New single - June 24th

[Monker]

Had a few days to digest the song and I remain more or less where I started. It's a killer tune and an encouraging harbinger of things to come.

It's modern and moody, has swagger and a sultriness to it. I dig the Frontiers-era synths during the chorus and the song's dynamism; it's got an Escape-era structure to it, where the song is unconventional and doesn't conform to the standard Journey structure and template.

It reminds me of Resonate, Castles Burnin', Anything Is Possible all thrown in a blender. The post-guitar solo bridge (aka the clip Neal previewed a few days before the song released) reminds me of Abracadabra by Steve Miller Band.

The only thing I don't really like upon further repeats is the DSB style piano intro. The song would be better if they either ditched the intro or leaned more into it by playing a pseudo-DSB riff and then abruptly cutting it off with a record-scratch sound effect before leading into the guitars, as if to send a message that this ain't your mom and dad's Journey anymore and that they're embracing a different style.

I don't understand how this can be "modern", but you dig the Frontiers era this and that, and has an Escape era structure, has a DSB riff intro, but is not your "mom and dad's' Journey (while we are most likely the mom and dad).

Just a bunch of contradictions to me.

It's this band trying to do 80's style Journey...which, IMO, they seem very mediocre at. I don't hear anything "modern" about it...what does that even mean anyway? There is no new pop/rock that sounds much like Journey at all.

[The_Noble_Cause]

A musician friend of mine - imo a brilliant guy- had this to say. A little harsh - but I also agree that the new single is not in the same league as Higher Place (or even Place in Your Heart).

"The song was really unremarkable. You’d think with Narada that things would at least be fun musically, but the music is boring. No new territory. No new surprises. I’d love to hear something like 80’s pop with an odd meter. Higher Place is great because of the drums in the verse – they play on unexpected beats and the chorus launches into synchronized playing – that’s what gives it the uplift to fit the idea of a higher place. Look, the Journey song isn’t bad, but when Neal has been promoting this stuff the way he does, it better be great."

[Journey/Survivor]

I haven't heard the new song yet, my connection is way too slow to listen to it over the internet.

Something that I've seen some of you say that I strongly disagree with is that you say you want Neal to hold back some on his solos, to play more restrained. IMO if you have the greatest Rock guitarist on earth (Which Schon is IMO) you want him to perform a masterpiece, not to play restrained.

Some of you have said that Schon does hold back on the solo of the new song, and that disappoints me and scares me that he will be too conservative in his playing on the whole album like he was on the ROR album.

I hope that if they are still working on more songs for the album that Neal decides to Rock and stretch out with his solos.

[Monker]

I haven't heard the new song yet, my connection is way too slow to listen to it over the internet.

Something that I've seen some of you say that I strongly disagree with is that you say you want Neal to hold back some on his solos, to play more restrained. IMO if you have the greatest Rock guitarist on earth (Which Schon is IMO) you want him to perform a masterpiece, not to play restrained.

Some of you have said that Schon does hold back on the solo of the new song, and that disappoints me and scares me that he will be too conservative in his playing on the whole album like he was on the ROR album.

I hope that if they are still working on more songs for the album that Neal decides to Rock and stretch out with his solos.

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special. To me, Neal's best solos are when they fit the song. The best example I can think of is "Who's Cryin now". It's not just a good solo but it adds to the character and emotion of the entire song. Actually, I don't get that feeling on any of the instruments on this song. Maybe Arnel at the beginning and some other places.

Maybe you want Neal to just show off his technical skills on guitar and blow you away, or whatever. That is what solo albums may be for. In Journey, he's best when he plays to the song and gives it what it needs...and not what he needs or what he thinks the audience needs.

[The_Noble_Cause]

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special.

Agreed. Shirley would make the band do multiple takes - something Neal hated. On Universe, Narada gave Neal guide tracks to follow - which resulted in one of Neal's best solo cds. I don't hear any direction on TWWUTB. Reminds me of one of Neal's FB jams. It's too loose, too on the fly.

