musical with journey songs

• Manage Account

Journey’s 10 Best Songs

Sure, "Don't Stop Believin'" -- but there's a whole lot more.

By Gary Graff

• Share this article on Facebook
• Share this article on Twitter
• Share this article on Flipboard
• Share this article on Pinit
• + additional share options added
• Share this article on Tumblr
• Share this article on Reddit
• Share this article on Linkedin
• Share this article on Whatsapp
• Share this article on Email
• Print this article
• Share this article on Comment

Though it arrives amidst lawsuits , social media sniping and infighting, Journey is turning 50 this year.

During that half century, the group has sold more than 100 million records worldwide, logging 11 platinum-or-better albums (including Diamond certifications for 1981’s Escape and 1988’s Greatest Hits) , earning eight top 10 albums on the Billboard 200 and 25 hits on the Billboard Hot 100. It’s also been a reliable ticket-selling act for most of its career, and in 2017, the band was inducted into the Rock and Roll Hall of Fame.

Journey’s is the story of eras. When the group originally formed in San Francisco in 1973, original manager Herbie Herbert helped bring together guitarist Neal Schon and keyboard player/vocalist Gregg Rolie from Santana, bassist Ross Valory and rhythm guitarist George Tickner from Frumious Bandersnatch and drummer Prairie Prince from The Tubes. Prince would be replaced by David Bowie/Frank Zappa skins man Aynsley Dunbar, while Tickner would leave after Journey’s self-titled first album in 1975. The remaining quartet recorded two more albums before Steve Perry came on board for 1978’s Infinity, which began the band’s run of multi-platinum smashes — also marking the first appearance of Alton Kelley and Stanley Mouse’s iconic scarab logo for the band. Dunbar was replaced by Steve Smith for 1979’s Evolution , and Rolie would leave in 1980 with Jonathan Cain of The Babys joining to help elevate the band to even greater fortunes on Escape and Frontiers .

The palette has been diverse, but there are common elements among Journey’s best songs — sturdy melodies and sing-along choruses, usually leading into one of Schon’s majestic guitar solos. But within that mold there’s also been plenty of invention and clever arrangements that have never been as formulaic as some of the band’s detractors (particularly during their early ‘80s heyday) would have you believe.

Journey has gone through its fair share of lineups, with singer Arnel Pineda on board since 2007 — the longest continuous tenure of any Journey frontman. The group released Freedom , it’s first new studio album in 11 years, in 2022, and despite the current legal fractures (which you can read about in detail here ), still they ride, as the Escape track says — and may they keep on runnin’ for a long time.

With all that in mind, here are our picks for Journey’s 10 best songs — not all of which come from the biggest hits.

"Someday Soon" ( Departure , 1980)

This album track from Rolie’s finally studio effort with the band is a hypnotic tone poem, with a ringing, cushy ambience and a hippie kind of optimism – not to mention the best give-and-take Perry and Rolie achieved during their time together in the band. It’s of course been eclipsed by Journey’s myriad hits (“Any Way You Want It” is the enduring top 40 Hot 100 hit from Departure ), but it’s a gem worthy of discovery.  Listen here.

"Escape" ( Escape , 1981)

The title track from Journey’s Billboard 200-topping studio album straddled the hard rock/pomp attack of the group’s mid-‘70s output with the melodic sensibility of the Perry-Cain axis. Its five-minute length provides room for the arrangement to stretch out and flow from one song part to the next, with a crunch that was part of Journey’s palette at the time. Listen here.

"Of a Lifetime" ( Journey , 1975)

The Journey of 1973-77 was certainly a different creature than the hitmaking colossus so many know and love. The group’s initial lineups flexed instrumental muscles, smoothly knitting together a number of styles more interested in the journey (ba- dum ) than any commercial destination. The first track from its first album is a prototype, leaning into blues, psychedelic rock and a touch of Latin, with the first of what would become many standout Schon solos, and a tuneful sturdiness delivered by Rolie’s soulful vocal. Listen here.

"Faithfully" (Frontiers , 1983)

The melody of this top 20 Hot 100 hit came to Cain in a dream on a tour bus, and his paean to the struggle between home and the road was written in a half-hour. The result was a swoon-inducing ballad tailor-made for a sea of lighters (back then) and cellphone flashlights (now), capturing one of Perry’s best recorded performances and one of Schon’s most inspired solos. One of its great side stories is that Prince contacted Cain after he wrote “Purple Rain,” concerned that it might be too similar to “Faithfully.” Cain determined it wasn’t, but joked to Billboard that, “After seeing what it became, I should have asked for a couple of points….”

"Ask the Lonely" (single, 1983)

Recorded for Frontiers , this one wound up in the romcom Two of a Kind (starring the Grease duo of John Travolta and Olivia Newton-John) and rocked its way to No. 3 on the Mainstream Rock Airplay chart. Like “Only the Young,” which wound up in Vision Quest two years later, it showed that Journey was on roll – and well-suited for big soundtrack moments. Listen here.

"Who's Crying Now" ( Escape, 1981)

The best of Journey’s swoon songs — started by Perry while driving into Los Angeles and finished with Cain — has a subtlety and dynamic build that sets it apart from the many others of its ilk they’d create. The verse slips into the chorus with a soulful ease, and Schon’s guitar accents deftly build up to his searing solo at the end. The Escape single reached No. 4 on the Hot 100. Listen here.

"Feeling That Way" ( Infinity , 1978)

If fans at the time wondered how Steve Perry and Gregg Rolie would co-exist, this was the answer — an ebb-and-flow tradeoff that proved they could complement each other as lead singers as well as harmonize smoothly together (first evidenced by Infinity ‘s lead track “Lights”). Its medley-like pairing with the next track, “Anytime,” was gravy that would become a motif on the next few Journey albums. Listen here.

"Just the Same Way" ( Evolution , 1979)

Journey’s fifth album had a punchier sound than Infinity — though they shared producer Roy Thomas Baker — which worked to the benefit of the album’s first single. Led by Rolie’s piano and muscular lead vocal, with Perry responding on the choruses and bridge, it reached No. 58 on the Hot 100 in 1979. In a perfect world this would have been as big as anything from Escape or Frontiers, but it’s still a convincing introduction to the Rolie era of the band. Listen here.

"Don't Stop Believin'" ( Escape , 1981)

More than a billion Spotify streams, a Library of Congress National Recording Registry placement and plays at virtually every sporting event around the world don’t lie — this one is Journey’s pinnacle of success. Created during a rehearsal at the group’s warehouse HQ in Oakland, Calif., it gave us the “streetlight people” of Hollywood’s Sunset Strip and put the non-existent South Detroit on the map. And it saves the chorus for the song’s end, after the guitar solo. A cross-generational hit? Believe it, gleefully.

"Stone in Love" ( Escape , 1981)

Schon reportedly called this “Stoned in Love” when he wrote the riff, and it’s certainly an addictive track that’s the best roll-down-the-windows-and-crank-it-up Journey fix you could ask for — not to mention a frequent show opener. A No. 13 Mainstream Rock Airplay hit in 1981, the song is practically a deep cut today. But its anthemic chorus is a spirit-lifter and the dynamic breakdown that segues into the song-closing guitar solo harks back to the ambitious musicality of the first few albums. “Stone” is a gem that still shines bright. Listen here.

Get weekly rundowns straight to your inbox

Want to know what everyone in the music business is talking about?

Get in the know on.

Billboard is a part of Penske Media Corporation. © 2024 Billboard Media, LLC. All Rights Reserved.

optional screen reader

Charts expand charts menu.

• Billboard Hot 100™
• Billboard 200™
• Hits Of The World™
• TikTok Billboard Top 50
• Song Breaker
• Year-End Charts
• Decade-End Charts

Music Expand music menu

• R&B/Hip-Hop

Culture Expand culture menu

Media expand media menu, business expand business menu.

• Business News
• Record Labels
• View All Pro

Pro Tools Expand pro-tools menu

• Songwriters & Producers
• Artist Index
• Royalty Calculator
• Market Watch
• Industry Events Calendar

Billboard Español Expand billboard-espanol menu

• Cultura y Entretenimiento

Honda Music Expand honda-music menu

The Best Journey Songs Of All Time

What is Journey's biggest hit? Here are the best Journey songs of all time, ranked by fans everywhere. Journey are indisputably known as one of the greatest rock bands to ever walk the Earth, with former lead singer Steve Perry even crowned "the voice" by many industry moguls. Established in San Francisco, CA, in 1973, Journey has sold out countless concert tours worldwide throughout their five decade career. The arena rock band's legendary music and unparalleled performance style ultimately led to their Rock & Roll Hall of Fame induction in 2017. Some of Journey's top songs include "Don't Stop Believin'" ( Escape , 1981), "Any Way You Want It" ( Departure , 1980), "Lights" ( Infinity , 1978), "Separate Ways (Worlds Apart)" ( Frontiers , 1983), and "Wheel In The Sky" ( Infinity , 1978).

From their new and latest music to their older popular songs, this Journey playlist features all of their greatest hits, according to the fans. Do your favorite Journey songs crack the top 10? Vote up the best songs by Journey, and don't forget to show their underrated tracks love as well.

Don't Stop Believin'

Best Lyrics:

Strangers waiting Up and down the boulevard Their shadows searching in the night Streetlights, people Living just to find emotion Hiding somewhere in the night

Stone in Love

In the heat with a blue jean girl Burning love comes once in a lifetime She found me singing by the rail road tracks Took me home, we danced by the moonlight

Those summer nights are calling Stone in love Can't help myself, I'm falling

Feeling That Way

Opened my eyes to a new kind of way All the good times that you saved Are you feeling You feeling that way too Or am I just Am I just a fool

When the lights go down in the City And the sun shines on the bay Ooh, I wanna be there in my City, oh Oh, oh, oh

Wheel in the Sky

Winter is here again, oh lord Haven't been home in a year or more I hope she holds on a little longer Sent a letter on a long summer day Made of silver, not of clay I've been runnin' down this dusty road

Wheel in the sky keeps on turnin' I don't know where I'll be tomorrow

Separate Ways (Worlds Apart)

Someday, love will find you Break those chains that bind you One night will remind you How we touched and went our separate ways

If he ever hurts you True love won't desert you You know I still love you Though we touched and went our separate ways

And being apart ain't easy on this love affair Two strangers learn to fall in love again I get the joy of rediscovering you Oh girl, you stand by me I'm forever yours, faithfully

Send Her My Love

Callin' out your name I'm dreamin' Reflections of a face I'm seein' It's her voice That keeps on haunting me

Send her, send her my love Roses never fade Memories remain

Who's Crying Now

One love, feeds the fire One heart, burns desire I wonder who's crying now? Two hearts, born to run Who'll be the lonely one? I wonder who's crying now?

Any Way You Want It

She said, any way you want it That's the way you need it Any way you want it

I was alone I never knew What good love could do Ooh, then we touched Then we sang About the lovin' things

Only the Young

Shadows of a golden age A generation waits for dawn Brave carry on Bold and the strong

Only the young can say They're free to fly away Sharing the same desire Burnin' like wildfire

Ask The Lonely

You've got some fascination With you high expectations This love is your obsession Your heart, your past possession Let down your defenses Won't be up to the one who cares

Touchin', Lovin', Squeezin'

It won't be long, yes, till you're alone When your lover, oh, he hasn't come home 'Cause he's lovin' who he's touchin', he's squeezin' another

He's tearin' you apart Ooh, every day, every day

Just The Same Way

Take a chance now the timing's right. You're free to leave the key to my life. Stay with me. Won't you stay the night, In the mornin' feelin' fine, yeah.

