The meeting all started with a simple phone call. The last time around the band did a one day press conference in Los Angeles to announce their plans for a tour and the release of Escape. This time, band members were being made available for interviews at Journey's management and merchandising headquarters in San Francisco. Friends Michael Jensen and Sandy Einstein put together a quick flight up to the City by the Bay for a chance to talk to Jonathan Cain and Ross Valory. (Steve Perry and Neal Schon were going to be at the Frontiers press conference later in the month. Steve Smith, meanwhile, was finishing his solo album in New York before the band was to ready itself for another massive world tour.)

Riding in from the airport, I had my first and only chance to preview parts of the new album before we started our conversation. I was quite impressed with the new Journey sound. It felt much heavier and Steve Perry's vocals were in a lower register which complemented the fat guitars. Once we made it over to the Nightmare (Journey's management company) offices, it was easy to see why the band is so successful. Inside the triangular three-storey building lies the band's lighting crew offices, the fan club, the management, the art department  in fact, the entire in-house operation.

Criticism has been levelled at the band for being too "commercial", which is a curious charge. At times it would be easy to view the feeling towards Journey, a band that leaves no bases uncovered, as professional jealousy from others who aren't as successful. The band sells an incredible amount of records, memorabilia, merchandise, and good times at concerts. Perhaps that is the fairest estimation of the success of this band from the Bay Area.

Join us for an informal conversation with Journey's keyboardist / guitarist / songwriter Jonathan Cain and bass man Ross Valory as we talk about the new album, the band's stance, and some interesting sidelights.

RECORD REVIEW: I've only had a chance to hear the first side of the album once, on the way over here. The first thing that caught my ear was how heavy the first song, "Separate Ways" is. I was wondering if you, Jonathan, had written it. The song sounds a lot like your guitar style.

JONATHAN CAIN: Steve and I both wrote it. We wanted to write something rhythmic and still have a strong and haunting melody. We needed a main rhythm to run through the synthesiser and Steve Smith designed that kind of drum beat to let everything breathe. It's really a throwback to all of our roots and the Motown sound. Steve has always listened to a lot of Motown records, songs with a strong chorus approach. Songs that were real urgent sounding, but still had rhythm and melody.

It was something we wrote on the road. I think we did it in New York somewhere.

RR: Most bands don't even consider writing on the road. There is too little time, too many distractions.

ROSS Valory: I'd say that maybe a quarter of the material is written on the road. We are actually playing or rehearsing only about two hours a day. There is some time.

JC: I think there are certain ideas that are real profound and come to you. It is kind of hard to sort out what really is viable and what it just nervous energy.

RR: Do you trust yourself to remember these ideas or do you tape them?

JC: We tape them on little recorders.

RV: Neal seems to come up with a lot of ideas out on the road.

JC: The song Faithfully, the last ballad that's on the record, was written right out of sleep after a nap. We finished the whole song in an hour. It was just a burst of energy that worked.

RR: That's not normal, is it?

RV: (laughs) No that's not normal at all.

JC: I wouldn't say that is normal. (laughs) The road tends to drain you and it's hard to make creative decisions. It's very draining making the arrangements as well.

RR: Does it take your mind off the performance?

JC: Sometimes it does, and that can be good. You can get lost in writing something.

RR: You were doing Separate Ways on the last tour live, so you must have worked that one up in a hurry and put it in there.

RV: That song was worked up pretty quickly. It was one of your quick bursts. I remember reading an article once about Ian Anderson of Jethro Tull, and he said the songs that were his best were the songs that were written and recorded in the least amount of time.

RR: A lot of artists have said that. John Cougar said he wrote "Hurt So Good" in ten minutes.

JC: In the shower

RR: It seems to me that even if someone had a really good idea it would take quite a bit of time to present it to the band.

JC: Yeah, it does.

RV: But it's a fresher subject too. If you pull it together quickly, though, the song seems to have more energy to it.

