# Some (Unauthorized) Comments on Favorite 1980’s Songs



## Roger Knox (Jul 19, 2017)

Let’s start with the oft-discussed “Don’t Stop Believin’” by Journey (1983). Who is the singer? I like to imagine an on-the-scene TV newscaster. He sets it up with the girl and boy coming by different trains to the crossroads – Detroit. With a closer view, he sees them meeting at a nightclub and things develop from there. Outside is a busy night scene characterized as “streetlights, shadows, people” hoping for meetups too. The “newscaster” himself enters the scene imaginatively, “workin’ hard to get my fill,” and goes on to compare it to a game in a continuous movie. The ending chorus is his direct exhortation to listeners: “Don’t Stop Believing,” go forth and do likewise, join into the ongoing procession of life.

The tremendous energy of the song from the opening is like a life force. Vocalist Steve Perry’s high register and power are remarkable: I’m especially impressed by the clarity of his diction and his application of vocal technique to expressive purposes. Jonathan Cain’s raw pounding keyboard open fifths at the opening puzzled me; then I noticed how clearly Perry’s first note slides in as the third of what is now a major chord “humanizing” the sonority. The rapid repeated four-note figure in Neal Schon’s is said to suggest a train on the tracks; its “going haywire” at the end it perhaps represents the chaotic open-ended scene of the destination city. The drums’ energy is -- amazing.

I think the song can be interpreted variously. Perry has confirmed its spiritual intent in a YT interview on a Christian web site. There seem to be a number of religious references: the crossroads; the wine and “cheap perfume” (incense) at the club; the stark contrast of light (streetlights) and dark (shadows): and the song’s title. But I think it could be interpreted in secular terms also.

Comments on the above and contributions about other 1980’s songs invited.


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## Strange Magic (Sep 14, 2015)

My understanding of the lyrics is that the He and the She and those looking to find emotion are on the night streets of Hollywood--"on the boulevard". They have been drawn there. See also Bob Seger's _Hollywood Nights._ Perry's voice is a wonder, hence his nickname as The Voice. Also consider Elton's _Tiny Dancer. _And The Kinks: _Celluloid Heroes._


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## Strange Magic (Sep 14, 2015)

Rush's _Subdivisions _also deals with restless alienation and the desire to lose oneself in the city. Here it isn't just ennui; it is also the sense of being "cast out". Many songs deal with escape to the city as a solution to problems--a topic rarely a factor in pre-Rock songwriting


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## progmatist (Apr 3, 2021)

Strange Magic said:


> Rush's _Subdivisions _also deals with restless alienation and the desire to lose oneself in the city. Here it isn't just ennui; it is also the sense of being "cast out". Many songs deal with escape to the city as a solution to problems--a topic rarely a factor in pre-Rock songwriting


Subdivisions is but one example of Neil's genius as a lyricist.


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## Roger Knox (Jul 19, 2017)

Re the location of the "streetlights ... people ... shadows" part of "Don't Stop Believin' ," at the link below Steve Perry talks (beginning around 7:10) about a night view from high up in Detroit hotel down to street level as being the source. That doesn't mean the song "takes place" in Detroit, though; the song's images come from a variety of locations in the USA and as the lyrics say, it could be happening "anywhere."


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## Strange Magic (Sep 14, 2015)

True enough but I cannot otherwise explain the two taking the midnight train to anywhere. Steve Perry had other thoughts but for me the other songs I named lead to California and Hollywood as the intended destination. Along with California Dreaming, Going to California etc., the urge to Head West to the Golden State and the Boulevard and Laurel Canyon exerts a powerful magnetic attraction.


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## Roger Knox (Jul 19, 2017)

Strange Magic said:


> True enough but I cannot otherwise explain the two taking the midnight train to anywhere. Steve Perry had other thoughts but for me the other songs I named lead to California and Hollywood as the intended destination. Along with California Dreaming, Going to California etc., the urge to Head West to the Golden State and the Boulevard and Laurel Canyon exerts a powerful magnetic attraction.


Sure, I appreciate your ideas and the location not a cut-and-dried issue. Steve Perry's co-writers Jonathan Cain and Neal Schon may have had other thoughts. Their improvisational group process is to me one of the the most remarkable aspects of the song. Personally I think the whole "anywhere" idea of the song defies pinning it down. Certainly Sunset Boulevard and Laurel Canyon have been archetypal meeting places for rock musicians and supporters. 

Otherwise, the date of the song should be 1981. My suggestion of the "cheap perfume" as incense is complemented by the earlier "smokey room." Re Steve Perry's voice, the well-known vocal commentary web site "Beth Roars" is useful, and rings true with what my choir conductors kept reminding us! Also I want to mention that Edward Cone's _The Composer's Voice _(1974), which is mainly about classical song, prompted my notion of the "Don't Stop Believin'" singer as holding the role of a kind of "newscaster:" Cone would term that the singer's "persona" (of which there are often more than one in the same song). There's a lot more to it, just saying often I've found that asking "Who is the singer?" centers my thinking.


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## Strange Magic (Sep 14, 2015)

*^^^^@Roger Knox: *I think it might be more than coincidence that such "newscasters'" voices are often the high, clear tenors--Geddy Lee in his younger days was crystal-clear, almost bell-like, and kept his voice up quite remarkably over the years. Also Mickey Thomas. Dennis DeYoung of Styx.


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## Roger Knox (Jul 19, 2017)

Strange Magic said:


> I think it might be more than coincidence that such "newscasters'" voices are often the high, clear tenors


Yes I agree. Another common "persona" for the lead vocalist is to be one of the partners in a relationship, as in "Broken Wings" (1985) by Mr. Mister, which I will comment on soon. But this is not necessarily simple; there can be unclear aspects. In this song I am not sure if the singer is addressing his partner, or through a transference process at least partially addressing himself. To be continued.


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