Speaker 1: Hello everybody, and welcome to the Surely You Can't Be
Serious Podcast, discussing and debating the iconic and the forgotten
of eighties and nineties.
Speaker 2: Pop culture with your co hosts James D. Graves and
Jason Callipans. Welcome back, everybody.
Speaker 3: Here we are for our second part in the Synchronicity
Versus Frontiers debate, and Jason.
Speaker 2: I've got a great idea for a video.
Speaker 3: You should play the air keyboards and I will play
the air guitar, and we'll get somebody else to play
the air drop.
Speaker 1: We think invisible instruments. Yes, that sounds incredible on a wharf,
and have a lady walking around.
Speaker 2: Now now a minute a minute.
Speaker 3: That would be absolutely the worst video in the history
of the world.
Speaker 2: We can't do that. I don't know what I was thinking.
Speaker 1: Let's hang out. We'll be out there in our jeans
and tennis shoes. We'll get some lady off the street
just to walk around.
Speaker 2: Awesome tank top.
Speaker 1: That you got it Target last night, and.
Speaker 3: I'll get my haircut right beforehand. Well, welcome back everybody.
As you can see, we're already having fun with this one.
Speaker 2: Today.
Speaker 3: We're here to talk about Journey if you didn't catch
our last episode, we talked about The Police and we're
comparing the two albums that came out in nineteen eighty three.
The Police had Synchronicity and Journey had Frontiers Synchronicity.
Speaker 1: That album was released in June of nineteen eighty three.
Frontiers is actually released in February of nineteen eighty three.
Speaker 3: Yeah, so today we will cover Frontiers and then finish
up with our decision on which one we think is
the best.
Speaker 1: I'm anxious to hear what you think I really am
because most of the time I have kind of an
inkling of where you are. I have no idea where
you're on these two.
Speaker 3: So it is very, very difficult because these are two
phenomenal albums. Like I said last episode, Police was the
best band in the world, and this was their best
album with the most hits and a Journey this one
has a ton of hits. It's got my favorite of
all Journey songs to kick things off, and so it's
hard choice. I'll tell you when we get there. Okay,
stay tuned, Okay, So let's jump in. You know, the
only member of Journey that was an original member of
Journey is Neil shown.
Speaker 2: You know Neil shown story.
Speaker 1: The only thing I really know about him is that
he picked up the guitar at like age five, and
he was born at Tinker Air Force Base, which is
about twenty miles from where we're recording right now.
Speaker 3: So right right, yeah, I doubt he remembers Oklahoma, but
we'll we'll claim him anyway, right.
Speaker 1: He is in the Oklahoma Hall of Fame, so we're claiming.
Speaker 2: Yes, yeah, Neil shwon.
Speaker 3: I'm sure he tells everyone he's from Oklahoma.
Speaker 1: This band was very nearly named Oklahoma City, but instead
they settled on Journey.
Speaker 2: Well, they had some wild names to go through. But
let's back it up a little bit.
Speaker 3: So Neil shown after Obviously the big important part about
being born on Tinker Air Force Bace here in Oklahoma.
He ends up in California, has a turntable in his room,
listens to Jimmy hendrickson Cream every night, falls in love
with the guitar. And I guess that's sleep hypnotism work,
because at fifteen years old, he is an amazing guitar
play already.
Speaker 1: He's a professional guitarist by age fifteen. You and I
have talked. We both have fifteen year old boys in
our house right now. The idea of him going out
on the road and playing in a rock band.
Speaker 3: It's kind of weird how that fifteen thing keeps coming up.
I mean, you had Eddie Murphy doing stand up when
he was fifteen. You had Rick Allen who started playing
with def Leppard at age fifteen, and then you have
Neil Shoan who's playing the guitar at fifteen. It's crazy,
but he got noticed. Of all people, he.
Speaker 2: Got noticed by Greg Rawley, who was the keyboardist and
lead singer for the band Santana.
Speaker 1: I mean Santana. I mean that's a big time band.
Huge joins them at age fifteen.
Speaker 3: I mean we're talking. They played at Woodstock. I mean
this is this is not small potatoes here. I mean,
these guys are an amazing band. And this guy, Greg
Rawley was so impressed with Neil Show's ability at age fifteen,
he would go and pick him up from high school
in the morning, not after our school was done. Listen, dude,
you don't need to bother with school because you.
Speaker 2: Were going to be a rock god. Okay, so come on.
Speaker 3: Herbie Herbert was manager for Santana at the time, and
he heard Neil shown play and he was like, we
need to have this guy come around a little bit
because he was blown away, blown away by a fifteen
year old.
Speaker 1: Neil Showan is a phenomenal guitar player, and I think
he's vastly underappreciated. We talked in our Van Halen podcast
about Eddie is a rock god, but when he wants to,
he can make his guitar scene. And Neil is that
type of guitar player. It always compliments the song. He
never stands out there and says, look at me, watch
me go crazy. His guitar always helps the song.
Speaker 3: It might be yeah, absolutely, And to say that means
a lot because this time and history was it was
all about the guitar solos, and so he definitely had
that opportunity to be out there and being that guy.
But I would say that it took some doing, but
he appreciated what they were and where he needed to
be in the scheme of things and didn't try to
didn't try to take that spotlight over. So he joined Santana,
and I mean, it's crazy you watch some of the
old Santana videos that they have that are all psychedelic
and weird technicolor DreamWorks things going on. And he's just
a baby out there with his guitar playing with these
guys who are veterans of the hard rock scene.
Speaker 2: But he's amazing.
Speaker 3: I mean he's a baby, but he's like, as they
said in Bull Durham, the gods reached down and touched
his hand and his arm became a lightning bolt.
Speaker 1: You know. So he doesn't stay with Santana.
Speaker 3: Yeah, well, Herbie Herbert says, hey, guys, you know, we
need to do something different. He and Greg Rawley they
split off. This was kind of like part two of Santana.
And obviously they're not going to be Santana because Carlos
Santana and Santana you can't really take that from real.
So they go out on their own and they start
this band called Golden Gate something or other. I don't
even rhythm section. We think, yeah, I think so that
sounds good. It was not a good name. It was
a horrible heat. Air Force Base would have been a
better name, but yes, or Oklahoma City it was a
better names. And so they're a band unlike the Journey
that we know today. I mean, they are a band
that is in the kind of fusion rock progressive rock scene,
which is a lot of instrumental solos. That's the band
that they were for a long time, and they developed
a significant following.
Speaker 1: Is that kind of band they did, But they didn't
have any hits.
Speaker 3: Yeah, they were selling tickets, they weren't selling any records.
The CBS was like, hey, guys, you want us to
keep playing for your concerts, you better give.