[Eric]

A musician friend of mine - imo a brilliant guy- had this to say. A little harsh - but I also agree that the new single is not in the same league as Higher Place (or even Place in Your Heart).

"The song was really unremarkable. You’d think with Narada that things would at least be fun musically, but the music is boring. No new territory. No new surprises. I’d love to hear something like 80’s pop with an odd meter. Higher Place is great because of the drums in the verse – they play on unexpected beats and the chorus launches into synchronized playing – that’s what gives it the uplift to fit the idea of a higher place. Look, the Journey song isn’t bad, but when Neal has been promoting this stuff the way he does, it better be great."

It definitely didn’t grab and excite me like Higher Place, although the casual fan didn’t have a lot of love for that.

[Onestepper]

A musician friend of mine - imo a brilliant guy- had this to say. A little harsh - but I also agree that the new single is not in the same league as Higher Place (or even Place in Your Heart).

"The song was really unremarkable. You’d think with Narada that things would at least be fun musically, but the music is boring. No new territory. No new surprises. I’d love to hear something like 80’s pop with an odd meter. Higher Place is great because of the drums in the verse – they play on unexpected beats and the chorus launches into synchronized playing – that’s what gives it the uplift to fit the idea of a higher place. Look, the Journey song isn’t bad, but when Neal has been promoting this stuff the way he does, it better be great."

It definitely didn’t grab and excite me like Higher Place, although the casual fan didn’t have a lot of love for that.

In my opinion Higher Place has aged really well. Was just listening to the Arrival album again this past weekend after not checking it out for the last few years. It’s incredibly detailed and musically interesting.

I’ll agree that the new release doesn’t do much. I do like the vocal mix, but the rest of the tune is a bit muddy and doesn’t do much. It’s a curious decision to make it the first release if they do indeed have “a modern Escape” in their back pocket.

[Art Vandelay]

You know what this reminds me of, now that I've listened to it a few times? A very flat version of Steve Perry's Listen To Your Heart. Even a little Stand Up (Before It's Too Late). Tempo is almost the same. Same gritty, driving feel. LTYH just goes so many more places. The vocals soar, the guitar playing is interesting, and there is a lot of creative drum fills. More groove. Pure coincidence between the songs, I know. But that's what I'm hearing now.

[JourneyHard]

Some of you have said that Schon does hold back on the solo of the new song, and that disappoints me and scares me that he will be too conservative in his playing on the whole album like he was on the ROR album.

On the singles, Neal has to have shorter solos. They did it in the past. Neal doesn't have a two-minute shredding guitar solo on Don't Stop Believin'. His long solos were reserved for Escape, the song and other deep tracks. I am sure the same will happen with the new album. There are probably mind-blowing solos on other tracks. But that is NOT what the singles are about. They need the song to be for the casual fan.
I am all for Neal rocking out. My board name is JourneyHard, but Neal has said this new album has a lot of variety and that might be the best thing possible. There will be rockers to come later and ballads and probably everything in between.
As for the new single, I haven't listened to it that much, but I am humming it and singing it. It is a very catchy song. Jon knows what he is doing. They all do. I bet if Don't Stop Believin' came out as brand-new-never-released-before song as the next single, people would bash it as being horrible. Of course, people love all the old material, but people seem to be unfair to the new material.

[Gideon]

Had a few days to digest the song and I remain more or less where I started. It's a killer tune and an encouraging harbinger of things to come.

It's modern and moody, has swagger and a sultriness to it. I dig the Frontiers-era synths during the chorus and the song's dynamism; it's got an Escape-era structure to it, where the song is unconventional and doesn't conform to the standard Journey structure and template.

It reminds me of Resonate, Castles Burnin', Anything Is Possible all thrown in a blender. The post-guitar solo bridge (aka the clip Neal previewed a few days before the song released) reminds me of Abracadabra by Steve Miller Band.

The only thing I don't really like upon further repeats is the DSB style piano intro. The song would be better if they either ditched the intro or leaned more into it by playing a pseudo-DSB riff and then abruptly cutting it off with a record-scratch sound effect before leading into the guitars, as if to send a message that this ain't your mom and dad's Journey anymore and that they're embracing a different style.

