sign in sign up
<<
Home , Arnel Pineda, Bad English, Deen Castronovo, Jonathan Cain, Raised on Radio, Ross Valory

JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM

JUNE 2011 CONTENTS Travis Shinn Travis

COVER STORY JOURNEY BÉLA FLECK 40 How a classic-rock powerhouse found rock redemption 48 The banjo king and his original Flecktones aim with a new generation of fans. to reinvent bluegrass and jazz yet again.

MY MORNING JACKET DEF LEPPARD 26 Kentucky’s fi nest work up a loose and lively new 62 Virtuoso guitarists Phil Collen and Vivian Campbell in a church gym. take us inside a hard-rock hit machine.

COLBIE CAILLAT “WEIRD AL” YANKOVIC 38 Falling in love proved just the thing for making her 66 Being pop’s most beloved funnyman for almost latest album shimmer and shine. three decades is no laughing matter.

4

M4-Vol2-Mag-GOLD.indd 4 7/7/11 11:42 PM JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM

onathan Cain is in the midst of a minor crisis. He almost four decades ago when Santana band alumnus Schon and was just shopping with his son in the Irish capital bass player fi rst formed the group in San Francisco. of Dublin when his wife called to let him know that Several and personnel changes later, Journey found Perry their laptop computer has gone kaput, the victim and a mainstream breakthrough with 1978’s Infi nity. Cain and Smith of a virus that hacked all their credit cards—except joined shortly afterward, solidifying the lineup that would dominate for one, which happens to be a brand that isn’t radio in the early with hits like “Who’s Crying Now,” “Open welcomed by merchants here in Dublin. So while his wife reports the Arms,” “Separate Ways (Worlds Apart)” and “Faithfully.” Albums like Jtheft and procures new credit cards, Cain has had to head back to 1981’s Escape and 1983’s Frontiers sold in the multimillions; a 1988 his hotel to exchange cash for euros so he and his son can continue Greatest Hits compilation has sold 15 million by itself. seeing the sights. It’s a problem that could happen to any international Still, Valory and Smith departed during the making of 1986’s traveler abroad. But as the musician in the hotel lounge reminds Cain , and the remaining trio soon drifted apart. Cain and on his way back out the door, he’s not just anyone. “The guy is playing Schon formed the supergroup , but never imagined that ‘Don’t Stop Believin’ as we’re leaving,” notes Cain, making his way Journey was truly fi nished. “We never offi cially broke up,” Schon says. back out into Dublin’s bustling streets. “It’s too funny.” “It was never like, ‘I hate you, I never want to be in this band again.’ Journey keyboardist Cain, guitarist and former It was just like, ‘I need a break. I’m burned out and need some time.’ singer wrote that particular song a full 30 years That time turned into 10 years.” The 1980-1985 lineup reunited for ago, but its explosive resurgence—“Believin’” is by far the most- 1996’s platinum Trial by Fire. But when Perry balked at touring due downloaded song to have been recorded in the 20th century—serves to health problems, the remaining members (minus Smith, who was as a symbol for their band’s own unexpected return to rock ’n’ roll replaced with Bad English drummer ) elected to glory. Since the departure of Perry and drummer Steve Smith in 1998, hit the road without him. Perry replacement was initially the group had endured several years of plummeting album sales criticized as a sound-alike, but he hung in for a respectable eight-year and a revolving door run before being felled

