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Journey Lead Singers In Order: History and Band Members

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

Formation of the Band

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

Early Years and Musical Style

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

Evolution and Breakthrough Success

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

Chart-topping albums and Hit Singles

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

The Iconic Album: “Escape”

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

The Power Ballad Era

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

A Change in Direction

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

Journey’s Enduring Legacy

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

Past Journey band members include the following:

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

Current Journey band members:

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

Lead Singers of Journey

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The Original Journey: Gregg Rolie’s Era

Gregg Rolie

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

Steve Perry: The Voice of Journey’s Greatest Hits

band journey singer

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

Current Lead Singer: Arnel Pineda

Arnel Pineda

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

Journey’s Enduring Discography: Albums That Defined an Era

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

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

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

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

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

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

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

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

Journey’s Impact and Legacy

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

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

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

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

Journey Band Member’s Ages

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

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Arnel Pineda

NEW YORK, NY - APRIL 19:  (L-R) Producer John Paterson, Arnel Pineda of the band Journey, producer David Paterson and Yu Session attend the after party for the premiere of 'Don't Stop Believin': Every-man's Journey' during the 2012 Tribeca Film Festival at Gansevoort Hotel on April 19, 2012 in New York City.  (Photo by Michael Stewart/WireImage)

Who Is Arnel Pineda?

After a series of unfortunate events in his childhood, Arnel Pineda found success in Asia as the front man for the group The Zoo. In 2007, he was discovered by Journey guitarist Neal Schon, after a series of YouTube videos were posted of him covering American songs, including the famous hit, "Dont Stop Believin'." In December 2007, Pineda became the new lead singer of Journey. His is noted for having a strikingly similar sound to former Journey front man Steve Perry.

Troubled Childhood

Arnel Pineda was born on September 5, 1967, in Sampaloc, Manila, in the Philippines. Throughout his childhood, Pineda endured grave misfortune. When he was just 13 years old, his mother, who was 35 at the time, passed away after a long battle with heart disease. Her medical costs left the family in serious debt, and Pineda's father could no longer provide for Pineda and his three younger brothers, Russmon, Roderick and Joselito.

While relatives were able to take in his brothers, Pineda was left on his own. He spent the next few years homeless, often sleeping outside in public parks and scraping for any food or water that he could afford. When possible, he would stay at a friend's house, who offered him a cot outside. Eventually, Pineda was forced to quit school and take up odd jobs collecting scrap metal and bottles at the pier and selling newspapers to support his family.

Early Career

Pineda's love of music started at a young age. He began singing at just five years old, and had entered many singing contests as a child. In 1982, when he was 15, Pineda was introduced to a local band called Ijos, and was encouraged by his friends to try out as their new lead singer. He sang the Beatles' "Help" and Air Supply's "Making Love Out Of Nothing At All." Although they were concerned with his lack of training, Ijos members were wowed by Pineda's powerful voice, and took him on as the new front man of the band. One of the band member's friends even offered to pay Pineda's salary, 35 pesos a night, out of his own pocket, and Pineda was offered a tiny room to sleep under the guitarist's front stairs.

In 1986, some members of Ijos joined together to form the new pop-rock band Amo. The group found success covering songs by hit groups Heart, Queen and Journey. In 1988, they turned heads when they won the Philippines' leg of the Yamaha World Band Explosion Contest. Although they were disqualified in the finals due to a technicality, the event was broadcast on TV in Asia, widening their fanbase. The band continued performing at popular clubs and arenas around the Philippines.

In 1990, the members re-grouped yet again, under the new name Intensity Five, and re-entered the contest. The band came in as runner up and Pineda won the Best Vocalist Award. After a series of unfortunate health problems in the early '90s, including the brief loss of his voice, Pineda re-emerged in 1999 with a new solo album with Warner Brothers. The self-titled album had several hits in Asia.

After brief stints with a few different bands, Pineda found success again in 2006 with The Zoo, a band that he formed with Monet Cajipe, a guitarist/songwriter who had been in all his bands during over the previous 20 years. The Zoo performed at several popular clubs in the area and, in 2007, released an album by MCA Universal titled Zoology . Soon the band began covering songs by groups such as Journey, Survivor, Aerosmith, Led Zeppelin, The Eagles and more, with more than 200 performances uploaded to YouTube.

On June 28, 2007, Neal Schon, guitarist and member of the band Journey, saw a video of Pineda on YouTube and immediately contacted him. The band had been looking for a new lead singer, and Pineda's voice sounded strikingly similar to Steve Perry, Journey's legendary former front man. After speaking with Schon on the phone, Pineda made arrangements to fly to the United States and audition with the band in San Francisco. On December 5, 2007, Pineda was welcomed as the band's new lead singer.

Right away, Pineda went on tour with the band, performing two shows in Chile and two in Las Vegas. Both were a huge success. After a series of guest show appearances and magazine features, Pineda gained popularity within the American public. On June 3, 2008, the newly organized Journey released their first album, Revelation , which came in at No. 5 on the U.S. charts. The album was their highest charting album since Trial by Fire (with Steve Perry), and reached platinum status by October 2008.

Soon after the album's release, the band continued touring around the world with Pineda. The documentary, Don't Stop Believin': Everyman's Journey , slated to be released in 2012, will chronicle the band's "Revelation Tour," and Pineda's first years with the band.

Personal Life

When he is not on tour, Pineda resides in the Philippines with his wife, Cherry, their children, Cherub and Thea. He has two other sons—Matthew, 19, and Angelo, 13—from past relationships.

QUICK FACTS

  • Name: Arnel Pineda
  • Birth Year: 1967
  • Birth date: September 5, 1967
  • Birth City: Sampaloc, Manila
  • Birth Country: Philippines
  • Gender: Male
  • Best Known For: Arnel Pineda is best known as the new lead singer for the rock group Journey.
  • Astrological Sign: Virgo
  • Nacionalities

CITATION INFORMATION

  • Article Title: Arnel Pineda Biography
  • Author: Biography.com Editors
  • Website Name: The Biography.com website
  • Url: https://www.biography.com/musicians/arnel-pineda
  • Access Date:
  • Publisher: A&E; Television Networks
  • Last Updated: July 20, 2020
  • Original Published Date: April 2, 2014

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For over 40 years, Journey has been one of the greatest classic rock bands of all time. The band has released 23 albums and 43 singles since 1975 and has reached worldwide album sales totaling more than 75 million. 

But how exactly did Journey come to be? The San Francisco band got its start in 1973. Santana's former road manager, Herbie Herbert, recruited two of that band's members (Gregg Rolie and Neal Schon) and former Steve Miller Band bassist Ross Valory to form the Golden Gate Rhythm Section—the band that later became Journey.

The original Journey band members included Gregg Rolie on vocals and the keyboard, Neal Schon on guitar and vocals, George Tickner on guitar, Ross Valory on bass and vocals, and Prairie Prince on drums. 

Their first album was released in 1975 and established the band's jazz-influenced progressive rock sound. After several personnel changes, Steve Perry signed on as lead vocalist, launching the band's greatest period of commercial success from the late 1970s through the mid-1980s. Many people remember Steve as the face of the band.

The Best Album

The group's seventh album, Escape,  produced three hit singles and sold over 9 million copies. In addition to its commercial success, the album also received critical acclaim that has eluded them through most of their existence. Arguably, the most popular song put out by Journey is "Don't Stop Believin'." Originally released in 1981, the song became a Top 10 hit on the Billboard Hot 100, debuting at No. 9. The song has been used in near countless films in American TV and cinema including  Monster, Glee , the season finale of  The Sopranos , and  Rock of Ages. 

Journey Band Members Over the Years

In 2005, the band (along with original members Schon and Valory) marked its 30th anniversary with the release of its 23rd album,  Generations  and an anniversary tour, at times featuring some of the many former members of the group. In December 2006, Jeff Scott Soto replaced Steve Augeri as lead vocalist. Soto had been filling in for several months after Augeri was sidelined with a chronic throat infection. Soto was replaced a few months later by Arnel Pineda , vocalist for a Filipino cover band who was hired as a result of a video he posted on YouTube.

The band has been on a journey as it has evolved from past members including Steve Perry to its current members. 

Past Journey band members include the following:

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

Current Journey band members:

  • Neal Schon - guitar (1973-present)
  • Jonathan Cain - keyboards (1980-present)
  • Ross Valory - bass (1973-1985, 1995-present)
  • Arnel Pineda - vocals (2007-present)
  • Deen Castronovo - drums (1998-present)

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  • Journey music has been part of the animated TV shows South Park and Family Guy, and movies Caddyshack and BASEketball.
  • The group received a star on the Hollywood Walk of Fame in 2005 and was inducted into the San Francisco Music Hall of Fame in 2003.
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Complete List Of All Journey Current And Former Band Members

Journey Band Members

Feature Photo: Bruce Alan Bennett / Shutterstock.com

I first fell in love with the band Journey when I was in high school and brought the band’s album Infinity when it was first released. Their record company Columbia Records at the time heavily promoted the album. It was Steve Perry’s first recording with the band and Columbia knew they had a hit on their hands. I was blown away by Steve Perry’s voice and completely floored by how great the songs were on the record. Journey became one of the biggest bands of the seventies. They helped define the term “Stadium Rock.” The band has gone through multiple lineup changes over the years.  This article takes a look at the revolving door of musicians who have come and gone as members of the band Journey .

The Orginal Journey Band Members

Neal Schon, born on February 27, 1954, in Tinker Air Force Base, Oklahoma, is an American musician best known as the lead guitarist for Journey. He was one of the founding members of the band in 1973. Over the years, Schon played a significant role in shaping the band’s sound and has appeared on every Journey album to date, from their self-titled debut album “Journey” (1975) to their most recent releases. He primarily plays the electric guitar but has been known to play acoustic guitar and perform backing vocals as well. Schon co-wrote some of the band’s most iconic songs like “Don’t Stop Believin’,” “Wheel in the Sky,” and “Any Way You Want It.” Besides his work with Journey, Neal Schon has had a rich solo career and has also been a part of other bands like Santana and Bad English .

Ross Valory

Ross Valory, born on February 2, 1949, in San Francisco, California, is an American musician renowned for being Journey’s original bass guitarist. He joined the band at its inception in 1973 and contributed to albums like “Journey” (1975), “Infinity” (1978), “Escape” (1981), and many more. Valory played both the bass guitar and occasionally provided backing vocals. He was a part of Journey until he was fired from the band in 2020. Apart from Journey, Valory was involved in the Steve Miller Band and also had a side project called “The Vu.”

Gregg Rolie

Gregg Rolie was born on June 17, 1947, in Seattle, Washington, and is an American keyboardist and singer. He was a founding member of Journey and joined the band in 1973. Rolie played keyboards and was the lead vocalist on the band’s first three albums: “Journey” (1975), “Look into the Future” (1976), and “Next” (1977). He left Journey in 1980 to pursue other musical endeavors. Notably, he was a member of Santana before joining Journey and co-wrote and sang lead vocals on classics like “Black Magic Woman” and “Evil Ways.” After leaving Journey, he went on to form The Gregg Rolie Band and also joined Ringo Starr & His All-Starr Band .

George Tickner

George Tickner, born on September 8, 1946, in Syracuse, New York, is an American musician who played rhythm guitar for Journey. He was among the original members when the band was founded in 1973 but left shortly after the release of the band’s self-titled debut album in 1975. Tickner contributed to the writing of some early songs but didn’t stay with the band long enough to participate in the more commercial phases of Journey’s career. After leaving Journey, Tickner largely retired from professional music to pursue a career in medicine.

Charles “Prairie” Prince

Charles “Prairie” Prince, born on May 7, 1950, in Charlotte, North Carolina, was the original drummer for Journey when the band was formed in 1973. However, he never officially recorded with the band and left before their debut album was made. He is best known for his work with The Tubes , a San Francisco-based rock band. Though his time with Journey was short-lived, Prince has had a significant career in music, working with artists like Todd Rundgren, and Jefferson Starship, and as a session musician for various other artists.

The Next Phase and Beyond

Aynsley dunbar.

Aynsley Dunbar, born on January 10, 1946, in Liverpool, England, is a British drummer known for his work with various rock and blues bands. He joined Journey in 1974, shortly after the band’s formation, and played on the albums “Journey” (1975), “Look into the Future” (1976), and “Next” (1977). Dunbar’s jazz-influenced drumming style added a unique element to Journey’s early sound. He left the band in 1978 before the band shifted to a more mainstream, commercial sound. Apart from Journey, Dunbar has had an extensive career, playing with artists like Frank Zappa, David Bowie, and Whitesnake.

Robert Fleischman

Robert Fleischman, born on March 11, 1953, in Los Angeles, California, is an American musician who briefly served as Journey’s lead vocalist in 1977. Though he never appeared on any studio albums with Journey, he contributed to songwriting and is credited with co-writing songs like “Wheel in the Sky.” Fleischman was replaced by Steve Perry later in the same year he joined. Outside of Journey, Fleischman had a solo career and was a member of other rock bands like Vinnie Vincent Invasion.

Steve Perry

Steve Perry , born on January 22, 1949, in Hanford, California, is an American singer known for his soaring vocals. He joined Journey in 1977 and quickly became the band’s iconic lead vocalist. Steve Perry played a significant role in Journey’s commercial success and was a key contributor to albums like “Infinity” (1978), “Evolution” (1979), “Escape” (1981), among others. He co-wrote and sang some of Journey’s most famous songs, including “Don’t Stop Believin'” and “Open Arms.” Perry left the band in 1998 due to health issues and to pursue a solo career, which itself has been highly successful, featuring hits like “Oh Sherrie.”

Steve Smith

Steve Smith, born on August 21, 1954, in Whitman, Massachusetts, is an American drummer. He joined Journey in 1978, replacing Aynsley Dunbar, and played on some of their most successful albums like “Evolution,” “Escape,” and “Frontiers.” Known for his technical skill, Smith left the band in 1985 but returned for various stints, the latest being from 2015 to 2020. Outside of Journey, Smith has had a rich career in jazz and has been part of his own jazz fusion band, Vital Information.

Randy Jackson

Randy Jackson, born on June 23, 1956, in Baton Rouge, Louisiana, is an American musician, best known as a judge on the television show “American Idol.” He joined Journey as a bass player for a short stint during the mid-1980s and played on the 1986 album “Raised on Radio.” Jackson was part of the band’s transition towards a more pop-oriented sound during that period. Besides Journey, he has been an in-demand session musician and has produced and performed with a wide array of artists across genres.

Steve Augeri

Steve Augeri, born on January 30, 1959, in Brooklyn, New York, is an American rock singer best known for his work as the lead vocalist for Journey from 1998 to 2006. He was brought in as a replacement for Steve Perry and featured on albums like “Arrival” (2001) and “Generations” (2005). Augeri co-wrote songs for the band but had to leave in 2006 due to vocal issues. Outside of Journey, he has been involved in other bands like Tyketto and has also embarked on a solo career.

Jeff Scott Soto

Jeff Scott Soto, born on November 4, 1965, in Brooklyn, New York, is an American singer who served as Journey’s lead vocalist for a brief period from 2006 to 2007. He stepped in following Steve Augeri’s departure due to vocal issues but was in the band for less than a year. Though his time with Journey was short-lived, he did perform live with the band during that period. Outside of Journey, Soto has a prolific career, having been a part of bands like Yngwie Malmsteen’s Rising Force and Talisman, as well as a successful solo career.

Deen Castronovo

Deen Castronovo, born on August 17, 1964, in Westminster, California, is an American drummer and vocalist. He joined Journey in 1998, replacing Steve Smith, and contributed to albums like “Arrival” (2001), “Generations” (2005), and “Eclipse” (2011). Besides playing drums, Castronovo also performed backing and some lead vocals during his time with the band. He left Journey in 2015 amidst personal issues. Beyond Journey, he has played with bands like Bad English and Hardline and is known for his work in various other musical projects.

Narada Michael Walden

Narada Michael Walden, born on April 23, 1952, in Kalamazoo, Michigan, is an American musician, producer, and songwriter. He joined Journey as a drummer in 2020, replacing Steve Smith. Known for his diverse skill set across genres, Walden has a rich career outside of his time with Journey. He’s a multi-Grammy Award-winning producer and has worked with a myriad of artists including Whitney Houston, Mariah Carey, and Aretha Franklin.

Arnel Pineda

Arnel Pineda, born on September 5, 1967, in Sampaloc, Manila, Philippines, is a Filipino singer and songwriter. He became the lead vocalist for Journey in 2007, discovered by Neal Schon through YouTube videos of Pineda covering Journey songs. He made his studio debut with the band on the 2008 album “Revelation” and has remained with the band since. Outside of Journey, Pineda had been a part of several bands in the Philippines and has a solo career as well.

Jason Derlatka

Jason Derlatka, born on September 8, 1972, in Pittsburgh, Pennsylvania, is an American keyboardist, vocalist, and composer. He joined Journey in 2020 as a touring keyboardist and background vocalist. Though he hasn’t been featured on any studio albums with the band yet, he brings a wide range of musical experience to Journey. Derlatka has worked extensively in television, composing music for series like “House” and “Parenthood.”

Todd Jensen

Todd Jensen, born on October 19, 1965, in Portland, Oregon, is an American bassist. Though he never officially recorded with Journey, Jensen was involved as a touring member following Ross Valory’s departure in 2020. Known for his versatility, he has played with various artists and bands spanning multiple genres, including David Lee Roth, Ozzy Osbourne, and Alice Cooper.

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Brian Kachejian

Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

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Slash Songs

On the cusp of turning 50, the band that etched “Don’t Stop Believin’ ” and “Faithfully” into lighters-up lore is entering “a cleaned-up chapter of Journey.”

That’s according to Neal Schon, the band’s ace guitarist, lone original constant and de facto CEO.

Despite decades of fluctuating lineups and  snarly lawsuits among band members , Journey endures.

On July 8, the band released “Freedom,” its first new album in 11 years that also presents the return of Randy Jackson (as in "American Idol") on bass. The 15-song collection is steeped with vintage-sounding ballads (“Still Believe in Love,” “Live to Love Again”) and soaring melodic rockers (“United We Stand,” “You Got the Best of Me”).

Journey – including longtime keyboardist Jonathan Cain,  peppy singer Arnel Pineda , drummer Deen Castronovo and keyboardist Jason Derlatka, adding bassist Todd Jensen for live shows – will hit Resorts World Las Vegas  this month for shows backed by a symphony orchestra before rolling through more arena dates this summer and in early 2023, the band’s official 50th year.

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Regular road warriors who consistently pack arenas and stadiums – their 27 shows this year grossed $28 million, according to Billboard Boxscore – Journey relies on a solid catalog of mega-hits and a devoted fan base that appreciates the familiarity.