Speaker 1: Us a hit something. We need something we can play
on the radio.
Speaker 3: And Herbie Herbert realized, we need a singer. We need
a singer who can sing well. And they went through
a couple of guys that just didn't quite have it.
And in the meantime, while all of this is going on,
you got young Steve Perry who's been playing in rock bands,
going through those same motions that early rock and rollers
go through, and he actually gets in with the band
called Alien Project. Looks like this band is going to
be good. You know, they've they've got a decent song.
They're just about to sign their record deal. And then
the bass player gets killed in a car crash with
a train, and when he dies, the band dies.
Speaker 1: I mean, Steve Perry at that time felt like, man,
just when I'm on the cusp of my dreams coming
true whatever it is, the universe is stacked against me. Yeah,
you feel like that was my chance and now it's dead.
Speaker 2: Yeah, he went back home. I mean he was done.
Speaker 1: We're talking about Steve Perry, who arguably has the greatest
singing voice of the nineteen eighties.
Speaker 3: Journey is arguably the definitive eighties band, at least the
definitive early eighties band in my book. I mean, if
you want to say what was the sound of nineteen
eighty through nineteen eighty five for bands, I'm gonna go, well, Journey.
Journey's pretty darn good example.
Speaker 1: You could do a lot worse than Journey, that's for sure.
If they had this formula of pumping out hits that
everybody liked. Bon Jovi was kind of that towards the
latter half and just everybody sort of mainstream like these songs.
Speaker 3: But before they get there, Herbie Herbert is thinking, what
do we gotta do to get a decent hit? We
got to have a singer. And he's going through these
demo tapes and he hears this tape and he's like, no,
tell me that this is Steve Ferry? Because I just
keep running into this guy, and sure enough it was
Steve Ferry. And he's like, all right, where is he?
And somebody's looking and they're like, looks like he's living
back with his parents and working on a turkey ranch.
Speaker 2: He's like, no, really, what's he doing? Then Nope, that's
what he's doing.
Speaker 3: He went back home, he had no money and he's
working on a turkey ranch.
Speaker 1: And he was grateful to have that job. His step
dad's like, hey, come back home, you can fix the
turkey cages. I'll give you a paycheck. And he was like, oh,
thank god.
Speaker 2: So when Herbie Herbert calls him up, he's like, nah,
I don't think so.
Speaker 3: Well.
Speaker 2: I'm good, yeah, yeah, yeah, I got it. Now you know.
Speaker 1: I got a pay rent, I got an no where,
I got a guy on the other line sowing some
white walls.
Speaker 3: So Herbie Herbert says, I tell you what, I'll pick
up your paycheck for a week. I mean, you know what,
in the seventies was probably like thirty five bucks. Right,
So he Herbie Herbert is making plans to fly him
out there, and so he plays a demo of Steve
singing for Greg and for Neil, and both of them
are like, no hard pass, no, no, no, this guy's
a crooner, right, we don't we want somebody who screams,
and we want to play our.
Speaker 2: Music loud and we're going to rock.
Speaker 3: And Herbie Herbert says he's going to be the lead
singer of this and that's the.
Speaker 1: End, and thankfully he did that. I mean, where would
we be without Steve Perry. I mean this band would
be in obscurity, right.
Speaker 3: So Steve gets flown out, he meets Neil. They actually
kind of hit it off. Surprisingly, Neil's obviously against him
at the beginning, but they get to know each other.
They end up hanging out at a hotel room in
Denver and Neil starts playing a little bit on his
guitar and Steve starts singing some lyrics and they literally
in five minutes write the song patiently, so.
Speaker 2: Nice.
Speaker 3: So it looks like it's going to be a good fit, right,
Neil decides, Okay, I don't need to be the rock god.
I don't need to be the guitar hero. I want
to put my stuff in there, but I'm not going to.
Speaker 2: Overpower this guy. Because this guy's got chops.
Speaker 3: I mean, he's got a great voice, and the audience,
you know, their diehard fans are like, what's going on
a little bit, but a whole lot of people were like, hey,
these guys sound good with this new lead singer. They're
getting some more radio play, they were getting more tickets sold,
and it looked like it was going to go. Well.
Speaker 1: It's funny because a band is kind of like a
basketball team. You get one or two great players and
all that a sudden you've got a great team. You
get Neil Sean who is an amazing guitar, and you
pair him up with a voice like Steve Perry's mean,
I could play drums and they could pump out hits,
you know what I mean.
Speaker 3: Right, So, both Neil and Greg Rawley both kind of
pulled themselves back, you know, they said, Okay, this is
a new direction that we're going and it seems to
be working.
Speaker 2: That sounds good. We'll do that.
Speaker 1: Unfortunately, the drummer, Ainsley Dunbar didn't really feel.
Speaker 2: The same way.
Speaker 3: I mean, he was a hard rocking drummer and he
wanted to bang his drums and as the band went on, Steve,
you know, Steve was a kind of a reserved guy.
He's not a cocky, in your face kind of guy.
But when they start having more success with him singing,
he starts to assert himself and say, listen, you know
the drums are overpowering what's going on. You need to
pull it back, And Ainsley Dunbar is like, no, I don't.
I like drumming hard, and I'm going to drum hard.
And eventually it just, you know, came down to an
ultimatum and ains Dunbar didn't win that one.
Speaker 1: Yeah, he's out for sure.
Speaker 3: So then they replace him with the drummer from montros
throw Back, Steve Smith.
Speaker 2: Then they do a tour.
Speaker 3: Things are going well, actually having a whole lot of success, right,
and some really great songs, and Greg Rawley comes to
Herbie Herbert and says, I don't want to do this anymore. Yeah,
what you know, we're having the biggest success we've ever had.
He's like, I know, and I don't understand it either,
but I just don't want to be in this band anymore.
And I'll just tell you what, I don't think that
you're going to be with these guys very long anymore.
Speaker 2: Either.
Speaker 1: That's interesting. I mean getting off the train as it's
leaving the station. It's always an interesting decision looking back,
you know, well, I mean he was I mean they
were on their way to the destination. I mean he
was dead where they're making some big hits. But his
departure ends up being a huge blessing because what happens
is Jonathan Kane joins the band to replace him, and
Jonathan Kane is responsible for so many of their hits.
He really really adds that hit making formula to the band.
Speaker 3: He's got a very similar personality to Steve Perry. They're
very much about the music. They're very kind of self conscious,
but very good at what they do, and so they
immediately form a comrade. And at one point, Cain starts
playing this melody and I'll play it for you right now,
and Steve Perry's like, hey, that's good.