That's the same way you love me. 

Girl Can't Help It

If he could hold her, so close in his arms again If she could show him The letter her heart forgot to send why They're livin' dreams on their own Ooh they'll never stop running

The girl can't help it, she needs more He hasn't found what he's lookin' for They're still standing in the rain He can't help it, and she's just that way

Still They Ride

Spinning 'round, in a spell It's hard to leave this carousel 'Round and 'round And 'round and 'round

Still they ride, on wheels of fire They rule the night Still they ride, the strong will survive Chasing thunder

Be Good To Yourself

Runnin' out of self-control Gettin' close to an overload Up against a no win situation Shoulder to shoulder, push and shove I'm hangin' up my boxin' gloves I'm ready for a long vacation

Be good to yourself when, nobody else will Oh be good to yourself You're walkin' a high-wire, caught in a crossfire

I'll Be Alright Without You

I'll be alright without you Oh love's an empty face, I can't replace (You don't need it) People wonderin' why we broke apart The great pretender here I go again These things I do (It's all because of you) I'll keep holdin' but I'll try (Try not to think of you)

Mother, Father

Through bitter tears And wounded years, those ties Of blood were strong So much to say, those yesterdays So now don't you turn away.

Hey, mother, father, sister Hey, come back, tryin', believein' Hey, mother, father, dreamer

The Party's Over (Hopelessly In Love)

So I will tell you this, Our love is in a fix. Just what more can I do. When I'm hopelessly in love with you?

When You Love A Woman

When you love a woman You see your world inside her eyes When you love a woman (Well) You know she's standing by your side A joy that lasts forever There's a band of gold that shines Waiting somewhere, oh, yeah

After The Fall

But a head strong stubborn man Only works it out the best he can Valentines he never sent There's not enough time he's a working man

Can't stop falling Heartaches calling Finds you after the fall

I see your face at the movies I hear your voice on the radio You're making love on the silver screen I want you more than you will ever know Temptation...Infatuation

Suzanne, don't walk away

Why Can't This Night Go On Forever

Lost in twilight, the memories Precious moments, you and me We've been old friends, all through the years Picture postcards, sharing tears

What's in our hearts, there's never time, to say Need you tonight, lover don't fade away I've seen your city lights As I walk away Why can't this night...go on forever

After All These Years

A faded wedding photograph You and me in our first dance Our eyes are closed We're lost in one sweet embrace Since those days the world has changed But our love remains the same God knows we've had our share of saving grace

Where Were You

I didn't know what the hell was goin' on, Someday you're gonna break. So don't try to get yourself straight, You're just a little too late.

• Classic Rock

Journey Songs

Select a song to view albums and online mp3s:, celebrating the best journey songs.

One song can be enough to keep a band in people’s hearts and minds for decades. And Journey’s Don’t Stop Believin’ is a prime example.

This song was released way back in 1981, but remains a classic of the rock genre, beloved by many — including countless fans born years after it first hit the charts. Don’t Stop Believin’ actually became the biggest-selling of all tracks released before the 21st century on iTunes in 2009, as proof of its immense staying power.

But there’s more to Journey than this unforgettable track.

The Best Journey Songs from a Career Spanning Decades

Journey has separated and reformed multiple times, but has enjoyed considerable success since the band first broke through in the early 1980s. By the time Don’t Stop Believin’ was released, the band had already released multiple albums, including Escape (from which this track was taken).

Escape was a huge hit, reaching the top of the Billboard 200 and garnering critical acclaim. It also included the track Open Arms, another of the best Journey songs. Don’t Stop Believin’ showcases some of the strongest Journey songs lyrics, with an inspirational sensibility that makes it one of the most upbeat rock songs ever released.

Other best Journey songs include Any Way You Want It, Lights, Wheel in the Sky, and Only the Young. They showcase some of the strongest Journey songs lyrics written so far.

During the band’s career, Journey has sold close to 50 million albums in the United States alone, and have had more than 19 top 40 singles in this country, with 25 gold and platinum albums. The Greatest Hits album, released in 1988, was RIAA Diamond Certified and believed to be the US’s sixth-highest-certified greatest hits album. It sells almost 500,000 units around the world each year, and has been rereleased on numerous occasions.

Overall, Journey is considered one of the top-selling bands in the history of music. The band was inducted into the prestigious Rock and Roll Hall of Fame in 2017.

The Enduring Power of the Best Journey Songs

As with most smash-hit rock bands, Journey songs lyrics can be heard in numerous films and television shows. For example, Don’t Stop Believin’ featured in the notorious final installment of the long-running Sopranos, as well as in hit musical series Glee. The Broadway musical Rock of Ages includes the track, too.

With the best Journey songs gaining exposure in the media, the band continues to gain new fans again and again. There’s a wealth of material for newcomers to discover, including more than a dozen albums.

These include: the 1975 debut Journey; Look into the Future; Next; Infinity; Evolution; Departure; Dream, After Dream; Escape; Frontiers; Raised on Radio; Trial by Fire; Arrival; Generations; Revelation; and Eclipse. The Greatest Hits compilation makes a fantastic starting point for new fans, too.

If you’re looking to listen to the best Journey songs, you’ll find every one listed here at Song List. We include links to buy the tracks on Amazon and Apple Music, so you can discover the band for yourself within just a couple of clicks.

Official Journey Website Official site. Features current news, a biography, discography, lyrics, tour dates, merchandise, and information on the fan club. [Requires Flash]

Journey (band) - Wikipedia, the free encyclopedia There is some dispute as to who actually came up with the name Journey, but John Villaneuva, a Herbert associate, put it forward to Herbie, and the band had ...

Journey Tribute Page: The 70s and 80s Classic Rock Band The Best site for the rock band Journey. Includes latest information, FAQ, pictures, sounds, mp3, lyrics, discography, collectables, memorabilia, surveys, ...

Song List Main | Feedback | Privacy Policy & Terms

• Charlie Daniels
• Jason Aldean
• Hank Williams, Jr.
• Zac Brown Band
• Kenny Chesney
• Eric Church
• Waylon Jennings
• Blake Shelton
• Christian & Gospel
• Elevation Worship
• Planetshakers
• Taylor Swift
• Michael Buble
• R&B/Soul
• Chris Brown
• Daniel O'Donnell

the future of music

Suggestions

14 best journey songs of all time (greatest hits).

Welcome to the mesmerizing world of Journey, a band that has left an indelible mark on the landscape of rock music.

With their anthemic sound and soaring melodies, Journey has become synonymous with timeless classics that have resonated with fans for generations.

Their music has become the backdrop to countless memories, evoking a sense of nostalgia and pure joy.

So, fasten your seatbelts and prepare for an exhilarating ride as we explore the 14 best Journey songs of all time.

Get ready to sing along, feel the music coursing through your veins, and experience the power of one of the greatest rock bands in history.

1. “After The Fall”

Prepare to embark on an unforgettable musical Journey with “After The Fall”.

This timeless classic rock song by Journey captivates listeners with its emotive music and meaningful lyrics, evoking a range of emotions that resonate deeply.

The powerful vocals and captivating chords of “After The Fall” create an anthemic experience that leaves a lasting impact.

With its depiction of life’s challenges and a message of hope in the face of adversity, the song strikes a chord with listeners, inspiring them to persevere.

Whether you interpret it as a metaphorical voyage through life’s ups and downs or a literal Journey to new destinations, “After The Fall” guarantees an unforgettable experience that will stay with you long after the song ends.

2. “Any Way You Want It”

Ready to hit the road with some serious tunes?

“Any Way You Want It” is sure to get you there!

This iconic Journey song, released in 1980, is one of their greatest hits and an absolute classic.

It has become a staple of classic rock radio stations, and featured in movies, TV shows, and commercials.

The song is instantly recognizable, with its signature guitar riff and lyrics about freedom and living life on your own terms.

The combination of the heavy guitar and the lyrics make it an instant sing-along anthem, and it’s sure to inspire and energize you on the road.

3. “Send Her My Love”

“Send Her My Love” is a powerful ballad that’ll tug at your heartstrings and make you feel the emotion of the lyrics.

Written and performed by Journey, the song was released in 1983 as the lead single off the band’s Frontiers album.

The lyrics tell the story of a man who’s coming to terms with the fact that his relationship with his significant other is over.

Despite his sadness, he sends his love to her in the hopes that it’ll help her find the happiness that he can no longer provide.

The song’s heartfelt vocals and memorable guitar licks are sure to bring a tear to anyone’s eye.

4. “Suzanne”

One of Journey’s most powerful ballads, “Suzanne”, is a tender love song that captures the emotion of saying goodbye to a loved one.

The song’s lyrics are full of emotion, as the narrator expresses his sadness at having to part ways with his beloved.

The song’s melody is equally powerful, with a slow, melancholic rhythm that conveys the narrator’s sorrow.

The song’s chorus is especially poignant, as the narrator sings of his longing for his beloved to return.

The song’s message is one of hope, as the narrator expresses his faith that his beloved will come back to him.

“Suzanne” is a timeless classic that will continue to resonate with listeners for years to come.

5. “Girl Can’t Help It”

Feeling the emotion of saying goodbye to a loved one?

Then you’ll love Journey’s classic hit, “Girl Can’t Help It”, which captures those feelings perfectly.

This song has been a part of Journey’s repertoire since 1986, and it’s become a fan favorite over the years.

The lyrics tell a story of a person who’s struggling to accept a goodbye and the emotions that come with it.

The instrumentation is also a standout, with its bright, rock-tinged sound that complements the lyrics perfectly.

The combination of the lyrics and the music makes “Girl Can’t Help It” an enduring classic that captures the sentiment of saying goodbye like no other.

6. “Lovin’, Touchin’, Squeezin'”

If you’re looking for a rock anthem that’ll have you singing along, Journey’s “Lovin’, Touchin’, Squeezin'” is the perfect choice!

Released in 1979, the track was their fifth single from the album Evolution and went on to become one of their most successful charting songs.

The lyrics, written by lead singer Steve Perry and guitarist Neal Schon, are a celebration of a passionate relationship and the joys that come with it.

Musically, the song is an upbeat rock number, featuring Schon’s signature guitar riffs, a propulsive rhythm section, and Perry’s powerful vocal performance.

The song was also a live favorite, as the band often performed it with an extended instrumental break that allowed the audience to sing along.

All these elements combined make “Lovin’, Touchin’, Squeezin'” a timeless classic and an essential addition to any playlist of the greatest Journey songs of all time.

7. “I’ll Be Alright Without You”

You’ll be mesmerized by Journey’s “I’ll Be Alright Without You”.

It’s an upbeat rock anthem that showcases Steve Perry’s heartfelt lyrics and Neal Schon’s driving guitar riffs.

Beginning with an uplifting guitar riff, the song quickly builds to a powerful chorus, propelled by passionate vocals of Perry.

The lyrics speak of finding strength and inner peace in spite of heartache, as the narrator reassures them that they’ll be alright without the one they love.

The strong instrumental accompaniment, including Schon’s memorable guitar solos, punctuates the song and adds an extra layer of emotion.

“I’ll Be Alright Without You” is a song that speaks to the power of resilience in the face of adversity and is sure to leave an impression on listeners.

8. “Faithfully”

As you reminisce about the remarkable journey you’ve shared, there’s one song that perfectly embodies the essence of your voyage.