The Rock and Roll Hall of Famers also received a boost from Netflix’s ’80s-centered “Stranger Things” when the show used “Separate Ways (Worlds Apart)” in the trailer for the just-ended season, launching the song onto Billboard’s Rock Digital Songs chart. The affable Schon, 68, talked with USA TODAY about the band’s complicated legacy, his relationship with former frontman Steve Perry and plans for Journey's golden anniversary.

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Question: Are you amazed at how the Journey train keeps rolling after almost 50 years?

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

Q: Does the title “Freedom” refer to anything specifically?

Schon: Our ex-manager Herbie Herbert  wanted to call the (1986) “Raised on Radio” album “Freedom” because he always came up with these one-word titles. Steve (Perry) fought him on that and got his way, so we sat on it for many years. When we got through the lawsuit with the ex-bandmates, we made the new LLC Freedom (JN) and when we were tossing around album titles said, why not just call the whole thing “Freedom?" It's for the times right now.

Q: There’s been a bit of a revolving door in the rhythm section. Deen Castronovo is back for the live shows, but Narada Michael Walden played drums on the album, and Randy Jackson is back in the band, at least on record?

Schon: Deen is singing and playing his butt off. He’s such a musical sponge, this guy. He’s been like my little brother for close to three decades and is such a joy to work with. Randy, he’d been working with me diligently this whole time. He’s so many things beyond being an amazing musician and bass player.

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Q: Will Randy play at any of the upcoming live shows or is Todd Jensen handling those duties?

Schon: Randy is still recovering from some surgery and he stays very busy and Todd fits like a glove. Having said that, I think with our 50th anniversary next year, there’s room for everybody to jump in if they want to participate. We did go through an ugly divorce with (Steve Smith and Ross Valory) with the court proceedings (in 2021, Schon and Cain settled a $10 million trademark lawsuit with the band’s former drummer and bassist). But definitely, if Steve Perry wanted to come on and sing a song, yes. If (original Journey singer) Gregg Rolie wanted to come sing a couple of songs, yes. Randy Jackson (can) come sit in on some of the material – he played on a lot of hits on “Raised on Radio.”

Q: Do you talk much with Steve Perry?

Schon: We are in contact. It’s not about him coming out with us, but we’re speaking on different levels. That’s a start, even if it’s all business. And I’m not having to go through his attorney! We’ve been texting and emailing. He’s a real private guy and he wants to keep it that way. We’re in a good place.

Q: Do you think, after 15 years, that people have accepted Arnel?

Schon: I was diligent in that I wanted to show the massive size of our audience, so I hired photogs to come out every show and shoot the audience and show the size of the crowd to make everybody see, what am I missing? From putting up the different photos every night and the reviews from the fans online, I saw very little of “This is not Journey, man.” I think we just shut everybody up.

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Before His First Gig With Journey, Steve Augeri Got So Nervous He Threw Up

By Andy Greene

Andy Greene

Rolling Stone ‘s interview series King for a Day features long-form conversations between senior writer Andy Greene and singers who had the difficult job of fronting major rock bands after the departure of an iconic vocalist. Some of them stayed in their bands for years, while others lasted just a few months. In the end, however, they all found out that replacement singers can themselves be replaced. This edition features former Journey singer Steve Augeri.

band journey singer

Journey has been fronted by six vocalists over the past 50 years. Some of them lasted a matter of months, while others remained with the group for well over a decade. But none faced the insane pressure that Steve Augeri faced during his tenure from 1998 to 2006. This was right after the band parted ways with Steve “The Voice” Perry and many fans were unwilling to even consider the idea that anyone else could fill that slot.

“It was literally one day at a time, one show at a time, that I would slowly, slowly get the fans’ approval and their confidence,” Augeri says today. “Not everyone was willing, though. I might have been one of the people that said, ‘No. I don’t care if you can sing or not. I don’t care if you are a decent individual. I won’t stand for anyone other than Steve Perry singing for this band.’ I’m sure that to this day, there are some fans that feel that no matter who is singing for them. I respect that. I get it.”

Augeri left the group 16 years ago when health issues and their relentless tour schedule left him with a shattered voice, but he’s made a full recovery and now spends much of his year touring the world and playing the Journey classics with the Steve Augeri Band. He phoned up Rolling Stone from his home in Staten Island, New York, to look back on his life and his tenure in Journey.

How are you doing today? I’m doing great. I’m having a couple of double espressos, a protein energy shake, and I’m ready to talk. My cat is staring at me. We’re having a staring contest.

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Were you on tour recently? We just came back from something called the Retro Festival in Switzerland in Lucerne. Our year just started in the last two weeks. We were in Orlando, Florida, prior to that. It’s been a slow couple of years. You can only imagine. Things are starting to pick up.

It must feel good to be back onstage. Oh, goodness. Indeed. These last two years have really changed my perspective on a lot of things. Getting back to work and performing, I’ll never take it for granted again.

I want to go through some of your history here. You grew up in Brooklyn? Yeah. Bensonhurst Brooklyn in the heart of what I guess you can call Mobland/Mafialand/Gangland territory, to be honest with you. I used to go to school and I’d pass by Sammy “The Bull” Gravano’s bar where he used to carry on his illegal activities, so to speak.

Was music a big part of your life as a kid? Yeah. Starting at PS 48 in Brooklyn. They had some money in the budget to pass out recorders and then clarinets. And then a music teacher that saw a spark of talent in me and started working with me vocally. I remember my first recital in fifth grade singing [Giuseppe Verdi’s] “La donna è mobile.” I learned it phonetically and that was the start of it all.

Who were some of your favorite singers as a kid? I’m of the generation that was fortunate to see the Beatles on Ed Sullivan. I remember laying on the living room floor on my elbows with my hands on my chin, watching these four guys that would push me towards that direction and spark something in me. Thousands of other kids turned into musicians the next day and bothered their parents for a guitar or a bass or drums. I was one of thousands of kids that had their lives turned upside by that TV performance.

Did you see any concerts in your youth that left a big mark on you? My first concert was a Humble Pie concert at the Academy of Music on 14th Street. It then became the Palladium and then NYU dormitories. I was probably about 15. I remember that was my exposure and the first time I’d ever experienced anything like that. It was a gathering of people from all over the city that came together to celebrate this amazing music. The marijuana smoke was so thick. I had never experienced anything like that in public. There was electricity in the air. It really rocked my world and cemented my desire to follow in that path of attempting to become a rock & roll artist.

When did you first make a really serious attempt to become one? It was absolutely at age 15. I knew that was it. There was no profession or no job that could at all compare to anything like that. I already had the music bug. I was already living and breathing music. I’d wake up and I had to chatter my teeth in a drum groove. You can ask my dentist. To this day, I’m still repairing it. That used to be my drum kit. It just used to consume me 24/7.

How did your career develop from there? The beautiful thing about growing up in that era, and especially in New York City, was you’d take a walk and you’d hear a band on each and every street, whether it was coming from the basements or garages, there was one on every block. I had a little clique of three or four bands in the neighborhood. We’d all share gear, drums, amplifiers. What’s interesting is that I grew up in the same neighborhood as Saturday Night Fever. That particular nightclub, 2001 Odyssey, on Wednesday nights they would hold a rock & roll night. We were one of the bands that used to play there to an audience of about 10. It was mainly family and friends. We kind of came up in there.

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I was playing in a band called Kicks. It was managed by [Steve] Leber and [David] Krebs, who were doing AC/DC and Aerosmith. They had a wonderful gal named Marge Raymond who sang in a band called Flame. That was produced by Jimmy Iovine. Marge had a voice like no other and she could out-sing any male vocalist. She could dominate any room or any concert, any stage.

She left Flame and started Kicks and I became one of her rhythm guitarists. Then she was tapped when Aerosmith was on the ice to play with the rhythm section plus Bob Mayo of Peter Frampton frame. They called themselves Renegade. She was fronting that band. That led me to step into the lead vocalist slot for Kicks. From there, Leber and Krebs took notice.

And then Paul O’Neill, who is most noticeable for being one of the leaders of Trans-Siberian Orchestra, tapped me to play with Michael Schenker. It was for a vocalist and guitar player. I couldn’t cut it on the guitar at the time, but they took me out as a vocalist. We started in nightclubs, and then Ted Nugent took us out as his opening act.

My job was to stand behind a curtain near the side of the stage and sing background. On the Nugent tour, I used to feel this looming presence behind me. It was Ted slapping my back. He’d say, “Don’t worry. Someday you’ll be in front of that curtain.”

How did you wind up working at the Gap in the mid-Nineties? [ Laughs ] I spent a few years in this band called Tall Stories. Like many bands of our era, we were just about to release our record when the music moved on a dime with the release of Nirvana’s record [ Nevermind .] On our very same release date was Spin Doctors and, more importantly, Pearl Jam. Anything that wasn’t associated with Seattle or the new sound was dropped and not even considered. And so that was the demise of Tall Stories. We were a fine band with a fine album.

After that, I was out of work. I had a cousin that worked for the Gap. She was high up in management. She was kind enough to look and see if there was anything I could do. All through my career, I was a construction worker or laborer, much like my father and my grandfather. I come from a long line of people swinging a hammer.

I did this for a year. They made me a maintenance manager. It wasn’t so awful, but it was anything from changing toilet seats to lightbulbs to painting fitting rooms, in record time. If you ever tried on a pair of jeans at the Gap and went home with a little extra paint on your butt, that might have been my responsibility. I now apologize, in front of the world.

Were you a fan of Journey back in the Eighties? I was an absolute fan, first and foremost, of Steve Perry’s voice. I had heard them prior to that, but it wasn’t until I was working in a record store called Record Factory in Brooklyn when Escape was released. That kind of altered the direction of my life. That particular record was played a minimum of three times a day for quite a few months. I kid you not. We sold a minimum of a case a day. As you can imagine, it became ingrained in me.

When I first heard Steve, I said, “Oh, my God, this guy is doing something Sam Cooke might have done in front of an electric guitar and bass and a drum kit. He’s bringing this great R&B influence.” That marriage of the two is what grabbed my attention.

How did you hear that they were looking for a new singer? It’s the old expression of “It’s not what you know, but who you know.” I had done some work with a fabulous guitar player known as Joe Cefalu. He then moved out to Marin County in California and befriended Neal Schon. He then heard through the grapevine that they were splitting with Steve for one reason or another, and they were starting to audition vocalists.

He gives me a call and tells me what’s happening. I had basically retired after having more success than most people have had in this industry. I released a record with Tall Stories and another with Tyketto, another wonderful melodic rock band.

But a year had passed. I guess I was content working for the Gap. I was just about to reach a year and I was going to achieve 401(k) status. I was going to have a retirement plan put into place. I was like, “You’re doing OK. You walked away from music. You have a steady paycheck.” And he throws this dream back at me and goes, “Put together three songs, send it to me, and I’ll personally put it in Neal Schon’s hand.”

A week goes by. He doesn’t receive the cassette in the mail. He calls to ask what happened. I thanked him and said, “Joe, it’s a pipe dream, my friend. I appreciate you thinking of me, but this is never going to happen. I’m nowhere near the level of these guys, and especially Steve. It’s just ludicrous, insanity.” He said, “Don’t worry, I’m going to take care of it.”

He had a great deal more confidence in me than I ever had. He handed a tape to Neal and within a day or two, I was handed a phone call from Neal inviting me out to California to audition. As soon as I hung up, I received a phone call from Jonathan Cain. It may have been vice versa. I don’t remember.

What happened from there? I couldn’t believe it. I didn’t know if someone was pranking me. I didn’t know if someone was having a good laugh. I called Joe and he said, “Steve, you might want to sit down for this. What I’m about to tell you is going to alter your life forever.” He did indeed confirm that I was getting the audition. I begged Jonathan and Neal to give me a week to prepare, which is nowhere near what you need to get the voice back into shape, but I literally hadn’t sang for a year.

A week went by. I received my ticket to go across the country to San Francisco to Marin County. I walked in the room and there were these two heroes of mine. For five days, we recorded two songs a day. One was one of their classic hits, and one new song a day they had written and were preparing to release on their forthcoming record.

It was a little bit of a rocky start my first day because of either nerves or just the voice is a muscle and it hadn’t been worked in a year. We started out slow and rough. But by the fifth day, by the grace of God or some higher power, my voice came back to me. The stars aligned and I was singing up to par of close to where I was years ago.

I was feeling pretty good. They were working with A&R guru John Kalodner. They thanked me and the feeling was really great. I think I read in their eyes and their facial expressions it was going to happen without them saying it. But I turned around and said, “Gentlemen, I just want to say that I don’t know how this will end. I appreciate the opportunity. One thing for certain, by just you opening my eyes again, you’ve reestablished the fact that I want to go out and sing. I don’t want to go back to the Gap. I want to go get my music career back on track. And if this doesn’t happen, I’ll have a pretty great story to tell my grandkids.”

I had one foot out the door. I spun around and said, “You know, there was one more song I’d really love to have a stab at.” Not because I love ballads and soft rock and love songs, but because of the way that Save Perry sang “Open Arms,” it was a mega-song for me. Maybe it’s a little too mushy and a little too soft for the hard rock fans.

Here I was after nailing the audition, and I’m rolling the dice again. I could have absolutely blown it and thrown everything down the toilet. But I didn’t. I said, “Can I try that?” They agreed, and we did it. I happen to think that particular song may have clinched it for them. Again, it’s luck. It’s who you know. But after who you know, you have to be prepared. Things worked out. Stars were aligned.

How did you learn you had the gig? It didn’t happen overnight. I know Geoff Tate [from Queensrÿche] was also considered. He co-wrote one of the songs that was on one of our records. I can only imagine there had to be quite a few others. But I’m the one who got lucky. It was the big shot, one chance in a million, chance of a lifetime.

Once you got the job, did you start to feel a tremendous weight on your shoulders? It must have been like, “Oh, my God. I need to now step into the shoes of one of the greatest singers of all time, and somehow win over his fans.” Absolutely. I don’t there’s any more daunting task. I’ve seen bands replace members, and lead vocalists are usually the hardest ones. Even if there’s a beloved guitarist, for example, it’s tough. And of course, I’m coming from a fan’s perspective, first and foremost. I knew I had a great obstacle when it came to them, and there’s only one way to do it is to go out and do my best and try to be myself. It’s equally important to respect the music and respect what Steve did with it. I guess the reason they picked me in the first place is that we have vocal similarities. We aren’t identical, but there are similarities.

I had a great teacher early on in my career. One thing he taught me is that you can only go out there and be yourself and do your best. The moment you try and mimic somebody and try to alter your voice to do something other than what comes natural, you’re not going to be the best at your craft. I had to straddle those two things. I had to give the audience and the band what they were expecting, and also try to be true to myself.

There was a balancing act. And there was no overnight success. It happened over a course of eight years. It started out in 1,500 seat theaters.

Let’s go through some of that. Your first show was in June of 1998 in San Rafael, California. What was it like to walk onstage and deliver that first song? Before the show, there was a garbage receptacle. I stuck my head in there and relieved myself. I never had that happen to me before. My stomach was in jitters and butterflies. Once I was done, I cleaned up and hit the stage. I was fine for the first minute or so, but then I locked eyes with my son and my wife in the 20th row. That’s when the waterworks happened. That’s where the reality crept in. That’s where the emotions started. “This is really true. This is happening.”

I could only imagine it went well. We had the label there and John Kalodner. As you said, how do we even consider replacing someone as monumental and iconic as Steve Perry? But we did it in increments. We went out for a test drive. That was a test drive. We went to Japan for a few shows. That was a test drive.

You had to prove to the industry that the audience was still there even without Steve Perry. There were probably doubts that this was even possible. Absolutely. I understand the band’s perspective that they wanted to continue on. And of course, Steve’s perspective was, “How could you even possibly consider it?” I always looked at both sides of this. I went, “If I’m going to do this with them, I have to be respectful, more than anybody, to the fans.”

Some folks are there that literally just need the music. They have to go and pay for a ticket and hear it live. There is where Journey are fortunate, or anyone that had someone step in and do that. Sometimes they just need the music. It’s that simple.

I spoke to some people back then who saw Journey and couldn’t name one member of the band, past or present. They just wanted to hear the songs and didn’t follow the saga in any real way. Pretty much. As you can imagine, through the years I’ve come in touch with a number of these musicians. We all share the same battle stories. I have a gentlemen who used to sing for Kansas, John Elefante. He’s amazing. He’s absolutely stellar. I’ve worked with Bobby Kimball’s replacement [in Toto] who passed away a number of year ago, Fergie Frederiksen. These are just a handful of guys. I could rattle off at least 20 names.

Getting back to your early days in Journey, the Armageddon soundtrack was pretty key. It showed people that Journey would be more than just an oldies revue. Sure. The Armageddon soundtrack was a huge shot in the arm and a huge opportunity. It wouldn’t have happened without John Kalodner. The soundtrack was compete. He asked for a favor from [ Armageddon music composer] Trevor Rabin and the label. He said, “If Journey is going to have any shot at a comeback, we’re going to have to get a song on a huge blockbuster soundtrack.” So we have John and CBS Records and Trevor Rabin to thank. And you can thank “I Don’t Want to Miss a Thing,” Aerosmith’s gazillion-selling hit single. And Diane Warren. Thank you, Diane Warren [ laughs ].

It was the peak of the CD era. The labels had basically killed the single. Everyone who wanted that one song had to buy the whole album. That’s correct. And they did that 7 million times.

Tell me about making Arrival. It was a love/hate relationship. First of all, there were so many things to love about it. They chose New York City to do the record because [producer] Kevin Shirley had a second home here. He had a beautiful penthouse on Central Park West. He had a beach home in West Hampton. The guys came and made their homes here for however long the record took, a month or so. The damndest thing is I have a very fragile voice. I’ve never been the kind of guy that can go out and sing very night.

The first week of pre-production, the label was coming. They wanted to hear us rehearse. Me being a novice and green, I gave it all I had at the first rehearsal. And I had poor monitoring. I didn’t have the expertise and the knowledge that one eventually builds up. I blew my voice out. For the first week or two, we were repairing the voice.

You can only imagine. You want to go in there and give it your 200 percent. Now I’m a bird with an injured wing, a lame duck. But through the patience of the band and Kevin Shirley’s master production, we took our time and I’m glad. I’m extremely proud of the record we did and the performances that are on that record. Somehow, by the grace of God, the record was embraced by the fans.

They gave you credits on many of the songs. You have to imagine, that was a huge honor. I had picked up a couple of things along the way with Tall Stories. And in Tyketto, I co-wrote every song on the record, along with some great records. But this was in the minor leagues. We’re talking about the Staten Island Yankees as opposed to playing up in the Bronx at Yankee Stadium.

Now here I am in the big leagues. I’m in a room with Neal and Jon, who penned “Faithfully” and “Don’t Stop Believin'” and “Who’s Crying Now” and “When You Love a Woman,” with and without Steve Perry. These guys are masters. I’m a novice. I’m green.

