steve perry kicked out of journey

The Real Reason Steve Perry Left Journey

For years, Journey singer Steve Perry used to wear a necklace of a gold musical eighth-note. In 2018, he explained to Rolling Stone it was a gift he received from his mom when he was 12 years old.

"She always believed in me. I wore it for years and years, but hung it up in May of 1998, just after the band and I legally split and I had a complete contractual release from all my obligations to the band and label."

Perry fronted Journey to its greatest commercial success in the '80s, catapulting the band to arena rock stardom through the likes of "Open Arms" and "Don't Stop Believin'." However , by 1987, even with the triumph of Raised by Radio tour, the band was greatly fractured and went on hiatus for nearly ten years. 

As time heals all wounds, Perry reunited in the mid-90s with bandmates Jonathan Cain, Ross Valory, and Steve Smith. Now under the management of Irving Azoff, Journey released Trial by Fire. The Recording Industry Association of America certified the album platinum and the Recording Academy nominated one of its hit singles, "When You Love a Woman," for a Grammy.

Through pain, Steve Perry came back to music

Just before tour arrangements could be made, Perry collapsed while on a hike. He learned he needed hip surgery due to a degenerative bone condition. The band could not wait for Perry to heal, and so he was replaced by Steve Augeri and later Arnel Pineda .

For years, Perry's surgery explained his reason for officially leaving Journey. But in 2018, he made a revelation. Ahead of the release of his solo album Traces , Perry admitted his actual motive.

"The truth is, that I thought music had run its course in my heart," Perry said. "I had to be honest with myself, and in my heart, I knew I just wasn't feeling it anymore."

Perry , in soul and spirit, was tired. But like any true rockstar, he could not be away from the limelight too long. Traces allowed Perry to find music again. In a promise to his late girlfriend Kellie Nash, who died in 2012 from breast cancer, this was the moment he stopped isolating himself from the world. 

"I found myself with not only just a broken heart but an open heart," Perry told Billboard . "And from that came rock and roll."

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Steve Perry Walked Away From Journey. A Promise Finally Ended His Silence.

By Alex Pappademas

• Sept. 5, 2018

MALIBU, Calif. — On the back patio of a Greek restaurant, a white-haired man making his way to the exit paused for a second look at one of his fellow diners, a man with a prominent nose who wore his dark hair in a modest pompadour.

“You look a lot like Steve Perry,” the white-haired man said.

“I used to be Steve Perry,” Steve Perry said.

This is how it goes when you are Steve Perry. Everyone is excited to see you, and no one can quite believe it. Everyone wants to know where you’ve been.

In 1977, an ambitious but middlingly successful San Francisco jazz-rock band called Journey went looking for a new lead singer and found Mr. Perry, then a 28-year-old veteran of many unsigned bands. Mr. Perry and the band’s lead guitarist and co-founder, Neal Schon, began writing concise, uplifting hard rock songs that showcased Mr. Perry’s clean, powerful alto, as operatic an instrument as pop has ever seen. This new incarnation of Journey produced a string of hit singles, released eight multiplatinum albums and toured relentlessly — so relentlessly that in 1987, a road-worn Mr. Perry took a hiatus, effectively dissolving the band he’d helped make famous.

He did not disappear completely — there was a solo album in 1994, followed in 1996 by a Journey reunion album, “Trial by Fire.” But it wasn’t long before Mr. Perry walked away again, from Journey and from the spotlight. With his forthcoming album, “Traces,” due in early October, he’s breaking 20 years of radio silence.

Over the course of a long midafternoon lunch — well-done souvlaki, hold all the starches — Mr. Perry, now 69, explained why he left, and why he’s returned. He spoke of loving, and losing and opening himself to being loved again, including by people he’s never met, who know him only as a voice from the Top 40 past.

And when he detailed the personal tragedy that moved him to make music again, he talked about it in language as earnest and emotional as any Journey song:

“I thought I had a pretty good heart,” he said, “but a heart isn’t really complete until it’s completely broken.”

IN ITS ’80S heyday, Journey was a commercial powerhouse and a critical piñata. With Mr. Perry up front, slinging high notes like Frisbees into the stratosphere, Journey quickly became not just big but huge . When few public figures aside from Pac-Man and Donkey Kong had their own video game, Journey had two. The offices of the group’s management company received 600 pieces of Journey fan mail per day.

The group toured hard for nine years. Gradually, that punishing schedule began to take a toll on Journey’s lead singer.

“I never had any nodules or anything, and I never had polyps,” Mr. Perry said, referring to the state of his vocal cords. He looked around for some wood to knock, then settled for his own skull. The pain, he said, was more spiritual than physical.

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As a vocalist, Mr. Perry explained, “your instrument is you. It’s not just your throat, it’s you . If you’re burnt out, if you’re depressed, if you’re feeling weary and lost and paranoid, you’re a mess.”

“Frankly,” Mr. Schon said in a phone interview, “I don’t know how he lasted as long as he did without feeling burned out. He was so good, doing things that nobody else could do.”

On Feb. 1, 1987, Mr. Perry performed one last show with Journey, in Anchorage. Then he went home.

Mr. Perry was born in Hanford, Calif., in the San Joaquin Valley, about 45 minutes south of Fresno. His parents, who were both Portuguese immigrants, divorced when he was 8, and Mr. Perry and his mother moved in next door to her parents’. “I became invisible, emotionally,” Mr. Perry said. “And there were places I used to hide, to feel comfortable, to protect myself.”

Sometimes he’d crawl into a corner of his grandparents’ garage with a blanket and a flashlight. But he also found refuge in music. “I could get lost in these 45s that I had,” Mr. Perry said. “It turned on a passion for music in me that saved my life.”

As a teen, Mr. Perry moved to Lemoore, Calif., where he enjoyed an archetypally idyllic West Coast adolescence: “A lot of my writing, to this day, is based on my emotional attachment to Lemoore High School.”

There he discovered the Beatles and the Beach Boys, went on parked-car dates by the San Joaquin Valley’s many irrigation canals, and experienced a feeling of “freedom and teenage emotion and contact with the world” that he’s never forgotten. Even a song like “No Erasin’,” the buoyant lead single from his new LP has that down-by-the-old-canal spirit, Mr. Perry said.

And after he left Journey, it was Lemoore that Mr. Perry returned to, hoping to rediscover the person he’d been before subsuming his identity within an internationally famous rock band. In the beginning, he couldn’t even bear to listen to music on the radio: “A little PTSD, I think.”

Eventually, in 1994, he made that solo album, “For the Love of Strange Medicine,” and sported a windblown near-mullet and a dazed expression on the cover. The reviews were respectful, and the album wasn’t a flop. With alternative rock at its cultural peak, Mr. Perry was a man without a context — which suited him just fine.

