Happy birthday to Jonathan Cain of JOURNEY, as we celebrate his discography today with Tim Durling on this very special episode of Grab A Stack of Rock! We look back at the entire discography of the legendary rock band, all the lineup changes, all the big songs, and a bunch of deep cuts as well. On six different formats, I show you the entire catalogue, with help from Tim to fill three holes in the official collection. (There’s still one or two essential things I need to get, but you’ll have to watch the video to find out.)
Tim Durling is what I would call a “Journey expert”. He knows the facts and the sales numbers and the singles, and he was essential in this video coming to be. Not just the live albums I’m still missing, but also the knowledge and personal history. I was late getting into the band, in the late 1990s. Tim had 10 years on me. Thank you Tim for helping me make this video!
Together we presented CDs, cassettes, vinyl, 8-tracks, Blu-rays and DVDs of all the essential Journey. We looked at imports from Japan, Europe, the US, and Mexico as well as different pressings with different bonus tracks. A wide variety of Journey CD editions are here for you to examine.
Thank you Tim and thank you Journey for the music!
Discography included:
Journey (1975)
Look Into the Future (1976)
Next (1977)
Infinity (1978)
Evolution (1979)
In The Beginning (1979)
Departure (1980)
Dream, After Dream (1980)
Captured (1981)
Escape (1981)
Frontiers (1983 and 2023 40th Anniversary editions)
Raised on Radio (1986)
Greatest Hits (1988)
Time3 (1992 boxed set)
Trial By Fire (1996)
Greatest Hits Live (1998)
Arrival (2000-2001)
The Essential Journey (2001)
Red 13 (2002)
Generations (2005)
Live In Houston 1981: The Escape Tour (2005)
Turn the Page (Live Bootleg w/ Jeff Scott Soto (2006)
LOUDNESS – “Slap In the Face” (1991 Warner Japan CD single)
Not long after Loudness released their second and last album with American singer Mike Vescera, a final four-song EP was released in Japan. Featuring a new song (albeit in an edit version) called “Slap in the Face” with three recent live recordings, the EP was good value for the fans. Unfortunately it was not enough to keep Vescera in the band, and he soon wound up doing some pretty good music with Yngwie J. Malmsteen. Loudness continued on with former E-Z-O singer Masaki Yamada, but that is another story. This one is about Mike’s final release with Loudness.
The edit version of “Slap in the Face” is 4:53. Although it says nowhere inside, the full length version is 5:14 and can be found on the 1991 Japanese 2 CD compilation, Loudest. (It was also added as an extra studio track to a later release, 2009’s Live Loudest at the Bodukan. Both edit and full-length versions are included as bonus tracks on the 2021 deluxe box set reissue of On the Prowl.)
This track absolutely stomps! It does not sound like something that came out in 1991. More like 1993. It was ahead of its time in terms of where metal was going. It chunks, it rips, it shreds and it thrashes. The only anomaly is the powerful vocalizin’ of Mike Vescera, who had the kind of high pitched tone that worked well with Malmsteen. Not that it doesn’t kick ass here, just that style of singing was soon to be out of style… But what a song! A Loudness highlight, hands down. Cut-throat and non-stop, “Slap in the Face” should have been called “Kick in the Teeth”!
The three live tracks that round out the EP are all from the Budokan show that was released in 2009, and were all originally on the 1991 studio album On the Prowl. “Down ‘N’ Dirty” is very clean and polished. You could mistake it for a studio cut. This mid-tempo rocker has some wicked soloing from lead guitarist Akira Takasaki, but really this is hair metal from a band that usually went heavier.
“Playin’ Games” is way heavier. This is the kind of tempo we’re used to from Loudness. The goofy title doesn’t relay its deadly intent: this song is a killer. Drummer Munetaka Higuchi has a lethal albeit brief drum solo at the end, just enough to crush your head. The guy was a beast on drums! Rest in peace Higuchi.