RR: Who produced Frontiers? I haven't seen any credits yet. Did Mike Stone do it?

RV: Mike Stone and Kevin Olsen. Of course, we helped.

RR: Where did you do it?

RV: Fantasy Studios.

RR: Was the project all-consuming, did you concentrate only on recording, by not being involved in anything else?

JC: (laughs) We kind of took weekends off. We'd take a day or two off in a row. This album is different from the last one, because there were a couple of tracks that were conceived totally live. From the vocal to the tracks there was hardly anything touched. A couple of things were sweetened here and there, but there were very few overdubs. Most of this record was actually performed live. It wasn't the Ken Scott school of thinking where you record the drums, scrub everything else and replace the instruments. A lot of bands are into that. There was a lot of spontaneity

RV: Especially Neal's leads. Yeah, I do. But with this band the space element, leaving breathing room between the instruments to let the power come through the air, has become so important. We are aware of that temptation. Fewer notes are played with more thought behind them. Especially because Mike Stone gets an ambient sort of drum sound. That itself takes up more space. Neal, too, works with ambient sounds on his guitar, and that fills up space too because there is more length to each note. One note can mean just as much as playing four. It gives you a better perspective.

RR: How democratic is the process of selecting songs and arrangements for the album?

RV: In general terms it's real democratic. In this case we had a lot of songs to choose from. We did more recording than ever.

JC: I think there were five songs that had to eat the dust.

RV: That doesn't include other songs that we had written, began to write or started recording.

RR: What's going to happen to the songs you left behind?

JC: They could get farmed out for solo projects, movies, stuff like that.

RR: Is there any problem when one person writes the whole song?

RV: If someone has written the whole song there is a lot more weight and leverage given to him but he's still subject to the opinion of the entire band.

JC: The idea still has to be agreed upon by the band and accepted or rejected. A lot of the ideas don't represent the band's sound they can be too individualized. Every band has to have an element of participation, the colors have to sound like Journey.

RR: Journey is set up in a way that there is no dominant talent in the band that would limit the other players or writers. Some bands are so dominated by one man that it has to be difficult for the others.

JC: In some bands it is really hard to tell that there are other talents there. There has to be a lot of frustration, because a lot never gets put on record. Great things can go unnoticed.

RR: I'm assuming there are a lot of different influences brought into Journey music.

JC: We're moving towards everybody's version of more modern music. There's a  lot of things we've already done. Neal will come in with a lick and say, "this is something I haven't played," Steve will play a drum beat and say "this is something I'm influenced by."

RV: On the new album we've taken more of a step from Escape than we did from the last album.

RR: Skipping the live album?

RV: Yeah, Frontiers is a bigger step away from Escape than Escape was from Departure. It was more of an attempt to modernize the band's sound.

JC: On Frontiers there are a lot of ideas that overlapped each other's ideas. The album is like a mosaic.

RV: Are you asking what musical influences the band is bringing with them?

RR: Yeah I'd be interested to hear about that,

RV: I'd have to say that if any one person in the band had the most influence from one area it would be Steve Perry and his Motown roots. He's also interested in things like Human League, Thomas Dolby and a lot of the new sounds that appeal to him.

JC: Neal listens to Andy Summers of the Police a lot, Miles Davis and Fripp of King Crimson. I've always been fond of bands like early Steely Dan, bands with interesting chord structures. I was an early Police fan and a Roxy Music fan. I loved Roxy Music and Bowie.

RR: Were you into Roxy early?

JC: Not real early. Love Is A Drug caught me off guard. I just didn't know who that was and it blew me away. It was such an innovative song, a great social statement.

RR: It described so perfectly the singles bar lifestyle.

JC: That's a hard thing to do, capsulize a feeling out on the street like that.

RR: When I talked to him last summer I was amazed by how quiet and shy he was, yet he had accomplished so much, influenced so many people. He even gave the impression that he hadn't done so much, that he had so many more albums he had to do. Much better ones.