Speaker 2: What is that? And He's like, oh, it's just something
I've been messing around with. You know.
Speaker 3: I played it for John, but he wasn't really interested
in it. So John is John Waite from the band
Baby and Bad English as well later on. But yeah,
so John Waite, here's this melody that ultimately ends up
becoming Open Arms, and he was like, it's kind of
sentimental rubbish.
Speaker 2: I'm not interested.
Speaker 1: That's ridiculous. I mean, he turns down one of the
greatest power ballads of all time and then goes on
to make Missing You, which is one of the biggest
weenie songs of the eighties.
Speaker 2: Yeah, I mean talking about sentimental rubbish.
Speaker 1: Yeah, I know.
Speaker 3: But when Steve Perry hears this melody for Open Arms,
he puts the lyrics to it, He's like, yeah, this
is good, this is just I know it's going to
be hit. And Jonathan Kaine's obviously in love with that idea,
and Neil Sean's like, this sounds like Mary Poppins.
Speaker 2: What is his crap?
Speaker 3: And I'm like, okay, because I don't know what what
am I supposed to do in this song? And they're like, Neil,
just chillax man, It's just you don't have to be
the guy in every song. He butted heads with him
during the recording like he was mad. It was one
of those standard Prima Donna tantrums. And then once they
have it down, they played in concert later on and
the crowd goes nuts, of course, and then Steve looks
at Neil and Neil is just like in shock. He's like,
what it had no anticipation of how they were going
to react to this song.
Speaker 1: Thankfully, he said, you know what, I changed my mind.
I think I can play this song and I think
we can do more like it. Yeah, all right. So
the song that we've just been talking about, Open Arms,
was off their Escape album, which came out in nineteen
eighty one, huge, huge power ballad. You've heard it a
billion times. That album also contained a song you may
have heard of it. It's called Don't Stop Me Think.
Speaker 2: Let me think about that? Pretty sure heard that one?
Could you have a few bars?
Speaker 3: No?
Speaker 1: So I mean you have these two major, major songs
right at the beginning of the eighties. So that brings
us to nineteen eighty three. We're going to talk about friends.
Speaker 3: Right, And I got a question. I failed to look
this up. I feel like it was not nineteen eighty three.
I feel like it was nineteen eighty four. But do
you know what year the Journey video game came out.
Speaker 1: It had to be eighty three. It had to be
eighty three. I played that game in the arcade.
Speaker 3: Yeah, I played Actually in Fort Smith, Arkansas, they had
that game in the arcade for a little while, and
then it went away and it was devastating. And then
the big new movie theater opened up, the AMC, and
they had the game in the movie theater, and I
found myself going to the movie theater just to play
the game. I probably missed out on the beginning of
a few movies because of that game.
Speaker 1: I mean, you walk around with Neil Sean and he's
You're shooting out of the end of your guitar.
Speaker 2: Favorite song, favorite part of the game.
Speaker 1: I think would they play? They played. They played like
separate Ways. Yeah, Neil Sean was the one doing separate
ways and shooting things.
Speaker 2: With his guitar.
Speaker 1: Yeah, nineteen eighty three.
Speaker 3: It was out of nineteen eighty three Bingo Bongo, And
it has the logos. It has the same logo as
the Frontiers.
Speaker 1: Yep, sure does.
Speaker 3: Yeah, which to me is I mean, that's every time
I think a Journey, I think of that logo. I
don't think of the Beatle or anything else like that.
It's always the large blue head which that game.
Speaker 2: You know.
Speaker 3: Our one of our listeners, Arlon Bullard, pointed out to
me that that game and the Tron game are very similar, which, thinking.
Speaker 1: Back, they are, Yeah, definitely, very very similar.
Speaker 3: Yeah, and so you even that big Head is kind
of similar to the tron Giant Head and the Rainebow
Spinny Thing, both awesome soundtracks on a video game. I
mean I could just stand there and listen to people
play the game.
Speaker 1: Yes, for sure, for sure. I gotta give a quick
shout out to I tell you, I've got these two
women that I go to church with who are eighties
music freaks. One was Melissa Mingle and she helped me
with Synchronicity. The other is Cindy Smith, and she was
a big Journey fan. And I was asking her what
she remembered about Frontiers.
Speaker 2: Uh huh.
Speaker 1: What she told me She was a freshman in high school.
She got caught sneaking the car out at a friend's
house and got grounded and could not attend the Frontiers
concert in Oklahoma City. Oh devastating to her, And I
thought that is a very eighties She said, her friend
didn't get in trouble, still got to go. She couldn't
go to concert.
Speaker 2: Oh that's rough, that's rough.
Speaker 1: All right. Frontiers was released February first, nineteen eighty three.
Are you ready to dive in and talk about the tracks.
Speaker 2: Yeah, let's do it all right.
Speaker 1: So the first song, the first track in the album,
Separate Ways.
Speaker 2: I'm banging my head right now. So freaking good. Such
a good song.
Speaker 3: I mean, I don't care about any other song on
this album. This song seals the video for him fan
freaking test two.
Speaker 1: It's a great song. It's a pump your fist sing along.
Top down, turn it up, summertime, crank it out.
Speaker 3: You know, I've said it before. I was listening this
when I've been running. This song gives me legs more
than any Like if I'm if, I'm like even and
I'm like I can't make it, I'm like okay.
Speaker 2: Siri plays several ways.
Speaker 1: Several ways, has this great i mean, pounding chorus, you know, yeah,
the synthesizers and the guitar.
Speaker 3: This is one that I was like, Perry's vocals, My gosh,
You've got this very interesting thing where you've got this
melody playing the.
Speaker 1: And so it's the same melody, but then the chords change.
Speaker 3: So despite the fact that the chords are changing, the
melody stays the same even over different chords.
Speaker 1: Sounds perfect.
Speaker 3: And then the bass keeps pumping this same bassline throughout
the whole thing. It's a beautiful, beautiful mixture of musically
that I you know, I just sound like Chris Farley R.
Speaker 2: I love it. It's really great.
Speaker 1: Okay. So this this song was actually written in nineteen
eighty two while they were on the Escape tour. Yeah,
so that's kind of unusual for them.
Speaker 3: Yeah, Jonathan Kine wrote this on a thirty dollars cassio keyboard.
Speaker 2: That's insane. I mean he had the same keyboard that
like I had at my house.
Speaker 1: The thirty dollars one you get a radio shack, right.
So this song reached number one on the Hot Rocks,
number eight on the Hot one hundred, number one that week.
Billy Jeane by Michael Jackson got one.
Speaker 2: Yeah, that guy's always in there spoiling people's fun.
Speaker 1: He's he blocked Paramania, he blocked Synchronicity, and he's blocking
Journey right now.