The last track is “Find A Way”, technically a remake of “To Be Demon” from Loudness’ 1981 debut album The Birthday Eve. This ballady metal track goes from bluesy to progressive to hair metal and back to progressive. It’s mid-tempo brilliance, and perhaps something that a band like the Scorpions could have done in the early 80s. Indeed, Klaus would sound brilliant singing it. There’s nothing simple about “Find A Way”!
Though all these songs can now be found elsewhere as is often the case these days, in 1991 this was great value and a fine send-off to Mike Vescera. The following year, Loudness would come crushing back…but only in Japan.
TALAS – If We Only Knew Then What We Know Now… (1998 Warner Music Japan)
The Japanese edition of this Talas live album is something to behold. It comes with lots of extras:
Beefy cardboard slipcase to house the jewel case beneath, plus…
A beautiful bonus 22 page photo booklet,
Japanese lyric sheet,
Two bonus tracks!
The first bonus track is just a shorty, a message from Billy Sheehan. He briefly explains the history of the band, as much as one can in 34 seconds anyway. The second bonus track is more interesting and valuable. It is a vintage studio track called “Doin’ It Right”. Very pop, but also paradoxically pounding. It’s not available anywhere else, and it’s not bad at all! It recalls other early poppy rock tunes by metal bands, such as Quiet Riot and Kick Axe’s obscurities. One of those Japanese bonus tracks that is worth shelling out for. But that’s just Common Knowledge!
The Talas story did not end with the breakup of the band. Of course not; bands both famous and obscure like to reunite for nostalgia shows. Talas did that in 1997 with the original power trio lineup: Billy Sheehan on bass, Paul Varga on drums, and Dave Constantino on electric guitar. With classic material (from the first two Talas albums) and a few unreleased songs, they memorialized their reunion with a brand new live CD. Billy even pulled his old platform boots out of the closet for this one.
As usual the set opens with “Sink Your Teeth Into That” and an enthusiastic home town crowd. Talas only sounded better with age. The original voices are there and just as strong as they were in 1982. It actually sounds like everyone has improved over the years. A speedy “High Speed on Ice” is in the second spot ensuring no loss of momentum. Material from the first self-titled Talas album is included too (unlike the last live album Live Speed on Ice). “Expert on Me” is very pop in construction, but clearly not as great as the songs from album #2, Sink Your Teeth Into That. Speaking of which, the slow rumbler “Never See Me Cry” is brilliantly adapted to the stage.
“Power to Break Away” is one of the previously unrecorded songs, and it kicks it just as hot as anything from Sink Your Teeth Into That. It’s taut with hooks and the prerequisite bass workouts. “Tell Me True” is the second unreleased song, a slow non-descript dirge ballad that takes a while to get going.
Imagine Billy Sheehan plowing his bass right through a funky Led Zeppelin riff. That’s “Thick Head”, an awesome track from Talas (1979). “You” has a cool vibe, almost like an unheard Aerosmith demo from the Done With Mirrors era. A few other tunes from the first Talas (“Most People”, “Any Other Day” and “See Saw”) are adequately entertaining. Back to Sink Your Teeth Into That, “King of the World” is still one of the best Talas tunes, overshadowed by only a few like “Shy Boy”. Here, “Shy Boy” is preceded by a Paul Varga drum solo. The sheer velocity of “Shy Boy” itself makes me wonder how Varga did it. It’s just pedal to the metal, blurring the lines and smoking the minds.
Nothing like a good cover to help draw a live album to a close. Talas did two: “21st Century Schizoid Man” and “Battle Scar”. The King Crimson cover is a daring one to attempt. They somehow manage to strip it down and pull it off with integrity. As for “Battle Scar”? Total surprise there! Max Webster were just across the border from Buffalo, and Billy Sheehan nearly joined Max at one point late in their career. Introduced by a Billy Sheehan bass solo, this Max/Rush cover is the set closer. As a final addition, “Battle Scar” surely makes this one hell of an album for the history books.
Since this is a more recent release on a well known label (Metal Blade), it turns out that If We Knew Then What We Know Now is an easy CD to find in the shops. Fortunately this is a good first Talas album to add to any collection.
