean it's pretty good on this song. The drums are

834
00:35:27,239 --> 00:35:29,280
a little bit heavier, you know, Steve Smith gets a

835
00:35:29,360 --> 00:35:31,280
chance to show off a little bit. But for me,

836
00:35:31,519 --> 00:35:32,280
this is a stinker.

837
00:35:33,480 --> 00:35:35,840
Speaker 3: I really wish I mean the drums. For me, the

838
00:35:35,880 --> 00:35:38,559
drums on this one. I'm thinking to myself, these could

839
00:35:38,599 --> 00:35:41,039
be good drums if we had a better recording, like

840
00:35:41,039 --> 00:35:43,440
if munt Lang were there and had the perfect sampling

841
00:35:43,440 --> 00:35:45,800
of drums or something. I don't know, but that he's

842
00:35:45,880 --> 00:35:48,360
hitting them hard. But the recording on this is just

843
00:35:48,400 --> 00:35:49,800
not good for the sound of the drums.

844
00:35:50,119 --> 00:35:51,360
Speaker 1: I mean, I don't want to bash it. It just

845
00:35:51,400 --> 00:35:53,840
lacks heart, but I do want to make mention. Okay,

846
00:35:53,880 --> 00:35:56,599
Trouble Child is the one we listened to previously. This

847
00:35:56,639 --> 00:35:58,440
is the one that belongs to Miamy Vice in my opinion.

848
00:35:58,519 --> 00:36:00,960
Then we have Backtalk, which we degree, you know, not

849
00:36:01,039 --> 00:36:04,440
that great, right Doggy? Are those because those were last

850
00:36:04,639 --> 00:36:07,840
second additions to Frontiers, Okay, and the songs that they

851
00:36:07,960 --> 00:36:10,039
replaced I want to talk about here. Once we get

852
00:36:10,039 --> 00:36:10,880
to the end of this tape.

853
00:36:10,920 --> 00:36:12,679
Speaker 2: It sounds good. Yeah, let's do that all right.

854
00:36:12,719 --> 00:36:14,599
Speaker 1: So the fourth track on side too is a song

855
00:36:14,639 --> 00:36:16,840
called Frontiers.

856
00:36:27,000 --> 00:36:27,480
Speaker 2: We Thank You.

857
00:36:28,079 --> 00:36:30,920
Speaker 3: This is I mean this, This song really had the potential,

858
00:36:30,960 --> 00:36:33,239
I think to be a big hit for a Journey.

859
00:36:33,440 --> 00:36:35,920
I mean, it's got that, it's got that solid lead,

860
00:36:36,079 --> 00:36:41,239
it's got Steve doing his great voice. The only problem

861
00:36:41,280 --> 00:36:42,760
I think is that I had no idea what he's

862
00:36:42,760 --> 00:36:44,320
talking about. I can't understand what he's saying.

863
00:36:45,199 --> 00:36:47,000
Speaker 1: It's funny that you say that to me. This is

864
00:36:47,039 --> 00:36:49,000
my least favorite song on the entire album. There's no

865
00:36:49,079 --> 00:36:51,159
real course, there's nothing to see with on this one.

866
00:36:51,280 --> 00:36:53,639
It gives the album a good title, but it's my

867
00:36:53,719 --> 00:36:55,119
least favorite track on the entire album.

868
00:36:55,159 --> 00:36:57,519
Speaker 2: This is your least favorite track on the four album? Yeah?

869
00:36:57,599 --> 00:37:00,920
You like this less than Edge of the Blade and

870
00:37:01,400 --> 00:37:04,280
less than back Talk? Yes? Wow?

871
00:37:04,480 --> 00:37:06,480
Speaker 3: Yeah, Now we're on different pages on this one, my friend,

872
00:37:06,519 --> 00:37:07,960
we're on the same page as far as there's a

873
00:37:08,000 --> 00:37:09,880
problem because you don't have anything to sing along with her.

874
00:37:09,880 --> 00:37:11,679
And that is the difference that this that that makes

875
00:37:11,679 --> 00:37:13,920
this song not a big hit. Had you had a

876
00:37:14,239 --> 00:37:16,559
something that is understandable and sing alongable.

