journey`s don`t stop believin`
Transcription
journey`s don`t stop believin`
LEGENDS n SONG STORIES D BRFAKOUTS Journey's keyboardist Jonathan Cain (at center in photo at left) is opening a new recording studio, Addiction Sound, in Nashville in 2012. Learn about his solo career and charity work at ionathancain.com. THE JOURNEY OF Don't Stop Believinn BY JONATHAN CAIN THREE DECADES INTO ITS RELEASE, JOURNEY'S'DON'T STOP BELIEVIN'" seems even more popular than when it hit radio airwaves in i981. From shows like G/ee to the Broadway musical Rock of Ages to almost any jukebox in any bar, it feels like it's everywhere. This is the story of how it went from an unfinished chorus l'd penned at home to the song we all know today. Not long before joining Journey, I was struggling in the music business in Los Angeles, without a record deal, aqrd I a taken a break from music. But my father always believed I would succeed, and would regularly say 'Jon, don't stop believing" on the phone to me from Chicago. So I wrote that down, and started working on it as a chorus. When Journey's original keyboardist Gregg Rolie left the band, they Ke6ord 12.2011 asked me to join and contribute material to finish up at first, with just a driving eighth-note figure throughout. My original chorus looked like Ex.l. [Lead singer] Steve Perry liked the chords so much that he wanted to use them for the entire song, breaking them down to sing the verses over. So we started exploring the chords, and Perry said to me, "Instead ofjust playing chords, theEscape album. I brought my chorus in, and that's where it all began. The original chorus included the chords, melody, and the lyrics "Don't stop believing, hold on to that feeling." I didn't knowwhat the next line was going to be at that point, but I knew. the melody would go up at the end to complete give me one of your rolling, signature piano riffs." the phrase. The bass line was also different we needed to make the verse stand out. So we just left the band the Babys, where our song "Turn and Walk Away" had a rolling piano intro. Perry was looking for something that captured that side of my musical personality, so I broke Id the chords up into an eighth-note riff. Because we had the same chords for verses and chorus, disguised the chords in the arpeggiated piano riff everyone lmows today. Perry and I loved classic soul artists like Marvin Gaye, who could write great songs with just four chords repeating over and over again. That was the goal we set for ourselves. Perry then said "Let's keep the chords, but come up with a different bass line." The goal was to make each section of the song unique. So Iguitarist] Neal Schon started experimenting with the bass line, and came up with a new one over my moving piano part, which he showed to [bassist] Ross Valory. Ross had a unique bass sound, almost like a cellist. He tweaked his amp and added a flanger to get his parts to really bark. The piano and bass parts together are shown in Ex. 2. Perry then started looking for a melody to sing over the verse that would take the same chords into more soulful territory. We hadn't crafted the lyrics yet, but he was humming what would eventually become the song's soaring melody. It sounded great to all of us. Next, he decided we'd play another verse. While we played the chords as the re-intro to the second verse, Neal started playing what would become his signature, sixteenth-note "going down the train tracks" descending guitar arpeggio, which he played double-time over my eighth-note piano part. After the second verse, the song felt like Ex.1 Esus Esus E =u-q-e Cf,minz B E Cfmin B A il etc... A Ex.2 _ar____-- u sic (Bl'4 ) Al I Riqilts for Weecihigh-N1gl"rtmare Mr-.rsrc Ad rIr rristereci ;:right l) 198] Weeclh qh-l.lrghtrlare Music (Bl',ll) a..l .... -.:.e:,, !qc! -rva rd .\J ; : -. DLt S^ CO t)C Reprinted by Perrrisslort of Cherry Latre N4uslc Compatl'7 Usecl by Pertnissiorr oi ei 'rational Copyriqlrt Securecl. Ali Rights Reser..,ec I '.'ren lvluslc Publishing lrlc. 1"1 I 12.2011 t(eybod Gil Ex.3 Keys/Guitar Bass a standard IV chord on the B-section, Neal had the idea to play the V chord over the IV bass note, rocking back and forth between that and the II/ chord. I doubled Neal's guitar part on keyboards, using an ARP Omni string patch through a Roland Dimension-D chorus. Perry picked up on Neal's alternating chordal figure, eventually using the same melody notes for the B-section lyrics "strangers" and "waiting." This added an element of tension and release, it needed to go to the M chord. But instead of just playing and can be seen in Ex. 3. The next day, after we d decided on an arrangement, I went to Steve Perry's house and we worked on lyrics. He sang and played bass while we listened to the tapes from the daybefore. I said, "This sounds like a train going down the tracks." Perry agreed, and we started looking for clues to tell the song's story. I said, "I love the song'Midnight Train to Georgia.' What if this is the midnight train going anywhere?" We knew we were on to something. Later, Perry and I would craft the B-section lyrics out of our time spent cruising the Sunset Strip in L.A., with its endless menagerie of wandering souls. I'd think, "Where did all these people come from, and what the hell are they doing here?" They would eventually become the "streetlight people" in the chorus, completing the song that changed the course of my life forever.J) 'lll!ililh Key&oad 12.2011 9 ffi."!JF:"ffilif*":nr;,.' t U I I U F zU t m l'm embracing the new Roland V-Piano Grand on Journey's current Eclipse tour. l'm also playing the new Jupiter-8O, which is an amazing synth. Those two keyboards have just been tremendous. Having them on tour has made things much easier on everyone. We're more of a rock band now, and using my Fazioli acoustic piano on stage has become almost impossible. lt was hard to get the piano up in the mix, and it was howling in the P.A. as well. The V-Piano solved all of that. Now, the Faz will have a permanent home in my new studio.