Speaker 2: It was a good thing the police blocked him for
at least a little bit.
Speaker 3: For a little bit before we take back over, right,
So this one the basis for this song. While they
were on tour, Neil Showen and Ross Valerie were both
going through painful and expensive divorces, and Perry said to Caine,
hey man, there's got to be a more soulful way
to look at what's going on. And they worked up
after Jonathan had put the music together on his thirty
dollars cassio keyboard.
Speaker 2: Perry does the melody and the lyrics.
Speaker 3: And they're like, yeah, this is actually this is actually
pretty decent. And so they show it to the band.
They were, like you said, they were on tour while
this was going on. They work on it during their
sound check, you know, like before the concert starts, they're like, Okay,
let's see if we can play this.
Speaker 2: They work on it for a little I mean, you
have that long on stage.
Speaker 3: They work on it for a little bit, and they
played it that night, played it that night, live, love
it it. I mean, I think I think Steve Perry
even had to like mumble through half the lyrics because
he couldn't remember what he just read three hours before.
Speaker 2: But people went insane.
Speaker 1: Listen to what Neil Shan said about the song. He said,
like many other songs from this band, motown mixed with
R and B and blues. So that's what Separate Ways is.
But it's got heavier guitar than an R and B.
But he said, that's what I think makes it sound
like Journey.
Speaker 2: And then they decided to make the video.
Speaker 1: Let's talk about the video.
Speaker 2: I have an idea.
Speaker 3: We let us have the band that some of the
best musicians of all time play the air.
Speaker 1: Jonathan Kine is like, he looks like a bear or
something so hard.
Speaker 2: I can't even imagine being the band.
Speaker 3: And the direct I mean, you get got to remember
this is early early eighties, so you know, you get
guys who the day before were directing like a bud
Light commercial or something. I mean, those are the directors
you have because because nobody's thinking, nobody's gone coming out
of USC going, let's think I'll make us a music video.
Because nobody cared. Nobody knew what that was. It was insignificant.
And so you get this director who's like, Okay, you guys,
let's put your instruments away. Okay, what are we gonna do?
You're gonna play your instruments? Wait a minute, what, No,
it's gonna be awesome.
Speaker 1: They're invisible, and then we'll flash them in and then
all of a sudden you'll be playing them for real.
Oh and then oh, hey, honey, you're you're one of
the guy's girlfriends. Okay, I want you to walk across
the screen, Just just walk across the screen. Yeah.
Speaker 3: Actually, when Steve Perry showed up and he had just
cut his hair, like, I mean, he had his fresh
mullet going on, and his girlfriend Sherry, who the song
Oh Sherry is all about, who he dated all the time,
and he was in Journey. She was livid about the
fact that there's another girl in the video, and she's
a good looking lady. But I mean, how do you
come to the video. I mean, you're not like a
world renowned actress or something. How do you come in
and say I don't like this some other girls.
Speaker 2: In the video?
Speaker 1: It's crazy crazy.
Speaker 2: And then you see the video and I don't even think.
Speaker 3: I don't even think Steve Perry and the random, very
very eighties looking girl, even.
Speaker 2: In the same scene one dime, it's like he was
kissing her.
Speaker 1: My gosh, she just walked in front of him while
he was singing.
Speaker 3: Screaming in somebody else's face as she walks in between him.
So ross Valerie has the porn stash and porn glasses on.
Yes he does, and Steve Smith is wearing a foosball switch.
I mean, these guys, I just I'm looking at this
video and I'm like, did you guys like fall in
the mud and have to stop at Walmart on the
way over to the video.
Speaker 1: It looks like it's just like they got the call.
Hey guys, listen, be down the wharf in twenty minutes.
I'm playing now, I'm meant the arcade. That's okay, just
come on over. Yeah, where's it gonna be. It's gonna
be at the wharf. Well, good news. There's a giant sign.
This is wharf across the building. It's a big important
part of the video. It's an industrialar area. Nobody bothers there.
Don't worry, it's it's gorgeous. Listen.
Speaker 2: Talk song is a god awful video.
Speaker 1: Okay, let's talk about that, because we talked during the
def Lebert His Stereo podcast a few weeks ago. Yeah,
Poor Some Sugar on Me had a terrible video along
with this great, great song. Yes, and we questioned whether
or not Poor Some Sugar on Me would be as
remembered as it was as it is because of that
crappy video.
Speaker 3: Right, Well here the difference well, but the difference here
of five years is huge as far as music videos
are concerned.
Speaker 1: Well, that's true, but this video has a great song
and a horrible video.
Speaker 3: Yeah, this this song is great because of the radio.
I mean, it wasn't much longer before songs had to
be great on MTV, before they were going to be
great on the radio. But this was still when the
radio waves ruled the day.
Speaker 1: Oh man, And this song is great. This song was great. Okay,
second track of the album Center My Love. This was
the fourth single released in September of nineteen eighty three.
Speaker 2: Yeah, this one was written by Jonathan Kane.
Speaker 3: He had been listening to a lot of Beatles albums
and he had this experience like he was on stage
and he got called backstage and somebody said something about Virginia,
and Virginia was like this girl he dated when he
was a teenage and they said, you know, she still
talks about you and your relationship and he said, you know,
it was just one of those off handed comments that
you make. And he said he looked at her and
just said send her my love.
Speaker 2: Wait a minute, that's a song.
Speaker 3: That's a song we got to make that song, and
my gosh, break out the cassio.
Speaker 1: This song has that wonderful eighties synth rock mix. I mean,
it's just I mean, how many people learn to skate
backwards to this song. It's just one of It's one
of those roller skating ring specials.
Speaker 2: You know.
Speaker 1: Yeah, write a couples back out to the center of
the drink, turn it on, crank it.
Speaker 2: Up this one. He says.
Speaker 3: I went home and I called Steve Perry up and
I said, I came up with this idea and I
wrote it on the spot, and a lot of stuff
was just on the spot, very spontaneous. We kind of
wrote with an urgency because we didn't have a lot
of time together and the road was hard enough. And
when we did write, we wrote very intensely and all
the lyrics were like within hours, which didn't mess around.
And so once again they have this amazing song that
they put together spur of the moment.
Speaker 2: Off handed comment. Beautiful song.
Speaker 1: Yeah, I love it. I love it. This reached number
twenty three in the US charts. I'm surprised didn't get higher. Frankly,
it's a great It's on the makeout mix of nineteen
eighty three for people.
Speaker 2: Right, I'll give that tape back to you next week.
Speaker 1: Okay, we're adding to our makeout mix list here. Okay,
the next song. This song is called Chain Reaction.