I don't understand how this can be "modern", but you dig the Frontiers era this and that, and has an Escape era structure, has a DSB riff intro, but is not your "mom and dad's' Journey (while we are most likely the mom and dad).

Just a bunch of contradictions to me.

It's this band trying to do 80's style Journey...which, IMO, they seem very mediocre at. I don't hear anything "modern" about it...what does that even mean anyway? There is no new pop/rock that sounds much like Journey at all.

Yes, you've already demonstrated elsewhere that your capacity to understand things was gleefully sacrificed on the altar of your weird grudge against a famous guitarist you've never met.

Monker, let's use a metaphor: houses built in 1865 and 2021 still have major structural similarities (e.g. foundation, walls, roof, etc.). The fact that Journey borrows 80s elements (e.g. synths and guitar solos) doesn't mean that the sound can't be modern. Contemporary artists like One Direction, The Weeknd, Dua Lipa, etc. employ them as well.

Like many of these contemporary artists, Jon's synths are in the background and only take prominence during the chorus. This ain't Separate Ways or Jump. It's a common, modern use of synths found all over the place in Top 40 pop today.

Likewise, there's an attitude and stomper quality to the chorus of this song that Journey's back catalog doesn't have. A friend of mine was shocked at that TWWUTB was Journey because, to quote her, "I could hear this playing at a club." There's an urban swagger to the track that the otherwise painfully-white Journey rarely comes close to.

The comparisons between Frontiers and Escape were made simply to compare TWWUTB to Journey's prior works.

[DK23]

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special.

Agreed. Shirley would make the band do multiple takes - something Neal hated. On Universe, Narada gave Neal guide tracks to follow - which resulted in one of Neal's best solo cds. I don't hear any direction on TWWUTB. Reminds me of one of Neal's FB jams. It's too loose, too on the fly.

While I agree a portion of his guitar work is unsurprisingly loose and noodly(?), he definitely maintains the melody. The starting riff in the first few seconds is catchy, his solo is good, and the outro solo might be one of his top-10 all time with Journey.

[The_Noble_Cause]

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special.

Agreed. Shirley would make the band do multiple takes - something Neal hated. On Universe, Narada gave Neal guide tracks to follow - which resulted in one of Neal's best solo cds. I don't hear any direction on TWWUTB. Reminds me of one of Neal's FB jams. It's too loose, too on the fly.

While I agree a portion of his guitar work is unsurprisingly loose and noodly(?), he definitely maintains the melody. The starting riff in the first few seconds is catchy, his solo is good, and the outro solo might be one of his top-10 all time with Journey.

Wow. I can't share that sentiment at all - but I'm sincerely glad you hear that and are digging it.

[Monker]

Had a few days to digest the song and I remain more or less where I started. It's a killer tune and an encouraging harbinger of things to come.

It's modern and moody, has swagger and a sultriness to it. I dig the Frontiers-era synths during the chorus and the song's dynamism; it's got an Escape-era structure to it, where the song is unconventional and doesn't conform to the standard Journey structure and template.

It reminds me of Resonate, Castles Burnin', Anything Is Possible all thrown in a blender. The post-guitar solo bridge (aka the clip Neal previewed a few days before the song released) reminds me of Abracadabra by Steve Miller Band.

The only thing I don't really like upon further repeats is the DSB style piano intro. The song would be better if they either ditched the intro or leaned more into it by playing a pseudo-DSB riff and then abruptly cutting it off with a record-scratch sound effect before leading into the guitars, as if to send a message that this ain't your mom and dad's Journey anymore and that they're embracing a different style.

I don't understand how this can be "modern", but you dig the Frontiers era this and that, and has an Escape era structure, has a DSB riff intro, but is not your "mom and dad's' Journey (while we are most likely the mom and dad).

Just a bunch of contradictions to me.

It's this band trying to do 80's style Journey...which, IMO, they seem very mediocre at. I don't hear anything "modern" about it...what does that even mean anyway? There is no new pop/rock that sounds much like Journey at all.