RV: He feels that he hasn't done that much  that's a healthy optimism.

JC: We all have to live with that. You have to assume that, if you're in the business of making records for the rest of your life, you have to continue to make better ones.

RR: The release of the album was scheduled for January 19th. What is the following tour set-up like?

RV: We'll go out in February and start in Japan. Then we'll come over to Seattle and work our way across the U.S. until we finish in August.

RR: Doesn't it make sense to break up the tour?

JC: We're taking two weeks off between the Japan and U.S. legs, and we'll break it up a bit. We're lucky we can do that. A lot of bands can't afford to.

RV: The first leg of the tour will involve going to places we've never been to or haven't been to in a long time. Billings, Montana; Rapid City  is Pacoima in there? (laughs)  and six Chicago shows.

JC: Do you know what a mess that is, playing in your home town? The guest list is a mess!

RV: Speaking of guest lists, I think that some of the most traumatic and pressured moments are when you're playing your home town. I've had shows at the Oakland Coliseum, where everyone I know wants to go. All the energy it takes to put on a performance and make sure everyone is taken care of. Sometimes that becomes more of an effort than playing. You find yourself wondering in the middle of the set ."I wonder if so and so got in OK."

RR: What's your stage set-up like?

RV: It's going to have a short front, for the opening act. The upper stage will be more forward and smaller. We'll also have the lighting design that the Who used, where the lamps can revolve. "J" will move from backstage left to upstage right. The keyboard platform will twirl.

JC: We're trying to get away from the huge dinosaur type stage back to the old school where playing together is playing together.

RR: Don't you think it will be easier for the audience to see everybody?

RV: On the last tour, we were visible from almost 360 degrees. Some of the seats that were sold last in the back of the stage were very good seats as far as the view and the sound.

The main advantage will be that we will be closer together and the sound will congeal and be very solid as far as all the instruments go. We'll go full stereo so each instrument will be mixed by the individuals who hear it.

RR: Explain that a little better if you could.

RV: Neal will be far left as he has always been. If he is using a straight sound and two effects they will come round to "J" and I mixed. If I want to hear bass I can mix it that way.

JC: There's always the problem that I can't hear the drums or I can't hear the bass and I need to.

RR: It sounds like the first set-up almost everyone uses when they start off, having one amp apiece and playing right next to each other.

JC: Yeah, exactly.

RR: Any special effects that we haven't seen?

JC: There are a couple of things that we are working on. Ideas that tie in with the album cover.

RV: (seriously) At the end of each encore Steve Perry will moon the audience.

RR: Ah (laughs) he wants Angus' job.

JC: I saw AC/DC in Germany and they were great.

RR: In the early days in small clubs Angus would run out onto the streets for his big solo and then come back in from the cold to moon the audience. Back to guitars - How much guitar Jon will you be playing on this tour?

JC: Quite a bit actually. I play rhythm guitar on about four or five numbers. It changes the sound of the band.

RR: It makes it a lot harder.

JC: It does, it gives the band a different look. It's basically similar to what we did last year. I'm not really a lead guitar player. I like playing rhythm.

RR: You're a very percussive guitar player.

JC: Right. What I play is an extension of what I hear on keyboards, but it's a little bit easier to play rhythmically. It's funny just plugging into a guitar without any effects on it and it sounds great.

RV: Yeah.

JC: That's what I love about Angus, it's just that sound. With the Babys I got a lot of experience as to what a rhythm guitar should sound like. Wally (Stocker) always had a real nice rhythm sound. Playing with Neal is a real thrill anyway and when the three of us get together it's different than when I'm on keyboards.

RV: Never a dull moment (laughs).

JC: Visually, we can move around a bit.

RR: Do you ever try to choreograph any slick moves on stage?

JC: I think it's more of a free-for-all. Neal kept trying to push me over last tour. I don't know what's going to happen this tour.

RV: We don't try to choreograph it too much. We just get up and get out there.

