The album's opening cut, Together We Run, is a pretty floaty melodic rock song - and it opens rather slowly with Cain's rumbling piano, which Pineda soon starts to croon atop. I had expected the album to open with more of a bang, but Journey instead ease the listener in. Pineda, who has now fronted Journey for 15 years, turns in another excellent vocal performance throughout the album - and Together We Run is a great showcase for his smooth delivery. The song builds from its piano base slowly, with Walden's drums gradually adding a percussive drive - whilst the pulsing bass playing from a returning Randy Jackson, performing on his first Journey album since 1986's Raised on Radio, seems to only boost Pineda's vocal smoothness. Schon's playing is relatively restrained throughout the song, and he largely takes a backseat to allow Cain's keyboard textures (which occasionally include some organic organ washes) and the percussive swing to shine. He does contribute a short guitar solo, but it is more atmospheric than anything else - and it adds to the song's overall soaring vibe nicely, and a final reprise of the hooky chorus soon follows. Don't Give Up on Us is more typical of the Journey AOR sound, though, and it sounds like a distant cousin of Separate Ways (Words Apart) - with a similar synth lead opening things up, before a rhythm guitar crunch takes over. Walden's round-the-kit drumming creates a strong groove, and this continues throughout - with Schon's guitar forming the basis of the song's rhythm. It is a much weightier song than the album's opening cut, but it is not as anthemic as its distant cousin - with some of the preceding smoothness retained. This smoothness really rears its head during the chorus, which is a real earworm. Many of the songs here contain big choruses, and this is probably the first that really hits the heights of Journey's past. The band certainly move through the gears as the song progresses, too, with Schon delivering a pretty explosive solo that contains plenty of his trademark shredded lead runs. Still Believe in Love then tones things down somewhat, and takes the smoothness of the previous two songs to its logical conclusion. The song has a lot in common with the yacht rock era of the late 1970s and early 1980s - which is not really a sound that the band have explored before. It works though, and Pineda's voice really suits the gentle tones of the track. Walden's subtle drum groove and the spacey guitar leads of Schon add to Cain's big synth layers, all of which form a great backing for Pineda's emotive vocal delivery. He injects a lot of emotion into the song, which again perfectly recalls many yacht rock hits of the past. It is also the first of a number of songs here that feature the vocal talents of Jason Derlatka. Derlatka has been playing live with the band as a second keyboardist over the past couple of years, and he sings backing vocals on a number of songs here. His harmonies really boost the emotional impact of the chorus - which is another winning moment thanks to Pineda's soaring and perfectly controlled vocals.
The album returns to more familiar waters with You Got the Best of Me - which was released as a single and is one of the tracks here that channels classic Journey the strongest. It is a pretty anthemic piece, with lots of retro-sounding synths and a juddery Schon guitar pattern that creates an energetic base from which the song can grow. The rhythm section again creates plenty of groove, which only enhances the song's energetic feel, and a big keyboard stab or melody from Cain is never too far away - with the interplay between him and Schon recalling many of the band's classic numbers. Perhaps unsurprisingly, the chorus is another winner. It is not quite as stadium-ready as it could be, but the vocal harmonies are powerful - and once again Pineda delivers the goods with a soaring vocal that showcases his gorgeous tone. Live to Love Again slows things down again, but unlike the West Coast vibes of Still Believe in Love, Live to Love Again is more of a big-sounding typical Cain ballad - the sort of song which shows that Open Arms and Faithfully were no flukes. Cain is one of the best at writing songs of this nature, and the track is piano-driven throughout - which Pineda croons over. The rest of the band generally take a backseat here, adding depth and colour, but Cain shines throughout with his subtle melodies - whilst Pineda and Derlatka again team up during the tear-jerking chorus. Schon does briefly step out of the shadows to lay down a soaring, melodic guitar solo - which apes some of the song's melodies, and acts as a great intro to the final chorus. Things return to a more rocking foundation following the gentle ballad with the album's lead single The Way We Used to Be - which was released back in 2021. In truth, the song probably was not the best choice to lead the album's promotion with, as it is somewhat atypical-sounding for the band, but I like the slightly darker tones and the crunchy vibe that permeates throughout. It is a short song, but there is quite a lot going on throughout - with lots of tasty Schon guitar leads that sit atop a punchy drum groove and Cain's driving piano hooks. The chorus is another memorable one, and it sees Pineda singing in a somewhat lower register throughout. He seems to have adapted his singing style somewhat for this album, building on the work he did on Eclipse. He no longer seems to always feel the need to sing like Steve Perry, and this allows his own character to shine through - and the synth-heavy chorus of The Way We Used to Be is a great example of his current style. Come Away with Me keeps the energy levels high following the crunchy rock of the preceding single, and the song has a somewhat rawer overall sound - with some driving Schon riffing throughout and some organ from Cain. There are shades of the band's 1970s sound throughout, with Pineda delivering the song in a less polished, more frenetic way - which suits the Led Zeppelin-esque blues grooves that are present throughout. Jackson takes the opportunity throughout to lay down a number of funky bass runs, whilst the punchy drumming of Walden keeps everything moving - yet he still manages to conjure up a number of grooves. Schon really lets rip during his solo, too, and it is a song that really gives everyone a chance to let their hair down.