Yes, you've already demonstrated elsewhere that your capacity to understand things was gleefully sacrificed on the altar of your weird grudge against a famous guitarist you've never met.

Monker, let's use a metaphor: houses built in 1865 and 2021 still have major structural similarities (e.g. foundation, walls, roof, etc.). The fact that Journey borrows 80s elements (e.g. synths and guitar solos) doesn't mean that the sound can't be modern. Contemporary artists like One Direction, The Weeknd, Dua Lipa, etc. employ them as well.

Like many of these contemporary artists, Jon's synths are in the background and only take prominence during the chorus. This ain't Separate Ways or Jump. It's a common, modern use of synths found all over the place in Top 40 pop today.

Likewise, there's an attitude and stomper quality to the chorus of this song that Journey's back catalog doesn't have. A friend of mine was shocked at that TWWUTB was Journey because, to quote her, "I could hear this playing at a club." There's an urban swagger to the track that the otherwise painfully-white Journey rarely comes close to.

The comparisons between Frontiers and Escape were made simply to compare TWWUTB to Journey's prior works.

So, you actually believe that Journey sounds like a boy band and modern pop music like Dua Lipa....just because synths are not in the foreground. Ok...I know Dua Lipa ripped of INXS, but Journey being compared to these bands is just embarrassing. How about Ava Max...she ripped off "Heaven is a Place On Earth" and/or "If You Were a Woman" and/or "You Give Love a Bad Name". She should be on your list, too.

If that is what you mean by "modern", then this songs really, really sucks.

[Monker]

Some of you have said that Schon does hold back on the solo of the new song, and that disappoints me and scares me that he will be too conservative in his playing on the whole album like he was on the ROR album.

On the singles, Neal has to have shorter solos. They did it in the past. Neal doesn't have a two-minute shredding guitar solo on Don't Stop Believin'. His long solos were reserved for Escape, the song and other deep tracks.

What? "Who's Cryin Now" isn't a "deep track" and 1/3 of the song is Neal's solo at the end.

But that is NOT what the singles are about. They need the song to be for the casual fan.

No, they don't. Why do people make up these stupid rules.

When these bands record they should go in to write the best songs they can.. period. Not songs for the fans, or songs for the charts, or songs for the lead guitarist, or songs for the lead vocals. I think Journey has forgotten how to do this...and it has been that way for a VERY long time.

I bet if Don't Stop Believin' came out as brand-new-never-released-before song as the next single, people would bash it as being horrible.

Of course SOMEBODY would. I'm sure if you look back in the archives, you can find people bashing it in 1982.

But, the fact is that it is a great song. If some young pop/rock group released it today as a new song, it stould STILL be a huge hit. I have no doubt about that.

[jrnyman28]

I bet if Don't Stop Believin' came out as brand-new-never-released-before song as the next single, people would bash it as being horrible. Of course, people love all the old material, but people seem to be unfair to the new material.

I was about to wholeheartedly agree with this. But then I thought about DSB not being near as huge originally as it became in the last 15 years. Not sure if it's all nostalgia.

But you're right about rose-colored glasses

[jrnyman28]

When these bands record they should go in to write the best songs they can.. period. Not songs for the fans, or songs for the charts, or songs for the lead guitarist, or songs for the lead vocals.

100% agree!

[The_Noble_Cause]

Like many of these contemporary artists, Jon's synths are in the background and only take prominence during the chorus. This ain't Separate Ways or Jump. It's a common, modern use of synths found all over the place in Top 40 pop today.

Likewise, there's an attitude and stomper quality to the chorus of this song that Journey's back catalog doesn't have. A friend of mine was shocked at that TWWUTB was Journey because, to quote her, "I could hear this playing at a club." There's an urban swagger to the track that the otherwise painfully-white Journey rarely comes close to.

A FB hater was saying that Cain's synth just sounds like it's on a repeating loop. And I hear that - but I also hear what you're saying, that it sounds modern. The arrangement/production is a little different on this tune and it's part of the reason why I keep returning to the song.

[Gideon]

Like many of these contemporary artists, Jon's synths are in the background and only take prominence during the chorus. This ain't Separate Ways or Jump. It's a common, modern use of synths found all over the place in Top 40 pop today.