As far as the show goes we will do the main hits off of Escape and the new album. There are a few things we played last year that we said we were playing for the last time. "Out there in the audience, we're taking notes, and this is the last time we'll play this song."

RR: For example?

RV: Songs from Evolution and Departure.

JC: We got to move on. I'm sure by the time this tour is over we will have a couple of new things ready to do. It keeps an overlap and makes it interesting. You have to realize that when you go out and tour on an album, it's already six months old. You have to do something or you'll go crazy, or worse turn into a jukebox (laughs).

RR: There have been significant enough changes in the band that I think audiences will understand if certain songs are replaced. Most obviously the Gregg Rolie trademarks.

RV: A lot of the songs that were replaced were the songs that Gregg made famous.

JC: They still get their respect and they still get played. Some pieces got overdone on Escape so they go back into the catalogue.

RR: What do you guys see off this album that radio will pick up on? On just one listening in the car on the way over here I would pick Separate Ways as the most obvious choice.

JC: We picked that song as a single because I think we needed a change in direction. We didn't want to get labelled as a ballad band. We just happened to be in a ballad groove and we did some ballads last year, We wanted to do something more strident  I think Separate Ways is an urgent song.

RR: I like the heavier stuff and that's why it caught my ear. I always wonder what a lot of bands would sound like if they pulled out all the plugs and got real hard. That song sounds like it to me.

JC: This album is different rhythmically. It has more linear melodies. The sound is different than any other band but it definitely sounds like Journey. "Chain Reaction" is the best example of what I'm describing. "Send Her My Love" is one of those mid-tempo haunting ballads. I really enjoy that song, it's reminiscent of a lot of the songs that influenced me early on, like the Beatles. It's a song you can hear and say "That's Journey."

Side One does tell a story of the growing pains within a relationship and stretching out, going separate ways and coming back together. Maybe that's a frontier in itself. The themes are more intense in their conflict.

RR: It sounds more conceptual and less universal.

JC: It is. The whole first side is about times where people have problems. It's not life's groovy and I'm cool. If it is what do you write about, we're trying to get into something .

RV: (singing)  impolite.

JC: (laughing) Yeah. We just got sick of the "it's the air that I breathe and I love you." This isn't teenage music. Maybe "Don't Stop Believin'" was aimed at the teenage audience. We needed a song like that in our show just as we need things from the other side of the coin.

RR: One thing struck me as the biggest change of direction on the new album and that was the lower tone of Steve's vocals. They weren't as high as before . . . a lot like the songs he sang on the Japanese release Dream After Dream soundtrack. I have a copy of that album and I can see how it doesn't really fit into the Journey marketing plan for the United States. But I really liked Steve's vocals on that album.

RV: Steve is singing in a lower register with a different tonality. He did that on this album intentionally. He wanted to move on.

JC: We don't want to repeat ourselves and say the same thing over and over again.

RR: There is a kind of a parallel  I don't know that you guys will appreciate the comparison but I felt the same way about Rush. I always liked the band but when Geddy Lee brought his vocals down on Permanent Waves I thought the band would be so much more attractive. People that may have been alienated by his voice before now found the band irresistible because they were so good already. I like the way Steve sings, don't get me wrong, but not that many people have heard the way he sings on Dream After Dream and I think a lot of people would really enjoy him there and the way he sings on the new album.

JC: I thought the album was interesting too. We tried to write songs in the key he would be singing, and still have the intensity. Of course we had to adjust, rearrange the layers of sound. EQ is weird.

RR: I wouldn't think it would affect you as much as Ross.

JC: Oh no, the guitar would have to be a little more balanced.

I'm glad you heard that right off the bat, because that's something we tried to achieve this time. We didn't want to do two identical albums.

