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Still holding on to the feeling
From the late 1970s to the mid-'80s, Journey’s hits were lavish pop bulletins conjuring amber waves of strip malls. Its melodies resolved quickly over four-four grooves, and the band didn't indulge much in suite form or rarefied instrumental interludes. Neal Schon was its front-and-centre guitar player, bending notes into parabolas as big and sexy as rainbows.
and who sounds a great deal like Perry. "Revelation," produced by Kevin Shirley, is the resuscitated band s covering-all bases album, with 11 new songs, 11 old songs and a live DVD. (Like the Eagles' most recent record, it is available exclusively at Wal-Mart and the band'sownWeb site, joumeymusic.com.)
Despite the recent surge in iTunes down-Journey's new album "Revelation"
Steve Perry was its great theatrical tenor, hitting high notes with a likeably strained, through-the noise voice. Once it refined its formula. Journey was pure suburban-teen romantic inspiration. By contrast, Boston sounded more street and more mystical; Styx and Kansas were Trig 1 and 2.
Perry hasn't worked with Journey since a reunion album in 1995, and after he left, the band, led by Schon, hired two other touring lead singers. Recently, Schon secured the services of another singer. Amel Pineda, a 40 year old from the Philippines whom he found on YouTube
loads of the old hit "Don't Stop Believing" after it closed last year's final episode of "The Sopranos, ” this is a band with roughly the same audi -ence it left behind about 25 years ago, a comfort machine with no sub-cultural clout "Revelation seems like a record to justify a tour, and there’s one this summer.
And though the album doesn't transcend this purpose, it is, actually, good. Pineda, who sings hard and with ihe appropriate vulnerability, gives it some distinction. Beyond that, the band seems to have taken rock vitamins: it feels alive. With the exception of "Wildest Dream" -slightly modem-rock, slightly Foo-Fightery -"Revelation" operates with its own kind of Schillinger System, an almost clinical set of chord modulations, solo-lengths and emo tional progressions. You find yourself reeled in exactly where the band wants you to be, to (he
degree that it wants you to be. Those lyrics! Within the first minute and a half, you're given a huge melody and a full story line: a pair of young lovers have run away, hit hard times and decided with finality that they won't give up on love. Journey.in a nutshell
With this band, faith counts, and being an average person counts; hence the new song "Faith in the Heartland," about young lovers somewhere in the breadbasket who won't give up their dreams in a fading town, and hence, on slightly less epic ground, a track written by Schon and the keyboardist Jonathan Cain, "Change for the Better," about recovering from alcoholism.
As for the second disc of re-recorded hits — including "Only the Young" "Open Arms" and "Don't Stop Believing" - it sounds pretty much like old Journey, down to the vocal details, with more acrobatic and whammy-bar-enhanced guitar solos. If you're a fan, take die compliment: the members of Journey will not let go of you. They believe inyou.