“Faithfully” by Journey, a beloved classic rock anthem, encapsulates the spirit of staying true to the journey, even during the most challenging moments.

This timeless song expresses the importance of unwavering dedication and commitment to the chosen path, instilling hope and determination to persevere, regardless of the obstacles faced.

With its captivating melody and heartfelt lyrics, “Faithfully” resonates with a sense of resilience, becoming an essential addition to any cherished collection of Journey’s greatest hits.

9. “When You Love A Woman”

You can feel the emotion of love and devotion in the powerful lyrics of Journey’s “When You Love A Woman”, a song that speaks to the joys and struggles of a relationship and the importance of cherishing every moment.

The song opens with an acoustic guitar and leads into a soaring chorus of electric guitars and drums, highlighting the passionate sentiment of the lyrics.

Steve Perry’s emotive vocal delivery is a perfect complement to the story he tells of a man so deeply in love that he would do anything to make the woman in his life happy.

As the lyrics suggest, when you truly love someone, it’s not just an emotion but a commitment that requires hard work and effort, and the song captures this sentiment beautifully.

Throughout the song, the band builds the energy to a crescendo, culminating in a powerful guitar solo that encapsulates the passionate nature of the song.

“When You Love A Woman” is an iconic Journey song that celebrates the highs and lows of a meaningful relationship.

10. “Only The Young”

As you continue your journey, you may find yourself wanting to take a break and reflect on the experiences you’ve had so far.

One song that can help you do that is “Only The Young” by Journey.

This song is a powerful reminder that life is short and that we should make the most of it while we can.

The lyrics are full of hope and optimism, encouraging us to take risks and live life to the fullest.

The song also has a strong message of resilience, reminding us that no matter what life throws at us, we can always find a way to keep going.

With its uplifting message and catchy melody, “Only The Young” is sure to be one of the greatest Journey songs of all time.

11. “Don’t Stop Believin'”

Experience the power of resilience and hope with Journey’s classic hit “Don’t Stop Believin'”!

Let its uplifting message and catchy melody motivate you to keep going and make the most of life.

With its iconic opening guitar riff and Steve Perry’s powerful vocals, “Don’t Stop Believin'” is a timeless classic that has been inspiring people for decades.

The song’s lyrics are a reminder to never give up and to keep striving for your dreams, no matter how difficult the journey may be.

The song’s message of hope and perseverance is one that resonates with people of all ages and backgrounds, making it one of the most beloved songs of all time.

12. “Separate Ways (Worlds Apart)”

Continuing with the theme of Journey songs, let’s take a look at one of their bigger hits, “Separate Ways (Worlds Apart)”.

This song was released in 1983 and has become one of the band’s most recognizable anthems.

It features a driving beat and memorable lyrics about the pain of separation and the hope that a broken relationship can still be saved.

Through its chorus, it conveys a sense of determination and resilience in the face of adversity.

It’s a song that speaks to anyone who has experienced a personal tragedy and is sure to be a classic for generations to come.

13. “Who’s Crying Now”

With its powerful, emotive lyrics, “Who’s Crying Now” is a song that captures the heartache of love lost and the bittersweet realization that it may never be regained.

The song was released by the band Journey in 1981.

It details the emotional roller-coaster of a break-up and the pain of having to accept that love can be fleeting.

The lyrics explore the idea that even after a relationship has ended, both parties still feel the pain of the breakup, with neither one having the courage to make the first move toward reconciliation.

The song’s upbeat yet melancholy tone perfectly captures the feeling of a broken heart, making it one of the most poignant and memorable songs in all of music.

14. “Open Arms”

“Open Arms” is a beautiful ballad that captures the longing for a lost love, and the hope that one day they’ll be reunited.

Performed by the band Journey and written by Jonathan Cain and Steve Perry, the song is a classic example of how a simple melody can be used to express such powerful emotion.

Its lyrics are deep and meaningful, as they evoke the feelings of sadness and loneliness that come with a broken relationship, but also the joy and optimism of reuniting with a lost loved one.

The song is also musically powerful, with its slow and gentle rhythm and the soaring guitar solos that give the piece its signature sound.

“Open Arms” is an enduring classic that will remain a staple of Journey’s greatest hits for many years to come.

Best Journey Songs – Final Thoughts

You can’t go wrong with any of these 14 best Journey songs of all time.

Whether you’re singing along to “Don’t Stop Believin'” or getting lost in the emotional ballad of “Open Arms”, these songs are sure to take you on a musical journey.

They’ve each stood the test of time and remain some of the greatest hits in rock history.

So grab some headphones and take a journey with these timeless classics.

You won’t regret it.

Put on your favorite song and let the music take you away.

It’s time to experience the beauty of Journey’s music and all it has to offer.

You may also like: Best Rock Songs of All Time

Will Fenton

15 Best Eminem Songs of All Time (Greatest Hits)

14 Best Ed Sheeran Songs of All Time (Greatest Hits)

Latest from entertainment & playlists.

15 Best Anthony Hamilton Songs Of All Time (Greatest Hits)

14 Best Ajr Songs Of All Time (Greatest Hits)

14 Best Sugar Ray Songs Of All Time (Greatest Hits)

15 Best Sara Bareilles Songs Of All Time (Greatest Hits)

15 Best Twenty One Pilots Songs Of All Time (Greatest Hits)

The 10 best Journey songs

Let's face it, AOR just wouldn't have been the same without them – here are Journey's ten best tracks

For many, Journey are the band who define AOR better than anyone else. Their catalogue glitters with unforgettable anthems, which not only contain massive choruses, but also the sort of musicianship you might expect from a band who began life as jazz rock instrumentalists before embracing the melodic rock style for which they’re renowned. We've gone through the band's back catalogue and hand-picked their 10 finest moments.

10. Girl Can’t Help It (1986)

After taking a break from the band to work on his solo album Street Talk , vocalist Steve Perry was persuaded to return to the fold for 1986's Raised On Radio album. While the production shows a clear-cut influence of the times, Perry’s vocals shine as brightly as ever, while Jonathan Cain’s smooth keyboards complement Neal Schon ’s edgy guitar stride.

9. Faithfully (1983)

This is the way Journey explained the problems of trying to carry on a relationship while out on the road touring. One of the stand-out tracks from 1983's Frontiers , Faithfully has a soft lilt that exposes an emptiness. However, this is augmented by the lush rhythm and the way that Steve Perry croons his way through without ever wallowing in over emotional hyperbole. A power ballad in the best Journey tradition.

8. Lovin, Touchin’, Squeezin’ (1979)

Anyone who thinks that Journey aren’t capable of anything other than slushy ballads really should check out Lovin, Touchin’, Squeezin’ from 1979's Evolution album. It has a funk groove, and while the tempo is very much of the balladic kind, Neal Schon stabs through with some electrifying moments. What’s more, Steve Perry’s vocals soar impressively to ensure maximum dramatic impact. One of the highlights on Evolution .

7. Lights (1978)

The opening song from 1978's Infinity record – the album that introduced Steve Perry to the world, and also put the band’s new-found melodic style on display for the very first time. It’s easy to tell why American radio fell in love with Journey at this point in time. The music is filled with commercial astuteness, the harmonies are sublime and the whole timbre of Lights is evocative and stylish. This oozes the sort of class that would become the norm for Journey in the coming years.

6. Who’s Cryin’ Now (1981)

Who’s Cryin’ Now begins with an unvarnished piano piece from Jonathan Cain, on which Steve Perry builds his rich tone. And Ross Vallory provides some tasteful bass lines, to underline the whole feel of the song. This is the type of track that accentuates Perry’s love for great soul singers, while it also showcases the way in which Journey stood apart from all the huge selling AOR masters, and why Escape is regarded as the classic Journey album.

• Inside AOR, the most under-appreciated sub-genre of all time
• The 40 Best AOR Vocalists Of All-Time: 10-1
• The Top 10 Essential 80s AOR Albums

5. Stone In Love (1981)

The fact this song opens up with shards of Neal Schon's guitar riffing proves that Journey were always prepared to give full weight to the heavier side of their talent. And Steve Perry also comes across with a lot more power than you might expect. This is a song where Journey never forget about the melody, but also give free rein to a rocky vibe. It also accentuates that Escape was always far more than just a collection of power ballads.

Classic Rock Newsletter

Sign up below to get the latest from Classic Rock, plus exclusive special offers, direct to your inbox!

4. Any Way You Want It (1980)

It may seem odd, but this song was actually inspired by Thin Lizzy , with whom Journey had toured a couple of years before recording the Departure album in 1980. But when you dig down and analyse the way in which the vocals are constructed, and the interchange between the instruments, then the influence becomes a lot clearer. There’s a gliding feel to the guitar parts that does feel like it is Thin Lizzy influenced, and Steve Perry adopts a storytelling style that is close to the Phil Lynott approach – and the whole feel suits Journey superbly.

3. Wheel In The Sky (1978)

Wheel In The Sky was co-written by Robert Fleischman, the band’s original choice of vocalist when they moved into a more commercial direction. However, when Fleischman didn’t work out and was replaced by Steve Perry, the song was thankfully retained. It starts with a flashing guitar groove, through which Perry cuts with a vibrant performance. In some ways, this is a basic live performance from the band, bringing a heavier dynamic to bear, but this fitted right into the whole feel of Infinity , and showed Journey could pound with the best.

2. Separate Ways (Worlds Apart) (1983)

After the enormous success of the Escape album, how did the band choose to open up their next album Frontiers ? With a powerhouse rocker than fitted right into an era where AOR was beginning to become a little less reliant on studio technology and celebrated talent. Of course, the rich production is evident here, but what makes the song work superbly is that way Jonathan Cain, Steve Perry and Neal Schon intertwine. There’s a buoyancy in Separate Ways (Worlds Apart) that tells of a band who are really playing off of each other’s strengths. The result is undeniably passionate.

1. Don’t Stop Believin’ (1981)

Is there anyone on the planet who does not know this song? It has got to be one of the most exposed tracks over the past two decades or so. And, because it’s so well known, it’s very easy to lose sight of just why this is so popular. Because Don’t Stop Believin’ is a peerless example of musical genius. Everything about it is simply perfect – the musicality, the vocals, the simple structure, the insistent melody… hell, this is not just Journey’s best song, it’s one of the truly landmark moments of the 80s.

Malcolm Dome had an illustrious and celebrated career which stretched back to working for  Record Mirror  magazine in the late 70s and  Metal Fury  in the early 80s before joining  Kerrang!  at its launch in 1981. His first book,  Encyclopedia Metallica , published in 1981, may have been the inspiration for the name of a certain band formed that same year. Dome is also credited with inventing the term "thrash metal" while writing about the  Anthrax  song  Metal Thrashing Mad  in 1984. With the launch of Classic Rock magazine in 1998 he became involved with that title, sister magazine Metal Hammer, and was a contributor to Prog magazine since its inception in 2009. He died in 2021 . 

"This was no mere warm-up; this was a declaration that Bruce Dickinson is still a force of nature in the metal universe." Iron Maiden's irrepressible frontman played his first solo show in over 20 years - and it was a triumph

“We came up very fast and we went down fast. We were carried away on that wave of euphoria”: how Motörhead made their two most controversial early 80s albums

“Grindcore really resonated with Americans. Our bands were being noticed before they’d even gone over there”: the ear-splitting history of Earache Records, the label that changed metal

Most Popular

Artists - A-H

• & Young
• .38 Special
• Aaron Lewis
• Aaron Neville

Artists - I-P

• Iron Butterfly
• Iron Maiden
• Izzy Stradlin

Artists - Q-Z

• Queens of the Stone Age
• Queensrÿche
• Classic Rock

• Keyboardist Jim Beard, Known for His...
• 12 Rock Legends Who Openly Dislike...
• 10 Rock Stars Who Can’t Stand...