877
00:37:16,760 --> 00:37:18,800
Speaker 2: The rest of this song is great. The melody is great.

878
00:37:18,840 --> 00:37:19,679
The instruments are great.

879
00:37:19,719 --> 00:37:20,960
Speaker 1: That's why I listen to the journey. I want to

880
00:37:21,000 --> 00:37:22,400
sing along with Steve Perry, you know.

881
00:37:23,719 --> 00:37:24,199
Speaker 2: I guess.

882
00:37:24,440 --> 00:37:27,000
Speaker 3: But but I mean, even if I get yeah, yeah,

883
00:37:27,079 --> 00:37:29,280
I'd pick listening to this song one hundred thousand times

884
00:37:29,320 --> 00:37:30,480
over either one of those last two.

885
00:37:31,239 --> 00:37:33,760
Speaker 1: Okay. So that brings us to the last song on

886
00:37:33,800 --> 00:37:40,400
the tape, song called Rubicon. Rubicon, in my opinion, is

887
00:37:40,440 --> 00:37:45,320
the best song on side two, and it's not even close.

888
00:37:50,000 --> 00:37:53,159
Speaker 3: Well okay, I don't dislike the song. I mean, it's

889
00:37:53,239 --> 00:37:54,960
it's all right. I guess Side two is just not

890
00:37:55,039 --> 00:37:57,719
really a very good side. Honestly, this song's okay. I

891
00:37:57,920 --> 00:38:00,400
can't say that it blows me away. I like the

892
00:38:00,440 --> 00:38:03,679
guitar as it comes in. The melody for the verse

893
00:38:03,880 --> 00:38:06,840
is kind of humdrum for me. The chorus is solid,

894
00:38:06,920 --> 00:38:09,119
and it's got this junglesque kind of feel.

895
00:38:09,159 --> 00:38:10,280
Speaker 2: I don't know why I said that word.

896
00:38:10,519 --> 00:38:13,639
Speaker 3: It's just got this. It's got this. It has an

897
00:38:13,679 --> 00:38:16,800
eye of the tiger. Not the song, but just kind

898
00:38:16,840 --> 00:38:18,719
of the added feel about it.

899
00:38:18,760 --> 00:38:21,719
Speaker 2: I guess. But this, to me again, it's one that

900
00:38:21,760 --> 00:38:22,840
doesn't stand the test of time.

901
00:38:22,840 --> 00:38:24,159
Speaker 3: It's still going to be one of those ones that

902
00:38:24,199 --> 00:38:27,239
I go, Okay, this is a generic eighty song.

903
00:38:27,280 --> 00:38:29,079
Speaker 2: You know, we're just picking generic eighty songs.

904
00:38:29,199 --> 00:38:31,519
Speaker 1: Okay, okay. In my opinion, I think this could have

905
00:38:31,519 --> 00:38:33,320
been a successful single. I think it's every bit as

906
00:38:33,360 --> 00:38:36,280
good as After the Fall. For instance, crossing the rubicon

907
00:38:36,960 --> 00:38:39,719
means to make an irreversible decisions, kind of like burning

908
00:38:39,719 --> 00:38:40,199
the ships.

909
00:38:40,519 --> 00:38:40,960
Speaker 2: I like it.

910
00:38:41,000 --> 00:38:43,079
Speaker 1: This song is good. This is a foot tapper for me.

911
00:38:43,480 --> 00:38:44,960
Put a cool video with it. I think it's every

912
00:38:44,960 --> 00:38:50,880
bit as good as After the Fall.

913
00:38:47,719 --> 00:38:53,719
Speaker 3: So you mentioned that the two songs that we find

914
00:38:53,880 --> 00:38:57,079
the least favorite on the album were last minute throw ins,

915
00:38:57,320 --> 00:38:59,800
and they actually ended up replacing something else.

916
00:39:00,079 --> 00:39:00,239
Speaker 2: Right.

