Up A Creek Without A Paddle? Not Journey & More

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Up A Creek Without A Paddle? Not Journey & More

Postby Final Frontiers » Sat Mar 21, 2015 1:35 pm

This is an old article from People Magazine October 12, 1981




Up A Creek Without A Paddle? Not Journey, A Band Whose Teenage Fans Have Made Them Rich And Famous

With its members' affinity for shaggy coiffures, marijuana and loud, suggestive songs, Journey could be just another standard-issue rock band. It's not, though, and the difference is in the numbers. If all the albums the group has sold were stacked up, they would reach some 17 miles high. When Journey's latest, Escape, reached the top of the pop charts last month, the LP was leaving bins at a rate of 462,000 per week. By the time the current U.S.-Canada tour is finished in December, the band will have played in 72 cities for roughly a million fans at about $10 a head.

Even so, their records—which appeal mainly to hard-core teens—have drawn critical faint praise, and as performers they are unthreatening enough to have opened for the Rolling Stones last month in Philadelphia and Buffalo. Their financial statement, on the other hand, has their tax accountants singing Gimme Shelter.



With its members' affinity for shaggy coiffures, marijuana and loud, suggestive songs, Journey could be just another standard-issue rock band. It's not, though, and the difference is in the numbers. If all the albums the group has sold were stacked up, they would reach some 17 miles high. When Journey's latest, Escape, reached the top of the pop charts last month, the LP was leaving bins at a rate of 462,000 per week. By the time the current U.S.-Canada tour is finished in December, the band will have played in 72 cities for roughly a million fans at about $10 a head.

Even so, their records—which appeal mainly to hard-core teens—have drawn critical faint praise, and as performers they are unthreatening enough to have opened for the Rolling Stones last month in Philadelphia and Buffalo. Their financial statement, on the other hand, has their tax accountants singing Gimme Shelter.

At present, Journey is composed of bassist Ross Valory, 32, singer Steve Perry, 32, guitarist Neal Schon, 27, drummer Steve Smith, 27, and keyboardist Jonathan Cain, 26. The moving force, though nonmusical, is a large, savvy businessman named Walter James Herbert II, 33. "Herbie," as he is Known, is president of Nightmare Inc., a company with its own publicity and graphics departments, a merchandising division and another that leases stage equipment. Journey is Nightmare's biggest client, but occasionally there are others as well. Its San Francisco HQ is a lavishly restored Victorian manor with a postcard view of the Golden Gate Bridge. There Herbie operates like a hipster cross between Bunker Hunt and Vince Lombardi, a combination of shrewdness and inspiration. Last year the trade magazine Billboard pronounced him "Manager of the Year."

"In the beginning our style was definitely Bay Area," says Herbie, who previously managed Santana and later worked with Steve Miller. "Total hippie. Total Haight-Ashbury. The whole concept started as a family, the kind of thing where the group, the manager and all the roadies slept on the floor and got crabs." Today the situation is more hygienic and upscale, but some communal ideals have survived.


Journey was envisioned by Herbie in 1973 as the West Coast equivalent of the crack but unnamed studio band at Muscle Shoals, Ala. By the time Journey got around to performing, the lineup included Schon and Gregg Rolie from Santana, Valory from the Steve Miller Band, session guitarist George Tickner and drummer Aynsley Dunbar from the Mothers of Invention. By 1977 Tickner had split and the band had issued three albums that sold a modest average of 250,000 copies. Herbie was not content. "I wanted to orchestrate another major group in the San Francisco tradition of Jefferson Airplane, Santana or Sly and the Family Stone," he says.

In 1977 Herbert and the band decided—in caucus, as usual—to hire Steve Perry, who could both sing and write. Lights, which Perry originally wrote about L.A. (where he was living), was deftly adapted to San Francisco, and became a West Coast hit. It helped propel their fourth album, Infinity, to platinum—and to Perry it meant "a quantum leap from struggle, starvation, pyorrhea and malnutrition."