Neal and Jonathan would develop a section of a song and be really happy. All of a sudden, these guys are off to the races. They’re world class. But my mind is a little slow, so I literally would have to leave the room with my pen and pad and a guitar maybe. I’d have to take five minutes to listen on my own since these guys are working on all cylinders. They’re revving their engines at 120 mph.

I’d go back and throw my little idea out. Sometimes it worked. Sometimes it didn’t. They’d have to say, “Go back to the drawing board.” That’s where I literally did leave the room. That’s where I first learned to write with them. These guys were monsters, and I was not. [ Laughs ] That was the learning process. I was in the room with the adults, and I was the kid. It was a great experience.

Their touring schedule was often pretty rough. They’d go out for months at a time. After a couple of years, did it start to grow tiresome? Of course. At first, it’s all brand new and shiny. You run out the door. I’d have my suitcase packed a week before we left. Towards the end of my career with Journey, it would be the morning of the flight and I hadn’t packed a thing. It’s just human nature. It was hard to leave.

Everyone thinks of the upsides and the glamor and the sparkle and everything that shines. But the loneliness and the wear and tear, which is a huge part of it for a vocalist. The thing that would kill me was when we’d do three nights in a row. We would do five shows a week. And you needed to do that to keep a big touring machine afloat.

If you go down, nobody makes a nickel. You go into the red. You’re paying for hotel rooms and salaries and nobody is generating income. There’s a bit of a psychological thing going on. You have to keep yourself healthy.

One of the many things I used to do was I’d almost never go out. If perhaps they’d drink on their day off at a bar, I’d bring my bicycle and go for a ride. I literally saw the world on two wheels. The cornfields of Iowa and the Mississippi River. You name it, I saw it, but staying away from talking. I zipped it up and saved my voice for the next show. That was one way I kept it together.

Those are not easy songs to sing night after night. It was even hard for Steve Perry near the end of his time. You have to hit those notes over and over. Yeah. Whether you did or not, you were expected to. You did everything in your power to make it happen. It was diet or exercise. We used to say you literally lived the life of a monk. And it worked for a while, but what happens is it starts to compound over the years. And your voice was going to change anyway. No athlete is going to perform at 30 like they did when they were 20. That’s just the reality of your physicality. It’s just inevitable. It’s going to happen. There’s going to come a time where you can’t do five shows in a row. It’s not possible.

Tell me about making Generations . That was a different sort of record since they all sang on it. Correct. I don’t think that necessarily would have been the case had I not been on the ropes at the time. We had come off the road and I was experiencing vocal problems, or not recuperating as quickly as I used to. And so it was a great idea. “Let’s just share the vocal responsibilities amongst the band. This way, when we go out for the following tour, Steve doesn’t have to sing as much. We can take some of the workload off him.” Frankly, that was a pretty good idea. And that’s exactly what we did.

It’s sort of a lost record. It’s not on Spotify, or anything. Do you know why that is? Well, I can only imagine. I’m speculating. But for one reason or another, they just perhaps felt it wasn’t necessary or worthwhile to put it out there. I know for a fact there are a couple of songs on there that are extremely worthy. I’m sad that they haven’t done that. But that is still the case. Maybe that might change in the future going forward. Maybe not.

In 2005, you guys get the star on the Hollywood Walk of Fame, and Steve Perry shows up out of nowhere. Tell me about that day and what it was like to meet him. This was kind of nerve-racking for me, obviously, for several reasons. We had never met prior to this. I don’t think there was bad blood, but nobody was necessarily sending each other Christmas cards.

So here we are being honored. What a great honor to get a star on the Walk of Fame. It was exciting for me. I brought my whole family over. And Steve had an obligation to his fans. If you ask for my opinion, and I shouldn’t speak for anyone else, I think he showed up out of respect to the fans. It was a day to take a bow and accept a great honor. That’s why we were all there. Steve deserved it at least as much as anyone that was receiving it.

We did have a cordial, “Hello. How do you do? Great to meet you. Honored to meet you.” That was the extent of it. I didn’t expect much. I’ve always had a great respect for him. I continue to. But that’s that way it was. That’s the way it went down.

How stressful was it to go on tour at this point when you’re having vocal problems and there were that many shows booked? I don’t think I ever experienced anxiety in my life like that before. I was pretty low key. Everything rolled off my back. Nothing really stuck to me. I was pretty chill until the later years of my career with Journey. I saw the writing on the wall. I knew there was no way I could keep it up and sustain. Frankly, the day that they released me, my voice was completely “in the weeds,” as Jonathan Cain used to say. I guess that’s a golf expression. I was terrible. I don’t think I’ve ever physically and emotionally felt that much pain in my life.

It was also equally liberating. There was a relief and a weight off my shoulders that I soon embraced and accepted that I had a pretty decent run. I achieved something that, from a musician’s point of view, you only dream of. These are dreams that are so far out of reach, but somehow they came into my clutches. I had it for a while. Like everything good in life, nothing lasts forever.

Near the end of your time in Journey, some fan reports suggested you were using pre-recorded vocals onstage. Is that accurate? Well, I can’t … I’ll put it to you this way, and I’ll keep it short and sweet. Each and every day I went out and performed with Journey, I sang every show to the best of my ability and with every ounce of my heart and soul. I can’t answer that question. I can’t legally answer it. But I will tell you that much. Perhaps someday, someone else will answer it another way. That’s the best I can do.

How did they tell you it was over? At first, they sent me to some of the best doctors in Nashville and a coupe of voice therapists. It was coming together. But they had this tremendous summer tour planned with Def Leppard. Neal was working at the time with this great artist named Jeff Scott Soto. They tapped Jeff to step in and help them out for the remainder of the year. He did.

I don’t recall the precise day they gave me the pink slip, but I wasn’t surprised. I was certainly hurt. I was certainly saddened, but I wasn’t surprised because the last thing that Neal said to me before we parted was, “Steve, it’s not personal. It’s business.”

I understand. What puts it in perspective and what got me through what was one of the most difficult times in my life is that if they were able to part with the likes of Steve Perry and the talent of Steve Perry, this is a no-brainer for them. And so I was able to accept it easier. Not 100 percent. That’s because I’ve never experienced pain like that, emotional pain. But it was easier to accept.

Have you spoken to Jonathan or Neal since then? I have. Very infrequently. I had the desire to see them when they came locally once or twice. It was fun to see them. They embraced me. It was very kind of them to have me come. I’ve met Arnel [Pineda] on one or two occasions. Aside from having a great voice and a great instrument, I love his story and how he came to be. I’m actually thrilled for him since I was him. I saw what it was like. It’s a rags-to-riches story. I’m happy for him.

Your job was harder. You were coming right after Steve Perry. You had to deal with all sorts of fan expectations and pressures that he did not. You know what? I think that’s very true. I did some of the lifting. I can’t take all the credit. After me, they really exploded. I think you could call me the buffer or the primer. I was the one that really took the hits, maybe. Again, it’s all relative. I didn’t expect any less. I took the criticism. I didn’t accept any less. It’s natural and it’s just the way it was.

If it happened again, would I do it any differently? Yeah. I’d probably diminish the shows from five to four a week. That might have saved me a little bit. But who knows?

You’ve been touring a lot recently and you’re still doing the Journey classics. I’ve been fortunate in that. I formed the Steve Augeri Band 10 years ago. I’ve been fortunate enough to find a group of really great guys that love to play the music. Of course, the scale is minuscule compared to, again, playing Yankee Stadium. We’re playing what sometimes is even the sandlot. But the joy is still there. The same joy is still there. I’m not exaggerating. As long as the joy is there, I’ll continue doing it.

You’ve also done shows with John Payne and Lou Gramm and these other former singers of big bands. Yes. In fact, we just came back from Sweden yesterday. I’m still adjusting to the timezone. I’m going out tomorrow to be with John Payne and Asia. We’re playing with Lou in another few weeks. I still carry on with my band and other situations. I’ve got another situation in Nashville with the group. Sixwire. They are some of the great Nashville players. They keep me humble. They are great musicians.

Tell me about your new song, “If You Want.” Over the last 10 years, just to make people aware I haven’t completely disappeared, I’ve made sure that I’ve released at least one song a year. It’s not on a label. I just put it out on social media and YouTube and Amazon and all these platforms.

And then 2020 rolls around. We get locked down in March. I took a good look at myself, especially living in New York, and I said, “We may not get out of this alive. And I have a laundry list of material, songs I want the world to hear. Whether it gets to their ears or not, that’s another story, but I need to release them.”

I went from performing mode and I pivoted to creative mode. I don’t recall ever being this gung-ho and this enthusiastic about writing music. I wrote a bunch of stuff immediately and I started collaborating with two band members of mine, my guitarist, Adam Holland, and my keyboard player, Craig Pullman. We were sending files back and forth and we wrote about a third of the record together in that manner.

And then I had about a third of the record that I had written prior to the pandemic. I felt I had to get them out since it would be fruit dying on the vine. Then I wrote some songs in the past couple of years. I put together an album that I’m super psyched about. More than anything ever, I feel like I’ve found my voice. I don’t think I’ll get the comparisons to Steve Perry. As wonderful a compliment as that is, I feel like I finally found something that sounds like me both writing-wise and performance-wise. This summer, we’re releasing Seven Ways to Sunday . That’s the name of the record.

Your voice sounds great. I hear no signs of the damage from years past. It gets back to what I was telling you. My vocal coach told me, “When you do your thing and you’re not chasing anyone else’s expectations and you’re not imitating, you’re less likely to put yourself in a position that’s unnatural.” That’s basically what it boils down to. I would say that I’d be able to do this music without having to second guess myself and without the anxiety. [ Laughs. ]

How does it feel emotionally when you’re onstage these days and you’re singing “Faithfully” and “Don’t Stop Believin'”? Obviously with “Don’t Stop Believin'” there’s a different feeling mainly because it’s so iconic. You can almost sing just half the lyrics and the audience will sing the rest. You can literally kick back and skate a little bit. I don’t, but I could. Everyone knows it inside and out. Boy, wouldn’t you want to write a song like that? But kudos to Steve Perry and Journey.

To get back to your question, I do find joy in singing those songs. However, I will be honest with you. I do some songs in my set that are non-Journey songs, like a Rod Stewart song or a Tina Turner song. I do feel a certain freedom doing these songs and a certain comfort because I’ve hand-picked them. I have a desire to do something like this. I would do anything by Rod, but we happen to do “Forever Young.” That’s kind of apropos because as we age, going out in front of an audience literally makes you feel 20 or even 40 years younger.

As more time goes by, I imagine you’re very grateful that you had the Journey experience. It changed your life in so many ways. They brought you the audience you have now. I have no regrets. I can never say a negative word. Maybe if I really dug down deep, I’m sure you could find darkness and negativity anywhere. But at face value and even just in the big picture, it’s been nothing but a huge positive in my life and continues to be. I can only be thankful and I’m continuing on doing exactly what I did then. I’m still doing it now. Again, even if it’s going from Yankee Stadium to the sandlot, as long as it continues to be a joy, which it is, I’m going to continue doing it.

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Journey – The Brilliant Band Members, Stories & Struggles

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The best part was watching Journey grow into this monster. The band was huge, playing these enormous gigs – Neal Schon

Key Takeaways From the History of Journey Band

Table of Contents

  • Journey’s success and fame can be attributed to their journey of growth, evolving from a jazz-heavy progressive rock fusion band to a mainstream rock sensation.
  • Guitarist Neal Schon, a founding member, played a crucial role in the band’s inception and continued to be a driving force throughout their career.
  • The addition of Steve Perry as lead vocalist brought commercial success to Journey, with albums like “Infinity” and “Escape” achieving significant chart positions and producing hit singles like “Wheel in the Sky” and “Don’t Stop Believin’.”
  • The band faced challenges and conflicts, resulting in significant lineup changes, a temporary hiatus and legal disputes. But, they managed to reconcile and continue their musical journey with new releases and a dedicated fan base.
  • The band’s legacy is a reminder that success in the music industry often comes with personal and financial sacrifices, but their passion for music has kept them going, even in the face of challenges.

In The Road Not Taken , Robert Frost popularised the idea that the choices that an individual makes and the path that they choose to follow determines who they will eventually become and whether they’ll fall by the wayside of fate, or end up changing the world.

Neal Schon, guitarist extraordinaire and sole remaining original member of Journey, was according to Bobby Whitlock who first met him in 1970, and played with him briefly when he jammed with Derek And The Dominoes, always going to succeed thanks to his incredible talent and drive. 

Even though Schon didn’t end up joining Eric Clapton and Whitlock in their short-lived supergroup,  he did impress another guitar legend enough for him to take the teenage virtuoso under his wing and give him his first high-profile, paying job as a guitarist. 

Journey band

That musician was Carlos Satana who believed in the then seventeen-year-old Schon enough to ask him to become a full-time member of his band. 

What does Santana have to do with Journey, one of the world’s biggest-selling and most famous hard rock bands?

Well, without the former the latter wouldn’t exist, and if Carlos hadn’t brought Schon into the fold, the band that would go on to sell eighty million records over the course of their, so far forty-eight-year career might not have followed the path that they found themselves on.

From Caravanserai To Journey

Schon stayed with Santana for two years and was part of the line-up that recorded Santana III and Caravanserai and after leaving the band at just 19 years old, found himself teaming up with a fellow Santana veteran, Greg Rolle under the guidance of Herbie Herbert.

A self-proclaimed flower child and Grateful Dead fanatic, Herbert was also Santana’s manager, and by default became Rolle and Schon’s manager when they left the band and the foundation on which he was planning to build his next project, a group of talented musicians who could serve as the backing band for any established artist in San Francisco who needed or required their services. 

The Golden State Rhythm Section, which also included former Frumious Bandersnatch members Ross Valory and George Tickner and Tubes drummer Charles “Prairie” Prince was, on paper at least, a great idea.

The musicians all had a flawless pedigree, and when they played together they gelled instantly, the problem with the band was the concept. After they played their first two shows, The Golden State Rhythm Section realized that the idea of being a backing band just didn’t work for them and that they wanted to stretch their creative wings and fly. 

And the name? That wasn’t working for them either but by the end of their first show in Hawaii, and after an abortive radio show contest to find them a new name was swiftly brushed under the carpet and forgotten, the solution to their moniker problem appeared out of the ether when one of their roadies suggested that they call themselves Journey . 

Journeying To Next 

Someone up there must have liked what they heard, as the newly named Journey’s debut mainland show was at a sold-out Winterland Ballroom in San Francisco in front of ten thousand people on New Year’s Eve, 1973.

From there, they jumped straight on a plane and flew back to Hawaii to play another gig, but before they returned to the Bay Area to play a showcase gig for Columbia Records, Prairie Prince left and returned to the Tubes and was replaced by Aynsley Dunbar.

That’s right, THE Aynsley Dunbar from The Mothers Of Invention and David Bowie’s band. As we’ve already said, somebody up there must have really, really liked what Journey was doing. 

Whoever it was up there that had taken a shine to the embryonic Journey wasn’t their only fan, Columbia Records liked what they heard too, and in November 1974, the American rock band formed together in the studio to record their debut album (also called Journey ) which was released in June 1975.

It entered the Billboard Chart at one hundred and thirty-eight, which was more than a little impressive, and while the direction of the debut bore little resemblance to the band that they would eventually become less than half a decade later, it did ensure that Journey became a fixture on the map that the rock hungry audiences of America regularly looked to for direction. 

The band then took their jazz-heavy progressive rock fusion out on the road to play to anyone and everyone they could to promote their debut to, and after the tour, George Tickner left as the touring schedule that the band had undertaken was just a little too much for him. 

Their hard work began to pay off though, as Journey’s sophomore album, Look Into The Future which was released in January 1976, entered the Billboard Top One Hundred shortly after it hit the record shop racks. Granted, it entered the chart at Number One Hundred, but it did make the cut. 

While the band was happy with their sure but steady progress, their label wasn’t quite as thrilled. 

When Journey recorded their third album, Next in 1977 they tempered their sound and made it a little more commercial in order to try and appeal to a broader audience, but even with a slightly more melodic approach, when it was released, Next entered the chart at Number Eighty-Five, and like it’s predecessors, sales began to fall after the initial week of release.

It seemed as though Journey had reached the height of their fame , and despite the band being “happy” with where they were, Columbia Records were seriously beginning to reconsider their investment. Something had to change, and it had to change fast if Journey wanted to stay with their, still relatively new, label. 

The Evolution Of Journey

Even Schon, who wrote most of the band’s early material, later admitted that he thought that their first three records were self-indulgent and should have been more focused than they were.

In an effort to appease their label and increase their record sales, Journey asked singer Robert Fleischman to join the band, reigned in some of their wilder musical impulses, and softened their sound even further.  Adopting a similar approach to bands like the, at the time, wildly popular Boston they hit the road with Judas Priest, Black Sabbath, and ELP. 

But everyone in the Journey camp wasn’t enamoured with Fleischman, and following a series of disagreements with Herbie Herbert, the singer was replaced by Steve Perry who Journey’s manager had met after hearing a demo by Alien Project, Perry’s old band. 

Perry joined the band just in time to record their fourth album, Infinity with them, which was produced by Roy Thomas Baker, who had flown in after working with Queen .

It was a vastly different album for the band, but the addition of Perry coupled with their new direction and having Baker at the helm paid dividends, and Infinity entered the Billboard Chart at Number Twenty-One in January 1978 and gave the band their first hit single, Wheel In The Sky, which entered the Billboard Hot One Hundred and eventually climbed to Number Fifty-Six.

It was enough to convince the band that their new musical direction was the right one to pursue and more than enough to persuade Columbia Records to keep them around. 

Change isn’t always easy, and Aynsley Dunbar wasn’t as keen on Journey’s new direction as the rest of his bandmates were, and following an awkward and difficult tour to promote Infinity , he was sacked by Herbert and replaced by former Montrose drummer Stevie Smith.

With Dunbar firmly in their rearview mirror, Journey with Smith in tow recorded their fifth album, Evolution in 1978 and released it in March 1979. It did slightly better than Infinity reaching Number Twenty in the Billboard Chart, but it did something that its forerunner didn’t. It gave Journey their first Top Twenty hit. 

Lovin’, Touchin’, Squeezin’ climbed to Number Sixteen and made sure that every rock fan with a radio in America knew who Journey was. They weren’t just a name on the map anymore, they were a rock and roll destination that an entirely new generation of fans decided to pack their bags and head directly toward for an extended vacation. 

Parting Is Such Sweet Sorrow 

The Evolution tour was a revelation for the band and was so successful that it saw them having to increase the size of the stage show and the venues that they were used to playing. It also added roughly five million dollars to the band’s bank balance, which just confirmed their status, both to the band and their label, as bonafide rock stars. 

By the time they recorded their sixth album, Departure, Journey was firing on all cylinders, and armed with 19 songs they embarked on a mission to solidify and magnify their success.

They succeeded and the resultant twelve-song record (the seven “weakest” numbers were dropped during the final mix) gave the band their first top ten album and their first top ten hit, as the lead single Anyway You Want It reached number eight in the Billboard Hot One Hundred. 