917
00:39:00,280 --> 00:39:04,119
Speaker 1: Troubled Child and Backtalk were last minute editions. This, to me,

918
00:39:04,199 --> 00:39:06,920
is the most interesting story regarding this album. This was

919
00:39:06,960 --> 00:39:09,239
a huge success. I mean, this sold six million albums

920
00:39:09,239 --> 00:39:12,000
in the US right charted as high as number two

921
00:39:12,039 --> 00:39:14,440
on Billboard. But they put in two crappy songs and

922
00:39:14,719 --> 00:39:18,079
took out two potentially I mean, huge songs they removed

923
00:39:18,199 --> 00:39:20,159
at the last second. They took out a song called

924
00:39:20,239 --> 00:39:29,360
only the Young Yes, and they took out a song

925
00:39:29,440 --> 00:39:31,880
called Ask the Lonely. Both of these were top ten

926
00:39:31,960 --> 00:39:33,239
hits down the road?

927
00:39:34,960 --> 00:39:41,960
Speaker 2: That right, And maybe who knows, maybe that was their thought.

928
00:39:42,079 --> 00:39:43,760
Speaker 3: Maybe they were like, there's too many good songs on

929
00:39:43,760 --> 00:39:45,039
this one when I don't know what we're going to

930
00:39:45,079 --> 00:39:47,079
have a hit on the next album, Let's save these.

931
00:39:46,960 --> 00:39:47,480
Speaker 2: To be hits.

932
00:39:47,679 --> 00:39:50,760
Speaker 1: You think, I think that that is a legitimate theory. Yes,

933
00:39:50,880 --> 00:39:53,280
we know, we've got faithfully, we've got separate ways, we've

934
00:39:53,280 --> 00:39:56,199
got chain reaction. Why would we try to make thriller

935
00:39:56,320 --> 00:39:58,360
when we can stretch this thing out and make more money.

936
00:39:58,440 --> 00:40:00,360
I think that's a legitimate idea. But only the young

937
00:40:00,400 --> 00:40:03,519
you may recognize it's it's on the soundtrack for Vision Quest. Yeah,

938
00:40:03,719 --> 00:40:06,000
I had the soundtrack for Vision Quest. I love this song.

939
00:40:06,079 --> 00:40:07,440
It is a fantastic song.

940
00:40:07,639 --> 00:40:10,679
Speaker 3: So at some point, the band gets this letter from

941
00:40:10,679 --> 00:40:14,519
a mother who's frantic in her letter and she explains

942
00:40:14,519 --> 00:40:18,320
that her little boy, Kenny, loves the band. He loves

943
00:40:18,480 --> 00:40:21,079
loves the band. All he wants to do all day

944
00:40:21,159 --> 00:40:24,400
is listen to the band, and he's dying. He is

945
00:40:24,480 --> 00:40:27,960
dying of cystic fibrosis, which is a terrible lung condition

946
00:40:28,039 --> 00:40:31,599
makes it difficult to breathe, but like hearing Journey play

947
00:40:31,880 --> 00:40:34,480
gives him light in his life, and she writes the

948
00:40:34,519 --> 00:40:37,159
band to say, he doesn't have much longer and it

949
00:40:37,159 --> 00:40:39,599
would mean the world to him if you guys would

950
00:40:39,599 --> 00:40:40,199
come to see him.

951
00:40:40,400 --> 00:40:43,519
Speaker 2: And so they read this letter and they said let's go.

952
00:40:44,400 --> 00:40:45,440
Let's go right now.

953
00:40:46,239 --> 00:40:49,440
Speaker 3: And so they go and he's I mean, he's in

954
00:40:49,480 --> 00:40:53,159
his hospital bed and they come in and his eyes

955
00:40:53,280 --> 00:40:56,760
light up and his breathing improves, and he feels, you know,

956
00:40:56,880 --> 00:41:00,960
he's just he's ecstatic at being able to meet these

957
00:41:00,960 --> 00:41:04,280
guys who were his heroes, and it's like the pain

958
00:41:04,360 --> 00:41:07,000
goes away for a little while. And then as it happens,

959
00:41:07,320 --> 00:41:09,920
they happen to have a tape with only the young

960
00:41:10,440 --> 00:41:13,920
on the tape, and no one else other than the

961
00:41:13,960 --> 00:41:16,920
band has heard this song yet, right, nobody's heard it.