“I was glad,” he said, “that I was just allowed to step back and go, O.K. — this is a good time to go ride my Harley.”

JOURNEY STAYED REUNITED after Mr. Perry left for the second time in 1997. Since December 2007, its frontman has been Arnel Pineda, a former cover-band vocalist from Manila, Philippines, who Mr. Schon discovered via YouTube . When Journey was inducted into the Rock & Roll Hall of Fame last April, Mr. Pineda sang the 1981 anthem “Don’t Stop Believin’,” not Mr. Perry. “I’m not in the band,” he said flatly, adding, “It’s Arnel’s gig — singers have to stick together.”

Around the time Mr. Pineda joined the band, something strange had happened — after being radioactively unhip for decades, Journey had crept back into the zeitgeist. David Chase used “Don’t Stop Believin’” to nerve-racking effect in the last scene of the 2007 series finale of “The Sopranos” ; when Mr. Perry refused to sign off on the show’s use of the song until he was told how it would be used, he briefly became one of the few people in America who knew in advance how the show ended.

“Don’t Stop Believin’” became a kind of pop standard, covered by everyone from the cast of “Glee” to the avant-shred guitarist Marnie Stern . Decades after they’d gone their separate ways, Journey and Mr. Perry found themselves discovering fans they never knew they had.

Mark Oliver Everett, the Los Angeles singer-songwriter who performs with his band Eels under the stage name E, was not one of them, at first.

“When I was young, living in Virginia,” Mr. Everett said, “Journey was always on the radio, and I wasn’t into it.”

So although Mr. Perry became a regular at Eels shows beginning around 2003, it took Mr. Everett five years to invite him backstage. He’d become acquainted with Patty Jenkins, the film director, who’d befriended Mr. Perry after contacting him for permission to use “Don’t Stop Believin’” in her 2003 film “Monster.” (“When he literally showed up on the mixing stage the next day and pulled up a chair next to me, saying, ‘Hey I really love your movie. How can I help you?’ it was the beginning of one of the greatest friendships of my life,” Ms. Jenkins wrote in an email.) Over lunch, Ms. Jenkins lobbied Mr. Everett to meet Mr. Perry.

They hit it off immediately. “At that time,” Mr. Everett said, “we had a very serious Eels croquet game in my backyard every Sunday.” He invited Mr. Perry to attend that week. Before long, Mr. Perry began showing up — uninvited and unannounced, but not unwelcome — at Eels rehearsals.

“They’d always bust my chops,” Mr. Perry said. “Like, ‘Well? Is this the year you come on and sing a couple songs with us?’”

At one point, the Eels guitarist Jeff Lyster managed to bait Mr. Perry into singing Journey’s “Lights” at one of these rehearsals, which Mr. Everett remembers as “this great moment — a guy who’s become like Howard Hughes, and just walked away from it all 25 years ago, and he’s finally doing it again.”

Eventually Mr. Perry decided to sing a few numbers at an Eels show, which would be his first public performance in decades. He made this decision known to the band, Mr. Everett said, not via phone or email but by showing up to tour rehearsals one day carrying his own microphone. “He moves in mysterious ways,” Mr. Everett observed.

For mysterious Steve Perry reasons, Mr. Perry chose to make his long-awaited return to the stage at a 2014 Eels show at the Fitzgerald Theater in St. Paul, Minn. During a surprise encore, he sang three songs, including one of his favorite Eels tunes, whose profane title is rendered on an edited album as “It’s a Monstertrucker.”

“I walked out with no anticipation and they knew me and they responded, and it was really a thrill,” Mr. Perry said. “I missed it so much. I couldn’t believe it’d been so long.”

“It’s a Monstertrucker” is a spare song about struggling to get through a lonely Sunday in someone’s absence. For Mr. Perry, it was not an out-of-nowhere choice.

In 2011, Ms. Jenkins directed one segment of “Five,” a Lifetime anthology film about women and breast cancer. Mr. Perry visited her one day in the cutting room while she was at work on a scene featuring real cancer patients as extras. A woman named Kellie Nash caught Mr. Perry’s eye. Instantly smitten, he asked Ms. Jenkins if she would introduce them by email.

“And she says ‘O.K., I’ll send the email,’ ” Mr. Perry said, “but there’s one thing I should tell you first. She was in remission, but it came back, and it’s in her bones and her lungs. She’s fighting for her life.”

“My head said, ‘I don’t know,’ ” Mr. Perry remembered, “but my heart said, ‘Send the email.’”

“That was extremely unlike Steve, as he is just not that guy,” Ms. Jenkins said. “I have never seen him hit on, or even show interest in anyone before. He was always so conservative about opening up to anyone.”

A few weeks later, Ms. Nash and Mr. Perry connected by phone and ended up talking for nearly five hours. Their friendship soon blossomed into romance. Mr. Perry described Ms. Nash as the greatest thing that ever happened to him.

“I was loved by a lot of people, but I didn’t really feel it as much as I did when Kellie said it,” he said. “Because she’s got better things to do than waste her time with those words.”

They were together for a year and a half. They made each other laugh and talked each other to sleep at night.

In the fall of 2012, Ms. Nash began experiencing headaches. An MRI revealed that the cancer had spread to her brain. One night not long afterward, Ms. Nash asked Mr. Perry to make her a promise.

“She said, ‘If something were to happen to me, promise me you won’t go back into isolation,’ ” Mr. Perry said, “because that would make this all for naught.”

At this point in the story, Mr. Perry asked for a moment and began to cry.

Ms. Nash died on Dec. 14, 2012, at 40. Two years later, Mr. Perry showed up to Eels rehearsal with his own microphone, ready to make good on a promise.

TIME HAS ADDED a husky edge to Mr. Perry’s angelic voice; on “Traces,” he hits some trembling high notes that bring to mind the otherworldly jazz countertenor “Little” Jimmy Scott. The tone suits the songs, which occasionally rock, but mostly feel close to their origins as solo demos Mr. Perry cut with only loops and click tracks backing him up.

The idea that the album might kick-start a comeback for Mr. Perry is one that its maker inevitably has to hem and haw about.

“I don’t even know if ‘coming back’ is a good word,” he said. “I’m in touch with the honest emotion, the love of the music I’ve just made. And all the neurosis that used to come with it, too. All the fears and joys. I had to put my arms around all of it. And walking back into it has been an experience, of all of the above.”