Likewise, there's an attitude and stomper quality to the chorus of this song that Journey's back catalog doesn't have. A friend of mine was shocked at that TWWUTB was Journey because, to quote her, "I could hear this playing at a club." There's an urban swagger to the track that the otherwise painfully-white Journey rarely comes close to.

A FB hater was saying that Cain's synth just sounds like it's on a repeating loop. And I hear that - but I also hear what you're saying, that it sounds modern. The arrangement/production is a little different on this tune and it's part of the reason why I keep returning to the song.

Basically. Numerous affectations add up in TWWUTB that make it sound fresh. Looking forward to the other tracks.

[JourneyHard]

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special. To me, Neal's best solos are when they fit the song. The best example I can think of is "Who's Cryin now".

I hate to break it to you, but ALL of Neal's solos in the history of Journey were him just "playing around in the studio." There isn't a place where Neal can dig in the ground and find a healthy vein of great guitar solos. Every solo he does is from him messing around and finding something great. Ask Sammy Hagar and he will tell you that Neal can play for a week straight and never repeat the same thing and you have to record it all because Neal cannot remember what he played.

Who's Cryin' Now is a perfect example for this very song. Neal wanted to shred on the ending solo to WCN, but Perry told him to hold back and Neal came up with the most basic thing he could think of, and it worked! Just like it works in the current single. Holding back is NOT a bad thing. Sometimes, less is more!

[JourneyHard]

What? "Who's Cryin Now" isn't a "deep track" and 1/3 of the song is Neal's solo at the end.

Who's Cryin' Now is an exception to the rule. And once again, it has the most basic guitar solo at the ending.

No, they don't. Why do people make up these stupid rules.

When these bands record they should go in to write the best songs they can.. period. Not songs for the fans, or songs for the charts, or songs for the lead guitarist, or songs for the lead vocals. I think Journey has forgotten how to do this...and it has been that way for a VERY long time.

I don't make up stupid rules. If your single is longer than three minutes, you probably won't get it played on the radio unless you are current rock radio which won't play Journey at all for some reason. Stairway to Heaven and other songs are exceptions, but for the most part singles are short songs written for the casual fan. Again, Open Arms went to number two. That is a perfect example of a single.

Of course SOMEBODY would. I'm sure if you look back in the archives, you can find people bashing it in 1982.
But, the fact is that it is a great song. If some young pop/rock group released it today as a new song, it stould STILL be a huge hit. I have no doubt about that.

People would say, "Don't Stop Believin' makes us wait for the chorus too long. I hate this song." It was only bigger hit song recently than it originally was because it has the past. If The Way We Used To Be was released in 1982 with Perry on lead vocals, it would be a hit song. And then if Don't Stop Beleivin' was released for the first time in 2021 with Arnel on lead vocals, people would scoff.

[JourneyHard]

Likewise, there's an attitude and stomper quality to the chorus of this song that Journey's back catalog doesn't have. A friend of mine was shocked at that TWWUTB was Journey because, to quote her, "I could hear this playing at a club." There's an urban swagger to the track that the otherwise painfully-white Journey rarely comes close to.

They need to change the lyrics to "Can we ever get back? To the way we were kickin' it, To the way we were hittin' it, Back to the way we used to be!" That could be the dance version!

[Monker]

Well, IMO, the solos in the new song sound like Neal was just playing around in the studio and they decided to grab it and stick it in the song. I suppose it's an OK solo but there isn't anything special. To me, Neal's best solos are when they fit the song. The best example I can think of is "Who's Cryin now".

I hate to break it to you, but ALL of Neal's solos in the history of Journey were him just "playing around in the studio." There isn't a place where Neal can dig in the ground and find a healthy vein of great guitar solos. Every solo he does is from him messing around and finding something great. Ask Sammy Hagar and he will tell you that Neal can play for a week straight and never repeat the same thing and you have to record it all because Neal cannot remember what he played.