It was also the last Journey record that founding member Greg Rolle would play on, as he left the band shortly after the end of the Departure tour, to spend more time with his family and work on his own solo career.

But Rolle didn’t leave Journey high and dry, as he pointed them in the direction of the man he thought should replace him, and the individual who would help to shape the future sound of the band, Jonathan Cain. 

Escaping To The Frontier 

With Cain onboard, Journey’s meteoric rise to the upper echelons of rock and roll superstardom continued unabated, and their next record Escape was their most successful to date and remains a firm fan favorite.

Critically acclaimed and voted the best AOR (Album Oriented Rock) album of all time by the readers of British Heavy Metal Bible Kerrang! In 1988, Escape was Journey’s first album to soar straight to the top of the album charts when it was released in July 1981. 

It also gave Journey four top ten singles, Still They Ride On, Open Arms, Who’s Crying Now, and arguably the song that the band will be remembered for long after they and every single one of their first, second and third generation of fans are long gone, Don’t Stop Believin’.

Described as being the perfect rock anthem by music critic Mike DeGagne, Don’t Stop, despite what the bands fans and critics alike think, wasn’t Journey’s biggest hit. 

It wasn’t even the biggest hit on Escape, but thanks to the power of rock radio, and then-newcomer on the block, MTV it’s still the song that everyone remembers.

If you ask anyone to sing a Journey song , they’ll start smiling and either humming or singing Don’t Stop, as the tune has become a cultural phenomenon that has ensured that the band will never be forgotten. 

Escape led to Journey having to found their own fan club, it enabled them to support the Rolling Stones and pushed them to record a song for the soundtrack to Disney’s 1982 Science Fiction spectacular, Tron.

Journey had managed to do what few hard rock bands before them had done. They’d successfully crossed over into the mainstream and had become one of the most famous bands in the world. 

And the Journey ride didn’t stop there. It didn’t even pause for breath, and in the middle of their 1982 tour to support Escape , they returned to the studio to record their eighth album Frontiers, which like Escape before it, went straight to the top of the Billboard album chart when it was released in February 1983, spawned another four ( Separate Ways, Faithfully, Send Her My Love and After The Fall ) top thirty singles and went on to sell six million copies.

And the tour that the band undertook to support it saw them playing the sort of venues that only the NFL could fill and included a sold-out show in Philadelphia that saw eighty thousand rabid Journey fans singing along with the band. 

Raised On Radio 

Fearing that if they continued at the same sort of pace they’d burn out, Perry, Schon, and the other members of the band decided to take some time off in 1984.

During the lull in Journey activities, both Steve Perry and Neal Schon recorded and released solo albums, with Schon deciding to frame his as a band effort rather than using his own name to release the resultant record. 

The release of the solo, and sideband in Schon’s case, records did lead to some speculation in the music press that Journey might be over, to which Schon responded by telling the interviewer that the band was too important to all of the members to let go and the reason that they’d taken time out was ton esquire that it could, and would continue. 

When the band confirmed, following a conversation between Schon, Perry, and Cain, that they’d be returning to the studio to record a new album in 1986, their fans and the press heaved a collective sigh of relief.

Raised On Radio proved to be a difficult album to make, as singer Perry assumed production duties and a few months into making the record, with the assistance of Herbie Herbert he fired long time bass player Ross Valory and drummer Steve Smith, citing the age-old musical differences as the reason for their termination.

With a record to complete, Perry and Herbert drafted Randy Jackson and Larrie Londin to help Journey finish their ninth album. 

When the record was finally released in April 1986, despite yielding five singles and the top ten hit Be Good To Yourself and climbing to Number Four on the Billboard Chart, Raised On Radio was seen as a reluctant, rather than a triumphant success it failed to attain the same commercial high as Journey’s previous release. 

So Long Steve Perry

Undaunted by the commercial performance of Raised On Radio (which still sold millions of copies, but didn’t sell the additional millions that Columbia hoped a Journey record would), Journey hit the road for a sold-out stadium tour in 1986 that finally culminated in Alaska at the beginning of 1987. 

Things weren’t all great in the Journey camp though as Herbie Herbert and Steve Perry had continually clashed throughout the tour and by the time it was over, neither man wanted to spend any time in the other company.  A line needed to be drawn in the sand, and Perry was the one who picked up a stick and drew it. 

Perry decided that enough was enough, and told Schon and Cain that he wanted out, but the keyboard player being the most pragmatic member of the band told that rather than quitting, he should just take some time out. The singer agreed, and Journey decided that it was time that the band and its members needed to go on a break. 

Eight Years And A Few Bands Later

What was initially supposed to be a short time out, eventually turned into an extended eight-year hiatus, during which Schon, Cain, and Perry only played together once in 1991 at a Bill Graham memorial show.

As 1995 crawled into view, Steve Perry called Schon and Cain and told them that he’d be willing to return to Journey as long as Herbie Herbert wasn’t involved with the band anymore. Cain and Schon promptly fired their friend and manager and hired Eagles manager Irving Azoff to replace him. 

With a new manager in place, Journey, including the previously fired Stevie Smith and Ross Valory reunited and began to write and record their tenth album, Trial By Fire.

Even though the record delivered the top twenty hit single When You Love A Woman , when it was released in October 1996, it woefully underperformed and is still one of Journey’s worst-selling albums.

The band, especially Schon, rightly blamed the record’s lack of success on the fact that it was heavy on ballads and didn’t include the sort of uptempo, high-energy, hard rock anthems that the band’s fans expected them to write, record release, and play. 

And playing had also become a contentious issue for the band. Perry, following a hiking accident in Hawaii, had discovered that he needed a hip replacement and had kept putting the surgery off.

The singer, as it would later be discovered was also plagued by a number of other physical ailments, and rather than giving the band’s fans anything less than one hundred percent, he kept delaying the band’s muted tour plans.

Journey couldn’t tour to promote their record, which meant that the record, as far as the band being able to get out and play the songs from it for their fans was concerned, was dead in the water. 

Back On The Road

It had been more than twelve months since the band had released Trial By Fire, and as Perry was still reluctant to commit to any firm touring schedule, following a difficult conversation with Cain, Steve Perry stepped away from Journey for good and went into semi-retirement. 

Worried that the band wouldn’t be the same without Perry, Smith also announced that he was leaving Journey. In the aftermath of two of its longest-serving members leaving the band, Journey, or rather the other members of the band, set about finding replacements for their departed comrades. Deen Castronovo, a musical acquaintance of Schon and Cain became Journey’s new drummer while former Tyketto and Tall Stories singer Steve Augeri were brought in to replace Perry. 

The band finally started touring again in 1998 after contributing a new track to the soundtrack for the film Armageddon and as the millennium dawned they once again entered the studio to record their eleventh album, Arrival which was finally released in April 2001.

Whether it was due to the climatic shift in the musical landscape, or the fact that the band’s fans were just older and had moved on from their wild teenage rock and roll years, their latest opus failed to make the mark that the band hoped it would. It entered the Billboard Chart at Number 56, and its lead single fared even worse.

The future wasn’t as bright as it had once seemed and Journey, following a brief tour in 2001, decided to take 2002 off to rethink their future. 

From Then Until Now

Aguri’s tenure in the band was brief due to his deteriorating health, and he was eventually replaced by Jeff Soto from Talisman while the band was on tour with Def Leppard in 2006. Soto spent less than a year in Journey before he in turn was replaced by Arnel Pineda in 2007, who is still a member of Journey and is their second longest-serving vocalist. 

In recognition of their incredible contributions to the music industry, Journey was inducted into the Rock and Roll Hall of Fame in 2017.

Just when it looked like things were finally getting back on track with the band, it was following an ongoing dispute Journey fractured into camps with the official band being led by Schon and Cain and an unofficial version being led by Valory and Smith.

That’s when things started to get ugly with both parties threatening to sue each other and hurling lawsuits around like they were going out of fashion. It was an incredibly dark period in the band’s history that was finally resolved in April 2021, and both parties when the legalities were concluded were able to walk away feeling as though they had won a partial victory.

Success, as far as Journey is concerned, is an incredibly costly experience, both personally and financially.

Following the conclusion of their ongoing legal battle, Journey released a single The Way We Used To Be in June 2021 and Neal Schon has promised that the release will shortly be followed by a new album.  And when it does appear, we’ll be the first in line to buy it, as just like their millions of other fans, we’ll never stop believin’ in Journey. 

Journey Band Members Timeline

As you now know, Journey has had several notable members throughout its long and successful musical journey. From the early days to the present, the band has seen talented musicians come and go. Let’s take a look at the timeline of the prominent members, categorized by their respective roles in the band.

Founding Members of Journey:

1. neal schon (guitarist).

  • Joined Journey in 1973 as one of the founding members.
  • Continues to be an integral part of the band’s lineup till today.
  • Known for his exceptional guitar skills and iconic solos.

2. Gregg Rolie (Keyboardist, Vocalist, and Drummer)

  • Also a founding member of the band in 1973.
  • Contributed as the main vocalist, drummer, and keyboard player.
  • Played a significant role in shaping the band’s early sound.

3. Ross Valory (Bassist)

  • Joined the band in 1973 as a founding member.
  • Known for his melodic bass lines and occasional backing vocals.
  • Has had intermittent periods with the band, but remains an important member.

4. George Tickner (Guitarist)

  • One of the founding members who played guitar.
  • Actively contributed to the band’s early years until his departure in 1975.

Drummers from Journey:

1. prairie prince (1974-1978).

  • Joined the band, replacing Prairie Prince.
  • A renowned drummer from The Mothers Of Invention and David Bowie’s band.
  • Contributed to Journey’s early success and played on their debut album.

2. Aynsley Dunbar (1973-1974)

  • Joined Journey in 1974 after the departure of their original drummer.
  • Was an established musician and brought his solid drumming skills to the band.
  • Left the band in 1978, but played an essential role during their formative years.

3. Steve Smith (1978-1985, 1995-1998)

  • Known for exceptional drumming skills during Journey’s most successful era.
  • Featured on albums like “Escape” and “Frontiers” among others.

4. Larrie Londin (1985-1986)

  • Temporarily replaced Steve Smith during his departure from the band.
  • A short but notable tenure in Journey.

5. Mike Baird (1986-1987)

  • Filled in for Londin during Journey’s “Raised on Radio” Tour.

6. Deen Castronovo (1998-present)

  • Officially joined the band in 1998, known for versatile drumming and vocals.
  • Served as the band’s drummer until 2020 when he was briefly replaced by Narada Walden.
  • Rejoined Journey in 2021, becoming the current member.

7. Narada Walden (2020–2022)

  • Temporarily filled in for Deen Castronovo as the band’s drummer.
  • Made notable contributions during his tenure with Journey.

Lead Singers of Journey:

1. steve perry (1977-1998).

  • Joined Journey in 1977 and became the band’s lead vocalist.
  • Known for his powerful and distinctive voice, he played a pivotal role in the band’s success.
  • Perry’s tenure with the band lasted until 1998 and included hit albums like “Escape” and “Frontiers.”

2. Steve Augeri (1998-2006)

  • Joined Journey as the successor to Steve Perry.
  • Fronted the band for nearly a decade, releasing albums like “Arrival” and “Revelation.”
  • Departed from Journey in 2006 due to health issues.

3. Jeff Scott Soto (2006-2007)

  • Joined Journey as the lead vocalist following Augeri’s departure.
  • Performed with the band for a short period covering various international shows.

4. Arnel Pineda (2007-Present)

  • Became Journey’s lead vocalist after being discovered through YouTube.
  • With his remarkable vocal range, he helped the band regain popularity with new audiences.
  • Continues to captivate audiences worldwide as Journey’s current frontman.

Keyboardists of Journey:

1. stevie “keys” roseman (1980-1983).

  • Filled in for Rolie during Journey’s Departure Tour.
  • Assumed keyboard duties temporarily.

2. Jonathan Cain (1980-present)

  • Joined Journey in 1980 and became an essential member.
  • Took over keyboard duties and co-wrote many hit songs.

Bassists and Guitarists from Journey:

1. steve perry (1978 – 1987, 1995 – 1998).

  • Many fans might not know that Perry also played guitar on some of the band’s tracks
  • His contributions as a guitarist added depth and creativity to Journey’s music

2. Steve Smith (1978 – 1985, 1995 – 1998)

  • Steve Smith also proved his proficiency as a guitarist during his time with the band
  • His ability to switch between drums and guitar added a dynamic element to their performance

3. Randy Jackson (1986 – 1987)

  • Randy Jackson’s diverse musical background brought a fresh perspective to Journey’s sound
  • Jackson later became a well-known TV personality and one of the judges on American Idol.

4. Todd Jensen (2021-Present)

  • Joined Journey as a bassist for their Las Vegas residency, starting on December 2021.
  • A seasoned musician with an impressive resume, having played with artists like SEQUEL, HARDLINE, and HARLOW.
  • Filled in on bass for Journey during the six shows of their residency

Throughout the band’s history, Journey has seen multiple personnel changes, but their music and legacy have continued to resonate with fans across generations. These talented individuals have each made significant contributions, leaving an indelible mark on the band’s evolution and success.

Frequently Asked Questions about Journey

Q1: what is journey’s net worth.

As of July 2023, Journey Band’s net worth is $8.87B.

Q2: Is Arnel Pineda still with Journey?

Yes, Arnel Pineda is currently the lead singer of Journey.

Q3: Are any of the current Journey members originals?

No, none of the current members of Journey are original members. The original members of Journey include Gregg Rolie, Neal Schon, Ross Valory, and George Tickner.

Q4: When was the last time Steve Perry sang with Journey?

The last time Steve Perry sang with Journey was in 1991. After leaving the band in 1998, he rejoined briefly for a reunion album and tour in 1996-1997, but they parted ways again after that.

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Journey celebrates 50th anniversary: Rock band members then and now

Journey was formed in february 1973 by neal schon, gregg rolie and herbie herbert.

Fox News Flash top entertainment headlines of the week

Fox News Flash top entertainment headlines of the week

Fox News Flash top entertainment and celebrity headlines are here.

Journey recently celebrated 50 years since the band first formed.

The band's most well-remembered lead singer, Steve Perry, was spotted on a walk in Los Angeles earlier this month. The 74-year-old was the frontman and prominent songwriter for the band for 10 years alongside Neal Schon, Gregg Rolie, Ross Valory, Jonathan Cain, Aynsley Dunbar and Steve Smith.

Current members of the band include Schon, Cain, Deen Castronovo, Arnel Pineda, Jason Derlatka and Todd Jensen.

Here is what Journey band members from the Perry era are up to now as the band's 50th anniversary tour comes to a close April 25 in Palm Springs, California. 

STEVE PERRY WOWS CROWD AFTER 19 YEAR ABSENCE FROM STAGE

Steve Perry 

Steve Perry now and then

Steve Perry was brought on as a replacement for lead singer Robert Fleischman and was the frontman during the band's most prosperous era. (Shutterstock/SplashNews.com)

Steve Perry joined the band as a replacement for Robert Fleischman, making his debut as the frontman in October 1977. As well as acting as the band's lead singer, Perry also was one of the band's principal songwriters. He was nominated to the Songwriter's Hall of Fame in 2020.

Although fans were skeptical of Perry when he first joined the band, he was able to win fans over after the release of his first album, "Infinity," which had a much different sound than Journey had created in the past. They then began getting more radio airplay. He sang lead vocals on the albums "Evolution," "Departure," "Dream, After Dream," "Captured," "Escape," "Frontiers," "Raised on Radio" and "Trial By Fire."

Perry went solo for the first time in 1984 when he released "Street Talk," which sold over 2 million copies and featured the singles "Oh Sherrie" and "Foolish Heart." He was also featured on the 1985 benefit song, "We Are the World." He attempted to reunite with Journey. However, he was caring for his ill mother and couldn't be present for a majority of recording, and the band went on break in 1987 after its "Raised on Radio" tour.

In 1988, Perry began working on a second solo album, which he never released, eventually releasing a successful second album in 1994, called "For the Love of Strange Medicine."

Journey band members in 1978

Perry sang lead vocals on the albums, "Evolution," "Departure," "Dream, After Dream," "Captured," "Escape," "Frontiers," "Raised on Radio" and "Trial By Fire." (Michael Putland/Getty Images)

The singer once again reunited with his former band in 1996 to record the very successful album, "Trial By Fire," which debuted at No. 3 on the Billboard charts and went platinum by the time the year was over. To capitalize on the success of the album, a tour was planned, but it had to be postponed due to Perry injuring his hip while hiking in Hawaii.

A doctor determined his injury required surgery, but Perry was reluctant to agree to go under the knife. The decision delayed the tour longer than expected, which angered his bandmates. They eventually went on tour without Perry, and he announced his permanent exit from the band.

"I had to have a hip replacement, and the band was telling me when they thought I should do it," Perry said in an interview with MelodicRock.com in 2011. "And I said, ‘Major surgery like this is not a band decision.' I said that I would get it done, but I didn't get it done quickly enough. They just wanted to get on the road, and there was an ultimatum given to me. And I don't respond well to ultimatums."

FORMER JOURNEY FRONTMAN STEVE PERRY REVEALS WHY HE LEFT BAND AT ITS HEIGHT

Following his departure from the band, he released his "Greatest Hits + Five Unreleased" compilation album, which featured songs from his 1988 unreleased album. In 2005, Perry joined a few of his former bandmates when Journey was awarded a star on the Hollywood Walk of Fame. In 2009, he was voted one of the ten greatest rock singers of all time, and Rolling Stone placed him at number 76 in a list of "The 100 Greatest Singers of All Time." 

Journey at the band's rock and roll hall of fame induction

Perry joined his former bandmates on stage in 2017 for the band's induction into the Rock & Roll Hall of Fame. (Kevin Mazur/WireImage for Rock & Roll Hall of Fame)

For the next few years, Perry continued singing and writing, appearing on background vocals or on stage with various bands and artists. In 2017, he appeared on stage with Journey for the first time since they were together on the Walk of Fame in 2005 to accept the honor of being inducted into the Rock & Roll Hall of Fame. He did, however, opt out of performing with the band.

In 2018, Perry released another solo album, "Traces," which performed well, with a deluxe version debuting in 2019. In December 2021, he released a Christmas album, "The Season," and in 2023 he announced he would be singing background on Dolly Parton's new album.

Perry has a daughter and grandchildren but has chosen not to speak about them publicly to protect their privacy. 

Neal Schon then and now split

Neal Schon is a founding member and guitarist for the band Journey. (Getty Images)

Neal Schon is a founding member of Journey and is the longest-serving original member of the band. Prior to helping create Journey, he was a member of the band Santana, playing guitar on the albums "Santana III" and "Caravanserai."