Speaker 2: This song I told you before.
Speaker 3: I'm listening to these songs running and as listening to
this one, I feel good. But I'm like, I feel
like I'm in a rocky montage moment right now, Like
I'm rocky running along this song, and I'm pretty sure
that it's gonna We're gonna do a fast cut to
me getting punched in the stomach or something.
Speaker 2: I don't know.
Speaker 1: I think this is kind of a fist pumping song.
This would be great in concert. They released this it
was a video but not a single. It was a
hit on the Hot Rocks chart. It's featured in the
Journey video game that we talked about a few minuts ago.
Speaker 3: Yeah, but unfortunately, this one is a song that is dated,
like dated.
Speaker 2: Yeah.
Speaker 3: If I listen to this song now, it just says
eighties to me. These other songs, I'm like, I don't
care when this came out, It's still good now.
Speaker 2: This one, I'm like, this is stuck in the eighties, right.
Speaker 1: Here see. I like this song, okay, and I didn't
have a relationship with it before we dove into this podcast,
but I like it. It's catchy. Once again, anything Steve
Perry sings automatically kind of has a head start with me. Yea,
but I like it. Have you seen the video Di
George the video for this?
Speaker 2: No, I haven't seen the video.
Speaker 1: Okay, so picture this. All the guys that you saw
in the Separate Ways video are now in tuxedos. They
look like they're at the senior prom though they don't
look like James Bond. They look like my seventeen year old. Then, right,
and there's this you know, it's this pumping sort of
rocker chain reaction and Steve and Neil are sort of
like yelling at each other and d'ur In the course
of the video, Neil actually pushes Steve to the ground.
Speaker 2: It's weird.
Speaker 1: It's eighties.
Speaker 2: But does anybody have a tuxedo shirt on tuxedo tea?
Speaker 1: No, it's actual tuxedos. I like it. I like it
all right. Next, the number four track on the album
third single is called After the Fall. Now it's.
Speaker 2: What'd you say?
Speaker 1: Well, okay, this is another song written by Jonathan Kane
and Steep Perry, peaked at number twenty three on the
Hot one hundred. This song appeared in Risky Business. You
might recognize the Risky Business.
Speaker 3: That's what I was gonna say. Yup, it appeared in
the film Risky Business. Is the only fact that about
this song.
Speaker 1: Did you see this video?
Speaker 2: Nope?
Speaker 1: All right, this video same guys from the Separate Ways video,
the band, Yes, all dressed in khaki pants like Jake
from the State Farm. Right now, they're all falling out
of the sky past an open window. What they're falling like?
You see this open window and they're like falling. They
keep falling right after the fall, and you get told
they're diving into a swimming pool or something, fully dressed
in their khakis.
Speaker 2: Oh my word.
Speaker 3: Yeah, that was the That's the other thing about directors
of early eighties music videos. Let's treat this song as
literally as we possibly can.
Speaker 1: But I like the song. It's catchy, that sort of
power ballad.
Speaker 3: This one, like a lot of these songs, kind of
falls into that category of it's the filler.
Speaker 2: To me, this is another this is a filler.
Speaker 1: It doesn't stand out. It doesn't belong in our greatest
hits for sure.
Speaker 2: Okay.
Speaker 1: Now, then fifth song on the album. This song's called
Faithfully where.
Speaker 3: You rom you go around and round.
Speaker 2: Love so beautiful, So so beautiful.
Speaker 3: We covered this one when this was one of the
songs my band covered in high school. And just the way,
the way the piano comes in and then then the
guitar comes in leading over the piano is just if
it doesn't pull out your heartstrings, you are a soulless creature.
Speaker 2: I don't. I have no pity for you.
Speaker 1: Every time I listen to this song, it blows me away.
It crescendos, and when Steve Perry is singing that whoa
you know, yeah, I want to pull over and light
up my lighter and like wave to nobody. You just
sway with the crowd.
Speaker 3: You know.
Speaker 1: It's so good that.
Speaker 3: This one was written completely by Jonathan Kane, and he says,
God gave.
Speaker 2: Me that song.
Speaker 1: You heard this, This is interesting to me, he said.
Speaker 3: He's on a bus heading to Saratoga Springs and then
he wakes up the next day and there's a napkin
on his nightstand and he looks at the lyrics which
are in his handwriting, but he doesn't even remember writing him.
He just sees Highway run into the midnight sun and
he says, I got this supernatural download. And that was
the rest of the song. He wrote like frantically, trying
to get it to it as quickly, put it down
as quickly as it just seems to supernaturally come into
his brain. And in thirty minutes he had written the
entire song on that napkin, which he then took to
his piano. This wasn't on this gassio.
Speaker 2: This one. He had his big grand piano and played
it through and thought to himself, this is good.
Speaker 3: If somebody were to say, name a song by Journey
that is divinely inspired, I wouldn't have any hesitation but
to say Faithfully, Yeah, I'm.
Speaker 2: With you on that.
Speaker 1: Brian Adams opened for Journey on their nineteen eighty three
Frontiers tour.
Speaker 2: Yeah.
Speaker 1: During that time he wrote the song Heaven, which he
believes was heavily influenced by Faithfully, and actually on that track,
Journey drummer Steve Smith place.
Speaker 3: The guy who directed this video was found by Herbie Herbert,
and it was a guy who shot NFL films like playing.
Speaker 2: Footage that you just see.
Speaker 3: So like, the guy who's shooting Walter Payton scoring touchdowns
is now filming Steve Ferry shaving his mustache.
Speaker 1: Right exactly. That's cool. I thought this was super interesting.
After recording the song purple Ring, Prince called Jonathan Kane
worried that it might sound too similar to Faithfully and
asked him to listen to it. Kane reassured Prince and
told him the songs only shared the same four chords.
I'm not a musician, but it's that just as interesting
the video. It's like the first road video you actually get.
I mean, throughout the eighties, I mean, bon Jovi does it,
Guns of Roses does it, Genesis does it, Poison does it,
Richard Marx, Motley Crue, I mean, everybody has this sort
of here we are out on the road making a video.
It kind of became a staple for the eighties.
Speaker 3: I got to say that that bon Jovi's Wanted Dead
or Alive is my favorite of this.
Speaker 1: I'll take I'll take Motley Crue Home Sweet Home.
Speaker 3: So Journey hated making videos and I can talk because
not good. They don't look like they like being there.
For the most part, but they couldn't ignore how much
of an impact MTV was having. And MTV loved them
because they were a huge favorite with the audience, and
as we've mentioned before, they were really trying to promote
that rock format which was just coming back into style.
Speaker 2: Again.