• Legendary Motorhead Frontman, Lemmy, To Be...
• Happy 76th Birthday Tony Iommi: How...
• Metallica Secures Best Metal Performance at...

• Unveiling Stevie Ray Vaughan’s Top 10...
• Album Review: “Two Steps From The...
• The Facts In The Early Life...

Revisiting 10 Journey Songs From The ’70s

via journey/YouTube

Best Moments

Although some of their most enduring tracks were released in the early ’80s, Journey also had several classic hits from the ’70s. They formed in 1973 but it wasn’t until they got singer Steve Perry onboard when they finally achieved massive commercial success. He made his debut with them in 1977 and it was clear from the get-go that they were a match made in music heaven.

Let’s take a look at their unforgettable hits in the 1970s.

10. Do You Recall (1979)

Talk about pure power! Steve Perry’s vocals is fire.

9. Too Late (1979)

Perry wrote it about a friend who has become a drug addict. He said, “The drugs were setting up housekeeping.”

8. Daydream (1979)

It has that dreamy feel and while the musicianship is stellar, it’s Perry’s voice that steals the spotlight.

7. When You’re Alone (It Ain’t Easy)

Neal Schon lets loose with his brilliant guitarwork.

6. Lovin,’ Touchin,’ Squeezin’ (1979)

It’s the band’s first top 40 hit in the US. Written by Perry, it was inspired by an actual event – when he saw his girlfriend get out of a car and kiss the driver.

5. Just The Same Way (1979)

The layered harmony vocals is simply exquisite. It added more depth to the song.

4. Lights (1978)

The song is about San Francisco and it’s one of the first songs Perry sang for Journey. Perry explained, “I had the song written in Los Angeles almost completely except for the bridge and it was written about Los Angeles. It was ‘when the lights go down in the city and the sun shines on LA.’ I didn’t like the way it sounded at the time. And so I just had it sitting back in the corner. Then life changed my plans once again, and I was now facing joining Journey. I love San Francisco, the bay, and the whole thing. ‘The bay’ fit so nice, ‘When the lights go down in the city and the sun shines on the bay.’ It was one of those early-morning-going-across-the-bridge things, when the sun was coming up and the lights were going down. It was perfect.”

3. Anytime (1978)

Written before Perry joined Journey, Schon recalled: “Gregg Rolie was doing Bing Crosby – you know, ‘ooh, ooh.’ And I’d listened to lots of Beatles records when I was a kid, so I just went ‘Anytime that you want me.’ It came out real easy in rehearsal.”

2. Feeling That Way (1978)

This was initially an instrumental titled “Velvet Curtain” which they later abandoned. Eventually, Rolie got back to it and added words then renamed it to “Please Let Me Stay.” It was shelved at the last minute. After Perry joined, Rolie rewrote it again and shared the lead vocal duties with Perry.

1. Wheel in the Sky (1978)

One of their finest moments, it began as a poem titled “Wheels In My Mind”. It was their first single with Perry that eventually became a staple in their live repertoire.

Don’t Miss Out! Sign up for the Latest Updates

I love classic rock.

How Eagles’ “Take It To The Limit” Made Them Fight

10 Rockbands That Were Accused Of Ripping Off Led Zeppelin

The 3 Artists That Was Labeled The Next Beatles

Bon Jovi Shares “It’s Up To God At This…

Prog Rock Trio Trifecta Gets Alex Lifeson As Guest In New…

Burton Cummings Wants To Stop Current Guess Who Lineup In…

O.J. Simpson Dead at 76 Following Battle with Cancer

Premium partners.

Interested in becoming a partner?

Contact us for more info.

© 2024 Society Of Rock

• Terms of Use
• Privacy Policy

• Def Leppard 'Don’t Use Tapes'
• Anderson: 'Time Is Running Out'
• 'Oh Well' Covers
• Cummings Stops Fake Guess Who
• 'Van Halen III': Eddie on Drums

Ranking All 52 Journey Songs From the ’80s

Journey moved more than 6 million albums in America in the '70s, most of them after Steve Perry joined in time for 1978's Infinity . Not bad.

Then their second proper studio album of the following decade, 1983's Frontiers , sold more than that all but itself. By then, however, they'd amassed so much commercial momentum that this LP was actually considered something of a letdown.

Journey kicked off the '80s with a trio of very different farewell projects as co-founder Gregg Rolie left the band. The Top 10 hit Departure arrived first as a proper studio album, selling three million copies. Journey followed that with Dream, After Dream (a little-heard largely free-form import movie soundtrack) and Captured , a double-platinum Top 10 live sendoff with two new songs.

Then Jonathan Cain supercharged the band's more recent pop-leanings, bringing along a new sensibility (and a song idea for their highest-charting single). Perry was still their honeyed frontman and Neal Schon was still their soaring guitarist – but something fundamental had changed.

READ MORE: Top 10 Post-Steve Perry Journey Songs

The chart-topping Escape proceeded to reel off three Top 10 hits, while moving a career-best 10 million copies in the United States alone. Prior to that, they'd never had a song go higher than the No. 16 finish for 1979's "Lovin', Touchin', Squeezin.'"

Journey couldn't quite reach those heights again, concluding the decade with 1986's double-platinum Raised on Radio . But they still spun off four more Top 20 hits.

Along the way, they issued a little more than 50 proper songs in the '80s, including B-sides, bonus tracks and stand-alone releases. Here's how they ranked, with comments and insight from my new Amazon best-selling rock and pop band bio, Journey: Worlds Apart : No. 52. "Back Talk" From: Frontiers (1983)

This song almost single-handedly kept Frontiers from becoming Journey's best '80s album . That's enough to earn this spot. No. 51. "Departure" From: Departure (1980)

Pretty but insubstantial, this brief instrumental was tucked into the middle of co-founding member Gregg Rolie's last proper studio effort with Journey. No. 50. "I'm Cryin'" From: Departure (1980)

Steve Perry usually had a canny ability to convey emotion. "I'm Cryin'," however, slipped off into abject mawkishness. No. 49. "Positive Touch" From: Raised on Radio (1986)

The demos for this album were completed with a click track rather than in a room together as Journey had typically done in the past. That left drummer Steve Smith to either copy these metronomic sounds – heard to teeth-grating effect on "Positive Touch" – or to stay home. Partway through the sessions, it became the latter. No. 48. "Liberty" From: Time3 (1992)

A Frontiers -era leftover for those who wondering what Journey would sound like as a country band. No. 47. "Troubled Child" From: Frontiers (1983)

Another Side Two dud. Replace this with "Only the Young" or "Only Solutions," and all is forgiven.

No. 46. "Happy to Give" From: Raised on Radio (1986)

Perry had trouble nailing the vocal on this too-atmospheric ballad, which should have told them something. (In fact, it got to the point where Cain started calling "Happy to Give" Perry's "pet song.") It's understandable: "Happy to Give" grew out of a soundtrack idea Cain had, and it sounds like it. Journey never played the song live. No. 45. "La Raza Del Sol" From: B-side of "Still They Ride" (1981)

The song's heart is in the right place, as Cain finds inspiration in the plight of immigrant California farm workers. Unfortunately, that narrative is surrounded by a meandering music bed that sounds like a rightly discarded leftover from their pre-Perry days. No. 44. "Mother, Father" From: Escape (1981)

An overwrought, understandably disjointed song that was pieced together from two separate ideas by Perry and Schon, then completed with another interlude written by Schon's dad. No. 43. "All That Really Matters" From: Time3 (1992)

Jonathan Cain took over the mic for this Frontiers outtake, returning to a sound that's more in keeping with his earlier tenure in the Babys . That's fine, but it's not Journey. No. 42. "Homemade Love" From: Departure (1980)

Despite discovering a newfound chart prowess, Journey was still prone to longing looks back to their earliest musical excesses. In keeping, this sludgy, clumsily salacious song couldn't have sounded more out of place on Departure . Positioning "Homemade Love" as the album-closing song made even less sense. No. 41. "Dixie Highway" From: Captured (1981)

"Dixie Highway" sounds like what it was: a throwaway track written on Journey's tour bus while traveling the eponymous interstate into Detroit. It was perhaps interesting enough to be tried out live, but not interesting enough to make it onto a studio album.

No. 40. "Keep On Runnin'" From: Escape (1981)

A pedestrian rocker, "Keep on Runnin'" is the only stumble on Side One of Journey's biggest-ever selling album. No. 39. "Dead or Alive" From: Escape (1981)

The second of two throwback-style songs on Escape that seek to approximate Journey's more rugged, fusion-leaning '70s-era, and the lesser of the pair. That "Dead or Alive" came directly after the too-similar "Lay It Down" didn't do the song any favors, either. No. 38. "Escape" From: Escape (1981)

Cain and Perry are credited as co-composers, but the title track from Escape still feels like the first of what became a series of not-always-successful attempts by Neal Schon to balance Journey's new knack for balladry with ballsier rock songs. That's certainly the role it played in contemporary setlists after he became the band's sole remaining original member. No. 37. "Line of Fire" From: Departure (1980)

A perfunctory rocker best remembered for a sound effect at roughly the 2:10 mark that Perry cribbed from Junior Walker's chart-topping 1965 R&B hit "Shotgun ." No. 36. "Precious Time" From: Departure (1980)

Rolie adds a gurgling harp squall, but not much else stands out.

No. 35. "Lay It Down" From: Escape (1981)

Steve Smith approximates early drummer Aynsley Dunbar's thudding, heavy-rock approach while Schon swirls into the stratosphere on one of two songs from Escape that could have seamlessly fit into a Rolie-era album. No. 34. "Chain Reaction" From: Frontiers (1983)

Schon finds a fusible groove, then joins Perry for a gutty vocal interplay. But "Chain Reaction" ends up getting lost somewhere along the way. No. 33. "Once You Love Somebody" From: Raised on Radio (1986)

They tried for a bluesy feel on a song echoing the relationship troubles that both Perry and Cain were then experiencing, but there's simply not enough grit to this. No. 32. "Natural Thing" From: B-side of "Don't Stop Believin'" (1981)

Your average classic rock radio-loving fan might not peg Steve Perry as a died-in-the-wool R&B guy who can totally pull off this sometimes very un-Journey style. Tell them to start here. No. 31. "Rubicon" From: Frontiers (1983)

This song drove a seemingly permanent wedge in the band. Schon said he was playing "Rubicon" when Perry walked over and turned down his amp . He argued that fans wanted to hear his voice rather than all of those guitars. They put out only two more albums together, and it took them 13 years to do it.