He briefly played with the band Azteca before founding Journey with Gregg Rolie and their manager Herbie Herbert. They initially called the band the Golden Gate Rhythm Section, however the name was changed after their roadie John Villaneuva suggested Journey.

Along with playing on the albums "Journey," "Look into the Future," "Next," "Arrival," "Generations" and "Revelation with Journey," Schon also released several solo albums, including "Late Nite," "Beyond the Thunder," "Piranha Blues," "The Calling," "So U" and "Universe."

The guitarist also produced two albums with keyboardist Jan Hammer and was a member of the supergroup Bad English. He also has fostered collaborations with Sammy Hagar as part of Hagar Schon Aaronson Shrieve and Paul Rodgers. Schon also plays guitar on Michael Bolton's album, "The Hunger.

Neal Schon and Mike McCready

Schon performed with his band at the 2017 Rock & Roll Hall of Fame ceremony, where Journey was being honored. (Kevin Mazur/WireImage for Rock and Roll Hall of Fame)

In 2005, Schon was present at the Hollywood Walk of Fame ceremony to accept the honor of receiving a star alongside his fellow bandmates. They reunited again in 2017 when they were inducted into the Rock and Roll Hall of Fame, where he and some of the other band members performed.

Schon is performing with Journey for the band's 50th anniversary tour, which also features Toto.

JOURNEY'S NEAL SCHON SLAMS BANDMATES OVER TRUMP MEETING

In September 2011, Schon confirmed his romance with former "Real Housewives of D.C." star Michaele Salahi, while also revealing they dated briefly in the '90s. Just a little over a year later, in October 2012, Schon proposed to her on stage while performing at a charity benefit, and the two were married in December 2013. 

Neal Schon and his wife Michaele at the Hard Rock

Schon is married to his fifth wife, Michaele Salahi, a former "Real Housewife of D.C." (Gabe Ginsberg/Getty Images)

Schon was previously married to Tena Austin from 1976 to 1986. He was then married to Beth Buckley from 1987 to 1992, and had two children with her, Miles and Elizabeth, before splitting up. He then married Dina Gioeli from 1993 to 1999, and then Amber Kozan (from 2001-2008), with whom he has two children, Aja and Sophia. He also has a daughter named Sarah.

Gregg Rolie

Gregg Rolie then and now split

Gregg Rolie was a member of Santana before forming Journey and was the lead singer on the first two albums. (Getty Images)

Gregg Rolie was a founding member of Santana before branching off to join what would become Journey. For the band's first six albums, he was the keyboardist, and he was the lead vocalist for the band's first two albums. Once Perry joined the band, Rolie sang co-lead on a few songs on various albums.

The musician chose to leave the band in 1980 and started a successful solo career. His first solo album was "Gregg Rolie," and he followed up with "Gringo" in 1987. 

"I left because I didn’t like my life anymore," Rolie told Rolling Stone in 2019. "I’ve said this a million times. And I know there’s people that say, ‘That’s not the reason.’ But I left because I was unhappy with what I was doing in my own life. I loved the management. I loved the music. I loved what we built. I just wasn’t happy, so I had to blow the horn on it and just stop it."

A few years after releasing his second album, Rolie formed another band with Steve Smith and Ross Valory from Journey in 1991 called The Storm. Rolie worked as the keyboardist for this band. The band's eponymous debut album was a huge success, reaching No. 3 on the Billboard charts. It also featured a top 10 hit, "I’ve Got A Lot To Learn About Love."

Journey posing for a photo in New York

Rolie left Journey in 1980 and started a solo career before founding another band. (Getty Images)

They did not reach the same amount of success with their second album. It was shelved by their record company before finally getting released in 1996. In 1998, Rolie and a few other members of Santana reunited to form the band Abraxas Pool, ultimately releasing one eponymous album.

Also in 1998, Rolie was inducted, along with the other members of Santana, into the Rock & Roll Hall of Fame. He became a two-time Rock & Roll Hall of Fame inductee in 2017 with Journey.

In 1999, while working on an album with Ron Wikso, they formed The Gregg Rolie Band, which featured Kurt Griffey on the guitar and Wally Minko as a second keyboardist. Together, they released the album "Roots" and a live CD, "Rain Dance," in 2009.

From 2012 to 2021, Rolie toured as a member of Ringo Starr and his All Star Band, during which he sang many of the hits he is known for, including some from his time in Santana. While performing, he also recorded an album with original members of Santana in 2016, "Santana IV."

Neal Schon and Gregg Rolie on stage for Journey's 50th anniversary tour

Rolie frequently appears on stage with Schon and the rest of Journey during their 50th anniversary tour. (Rob Loud/Getty Images for Journey)

Rolie reunited with Schon in 2018 to perform some charity shows and occasionally joined Journey on stage during its most recent tour.

The keyboardist married his wife Lori in 1980 after first meeting her while on a flight in 1979. The two have remained together and live in Texas. They have two children together, a son named Sean and a daughter named Ashley.

Ross Valory

Ross Valory then and now split

Ross Valory was an original member of Journey, which he joined after forming and releasing one album with the Steve Miller Band. (Getty Images)

Ross Valory was an original member of Journey, which he joined after forming and releasing one album with the Steve Miller Band. As a bassist, he has played on all the band's albums, except 1986's "Raised on Radio" and 2022's "Freedom."

During the band's hiatus in the late ‘80s and early ’90s, Valory played on Todd Rundgren's album, "2nd Wind," and released two albums as a member of The Storm, "The Storm," and "Eye of the Storm."

He returned to playing with Journey in 1996 on the "Trial by Fire" album. Valory was kicked out of the band in 2020, and he was once again replaced by Randy Jackson, who also took over for him in "Raised on Radio."

His 2020 exit came on the heels of a lawsuit involving him and Steve Smith, filed by their Journey bandmates Neal Schon and Jonathan Cain. Schon and Cain claimed Valory and Smith attempted to take over Nightmare Productions to gain control of the Journey trademark. 

Journey's management announced the two parties came to a settlement, releasing a statement in April 2021.

Jonathan Cain and Ross Valory

Ross Valory, right, was sued by his former bandmate, Jonathan Cain, left, for trying to gain control of the band's trademark. (Gabe Ginsberg/Getty Images)

"Neal Schon and Jonathan Cain acknowledge the valuable contributions that both Ross Valory and Steve Smith have made to the music and the legacy of Journey," the statement said. "Ross Valory and Steve Smith wish their former bandmates well and much success in the future. Journey looks forward to continuing to tour and make new music for their dedicated fans around the world." 

Valory was once married to Diane Oakes, however the marriage ended in a divorced. He later married his current wife, Mary Valory.

Steve Smith

Steve Smith then and now split

Steve Smith replaced Aynsley Dunbar as the drummer for Journey. (Getty Images)

Steve Smith replaced Aynsley Dubar as the drummer for Journey, joining the band in 1978 and staying on until 1985. His first album with the band was "Evolutions" in 1979, and he left for the first time following 1986's "Raised on the Radio."

During the band's hiatus, he joined Valory and Rolie in the band, The Storm, appearing on their two albums. He also started a second band, Vital Information, and released several albums with them in that time, including "Vital Information," "Orion," "Global Beat," "Fiafiaga" and "Easier Said Than Done."

He returned to Journey in 1995 for a comeback album, "Trial by Fire," staying on for a few years before leaving a second time after the release of 1998's "Greatest Hits Live" album. He continued to release music with Vital Information, including "Ray of Hope," "Where We Come From," "Live Around the World" and 2017's "Heart of the City."

Steve Smith performing with Journey

Smith left Journey and started his own band, Vital Information. (D Dipasupil/FilmMagic)

Smith was also a part of the jazz group Steps Ahead and can be heard playing on their albums "Live in Tokyo," "N.Y.C," "Yin-Yang" and "Steppin' Out." As a musician, he can also be heard on albums for Jeff Berlin, Frank Gambale, Henry Kaiser and Neal Schon.

In 2001, Modern Drummer magazine named Smith one of the Top 25 Drummers of All Time, and the following year he was inducted into the Modern Drummer Hall of Fame. Starting in 2007, he recorded two albums with Buddy's Buddies, a quintet made up of musicians who once played with Buddy Rich.

In 2017, Smith was inducted into the Rock & Roll Hall of Fame as a member of Journey. He performed with Journey during the ceremony.

Steve Smith and the rest of Journey at the Hall of Fame ceremony

Smith was inducted into the Rock & Roll Hall of Fame alongside the other members of Journey. (D Dipasupil/FilmMagic)

Smith was also named in the lawsuit filed against him and Ross Valory when they allegedly tried to gain control of the Journey trademark. Like Valory, Smith was kicked out of the band at this time. 

Jonathan Cain

Jonathan Cain then and now split

Jonathan Cain was a member of The Babys before he left to join Journey, taking over the position Gregg Rolie held in the band.  (Getty Images)

Jonathan Cain was a member of The Babys before he left to join Journey, taking over the position Gregg Rolie held in the band. Cain's first collaboration was on the album "Escape." He was also one of the composers of the band's longstanding hit, "Don't Stop Believin'."

JOURNEY'S JONATHAN CAIN RESPONDS TO CEASE-AND-DESIST ORDER, SAYS BANDMATE SHOULD 'LOOK IN THE MIRROR'

One of his most well-known contributions to the band was when he wrote the ballad "Faithfully," a song about what it's like to live life on the road. Cain went on to play the keyboard on the albums, "Frontiers," "Raised on Radio" and "Trial by Fire."

Prior to "Raised on Radio," Cain reunited with his former Babys bandmates and formed Bad English, releasing two albums before breaking up in the early 90s. 

Jonathan Cain promoting his memoir at Barnes and Nobles

Cain wrote a memoir about his experience as a member of Journey in 2018, called "Don't Stop Believin': The Man, the Band, and the Song That Inspired Generations." (Brandon Williams/Getty Images)

Along with his albums with The Babys, Bad English and Journey, Cain recorded eight solo albums, including "Windy City Breakdown," "Back to Innocence," "What God Wants to Hear," "Bare Bones" and "More Like Jesus." He has primarily focused on making Christian-based faith music since 2016.

In 2018, Cain published a memoir, "Don't Stop Believin': The Man, the Band, and the Song That Inspired Generations," about his time as a member of Journey.

Cain married his first wife, singer Tane McClure, for which he wrote the song "Faithfully" before calling it quits. 

In 1989, he married Elizabeth Yvette Fullerton, and together they had three children — a daughter Madison and twins Liza and Weston. The two divorced in 2014 after 25 years of marriage. In 2015, Cain married his third wife, a minister named Paula White. 

Jonathan Cain and his wife at the Hollywood Bowl

Jonathan married his third wife, Paula White, in 2015. (Vincent Sandoval/WireImage)

Cain and Schon are currently at odds and are in a legal battle over a shared American Express account. 

Aynsley Dunbar

Aynsley Dunbar then and now split

Aynsley Dunbar was the second drummer for Journey, taking over for Prairie Prince. (Getty Images)

Aynsley Dunbar was the second drummer for Journey, taking over for Prairie Prince, and played a big part in co-writing their first four albums, "Journey," "Look Into the Future," "Next" and "Infinity."

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Additionally, Dunbar played drums on albums for artists such as David Bowie, Lou Reed, Herbie Mann, Mick Ronson, Nils Lofgren, Ian Hunter, Sammy Hagar and Pat Travers.

Dunbar later joined Jefferson Starship and stayed with the band for three albums, including "Freedom at Point Zero," "Modern Times" and "Winds of Change." He then joined the band Whitesnake and stayed with them for two albums, including their eponymous record, which featured hits like "Still of the Night" and "What Is Love," and the album "1987 Versions."

Throughout the mid-90s, Dunbar played with some of the era's most notable bands and artists, including Aerosmith, Queen, Metallica, Black Sabbath, Pat Travers and Van Halen.  

Aynsley Dunbar and the rest of Journey at the Hall of Fame ceremony

Dunbar was inducted into the Rock & Roll Hall of Fame in 2017, along with other members of Journey. (Mike Coppola/Getty Images)

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Aynsley has three children, Gretchen, Bibs and Taylor. In 2000, his 5-year-old son Dash died of brain cancer. 

In 2005, Aynsley and the other members of Journey were honored with a star on the Hollywood Walk of Fame. In April 2017, Dunbar and the band were inducted into the Rock & Roll Hall of Fame for their contribution to the music industry.

Lori Bashian is an entertainment production assistant for Fox News Digital. 

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Ex-JOURNEY Singer STEVE PERRY Was 'Emotionally Stunned' By 'Don't Stop Believin'' Achievement

Former JOURNEY singer Steve Perry has reacted to the news that the band's timeless rock anthem "Don't Stop Believin'" has officially been declared the "Biggest Song Of All Time" by Forbes . According to the RIAA ( Recording Industry Association of America ),the hit rock song likely heard by everyone around the world is now an 18-times-platinum-certified single.

Earlier today (Wednesday, March 20), Perry shared a link to the Forbes article and he included the following message: "When this 'Don't Stop Believin'' , 'The Biggest Song of ALL Time' article came out yesterday {3/19/24}I was so emotionally stunned. To be part of such a moment as this made me reflect on my parents. By that I mean, though I lost them both years ago, I was so happy for them because they are truly the reason this is happening. My dad was a singer and both of them were very musical. So on behalf of my Mom and Dad, I thank every one of you for so many years of support."

JOURNEY co-founder and lead guitarist Neal Schon was one of the musicians who commented below Perry 's post on Instagram , writing: "That's great Steve . God Bless. I myself reflect on the great time we had writing this song. Respectfully Neal Schon ".

You've heard "Don't Stop Believin'" literally everywhere since the 1980s: on the radio of every car you've ever owned, at every major sporting event you've attended in the last 20 years (including a live performance by the band at this year's NFC Championship Game between the Detroit Lions and San Francisco 49ers ),sung by Tom Cruise , Alec Baldwin and Mary J. Blige in the film "Rock Of Ages" , and covered by the cast of the TV show "Glee" . You heard it and then stared at a black screen in horror for a full 10 seconds wondering whether your DVR wasn't set to record the full episode, and then had it running through your head while you argued with friends over whether Tony Soprano got whacked in the diner or not.

Released in October 1981 for JOURNEY 's seventh studio album "Escape" through Columbia Records , "Don't Stop Believin'" quickly became the band's signature song. Critical acclaim was instant, with Billboard praising the "fluid guitar and vocal." AllMusic declared "Don't Stop Believin'" a "perfect rock song" and an "anthem", featuring "one of the best opening keyboard riffs in rock." Schon wrote the instantly recognizable bass line, and keyboardist and rhythm guitar Jonathan Cain had kept the song title from encouragement his father gave him as a struggling musician living on Sunset Boulevard. Decades after its release, the song became the best-selling digital track from the twentieth century, with over seven million downloads.

In a 2009 interview with CBC 's "Q" cultural affairs show, Perry said he always thought "Don't Stop Believin'" had potential as a single. It was always a hit with live audiences, though it didn't get great radio play at the time it was issued, he said.

"When we were doing the song in 1981, I knew something was happening, but honestly, when I saw it in the film 'Monster' with Patty Jenkins , I started think, 'Oh my goodness there's really something.'"

He added: "The lyric is a strong lyric about not giving up, but it's also about being young, it's also about hanging out, not giving up and looking for that emotion hiding somewhere in the dark that we're all looking for. It's about having hope and not quitting when things get tough, because I'm telling you things get tough for everybody."

Current JOURNEY singer Arnel Pineda , who has been fronting the band for 17 years, told CBS News in 2012, "Even before I discovered 'Don't Stop Believin'' , it has been my motto — you know, to never stop believing in myself. The life that I've gone through, all those hardships, I never stopped believing that someday there is something magical that will happen in my life."

In 2020, at the beginning of the coronavirus pandemic, "Don't Stop Believin'" became a rallying call for patients recovering from COVID-19 at two hospitals in New York and Michigan. The 1981 hit was being played at Henry Ford Hospital in Detroit, Michigan and the New York-Presbyterian Queens Hospital during celebrations for patients prevailing over the coronavirus.

Perry reunited with JOURNEY for the first time in years as they were inducted into the Rock And Roll Hall Of Fame in April 2017. The iconic singer appeared onstage with his former bandmates as they each gave speeches, but did not perform with the group later in the event.

Perry 's final full concert with JOURNEY took place in early 1987. He later rejoined his bandmates for a brief performance in 1991 to honor late concert promoter Bill Graham . He also appeared with JOURNEY when they received a star on the Hollywood Walk Of Fame in 2005.

JOURNEY will team up with DEF LEPPARD for a 2024 stadium concert tour of North America. The 23-city tour opens July 6 at Busch Stadium in St. Louis and concludes September 8 at Coors Field in Denver. The opening act for most of the tour dates will be fellow Rock And Roll Hall Of Famer Steve Miller and his band. Two other Rock Hall inductees will alternate as opening acts for the seven shows Miller is not playing — CHEAP TRICK and HEART .

View this post on Instagram A post shared by Steve Perry (@steveperrymusic)

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Journey lead singer Arnel Pineda in a public feud with other band members

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Filipino American frontman Arnel Pineda of the popular rock group Journey is at the center of controversy over a possible reunion of some band members.

The Music Times reports the bickering began when guitarist and vocalist Neal Schon suggested that founding band member and lead vocalist Greg Rolie return for the 50th-anniversary tour.

That plan was nixed, but when Schon’s wife Michaele publicly commented on social media that two Journey band members vetoed the idea, Pineda became irritated, Bravewords reported .

Some fans immediately blamed Jonathan Cain and Pineda for blocking Rolie’s return.

“You people are unbelievable…whoever’s spreading rumor about me regarding the #GregRollie issue are maliciously ignorant..im not gonna stoop down to your level,” said the vocalist at the time,” Pineda wrote.

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He then went further, suggesting the band could get rid of him if they didn’t like him.

“If some of them are tired of me being with them, with all means, they can fire me anytime,” he wrote defiantly.”

m with the band to sing the legacy..if some of them are tired of me being with them,with all means,they can fire me anytime.. and don’t lecture me about spiritual BS.. #walkthetalk — Arnel Pineda (@arnelpineda) February 4, 2023

That’s when former Journey frontman Jeff Scott Soto chimed in.

Classic Rock 96.1 reported Soto wrote

“You have NOTHING or NO ONE to answer to brother, you’re a kind, gentle and huge heart with a huge talent to match, it’s the age-old crap when you achieve success and happiness, there are many who want to break you down! Stay the course, YOUR course, I’m proud to be your friend,” said the vocalist.

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28 COMMENTS

Without Pineda Journey would have been lost and forgotten long time ago. I like Pineda because he is the Best Singer, and because he is from philippines. He gives 100percent on stage and keeps the Journey alive.

Obviously you have not heard the drummer sing.

Why then that the drummer is not the vocalist?

I think Pineda and Rollie would be awesome together it would bring back the old days sound

It seems to me that their is constant strife and bickering going on in this band. And it’s usually centered around Neal and wife. Maybe nonstop touring isn’t the answer.