Who's Cryin' Now is a perfect example for this very song. Neal wanted to shred on the ending solo to WCN, but Perry told him to hold back and Neal came up with the most basic thing he could think of, and it worked! Just like it works in the current single. Holding back is NOT a bad thing. Sometimes, less is more!

There is a difference between recording everything Neal does and then having a song where a piece of that works so it is used, and sitting Neal down and saying "Ok , we need a solo for this song....and go!" and just taking what you get. For this single, it sounds to me like they just took what they got. It isn't anything special at all.

Neal's solo from WCN was a joke but they used it anyway...because the rest of the band liked it and it fit the song.

Frankly, Journey needs to release a new single...because this one isn't going anywhere.

[Monker]

What? "Who's Cryin Now" isn't a "deep track" and 1/3 of the song is Neal's solo at the end.

Who's Cryin' Now is an exception to the rule. And once again, it has the most basic guitar solo at the ending. {/quote]

Ah, they never do it....except for deep tracks, and "exceptions". Half of LTS is instrumental with "na na's". Much of "Walks Like a Lady" is the same. "City of the Angels", same. If you knew Journey's catalog, you would know there are a LOT of extended Neal solos.

I don't make up stupid rules. If your single is longer than three minutes, you probably won't get it played on the radio unless you are current rock radio which won't play Journey at all for some reason.

If your band is more than 10yrs old, you probably won't get played on radio anyway. So, fuck the stupid rules. If they best song you can write is 20mins long, who cares, WRITE IT and RECORD IT, and RELEASE IT so people can hear the best you can be. Constraining and limiting a band to all of these crazy rules does nothing but limit a band to the same sound that is on the radio 24/7. Is that what you really think Journey was, and is?

Styx has the right idea...their album is absolutely fantastic, maybe the best Styx album ever, at least the best they have released since the breakup. Almost any of those songs are good enough to be a single...I say "almost" because some are TOO SHORT and are used as intros. They released it and now have a hit album. They don't need to be on the radio to have a hit ALBUM. And, they have new songs to perform in concert so it will help their tours.

THAT is what Journey should be doing...not bragging that their album is like Escape, an album 40yrs old. Neal has been saying "the next Escape" on every album since Arrival. It's just more of his bullshit. Shut up and write songs and play guitar like you used to and don't try to make Journey into a pop band.

Stairway to Heaven and other songs are exceptions

Stairway to Heaven was NOT a hit single.

Again, Open Arms went to number two. That is a perfect example of a single.

Funny you mention Open Arms. I was just listening to:
https://www.youtube.com/watch?v=ySGhiIz ... l=ElizeRyd

And, I wonder why Journey doesn't write songs like that any longer...simple song, generic lyrics...but with a fantastic voice in front and center of basic acoustic guitar (or piano), slow and melodic guitar solos without distortion or 3 guitars playing at once, a song that pushes emotion with lyrics, vocals, and the intruments all working together in a very simplistic way.

The truth is, there is only ONE "Open Arms". They have not done it since. Must be too Mary Poppins of a concept for the band to handle, especially now.

Of course SOMEBODY would. I'm sure if you look back in the archives, you can find people bashing it in 1982.
But, the fact is that it is a great song. If some young pop/rock group released it today as a new song, it stould STILL be a huge hit. I have no doubt about that.

People would say, "Don't Stop Believin' makes us wait for the chorus too long. I hate this song." It was only bigger hit song recently than it originally was because it has the past. If The Way We Used To Be was released in 1982 with Perry on lead vocals, it would be a hit song. And then if Don't Stop Beleivin' was released for the first time in 2021 with Arnel on lead vocals, people would scoff.

[/quote]

No way. A good song is a good song. Why do you think bands of today keep ripping off bands of the 80's...Supertramps "Breakfast in America" being the intro to a RAP song? The cover of "Africa" a while back. Green Day covering "I Think We're Alone Now"...which has been covered multiple times over the decades. And, those are just simple catchy POP songs. DSB would be a hit today, or any other time, because it's a great song. To say otherwise, IMO, is saying that DSB is NOT a great song.

[The_Noble_Cause]

Frankly, Journey needs to release a new single...because this one isn't going anywhere.