No. 30. "Frontiers" From: Frontiers (1983)

The second-best song on this album's deflating flip side. Singing in a clipped, coolly detached tone, Perry offers a great put-down for heartless generals and politicians: " War is for fools; crisis is cool ." No. 29. "It Could Have Been You" From: Raised on Radio (1986)

Schon's riffy contributions work in brilliant counterpoint to Perry's poignancy, underscoring why this partnership meshed so easily – and so well. No. 28. "Where Were You" From: Departure (1980)

There's a reason Journey opened their concerts with "Where Were You" for so long. It simply crackles with energy. They were just coming off an opening gig with AC/DC at this point, and the headliner's knack for outsized, riffy rockers obviously rubbed off. No. 27. "Little Girl" From: B-side of "Open Arms" (1981)

"Little Girl" was the the only proper song from 1980's Dream, After Dream , a soundtrack that's not part of the band's main catalog since it's otherwise filled with incidental music for a now-forgotten foreign film. Elsewhere, the instrumentals provide an untimely restatement of their old penchant for prog and fusion, considering Journey was already on a pop-chart roll. Dream After Dream disappeared without a trace once Journey issued  Escape , and the too-often-overlooked "Little Girl" only saw U.S. release as the B-side to their "Open Arms" single. No. 26. "Raised on Radio" From: Raised on Radio (1986)

Radio holds a talismanic place in Perry's imagination for two reasons. His absent father owned a station. At the same time, it's a constant presence in the youthful places where he returns, time and time again, for creative sustenance. If things had gone another way, Perry has said he could see himself as a DJ, rather than a huge pop star. No. 25. "Ask the Lonely" From: Two of a Kind (1983)

Jonathan Cain once said Perry could write love songs in his sleep , and this only-okay leftover is an example of that assembly line-type approach. Yet, he gives his whole heart to every line. "This is my big theory on Steve Perry: Beyond being a great vocalist, I think the secret and maybe why generations connect with him is he is an empath," former Rolling Stone editor David Wild told me. By the end, "Ask the Lonely" still proves to be a better choice that most of what appeared on the back end of Frontiers .

No. 24. "Why Can't This Night Go on Forever" From: Raised on Radio (1986)

Written in tribute to their fans, "Why Can't This Night Go on Forever" moved past its quite overt "Open Arms" / "Faithfully"-style ambitions on the strength of performances by Schon and Perry.

No. 23. "The Eyes of a Woman" From: Raised on Radio (1986)

Steve Smith only appeared on three Raised on Radio tracks, but that doesn't mean he didn't have an undeniable impact. His anticipatory rhythm builds this quiet tension on the underrated "The Eyes of a Woman," as Schon's echoing chords surround the vocal. Perry has called this one of his favorite Journey songs, and that might be because "The Eyes of a Woman" is one of the very few here that fully recalls their Escape / Frontiers -era midtempo sound.

No. 22. "Suzanne" From: Raised on Radio (1986)

If Steve Perry sounds a little overwhelmed on the second single from this album, there's a reason for that. This No. 17 hit was written in tribute to an actual crush – framed as a fantasy encounter with a film star who also had a singing career. He never revealed her name.

No. 21. "Edge of the Blade" From: Frontiers (1983)

Side Two of Frontiers gets off to a roaring start. Buckle up, though. As things progress, you're in for a bumpy ride.

No. 20. "Be Good to Yourself" From: Raised on Radio (1986)

A throwback Top 10 rocker, "Be Good to Yourself" had little in common with the sleeker, more adult-contemporary feel found elsewhere on Raised on Radio . It didn't make for the most representative lead single, but manager Herbie Herbert insisted – because "Be Good to Yourself" sounded the most like Journey on their previous two albums.

No. 19. "I'll Be Alright Without You" From: 'Raised on Radio' (1986)

Schon, who earned a co-writing credit with Cain and Perry, told me he tried out a then-new guitar in search of a distinct sound for this song. Best known for using a 1963 Fender Stratocaster, Schon experimented with a graphite Roland 707 to see if he could get a different, more even tone. It worked: "I'll Be Alright Without You" remains Journey's penultimate Top 20 hit, followed by 1996's "When You Love a Woman." Cain, like Perry, was going through a breakup and called this track the other half of the emotions expressed in "Once You Love Somebody."

No. 18. "Only Solutions" From: Tron (1982)

Unjustly forgotten, and barely used in the film at all, the hooky "Only Solutions" would have greatly enlivened what turned out to be a letdown on Side Two of Frontiers .

No. 17. "People and Places" From: Departure (1980)

A circular vocal effect makes the song's larger point, as Perry and Schon share a vocal that examines life's maddening duality.

No. 16. "Faithfully" From: Frontiers (1983)

Journey was in the midst of a two-leg, 132-show tour in support of Escape and Jonathan Cain was feeling disconnected from his then-wife. Cain noticed the moon above their tour bus and, to him, "it looked like the midnight sun." He wrote that down then fell asleep. Upon awaking, Cain said the rest of "Faithfully" came to him in a rush. He wrote it in his own key, and that allowed Perry to explore a different vocal timbre. "'Faithfully' is to die for. I mean, Jonathan Cain's lyrics are amazing, and Steve Perry gave it everything he had," original MTV VJ Martha Quinn told me. "From the opening lines, he's just absolutely dripping with emotion. Every time you put the needle down, you can just feel it." Journey finished the song with a memorable back-and-forth between Perry and Schon, also completely unrehearsed.

No. 15. "Walks Like a Lady" From: Departure (1980)

A great example of the way Journey songs evolved in the studio. Perry brought in a rough sketch, Schon added a blues-inspired riff, then Smith picked up his brushes. All that was left to complete things was Rolie's greasy Hammond B3 groove, and he said it's one of his favorites.

No. 14. "Girl Can't Help It" From: Raised on Radio (1986)

Perry essentially took control of Journey in the run-up to this album, switching out band members for sidemen with whom he'd worked before then serving as the project's de facto producer. That led them to some song treatments that moved well away from anything Journey had done before, or since. "Girl Can't Help It," one of three Top 40 singles from Raised on Radio , was another exception. This was classic Journey, spit-shined up for a new era.

No. 13. "After the Fall" From: Frontiers (1983)

Perry began this song on the bass, perhaps an early indication of the changes in store for Journey. By the time they released 1986's Raised on Radio , Ross Valory had been replaced by Randy Jackson, later of American Idol fame. Smith departed too, but not before proving himself utterly invaluable here.

No. 12. "Good Morning Girl" / "Stay Awhile" From: Departure (1980)

Inextricably linked by their successive appearances on Departure , these two songs showcased Perry's dual gifts: "Good Morning Girl" was a fragile, impossibly beautiful ballad that emerged from a jam session with Schon, while "Stay Awhile" showed off his R&B chops.

No. 11. "Who's Crying Now" From: Escape (1981)

The initial single from Escape , a No. 4 hit, perfectly illustrates how Cain's new presence impacted Perry's writing style, then forever changed Journey. The first inklings of the track came to Perry as he was driving up to San Francisco on Route 99. But "Who's Crying Now" was a song with no real direction until Cain suggested the title. They worked out a cool b-section featuring only voice and keyboard, and their very first co-written composition was completed. "He helped me go to another place as a writer," Perry later gushed in Joel Selvin's Time3 liner notes. Inspired, Perry also fought to keep Schon's extended guitar solo on the single.

No. 10. "Someday Soon" From: Departure (1980)

The final major vocal collaboration featuring Perry and Rolie and, still, one of the more memorable for its thoughtful optimism. There were plenty of reasons for this upbeat outlook, even though "Someday Soon" appeared as Rolie exited. Departure reached the Billboard Top 10, then the band's highest-charting effort ever. Meanwhile, a subsequent, wildly successful tour was chronicled on 1981's Captured . But why weren't there more of these duets? "I didn't want to quit singing, but it got diminished, there's no doubt," Rolie told me. "I don't think Perry really liked me singing. 'I'm the singer.' Well, OK. But my answer to that is, you know, the Beatles did great with four singers. Four, right? Not one."

No. 9. "Open Arms" From: Escape (1981)

Jonathan Cain brought this to Journey after John Waite , the frontman in Cain's former band the Babys, rejected an early version. Schon didn't really want "Open Arms" either, but Perry intervened. He knew just what to do with it. "He was fascinating to write with because he's such a technician. I'd never worked with a vocal perfectionist," Cain told me. "I mean, he would memorize every line as we wrote it, then his voice — he'd put it in the register we wanted and deliver it how we wanted it. Steve rehearsed everything as we wrote it, so then when we got into the studio or rehearsal, he knew where it lived in his range. He was very specific about what words he wanted to say. I was kind of taken with it." That helped turn "Open Arms" a soaring paean to renewal. Oh, and Journey's highest-charting single ever.

No. 8. "Still They Ride" From: Escape (1981)

Cain and Schon earned co-songwriting credits on the lonesome "Still They Ride," and Steve Smith showed off an accomplished dexterity. But this song belonged in no small part to Perry. Its main character, Jesse, never left the town of his youth, and still drives through its darkening streets looking for some connection. Perry has admitted that this dreamer who refuses to give up on his youthful reverie works as a metaphor for himself. If you'd found yourself in mid-century Hanford, California, you might have seen Journey's future singer doing the same thing. Along the way, a touchingly emotional trip back to Perry's San Joaquin Valley youth showed that the seemingly ageless Escape could still produce a Top 20 single, more than a year after its release.

No. 7. "The Party's Over (Hopelessly in Love)" From: Captured (1981)

"After I left," Gregg Rolie told me, "it became more pop rock. It was a little heavier when I was in it." That transformation started with "The Party's Over," a Top 40 studio song tacked onto a live project which marked Rolie's exit. Journey's original keyboardist doesn't even appear on the track. Instead, the session featured Stevie "Keys" Roseman, who was later part of VTR with Ross Valory and George Tickner. He'd been working on a later-shelved project with Tickner, Valory and Schon in the next studio. He still hopes to have the old masters "baked so they can be released in some format," Roseman told me. "Neal played a couple of unbelievable solos that still need to be heard."

No. 6. "Stone in Love" From: Escape (1981)

Schon had a tape recorder going while he fooled around with the guitar during a party at his house in San Rafael. Perry and Cain did the rest. "Stone in Love" subsequently charted in the U.K., but never appeared on the main Cashbox or Billboard charts in America. After the release of "Open Arms" and "Still They Ride," however, it provided a welcome reminder that Journey had not given themselves completely over to balladry.

No. 5. "Separate Ways (Worlds Apart)" From: Frontiers (1983)

Cain and Perry looked on, feeling a little helpless, as Valory and Schon endured painful divorces. "There's got to be a more soulful way of looking at this," Perry countered in the Time3 liner notes. Just like that, the pair had the makings of the Top 10 opening single from Frontiers . "Separate Ways (Worlds Apart)" so energized Journey that they began performing it onstage before Perry had completely learned the words. Then they filmed a video that sharply divided some fans. "Rock aficionados may have said, 'Oh, that was cornball,'" Martha Quinn told me. "Well, ask people that are still doing send-ups today, down to every last camera angle. Those people love that video. That's something else you couldn't have predicted that would have stood the test of time — but it has. People love it."

No. 4. "Send Her My Love" From: Frontiers (1983)

One of four Top 40 hits found on the album, the lonesome No. 23 anthem "Send Her My Love" is notable for an ambient turn by Schon (he used a high-end Lexicon 480L echo unit) and perhaps the most intriguing drumming contribution on Journey's string of familiar ballads from Steve Smith. A jazz lover who later founded his own combo, Smith added a slyly involving polyrhythm lifted from Miles Davis' "In a Silent Way." "The drummer on that was Tony Williams," Smith told me, "and he played quarter notes with a cross-stick on the snare drum — a very hypnotic groove." Same here.