Actually caused by Cain and his wife and their worship of trump…Morons

Tell us you are a liberal bitch without telling us.

No body was Journey but Greg rolled and Steve perry that’s the journey I loved and remember

There’s only one true lead singer of journey and everyone knows who it is and it’s not Pineda. He makes them a tribute band

It may not b pleasant 4 them, but it would b a tragic loss 2 us fans😏Legacy music must b preserved and the best way 2 do that is enjoy it live🤩

Steve perry journey best vocalist

I think they need put Pineda and rollie together for a good tour for the 50th anniversary tour that would be awesome and would love to go seen journey 6 years ago and rasco flats best concerts I seen in awhile right before my heart Attack so would love to go again soon that was in St Louis thanks

This entire mess is totally ridiculous ignorant, childish, immature, and completely unnecessary. Journey has always been an awesome band, but let’s face it without Arnel Pineda they would not have continued on for this long successfully. That’s my opinion and I believe I’m right I think he is a monumental talent And a shining example of integrity in a human being, compassionate, caring, and truly devoted to keeping journey at the forefront. Without him, I do not believe it could have been accomplished certainly not on this level for this continued amount of time. Why can’t people just grow up and acknowledge his contribution. I’m not saying the other artists are not equally as contributing and talented. It takes all of them together to create this band. It’s not just one individual, but without each one of these talents, combined together, they would not be the band journey and that’s reality. All this other nonsense really just has no place even being validated by exposure. I have been listening to this band since they first came out when I was a teenager in high school, so I think I’m qualified to to deliver an educated opinion as well as being correct .

You’ll probably never find another singer like him.you all need to settle your differences and keep rocking for all us fans..stay safe everyone

Arnel has given the band 15 years of extra life.. made them all $Millions.. and brought endless new fans to fill stadiums all around the world. “Discovering” him was the best thing that happened for him AND Journey.. so please stop all this hate and bickering towards one of the nicest Human beings you could ever wish to meet.. I know this for a fact as I knew AP long before Journey came knocking on his door. The vile and malicious tweets need to stop..NOW.

I personally like Schons’s “Journey Through Time Band” it had Gregg Rollie in it who does great dual vocals and leads. Plus you had Deen Castronova who is in my opinion a much better Steve Perry clone than Arnel. What’s even more amazing is that Deen does this all while playing drums! Don’t believe me? https://youtu.be/B_DZ4aBt4Eo

Dean is awesome!

This is why Steve Perry left the band to much bickering Steve Perry was journey can’t be replaced

Really. No one cares. Washed up has-beens that weren’t that special to begin with.

STEVE PERRY..is Journey. Sorry

Steve can’t sing the songs anymore. That’s the main reason he kept turning down invitations to come back. Arnold even told him he would step down. No way he can possibly sing those songs. He doesn’t have the voice anymore. He has to sing softer music without all the highs. So without him Arnel is the only one that can sing them and can sing even higher notes if needed but he tries to keep everything as original as possible without Steve. In my opinion much better Singer but I also understand that the original singer is always the sound of the band. I don’t like AC/DC anymore. Bon Scott is AC/ DC no matter how well the band is doing now. And all the other bands. But something about Arnel makes me feel different. And he has been with the band longer than Steve or anyone else. A lot of this is my opinion. The rest is truth.

Steve Perry was smart to leave Journey, he made the best choice ever. I do understand the reason Steve left, it was all the childish drama he saw and in a old Interview Steve say’s it was not up to Neil or Jon to Force him into his Hip Replacement Surgery, it is and was A big desision for Steve. However so glad Steve is no longer part of this Drama. And yes all member’s should call it by Retiring 50 Year’s it is A long run. Little Foot Note NO ONE COULD HAVE EVER REPLACED THE VOICE. àka Steve Perry he was Journey, Bless Him.

No Arnel and Journey would be playing at the Armada Room’s Disco Swing Party at the Holiday Inn.

Only Steve Perry for me his the voice of all time💚

Dear Mr. Pineda: Thank you for your exceptional musical talent as Journey’s lead vocalist and representation of the Philippines. Sadly, you are witnessing first-hand the effects of Rock Star narcissism, greed and self-absorbed egomania. You fill Steve Perry’s shoes nicely and I appreciate your contributions as a contributing songwriter on the Freedom album. The dysfunction that exists in the band is the result of decades of ‘It’s All About ME!!!” by others and there is nothing you can do for those people; take care of yourself, get some counseling for a healthier perspective and don’t let anyone talk BS to you, mate. Cheers.

Without the brilliant and unmistakable sound of one Steve Perry, Journey is now merely a cover band. If you think I’m wrong next time while out In public and you hear a Journey song such as “Don’t stop believing” listen to who the voice singing it is. It is Steve Perry. Like in any juke box or even the song playing at the horrible series ending of the show The Sopranos. Steve Perry is thee sound of Journey not just some times but FAITHFULLY!

Neal’s wife needs to keep her nose and mouth out of the bands business. Does Neal have to have his wife fight his battles? Let the band members make the decisions ! If two members say no, than let the decision stand ! Hey Neal, ask your wife if she would she can replace your lead singer if you piss him off enough? Grow up, do what you do best, make music!

Steve Perry was the hit-maker. He was the force that drove Neil’s cool Santana-esque project into a multi-million dollar music machine. Steve Perry’s Songwriting (or co-writing) contributions include: Don’t Stop Believin’ Any Way You Want It Faithfully Open Arms Lovin’, Touchin’, Squeezin’ Lights Oh Sherrie Send Her My Love Walks Like a Lady Who’s Crying Now Stay Awhile Without these epic hits, a Journey concert would be_________________.

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journey lead singer dies – Steve Perry

TRIDIP BOR BORUAH

Updated on: June 6, 2023

journey lead singer dies- Steve Perry

The world of music mourns the demise of a real legend as the news is announced of the death of Steve Perry, the renowned lead singer of the legendary rock group Journey. But this not true, its a fake rumour flowing all over the media. In this piece, we pay homage to Steve Perry and explore the remarkable Journey through his life and music career, beginning with his rise to fame through his Journey to his legacy in the world of rock.

Steve Perry’s Journey with Journey

Table of Contents

The Journey of Steve Perry with Journey began in the group’s initial days. With his impressive vocal range and captivating stage presence Perry quickly became an integral member of Journey’s group. Perry’s contributions to the sound of the band and songwriting were instrumental in bringing Journey to new successes. Together, they created an array of chart-topping songs and anthems, which have become a part of Journey’s name.

journey lead singer dies- Steve Perry

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Personal Life and Challenges

Beyond his accomplishments in the field of music, Steve Perry’s personal life has shaped his career in significant ways. Growing up in an upper-middle-class family, Perry’s childhood gave him a solid determination and work ethic. He also had the drive to pursue his love of music. However, he was also confronted with personal difficulties and hurdles in the process. These experiences tested his endurance and ultimately influenced the emotion and depth that defined his music.

Departure from Journey

In a pivotal time for the band as well as Steve Perry, he made the difficult decision of separating from Journey . The reasons for the decision were complex and multifaceted, from artistic differences to personal issues. The news of his departure shocked people around the globe who longed for the powerful voice and heartfelt performances that shaped his role in the group.

Solo Career and Return

After the breakup of Journey, Steve Perry embarked on his own solo career , which showcased his talent and versatility as a musician. He released several critically-acclaimed albums, showing the ability of his music to reach his fans at a personal level. Despite the popularity of his solo projects, the fans were begging for an opportunity to reunite with Journey. After a long absence, Perry made a triumphant return to the scene in the form of a rousing performance, sparking excitement and reviving the magic of his work with Journey.

Legacy and Influence

The legacy of Steve Perry goes far over his years with Journey. Perry’s unbeatable voice, soulful delivery, and lyrical sensitivity created a lasting impression on the rock scene. Perry’s ability to express the rawness and vulnerability of his music was a hit with his fans on an emotional scale, which made Perry an iconic figure in the category. Perry’s influence can be seen through the works of many artists who were influenced by his distinctive style and unwavering enthusiasm.

Discography and Achievements

Journey’s discography speaks to their musical talent and their lead singer’s unquestionable talent. The band’s catalog includes several multi-platinum releases and chart-topping songs that have evolved into rock classics. Their accomplishments include numerous awards, sold-out tours, and loyal fans that span generations.

Solo Projects and Collaborations

Beyond Journey, The lead singer began solo projects and collaborations that demonstrated their plethora of talents as artists. They could experiment with different music styles and test their creative expression. Their work as a duo and in collaboration also helped establish their reputation as a major influence in the world of music.

Impact on Rock Music

The impact of the lead singer’s voice on rock music goes beyond the time of Journey. Their strong vocals, emotional delivery, and captivating stage presence were the norm for rock singers who wanted to become a part of the band. Their ability to communicate emotions and connect with the audience helped create a new style of rock and influenced many musicians who followed the same path.

Is the original lead singer of Journey, Gregg Rolie, still alive?

Yes, Gregg Rolie, the first lead singer of Journey, is alive and well . Gregg was born on the 17th of June 1947 and is now 75. older. He has been a two-time Rock and Roll Hall of Fame inductee. He was inducted as a part of Santana in 1998 and an artist of Journey in 2017.

Rolie left Journey when he left Journey in 1987; however, he continues to record and tour with his group, The Gregg Rolie Band. He also played the keyboard and sang backup vocals with Ringo Starr & His All-Starr Band between 2012 and 2021.

In recent times, Rolie has also been involved in various initiatives with fellow musicians. One of them was an album collaboration with the former Journey guitarist Neal Schon on the album “Space Between” in 2015. The singer also released a self-titled album by himself, “Sonic Ranch,” in 2019.

Rolie is still in the music world and continues to record and tour. He is a well-known artist and musician who made important contributions to the genre of rock and roll.

Did Gregg Rolie leave because of Steve Perry?

The truth is that Gregg Rolie did not leave Journey due to Steve Perry. He stated that he was pleased when Perry joined the group. Due to personal reasons, Rolie quit Journey in 1980, just three months after Perry joined the band. Rolie has stated that he was unhappy about his current situation and determined to have the family. He also claimed he consumed too often and needed to feel more inspired.

It is widely believed that Rolie has left Journey due to discontent with how Perry was treated in the group. This isn’t the case. Perry was a great addition to the band, and Rolie claims he enjoyed working alongside Perry. The reason for Rolie’s departure was personal and unrelated to Perry.

Did any of the Other lead singers of Journey die?

None of the vocalists other from Journey have passed away. The group has had three singers as lead performers: Steve Perry, Steve Augeri, and Arnel Pineda. Perry led the band from 1977 until 1987. Augeri was the singer in charge from 1998 until 2006. Then Pineda was the lead singer from 2007 onwards. Augeri quit Journey at the end of 2006 because of vocal cord issues. Pineda is the main singer for Journey, who has been for the last time since 2007.

Here are a few additional pieces of information on the Journey’s singers Steve Augeri and Arnel Pineda who are the mainstays of Journey:

  • Steve Augeri: Augeri was born in New Jersey in 1959. The singer became a part of Journey in 1998 , following Perry quit the group. Augeri made two recordings together with Journey, “Trial by Fire” (1998) and “Arrival” (2001). Augeri was forced to leave Journey at the end of 2006 because of problems with his vocal cords. He’s since released two solo albums, “Covers” (2009) and “Sing for You” (2013).
  • Arnel Pineda: Pineda was born in the Philippines in the year 1967. He gained fame in 2007 after he was found through Neal Schon, the guitarist for Journey . Pineda was picked for the position of the new lead vocalist of Journey after Schon watched the video featuring Pineda singing Journey songs on YouTube. Pineda has been the main singer in Journey since 2007 and has released three studio albums for the group, “Revelation” (2008), “Eclipse” (2011)”Eclipse” (2011), as well as “Freedom” (2015). Pineda has been the only Filipino to lead a major rock group.

Steve Perry’s tragic rumour of passing has left a gap in the world of music and in the heart of his fans. His incredible path from his fame-making debut through his Journey through his own solo work and eventually return to the stage is an example of his talents, perseverance, and unflinching dedication to his work. As we commemorate and remember Steve Perry’s legacy and life in music, his songs will remain in the hearts of those who listen and inspire generations to come.

What are some of Journey’s most popular songs featuring Steve Perry?

Some of Journey’s most popular songs featuring Steve Perry include “Don’t Stop Believin’,” “Separate Ways (Worlds Apart),” “Open Arms,” “Faithfully,” and “Wheel in the Sky.” These timeless classics have become anthems of the rock music genre.

Did Steve Perry ever reunite with Journey after his departure?

Yes, Steve Perry reunited with Journey several times after his departure. However, these reunions were sporadic and often temporary. Nonetheless, the moments when Perry joined his former bandmates on stage were highly anticipated and cherished by fans.

How did Steve Perry’s solo career fare compare to his time with Journey?

Steve Perry’s solo career showcased his musical range and creativity. While he enjoyed success with his solo albums, including the critically acclaimed “Street Talk,” his time with Journey remains the pinnacle of his commercial success and recognition.

What is Steve Perry’s lasting impact on rock music?

Steve Perry’s impact on rock music is immeasurable. His distinctive voice, emotional performances, and heartfelt lyrics set a new standard for vocalists in the genre. His ability to connect with audiences on an emotional level continues to inspire and influence musicians across generations.

How can fans honor Steve Perry’s memory?

Fans can honor Steve Perry’s memory by celebrating his music, sharing fond memories and stories, and continuing to appreciate his impact on their lives. Keeping his music alive and passing it on to future generations ensures his legacy will endure.

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band journey singer

Journey’s Popular Tune Becomes ‘Biggest Song of All Time’

“Just a small town girl, Livin’ in a lonely world…” If you’ve left the house in the last several decades, chances are you know all of the lyrics to this song even if you’re not a Journey fan. Journey’s “Don’t Stop Believin'” has been featured at sporting events, on the radio, in movies and television shows, and plays just about anywhere you go. This catchy tune has now been crowned the “Biggest Song of All Time” by Forbes .

The anthem was first released in October 1981 as a part of Journey’s seventh studio album. It quickly became a hit, due to its epic opening music and lyrics anyone could sing along to. As someone from Michigan, the part “Born and raised in South Detroit” is always sung the loudest here when played at bars and sporting events. The song even became a celebration for patients at Henry Ford Hospital in Detroit recovering from COVID-19 in 2020.

The Recording Industry Association of America added that the song is now an 18-times-platinum-certified single and has likely been heard at least once by just about everyone in the world. How’s that for a hit? Journey singer Steve Perry always believed in the song but admitted that it didn’t get great radio play when it first came out. He said , “When we were doing the song in 1981, I knew something was happening, but honestly, when I saw it in the film ‘Monster’ with Patty Jenkins , I started think, ‘Oh my goodness there’s really something.’ The lyric is a strong lyric about not giving up, but it’s also about being young, it’s also about hanging out, not giving up and looking for that emotion hiding somewhere in the dark that we’re all looking for. It’s about having hope and not quitting when things get tough, because I’m telling you things get tough for everybody.”

Current Journey singer Arnel Pineda said that the song’s message has always been his motto. Pineda shared, “Even before I discovered ‘Don’t Stop Believin”, it has been my motto — you know, to never stop believing in myself. The life that I’ve gone through, all those hardships, I never stopped believing that someday there is something magical that will happen in my life.”

If you want to hear the tune live, Journey is teaming up with Def Leppard for an incredible tour in 2024. For certain shows, they will be joined by The Steve Miller Band, Heart, or Cheap Trick. Get tickets on their website. For now, remisince and rock out to “Don’t Stop Believin'” below:

American rock group Journey, New York, June 1979. Left to right: guitarist Neal Schon, bassist Ross Valory, keyboard player Gregg Rolie, singer Steve Perry, and drummer Steve Smith

2 former Hendersonville buskers are now in bands that play sold-out shows

band journey singer

Two former downtown Hendersonville buskers (street performers who play for donations) are now members of two separate bands that play to sold-out shows all across the region.

Hendersonville High graduate A.J. Pyatt lives in Winston-Salem and is the lead singer for the band No Scope . Sam Frame, a 2004 East Henderson High graduate, lives in Mill Spring and is the drummer for the WNC rock band Lazrluvr . Both Pyatt and Frame say they owe their current success to their humble beginnings about a decade ago performing on the street corners on Main Street in Hendersonville.

The Times-News interviewed Pyatt and Frame recently. Below is the interview and their responses:

Talk about your journey from high school to where you are now. 

Pyatt: I wasn't the most well behaved kid in high school. ... Some would say I had excess energy. I didn't really feel like I fit in until I met the Wray brothers and Bryan, who were in a pop punk band called The Hasbens. Joining their friend group sparked this need to be creative. These guys didn't just play music, they loved it, listening, writing, performing, truly studying music. They gave me an outlet for all the excess energy and gave me something to focus on. 

After high school I went from being just a member of the friend group to a member of the band when we formed an emo band called Brightwater Drive. That was the first band I ever wrote for and performed for, and from that point on I've always been involved in music in some way shape or form.

Years later I traveled the country with Dillon and Jantzen's band Old North State as the guitar tech/roadie. It was during those travels that songwriting became a major focus and where I discovered the art of busking, aka street performing. When those tours ended I was kind of alone as a musician and wanted to get stronger, so I decided to start writing my own songs and testing them out by playing them on street corners downtown to see if anyone liked them. What I didn't realize is how much the city of Hendersonville would love and appreciate someone sitting on a chair with a guitar. 

I would make hundreds of dollars and have huge crowds surrounding me every weekend I went out there. If wasn't out there I'd get calls saying "where are you?" I sang originals, covers ranging from The Jackson 5 to Taylor Swift, and street performance became a part of the downtown Hendersonville aesthetic, so much so that they had to create new laws regulating it because of the influx of performers following my lead. It was crazy. There I am, a guy with guitar being featured in the paper regularly, making tons of cash, and having people tell me I inspired them.

The problem came when I wanted to be more than just "The Busker." Venues in town wouldn't book me because they'd say, "Why would people come see you here when they can walk downtown and see you for free?" Busking both opened and closed doors for me, so to quote one my favorite artists, Kacey Musgraves, "I had to get away so I could grow, but it don't matter where I'm going. I'll still call my hometown home."

One of my best friends invited me to live in Winston-Salem and that move was literally life changing. I tried busking here and it just didn't work. Winston is a city and the small-town boy with a guitar on the corner just wasn't cutting it out here. I teamed up with with a percussionist and a banjo player to form my first Winston-Salem band ThreeFour Mountain, and that was the spark that lit the fuse out here. We played vineyards, wineries, bars and breweries all over the Triad, but I didn't feel like that style of music was really me. I wasn't happy playing covers and mainly being background at restaurants and bars. I wanted to be rock star on big stages with people focusing on what we're doing and singing to our songs. That's when No Scope formed. It was me and four friends with a common love of the music that got me into performing in the first place. We create music that I sincerely love and love performing. 