962
00:41:16,960 --> 00:41:19,199
They haven't released it. It didn't come out on Frontier. It's right,

963
00:41:19,599 --> 00:41:21,800
It's Vision Quest isn't out yet. This is gonna be

964
00:41:21,840 --> 00:41:23,360
this is an up and coming and so they're like,

965
00:41:23,519 --> 00:41:25,239
would you like to hear the song that we that

966
00:41:25,280 --> 00:41:27,679
were gonna release next, you know, on our next album.

967
00:41:27,880 --> 00:41:29,400
He's like, oh, that'd be great, and they put the

968
00:41:29,400 --> 00:41:33,280
headphones on him, and the way that Jonathan Kane describes it.

969
00:41:33,280 --> 00:41:35,719
It's like it looks like he has gone to heaven,

970
00:41:35,880 --> 00:41:39,119
and twenty four hours later he went to heaven for real.

971
00:41:40,119 --> 00:41:40,360
Speaker 1: Yeah.

972
00:41:40,360 --> 00:41:43,599
Speaker 3: It was a momentous and life changing moment for every

973
00:41:43,599 --> 00:41:44,320
member of the band.

974
00:41:44,960 --> 00:41:46,960
Speaker 1: Yeah, I mean Jonathan kan when they asked him about this,

975
00:41:46,960 --> 00:41:49,000
I mean, he breaks down and not just not just

976
00:41:49,119 --> 00:41:53,039
wipes tears, but is broken over this event. It's incredibly touching.

977
00:41:53,079 --> 00:41:55,800
But the song has an interesting history. They actually sold

978
00:41:55,800 --> 00:41:57,920
it to the band's Scandal, which it was on their

979
00:41:57,960 --> 00:42:01,559
Warrior album in nineteen eighty four, which, Yeah, and has

980
00:42:01,639 --> 00:42:04,320
Patty Smythe who I think has a one of the

981
00:42:04,320 --> 00:42:06,639
best female rock voices of the eighties. Check it out

982
00:42:18,559 --> 00:42:20,400
all right, So Only the Young would become a top

983
00:42:20,440 --> 00:42:22,840
ten hit in nineteen eighty five. The other song that

984
00:42:22,880 --> 00:42:24,800
was left off is a song called Ask the Lonely.

985
00:42:25,920 --> 00:42:29,119
This song was left off of Frontiers and placed on

986
00:42:29,159 --> 00:42:31,880
the Twist of Fate soundtrack. Twist of Fate was a

987
00:42:31,920 --> 00:42:34,280
movie that starred John Travolta and Olivia Newton.

988
00:42:34,360 --> 00:42:35,039
Speaker 2: John remember that.

989
00:42:34,960 --> 00:42:38,119
Speaker 3: One, Oh did you say grease?

990
00:42:39,800 --> 00:42:41,280
Speaker 2: Because I thought you said something else?

991
00:42:41,639 --> 00:42:44,920
Speaker 1: The song is grease Lighting. No, I'm just kidding, but

992
00:42:44,960 --> 00:42:47,039
this would become a hit from that soundtrack as well.

993
00:42:47,119 --> 00:42:49,920
So so you have two vastly better songs. Asked the

994
00:42:50,000 --> 00:42:52,679
Lonely and only the Young left off of Frontiers and

995
00:42:52,760 --> 00:42:55,880
replaced with Troubled Child, which believe the.

996
00:42:56,119 --> 00:42:58,519
Speaker 2: Term they're stinkers. These are stinkers.

997
00:42:58,960 --> 00:43:02,079
Speaker 1: They're stinkers. But for the sake of this argument, we've

998
00:43:02,079 --> 00:43:05,519
got to leave only the young and ask the lonely off. Okay,

999
00:43:05,719 --> 00:43:06,400
they don't count.