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Why Journey’s Reunion With Steve Perry Was Just A Disaster

NEW YORK, NY - APRIL 07: Inductees Steve Perry and Neal Schon of Journey speak onstage during the 32nd Annual Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on April 7, 2017 in New York City. The broadcast will air on Saturday, April 29, 2017 at 8:00 PM ET/PT on HBO. (Photo by Kevin Mazur/WireImage for Rock and Roll Hall of Fame)

Discussing the band Journey without mentioning frontman Steve Perry is like missing a crucial part of their story. Perry led the band to huge success in the ’80s, took a break, came back in the ’90s, and then left again, opting for a quiet life for nearly two decades. This article dives into Perry’s return to the band and the reasons he left once more.

In the 80s, Journey was a big deal, churning out albums, hits, and even having their own video game. Even though the game wasn’t great, it was a big deal back then.

Perry guided Journey through their peak from 1977 to 1987 and then again from 1995 to 1998. In between, he did his solo thing but kept a low profile, only returning to music a few years ago.

The Audition that Changed Everything

Born in California to Portuguese parents, Perry got into music at 12, inspired by Sam Cooke’s “Cupid.” He joined Journey after their manager heard a tape of Perry’s previous band and liked his voice. Perry replaced Robert Fleishman as the frontman, even though they did a sneaky tour to avoid causing a stir.

Perry’s pop style brought success but also turned away some old fans. His first run with the band ended in 1985 due to personal issues like his mom being sick and a breakup.

After leaving in 1987, Perry worked on a solo album, but he wasn’t feeling it, so he took a break until the mid-90s, making a few stage appearances.

The Reunion Proposal

In 1995, Perry suggested reuniting with Journey, but with new conditions, including a change in management. With a new manager, they got back together and made a successful album, Trial by Fire, but Perry’s health issues in 1998 stopped their tour plans. Perry didn’t promote the album much, citing pain and avoiding surgery.

By 1998, some band members wanted to move on without Perry, looking for a new singer despite his pleas. Steve Augeri, a former rocker turned GAP employee, joined, facing challenges, and was eventually replaced.

In the end, Journey found their current vocalist, Arnel Pineda, after a bumpy ride with various changes and challenges.

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The Reason Steve Perry Decided To Leave His Journey Band Members

Steve Perry had a good reason for leaving his Journey band members, at least, the second time around.

• Steve Perry left Journey the first time due to feeling burnt out after their final show in 1987.
• Perry left Journey a second (and final) time because of debilitating pain caused by a reported hiking accident.
• Journey continued without Perry though, finding other lead singers before ultimately reuniting and releasing new music.

Throughout the '80s, the band Journey enjoyed plenty of success. The band, which consisted of various members depending on the year and pending lawsuits, welcomed Steve Perry in 1977.

At the time, the other members of Journey included Neal Schon, Ross Valory, George Tickner, Prairie Prince, and Gregg Rolie. Though many band members came and went over the years, Steve Perry always seemed like a staple, one of the central attractions as far as drawing crowds (and rounding out the group's vocals).

But by then, Perry had launched a solo act, and at that point, he and Schon weren't getting along very well, either. That resulted in Steve leaving the band (for the first time).

Journey's Legacy Took A Hit After Steve Perry's Reported Lawsuit Against His Former Band Members

Updated April 2024: Many fans were unaware that Steve Perry left Journey because he was dealing with a debilitating degenerative bone condition . It made it hard to do daily routine activities, let alone tour. But, many fans thought that Perry was kicked out of the band so that he could be replaced by Steve Augeri. A fact that the remaining members of Journey denied. They simply believed the music was "bigger than them" and wanted to continue to tour. These days, Journey is still touring, without Perry, with Arnel Pineda on the lead vocals . Tickets are available for their tour, currently taking place in North America.

Why Steve Perry Left Journey The First Time

Steve perry left journey because he was burnt out.

As iHeartRadio explained, Perry was feeling burnt out. He said that he had "an amazing time in an amazing band," but that his last show in February of 1987 with the band had been a turning point of sorts. Setting out on his own, Perry went on to rediscover himself in a way, while his former bandmates went another direction.

Steve did come back later, however, in the early '90s. The guys reconciled, buried the hatchet, and were working on another album together. The band was even about to start touring again when Perry left the group for good.

Why Steve Perry Left Journey A Second Time

Steve perry was dealing with debilitating pain, leading him to leave journey a second and final time.

So what happened that caused Steve Perry to leave Journey a second time, this time for good? He had a good reason: UCR says Steve got hurt during a hiking accident . Rather than undergo hip surgery so that he could get back on stage (and on tour), Steve opted to quit the band. The way UCR tells it, Steve "refused" the surgery and "dredged up" memories of his leaving the band before.

But the way some fans saw it (and clearly the journalists at UCR as well), the move was a power play akin to the one Perry apparently made back in the '80s. His leaving the band at that point was a way to control Journey's fate, the publication suggested. So the second time around, the band cut ties with Perry rather than letting him drag them down.

Is Steve Perry Still Feuding With The Rest Of Journey?

Perry later related that he was both physically ill and "burnt out," noted iHeartRadio , and that after both an illustrious career as a member of Journey and a successful solo run, he was just finished. For the band's part, they soon replaced Perry with a 'soundalike' who did the job well enough, but never propelled the band to the notoriety or net worth of The Beatles .

Journey Got Back Together Without Steve Perry

Journey got back together with steve augeri and steve perry put out new music.

In 1998, the band officially announced that Steve was no longer part of Journey. After that, it would be decades before Steve got back into music again. As iHeartRadio quoted him a few years ago, "I rediscovered my love for music."

Steve released a new album in 2018, including original songs he'd written over the past 30 years. He even included a "reimagined cover" of a Beatles hit, but it wasn't the one John Lennon hated .

Has Steve Perry's Bad Blood With His Former Journey Bandmates Stopped Them From Speaking?

After Steve Augeri replaced Perry for eight years, he too called it quits with Journey. That has not stopped the band from touring, however. The band is currently doing a North American tour with Arnel Pineda on the lead vocals. Tickets are available for purchase for dates around the US.

Source: iHeart Radio

Former Frontman Steve Perry Will Never Reunite With Journey — Here's Why He Left

Aug. 29 2023, Updated 3:51 p.m. ET

The American rock band Journey has cemented their legacy in the world of classic rock music . With power ballad songs such as "Don't Stop Believin'" and "Faithfully," the lyrics continue to be sung throughout generations.

Initially formed in the early '70s, Journey reportedly hit its commercial peak between the late 1970s through the late '80s.

In 1987, frontman Steve Perry decided to part ways with Journey. Given the impact the band had, many were shocked when they learned ties had been severed. So, why did Steve leave Journey? Keep reading to find out more.