Frame: I toured in multiple bands ranging from country to death metal through most of my 20s. I was diagnosed with cancer when I was 28 and during treatment wrote and recorded “The Great Blue and Wide” with Strange Avenues. I went back to school and became an mechatronics engineer. I did that for a few years but left that world to continue doing music professionally, and that’s where I am now. 

I recently won the No. 1 drummer/percussionist in WNC from Mountain Xpress, and my band (Lazrluvr) won No. 1 all around favorite and No. 1 rock band

More: Street performers pack up, head to corners

Do you have former friends or fans of when you were a busker talk to you now or see you in concert? What are those experiences like?

Pyatt: Definitely. My new band No Scope got to play the Dark Harvest Rock Festival this summer. It was the first time I'd been home in nine years, and the outpouring of support I saw for this new band had me in tears. It felt good to be more than just "The Busker" anymore.

Frame: I still see a lot of people since I play out a lot. For a long time a lot of people thought that being a musician was just a hobby, but now that it’s a full time job, a lot of them have changed their tune. I have had a lot of friends who have supported it, and that’s always been a good thing to have in my corner.

What would you like to tell other aspiring musicians from the area?

Pyatt: I've been very fortunate to be surrounded by not only great musicians but great people, I think that's what has helped me the most. My advice to anyone chasing the dream is to surround yourself with positive people, people who believe in you and aren't afraid to be honest with you. 

Frame: You have to be tenacious. If you don’t have the heart for it don’t do it. It’s a tough business to be in, and you have to have the strength to get back up and push forward through all the heartache and pitfalls. 

More: Hal Linden of 'Barney Miller,' Marilu Henner of 'Taxi' coming to Flat Rock Playhouse

Upcoming performances

  • March 30: Heist Brewery, 2909 N. Davidson St., Charlotte
  • April 21: ALV Nightclub, 675 W. 5th Street, Winston-Salem
  • April 28: Eulogy,10 Buxton Ave., Asheville
  • April 6: Talladega Superspeedway, Lincoln, Alabama
  • May 17: Downtown After 5, Asheville
  • June 29: The Hum, 227 Second Ave., Hickory
  • July 6: Birthday Block Party at Oklawaha Brewing, 147 First Ave. E., Hendersonville

Dean Hensley is the news editor for the Hendersonville Times-News. Email him with tips, questions and comments at [email protected]. Please help support this kind of local journalism with a subscription to the Hendersonville Times-News.

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Three men stand on a street in front of a storefront reading “Martial Arts” and “Peace through confidence” as a woman jogger in purple spandex passes by.

Vampire Weekend Did Not Make a ‘Doom and Gloom Record’

On its fifth album, suffused with thoughts of 20th-century New York City, indie-rock’s pop maximalists get noisier — but it’s a journey out of negativity into “something a little deeper.”

From left: Chris Tomson, Ezra Koenig and Chris Baio of Vampire Weekend. The band’s new album, “Only God Was Above Us,” is due April 5. Credit... Sinna Nasseri for The New York Times

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Jon Pareles

By Jon Pareles

  • March 20, 2024

From the first seconds of Vampire Weekend’s new album, “Only God Was Above Us,” it’s clear that something has changed. “Ice Cream Piano” starts with hiss, buzz, feedback and a hovering, distorted guitar note — the opposite of the clean pop tones that have been the band’s hallmark. It’s the beginning of an album full of startling changes and wild sonic upheavals, all packed into 10 songs.

The new album, like all of Vampire Weekend’s work, is meticulous, self-conscious and awash in musical and verbal allusions — sometimes direct, sometimes cryptic. But it’s also a broad pendulum swing from its 2019 release, “Father of the Bride,” a leisurely, jam-band-influenced sprawl that ran nearly 58 minutes. “Only God Was Above Us,” the group’s fifth album, due April 5, is eight songs and 10 minutes shorter.

“With every album we have to push in two directions at once,” Ezra Koenig, Vampire Weekend’s singer and primary songwriter, said in a recent interview. “Sometimes that means we have to be poppier and weirder. Maybe with this record, it’s about both pushing into true maturity, in terms of worldview and attitude, but also pushing back further into playfulness. There’s a youthful amateurishness along with some of our most ambitious swings ever.”

Koenig, 39, described the new album’s sequence of songs as “a journey from questioning to acceptance, maybe to surrender. From a kind of negative worldview to something a little deeper.” Ultimately, he said, the LP is optimistic. “It’s not a doom and gloom record. And even if there’s songs where the narrator is trying to figure something out or feels confused, that’s not all. That’s part of the story — it’s not the thesis of the album that the world is dark and horrible.”

The album also exults in musical zingers, non sequiturs and startling off-grid eruptions. The songs often morph through multiple changes of tempo and texture, riffling unpredictably through indie-rock austerity, orchestral lushness, pop perkiness and hallucinatory electronic studio concoctions, like the cascade of wavery, overlapping piano lines in “Connect.” Where “Father of the Bride” had a folky openness, “Only God Was Above Us” is crammed with ideas that gleefully collide.

Ever analytical, Koenig mused that Vampire Weekend’s albums each reflected patron saints. He named Paul Simon for the band’s self-titled 2007 debut , Joe Strummer and Sublime for “Contra” from 2010, Leonard Cohen for “Modern Vampires of the City,” and the Grateful Dead’s Jerry Garcia and Robert Hunter, along with Phish, for “Father of the Bride.” The new album, he said, may reflect a short-lived tour he didn’t get to see: the 1997 pairing of Rage Against the Machine and Wu-Tang Clan, which reached the cover of Rolling Stone .

A man in a nubby gray sweater zipped up to his neck stares at the camera as two other men appear behind him, at a short distance, also looking at the camera, and another man with his back to the lens stands in the left side of the frame.

“Distortion, heaviness, hardness,” Koenig said. “We were drawn toward those qualities on this record in a more direct way than ever before.”

Koenig spoke via video from his home in Los Angeles. Behind him — from the collection of his wife, the actress Rashida Jones — was a wall of photographs by the artist Taryn Simon from the project “Contraband” : bootleg DVD boxed sets that were confiscated by United States Customs, arrayed in Minimalistic formations. Like Vampire Weekend’s songs, they neatly frame disruptive material.

Vampire Weekend has always had two distinct aspects — its fastidious album work and its frisky live shows — and may soon have three. (More on that later.) The central one is the music the band constructs in the studio, which is minutely tweaked and painstakingly considered. Vampire Weekend’s songs uphold a long-established tradition of concise pop songwriting. But even as it delineates clear verses and choruses, the band pushes every other parameter.

“With some types of art, you probably have to put a lot of thought into how to create layers of meaning,” Koenig said. “Songs are, by their nature, relatively short. They have repetitive hooks. Then if you want to go maximalist and fill it with production details and arrangements, you can. And if you want the lyrics to push out into some weird place, you can.”

Yet the basics of pop songwriting keep the band’s experimentation grounded. “You can zig and zag from verse one to verse two to verse three, but you keep coming back to the same chorus,” he added. “But now it’s recontextualized by the second verse. I think all that stuff is built into the format. It’s this great populist art form where you can get really out there but the structure holds it together.”

Beginning with the 2013 album “Modern Vampires of the City,” Vampire Weekend’s studio output has increasingly been a collaboration between Koenig and the producer and multi-instrumentalist Ariel Rechtshaid, who has worked on hits with Madonna , Usher , Haim and others.

“I’ve been part of making things that sound expensive and beautiful,” Rechtshaid said in a video interview from his Los Angeles studio. “But on this record, when the songs were at a certain stage, we were just, like, ‘This sounds exciting to us.’ It wasn’t a gimmick. It wasn’t like, ‘Here’s the decision to make something that feels noisy or dirty or distorted.’ It’s that the songs were emoting properly.”

The band and Rechtshaid have been working on — and reworking — most of the new album’s songs since 2020. Two tracks, “Gen-X Cops” and “The Surfer,” originated much earlier. The untamed slide-guitar line of “Gen-X Cops” came from Brooklyn sessions in 2012, while “The Surfer” includes much-altered elements of a song Koenig had begun writing with Rostam Batmanglij , who left Vampire Weekend in 2016.

“Sometimes you get lucky and the music, the production, the lyrics and the performance all come together and it fits on the record you’re working on,” Koenig said. “And sometimes, you know there’s something special about it, but you have to put it aside and just let time do its thing.”

Although Vampire Weekend’s members have settled in Los Angeles, its new album is suffused with thoughts of 20th-century New York City. Those were the decades before Vampire Weekend got started at Columbia University in 2006. “Weird, half-baked memories and pictures and thoughts and family history,” Koenig said. “That’s the version of New York that’s floating through this record.”

The opening tracks ponder conflict and disillusionment. “Classical” finds bitter power struggles hidden in history, noting “how the cruel becomes classical in time.” In “Connect,” the singer wonders, “Is it strange I can’t connect?,” mingling the personal and the online. The album eventually concludes with “Hope,” the longest song in Vampire Weekend’s catalog, a stately, eight-minute litany of disasters and injustices — “The sentencing was overturned/The killer freed, the court adjourned” — with a guardedly reassuring refrain: “I hope you let it go.”

The album title comes from a New York Daily News headline shown in the album’s cover photograph , which was shot by Steven Siegel in 1988 at a subway graveyard, inside a subway car turned sideways — an image that looks surreal but needed no special effects. One song, “Mary Boone,” borrows the name of the SoHo gallery owner who was hugely influential in the 1980s.

Another, “Prep-School Gangsters,” is named after a 1996 story in New York magazine about privileged students dabbling in the drug trade. “The prep-school gangster — these are the people who run the vast majority of institutions,” Koenig said. “It’s very possible, especially in America, especially in New York, that every now and then the prep-school gangster’s grandfather was once the disadvantaged youth, and that the disadvantaged youth’s grandson will be the prep-school gangster. And here they are in this brief moment of time, meeting together.”

“The Surfer” begins with a reference to “Water Tunnel 3,” a project to bring water to New York City from a reservoir in Yonkers. It has been under construction since 1970 and is far from complete.

“There’s that eerie but beautiful feeling that underneath this, the most populous city in America, there is an almost century-long project happening, where people are burrowing through the Earth,” Koenig said. “And then, classic New York stuff that everybody wants to talk about, the bagels and the pizza — it’s so good because of the water. Where does the water come from? It comes from upstate New York, far away. How does it get into somebody’s tap on the Lower East Side?

“It’s always been a slight obsession of mine,” he continued. “I like that idea about the underground. I don’t mean culturally. I mean just literally what’s underground.”

Vampire Weekend will soon be resurfacing to tour — a job far removed from the band’s finely detailed studio work. Real-time performing used to be a fraught prospect for such a perfectionist group. “I would hear other musicians talk about, ‘Oh man, you know, touring is tough, but then once you get onstage, all your worries go away and you’re just connecting with the audience,’” Koenig recalled. “And I’d think, ‘What are these people talking about? That’s when the worries start.’”

For its 2019 tour, Vampire Weekend expanded its stage lineup to seven musicians and vocalists, opening up more possibilities in the songs and relieving some of the virtuosic pressures. “Now, when we get together to rehearse, there’s a youthful, playful vibe,” Koenig said. “We’re always coming up with ideas that make us laugh.” The full band has been practicing since November for a summer tour it will preview on April 8 — performing a midday concert in Austin in the path of the full solar eclipse and sharing a free livestream .

Along with recording and touring, Vampire Weekend may soon unveil a third facet. Chris Baio, the band’s bassist, and Chris Tomson, its drummer, did separate video interviews from the studio space they share in Los Angeles — a converted medical office where Vampire Weekend started meeting in summer 2020 for weekly, Covid-distanced jam sessions, playing in separate rooms and recording hundreds of hours of music.

“The world had stopped working and a lot of what we normally do was just not being done,” Tomson recalled. “There was something about just playing with no expectation — to just play with my two very close friends without an agenda.”

Baio said, “It’s very rare for people in a band of our size to be alone together. No engineer, no tour manager, nothing like that. It felt like being at the outset of the band again. And we did that for three years and change, whenever we were all in town.”

Those sessions may lead to the emergence of a new trio that happens to have the same members as Vampire Weekend, performing unreleased material.

“We kind of have an imaginary back story for that band,” Koenig added. “It was a band that came out around 1989, 1990, and they were a little bit too punky for the jam scene and a little bit too jammy for the punk scene. And there’s a little bit of the Minutemen in there. The truth is, this is very premature because that band is still hashing out its sound. I don’t want to say too much.”

Could the unnamed trio open shows on Vampire Weekend’s tour? “That has been discussed,” Koenig said dryly.

“We’re just trying to create a sound that we’ve never quite heard before,” he had noted earlier. “That’s what keeps us going.”

An earlier version of this article misstated Ezra Koenig’s age. He is 39, not 40.

How we handle corrections

Jon Pareles has been The Times’s chief pop music critic since 1988. He studied music, played in rock, jazz and classical groups and was a college-radio disc jockey. He was previously an editor at Rolling Stone and the Village Voice. More about Jon Pareles

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Music Interviews

Carrie brownstein and corin tucker talk sleater-kinney, and 30 years of making music.

Ann Marie Baldonado

Ann Marie Baldonado

Brownstein and Tucker co-founded Sleater-Kinney in Olympia, Wash., during the 1990s feminist punk scene. While they were working on their new record, Little Rope, Brownstein's mother died suddenly.

TERRY GROSS, HOST:

This is FRESH AIR. I'm Terry Gross. Our guests, Carrie Brownstein and Corin Tucker, formed the band Sleater-Kinney 30 years ago during the height of the riot grrrl feminist punk scene in Olympia, Wash. In January, they released their 11th album, called "Little Rope." They spoke to FRESH AIR's Ann Marie Baldonado.

ANN MARIE BALDONADO, BYLINE: It's been almost 20 years since Rolling Stone deemed Sleater-Kinney the best American punk rock band ever, so we're lucky that the band, Carrie Brownstein and Corin Tucker, are still making music and performing live. Since they started playing together in the '90s up until their latest album, "Little Rope," their music continues to evolve but still holds on to some signature tenets - the interplay of explosive guitars, Corin Tucker's distinctive wail, catharsis, vulnerability, guts and feminism, sour mixed with energetic joy.

During an eight-year hiatus, they both worked on solo music projects while Carrie Brownstein also co-created the sketch comedy show "Portlandia" with comedian and "SNL" alum Fred Armisen. Sleater-Kinney reunited 10 years ago in 2014 and became a duo in 2019 after the departure of longtime drummer Janet Weiss. "Little Rope" is their 11th album. While they were working on it, Brownstein's mother tragically died in a car accident. We'll talk about how that altered the trajectory of the songs and what it's like to work together for decades. Sleater-Kinney is currently on tour in the U.S. and will play abroad later this year. Let's start with a track from their new album, "Little Rope." Here's "Say It Like You Mean It" with Corin Tucker on vocals and guitar and Carrie Brownstein on guitar.

(SOUNDBITE OF SONG, "SAY IT LIKE YOU MEAN IT")

SLEATER-KINNEY: (Singing) Lie gently with me. All clocks have stopped. Our minds - they can't reach, all counting off. No bitter endings and no false starts - just tell me one thing. Just say the words. Say it like you mean it. I need to hear it before you go. Say it like you mean it. This goodbye hurts when you go.

BALDONADO: That's "Say It Like You Mean It" off the album "Little Rope." Carrie Brownstein, Corin Tucker, welcome back to FRESH AIR. Let's start off by talking about this song. Corin, this is you on vocals. How did this song come about?

CORIN TUCKER: This song was something that I had an idea for. I had, like, a really rough demo of it. And it was really just - I just had the chorus to begin with. And then I shared it with Carrie, and she was like, it's great. I really like it. You need to finish it. And so Carrie worked on the music, and I eventually came up with a vocal melody and lyrics for the verses. And we went into the studio with it, but when we were recording it, the vocals weren't quite hitting where they needed to. And I went home, and I just ended up, like, going to bed and waking up in the middle of the night being like, I have an idea. And I sang a different melody into my phone and just started the song in a different place that was kind of, like, a quieter, sweeter place to start the singing in so that it gave it kind of a bigger arc to go to in the chorus.

BALDONADO: Well, so starting at a different place than when you - where you originally started it - how did that sort of help what you wanted the song to be about?

TUCKER: Yeah. I think that, you know, the song is about a relationship with, you know, your longtime person. And it's different when you write a song like that when you're older because you have this whole journey that you've taken with the person, and it goes through a lot of ups and downs. But I think one of the things about, you know, writing a love song when you're older is that you realize there is a goodbye coming at some point for all of us. And we don't know when exactly that's going to be, but we do know that that's kind of the price that you pay for being in love. So the song is kind of thinking about that concept and saying, let's really say what we need to say today because we don't know what's going to happen in the future. But there's a lot of emotions, I think. There's, like, layers and layers and layers of emotions. And I think I needed to start the song in a different place in order to go through some of the different emotions that happen with that concept.

BALDONADO: Now, you started writing the songs for this album a few years ago in 2022, and this album was written during a period of sudden tragedy. Would it be OK if I asked you to talk about what happened while you were working on the album?

CARRIE BROWNSTEIN: Sure. So we had written probably three-quarters of the album, and we had gone into the first session of recording in the summer of 2022. We were slated to go back into the studio that winter, at the end of the year. And in late September, I got the news that my mother and stepfather had been killed in a car accident in Italy while they were on vacation. So that really changed a lot of things personally, obviously, for my family. And it, you know, really changed the direction of this album because it changed the direction of my life.

BALDONADO: Did any part of you want to stop or take a break? - 'cause that would have been totally understandable.

BROWNSTEIN: Yeah. I mean, to be fair, there wasn't any pressure to continue, not from Corin or our management or - you know, there are no outside influencers that were, you know, saying that it was an imperative to finish the album. And I don't even know whether I was thinking as clearly or cogently as, let's finish the album. But what I did know was that I needed structure and walls and stability at a time where everything faded and seemed to dissipate and blur. And playing music and playing guitar, which is something that I started doing in my teens - that was a ritual and a choreography that I really understood. I knew what to do with my hands and fingers upon a fretboard or the neck of the guitar, but I didn't know what to do with the rest of my body. I didn't really even know how to walk through a room or get out of bed as someone who was grieving. So I turned to something that I did know, and it was just the act of doing and making, I think, that gave the days shape and started to give my life a little bit of shape.

BALDONADO: Yeah. When I read that, you sort of, like, found comfort in going back to guitar and, you know, playing guitar like you did when you were younger, that made a lot of sense to me because it seems so physical. And I can understand that because I feel like grief affects your body, whether it saps you of energy or - I mean, even for me, I felt like I changed the way I was in my body. It's hard to describe, but it sort of sounds like what you're talking about. I don't even know, like, what words to use, but you just sort of feel different.

BROWNSTEIN: Yeah, I think especially with parents or family members...

TUCKER: Yeah.