No. 3. "Only the Young" From: Vision Quest (1985)

Another song that, had it been included, might have pushed Frontiers past Escape as Journey's best Cain-era album. Instead, "Only the Young" appeared much later on this soundtrack, and by then Kenny Sykaluk – a 16-year-old fan suffering from cystic fibrosis – had already died after becoming the first person to hear it . The song is now credited with bringing Journey back together after a period of solo projects. "Only the Young" eventually opened every concert on Journey's subsequent tour, too. Still, it will be forever associated with Sykaluk's brave fight.

No. 2. "Any Way You Want It" From: Departure (1980)

Perry said the vocal and guitar interplay on "Any Way You Want It" was inspired by the performances of Phil Lynott , after Thin Lizzy opened for Journey. So, Perry sang "she loves to laugh," and Schon responded with a riff. Perry sang "she loves to sing," and Schon responded again. Then "she does everything" led into another guitar riff — just like Thin Lizzy might have. Perry and Rolie then brought a tight focus to the bursts of shared vocals that close things out, fashioning Journey's second-ever Top 40 hit – but not before Rodney Dangerfield's character in Caddyshack broke out in a hilariously awkward dance as "Any Way You Want It" blared out of a golf bag radio.

No. 1. "Don't Stop Believin'" From: Escape (1981)

It wasn't the biggest song of the year. In fact, "Don't Stop Believin'" finished at No. 72 on Billboard magazine’s year-ending Hot 100 singles of 1982. It wasn’t even the biggest song from Escape , which spun off not one but two songs that finished higher on the charts. It didn’t have a typical song structure, not referencing the title until 3:22 in, after three verses, two pre-choruses, and some abbreviated instrumental passages. It's set in a place — South Detroit — that doesn’t actually exist. So how did this become Journey's defining moment? "Who wants to keep believing? That would be everybody, you know?" Jonathan Cain told me. "And I think it's a certain song in uncertain times. You have this certainty about that song, and it has this rhythm to it that's just very assuring and very sure of itself. From the beginning piano line, it speaks — and it speaks to hope. I think people are looking for hope."

Nick DeRiso is author of the Amazon best-selling rock band bio 'Journey: Worlds Apart,' available now at all major booksellers' websites .

Rockers Whose Bands Tried to Erase Them

Gallery Credit: Nick DeRiso

You Think You Know Journey?

More From Ultimate Classic Rock

• Songwriter Interviews
• Song Writing
• Fact or Fiction
• They're Playing My Song
• Songfacts Pages
• Songwriting Legends
• Songfacts Podcast
• Amanda Flinner
• Bruce Pollock
• Corey O'Flanagan
• Dan MacIntosh
• Laura Antonelli
• Leslie Michele Derrough
• Maggie Grimason
• Nicole Roberge
• Roger Catlin
• Shawna Ortega
• Stephanie Myers
• Trevor Morelli

Journey Song list

• After All These Years (2008)
• Any Way You Want It (1980)
• Anytime (1978)
• Be Good To Yourself (1986)
• City of Hope (2011)
• Dixie Highway (1981)
• Don't Stop Believin' (1981)
• Faithfully (1983)
• Feeling That Way (1978)
• Homemade Love (1980)
• I'll Be Alright Without You (1986)
• Lights (1978)
• Lovin', Touchin', Squeezin' (1979)
• Never Walk Away (2008)
• Only The Young (1985)
• Open Arms (1981)
• Send Her My Love (1983)
• Separate Ways (Worlds Apart) (1983)
• Still They Ride (1981)
• Suzanne (1986)
• Sweet and Simple (1979)
• The Journey (Revelation) (2008)
• Too Late (1979)
• Wheel In The Sky (1978)
• When I think Of You (1996)
• Where Were You (1980)
• Who's Crying Now (1981)

More Songfacts:

The Power Snap!

Snap! was two German producers. When they needed a rapper, they found one on the American army base there and had him rap on "The Power."

True Colors Cyndi Lauper

With a message of acceptance and inclusivity, "True Colors" became a gay rights anthem. Cyndi Lauper help form an organization called True Colors United to help support LGBTQ youth.

Without You Nilsson

The song "Without You," a hit for Nilsson in 1972 and Mariah Carey in 1994, was written and originally recorded by Badfinger in 1970.

Rocket Man Elton John

Elton John's "Rocket Man" is based on a Ray Bradbury story called The Rocket Man published in 1951.

Cradle Of Love Billy Idol

When singing "Cradle Of Love," Billy Idol typically changes a line to, "This song is so cheesy."

Master Blaster (Jammin') Stevie Wonder

"Master Blaster (Jammin')" is Stevie Wonder's tribute to Bob Marley, released less than a year before Marley died.

Editor's Picks

Millie Jackson Songwriter Interviews

Outrageously gifted and just plain outrageous, Millie is an R&B and Rap innovator.

Dick Wagner (Alice Cooper/Lou Reed) Songwriter Interviews

The co-writer/guitarist on many Alice Cooper hits, Dick was also Lou Reed's axeman on the Rock n' Roll Animal album.

Michael Sweet of Stryper Songwriter Interviews

Find out how God and glam metal go together from the Stryper frontman.

Vanessa Carlton Songwriter Interviews

The "A Thousand Miles" singer on what she thinks of her song being used in White Chicks and how she captured a song from a dream.

Oliver Leiber Songwriter Interviews

Oliver Leiber talks about writing and producing hits for Paula Abdul, and explains his complicated relationship with his father, the songwriter Jerry Leiber.

Judas Priest Songwriter Interviews

Rob Halford, Richie Faulkner and Glenn Tipton talk twin guitar harmonies and explain how they create songs in Judas Priest.

Songfacts® Newsletter

A monthly update on our latest interviews, stories and added songs

Information

• Terms of Service
• Our Privacy Policy
• Google Privacy Policy
• Songfacts API
• Music History Calendar
• Song Licensing
• Affiliate Disclosure
• Privacy Manager
• X (Twitter)

Contribution

• Message Boards
• Songfacts Writers

©2024 Songfacts, LLC

Advertisement

Supported by

Huey Lewis Lost His Hearing. That Didn’t Stop Him From Making a Musical.

“The Heart of Rock and Roll,” a Broadway show built around the songs of Huey Lewis and the News, has given the singer a reason to “get out of bed.”

• Share full article

By Dave Itzkoff

After Huey Lewis learned that a syndrome of the inner ear called Ménière’s disease had caused him significant hearing loss and left him unable to play or hear music, he faced the difficult task of having to tell his friends and peers.

Lewis, whose wry lyrics and rumbling vocals powered Reagan-era pop hits like “I Want a New Drug” and “If This Is It,” turned to people like Tico Torres, the longtime Bon Jovi drummer, whom he’d gotten to know on golfing trips. But their conversation proved to be an unexpected source of the pragmatic philosophy that Lewis built his career on.

Over a breakfast interview last month, Lewis delivered a lively, solo re-enactment of that fateful talk with Torres.

“He goes, ‘Hey, Huey, how ya doing?’” Lewis recalled. “I say, ‘Tico, it’s not good.’ And I begin to explain. I said, ‘I’ve lost my hearing and I can’t hear pitch. I can’t sing.’”

“I’m telling him the whole story and he’s going like this” — here, Lewis lowered his head, furrowed his bushy brows over his eyeglasses and shook his head in dismay. Slipping into an imitation of Torres’s New Jersey accent, Lewis said, “When I finish, he goes, ‘Whaddaya gonna do?’”

“So that’s my mantra,” Lewis continued. “What are you going to do? Really, it’s a pretty good question. I don’t know. Still working on it.”

Lewis had already halted his performing career before he went public with his diagnosis in 2020. But while his relationship to his art has fundamentally changed, he has continued to work on a new Broadway musical, “The Heart of Rock and Roll,” which is built around many of the songs he made famous with Huey Lewis and the News.

The musical, which opens on April 22 at the James Earl Jones Theater, spins Lewis’s tunes like “Hip to Be Square,” “Workin’ for a Livin’” and the title track into a fictional story set in the 1980s about a couple (played by Corey Cott and McKenzie Kurtz) torn between pop-star ambitions and corporate opportunities.

It is a project more than a decade in the making, one that began before Lewis learned about the disease that has upended his life and given the musical an unexpected sense of urgency.

As Lewis, 73, explained, “Zen Buddhists say you need three things: Something to love, something to hope for and something to do.”

“I got plenty to love,” he continued. “So this is my hope-for and my to-do. It keeps me from reflecting on my [expletive] hearing.”

A gregarious, exuberant storyteller, Lewis will readily regale a listener with tales from his picaresque career, like his formative days in Clover, a Bay Area band that arrived in London just in time to see their country-rock sound become swept away by the punk movement; or the hours he spent driving to set with Robert Altman when Lewis played a role in the filmmaker’s 1993 ensemble comedy-drama “Short Cuts.”

Recalling some of Altman’s advice, Lewis said, “He told me, ‘Learn the script. Read it every day. Find your character to the point where you know what he had for breakfast. And then don’t listen to anybody.’”

Lewis’s fellow musicians describe him as dedicated and reliable, which comes across in Bao Nguyen’s documentary “The Greatest Night in Pop,” about the making of the 1985 all-star charity song “We Are the World.”

In response to email questions, Lionel Richie recalled Lewis coming onto the project at the last minute, taking over a part that had been written for Prince.

Even so, Richie said, “I remember him eagerly jumping in with confidence and patience.”

“The Huey we saw in the documentary all those years ago is the same Huey we see today,” Richie added. “Fast forward to the night of the documentary premiere — he was still a nervous wreck over that night while watching the screening! His humor, his compassion and his welcoming spirit are just a few of the things that haven’t changed since the day I met him.”

In person, Lewis can hear well enough to conduct face-to-face conversations. He sometimes uses a discreet, disc-shaped listening device, which broadcasts wirelessly to a hearing aid in his ear.

But when he is in group settings, Lewis said, it can feel as though he is “in a cocoon.”

“I sit there like this,” he said, pretending to nod and smile at nothing in particular. “Can’t hear a thing.”

Lewis is also candid in talking about the despair he felt after learning that he might never be able to perform music again. Though he had experienced hearing loss in his right ear since the 1980s, he said the hearing in his left ear became suddenly and significantly distorted before a show in Dallas in January 2018.

“I’m mainly a half-full guy,” Lewis said, but what followed were “the most miserable six months of my life.”

“I contemplated my demise,” he said. “I laid in bed. I tried acupuncture, cranial massage, chiropractors, all-organic diet.” No matter which doctors he spoke to or which cures he tried, Lewis said they all yielded the same results: “Nothing.”

In that period, Lewis said that talking to his grown children — his son, Austin, and his daughter, Kelly — is what eventually gave him the confidence to move forward. “They said, ‘Come on, Dad. Get out of bed, Dad,’” he explained.

When Lewis felt able to resume work, “The Heart of Rock and Roll” — several years into its development — was ready for him to return to it.

The production’s origins trace back to 2009 when the producer Tyler Mitchell contacted Lewis about turning his music into a stage show.

Mitchell, who once bagged the musician’s groceries as an adolescent when they both lived in Ross, Calif., said several songs already had a narrative thread.

“His songs resonate with so many people because they tackle a lot of relatable subjects: following your dreams versus playing it safe, love and relationships, friendship, blue-collar working,” Mitchell explained. In his idealized version of the show, he said, Lewis’s songs would provide not just the score but “a massive part of the actual storytelling.”

But Lewis, who has done two stints as Billy Flynn in the Broadway revival of “Chicago,” had been approached with similar offers and was wary.