After Glow is another ballad, but it stands out as it features the vocal talents of returning drummer Deen Castronovo. Castronovo returned to the band permanently following Walden's departure, but the album had largely already been recorded by the time that he came aboard. It was decided to feature him as a singer, though, and Castronovo again proves throughout the gentle After Glow that he is a fantastic vocalist. His emotional delivery really suits the piano-led song, and his tone separates him from Pineda's approach - which allows the song to have something of a USP thanks to his singing. It has rather lengthy closing section, too, which features lots of atmospheric guitar leads from Schon. The vocals continue, adding depth, but the standout performer during this closing section is Schon - and the extended solo is so reminiscent of his trademark style as it builds. Let It Rain takes a bit of a left turn, and returns to the rawer sound of Come Away with Me whilst also returning to some of the harder rock and jazz vibes of the band's first few albums. There are Led Zeppelin-esque grooves here, and the track is a lumbering monster with bluesy riffing, a strident, swaggering Pineda vocal, and lots of retro-sounding keyboard textures. Journey have rarely sounded like this in recent years, and the track is likely one of the album's hardest-hitting moments as a result. It is the sort of song that will turn off the casual fans, but the riffing throughout is great - making the song a real showcase for Schon's heavier guitar style. Cain also shines, too, though as there are lots of synth leads and driving organ hooks throughout - which significantly contribute to the song's rough and ready sound. Holdin' On is similar, too, but it reins in some of the excess somewhat - and instead presents Journey's rawer sound in a more concise and hard-hitting way. Schon's riffing is once again packed with bluesy goodness, which Jackson backs up with his busy bass playing, whilst the keyboards of Cain add depth and the occasional counter-melody. Whilst most of the solos throughout this album are from Schon, this is a song that really showcases Cain. The riffing throughout his guitar-led, but the solo spot in this song is packed full of 1970s-esque synth runs. Cain is rarely that sort of keyboardist, generally opting for atmospheric textures or delicate piano melodies - but his synth shredding throughout this track is high-octane and impressive - giving Schon a run for his money at the same time. All Day and all Night continues the rawer sound again, but this time injects plenty of funk into the arrangement. Jackson's bass playing, which is impressive throughout the album, really shines here - and his playing really defines the song. The bass is the dominant instrument throughout the piece, with even the heavy riffing of Schon taking a backseat to Jackson's funky runs. There is even a short bass solo towards the end of the piece, further highlighting Jackson's contributions to the album, which further emphasises the driving, funk nature of the song.
Don't Go returns to Journey's typical melodic rock sound, and it sounds like a bit of a throwback to the 1980s - particularly the Raised on Radio era. It is a slick melodic rocker with a soaring chorus and plenty of vocal harmonies. It opens with its chorus, which is another earworm, and the track in general is an up-tempo and uncomplicated song that creates lots of positive energy - and is sure to go down well if the band ever choose to play it live. Pineda, who co-wrote the song, soars vocally throughout - and puts in a performance similar to that which he did throughout Revelation. Despite feeling freer to write the sort of songs that they want to these days, it is clear that Journey still wanted to include a few AOR anthems here - and Don't Go is a great throwback to their days of riding high in the charts. United We Stand continues the melodic rock of the previous song, but also returns to the more expansive, mid-paced smoothness of the album's opening handful of tracks. Jackson's bass is once again prominent, driving everything, but Cain's keyboards are arguably the most important instrument - adding both piano rhythms and soaring synth textures. There is a lot of keyboard depth throughout the song, and there is also a great guitar melody from Schon that often repeats - creating something of a riff to latch onto. It might not be the hookiest song here, but it has a cinematic scope thanks to the keyboard textures - and Pineda's vocal performance is another winner. The chorus is still strong despite there being better ones here, and the song a great example of a modern and more mature take on Journey's classic sound - with another great Schon solo thrown in. Life Rolls On is similar, but introduces a handful of more organic sounds thanks to some different keyboard textures. Cain's organ choices have more of an old-school sound this time, but the overall feel of the song is rooted in the classic Journey approach - with some anthemic vocal hooks and the odd strident guitar riff from Schon. Despite the organic approach, though, the song never really sounds like the looser and freer songs that came earlier in the album. This is very much a melodic rocker, it just has a bit more heft thanks to the riffing and organ sounds used. The album then comes to a close with the seven minute-plus Beautiful as You Are - an expansive song that opens slowly, with delicate acoustic guitar patterns and gentle keyboard textures. Pineda sings over this in his smooth manner, but things soon kick up a notch as another mid-paced drum groove is introduced - which Cain accents with some great 1980s synth stabs. The song then generally feels like another big, cinematic mid-paced rocker. Schon's guitar crunches away in the background, but this is another song that pushes the keyboards to the fore - and this suits Pineda's delivery, which is very expressive to suit the big sound. Despite this, though, the song never really gets in your face with hooks. The chorus is very memorable, but in a smooth and laid back way - meaning that it only really sinks in after a few listens. There are more immediate songs here, but as a closing statement - packed full of atmosphere and character - Beautiful as You Are works. Unsurprisingly there is room for another big Schon solo, which is expressive and packed with melodic bends, and there is another lengthy largely instrumental section which allows for some great rhythmic playing - including lots of explosive drumming. This seemingly ends the song, but the delicate vibe from its intro returns to close the song out in a gentle manner - similar to how the album started 73 minutes ago. This brings things full circle, and to me it is clear that the band have delivered another winner of an album. Whether we will see another Journey album remains to be seen, but I love the variety that is featured throughout Freedom - and the restrained virtuosity on show makes everything that little bit better. There is a lot to love here despite the album's length, and it is an album that I will certainly continue to get a lot out of over the coming months.
The album was released on 8th July 2022 via Frontiers Records. Below is the band's promotional video for You Got the Best of Me.
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