Why did Steve Perry leave Journey?

According to iHeartRadio , Steve left Journey in 1987 and pursued a solo career, though he never reached commercial success as an individual artist. In the mid-90s, Steve reunited with bandmates and prepped for an upcoming tour. However, those plans changed after Steve found out he had a hip condition that would require surgery. But, he wanted to try alternative treatments.

“They wanted me to make a decision on the surgery,” he told Rolling Stone in a 2018 interview. “But I didn’t feel it was a group decision. Then I was told on the phone that they needed to know when I was gonna do it ’cause they had checked out some new singers.” 

Though he asked his bandmates to reconsider, they did not. “I said to them, ‘Do what you need to do, but don’t call it Journey,’” he said, adding, “If you fracture the stone, I don’t know how I could come back to it.”

The band found a new singer and the group continues to tour today. While the former lead singer was present during Journey's 2017 Rock and Roll Hall of Fame induction, he has not performed with the band since then.

“What they do is none of my business,” the 71-year-old told the outlet. “When I walked away from it, I did not go to any of the shows, nor did I listen to any of it.”

So, what did he do after leaving behind his music career?

View this post on Instagram A post shared by Steve Perry (@steveperrymusic)

Rumors surfaced that Journey's Steve Perry was a recluse.

After parting ways with the band, Steve took a step back from the spotlight and music. “I didn’t sing in those years,” he explained to Rolling Stone . “I didn’t write music. I must have gained 50 or 60 pounds. I got a butch haircut. I just said, ‘I’m going to just become a plump kid in my hometown again.’ I’d already lived the dream of dreams and didn’t know how I could come close to being anything like what I was before.”

View this post on Instagram One late night, I was sitting in my room thinking about so many things. This song came into my mind, and it brought me some comfort. I hope it does the same for you. Stay safe, Steve A post shared by Steve Perry (@steveperrymusic) on Apr 17, 2020 at 9:02am PDT

The singer revealed that rumors started to surface of the former frontman being a "recluse with long nails." 

Finally, after several decades, Steve decided to release his third studio solo album "Traces," which was a project five years in the making.

As for fans holding out that Steve will one day reunite with his former bandmates, don't hold your breath. The singer told the outlet, "I left the band 31 f--king years ago, my friend. You can still love someone, but not want to work with them."

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Steve Perry Still Believes

By Andy Greene

Andy Greene

It’s a Monday afternoon in August, and Steve Perry is cheerfully belting out the Backstreet Boys’ “As Long As You Love Me.” Perry is visiting a buddy at his house in San Francisco, and the singer — who grew up on Sam Cooke, Otis Redding and the Kingston Trio, and doesn’t listen to much current pop — is giving an example of a relatively modern song that caught his ear. “I love songs like this,” he says of the tune, a Max Martin–penned ballad from 1997. “I’m a sappy guy.”

It’s somewhat surprising to hear Perry, 69, sing a hit by a boy band a generation behind him. What’s really surprising, though, is that Perry is singing at all. Virtually nobody has seen him do this since he parted ways with his band, Journey , 20 years ago. Perry and Journey became famous in the Seventies and Eighties for big, soaring arena-rock hits about devotion, passion and seizing the moment, some of them a little sappy indeed, all of them driven by Perry’s skyscraping vocals, which exerted a massive influence on generations of wasted karaoke warriors. In the process, Journey basically invented the power ballad. Critics often dismissed the band as cheeseballs, but that wasn’t fair; songs like “Faithfully” and “Lights” stand up as beautiful and plainspoken showcases for Perry’s remarkable voice. “We certainly were part of pioneering [the power ballad],” Perry says. “I didn’t care what the critics thought about the band. I really didn’t. All I knew is every night we would get at least one to two encores. That was my critical review for me every night.”

Perry left Journey in 1987, but he never had sustained success as a solo artist. After the commercial failure of his second solo album, he got back together with his former bandmates in the mid-Nineties. They made a comeback album, scored a radio hit with the romantic ballad “When You Love a Woman” and earned a Grammy nomination. Irving Azoff, who had just made the Eagles a fortune for their reunion album, was brought in to manage the band. The future looked bright.

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Everything changed when Perry took a long hike in Hawaii and felt a horrible pain in his hip as he reached the top of a mountain. He was just in his mid-forties but discovered he had a degenerative bone condition that would require hip-replacement surgery. Terrified at that prospect, Perry experimented with alternative treatments that did little to address the problem.

Eventually, Perry’s bandmates started getting restless. “They wanted me to make a decision on the surgery,” Perry says. “But I didn’t feel it was a group decision. Then I was told on the phone that they needed to know when I was gonna do it ’cause they had checked out some new singers.” Perry begged them to reconsider, but then postponed the date of his big surgery. “I said to them, ‘Do what you need to do, but don’t call it Journey,’” he says. “If you fracture the stone, I don’t know how I could come back to it.”

They didn’t listen. Journey found a Perry soundalike named Steve Augeri and launched a tour that continues to this day. In 2008, Arnel Pineda — a Filipino singer they found on YouTube — took over on vocals, and the group began selling as many tickets as it did in its Eighties heyday, quite possibly thanks to Pineda’s uncanny ability to sound more or less exactly like Perry, whom he grew up worshipping. Understandably, Perry is a little uneasy talking about all of this, but he’s never made any attempt to reunite with his former mates. He showed up for Journey’s induction into the Rock and Roll Hall of Fame in 2017 and made an acceptance speech, though he didn’t perform with the band. “What they do is none of my business,” he says. “When I walked away from it, I did not go to any of the shows, nor did I listen to any of it.”

While his former bandmates were making millions on the road, Perry was doing, well, not all that much. He rode around aimlessly on his motorcycle and moved from the Bay Area to San Diego, though he routinely flew back for San Francisco Giants games. Perry lived off his royalties (he says he carefully tucked away money from his Journey days) and avoided the spotlight, rarely giving interviews and politely turning away fans who begged for a photo. Basically, he became the J.D. Salinger of arena rock. “I didn’t sing in those years,” he says. “I didn’t write music. I must have gained 50 or 60 pounds. I got a butch haircut. I just said, ‘I’m going to just become a plump kid in my hometown again.’ I’d already lived the dream of dreams and didn’t know how I could come close to being anything like what I was before.”

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Rumors about Perry began to pile up. “They say I’m a recluse with long nails saving my urine in jars and living on an island with a morphine drip,” he says. “They think I’m in a hospital somewhere with cancer. And they say I can’t sing anymore.”