When it came to the genre of jukebox musicals — he and his creative partners prefer the term “catalog musicals” — a show was not guaranteed to be a hit just because it used popular songs.

As Lewis put it, “If the Beach Boys can’t succeed, and Abba does? I’m just saying. But what we forget about ‘Mamma Mia!’ is that the book really is great.”

Lewis wanted a show to tell a compelling story, and he felt he found that in a pitch from the screenwriter Jonathan A. Abrams (“Juror No. 2”).

Abrams said he began constructing the musical’s book by writing down lyrics to the group’s various songs, hanging them on his wall and studying them in obsessive detail.

“I stood back like I was looking at a painting,” he said. “And words would jump out. ‘Hip’ and ‘heart,’ and ‘soul’ and ‘power’ and ‘love.’ From there, I was able to start to formulate what this thing is demanding to be.”

Lewis did not particularly mind that the show does not tell an autobiographical story, explaining that many of his best-known songs were only ever loosely based on his life.

“You know, the muse comes when she comes,” he said. “It’s usually from something personal. And when you begin to write the song, you exaggerate. You embellish.”

Readings and workshops followed, but only a few weeks before announcing that the show would have its premiere at the Old Globe Theater in San Diego, Lewis experienced his abrupt hearing loss in Dallas.

The show’s collaborators learned about this from Lewis soon after.

“It was very, very painful to watch that happen to such a great person who loves music, and loves performing so much,” Mitchell said. “To have that part of his life taken from him was truly difficult.”

But Mitchell said he did not contemplate halting or canceling the plans for the musical. “Huey would never let that happen,” he said. “Huey doesn’t give up.”

At the Old Globe, Lewis was on hand to contribute — and to step back when he felt he wasn’t needed, said the musical’s director, Gordon Greenberg, who directed the 2016 Broadway production of “Holiday Inn.”

“He was there every day in rehearsals, 9 a.m. with us, laughing and offering suggestions,” Greenberg said, “and also understanding, where he said, ‘Here’s what I’m seeing — but I’m going to just let you guys go.’”

Lewis, who attended several performances of “The Heart of Rock and Roll” at the Old Globe, said with a chuckle, “I kept wanting to redirect — to change things. ‘Oh, no, he’s doing that all wrong.’”

He added, “I can’t get objective about it and that’s what I’ll do with this show forever. But I love it, and I like where we’re going.”

Reviewing the Old Globe production for The Los Angeles Times, Charles McNulty wrote that one’s enjoyment of the musical will most likely depend “on how nostalgic you are for Huey Lewis & the News,” adding that his own “surreptitious survey of theatergoers suggests this kind of material must have a pleasant tranquilizing effect.”

Lewis has contributed a new song for the Broadway production, called “Be Someone,” for which he shares credit with his bandmate Johnny Colla and the show’s musical director, Brian Usifer.

“I sang the parts into my iPhone and sent them to Johnny and Johnny demoed it all up and tweaked it,” Lewis explained in a phone interview, adding that this was a new process for him.

“I can sing to myself,” he said, “but I can’t sing to anything because I can’t hear pitch. We just changed the lyric two days ago. You got to pick your battles.”

Lewis is considering cochlear implant surgery and is scheduled to have a consultation this spring. He said that in his day-to-day life, he has gained a greater appreciation for pastimes like reading and fishing, but that nothing will ever quite replicate the pleasure of simply listening to a jazz album while he’s cooking at home.

“I don’t miss doing five shows a week,” he said. “I don’t miss travel at all. But I do miss a show once in a while. And I miss the circus that was our show. But OK — take away singing. Take away performing. I can’t even enjoy music.”

And yet, Lewis said “The Heart of Rock and Roll” has given him a new appreciation for his own music because the show presents it in new ways and makes narrative connections across his body of work.

“There’s a personality in the songs that I only recognized when I saw them performed in the show,” Lewis said. “I realized, wow, there’s a thread that runs through all these. It’s not my story but there’s a sensibility that pervades everything.”

Seeing his decades-old music reflected back at him, Lewis came to realize it was not just working but living and thriving in the production.

“To see the songs take on this other life,” he said, “it’s like seeing your children grow up and get a job.”

Dave Itzkoff is a former Times culture reporter. More about Dave Itzkoff

• Departments and Units
• Majors and Minors
• LSA Course Guide
• LSA Gateway

Search: {{$root.lsaSearchQuery.q}}, Page {{$root.page}}

• News and Events
• Window to Greek Culture
• Alumni and Friends
• Endowments & Gifts

• Major and Minor
• Placement Tests
• Prospective Students
• Resources and Opportunities
• Graduate Students in Modern Greek
• Endowed Support
• Contributions In-Kind
• Annual Support
• Search News

A Musical Journey to Cyprus: Traditional Songs of Love, Sorrow, and Hope

• Our Program in the News
• Newsletters

Featuring Nicoletta Demetriou (voice) Nikitas Tampakis (viola) and Panayotis League (laouto)

Sunday, april 14, 2024 | 6:00-8:00 pm kerrytown concert house 415 n. 4th avenue, ann arbor, mi 4810.

Click here for the concert program with translations .

The Modern Greek Program at the University of Michigan will present a concert of traditional songs of Cyprus in observance of 50 years of a divided Cyprus. Join us at the Kerrytown Concert House located in Ann Arbor. Two exceptionally talented musicians will join Dr. Nicoletta Demetriou to perform after a brief reception. Dr. Demetriou will stay in Ann Arbor as the Foundation for Modern Greek Studies Visiting Scholar for several days to meet with students and teach classes.

We thank the Foundation for Modern Greek Studies and the Meditopos Rackham Interdisciplinary Workshop for their support.

Cosponsors: Meditopos Meditopos Rackham Interdisciplinary Workshop Department of Classical Studies Department of Comparative Studies

• Information For
• Current Students
• Faculty and Staff
• More about LSA
• How Do I Apply?
• LSA Magazine
• Student Resources
• Academic Advising
• Global Studies
• LSA Opportunity Hub
• Social Media
• Update Contact Info
• Privacy Statement
• Report Feedback

Jewish Journal

Connect. inform. inspire., charles fox reflects on his musical journey in captivating documentary.

• By Brian Fishbach
• Published April 9, 2024

Brian Fishbach

Did you know that the theme songs to television “Happy Days,” “Laverne & Shirley,” and “The Love Boat” were all written by the same person? He’s also the same person who composed Roberta Flack’s chart-topping 1971 hit, “Killing Me Softly With His Song.” The man behind the music is Charles Fox, and there’s a new documentary about his musical journey, fittingly titled, “Killing Me Softly with His Songs” — plural.

The documentary is a fascinating history on cinematic and television music. It also shows just how much power there is in choosing the right music to compliment a film or TV show. The Journal spoke with Fox about the documentary and his career, and it’s clear that he relishes the thought of knowing how much his music has impacted generations of listeners.

“People remember where they were and how they were, and growing up and sitting around the TV, and I’ve had lots of letters from people over the years, I don’t know how to get my number, I haven’t figured out, but I do get a lot of letters, which I can’t take offense to because they’re usually very nice,” Fox told the Journal.

One of the themes that carries throughout the documentary is the importance of mentorship. This documentary will serve as great fodder for older generations to regal stories of an era when television and film were unifying experiences (unlike today, with an endless stream of content and less often a communal watching experience). .

In the documentary, Fox traveled to Paris, where he spoke in-depth about the profound impact his teacher, the legendary Nadia Boulanger, had on his music. Boulanger was a highly respected composer and educator (Aaron Copland, Philip Glass and Quincy Jones all studied with her). Describing his time studying with Boulanger in Paris as a young man, Fox became visibly emotional.

“I was deeply moved,” Fox said. “I was holding back tears actually. Maybe because of this feeling that she gave to me that remained with me, the whole life just came over me like a warm cloud.”

Boulanger was 72 years old when then-18-year-old Charles went to Paris for a summer to study at her conservatory. He would return three years later.

“The love that she gave me, the music that she gave me, the ability to understand music and what the essence of music is and to look under the skin and to portray what it becomes,” Fox said. “The truth of music — not just the collection of notes and chords and harmonies and counterpoint and orchestration — that’s all the end result, but the underlying meaning of it, when you put those things together to become a whole, it becomes the truth. And that’s something that most people wouldn’t be taught or think about, but it’s something that has affected my whole life.”

“The truth of music — not just the collection of notes and chords and harmonies and counterpoint and orchestration — that’s all the end result, but the underlying meaning of it, when you put those things together to become a whole, it becomes the truth.”

As evidenced by the array of testimonials from Hollywood superstars in the documentary, Fox’s music touched many of the most revered talents in film, television and music: Jason Alexander, The Barenaked Ladies, Common, A.J. Croce, Anne Sila, Diane Warren, Paul Williams, Rita Wilson and Henry Winkler.

The documentary is more than Fox’s life story, it’s also a concert film. Several times in the documentary, the viewer is treated to a live performance at intimate clubs from Paris to Havana, with Fox playing piano along with a talented crew of bandmates. The documentary, directed by Danny Gold, weaves together so many chapters of Fox’s life and continued influence on music, film and television. Throughout the interview, Fox emphasized the importance of passing on musical knowledge and inspiring the next generation of musicians.

“I like to give everyone the hope and the inspiration that what they feel in their heart that they can do and achieve is achievable,” Fox said about his time teaching music composition at UCLA and his mentorship of young talent. “I’m very proud of them.” Fox is also quite involved with the new Academy Museum of Motion Pictures, and is mighty excited about the upcoming Hollywoodland exhibit , which will showcase “the Jewish founders and the making of a movie capital.” The exhibit opens on May 19, 2024.

The documentary “Killing Me Softly With His Songs” is now available to rent or buy on streaming platforms . After watching the documentary, fans in Los Angeles can see Fox perform songs from the documentary in person this week on Thursday, April 11 at Vibrato Grill Jazz at the top of the Hollywood Hills.

Here are a few quick questions Fox answered in his interview with The Journal. The conversation has been edited for length and clarity:

JEWISH JOURNAL: Do you find yourself over the years telling other music prodigies or just people taking up music to find “their own Nadia”?

CHARLES FOX : I absolutely do. I taught composition and a graduate course for this UCLA for five years, and I would tell my students things that she said to me, and I said, well, it’s exactly as I heard it from Nadia Boulanger. I wrote my memoir about 10 years ago, also called “Killing Me Softly: My Life in Music.” The reason I have a memoir is because we found the letters that I wrote home when I was a student [of Boulanger in Paris] that my mother kept in a shoebox in her apartment in the Bronx under a hidden layer of things that you put in a dresser drawer. When we moved my mother to California, we saw that she had saved all my letters. I wrote about 200 letters. I didn’t write, “I’m having a good time, send money.” Money was very tight in the Bronx with my family, of course. But I wrote about my lessons every day, and I wrote my experiences and I wrote what she said, and I wrote about the music that I heard, the music I was writing, and I was very descriptive writing to my family. They didn’t understand a word of what I was talking about, about music and operas and concertos, but I wrote them and they read them and my mother preserved them.

JJ: Is there a particular film score or album that you consider to be a personal favorite or a modern masterpiece?

CF : One has remained very near and dear to my heart. It was a Ray Charles album that my wife and I recall was our album — “The Genius of Ray Charles.” And we met in 1961 in the Catskill Mountains. I was a musician working with a Latin band. My wife was a counselor, and that’s where we met. We heard that record together. “Am I Blue” is one of the songs, just beautiful. “Alexander’s Ragtime Band” was one of them. Of course, I knew Ray Charles’ music but that became our record.