1000
00:43:06,639 --> 00:43:08,639
Speaker 3: Nope, we're talking about the albums that came out in

1001
00:43:08,719 --> 00:43:10,280
nineteen eighty three and not the re issues that came

1002
00:43:10,280 --> 00:43:11,400
out in two thousand and six.

1003
00:43:11,480 --> 00:43:13,960
Speaker 2: We got to compare apples to apples here, right.

1004
00:43:13,840 --> 00:43:16,760
Speaker 1: Yes, all right, so are we ready to get down

1005
00:43:16,800 --> 00:43:17,039
to it.

1006
00:43:17,360 --> 00:43:17,880
Speaker 2: Let's do this.

1007
00:43:18,119 --> 00:43:23,199
Speaker 3: It is nut cutting time, if you will, think about

1008
00:43:23,400 --> 00:43:25,480
Stuart Copeland's shorts, and that's what time.

1009
00:43:29,280 --> 00:43:30,840
Speaker 2: I can remember coming over to your house for a

1010
00:43:30,920 --> 00:43:33,000
run one day, and I had the shorts that were

1011
00:43:33,039 --> 00:43:35,440
like a little the shorts that really usually wore, and

1012
00:43:35,760 --> 00:43:37,639
your wife went, we call those nutcutters.

1013
00:43:37,679 --> 00:43:42,159
Speaker 3: Here, we got to decide, you know, looking at these two,

1014
00:43:42,960 --> 00:43:44,760
I'll go ahead, I'll go out there, all right, So

1015
00:43:44,840 --> 00:43:47,800
let's just let's let's start with Frontiers. We've just to

1016
00:43:47,800 --> 00:43:50,199
do a quick track listing. We've got Separate Ways, Center

1017
00:43:50,239 --> 00:43:52,840
My Love, Chain, Reaction After the Fall, Faithfully, Edge of

1018
00:43:52,840 --> 00:43:56,639
the Blade, Troubled Child, Back Talk, Frontiers, and Rubicon. To me,

1019
00:43:57,199 --> 00:44:01,000
I'm really only excited about the songs that have lasting

1020
00:44:01,079 --> 00:44:04,440
value on this which are Separate Ways, Send Her My Love,

1021
00:44:04,840 --> 00:44:07,159
and Faithfully. I mean, the other songs are all right,

1022
00:44:07,239 --> 00:44:09,480
and I'm okay to listen to them, but it's not

1023
00:44:09,519 --> 00:44:11,199
like I turn them up when the radio would play

1024
00:44:11,239 --> 00:44:13,079
them if the radio still played them, which it doesn't.

1025
00:44:13,519 --> 00:44:17,480
So really three, I'm looking at three songs here, Separate Ways,

1026
00:44:17,679 --> 00:44:21,400
Center My Love, Faithfully, whereas I enjoy the other songs

1027
00:44:21,480 --> 00:44:23,880
and don't enjoy a couple of them at all. Only

1028
00:44:23,920 --> 00:44:27,199
three songs doesn't make this a strong enough album for me. Now,

1029
00:44:27,440 --> 00:44:31,159
I will say Separate Ways is the best song by

1030
00:44:31,159 --> 00:44:35,079
the definitive early eighties rock band, and so that has

1031
00:44:35,119 --> 00:44:36,480
a lot of clout with it. I mean that weighs

1032
00:44:36,519 --> 00:44:39,920
heavy on the scales for me, But overall, when I

1033
00:44:40,000 --> 00:44:44,199
then look at synchronicity, I mean, you have got several

1034
00:44:44,239 --> 00:44:46,639
so it's kind of like it's kind of like, you know,

1035
00:44:46,800 --> 00:44:50,320
Separate Ways weighs heavy as almost as much as Mother

1036
00:44:50,400 --> 00:44:51,559
ways against on.

1037
00:44:53,400 --> 00:44:54,119
Speaker 2: Right right.