RR: Before, when we were talking about Bowie, I had a thought I wanted to lay on you. When he came out with Ziggy Stardust, I thought he had created the greatest rock character ever. I thought it would turn into a lifestyle and that he would be the megastar of the 'Seventies then all of a sudden he changed the character and changed it constantly. At first I was crushed and heartbroken, but it really taught me and a lot of other people the value of continuing to be creative and changing. Now I realize who wrong her would have been to continue his career as Ziggy.

RV: He's a chameleon.

RR: I guess if you keep doing the same thing over and over again you end up in Las Vegas.

JC: You sure do.

RR: How much does the new music affect you guys? There's one question I like to ask guitar players and that is what do they listen to. I generally hear two things. They either listen to everything or they listen to nothing. If they listen to everything they want to know what's going on and if they claim to listen to nobody they say they don't want to be influenced. They want to be a total original.

RV: How's that? It's impossible. There's nothing that's totally new  there are just different combinations.

JC: Neal listens to a lot of bands, he keeps up on it. He's listening to Night Ranger with that guitar player that's incredible - Brad Gillis. Neal will say "I appreciate that" when he hears something he likes. I don't think anything has to be really innovative to be really appreciated. For me I like some of the things Saga are trying to do. I think from one angle I hate it but I can appreciate some of the keyboard sounds and that the concepts are real ambitious.

I like ambitious types of music. I'm trying to listen to more new sounds but it's so hard. I agree with you on the Rush stuff, they've really moved into a nice direction. I'm listening to Vangelis, he's cool to me. I listen to a lot of Tangerine Dream, they still make great records. Their record called Exit is excellent from beginning to end, and as a keyboard player there's a lot there. Now too we have all these machines, the Linn drum machine. The new Peter Gabriel album has made a dent on my life. I turned that album on one night. I was a little spaced, a little high. I turned all the lights off and played the record at real high volume and it just destroyed me. His record is bordering insanity. The guy has a movie going on in his head that is so honest and open. I have dreams like that but when I wake up I don't want to write about them. Through this Eastern religion he can really get into his psychic and lay this open message on us. To be that honest is incredible. Townshend can become silly in his honesty but Gabriel can take things that you're really pissed about and he'll sing about it. Sometimes that's not entertainment as much as it is self-analysis. It's very enlightening but it's not something you can play and do anything else to it.

RV: I have a great amount of trouble listening to music and doing anything else to it. There are very few things I can put on in the background and do justice to.

RR: Sad to say, a lot of music is listened to in a casual way and on inferior equipment. Doesn't it bother you to put all this work into a recording project and know that most of the time it will be heard on inferior equipment?

RV: There's a certain amount of compensation that goes on in the mixing to compensate for the equipment that most people will hear it on. The first thing we do is hear all of our music through those little Aurotone speakers. We still have to approve it by that too.

RR: I heard that Steve Smith is off in New York working on a solo album. Do you, Jonathan, have any plans for a solo album?

JC: Not really. I'm working a lot with my wife (Tane Cain) and her band. I have something with her that I'm working on that's a little like Missing Persons. It's not so far out there, but it's an outlet outside of the band. It keeps me working doing things with her band. I finished a song with Sammy Hagar. I'm not ready for anything like a solo album. I feel like Bryan Ferry does in this respect. I still have a few more albums to do with the band before I stretch out. Making a solo album is like starring in a movie and until you've gathered enough life experience it's not right. I'm going to wait until I'm seasoned. Simmer and sauté a few more times. I'll collect postcards here and there, save them for that time.

RR: One subject I'd like to pick at a little bit, if it's OK is your time with the Babys. Their sound changed a lot when you came in.

JC: John (Waite) had a lot of pressure on him. He was the principal songwriter and he had to finish things off by writing the melody and lyrics. People came up with a lot of ideas but he had to finish them off. I had been writing songs with another Englishman, I was out of the club scene, my solo album had flopped so I was just writing songs gathering experience. We just jammed together and it worked out real good.

He was always sort of a standoffish-type guy and I had to sort of earn my rights to write. I had to go through several apprenticeship stages.