JJ: Tell us about a particular moment that still blows your mind about your impact on music and cinematic and television history?

CF : The Smithsonian once asked me if I had something that they could keep. If you recall at the beginning of the show “Happy Days,” a record drops on a jukebox, it spins around and it says “Happy Days.” That was before we had a record called “Happy Days.” We had just recorded it, and they made a record just to spin around. And if you pause, you’ll see it says, “‘Happy Days’ Music by Charles Fox, lyrics by Norman Gimbel.” After the series was over, the producers put that in the frame and gave that to me as a gift. That is hanging now at the Smithsonian, next to the Fonzie jacket, in the same room as Dorothy’s slippers, The Muppets and Archie Bunker’s chair.

Did you enjoy this article?

You'll love our roundtable., editor's picks.

Israel and the Internet Wars – A Professional Social Media Review

The Invisible Student: A Tale of Homelessness at UCLA and USC

What Ever Happened to the LA Times?

Who Are the Jews On Joe Biden’s Cabinet?

You’re Not a Bad Jewish Mom If Your Kid Wants Santa Claus to Come to Your House

No Labels: The Group Fighting for the Political Center

Latest articles.

LA Jewish Symphony to Celebrate 30 Years with Anniversary Concert on April 14

Amidst Iran’s Strike on Israel, “No Credible Threats to Los Angeles,” LAPD Says

Netanyahu Confirms Military Readiness as Iran Launches Drone and Missile Barrage at Israel

Rescued Hostage, Hostage Family Share Message of Hope to Over 1,000 at Yeshiva University

Fear and the remedy – thoughts on torah portion tazria.

Jewish UCLA Faculty Speak Out Against Antisemitism During UC Regents Health Committee Meeting

Delicious entrees for your passover seder, a passover story — of meat pies and chicken tagine, joan nathan: “my life in recipes” and pecan lemon torte, a last-minute trip to israel and the short film that offers viewers ‘a proxy experience’ post-oct. 7.

Are We Going to Stop for Lunch?

So far, the American Jewish community has been exceptional in its support for Israel. But there is a long road ahead, and the question remains: will we continue with this support?

Three Takeaways from This Week’s Disastrous Dinner for Berkeley Law Graduates

Pro-Palestinian student spouted anti-Israel rhetoric at Jewish dean’s dinner party

Taller Than My Hair – A Poem for Parsha Tazria

Please remove your hats before reading this poem.

EXCLUSIVE: Inside Hollywood’s “Meeting of the Masters” Brunch

Guy Shalem’s Meeting of the Masters is more than just a dinner club; it’s a testament to the power of food, conversation, and community in bringing people together and creating a space where everyone, regardless of background or belief, can find common ground and friendship.

Orot’s Week at Camp Ramah

People cried, laughed, sang, danced, painted, talked, and plenty more healing still needs to occur.

Spielberg Says Antisemitism Is “No Longer Lurking, But Standing Proud” Like 1930s Germany

Young Actress Juju Brener on Her “Hocus Pocus 2” Role

Behind the Scenes of “Jeopardy!” with Mayim Bialik

Joel Haber: 18 Jewish Foods Podcast and Hamin Kharshuf aka Chulent

More news and opinions than at a shabbat dinner, right in your inbox..

"Main Street Strut" by Late to the Station Journey of a Song

• Music Interviews

"Thick skin, now healed." Midway through this episode of Journey of a Song, Cari Smith of Late to the Station leaned back on her stool and said, "The price I was paying internally [not to make music] became too high. I am here for a reason, and if I think this is it, to not do it would be an absolute waste." Emmeline invites you to scribble that down on a Post-It and tape it to your bathroom mirror to remind yourself that the only life worth living is one about which you're deeply passionate--which is, coincidentally, the root of her conversation with Cari and Paul Smith from the Americana group, Late to the Station. Here, Cari and Paul deconstruct their groovy jam, "Main Street Strut," as an ode to the genre and to the vocal swagger of legends like Chrissie Hynde. They also talk about their decision to make music professionally as fully grown adults, and all of the gifts music has brought into their lives--from the ability to be open to magic to the chance to fall in love. To learn more about Late to the Station, or to follow their musical journey, visit their official website and follow them on Instagram. For behind-the-scenes info and more about Journey of a Song, follow @EmmelineMusic on social media or visit the Journey of Series official webpage. You can hear songs from previous episodes through the Journey of a Song Official Spotify Playlist.

• More Episodes
• © 2024 Journey of a Song

The Sting dance show is hard to understand but pretty much works

'message in a bottle’ at the kennedy center somehow tells a refugee story through songs such as ‘every little thing she does is magic’.

Sting has for decades made a practice of closing his concerts with “Fragile.” The pacifist ballad comes from “… Nothing Like the Sun,” the 1987 album that cemented the schoolteacher-turned-professorial-rock-star’s reputation as an artist with a global focus, in instrumentation and in subject. But the song from that album that provides the climax to Kate Prince’s Sting-focused dance saga “Message in a Bottle” at the Kennedy Center is a more lyrically direct one: “They Dance Alone (Cueca Solo).” An indictment of the human rights abuses by Chile’s U.S.-backed military dictator Augusto Pinochet, the song builds to a cheerful chorus, one we now see as well as hear: “One day we’ll dance on their graves.”

The Style section

The narrative of displacement, migration and renewal Prince has imagined has no dialogue or lyrics beyond those heard in the more than two dozen songs from the catalogue of the Police and Sting’s subsequent 40-year solo career. It’s clear enough from what the celebrated British choreographer communicates visually, via her 14 magnificent dancers and by the harrowing lighting and projection design on a stage that’s otherwise largely bare — the better to allow these artist-athletes to fling themselves around it — that her tale is one of a community of people who flee the violent destruction of their homes, undertake a perilous sea crossing and find themselves separated from one another in a razor-wire-fenced refugee camp. I needed the synopsis in the program to clarify for me that our central characters are a mother and father and their teenage kids Leto, Mati and Tana.

The two songs already named and the 21st century tracks “Inshallah” and “The Empty Chair” — the latter written in memory of James Foley, the war correspondent beheaded by ISIS in 2014 — have a close lyrical bearing on Prince’s story. Elsewhere, her efforts to connect her narrative to Sting’s declarations of love (“Every Little Thing She Does Is Magic,” “If I Ever Lose My Faith in You”) and howls of isolation (“So Lonely,” “Message in a Bottle”) is more tenuous.

When she indulges in on-the-nose-transliteration, the effect is often funny: Refugees swinging gymnastically out of their cages as “If You Love Somebody Set Them Free” plays; a trio of dancers writhing while standing upright in a simulation of sleeplessness and then launching into a series of leaps — captured and elongated in projected silhouettes — during “The Bed’s Too Big Without You.” (Naturally, Prince also finds room for “De Do Do Do, De Da Da Da,” a Police banger about the clumsy inadequacy of, you know, words. It’d be gross negligence if she didn’t.)

In sum, the show, which premiered at London’s Sadler Wells Theatre in 2020, is a more persuasive re-contextualization of Sting’s music than, say, Signature Theatre’s 2018 musical “Girlfriend,” which repurposed Matthew Sweet’s eponymous 1991 breakup album as the soundtrack to a budding love affair between two lonely teenage boys in early-’90s Nebraska.

While many of these songs are heard in their familiar recorded versions, new arrangements (by Alex Lacamoire) abound, and Sting scholars will delight in the way he has interwoven “Desert Rose” and “If I Ever Lose My Faith in You,” to cite one early example. Eight numbers feature new singing from “guest vocalists” Beverley Knight, Lynval Golding, Claudia Georgette, Shaneeka Simon and Christella Litras.

But of course the show belongs to Prince’s lithe and unencumbered dancers, whose relationship to gravity — an open relationship, it would appear — is nicely captured by the 1979 Police track “Walking on the Moon.”

Message in a Bottle , through April 21 at the Kennedy Center. About two hours, including an intermission. kennedy-center.org .

• The Sting dance show is hard to understand but pretty much works April 12, 2024 The Sting dance show is hard to understand but pretty much works April 12, 2024
• Like many musical adaptations, ‘The Outsiders’ overexplains itself April 11, 2024 Like many musical adaptations, ‘The Outsiders’ overexplains itself April 11, 2024
• A tricky father-daughter play about being wrong for the right reasons April 11, 2024 A tricky father-daughter play about being wrong for the right reasons April 11, 2024

Now Playing in IMAX ®  and Giant Screen Theatres

A cross-country adventure through the musical heritage of America and the cultural cities where America’s music was born.

Explore america’s music on the giant screen, america’s musical journey follows singer/songwriter aloe blacc as he traces the roots of american music and explores the great musical cities—places like new orleans, chicago, nashville, miami, new york city and more—where such electrifying art forms as jazz, the blues, country, soul and rock and roll were born., explore the places where america’s music was born..

“Music is life itself. What would this world be without good music?” — Louis Armstrong

Follow the journey and get exclusive film updates, videos and photos

• P.O. Box 205 Laguna Beach, CA 92652 U.S.A.
• 949.494.1055
• contact@macfreefilms.com
• Privacy Policy
• Terms of Use

We're not around right now. But you can send us an email and we'll get back to you, asap.

Win a Trip to the Premiere of America’s Musical Journey for You and a Friend valued at $2,000!

'Hey Jude' is out; 'Anti-Hero' is just right: Chechnya bans songs deemed too fast or too slow

The beat goes on, but much of Taylor Swift ’s, Beyoncé ’s and even the Beatles’ back catalogs could be off playlists in Chechnya after the Russian republic instituted limits on musical tempo.

From now on, “all musical, vocal and choreographic works” will be subject to the new limits, the region’s Culture Ministry said in a Telegram post. Culture Minister Musa Dadaev was quoted in the post as saying they should be 80 to 116 beats per minute, or BPM.

It was unclear how the limits would be enforced, but they could rule out much of the modern pop pantheon, most of which would be too fast.

Swift’s “Shake it Off” and “Cruel Summer” are out, as are Beyoncé's “Single Ladies” and “Run the World (Girls).” However, “Anti-Hero” and “Texas Hold ’Em” would just about make the grade.

The Beatles’ “Hey Jude” would, though, be too slow, as would the grandiose Russian national anthem, which is usually played at a tempo of 76 BPM.

Chechnya’s Culture Ministry said when it made the announcement last week on Telegram that it had been carrying out “a huge amount of work” on the issue of compliance of Chechen musical, vocal and choreographic compositions with the “Chechen mentality.”

“The musical culture of the Chechens was diverse in tempo and methodology,” Dadaev was quoted as saying. “We must bring to the people and to the future of our children the cultural heritage of the Chechen people.”

That includes the customs and traditions and “features of the Chechen character, which includes the entire spectrum of moral and ethical standards of life of the Chechens,” he said.

While Chechnya, a conservative Muslim-majority republic in the North Caucasus, has remained part of Russia after it waged two brutal wars for independence in the late 1990s and early 2000s, it has maintained its distinctive culture, language and traditions.

The Culture Ministry’s Telegram post added that the BPM limits had been approved by President Ramzan Kadyrov , who has maintained a tight grip on power in the republic since he became president in 2007.

Critics have accused the Kremlin of letting Kadyrov, a big supporter of Russian President Vladimir Putin , get away with corruption, rights violations against women and repression of members of the LGBTQ community.

Yuliya Talmazan is a reporter for NBC News Digital, based in London.