Speaker 1: Here's the deal. When with Steve Perry's voice, and I
know I keep harping on this, but his voice is
made for arena rock. So when you show this song
being played to tens of thousands of people and you
get the feel of being at the concert, I mean
the video really I think helped launch the song. It's
just they go together well, and I like the video.
I love the song. If they'd have made this in
tuxedos in a sound stage, it would not have worked
as well.
Speaker 3: Right the road videos are they're classic, they're good to
and it kind of it sounds like this one was
the one that kind of set the stage for that.
Speaker 2: You know.
Speaker 3: We talked about Jonathan Kane being a devout Christian he
had actually wanted to be a priest, went to the
Lady of the Angels School in Chicago, Philly about this.
Yeah no, and he actually there was a huge fire
there that killed ninety five people. He survived that, but
he stepped away from his faith for a while. And
then when he was going through turmoil with Journey and
going through two failed marriages, he had this epiphany on
the road to Florida and he found himself calling out
to God and he joined this church down in Florida.
In twenty fifteen, he married the pastor there, Paula White,
and twenty sixteen he released an album of worship music
called What God Wants to Hear.
Speaker 2: It's a cool story.
Speaker 3: Yeah, well, and he said, he said, looking back on faithfully,
he started to see it in a different light. And
if you replace the words oh girl with oh God,
you've got a Christian.
Speaker 2: Song, all right.
Speaker 1: So interestingly enough, Jonathan Kane wrote this song about his
then wife Tony Kane, this beautiful ballad professing his love
to her, I will stand by you faithfully. They divorced
like shortly after the song was released.
Speaker 2: Yeah it's terrible, which is terrible.
Speaker 1: And then he's kind of go up there on stage
and play this wonderful song that everybody loves about a
woman that is dumping you. You know, I feel bad
for him, And what a terrible thing to happen, all right.
So that ends side one. Pushedop in your tape player,
kick out your tape, flip it over. First song on
side two is called Edge of the Blade. Edge of
the Blade. To me, this is like the biggest rocker
on the album. I would call this heavy for them.
Neil Shown's guitar playing on full display on instrum.
Speaker 2: They're introing side too with a big heavy fist pumping.
Speaker 3: Yeah, this is rocking out and it's an isn't angry song.
Speaker 2: This isn't angry, elf.
Speaker 1: He's not using his love song voice on this.
Speaker 3: And I can't tell you know, it almost seems to
me like he's singing to some record ezech or somebody
who's making money off of it. Doesn't seem like he's
singing to a girl too. You know, the contracts and
lawyers and the champagne downtown. You're caught up in the
power and you better see which side of the blade
you're holding. I don't know, man, that's to me, he's
he's kind of angry at somebody who's taken advantage of
their fame or something.
Speaker 1: This is a head bomber. I really like Nil Shawn's
guitar on this one, he's demonstrating what he can really
do with the guitar. All right. So the second song
on side too is a song called Troubled Child. Okay,
to me, this track sounds like it needs to be
played on Miami Vice after Crockett get Somebody Killed.
Speaker 2: Yeah, I was thinking. I was thinking.
Speaker 3: Okay, so if Chain Reaction is like the working out montage,
this is the song that plays.
Speaker 2: Whenever Rocky is doubting himself.
Speaker 3: You know, at some point he's throwing his helmet, his
motorcycle helmet at.
Speaker 2: The statue of itself.
Speaker 1: That's the song.
Speaker 3: This is the song that should be playing it is.
I think that'd be a great idea if we could
just like re engineer all of the music in the
old movies and just throw in completely different so totally
could Yeah, yeah, that'd be fantastic.
Speaker 2: I want to.
Speaker 3: So I'm gonna put this on. Two songs off of
Frontiers are gonna go onto rock Okay, that sounds like
playing this one is. Yes, it's sad and it's sweet,
and I knew it complete when I wore a younger
man's clothes. But to me, it does again, it doesn't
sound quite like Journey. It sounds like a group's trying
to sound like Journey.
Speaker 1: Okay, it's got a darker tone, but the chorus is great,
and I think the vocals are great. It is very dated, Okay,
it's the sense and the tone sounds. I mean, like
I said, it belongs in Rocky three or Miami Vice.
Speaker 2: It's probably that sound on the tape that you.
Speaker 1: I don't know, man, if you skip past this one,
I'm worried about the next two on this side.
Speaker 3: Yes, yeah, So the next track that we have on
the album is back Talk.
Speaker 1: Backtalk, heavy drums. I think this sounds similar to Jon
Jet's bad reputation.
Speaker 3: So this is the song that I play when I
get home from work every day, not for me, but
for my kid.
Speaker 1: Right, no, right, I work all day, Megan A.
Speaker 3: Liven, No one needs your kind of attitude, your sharp tongue.
This is this is another angry song. We got a
couple of angry ELF songs on this one. And this
is a guy who's he's had his day and he
doesn't want any of the nonsense that he's getting. He
walks through the door tonight.
Speaker 1: All right. I'm not a fan of this song. This
is just silliness. I mean Neil Showan's guitar solo, I
mean it's pretty good on this song. The drums are
a little bit heavier, you know, Steve Smith gets a
chance to show off a little bit. But for me,
this is a stinker.
Speaker 3: I really wish I mean the drums. For me, the
drums on this one. I'm thinking to myself, these could
be good drums if we had a better recording, like
if munt Lang were there and had the perfect sampling
of drums or something. I don't know, but that he's
hitting them hard. But the recording on this is just
not good for the sound of the drums.
Speaker 1: I mean, I don't want to bash it. It just
lacks heart, but I do want to make mention. Okay,
Trouble Child is the one we listened to previously. This
is the one that belongs to Miamy Vice in my opinion.
Then we have Backtalk, which we degree, you know, not
that great, right Doggy? Are those because those were last
second additions to Frontiers, Okay, and the songs that they
replaced I want to talk about here. Once we get
to the end of this tape.
Speaker 2: It sounds good. Yeah, let's do that all right.
Speaker 1: So the fourth track on side too is a song
called Frontiers.
Speaker 2: We Thank You.
Speaker 3: This is I mean this, This song really had the potential,
I think to be a big hit for a Journey.
I mean, it's got that, it's got that solid lead,
it's got Steve doing his great voice. The only problem
I think is that I had no idea what he's
talking about. I can't understand what he's saying.
Speaker 1: It's funny that you say that to me. This is
my least favorite song on the entire album. There's no
real course, there's nothing to see with on this one.
It gives the album a good title, but it's my
least favorite track on the entire album.
Speaker 2: This is your least favorite track on the four album? Yeah?
You like this less than Edge of the Blade and
less than back Talk? Yes? Wow?