of lead singers. The by throat trouble. When Steve Thorne/Redferns unlikely road back to a Augeri substitute Jeff full-on Journey revival Scott Soto didn’t click, began on June 10, the way was clear for 2007, when “Don’t Stop Pineda’s entrance. Believin’” was used as Journey’s latest the soundtrack for the album, Eclipse, found controversial closing the group working scene of the popular again with longtime Journey’s Ross Valory, and Neal Schon onstage in England, June 2008 TV mob drama The producer Sopranos’ series fi nale. and returning to a How was recording Eclipse? What has Arnel brought to the band? The song had been harder-rocking sound CAIN: We made our demos, then Kevin Shirley said, “Well, I’ve only CAIN: He’s able to switch gears easily because of all the club work nipping at the edges than has been heard got fi ve weeks free in my schedule, so let’s not rehearse.” So we went he did before joining the band. When he wants to turn on the Bono of popular culture from these guys in many straight into , where we had done Escape and Frontiers, thing, it’s right there. Whatever the song calls for, he’s got it in his for the previous few years. “It was Neal’s with these detailed demos that I had done with Neal. Backgrounds, bag of tricks. He’s got quite a magic wand. He also brings a certain years, becoming the vision on this one,” vocals—everything was pretty much nailed down. Then we had to see humility, a soulfulness. He’s got his feet on the ground, coming unoffi cial theme song Cain acknowledges. if the arrangements were all right from the street like he did. for the 2005 Chicago “He wanted to make and made sense. Kevin took the ‘We could play nothing but our He had been a homeless White Sox’s successful a -driven rock blueprint that we gave him and kid and made something of World Series run. But record and show less we went from there. We were himself. He reminds us that The Sopranos’ uniquely of the pop side. I said only going to do fi ve songs, hits forever and do well, but it’s life’s a bitch and you’ve got incongruous usage of ‘Fine, we can do that.’” but the thing took on a life of to get over yourself—but also the song gave it an all- The twosome began its own. Neal and I said, “Well, important to keep growing.’ that anything’s possible. new cultural cachet. writing songs—their fi rst we’re here, let’s get this done.” It makes us all better for “That started the ball effort, “City of Hope,” We ran out of time with Kevin, –Neal Schon having him in our group. rolling,” says Schon. inspired by Pineda’s but Neal and I weren’t convinced it was totally fi nished yet. How does your writing process work? The other major , Neal Schon, Arnel Pineda, Deen Castronovo, Ross Valory story and the group’s element of the group’s triumphant October What did you do after Kevin left? SCHON: Songs always start with music and melody for me. I write rebirth came that same fateful summer, when Schon saw a series of 2009 show in his native . Back in the U.S., Schon and CAIN: We went to Nashville and found this guy, Dave Kalmusky. My the music, lay it out the way I hear it, organize everything, arrange YouTube videos featuring Filipino-born Arnel Pineda and was fl oored Cain wrote the remainder of Eclipse with a couple of contributions daughter Madison’s a country singer, and she really liked his mixing. I it in my head. Then I’ll put up a mic and start singing the melodies by the singer’s power and range. “The guy’s a true chameleon,” from Pineda. After only fi ve weeks’ recording at Fantasy Studios gave him a song, “Anything’s Possible,” and he mixed it brilliantly. We that I hear against the bass and the chords. From there I’ll give it to Schon says. “He can croon with the best but he can also rock with in Berkeley, Calif., Cain and Schon headed to Nashville (where said, “OK, this sounds great, we’re going to let this guy mix the record.” Jon and he’ll do his dance with it—write the lyrics, maybe change the best.” Pineda uprooted himself to head stateside, and was thrust Cain has a home) to fi nish up with mixer and mastering engineer Kevin was a little bit reluctant to let go of that, but we told him this is the melody a little. Once in a while I come up with a lyric or two, but into the limelight as Journey’s new lead singer beginning in early David Kalmusky. Now the band has already begun a projected what we want for the record. it’s really not my forte so I don’t try to press the issue. 2008. His recorded debut with the group, that year’s Revelation, two-year world tour. “Then we’ll take another year off and live our SCHON: I was glued to the chair with Dave trying to get it as zoned became Journey’s fi rst Top 5 hit and platinum seller since Perry’s lives again,” Cain fi gures. “It’s what we do: work like hell and then in as we could, and Jon would come in a few times a day. Overall the Lyrically, what is the album about? acrimonious exit. The subsequent tour attracted more than a million chill.” We spoke with Cain and a comparably unharried Schon, record sounds the way I imagined it sounding, so it was worthwhile. CAIN: The concept stems from the Hindu belief that man and paying customers in the next two years. Don’t stop believing, indeed. relaxing at the group’s Dublin hotel, about Journey’s remarkable It was a lot of extra time, but you get out of it what you put into it. I’m universe are connected in an endless circle. Everything is woven happy with the results. together: nature, man, the universe, all of it. We coexist on the These are just the latest unlikely twists in a story that began past and still-unfolding future. Shinn All portraits by Travis