Even if you don't like the song, ya gotta admit the easy route would have been releasing another ballad in the style of "After All These Years." Band chose something different.

[The_Noble_Cause]

Funny you mention Open Arms. I was just listening to:
https://www.youtube.com/watch?v=ySGhiIz ... l=ElizeRyd

And, I wonder why Journey doesn't write songs like that any longer...simple song, generic lyrics...but with a fantastic voice in front and center of basic acoustic guitar (or piano), slow and melodic guitar solos without distortion or 3 guitars playing at once, a song that pushes emotion with lyrics, vocals, and the intruments all working together in a very simplistic way.

The truth is, there is only ONE "Open Arms". They have not done it since. Must be too Mary Poppins of a concept for the band to handle, especially now.

Starting around the Manilla concert, Neal added additional guitar in Open Arms. You may not like it. I think it makes the song even better. See here at the 3 minute mark, for example.

https://www.youtube.com/watch?v=9LoNXnTrLY0

[JourneyHard]

Ah, they never do it....except for deep tracks, and "exceptions". Half of LTS is instrumental with "na na's". Much of "Walks Like a Lady" is the same. "City of the Angels", same. If you knew Journey's catalog, you would know there are a LOT of extended Neal solos.

All those songs you mentioned are three-minute songs. They are short songs and were on the radio.

For the record, I know Journey's catalog and pretty much all the songs by heart. Thank you very much.

[JourneyHard]

If your band is more than 10yrs old, you probably won't get played on radio anyway. So, fuck the stupid rules. If they best song you can write is 20mins long, who cares, WRITE IT and RECORD IT, and RELEASE IT so people can hear the best you can be. Constraining and limiting a band to all of these crazy rules does nothing but limit a band to the same sound that is on the radio 24/7. Is that what you really think Journey was, and is?

Journey tried this on Arrival and Eclipse. Most of those songs are five-minutes long or more. Neal has extended solos in just about every song. Now, they are trying something different. They already did Higher Place. There is no reason for them to do the same song again. They released The Way We Used to Be to be something new. And it is. I have been saying for over 20 years that Journey needs a song where "you get in, get out, and nobody gets hurt." This new single is exactly like that. There is no way I can complain about them doing something I wanted them to do.

And they probably do have other tracks on the new album with extended solos, but just not every song. A good mixture of styles could provide us with a very exciting album. A ballad here, a rocker here, a mid-tempo here and so on and so forth.

Neal is giving away the house by having long solos on every song. He needs to save them for the concerts where Journey is making all the money!

[Eric]

Starting around the Manilla concert, Neal added additional guitar in Open Arms. You may not like it. I think it makes the song even better. See here at the 3 minute mark, for example.

https://www.youtube.com/watch?v=9LoNXnTrLY0

Only reason to listen to that song anymore is that addition.

[JourneyHard]

Funny you mention Open Arms. I was just listening to:
https://www.youtube.com/watch?v=ySGhiIz ... l=ElizeRyd

And, I wonder why Journey doesn't write songs like that any longer...simple song, generic lyrics...but with a fantastic voice in front and center of basic acoustic guitar (or piano), slow and melodic guitar solos without distortion or 3 guitars playing at once, a song that pushes emotion with lyrics, vocals, and the intruments all working together in a very simplistic way.

The truth is, there is only ONE "Open Arms". They have not done it since. Must be too Mary Poppins of a concept for the band to handle, especially now.

Starting around the Manilla concert, Neal added additional guitar in Open Arms. You may not like it. I think it makes the song even better. See here at the 3 minute mark, for example.

https://www.youtube.com/watch?v=9LoNXnTrLY0

And I am 99% sure Neal with add extended guitar solo to The Way It Used To Be in concert. He will have fun with it with the crowd there.

[jrnyman28]

Frankly, Journey needs to release a new single...because this one isn't going anywhere.

Even if you don't like the song, ya gotta admit the easy route would have been releasing another ballad in the style of "After All These Years." Band chose something different.

That was my fear. And this is close, but better than a full on ballad.