Speaker 3: Yeah, Now we're on different pages on this one, my friend,
we're on the same page as far as there's a
problem because you don't have anything to sing along with her.
And that is the difference that this that that makes
this song not a big hit. Had you had a
something that is understandable and sing alongable.
Speaker 2: The rest of this song is great. The melody is great.
The instruments are great.
Speaker 1: That's why I listen to the journey. I want to
sing along with Steve Perry, you know.
Speaker 2: I guess.
Speaker 3: But but I mean, even if I get yeah, yeah,
I'd pick listening to this song one hundred thousand times
over either one of those last two.
Speaker 1: Okay. So that brings us to the last song on
the tape, song called Rubicon. Rubicon, in my opinion, is
the best song on side two, and it's not even close.
Speaker 3: Well okay, I don't dislike the song. I mean, it's
it's all right. I guess Side two is just not
really a very good side. Honestly, this song's okay. I
can't say that it blows me away. I like the
guitar as it comes in. The melody for the verse
is kind of humdrum for me. The chorus is solid,
and it's got this junglesque kind of feel.
Speaker 2: I don't know why I said that word.
Speaker 3: It's just got this. It's got this. It has an
eye of the tiger. Not the song, but just kind
of the added feel about it.
Speaker 2: I guess. But this, to me again, it's one that
doesn't stand the test of time.
Speaker 3: It's still going to be one of those ones that
I go, Okay, this is a generic eighty song.
Speaker 2: You know, we're just picking generic eighty songs.
Speaker 1: Okay, okay. In my opinion, I think this could have
been a successful single. I think it's every bit as
good as After the Fall. For instance, crossing the rubicon
means to make an irreversible decisions, kind of like burning
the ships.
Speaker 2: I like it.
Speaker 1: This song is good. This is a foot tapper for me.
Put a cool video with it. I think it's every
bit as good as After the Fall.
Speaker 3: So you mentioned that the two songs that we find
the least favorite on the album were last minute throw ins,
and they actually ended up replacing something else.
Speaker 2: Right.
Speaker 1: Troubled Child and Backtalk were last minute editions. This, to me,
is the most interesting story regarding this album. This was
a huge success. I mean, this sold six million albums
in the US right charted as high as number two
on Billboard. But they put in two crappy songs and
took out two potentially I mean, huge songs they removed
at the last second. They took out a song called
only the Young Yes, and they took out a song
called Ask the Lonely. Both of these were top ten
hits down the road?
Speaker 2: That right, And maybe who knows, maybe that was their thought.
Speaker 3: Maybe they were like, there's too many good songs on
this one when I don't know what we're going to
have a hit on the next album, Let's save these.
Speaker 2: To be hits.
Speaker 1: You think, I think that that is a legitimate theory. Yes,
we know, we've got faithfully, we've got separate ways, we've
got chain reaction. Why would we try to make thriller
when we can stretch this thing out and make more money.
I think that's a legitimate idea. But only the young
you may recognize it's it's on the soundtrack for Vision Quest. Yeah,
I had the soundtrack for Vision Quest. I love this song.
It is a fantastic song.
Speaker 3: So at some point, the band gets this letter from
a mother who's frantic in her letter and she explains
that her little boy, Kenny, loves the band. He loves
loves the band. All he wants to do all day
is listen to the band, and he's dying. He is
dying of cystic fibrosis, which is a terrible lung condition
makes it difficult to breathe, but like hearing Journey play
gives him light in his life, and she writes the
band to say, he doesn't have much longer and it
would mean the world to him if you guys would
come to see him.
Speaker 2: And so they read this letter and they said let's go.
Let's go right now.
Speaker 3: And so they go and he's I mean, he's in
his hospital bed and they come in and his eyes
light up and his breathing improves, and he feels, you know,
he's just he's ecstatic at being able to meet these
guys who were his heroes, and it's like the pain
goes away for a little while. And then as it happens,
they happen to have a tape with only the young
on the tape, and no one else other than the
band has heard this song yet, right, nobody's heard it.
They haven't released it. It didn't come out on Frontier. It's right,
It's Vision Quest isn't out yet. This is gonna be
this is an up and coming and so they're like,
would you like to hear the song that we that
were gonna release next, you know, on our next album.
He's like, oh, that'd be great, and they put the
headphones on him, and the way that Jonathan Kane describes it.
It's like it looks like he has gone to heaven,
and twenty four hours later he went to heaven for real.
Speaker 1: Yeah.
Speaker 3: It was a momentous and life changing moment for every
member of the band.
Speaker 1: Yeah, I mean Jonathan kan when they asked him about this,
I mean, he breaks down and not just not just
wipes tears, but is broken over this event. It's incredibly touching.
But the song has an interesting history. They actually sold
it to the band's Scandal, which it was on their
Warrior album in nineteen eighty four, which, Yeah, and has
Patty Smythe who I think has a one of the
best female rock voices of the eighties. Check it out
all right, So Only the Young would become a top
ten hit in nineteen eighty five. The other song that
was left off is a song called Ask the Lonely.
This song was left off of Frontiers and placed on
the Twist of Fate soundtrack. Twist of Fate was a
movie that starred John Travolta and Olivia Newton.
Speaker 2: John remember that.
Speaker 3: One, Oh did you say grease?
Speaker 2: Because I thought you said something else?
Speaker 1: The song is grease Lighting. No, I'm just kidding, but
this would become a hit from that soundtrack as well.
So so you have two vastly better songs. Asked the
Lonely and only the Young left off of Frontiers and
replaced with Troubled Child, which believe the.
Speaker 2: Term they're stinkers. These are stinkers.
Speaker 1: They're stinkers. But for the sake of this argument, we've
got to leave only the young and ask the lonely off. Okay,
they don't count.
Speaker 3: Nope, we're talking about the albums that came out in
nineteen eighty three and not the re issues that came
out in two thousand and six.
Speaker 2: We got to compare apples to apples here, right.
Speaker 1: Yes, all right, so are we ready to get down
to it.
Speaker 2: Let's do this.
Speaker 3: It is nut cutting time, if you will, think about
Stuart Copeland's shorts, and that's what time.
Speaker 2: I can remember coming over to your house for a
run one day, and I had the shorts that were
like a little the shorts that really usually wore, and
your wife went, we call those nutcutters.
Speaker 3: Here, we got to decide, you know, looking at these two,
I'll go ahead, I'll go out there, all right, So
let's just let's let's start with Frontiers. We've just to
do a quick track listing. We've got Separate Ways, Center
My Love, Chain, Reaction After the Fall, Faithfully, Edge of
the Blade, Troubled Child, Back Talk, Frontiers, and Rubicon. To me,
I'm really only excited about the songs that have lasting
value on this which are Separate Ways, Send Her My Love,
and Faithfully. I mean, the other songs are all right,
and I'm okay to listen to them, but it's not
like I turn them up when the radio would play
them if the radio still played them, which it doesn't.