That last one stings the most, and as he sings the Backstreet Boys song it’s clear it’s not true. Perry’s voice is certainly deeper than in his Journey days, when his upper register could rival any rock singer’s, but it’s still unmistakably Steve Perry: rich, raspy, expressive and overflowing with the sort of pulsating emotion that caused even Journey’s fiercest critics to compare him to his idol, Sam Cooke.

Perry hasn’t lost his voice, but he has lost a lot over the years: his grandparents, who had helped raise him in rural Northern California after his mom and dad split; both of his parents; and his stepfather, who gave Perry work in his construction business to help him make ends meet in the pre-Journey days. “You want to know what I did after I left the band?” he says. “I visited my mom’s grave a lot.”

Loneliness could creep in quickly. “One time I parked my car in front of the house I was raised in,” Perry says. “It was raining like crazy, the wipers were going and I was facing the house where I was raised, with my grandfather’s house to the right. I just started crying like a baby. I cried for the times we could have had together. I cried for the times that I took for granted. And they were all gone, and here I am, an only child, just missing them all. I used to think that if I became a performer and everybody loved me, that I wouldn’t have to go through these things. But guess what? There’s nowhere to run. If you’re alive, you have to walk through this eventually.”

All of the loss may explain why the frontman who radiated such passion in his Journey days no longer felt much like singing. There was another big loss to come, but this one would lead him back to music, and, eventually, to his new solo album, Traces. It’s a story about devotion, tragedy and a promise to a dying loved one. It’s so intense and heartfelt, it could be a Journey song.

Much of what happened to Perry in the past decade can be traced back to his most famous song. Perry wrote “Don’t Stop Believin’” with Journey keyboardist Jonathan Cain and guitarist Neal Schon in 1981. The title phrase came from Cain’s father, something he’d say to encourage his son to keep going when he was a young musician eking out an existence in L.A.

Cain said he drew inspiration from characters he knew in the Sunset Strip rock scene of the early 1970s: These were the “streetlight people living just to find emotion” of the song’s lyrics. Perry has a different memory. “Jonathan and I scrawled out the lyrics about things that I had seen in Detroit one night after a show, looking way down to the street and seeing the streetlights light the streets,” he says. “I couldn’t see the lights, but could just see the glow of the lights facing down from about the 10th floor. I see people walking around at two, three in the morning. I thought, ‘Wow, streetlight people. That’s so cool.’” (He and Cain do agree on one thing: There’s no such place as South Detroit. They just needed an extra syllable before “Detroit” and weren’t familiar with the city’s geography.)

“Don’t Stop Believin’” hit Number Nine in 1981, though by the turn of the millennium, it was just one of Journey’s many hits, not even important enough to be mentioned by name in the band’s Behind the Music episode. But the song had one very important fan. Today, Patty Jenkins is one of the hottest directors in Hollywood, thanks to the Wonder Woman  franchise. Back in 2003, though, she was just a fledgling filmmaker who needed the perfect song for a scene in her low-budget movie Monster , about the life of serial killer Aileen Wuornos. During a key scene early in the film, Wuornos (played by Charlize Theron) roller-skates with her girlfriend. Jenkins figured that “Don’t Stop Believin’” would be the ideal song to punctuate the moment with a sense of unbridled optimism (before things went very, very bad, that is).

Jenkins had one big hurdle to getting “Don’t Stop Believin’” in her movie: persuading Perry to let her use the song. “Everyone told us the worst things about Steve,” says Jenkins. “They said he had disappeared, said no to everything, would never say yes and was all about the money.” Still, she sent him a rough cut of the scene along with her phone number. Much to her shock, he called her the next day and raved about the clip. “He gave us the song for practically nothing,” she says. “He just laughed at the rumors [I had heard]. The truth was, he said no to everything because he didn’t want the money. People weren’t understanding the song, and he didn’t want it to be sold out in that way.”

Monster became a surprise hit and won Theron a Best Actress Oscar. It also helped kick off the amazing second life of “Don’t Stop Believin’.” All of a sudden, the song was everywhere: On TV ( Glee used it six different times), on Broadway (it was the closing number in the musical Rock of Ages ), and even in the clubhouse of the 2005 Chicago White Sox, who made “Don’t Stop Believin’” their unofficial anthem on the way to winning the World Series. The song’s renaissance went into overdrive when The Sopranos used it in the show’s last-ever scene, in 2007.

There was something weirdly profound in the song’s sudden universal popularity: This slightly goofy Eighties anthem seemed to hit all of America in an emotional sweet spot that went way beyond mere “ironic” nostalgia, wiping out cultural barriers in an avalanche of cheesy optimism. It’s no wonder people literally sang it in the streets the night of Barack Obama’s election. The tune Perry was happy to sell for next to nothing had become the new national anthem. “It’s amazing to me,” says Perry. “All of my songs are like children to me. Once you send them out to the world you hope they’re strong enough to survive out there. All of them got the same attention, but the world decides which ones become the ‘Don’t Stop Believin’s,’ not me.”

For Perry, the song’s rebirth was important in another way. He and Jenkins became friends while she was working on Monster, and with plenty of spare time on his hands in the following years, Perry liked to lounge around the director’s editing suite and watch her work. One day in 2011, she was editing a Lifetime movie about breast-cancer patients when Perry saw a face on the screen that caught his eye. It was Kellie Nash, a Los Angeles psychologist. She was two decades Perry’s junior, and she was battling breast cancer. “I went, ‘Whoa, whoa, whoa, can you spool back to … stop right there. … Who’s that?’” Perry remembers. “Her smile killed me. I felt like I knew her somehow, and I never met her before.”

Perry asked for her e-mail address, but Jenkins said he should understand her condition before reaching out. Nash’s cancer had spread to her lungs and her bones. There was no exact timetable for how long she had left, but the prognosis was grim. “At that moment I had the opportunity to send no e-mail, pull back, no harm, no foul,” he says. “It just would all die at that moment. I would just go back to my safe life. Instead, I said, ‘Send the e-mail.’”

It placed him in a vulnerable position. “I didn’t want to go through another loss,” he says. “I was trying to continue moving through life on my own. But there was a simple gorgeousness about her that was just stunning.”

They met up at a restaurant near Nash’s house and talked for six hours. Before long, they were living together. For a few months, it was bliss. “Then one horrible day she said she was having headaches,” Perry says. “We got an MRI, and then later the oncologist called the house and said she had brain metastases. She fell apart right there in front of me, screaming and crying. It was the most difficult day in my life because she just melted in my arms in fear.”

Perry and Nash moved to New York so she could have access to an experimental treatment in the Bronx. His favorite time of day came in the evening, when he held Nash as she tried to fall asleep. One evening, she turned toward him with something very serious on her mind. “She said, ‘If something ever happens to me, I want you to make one promise,’” he recalls. “ ‘Promise me you won’t go back into isolation. If you do, I fear this would all be for naught.’” She urged him to make music again.