42 43

M4-Vol2-Mag-GOLD.indd 42 7/7/11 8:12 PM M4-Vol2-Mag-GOLD.indd 43 7/7/11 8:12 PM JUNE 2011 ISSUE MMUSICMAG.COM JUNE 2011 ISSUE MMUSICMAG.COM

physical, spiritual and metaphysical plains. It’s another way of looking at God and life and yourself. I guess the message is to slow down and take a look at how you relate to the rest of the world. I know it sounds like a mouthful, but it’s about giving yourself permission to dream and have hope. Don’t just sleepwalk through your life.

What inspired all that? CAIN: I do a lot of reading. Wayne Dyer wrote this book called The Power of Intention a few years ago, and it hit me like a brick. He’s a real thinker, and that book put me on the path. He adapted this stuff from what the Hindus believed back in the day, and I think they were really on to something. So we thought, “Hey, the ‘Don’t Stop Believin’’ guys can bring this.” It’s our job as writers and musicians to bring a richer sense of possibility. We get to sit around CAN’T STOP, WON’T STOP and think about all this stuff all day. Once upon a time “Don’t Stop Believin’” was just one among many classic Journey songs. But (laughs) That’s what I get paid for, in the last few years it has caught the world’s imagination in a way it didn’t even when it was you know? I want to give something fi rst released in 1981. Consider: Journey’s original reached No. 9 on the singles chart, while a healthy to the fans, something they that respect has come out of our refusing to go away, as well as the solo tour and started playing all the stuff we wrote together. He had version by the cast of TV’s Glee reached No. 4 just two years ago. “I can’t even fathom that I might be able to dream on. It’s not demand for our older music. It’s embedded in stone now, and we’re a lot of success with a couple of solo records, so I thought he’d stick helped write something like that,” says Neal Schon. “We just came up with a charm.” like I want to be Dr. Phil, but on the never going anywhere. We can hang onto it as long as we want. I to that. But then I heard he was doing eight or nine Journey songs in Schon attributes the song’s enduring appeal to its sense of uplift. “It’s a real positive other hand I’ve been doing this for always felt it was not our time to go away. Even when we did take the set. At that point I went, “Wait a minute, Jon and I wrote the other message,” he says. “I think we have lots of songs that are just as good, to tell you the truth. too long to just write crap. I refuse a long hiatus waiting for whoever to come back, there was always third of those songs. We have every right to play that stuff as well.” But everybody decided to jump on that bandwagon and keep riding.” He is hopeful that young to do that. something there that felt like the band wasn’t done. fans drawn in by “Don’t Stop Believin’” will be inspired to check out the rest of the group’s Do you feel obliged to sound like Journey? back catalog. Still, he says, “It seems like this song is never going to see its day. It’s become When you’re writing, do you How did you decide to go on without Steve Perry? SCHON: We’ve fi gured out that we just sound like Journey an anthem everywhere.” think ahead to how it’ll work SCHON: The turning point for me was when he went out on his own when we get together and play. It’s never a problem. We have onstage? lots of different sides now, but we always SCHON: Absolutely. I had that completely in mind for this whole How has touring changed over the years? have. If you listen to Escape, which is 30 record. We started playing in Europe, and they liked a lot of our CAIN: The buses are a lot nicer, the hotels are a lot more years old now, there’s a wide spectrum of harder stuff—songs that were album tracks, they dug all that. So we accommodating. It’s more expensive—everything costs more, so music on that record. There’s hard stuff, your bottom line is defi nitely pinched. We’re not taking home the kind TOOLS OF THE TRADE started trying