EXTREME – Waiting for the Punchline (1995 Polydor Japan)
Let’s start with the bonus track! “Fair-Weather Faith” is only available here, on the Japanese pressing of Extreme’s fourth album. And it is…well, it’s probably not controversial to say it’s the weakest of the 13 (12 plus one unlisted) tracks. That’s why it’s a bonus track. Is there anything wrong with it? Hell no! But do you absolutely need it in your life? No. You can live without it. Be warned though that Gary sings his ass off, while Nuno plays it funky. It sounds as if this is one of the tracks with Paul Geary on drums. (Mike Mangini joined the band mid-album.) Like many Extreme songs, religion is the topic. Gary is critical of these who put on the act of believing for the benefit of those around them. Decent bonus track, but not especially mind-blowing.
Sometimes you just gotta laugh. Extreme released two of their finest albums after grunge wiped the slate clean. Extreme were the punchline, but that didn’t stop them from making a smokin’ fourth album. In 1992 Nuno envisioned the next album as “really funky”, and there is some funk here. However Waiting for the Punchline was much more straight ahead: stripped down, no orchestras, no rap, just guitar rock through and through.
“There Is No God” sounds like an odd title from a band as Christian as Extreme were, but Gary Cherone has always been a lyrical champion. It’s not as simple as it appears, but the groove just lays waste. The next track “Cynical Fuck” turns it up further. It is pure smoke, and perfect for the decade it was written in. “Tell Me Something I Don’t Know” takes the soft/hard approach with a loud droning Nuno riff. It’s another brilliant song, and harder than what Extreme were doing before. Much of Waiting for the Punchline is driven by the bass and drums. The interesting thing about this is that drummer Paul Geary left during the making of this album, and was replaced by Mike Mangini who is now in Dream Theater. You hear two very distinct drum styles through the CD. Geary has a straight ahead approach, while Mangini is capable of just about anything. His first track is the single “Hip Today” and you can hear how his beats are anything but basic.
“Hip Today” is a good tune and a good indicator of what the album sounds like: Bass, drums, guitar. Listen to how the rhythm guitar drops out when Nuno solos. Just like the first classic Van Halen. The lyrics sound bitter as Gary warns the next generation of bands that their time too will end. Things slow down a little on “Naked”, before the side-ending instrumental “Midnight Express”. This is a truly brilliant track, proof that Nuno’s stunning plectrum practice has paid off. When it comes to acoustic guitar work in rock and roll band, Nuno is among the very best. “Midnight Express” gives me callouses just thinking about it.
Dark moods commence the second side with “Leave Me Alone”, a sentiment many of us understand. Don’t worry about me — I’m happy alone sometimes. Nuno uses volume swells a-la Van Halen’s “Cathedral” to create a nifty riff. Into “No Respect”, Nuno makes his guitar purr, while the rhythm section throws it into overdrive. “Evilangelist” tackles the religion questions again, with a funky riff and cool digitized chorus. The dark and heavy vibes give way to light shortly on “Shadow Boxing” and “Unconditionally”. Both tracks are brilliant but different. “Shadow Boxing” might be considered the “Hole Hearted” of this album, while “Unconditionally” leans towards “More Than Words”. Neither are re-writes, but those are the easiest comparisons.
One final surprise is the unlisted bonus track. It wasn’t on the cassette version, but you will find the title track “Waiting for the Punchline” after “Unconditionally” (or “Fair-Weather Faith” on the Japanese CD). There are two cool things about this. One: it’s an awesome track, much like the angrier stuff on side one. Two: it closes the album even better than “Unconditionally”. Great little surprise so don’t hit “stop”!
The thing about Waiting for the Punchline is that it’s a grower. The first couple listens, I thought “It’s not as good as their old stuff, but what is these days?” The new stripped down Extreme didn’t seem as interesting as the lavish one from Extreme III or the flashy one from Extreme II. After a few listens, different textures began to emerge, add their own colours and depth. Particular with the guitar work, but also the rhythms, there is much delight to be discovered here.
For those who often find themselves victims of mail theft, having parcels sent from Japan is a risky and anxiety-inducing activity. You cannot have parcels shipped by regular mail, only courier, and dealing with DHL is a nightmare. Fortunately, Jen happened to be home when DHL delivered the parcel on the wrong day when I was not.