Since the beginning, the band has taken vocal and harmony lessons and even sensitivity training. "It's like always getting ready for the Olympics," recalls Valory. At the same time, Herbert studied the strategic use of fan clubs. The Journey Force (as the club network is dubbed) has thrived and cost the group $30,000 last year. Its 5,000 members get a monthly newsletter, first crack at special LPs, concert tickets and merchandise. In return, they're vigilant in calling radio stations to request the band's tunes. "It's like a grass roots political base," says Pat Morrow, the Antioch University-educated road manager.

The band's rise in popularity has not been without unpleasantness, however. In 1978 drummer Dunbar was fired. "He was bored and frustrated with the music," explains Valory. Dunbar, now with Jefferson Starship, has filed a $3.25 million lawsuit against Journey over what he considered an insufficient settlement. Herbert insists: "I won't have to pay him a dime."


Dunbar is replaced by Smith, who, says Herbie, "is a team player instead of Me, Me, Me." Charter member Rolie also departed last year, on friendlier terms. "I'd been on the road for 15 years and it was time to smell the roses," he explains. "I even picked out the guy to take my place." Cain, his choice, was brought from the Babys, who toured the U.S. with Journey in 1980.

On the road the band is a kind of peripatetic fraternity party, and Valory records it all on videotape. "Keep them high on fun and hijinks," says Morrow, "and you keep them from getting high with a needle." Within the band cocaine, heroin and amphetamines are prohibited, though not softer stuff. They have acknowledged their pro-pot feelings with substantial contributions to NORML, the National Organization for Reform of Marijuana Laws. (They also donate money for leukemia research in memory of the late son of an executive at Columbia, their current label.)



By making his partners rich, Herbie has converted them to his paternalistic approach. "With him focusing on the business, we can focus on the music," says Schon. "In the beginning," Herbie says, "the motivation was hunger. But once you've got a couple million dollars, it's got to be devotion to the family."

The Journey players show few signs of deprivation. Schon, who is getting divorced after a three-year marriage and has just finished an independent collaboration with jazzman Jann Hammer, lives grandly in Marin County. Perry has a three-bedroom house near S.F. which he shares with roommate Sherrie Swafford. Valory just split from his wife of 11 years and their home in Lafayette. The Boston-born, music-school-trained Smith and his bride of three months, Susan, have a Marin County pad and a retreat on Cape Cod. Chicagoan Cain lives with wife Tané McClure, an aspiring actress-singer, in Mill Valley, where they keep Appaloosa ponies. Herbie himself, who lives quietly with his wife, Jonnie, a travel agent, thinks things can only get better. "We do good business," he explains simply, "and we do good rock'n'roll."




http://www.people.com/people/article/0, ... 35,00.html

Wow, I had no idea that most of Journey aren't with their first wives. I know that Diane Valory and Lori Rolie have writing credits on Journey and solo albums. And I'd wondered why Diane hadn't had any recently. But it's obvious that you can't blame Gregg Rolie for getting off the road and making his family a priority. And Steve Perry called Sherrie his roomate :roll: Is Steve Smith still with Susan?


The Journey of "Don't Stop Believin'" by Jonathan Cain
from Keyboard Magazine February 23, 2012

http://www.keyboardmag.com/artists/1236 ... evin/28636


Don't skip over this article. I wasn't able to copy and paste it without grabbing pics I didn't want to. Oh and it has some short samples of JC playing.


"We Take Our Influences From Different Things", Eric Singer explains Impact of Beatles, Journey on KISS' Monster"




Your average rock fan might put on Kiss’ new album Monster, and specifically the track “Outta This World, and fail to hear how the Beatles and Journey impacted the band.

But drummer Eric Singer, in a new talk with Rock Music Star, says the tune was influenced first by George Harrison’s drone-rock tune “It’s All Too Much,” issued by the Beatles on 1969′s Yellow Submarine, and then by a subsequent cover version by Journey.