BROWNSTEIN: ...It's an architecture, you know? It's like the scaffolding of your life and how you see yourself in relation to it is gone. You know, it's sort of crumbling. And you have to sort of write yourself in a new way and see yourself in relation to others in a different way. And I think, you know, it's like you're sort of walking around without a skeleton for a while.

BALDONADO: Now, you said that you didn't feel like you could handle the vocals the way you usually do. These days, you kind of trade off on songs. Can you explain why you wanted to play guitar but not sing as much?

BROWNSTEIN: Yeah, it's interesting because in the early days of Sleater-Kinney, as our listeners will know, or if people are just going back now and listening to our earlier records, you know, Corin is the voice of Sleater-Kinney. She has this amazing capacity to express so many emotions with her voice. She's really a very singular vocalist. And, you know, I was sort of always a sort of milder companion to that, more of a punk or personality singer. But over the years, I gained confidence, and partly because I had to kind of keep up with Corin, and we liked the intertwining vocals. You know, I started to sing more as we continued on.

And with this album - well, first of all, I'm such a fan of Corin's voice. Like, it's bigger than me, and I needed to hear it. I needed something bigger than me to step inside, to be a cloak, to be a shield, to be able to listen to sort of as a fan. So I turned to Corin as a - you know, just to help. And I needed her to rise to the occasion, which she definitely did. But I think I just felt part of it was that usually I have the words. I have the language. I'm fairly eloquent. But I just felt slightly misshapen and felt like I could express myself more clearly through guitar, which I think is an instrument that really emulates the human voice quite well. And that's where I did my wailing and let the notes bend and let, you know, the sorrow come through, or the sourness or the agitation or even the terseness and the frustration. That's all there in the guitar on this album.

BALDONADO: Let's take a short break here and then we'll talk some more. My guests are Corin Tucker and Carrie Brownstein, co-founders of the band Sleater-Kinney. They just released their new album called "Little Rope." More after a break. This is FRESH AIR.

(SOUNDBITE OF SONG, "MODERN GIRL")

SLEATER-KINNEY: (Singing) My baby loves me...

BALDONADO: This is FRESH AIR. I'm Ann Marie Baldonado, back with Carrie Brownstein and Corin Tucker, the band Sleater-Kinney. They've just released their 11th album called "Little Rope."

Going back to some of the difficult part of this story - can I ask you, Carrie, was it even more difficult that the accident that happened with your stepdad and your mom happened far away? You know, your mother and stepdad were on vacation in Italy when the accident happened. Did that make it feel strange or not real? I mean, it's always kind of strange and not real, I think, when you hear that someone that close to you has passed away. But...

BROWNSTEIN: Yeah.

BALDONADO: ...Just wondering if there was a difference.

BROWNSTEIN: I have not been asked that question, but I will say that Italy is a wonderful place to visit and a terrible place to die. It is - just takes a long time. I'm not singling out Italy, but it's just - as anyone knows who has lost someone in a far-flung place, the logistics are agonizing. The death certificates, just all - I mean, honestly, it just threw everyone in my family and Eric's (ph) family - Eric was my stepfather - like, it just - you know, we were just mired in all of these details. And that, I think - so it felt both far away, but what we were forced to focus on was just this minutia that was sometimes so absurd as to just be funny, sort of that laugh-cry kind of...

BALDONADO: Yeah.

BROWNSTEIN: ...Combination. And yeah, it was aggravating and very protracted. It actually really prolonged a lot of things, including the memorial service and just our ability to find closure. There was just a lot of paperwork and legalities to sort through when, you know, an accident happens on foreign soil. So yeah, it was just an added, I think, surrealism to the entire thing.

BALDONADO: Yeah, it even took them a couple of days to find you. And they called you, Corin, because that was a number that they had on file for Carrie's passport.

TUCKER: Yes. Yeah. I've had the same phone number since the '90s, so it was the one...

BALDONADO: (Laughter) Good for you. You may be, like, the only person.

TUCKER: Yeah, I know, I know. It was the one working phone number. And, you know, it just - it was the strangest phone call I've ever had, and I didn't. I couldn't process it at the time. I was driving my daughter to school and it came over, you know, the car and I was like, I'm not going to give you Carrie's number. Like, you can text me your details. Like, it just - it seemed unreal, seemed - you know, they weren't saying. They didn't say what was going on. They just said, we need to talk to Carrie Brownstein. I was like, I'm sure you do. You know, like, it just - it seemed unreal. And I had a bad feeling once the text came through and it seemed like a legitimate member of the U.S. embassy in Italy, you know? It just - then it was like, well, this seems - I didn't even really know, but I had a bad feeling when I saw that text. Yeah.

BALDONADO: I want to ask you about another song off the new album, "Little Rope." It's the song "Dress Yourself," which has that great line, get up, girl, and dress yourself in clothes you love for a world you hate, which I feel like many people can relate to. Can you talk about writing this song?

BROWNSTEIN: Yeah. There was a line that I read. It started out like, get up, girl, and something about meeting the day. I think it was that author, Jean Rhys. And so I was thinking of, OK, yeah, you're getting up. You're meeting the day. And I sort of - I wrote it down, and I was thinking about it and just the sort of modern conundrum of - I guess just the kind of cognitive dissonance that we all have to live with in order to both be cognizant of the woes of the world and our own, you know, pain. And yet we still sort of have to conform to just the task of being human and presentable. Sometimes that is a really difficult task.

And so, yeah, I started out, you know, thinking about, yeah, putting on your sort of your favorite clothes to put yourself into a world that you either momentarily or maybe loathe - I guess weekly loathe on a weekly or yearly basis. We somehow do it. I mean, I feel like that's just - you can't think about it for too long. It's so mind-boggling what we're able to juggle and what we're sort of forced to tune out. You can't engage with it all 24/7, but then you sort of - there's kind of a self-loathing and knowing that you can't and a desperation and a feeling of inadequacy that that you can't. So, you know, it's a conundrum that we all live with, I think.

BALDONADO: Now, you worked on this song before your mother passed away, but then you say it sort of took on a different meaning afterwards when you recorded it.

BROWNSTEIN: Yeah, I mean mostly the chorus. I mean, it really is a song about depression and sort of deep perennial sadness, I think, very entrenched. And the part in the chorus - you know, give me a reason; give me a remedy; give me a new word for the old pain inside of me - was really about my family and, you know, just sort of a longstanding, I guess, yeah, sadness around some of those relationships. And it was strange to me that after my mom died, it was like I had gifted myself the song to help me deal with it.

BALDONADO: Well, let's listen to the song. Here is "Dress Yourself" from the new Sleater-Kinney album "Little Rope."

(SOUNDBITE OF SONG, "DRESS YOURSELF")

SLEATER-KINNEY: (Singing) Get up, girl, and dress yourself in clothes you love for a world you hate. Stand up straight, and comb your hair, a style you're told looks half-deranged. Give me a reason. Give me a remedy. Give me a new word for the old pain inside of me. Give me the madness. Give me the memory. Give me a new word for the old pain inside of me.

GROSS: We're listening to the interview FRESH AIR's Ann Marie Baldonado recorded with Carrie Brownstein and Corin Tucker, co-founders of the band Sleater-Kinney. Their new album, their 11th, is called "Little Rope" - more after a break. I'm Terry Gross, and this is FRESH AIR.

SLEATER-KINNEY: (Singing) Step outside, and show yourself. The wreck of you is on display. Get out now while you still can. I hope you're saved. This is that rainy dance. (Vocalizing). Give me a reason. Give me a remedy. Give me a new word for the old pain inside of me. Give me the madness. Give me the memory. Give me a new word for the old pain inside of me.

GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to the interview FRESH AIR's Ann Marie Baldonado recorded with Corin Tucker and Carrie Brownstein of the band Sleater-Kinney. They formed the band 30 years ago in Olympia, Wash., and it became an important part of the feminist punk movement of the '90s. They both sing and play guitar, with Corin Tucker doing most of the singing on their new album, "Little Rope." It's their 11th. While they were working on the album, Brownstein's mother died in a car accident. Although a lot of the tracks on "Little Rope" had already been written, they both say that dealing with grief transformed the album.

BALDONADO: I want to play another song from "Little Rope," "Hunt You Down." Can you talk about writing it?

BROWNSTEIN: "Hunt You Down" was a song that we really worked on for a long time. We had so many iterations of the chorus, and it was probably the trickiest song to finish because we had a lot of faith in it. It was catchy, it was slightly dancey. We needed a song like that on the album. But the lyrics, the theme of the song just was not really coalescing. It wasn't until I was listening to an interview with an undertaker and poet named Thomas Lynch out of Michigan, and he was talking about meeting with a bereaved father who had lost a young child. And the father said to him, the thing you fear the most will hunt you down. And Thomas Lynch was struck by it, and I was struck by it, too, and I wrote it down. And as I was still wrestling with that chorus, I tried singing that over a melody and everything kind of clicked together. And then I wrote the verses around that idea.

BALDONADO: That idea, like what you fear most happening will find you, I think that's something that those of us with anxiety think about so much, like, on loop. It's such a true, difficult line.

BROWNSTEIN: Yeah. Whether it's, you know, existential or a much more real threat, I think there are a lot of us deep in that all the time.

BALDONADO: Well, let's hear the song. This is "Hunt You Down" from the new album "Little Rope."

(SOUNDBITE OF SONG, "HUNT YOU DOWN")

SLEATER-KINNEY: (Singing) Hey. Get ready. I've been down so long I pay rent to the floor. I'm reeling out of sorts. I'm unsteady. Been crawling round here for days in hopes the walls open up and give way. Call me home. I forgive you, I wish I'd told you so. Nowhere for the words to go, with what's left of me. I'll send you ashes, my love. The thing you fear the most will hunt you down. The thing you fear the most will hunt you down. Down, down, down. Down, down, down. I'm locking the room. I'm not ready.

BALDONADO: That's Sleater-Kinney with the song "Hunt You Down" off the new album "Little Rope." My guests are singer-songwriters and guitarists Corin Tucker and Carrie Brownstein.

I'm hoping you can talk about meeting each other and forming the band. You met in Olympia, Wash. You guys were in college there. What was it like starting out - the music scene there?

TUCKER: Well, just for clarity's sake, we actually met in Bellingham, Wash.

BALDONADO: Oh.

TUCKER: We met at a punk rock show that my first band, Heavens To Betsy, was playing, and Carrie was in the audience. And she came up to me after the show and she said, I'd like to get more information about this riot girl business. I took her address and wrote it down, and we talked about Olympia because I was going to school there and she expressed interest in going to school there. You know, the music scene in Olympia was extraordinary. It was wild. I mean, I went there as a college student, and as a freshman in college, I went to every punk rock show downtown that I could get into and just thought, you know, I saw a show that year, I saw Bikini Kill and Bratmobile play a show, and I said, I want to do this. And I formed a band, or I told people I was in a band. And then that summer I got asked to play a show. And, you know, I suddenly was, like, making records.

BROWNSTEIN: So I did - transferred, then, to the Evergreen State College and formed my first band, called Excuse 17. And then eventually Corin and I started playing together sort of as a side project. And that's sort of how Sleater-Kinney got its name because we thought, well, this is not going to be very serious or probably long lasting, so we'll just name it after a road that our rehearsal space was near called Sleater-Kinney, which is a town outside of Olympia called Lacey, Wash. And Corin just left it on my answering machine one day. I came home from classes and Corin said, let's call the band Sleater-Kinney. And we thought, sure. It'll last about a year. And that's how that all began.

BALDONADO: You guys had a short-lived romance when you were first starting out. I'm not sure if it's still - if it's OK to ask about it. But it was 30 years ago, and you continue to be a band and write music together and be in each other's lives. I think that's, like, life goals - keeping people important to you in your life like that.

BROWNSTEIN: We were really just ahead of the curve with the conscious uncoupling. You know, we - I feel like now there's so much more discourse around, you know, maintaining relationships and having things be copasetic and, you know, like, you know, communication is key and, you know, trying to prevent things getting acrimonious or too toxic. And not that there wasn't a lot of drama and acrimony and heartache and bad behavior. There definitely was. But we had the band to keep us together while we behaved poorly. And eventually we talked it out and worked through it.

TUCKER: We were just kids when we started out. You know, we were so young that sometimes we didn't - you know, we didn't really know how to handle all of those big emotions. But I think because we were able to write the music and do the songs, it's like that was always there for us. It did sort of help us grow as people, and I think that, like, those kind of more mature behaviors caught up with us eventually, hopefully.

BROWNSTEIN: Like this week.

BROWNSTEIN: They just did during this interview.

BALDONADO: Now, you write about breakup at various times over the course of those 30 years. And one example is the song "One More Hour." I think Pitchfork called it one of the most devastating breakup songs in all of rock music. Can you talk about writing that song?

TUCKER: Yeah. I mean, I think that kind of the language that we had to handle what was happening - at the time, I was really sad. And I - you know, I think that just being in that moment and writing about how something that you think is so special will end - I think that's just - that's kind of the nature of love songs. And that whole idea of impermanence and just trying to capture some of those images as that relationship is fading away is something that just sort of tumbled into that song.

BALDONADO: Well, let's hear the song "One More Hour" by Sleater-Kinney.

(SOUNDBITE OF SONG, "ONE MORE HOUR")

SLEATER-KINNEY: (Singing) In one more hour, I will be gone. In one more hour, I'll leave this room. The dress you wore, the pretty shoes are things I left behind for you. Oh, you've got the darkest eyes. Oh, you've got the darkest eyes. I needed it. I know, I know, I know. Oh, I needed it. It's so hard for you to let it go. I needed it. I know, I know, I know. Oh, I needed it. You never wanted to let it, let it go. If you could talk, what would you say?

BALDONADO: That's Sleater-Kinney with "One More Hour" - Corin Tucker on vocals and guitar, Carrie Brownstein on guitar. Let's take a short break here, and then we'll talk some more. My guests are Corin Tucker and Carrie Brownstein, co-founders of the band Sleater-Kinney. They just released their new album, their 11th. It's called "Little Rope." We'll talk more after a break. This is FRESH AIR.

(SOUNDBITE OF SLEATER-KINNEY SONG, "STEEP AIR")

BALDONADO: This is FRESH AIR. I'm Ann Marie Baldonado, back with the band Sleater-Kinney, which is Carrie Brownstein and Corin Tucker. They've just released their 11th album. It's called "Little Rope." Carrie Brownstein is also an actor and comedian. She co-created the TV series "Portlandia" with "SNL" alum Fred Armisen.

I want to talk to you about your guitar playing. The band doesn't have a bass player. You both play guitar. Can you describe how you approach your sound and if it's changed over time?

BROWNSTEIN: Sure. So Corin and I are both self-taught guitar players, and Corin's previous band was just guitar and drums. So she was just tuning her guitar to her voice, just tuning by ear. It was never codified, you know, via a tuner. So she was not in standard E, which is, you know, what most people start out with. So when we formed Sleater-Kinney, obviously, we needed to tune to each other so that the songs didn't sound awful. And she happened to plug into a tuner one day, and it was - her guitar was in C sharp. So, I mean, honestly, that was by accident. And stories of bands often involve these kind of happy accidents. It could have just as easily been, you know, drop D that day or standard E tuning, but it was C sharp, which is a step and a half lower. So I also tuned to C sharp, and that became the tuning of Sleater-Kinney.

Now, two guitars in C sharp - you know, they - as you go farther up on the neck, the intonation - it's not - you're not always in tune. And so there is - you know, we veer into this sourness, and I think what that sourness evokes is something that's melancholy. It's that - it's the sound of heartache. It's the sound of bittersweetness. And I think that became part of the lexicon of - you know, the sonic lexicon of our band. We also play very interlocking guitar parts. So we never really followed the convention of, OK, you're going to be rhythm guitar, and I'll be lead. We do sometimes, you know, occupy those places as guitarists, but often, we're both playing a semblance of a lead. You play a lot of inverted chords, half-chords. It's kind of a strange vernacular. And I think that's why Sleater-Kinney - it's part of the reason why we sound quite different from other bands.

BALDONADO: I love that you detune to C sharp, which is something - I'm not a guitar player, so I don't completely understand, but I always wondered what that kind of tension was. So I'm glad that there are - you know, to sort of find out what that kind of unspoken thing is - that I can't put my finger on is.

BROWNSTEIN: Well, it's that inaccessibility that our band has had for many years. People are like, why can't I get into this band? That's one of the reasons.

BALDONADO: (Laughter) Well, before I let you go, I want to ask you about another song. This is called "Untidy Creature." And I believe it's the first song you started writing for the album, but it's the last track on the album. Can you talk about writing it?

TUCKER: Yeah, this song is one that we - I think we started writing maybe in 2021. And it came together so quickly, just the melody and the guitar, that we were a little suspicious of the song. Like, is this - you know, maybe this sounds too much like other things we've done or it's - you know, it's not covering enough new ground for us. We just - we didn't know. So we kind of put it on the back burner and wrote the other music. But while we were writing the rest of the record, a lot of things happened, and one of them was Roe v. Wade being overturned and a sense of just anger and frustration and bitterness and betrayal and feeling trapped. And as we worked on that song, those feelings came up. And they came up in a way that looked at the idea of relationship and personal relationship, but also the relationship of being viewed or seen or evaluated in your own country as, you know, not being worthy of being in charge of your own bodily autonomy. All of those feelings went into that song and they came out very raw during the recording.

BALDONADO: Well, here's the song "Untidy Creature" from the Sleater-Kinney album "Little Rope." Corin Tucker, Carrie Brownstein, thank you so much for coming back to FRESH AIR.

TUCKER: Thanks so much for having us.

BROWNSTEIN: Thank you.

(SOUNDBITE OF SONG, "UNTIDY CREATURE")

SLEATER-KINNEY: (Singing) I heard the click of a tiny catch. I closed my eyes and you found the latch. I looked up and saw the bars intact - locked up tight, the perfect trap. I rattle and shake inside, but I can't escape tonight. There was a time when I saw it outside, followed the air, turn left, turn right. Now with a move, you close the lock. The world outside, it's what I want. I rattle and shake inside. I push against your arms tonight. And it feels like we were broken, and I'm holding the pieces so tight. You can try to tell me I'm nothing and I don't have the wings to fly. But there's too much here that's unspoken and there's no tomorrow in sight. Could you love me if I was broken? And there's no going back tonight. Looking at me...

GROSS: Carrie Brownstein and Corin Tucker. Their band Sleater-Kinney has a new album called "Little Rope." They're currently touring the U.S. and will play abroad later this year. They spoke with FRESH AIR's Ann Marie Baldonado. After we take a short break, David Bianculli will review a new science fiction series from some of the creative forces behind "Game Of Thrones" and "True Blood." This is FRESH AIR.

(SOUNDBITE OF CLAP YOUR HANDS SAY YEAH SONG, "OVER AND OVER AGAIN (LOST AND FOUND)")

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