1038
00:44:54,559 --> 00:44:58,800
Speaker 3: Okay, So then on Synchronicity, you have Synchronicity one, Walking

1039
00:44:58,840 --> 00:45:04,400
in Your Footsteps, OMG, Mother, Missus Grindenko, Synchronicity two, Every

1040
00:45:04,440 --> 00:45:06,760
Breath You Take, King of Pain, Wrapped Around your Finger,

1041
00:45:07,079 --> 00:45:10,119
Ta in the Sahara, and Murder by Numbers. Okay, So

1042
00:45:10,719 --> 00:45:13,039
one of those songs is definitive for the band, and

1043
00:45:13,079 --> 00:45:15,599
that is Every Breath You Take, and it's the most

1044
00:45:15,639 --> 00:45:18,039
played song on the radio. In addition to that, you've

1045
00:45:18,079 --> 00:45:20,559
got King of Pain, You've got Wrapped around your Finger,

1046
00:45:20,760 --> 00:45:24,559
and you've got Synchronicity two. All of those are mind

1047
00:45:24,599 --> 00:45:28,440
blowing hits. And I really enjoy Synchronicity one, and I

1048
00:45:28,559 --> 00:45:30,599
really really enjoy Murder by Numbers.

1049
00:45:30,719 --> 00:45:32,719
Speaker 2: And I dig Tea in the Sahara. I won't skip

1050
00:45:32,760 --> 00:45:34,599
past Tea in the Sahara. Walking in Your.

1051
00:45:34,480 --> 00:45:37,960
Speaker 3: Footsteps is one of those acquired tastes OMG and Mother.

1052
00:45:38,119 --> 00:45:41,719
I'm gonna fast forward through them probably every time, Miss Grindinko.

1053
00:45:42,000 --> 00:45:44,760
Speaker 2: It just depends on the mood of the'm in. But overall,

1054
00:45:45,119 --> 00:45:47,400
Synchronicity is a better album.

1055
00:45:47,440 --> 00:45:50,519
Speaker 3: It's got more, It's got again, a monstrous hit. You

1056
00:45:50,639 --> 00:45:53,599
got monstrous hit. On Frontiers, but it's not enough to

1057
00:45:53,679 --> 00:45:56,400
save the totality of the album in my opinion, what

1058
00:45:56,400 --> 00:45:57,000
are your thoughts?

1059
00:46:00,599 --> 00:46:03,760
Speaker 1: Sadly you've stolen my thunder. But here's the deal.

1060
00:46:04,000 --> 00:46:05,480
Speaker 2: Okay, Now, can I say this?

1061
00:46:05,559 --> 00:46:07,280
Speaker 3: Can I say that when we started this out, well,

1062
00:46:07,480 --> 00:46:10,320
the way this conversation began, you were going year by

1063
00:46:10,400 --> 00:46:12,039
year and you're like, here are the bands that I

1064
00:46:12,079 --> 00:46:14,519
didn't like, and when you hit eighty three you put

1065
00:46:14,559 --> 00:46:17,239
the Police and I went what And that's how this

1066
00:46:17,400 --> 00:46:19,440
that's how this podcast became a thank so go ahead,

1067
00:46:19,519 --> 00:46:20,079
go ahead.

1068
00:46:19,840 --> 00:46:20,360
Speaker 1: And talk about that.

1069
00:46:20,400 --> 00:46:20,679
Speaker 2: Okay.

1070
00:46:20,719 --> 00:46:23,960
Speaker 1: Yeah, So when we started this podcast the first time,

1071
00:46:24,039 --> 00:46:25,960
and like we said, we had not had a prior

1072
00:46:26,039 --> 00:46:29,079
relationship really with either of these two albums, I would

1073
00:46:29,079 --> 00:46:32,079
call myself a journey greatest Hits type of guy. Right,

1074
00:46:32,079 --> 00:46:34,159
give me the greatest hits album. I'll listen to Awesome.

1075
00:46:34,280 --> 00:46:36,880
I had it, I owned it, Police, I the Police.

1076
00:46:36,880 --> 00:46:38,880
I had never really had an album by them, Okay.