I unboxed these Japanese import CDs on Friday February 3’s episode. I didn’t spend a heck of a lot of time going through them, so here is a closer look at each!
D-A-D – Osaka After Dark (1990 live EP)
EXTREME – Extragraffitti(1990 EP)
EXTREME – Waiting For the Punchline (1995 Japanese version with “Fair Weather Faith”)
AEROSMITH – Vacation Club (1988 EP)
LOUDNESS – Slap In the Face (1991 EP)
BON JOVI – I Believe – Live At Milton Keynes – September 93 (1993 EP)
DEEP PURPLE – “Woman From Tokyo” (Originally 1973, 1998 Warner Japan CD reissue)
The 2:56 single edit of Deep Purple’s “Woman From Tokyo” is somewhat of a rarity on CD. It’s not on the Singles A’s and B’s. You could get it on a Japanese box set called Purple Chronicle.
The original song was almost six minutes, so half of the tune was chopped out for single release. The intro is mangled. The middle section is missing, and cut in such an amateurish way. The guitar solo is missing. Rule of thumb: never cut the friggin’ guitar solo from a Deep Purple song, of all bands! This is a butcher job of a single edit. Probably why it never made the cut to Singles A’s and B’s.
The B-side “Super Trouper” is also 2:56, but unedited. That’s just how the song goes, one of Purple’s shortest. No, it’s not an Abba cover, but both songs were named after Super Trouper stage lights. Some of Ian Gillan’s lyrics can be interpreted to be about his impending departure from Deep Purple. “I wanna be like I was before, but this time I’m gonna know the score.” A lot of looking in the rear view mirror in this song. A lot of past-tense.
Because of the butcher job on the “Woman From Tokyo” edit, the B-side here outshines the A-side. The single at least has lyrics. For collectors and analysts only!
“Mr. Lebrain is back, and this time he brought a ton of his Japanese import CDs. Or should I say, he grabbed a stack of rock! We once again go through our rare, out of print, imported, and otherwise hard to find discs. A follow to our first episode on the subject which can be seen here.”
As I was leaving for work on Friday morning, I thought to myself, “You know, I wonder if Harrison or anybody would feel like going live tonight. Just shoot the shit for an hour. It might be a fun way to be social on a Friday night and it only has to be an hour.”
I messaged Harrison in Australia just as he was tucking in for the night, and he graciously agreed to get up early and join me for an impromptu live stream. Setting his alarm clock, Harrison prepared for our first live show since July!
DEF LEPPARD – Viva! Hysteria – Live at the Joint, Las Vegas (Part 3 – Japanese bonus track) (2013 Bludgeon Riffola)
Finally we reach the end of this sprawling, generous collection of live Def Leppard. As is often the case, the Japanese market included an exclusive CD bonus track. This bonus track is only available on DVD in North America. While that is enough for some, there are many Def Leppard aficionados out there (hello!) who obsessively collect formats like CD as well. This one’s for you.
Def Leppard’s “Acoustic Medley” was a standalone iTunes single around the time of the Viva! Hysteria shows. It was a surprise that they played it live at an acoustic session for fans, and then released that live version! It’s a casual affair in a small room with audience seated on the floor. Five ballads, all acoustic, and really well put together. Seamless, almost. “Where Does Love Go When It Dies” begins, with a total of four acoustic guitars – Joe and Sav both taking up the six strings. Rick Allen on the shaker! Onto “Now”, “When Love and Hate Collide”, “Have You Ever Needed Someone So Bad”, and “Two Steps Behind” (which the audience scream for). All the best parts of each song, and all of “Two Steps Behind”, make up the medley.
As stated ad nauseum, Viva! Hysteria is an excellent package from top to bottom. Great value for fans both casual and diehard. They put a lot of work into sounding as vintage as possible. Def Leppard pulled it off. If you’re serious about this live set and serious about this band, check out the Japanese import CD. It has completely different packaging and cover artwork, along with that elusive bonus live medley. Now that’s a magical mysteria.
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