RR: I met him one time and I found him difficult to talk to, real distant.

JC: He is distant and he's hard to get to know.

RR: He seemed to worry so much.

JC: I don't know any lead singer who doesn't worry. They're naked prey. It's a real difficult situation to be in. He feels real naked some times. When we did get together great things did come about. He's one of the few guys who could go into a studio at four o' clock in the morning and write a complete song in ten minutes. That may not be that big a deal but to me it was a happening. We wrote songs like snapping your fingers, When he was ready and open to write, he was great. In Journey, we want to go along at a slower pace and think about it a little while and make it better, John always had what he wanted to say at the tip of his tongue. It was immediate. His mind was real sharp when he was like that. That was fun because he would come up with the craziest things. We did a thing called "Jesus Are You There." That was just a jam and he started singing "Jesus are you there." I thought it sounded sacrilegious for a while but then I thought "let's do it."

RR: I never thought the Babys got as far as they should have. They didn't have the push behind them that Journey does. This may sound like a cruel world in a sense, but they didn't have the marketing experience or expertise that Journey does. Look at this building, the organization, and now the Journey video game. Hey, it's a great game. I played it all during Christmas.

RV: It's not an easy game. It's unique.

RR: Whose idea was it?

RV: Jim Welch, our promotion man in merchandising. He came up with the idea and Herbie took it from there.

It is a game that was developed around real life situations. The player has to leave the gig as soon as he gets done. Steve likes to do all of his press and promotion before the night of the gig. His voice is rough and raw and he doesn't want to sit and chat to all these people who smoke and take his time.

JC: He feels very vulnerable and he needs a chance to unwind. There had to be a certain real life timetable to stop him from being sidetracked so he used to jump into his van and "escape" people (laughs). Through all that came the game.

RV: It's a real life game where you have to escape from photographers, groupies and promoters . . . shifty eyed promoters (laughs) especially shifty eyed promoters.

JC: You have fifty thousand dollars and you only have so much time to beat it. It's like playing skiing on Intellivision  you have to be able to handle all of the functions and still get away from all of the people who want your money.

RR: Didn't you guys have a deal a while ago with Budweiser that was criticized but still a sign of times to come?

RV: A long, long time ago . . . we caught some flack for it.

RR: But The Who was sponsored by Schlitz on this tour.

RV: Aah critics . . . The Who are cool with Schlitz.

RR: It was the first real commercial sponsorship deal that I can ever remember. What was your deal with them?

RV: They printed and distributed these pamphlets and ads for the shows. It was a way for us to get exposure for the shows and have something for the audience that didn't cost us anything. The most unique thing about it was the fold out poster of us

RR: Guzzling?

RV: With tuxedos, silver trays, and butlers serving.

RR: No guzzling?

RV: No, I was shown stashing the silver Budweiser plates in my jacket (laughs all around).

RR: Did you think that helped Journey?

RV: Yeah I think it did but it ran its course. We had a few people saying  "look they're going for it."

RR: That's one question I had. How do you handle when people rag on that angle?

RV: Corporate rock?

RR: Yeah. That has to be the sour spot.

JC: It's jealousy. They're envious.

RV: It's also a shallow image of musicians and popular music. When you are successful you are commercial because it's sold. When you're not it can still be considered artistic because it is a mark either amateur or more professional. All music that is sold whether it be Mantovani or whatever; anything that is sold is commercial. The more successful you are the more likely you are to be criticized for selling out or going for it. You're in the music business and you're in business. Hopefully the bottom line is that you'll earn a good living. That's all I ever expected out of it when I joined Journey years and years ago.

I certainly can't complain at this point.

RR: Don't you get the feeling that some people are saying that it is almost a crime to sell a lot of albums? Studying communications as I have done throughout my education I have increasingly become aware of the fact that critics have little effect over the success of a popular rock band. If you want to insult a band ignore them. Let it lie. I see myself as an anti-critic. If I don't enjoy a band, I won't bother. Someone else will if the band is any good or has something to say. But there is no need to go on a crusade as to what's right or wrong. The record-buying public will answer a lot of questions as to who's making some sense.

