Yep, its another Britain’s Got Talent/ America’s Got Talent clip – but this is so, so good, I just had to share it. And, of course Richard Goodall’s brilliant rendition has created interest again in the 80s original – here are some details of Journey’s classic “Don’t Stop Believing.”
By 1980, the Californian rock outfit “Journey” was on its way to becoming one of the most successful acts of the era. After discarding its roots in progressive rock, the group hired vocalist Steve Perry and smoothed out its sound. The band had notched several domestic top-25 hits with “Lovin’, Touchin’, Squeezin'” and “Any Way You Want It”. Original keyboardist Gregg Rolie, with the group since its progressive days, amicably departed in 1980, leaving the foursome without one of its signature elements. Rolie recommended the band invite Jonathan Cain of British rockers the Babys to be his permanent replacement, who accepted and joined the band as it prepared to record its next album, Escape (1981).
To prepare for writing its next effort, Journey rented a warehouse in Oakland, California, where they worked daily to complete arrangements and develop new ideas. Cain came up with the song’s title and hook; it stemmed from something his father frequently told him when he was a struggling musician living on Los Angeles’ Sunset Boulevard. Cain was unsuccessful and ready to give up, and each time he would call home in despair, his father would tell him, “Don’t stop believing or you’re done, dude.”[5] Guitarist Neil Schon invented the song’s distinctive bass line, and Perry suggested Cain write a driving synthesizer piece to complement that bass line. Drummer Steve Smith added a standard rock backbeat behind that, and instructed Schon to play 16th note arpeggios over the rest of the instrumentation, as though he were a “train” guiding the song in its direction.[6]
Jonathan Cain, the band’s newest member, developed the song’s title.
This motif lyrically inspired the song as well. Cain and Perry thought the imagery brought to mind a story of two people leaving behind past lives in their hometown and boarding a midnight train to anywhere else. Perry liked the concept that the characters be a girl from a small town and a boy raised in the city. “We felt that every young person has a dream and sometimes where you grow up isn’t where you’re destined to be,” Cain said. They copied the day’s progress to cassette tapes and took them home for further review. Smith felt a regular rock beat wouldn’t suit the entire song, so he supplemented it with melodic, syncopated additions on the tom-toms and ride cymbal bell, increasing its complexity as the song builds. The song was built backwards, as the title hook were the only lyrics the band had developed initially.[6]
The band recorded the song at Fantasy Studios in Berkeley, California. Perry had a cold on the day of recording and was unable to make it, so its instrumental was tracked without him. The musicians found the song’s tempo and varying sections difficult to record, especially Cain and bassist Ross Valory’s intro. Co-producer Mike Stone turned on a verbal click track for the group to practise to; after about twenty minutes, they turned the machine off and recorded the song live in one take. Perry rejoined Journey the next week and also completed his vocals mainly in one take. Altogether, the song and its corresponding album came together under its budget and in about two months. Cain was grateful that Perry gave his ideas equal weight given his status as a new member of the band.

Quote of the week