Nash died on December 14th, 2012. “Ever since I was a kid, and especially since I became successful in the music industry, I just wanted people to love me,” Perry says. “I never knew when someone did for real. I always had a reluctance to believe it. I think it comes out of my youth when my parents split up, but something inside me always had doubts.

“But let me tell you how I know. When you’re in love with someone like Kellie Nash and she looks you right in the eyes and says, ‘I love you.’ That’s how you know. She made me the luckiest man in the world.”

What Perry really wants to talk about — the reason he’s willing to sit down and revisit these parts of his life — is  Traces. It’s the result of five years of work (though there was an extended break in the middle for another hip-replacement surgery). He cut it at his home studio without any record label paying the bills or making him sweat out a deadline. The songs, many of them ballads, reflect on love, loss and the difficult moments in between. Some are directly about Nash, like “October in New York,” where he looks back at their final weeks together, while others are character-driven. The sound is a little more subdued than classic Journey: elegant, tasteful, soulfully autumnal. (Backstreet Boys aside, he avoids modern pop and has a particular aversion to drum machines; when a Top 40 station comes on one day over lunch, he insists on bolting from the restaurant to talk outside.)

Perry’s collaborators were delighted to find out he still had his voice. “When I first heard his demos, I was like, ‘Wow, there’s the voice!’” says guitarist Thom Flowers, a co-producer on the album. “But then in the studio, I got to see it myself. He likes to record in the control room, so we’d both put headphones on and he’d be two feet away from me. Without any warm-up, it just came out of him. It reminded me of watching a thoroughbred horse work.”

Perry almost couldn’t believe it himself when work on the album wrapped. “I told some friends of mine that I actually did something I said I’d never do again,” he says. “I made that commitment to Kellie and then a commitment to myself to actually complete it.”

“I always hoped that he would do this one day,” says Jenkins. “All along he’d been playing me these stunning tracks. I was always like, ‘Steve! What the hell? That’s a masterpiece!’ Hearing him give this to the world again is so moving.”

Perry may be willing to sit down for a series of extensive interviews, but there’s still an aura of mystery surrounding him. For example, his buddy Steve, whose home Perry is visiting. Steve — tall, kind, bald — lives in Mill Valley, one of the wealthiest neighborhoods in the Bay Area. After answering the door, he offers us coffee. There are photos on the wall of this Steve fellow with the pope. “He’s just a friend of mine,” says Perry, refusing to say anything about him. “An old friend of mine. Keep him anonymous.”

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Perry says he’s had a number of serious relationships in his life, but besides Nash and his 1980s girlfriend Sherrie Swafford (immortalized in Perry’s 1984 solo hit “Oh Sherrie”), he won’t talk about any of them. Perry concedes that he has never been married and is-currently single, but goes quiet when the subject of children comes up. (Internet sleuths theorize that a woman he’s often photographed with named Shamila is his daughter. She bears a striking resemblance to him.) “I don’t want to talk about [kids],” he says. “There’s a private part of my life that I won’t have if I talk about it.”

I notice a gold pendant in the shape of a musical eighth-note around his neck. This gets him talking. “My mom gave it to me when I was 12,” he says. “She always believed in me. I wore it for years and years, but hung it up in May of 1998, just after the band and I legally split and I had a complete contractual release from all my obligations to the band and label. I put it back on about 10 years ago.”

As we spoke, Journey were hours away from taking the stage at the Smoothie King Center in New Orleans — on a double bill with Def Leppard — one of 60 shows they played this summer. As they do every night, they’ll dedicate “Lights” to Perry. It’s a gesture of gratitude, and for good reason. When Perry joined Journey in 1977, none of the group’s albums had sold well, and the band was pumping out anonymous jazz fusion. Perry changed everything. In him, Journey found a singer who not only wrote big, concise, catchy songs, but also belted them to the cheap seats. Without him, Journey might well have been a prog-rock footnote.

Perry claims to feel no bitterness toward anyone in the band, even though he’s seen the members only twice, and briefly at that, in the past 20 years, and has rebuffed attempts to reconnect on a social level. Guitarist Neal Schon seems desperate for some sort of reconciliation and often tells interviewers he wants to create new music with Perry — not even necessarily for Journey. Schon has heard that Perry frequents his favorite coffee shop, and the guitarist hopes to run into the singer there. Pressed on this, Perry says he can’t imagine working with Schon in any capacity or even re-establishing the friendship.

“I’m not sure that’s possible without stirring up hopes of a reunion,” he says. “Please listen to me. I left the band 31 fucking years ago, my friend. You can still love someone, but not want to work with them. And if they only love you because they want to work with you, that doesn’t feel good to me.”

When I bring up Cain’s new memoir, Don’t Stop Believin ’ — an innocuous, uncontroversial book where he looks back on his life and heaps endless praise onto his bandmates, past and present — a look of disgust comes across Perry’s face. “I don’t really care to read Jonathan’s book,” he says. “And I’d appreciate if you didn’t tell me about it. I don’t need to know. It’s none of my business.”

But his mind is also on the future. Plans are still unclear, but Perry wants to launch a tour of some sort to promote Traces. He says he’ll sing the Journey hits again, meaning that “Faithfully,” “Separate Ways (Worlds Apart)” and, yes, “Don’t Stop Believin’” will come out of his mouth for the first time in nearly a quarter century. He clutches the eighth-note his mother gave him, the one he put back on around the time Nash came into his life, and tries to make sense of it all. “I’m not the only one that goes through life,” he says with a deep sigh. “We’re all going through it, and I’m tolerating it the best I can.”

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Steve Perry of Journey: “Things happened to me as a child. There was nowhere to talk it out, so I sang it out instead”

Journey wrote “Don’t Stop Believin’”, the most downloaded song from the 20th century. When their lead singer quit, the band spent years trying to replace him. Finally out of hibernation, he tells his strange story.

By Kate Mossman

In the small hours of 14 June 2007, the Queen guitarist Brian May sat worrying at his computer. The American rock band Journey had fired another lead singer: 41-year-old Jeff Scott Soto had been erased from the group’s website – shed, Brian observed in his blog, like a used pair of boots.

It wasn’t that Brian didn’t sympathise with the pressures on a middle-aged rock band burdened with touring millions of dollars’ worth of hits when their original frontman was indisposed. He laid out Journey’s options. 1. Throw in the towel. 2. Find a look- and sound-alike. 3. Go out under a different name (“unrewarding”). 4. Find a new frontman who steals a bit of the limelight for himself.