The second take, included on Journey’s 1976 sophomore release Look into the Future, pre-dates Steve Perry’s arrival. Gregg Rolie handles the vocals in a lineup that included current Journey stalwarts Neal Schon and Ross Valory, as well as Aynsley Dunbar on drums.

In both instances, though far more prominently on the Journey cover from the mid-1970s, “All Too Much” ends with a trippy echoing effect. Called “flanging,” it was first developed by Abbey Road engineer Ken Townsend in 1966, as part of the Beatles’ on-going experiments with sound.

[SOMETHING ELSE! REWIND: Potent and fun, 'Monster' strikes the perfect balance between the sounds of Kiss' co-founding members, featuring just the right mix of Gene Simmons and Paul Stanley.]

When Kiss convened to work on Monster, its long-awaited studio follow-up to
2009′s Sonic Boom, Singer remembered how cool it sounded.

“That was a suggestion that I had made,” Singer tells Rock Music Star. “I basically got that idea from the Beatles song, “All Too Much,” where at the end of the song, it goes into a flanging thing. On one of the early Journey records — before they had Steve Perry — they did a version of “All Too Much,” and on the outro, they elaborated further on the whole flanging thing, and I thought it was a cool effect. When they (Journey) go into the outro of the song, they go into double time on the drums, and it goes into this flanging effect on the whole mix.”

Singer says the band employs a number of these kind of subtle influences across the new album. “I think we always take our influences from different things,” he says. “It could be a style of a song, it could be a particular band, or it could be a production idea or an arrangement idea, that we remember that we like.”

Of course, that doesn’t mean that the end results on “Outta This World” will ever be confused with the Fab Four.

“What we did was based on a production thing that I heard when I was a kid, that I thought was cool,” Singer tells Rock Music Star. “I thought it would really suit the song, because the outro section (from “Outta This World”) reminded me of that Beatles song. Not that we sound like the Beatles, but I’m just using that as a point of reference, of an arrangement of a song.”



http://www.kissasylum.com/news/2012/12/ ... s-monster/




Did you know that Bryan Adam's "Heaven" was heavily influenced by "Faithfully"?



"Heaven" is a power ballad by Canadian rock singer Bryan Adams originally recorded in 1983, co-written by Adams and Jim Vallance. It first appeared on the A Night in Heaven soundtrack album in the same year and was later included on Adams' album Reckless in 1984. It was released as the third single from Reckless and reached number 1 on the U.S. Billboard Hot 100 in June 1985, over a year and a half after the song first appeared on record. The single was certified Gold in Canada in 1985.[1]

Heavily influenced by Journey's 1983 hit "Faithfully", the song was written while Adams served as the opening act on that band's Frontiers Tour, and features their drummer, Steve Smith.[2] The power-ballad provided to Adams his first number one single and third Top ten hit on the American charts; according to Billboard magazine the song also entered the Top 25 of the most successful singles of 1985 in the U.S.[3]




Adams had played over 100 dates with Journey during 1983, serving as the opening act on their Frontiers Tour. During that time, he and Jim Vallance co-wrote "Heaven", which was heavily inspired by Journey's hit "Faithfully".[2] It was recorded at The Power Station in New York City on June 6 and 7, 1983.[4] Halfway through the recording session, drummer Mickey Curry – who had warned Adams about his limited availability that day – announced that he had to leave since he had committed in advance to a Hall & Oates session.[2] Since the recording session for "Heaven" was running behind schedule, Adams called Journey drummer Steve Smith, who happened to be in New York at the time and he filled Curry's drumming position.[2] The song first appeared on the soundtrack to the 1983 film A Night in Heaven, although it was not yet officially released as a single by that point.



http://en.wikipedia.org/wiki/Heaven_(Bryan_Adams_song)

http://www.jimvallance.com/01-music-fol ... eaven.html
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