MR

I keep hearing about how Generations doesn't have enough or any of the Journey 'sound'. I happen to disagree with this of course, mainly for the reasons that this so called classic sound only comes from the music Journey made between '81 and '86. So I decided to try a little experiment.

I have a ten disc changer in my truck, so I loaded it up with all Journey.......Journey, LITF, Next, Evolution, Departure, Escape, Frontiers, TBF, Arrival and Generations. I've put it on shuffle play so its randomly picking songs from all ten discs. On the way home this afternoon I listened to Send Her My Love, All The Things, Anyway and then Out Of Harms Way. Pretty cool way to listen to Journey I have to tell you. I've been doing this for a couple of days and I'll probably let it run for the next week or so, so I can hit all the songs. I'd like to see if I can find a sound amongst all of Journey's releases and not just three.

Interesting experiment. How did you determine which 10 CDs to feature - I noticed that Infinity was missing from your selection. And ROR, but I can understand how you would not consider that entirely a representative choice.

I'd hazard a guess that the big changes will be detected in percussion (both drums and keyboards) and vox. Dunbar, Smith and Castronovo are all excellent masters of their instrument, but their styles are different, and this does affect the Journey sound. I wouldn't like to underestimate how each of these men have influenced the Journey sound of their 'era'. Similarly, keyboards. Rolie and Cain are superb exponents of keyboards, but in the Rolie 'era' there was far more emphasis on the B3 rather than the acoustic piano which became a trademark of Journey with Cain.

I'm wimping out on a comparison of the vox. I think we can agree there were differences in execution by the various lead singers Journey have enjoyed throughout their career.

Spike wrote:Interesting experiment. How did you determine which 10 CDs to feature - I noticed that Infinity was missing from your selection. And ROR, but I can understand how you would not consider that entirely a representative choice.

I'd hazard a guess that the big changes will be detected in percussion (both drums and keyboards) and vox. Dunbar, Smith and Castronovo are all excellent masters of their instrument, but their styles are different, and this does affect the Journey sound. I wouldn't like to underestimate how each of these men have influenced the Journey sound of their 'era'. Similarly, keyboards. Rolie and Cain are superb exponents of keyboards, but in the Rolie 'era' there was far more emphasis on the B3 rather than the acoustic piano which became a trademark of Journey with Cain.

I'm wimping out on a comparison of the vox. I think we can agree there were differences in execution by the various lead singers Journey have enjoyed throughout their career.

Actually Infinity was by default as I can't find my cd, I only had room for 10 so one of them had to be left out anyway. As far as ROR goes, well let me just say, I'm not including any Perry solo albums...lol....

Its actually quite interesting to listen to all different songs from all the eras of the band all mixed together like this, I'm enjoying it quite a bit. And its not a bad way to get ready for the concert on Aug 2nd, right Dave?

Still vehemently but respectfully disagree about ROR. Check Neal and Larry londin out on that one again. THE VOICE is on fire, too.

Red13JoePa wrote:Still vehemently but respectfully disagree about ROR. Check Neal and Larry londin out on that one again. THE VOICE is on fire, too.

Goddammit, quit referring to her as "The VOICE!"

i don't refer to him as "THE VOICE." I refer to him as THE VOICE .

Red13JoePa wrote:i don't refer to him as "THE VOICE." I refer to him as THE VOICE .

I said "her" you total dumbass.. Did you go to the same bad journalism school as that horrible Penn State writer?

Abuse !!! Abuse!!!!

check Pm bro

Red13JoePa wrote::lol:

Abuse !!! Abuse!!!!

check Pm bro

Ok, Sideshow.....Geesh.

cubby69 wrote:I'm enjoying it quite a bit. And its not a bad way to get ready for the concert on Aug 2nd, right Dave?

Damn straight!! I intend to primarily focus on the first 3 and still Generations...It's wierd, but I just don't list to the other stuff much right now.

Red13JoePa wrote:Check Neal and Larry londin out on that one again.

Neal sounded good, what little he played. The problem is he sounded like an afterthought to the songs. The songs were written a certain way and could have been complete without Neal (as Perry may have wanted...) but then Perry says "OK Neal, here is your part". Neal took it an ran with it, but the songs should have utilized Neal's talents a little more.

As for Larrie...BORING! I could have played his drum parts. And I don't play drums. Perry wanted a drum machine and he got one.

jrnyman28 wrote:

Red13JoePa wrote:Check Neal and Larry londin out on that one again.

Neal sounded good, what little he played. The problem is he sounded like an afterthought to the songs. The songs were written a certain way and could have been complete without Neal (as Perry may have wanted...) but then Perry says "OK Neal, here is your part". Neal took it an ran with it, but the songs should have utilized Neal's talents a little more.

As for Larrie...BORING! I could have played his drum parts. And I don't play drums. Perry wanted a drum machine and he got one.

You are 100% correct again. Neal was definately "not there" except for Be Good to Yourself. That album was a perry pop album with high paid musicians along for the ride. Reason to get even more pissed at Perry.
Then you throw those gay clothes on them, and the fruity haircuts, and you have the furthest thing from a rock band.

Positive Touch (Neal and the sax solo)
It Could Have Been You
Once You Love Somebody
among others are but a few of my highlights of the record. I like Neal in the somewhat bluesy mode.

Red13JoePa wrote:Positive Touch (Neal and the sax solo)
It Could Have Been You
Once You Love Somebody
among others are but a few of my highlights of the record. I like Neal in the somewhat bluesy mode.

Of all the ROR songs, don't laugh, I like I'll Be Alright Without You " live the best. The bluesy guitar, and the superb vox...

Rock'ndeano wrote:Of all the ROR songs, don't laugh, I like I'll Be Alright Without You " live the best. The bluesy guitar, and the superb vox...

HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA!

Rock'ndeano wrote:

Red13JoePa wrote:Positive Touch (Neal and the sax solo)
It Could Have Been You
Once You Love Somebody
among others are but a few of my highlights of the record. I like Neal in the somewhat bluesy mode.

Of all the ROR songs, don't laugh, I like I'll Be Alright Without You " live the best. The bluesy guitar, and the superb vox...

I'll Be Alright Without You at least featured a good solo from Neal...even if it was at the end of the song where radio stations would CUT IT OFF!!

I HATED the Sax Solo because that SHOULD HAVE BEEN NEAL playing!!

But there are some catchy songs on ROR. It was successful for what Perry wanted: the songs sound good on the radio.

My god, IBAWY is great. I love the rocking Neal but sometimes I think his bluesy ass outro on that track is his finest, if most subtle hour.

Wait'll you hjear the Augeri one NIG. Your tune wil change.

Red13JoePa wrote:I think his bluesy ass outro on that track is his finest, if most subtle hour.

Very true. I like it when Neal plays for melody more than when he shreds. I think it was Eric Clapton who said something about playing 5 notes can affect people more than playing 100...So true. Just like how Perry was more emotive in his latter years with the reduced range. He may not have been able to hit as many notes as strong as he used to...but what he hit made you feel more than before.

NealIsGod wrote:

Rock'ndeano wrote:Of all the ROR songs, don't laugh, I like I'll Be Alright Without You " live the best. The bluesy guitar, and the superb vox...

HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA!

Oh I'm sorry god, maybe I should have said, Happy to Give...I hate that song..