Journey are responsible for “Don’t Stop Believin’”, the most-downloaded song written in the 20th century. They have had five lead singers to date. The single component they’ve spent three decades cyclically seeking to replace is the voice of their frontman, Steve Perry, who came and went, and came and went – then disappeared. Any Journey singer needs to sound exactly like Steve Perry, and that is not easy. He must have a high “tenor altino”, reaching F#2 to A5, with a tone somewhere between Sam Cooke and Aretha Franklin. The first time Perry quit the band was at the height of their fame, in 1987. He’d been nursing his dying mother, and considered retraining as a neurologist.

The second time he left, ten years later, was because the band were pressing him to have a hip operation, and he refused. The girlfriend of keyboard player Jonathan Cain dimly recalled a guy from another group she thought could hit notes as high as Perry could – so founder member Neal Schon tracked him down, and found him working as a maintenance manager for Gap, enjoying the security of his first pension plan.

The new singer, Steve Augeri, became known as “Steve Perry with a perm”. He took Journey’s hits to the arenas of middle America. As he did so, the real Steve Perry – who’d co-written those hits – rode a Harley Davidson through the San Joaquin Valley in California, back to where he was born.

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Perry has been a virtual recluse for 20 years. He sits before me in a Whitehall hotel, dissecting a chocolate muffin and carefully dabbing crumbs from his lap. He speaks in metaphorical language: he once said that leaving his band was like “re-entering the earth’s atmosphere with no heat tiles on my face”. The San Joaquin valley reached 110°F in the summer, with fields of almond trees, cotton and alfalfa. The alfalfa became a symbol of his escape. “It holds so much moisture that when you come to an area where there’s an alfalfa field on the left and right, the temperature drops 15 degrees. So I’m out on my motorcycle, and those were the days before ‘helmets’ [he makes quote marks in the air] and the wind is in my hair and all of a sudden, well, I cooled off.”

No one knew what Perry did next. There was a rumour he’d invested in a small bovine insemination business in California’s Central Valley, but it turned out to be a rogue edit on Wikipedia. In what some might call a terrible irony, the band he left behind enjoyed an unexpected, international renaissance without him, attracting a new generation of fans. In the 21st century, “Don’t Stop Believin’” was used on the soundtracks of the Oscar-winning 2003 film Monster , Scrubs, Family Guy, Glee and perhaps most memorably, in the final eerie moments of The Sopranos . It inspired long-read journalism on the magic of song craft, and it even formed the plot of the Broadway hair metal musical Rock of Ages .

Perry banked the cheques – but he missed the shows, because there was a new lead singer in the band who sounded just like him, and this time everyone was talking about it. Arnel Pineda was a Filipino fan who’d spent two years living homeless on the streets of Manila as a child – Neal Schon had found videos of him singing Journey songs on YouTube. Pineda has enjoyed the most successful stint in the job since the man he is imitating. Find a frontman who steals a bit of the limelight for himself, said Brian May, and “the sky’s the limit”.

When not riding his motorbike through the San Joaquin Valley, Perry attended the local fair, which came to his home town in June as it had done in his childhood. “I was drawn to the circus life, because they’d come into town – it was lights, Ferris wheels, it was moving, it was fantasy – and the next thing you know they’re gone,” he says. The circus was, he admits, not unlike a rock band.

“I saw Pinocchio as a child, and there was something evil about this special place where all the children could go. They’d go on the rides, but their ears would grow – and they turned into asses, actually, I guess.”

Rock bands are a ruthless business, but in Journey it’s hard to say who holds the power – the mutable frontman who forced the band in and out of hibernation for a decade, or the founder member who turned the frontman’s voice into a million-dollar franchise. Perry once claimed that he’d never felt part of the group. Schon replied: “How can you ‘not feel part’ of something you’re almost completely controlling?”

They only communicate through their lawyers now. But their songs play in every sports bar and mall in America, instantly and innocently evoking the pain and passion of ordinary human life.

“It’s like your boyfriend saying to you: drop a few pounds, get your nose fixed at the same time. Fuck off!”

Perry has watched his replacements come and go, but once, he was the replacement himself: in 1977, aged 28, having failed in several bands, he’d returned home to work mending coops on his uncle’s turkey ranch when he got the call from Neal Schon, asking him to join a jazz fusion band who couldn’t get a hit. Perry asked his mother, and she advised him to go for it. Schon tried him out by bringing him on the road and telling everyone he was the roadie’s Portuguese cousin. He sang a song at soundcheck when the official singer was away from the stage.

The clichés – “married to music”, “a band is like a family” – are well worn, but for the generation of men who became millionaire rock stars in the seventies and eighties (for it is men, and it is one generation) they are the only way to understand their motivations, not least because it is a language they invented themselves. Solo albums were referred to by Journey’s manager Herbie Herbert as cheating on your wife (both Schon and Perry cheated). Of the hip operation stand-off, Perry says: “When they told me they checked out some new singers, it’s like your boyfriend saying ‘Look, I really love you, but I need to know if we’re getting married or not because I’ve checked out some other chicks.’”

But it was more than that, wasn’t it? They were telling him they’d only take him back if he underwent major surgery.

“OK,” says Perry. “It’s like saying, ‘By the way, drop a few pounds, too. Get your nose fixed at the same time.’ FUCK OFF.” He then asks if we can talk about his new record, Traces , his first in 25 years.

When Perry was 16 years old, he heard “I Need You ” by the Beatles, released on the Help! album, and he felt they could have done better. Why had they done a kind of bossa nova he wondered, when it clearly cried out for R&B? He has reworked the song on his new album, which he wrote and produced on his own – “No one had their foot on my neck saying, ‘Are you done? Are you done?’ FUCK OFF.” he says.

When he was very young, Perry would “mumble hook lines” for potential songs, and it was in Journey that he was able to “apply everything I had ever dreamed of”. Their audience – suddenly full of girls – had a new and emotional relationship to the band via their commercial power ballads.

“You can’t solo for 18 bars,” he recalls telling Neal Schon – who was such a good guitarist that he’d been recruited by Carlos Santana aged 15, in the summer of 1969. “You can have about eight bars. And if it’s going to be eight bars, it has to be something beautiful.”

The first time the pair were put together to write, they finished Perry’s love letter to San Francisco, “Lights ” , in about ten minutes. He describes a song idea as a “sketch” – a framework of chord changes, a couple of melody ideas and a loop for rhythm. “But my problem is, I hear it completed already.”