RV: But at least as far as being a good journalist giving an accurate description of what's going on.  Music critics come to review the show and say "I don't like this and I didn't like that," but they won't admit that there were fifty thousand people on their feet on their chairs blowing their brains out. Enjoying what they paid for. They got their money's worth. So often the audience success is ignored as being success. I don't mean financially. That doesn't matter. Did the audience enjoy themselves? If they ignore that fact they are not being honest journalists. Their opinion is theirs, they earned that right by getting to where they are.

RR: I doubt that in a lot of ways. I know of some big journalists from where I come from who couldn't tune a guitar to save their ass. When people read articles about their rock stars or go to a show they don't give a flyin' ---- about what some 'educated' rock critic says  they want to hear the highlights, hear the band talk. They like what they hear and it means something to them. If a critic wants to get on his soap box OK, but music is made to please other people. How many albums have you guys sold? Millions? The figure really doesn't matter. You guys have sold a ton of albums that a lot of people have enjoyed.

JC: The figure really doesn't matter. The thing that matters is the core of energy that keeps the band going. The band isn't everything. We are part of the hub. The exciting thing about it is that we have such talented people, not only musically but in the business world, who make our job easier so we can concentrate on our jobs. There's nothing better to be a songwriter and to have people out their busting their ass to make your song number one. I don't care what people say.

RR: There is a significant difference between playing a song on your acoustic guitar in your bedroom and playing the same song in front of fifty thousand people in a stadium and having them screaming. The reason people make music is for other people to hear it, be moved by it. If they didn't, why don't they play in closets and wank. If you didn't play music for other people you wouldn't play live at all, much less record.

JC: That's right.

RR: Well, I'm sure you guys have had enough of my juke box for a while. I just wanted to be straight and let you know where I'm coming from. I hope it wasn't a drag.

Anything big coming up we should know about? Movies? Video?

RV: Video for sure. The last Oakland Coliseum show was captured live on video, and I think it will be put together for release. Journey's video aspirations have been pretty much on the back burner for a while and we want to put out a couple of things together. A couple of years ago I found a guy with  ¾ inch professional quality video equipment and I had him come on the road. I funded the thing myself and I wanted him to catch the performance and whatever humor off the show that he could. Then on the last tour we got more into an authorized Journey documentary which still has to be edited. In that footage is a complete performance video of the last show of our tour. That will be edited and put on the market soon. The documentary shows more of the behind-the-scenes dealings of the organization, everything that goes into the support and the production, the trucking, the lighting, mixing, the equipment. It would be something to show in just five seconds all of the equipment.

JC: We'll also probably do a live concert video somewhere along the tour. We'd also like to do a conceptual video of the entire album. It should be fun competing with these new wave bands.

RR: This whole video market is so interesting and getting so competitive, Bringing up Roxy once more, they actually did a conceptual video for their first album in 1972. Isn't that amazing how much foresight Bryan Ferry had? I wonder how you feel about being that innovative as compared to being in the mainstream.

JC: Being an underdog was fun with the Babys and the cult following, but being in Journey definitely has its merits.

RR: Sometimes I think being in a band as successful as Journey is like being on a world championship team where everybody plays a team game as opposed to someone who leads the team in hitting. They both have their merits but that team player is going to have that ring all his life.

JC: That's right. You sure covered the gamut here today.

RR: Thanks guys for all the time and even letting me fudge a little. There aren't any copies of the record out yet and there's only one cassette of the album in the entire building. I got to find it and give it a listen.

RV: And that cassette is mine (laughs).

RR: Sounds like everyone will be fighting for it.

RV: That they will.

© Record Review, April 1983, Ashley Communications Inc.

By Jon Sutherland
Record Review, April 1983
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