1077
00:46:39,000 --> 00:46:41,559
I was familiar with their hits, but never really fell

1078
00:46:41,559 --> 00:46:44,079
in love with them. They seemed a more mature band

1079
00:46:44,159 --> 00:46:47,320
that was somebody my mom or my uncle might listen to. Okay,

1080
00:46:47,840 --> 00:46:50,800
So when we started this, I listened to the first

1081
00:46:50,840 --> 00:46:53,320
four songs of Synchronicity, I texted you and I'm like,

1082
00:46:53,360 --> 00:46:54,880
this is a landslide for Journey.

1083
00:46:55,039 --> 00:46:56,360
Speaker 2: Yeah you did, Yeah I.

1084
00:46:56,320 --> 00:46:58,960
Speaker 1: Did, and I fully I thought, Man, what are we

1085
00:46:59,000 --> 00:47:01,199
even wasting our time thinking about debates on this? But

1086
00:47:01,239 --> 00:47:04,039
I listened to Synchronosity too. Then every breath you take,

1087
00:47:04,239 --> 00:47:07,000
king of pain wrapped around your finger. You know, I'm

1088
00:47:07,000 --> 00:47:09,480
not big on tin the Sahara, but Murder by Numbers

1089
00:47:09,559 --> 00:47:14,719
is fun and interesting and sophisticated. Those are mammoth songs.

1090
00:47:15,480 --> 00:47:18,000
And when I look at Frontiers, if you have only

1091
00:47:18,000 --> 00:47:20,679
the young and you have asked the lonely in there

1092
00:47:20,679 --> 00:47:23,719
instead of backtalk, we've got a discussion. But I'm with you.

1093
00:47:23,880 --> 00:47:27,320
Separate Ways and Faithfully are mind blowing songs. Chain Reaction

1094
00:47:27,440 --> 00:47:29,800
I think is good. I even like Trouble Child a

1095
00:47:29,840 --> 00:47:31,639
little bit. I like Rubicon a little bit, but everything

1096
00:47:31,639 --> 00:47:35,039
else is just kind of filler. So very surprisingly, I

1097
00:47:35,079 --> 00:47:38,360
am going to say Synchronicity is the better album.

1098
00:47:38,800 --> 00:47:43,000
Speaker 2: Holy cow, I'm doing my little happy dance right now. Yes,

1099
00:47:43,119 --> 00:47:45,880
I'm my mind is blown. I'm just like, what what what?

1100
00:47:46,400 --> 00:47:48,000
Speaker 1: I'm surprised to hear myself say that.

1101
00:47:48,039 --> 00:47:50,440
Speaker 3: I really I can't believe it, Like I, I, this

1102
00:47:50,599 --> 00:47:52,119
must this must have been how you felt when I

1103
00:47:52,119 --> 00:47:56,199
picked Pyromania over Hysteriaiz, even though you still pick Hysteria

1104
00:47:56,199 --> 00:47:59,400
over Pyromania. It just the idea that the taking the

1105
00:47:59,400 --> 00:48:02,000
time with well with these albums that you've you went from.

1106
00:48:02,079 --> 00:48:04,760
Speaker 2: I don't like these guys too. They have the better

1107
00:48:04,800 --> 00:48:06,679
album than the guys that I loved at the time.

1108
00:48:06,920 --> 00:48:09,760
That's that's amazing. That's that's awesome, man, that's great.

1109
00:48:09,760 --> 00:48:11,440
Speaker 1: I think I texted you about a week ago and

1110
00:48:11,519 --> 00:48:13,280
I said, Synchronicity's got it.

1111
00:48:13,280 --> 00:48:13,800
Speaker 2: Sucks in me.

1112
00:48:13,920 --> 00:48:15,559
Speaker 3: Yeah, I guess I missed that one because yeah, you

1113
00:48:15,599 --> 00:48:17,079
texted me today and you're like, do you know which

1114
00:48:17,119 --> 00:48:17,639
one you're picking?

1115
00:48:17,679 --> 00:48:19,079
Speaker 2: And I'm like, yeah, of course I do. I mean,

1116
00:48:19,119 --> 00:48:20,320
and and you had me convinced.