to rock the show out more. We have so many ballads soft stuff and in between. I see people who that we actually ran out of rock songs to play. That was the whole of money we used to, even though ticket prices are up. You used to We asked Jonathan Cain and Neal Schon about the instruments make a fortune off a hit song, then try to idea behind it, to write what we didn’t have. be able to see Journey for $17.50. Those days are gone. The other and gear they used to record Journey’s latest, Eclipse. write 20 more exactly like it. We try not to big change, one that’s frankly a pain in the ass, is fl ying. Because of repeat ourselves or get stuck in a mold. I How do you build a the 9/11 thing, the security CAIN: “I used the Fazioli [grand piano], which I play live with the band. I also had a Roland want to move forward, I don’t want to stay guitar solo? thing, they want to stop Fantom [synthesizer], a Korg Triton [synth] and a Hammond XK-2 [organ] through a Leslie in neutral. We could easily play nothing but SCHON: Sometimes I ‘I want to give something healthy and frisk you. I recently got model 122. I like the textures of the Korg and the Roland together. I used a few patches our greatest hits forever and do very well, come up with a theme randomly selected to get from the Atmosphere collection. There were a few loops from Stylus and a couple things but it’s important to keep growing. before even going for a to the fans, something they might messed with, and I’m like, from the old Roland S-760 [sampler] collection that I used. It was pretty bare bones. I solo. I’ll have a melody “You’ve got to be kidding use a lot of tube stuff to warm up the sound, like UA 610s. You also get a nice bit of What are your hopes for the band? in mind—sometimes it be able to dream on.’ me. How many seats are we compression there. We own two of our own Digidesign consoles, and you don’t have CAIN: I know it’s probably dreaming to think sounds like it could be a buying on your airline, and that analog warmth. fatten them up quite nicely.” this, but I feel that we could still broaden our string line. Then I’ll work – Jonathan Cain you’re going to screw with SCHON: ”I played mostly the Paul Reed Smith custom singlecuts that he made fan base. We’ve only got a few years left off it and weave in and me?” But they do. In the old for me seven or eight years ago. I had a couple Fenders made in a custom shop doing this—10 at the max, probably six or out of it. I like to do that because then there’s a built-in melody. I days it was pretty cool—we could afford our own plane, and we did that were one-of-a-kind, a Tele and a Strat, but mainly it was Paul Reeds. I didn’t seven before we’re done. I’d like to make the like people to be able to hear a theme as well as some riffi ng. Apart that for a few tours. Now it makes more sense to be on the bus if play any Les Pauls on this record, because I had a falling-out with Gibson. Paul best of where we play and how we play. God from that I won’t have anything else planned at all. I fl y by the seat at all possible. It’s much more comfortable. Reed has been a good friend of mine for years and was interested in all the ideas knows they play our old stuff to death. We of my pants and express what it feels like to me. I don’t like to play I had. I want to work with somebody who allows me to be creative and come with forged some new territory with Revelation, and zillions of notes. I do like to burn a bit here and there, but not all the Does the band get the respect it deserves? a great guitar, and he’s that guy. I dig the fact that he’s completely hands-on—he’s it allowed us to do this. It gave us the freedom time. I try to play what the song requires and not cram too much in. SCHON: I feel like now it does. Finally! It’s taken a long time. I think a guitar player and not just a CEO.” to do something new, so let’s do it right. M

44 46

M4-Vol2-Mag-GOLD.indd 44 7/7/11 8:13 PM M4-Vol2-Mag-GOLD.indd 46 7/7/11 8:13 PM