So really three, I'm looking at three songs here, Separate Ways,
Center My Love, Faithfully, whereas I enjoy the other songs
and don't enjoy a couple of them at all. Only
three songs doesn't make this a strong enough album for me. Now,
I will say Separate Ways is the best song by
the definitive early eighties rock band, and so that has
a lot of clout with it. I mean that weighs
heavy on the scales for me, But overall, when I
then look at synchronicity, I mean, you have got several
so it's kind of like it's kind of like, you know,
Separate Ways weighs heavy as almost as much as Mother
ways against on.
Speaker 2: Right right.
Speaker 3: Okay, So then on Synchronicity, you have Synchronicity one, Walking
in Your Footsteps, OMG, Mother, Missus Grindenko, Synchronicity two, Every
Breath You Take, King of Pain, Wrapped Around your Finger,
Ta in the Sahara, and Murder by Numbers. Okay, So
one of those songs is definitive for the band, and
that is Every Breath You Take, and it's the most
played song on the radio. In addition to that, you've
got King of Pain, You've got Wrapped around your Finger,
and you've got Synchronicity two. All of those are mind
blowing hits. And I really enjoy Synchronicity one, and I
really really enjoy Murder by Numbers.
Speaker 2: And I dig Tea in the Sahara. I won't skip
past Tea in the Sahara. Walking in Your.
Speaker 3: Footsteps is one of those acquired tastes OMG and Mother.
I'm gonna fast forward through them probably every time, Miss Grindinko.
Speaker 2: It just depends on the mood of the'm in. But overall,
Synchronicity is a better album.
Speaker 3: It's got more, It's got again, a monstrous hit. You
got monstrous hit. On Frontiers, but it's not enough to
save the totality of the album in my opinion, what
are your thoughts?
Speaker 1: Sadly you've stolen my thunder. But here's the deal.
Speaker 2: Okay, Now, can I say this?
Speaker 3: Can I say that when we started this out, well,
the way this conversation began, you were going year by
year and you're like, here are the bands that I
didn't like, and when you hit eighty three you put
the Police and I went what And that's how this
that's how this podcast became a thank so go ahead,
go ahead.
Speaker 1: And talk about that.
Speaker 2: Okay.
Speaker 1: Yeah, So when we started this podcast the first time,
and like we said, we had not had a prior
relationship really with either of these two albums, I would
call myself a journey greatest Hits type of guy. Right,
give me the greatest hits album. I'll listen to Awesome.
I had it, I owned it, Police, I the Police.
I had never really had an album by them, Okay.
I was familiar with their hits, but never really fell
in love with them. They seemed a more mature band
that was somebody my mom or my uncle might listen to. Okay,
So when we started this, I listened to the first
four songs of Synchronicity, I texted you and I'm like,
this is a landslide for Journey.
Speaker 2: Yeah you did, Yeah I.
Speaker 1: Did, and I fully I thought, Man, what are we
even wasting our time thinking about debates on this? But
I listened to Synchronosity too. Then every breath you take,
king of pain wrapped around your finger. You know, I'm
not big on tin the Sahara, but Murder by Numbers
is fun and interesting and sophisticated. Those are mammoth songs.
And when I look at Frontiers, if you have only
the young and you have asked the lonely in there
instead of backtalk, we've got a discussion. But I'm with you.
Separate Ways and Faithfully are mind blowing songs. Chain Reaction
I think is good. I even like Trouble Child a
little bit. I like Rubicon a little bit, but everything
else is just kind of filler. So very surprisingly, I
am going to say Synchronicity is the better album.
Speaker 2: Holy cow, I'm doing my little happy dance right now. Yes,
I'm my mind is blown. I'm just like, what what what?
Speaker 1: I'm surprised to hear myself say that.
Speaker 3: I really I can't believe it, Like I, I, this
must this must have been how you felt when I
picked Pyromania over Hysteriaiz, even though you still pick Hysteria
over Pyromania. It just the idea that the taking the
time with well with these albums that you've you went from.
Speaker 2: I don't like these guys too. They have the better
album than the guys that I loved at the time.
That's that's amazing. That's that's awesome, man, that's great.
Speaker 1: I think I texted you about a week ago and
I said, Synchronicity's got it.
Speaker 2: Sucks in me.
Speaker 3: Yeah, I guess I missed that one because yeah, you
texted me today and you're like, do you know which
one you're picking?
Speaker 2: And I'm like, yeah, of course I do. I mean,
and and you had me convinced.
Speaker 3: You sent me that Landslide text and I called or
texted back and I said, I don't know.
Speaker 2: After listening to the first four songs.
Speaker 3: I don't know that I can argue for Synchronicity, but
once you hit Synchronicity two, it's a clear winner. And
then again I went back just it just takes it
a little bit of time with some of those other
songs and you're like, no, these are actually good too.
Speaker 2: Synchronicity one is a really good song.
Speaker 1: One of the things that kind of helped me make
my final decision is today I was listening to Frontiers
in my car and I wanted to switch to Synchronousity.
Speaker 2: Nice, so nice.
Speaker 1: I mean, how can you really argue with that? I mean,
that's that's what my heart wanted to do.
Speaker 2: You know, yeah, wow, Well that's fantastic.
Speaker 3: I can't I cannot wait to hear what you are listeners,
think about the decisions and your opinions on it.
Speaker 2: Where do you put it?
Speaker 3: Does Frontiers hold up for you? Do you think we're
crazy on picking the police? Please check with us on Facebook,
tweet us on Twitter. You can reach us at Shirley
Podcast on both of those formats or email lists so
you can email us at shirleypodcast at gmail dot com.
Speaker 2: But we'd love to hear what you think as well.
Speaker 1: I have had a fantastic time getting to know these
albums and I'm having a blast doing this. I hope
you guys are having fun listening to us. Send us
some suggestions that you think would be good matchups. We'd
love to have that yeah.
Speaker 3: Absolutely, we've gotten We've had quite a few folks sending
ideas and some of them, some of them were like, yep,
that's right, that's what we need to do.
Speaker 1: Yep, yep. D appreciate you, man.
Speaker 2: Yeah, youtuoe man, it's been great. I'll look forward to
the next one.
Speaker 1: Okay, we'll talk to you later.
Speaker 2: All music, images and movie clips are used for the
purposes of commentary and education in conjunction with the fair
Use agreement under the US copyright law.