1117
00:48:20,440 --> 00:48:22,679
Speaker 3: You sent me that Landslide text and I called or

1118
00:48:22,719 --> 00:48:24,320
texted back and I said, I don't know.

1119
00:48:24,360 --> 00:48:26,159
Speaker 2: After listening to the first four songs.

1120
00:48:25,880 --> 00:48:28,239
Speaker 3: I don't know that I can argue for Synchronicity, but

1121
00:48:28,519 --> 00:48:31,320
once you hit Synchronicity two, it's a clear winner. And

1122
00:48:31,360 --> 00:48:33,599
then again I went back just it just takes it

1123
00:48:33,639 --> 00:48:35,320
a little bit of time with some of those other

1124
00:48:35,320 --> 00:48:37,239
songs and you're like, no, these are actually good too.

1125
00:48:37,360 --> 00:48:39,480
Speaker 2: Synchronicity one is a really good song.

1126
00:48:39,760 --> 00:48:41,440
Speaker 1: One of the things that kind of helped me make

1127
00:48:41,480 --> 00:48:44,320
my final decision is today I was listening to Frontiers

1128
00:48:44,360 --> 00:48:47,639
in my car and I wanted to switch to Synchronousity.

1129
00:48:47,880 --> 00:48:49,519
Speaker 2: Nice, so nice.

1130
00:48:49,599 --> 00:48:51,320
Speaker 1: I mean, how can you really argue with that? I mean,

1131
00:48:51,480 --> 00:48:53,320
that's that's what my heart wanted to do.

1132
00:48:53,360 --> 00:48:56,400
Speaker 2: You know, yeah, wow, Well that's fantastic.

1133
00:48:56,559 --> 00:48:59,239
Speaker 3: I can't I cannot wait to hear what you are listeners,

1134
00:48:59,400 --> 00:49:02,119
think about the decisions and your opinions on it.

1135
00:49:02,280 --> 00:49:03,000
Speaker 2: Where do you put it?

1136
00:49:03,039 --> 00:49:05,599
Speaker 3: Does Frontiers hold up for you? Do you think we're

1137
00:49:05,639 --> 00:49:09,599
crazy on picking the police? Please check with us on Facebook,

1138
00:49:10,000 --> 00:49:13,239
tweet us on Twitter. You can reach us at Shirley

1139
00:49:13,320 --> 00:49:16,079
Podcast on both of those formats or email lists so

1140
00:49:16,079 --> 00:49:19,039
you can email us at shirleypodcast at gmail dot com.

1141
00:49:19,079 --> 00:49:20,440
Speaker 2: But we'd love to hear what you think as well.

1142
00:49:20,480 --> 00:49:22,440
Speaker 1: I have had a fantastic time getting to know these

1143
00:49:22,440 --> 00:49:24,639
albums and I'm having a blast doing this. I hope

1144
00:49:24,639 --> 00:49:26,719
you guys are having fun listening to us. Send us

1145
00:49:26,800 --> 00:49:28,880
some suggestions that you think would be good matchups. We'd

1146
00:49:28,920 --> 00:49:29,559
love to have that yeah.

1147
00:49:29,599 --> 00:49:32,360
Speaker 3: Absolutely, we've gotten We've had quite a few folks sending

1148
00:49:32,719 --> 00:49:35,480
ideas and some of them, some of them were like, yep,

1149
00:49:35,480 --> 00:49:36,679
that's right, that's what we need to do.

1150
00:49:36,880 --> 00:49:38,679
Speaker 1: Yep, yep. D appreciate you, man.

1151
00:49:38,679 --> 00:49:40,599
Speaker 2: Yeah, youtuoe man, it's been great. I'll look forward to

1152
00:49:40,639 --> 00:49:41,199
the next one.

1153
00:49:41,320 --> 00:49:42,440
Speaker 1: Okay, we'll talk to you later.

1154
00:49:48,119 --> 00:49:50,320
Speaker 2: All music, images and movie clips are used for the

1155
00:49:50,320 --> 00:49:53,599
purposes of commentary and education in conjunction with the fair

1156
00:49:53,679 --> 00:49:55,559
Use agreement under the US copyright law.