Songs, he says, should be “like pancakes – stacked high with layers of feeling”. Modern writing is an “industrial assembly line because everyone’s on the grid. There’s 20 people writing these songs – they’re trying to maximise the individual assignments, like when they’re making a film, to increase the opportunity for a hit. But a song should be all about selling a feeling .”

Selling a feeling – is that the essence of power ballads?

“It’s the essence of music,” he says.

“Songs should be like pancakes, stacked high with layers of feeling”

“Don’t Stop Believin’” has had a lot of analysis in recent years, as interest has grown in the industry’s backroom magic. It is a power ballad with a strange minimalism, full of barely-there figures – “strangers waiting” and “streetlight people”. Unable to sleep in a Detroit hotel room, Perry had looked down to the street and noticed the way in which walkers would pop up suddenly in circles of light. The lyric’s “midnight train” was a musical madeleine, designed to take you back to Gladys Knight. The song was self-consciously cinematic, but states that life is a movie that never ends. Its thin but powerful sense of hope was so abstract, it applied to everyone – from the gambler in the lyric, rolling the dice “one last time”, to the real John Doe hearing “Don’t Stop Believin’” in a bar on a Friday night. It started with a refrain written by Jonathan Cain: what Cain heard as a chorus, Perry heard as a “pre-chorus” – suggesting that a “chorus of choruses” should be held off till the very end. It does not appear until three minutes and 20 seconds, delaying the climax. Perry gets a bit antsy discussing it.

“I don’t want to talk about the music because then you won’t listen, and it won’t be yours,” he says. “Your definition – what the song does to you, and the next person – are totally different. You hear music differently based on your life, your experience, what you are. When something resonates with a massive number of people, that is exactly what is happening.”

In 2007, he was approached by HBO for permission to use the track in the final seconds of The Sopranos . He refused to give it over without knowing what scene it would accompany, concerned that the entire Soprano family were going to “get whacked” to the song. For a few weeks, he was one of the only people in the world who knew how the series ended.

Another, equally effective modern-day licensing of the track was in Patty Jenkins’s Monster , when the serial killer Aileen Wuornos, played by Charlize Theron, meets her lover at a roller rink. A jukebox and a skating rink were just the kind of places you heard Journey every day, growing up, reinforcing the sense of their music as part of the wallpaper of American life. Perry, now 69, loved high school, “a magical time, when innocence is running your life.” Its memories are his songwriting metaphors: a concert venue, he says, rather strangely, is “the backseat of a car”.

“Everything I write comes back to high school. I know it sounds funny, but everything. It all comes from the emotions I grew into during my adolescence. Those moments are not to be tossed away.” He becomes emphatic. “If something means something to you, go back and get it and make it part of your life. And anyone who doesn’t understand how important that is, you tell them to FUCK OFF,” he advises, before breaking off to reveal he is desperate for the bathroom.

He was one of the only people in America who knew how The Sopranos ended

Perry was born to Portuguese parents in 1949. His father, Ray, was a singer – a baritone – who had tried to break into the business, and performed in the local theatres of his hometown. What kind of music did he sing?

“‘Pennies from Heaven,’” Perry replies.

His parents eloped because his mother’s father didn’t approve of a singing career. He tells their story as though music were some kind of hereditary condition or family curse, which in the case of Perry, you kind of feel it might be. His parents split when he was eight years old, and he, an only child, moved with his mother to his grandparents’ dairy farm – which might explain the rumours about his subsequent career. As with many rock stars, from Roger Waters to Lennon, the absent father was significant. I ask him why he became a singer.

“People don’t become performers because they don’t have needs,” he says. “Singing, though it can be very lovely, is essentially a primal scream. And I was screaming pretty loudly – and quite big.”

He was an invisible child, he says, but also a silenced one.

“There was a lot going on but nowhere to take it. Things happened to me as a child that I still can’t talk about – nothing to do with my parents, but things did happen. It happened to a lot of kids, as I find out.”

How old was he?

“About nine. But there was nowhere to take that stuff back then. One of my needs to perform was the need to get myself heard. Now, please, do understand, I’m not complaining – but there was nowhere to talk it out, so I got to sing it out instead.”

He spoke to a professional at the age of 63 about what had happened to him at nine. He was advised to do so by the woman he calls the love of his life, Kellie Nash, a psychology PhD candidate. But like everything else that has happened to Perry, theirs was not a conventional story.

During his mysterious, fallow years, Steve Perry seems to have investigated an alternative career in filmmaking. He was “shadowing” Monster director Patty Jenkins: “I love editing, I love directing. So with Patty I watched and learned a lot.” Jenkins was working on a TV film called Five for the Lifetime Network, exploring the impact of breast cancer. Being a methodical director, she surrounded her cast with real patients in remission. One of them – Nash – caught Perry’s eye. Jenkins then told him that Nash’s cancer had returned, was in her bones and lungs, and that she was fighting for her life. He went ahead anyway.

“I’d lost my mother,” he says. “I’d not reconnected with my father – which was another clean-up waiting to happen. I’d lost the grandparents who raised me. And I’d lost this career that I’d wanted so much, because I’d walked away from it.”

Was he so accustomed to losing things that a date with Nash didn’t scare him?

“I don’t know,” he says. “I justified it by telling myself, well, she’s a PhD psychologist, maybe I need another shrink?”

They had a year and a half together before Nash died in 2012. One night she said, “Promise me you won’t go back into isolation, for I feel that would make this all for naught.” He repeats the strange words, wide-eyed: all for naught . It was then that he decided to return to music.

“Life gets undone,” he says. “You try to come up with a plan, but it’s good for ten minutes a day. Some people have an ability to make belief systems work for a lifetime, but I think they’re hard to keep up.”

In 2014, he made world news when he turned up unannounced at a gig by the indie band Eels and performed their song “It’s a Motherfucker ” along with two of his own. He’d not sung live for 19 years but, explained the band’s Mark Everett, “For some reason only known to him, he feels like tonight in St Paul, Minnesota, it feels right.”

Perry, the once-invisible only child, still talks about Journey as a “nucleus”  he could never break into. It is fair to say that the band didn’t want him at first – it was only under the orders of their manager that he was hired at all. They came to epitomise corporate rock. “There are still things I don’t like about it,” Neal Schon once said, “but this is the way I make my living.”

You suspect that, creatively, both men might have been better off without the band – the jazz rock boy-wonder, and the hit-writing soul mogul who really wanted to be on his own. But you take whatever route to fame is presented to you – and you follow the money: “I’d rather fail at being what I wanted to be,” Perry says, “than be successful being someone I didn’t.” 

“Traces” by Steve Perry is released on 5 October through Hear Music

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Steve Perry Drops Trademark Lawsuit Against Journey

by Tina Benitez-Eves January 9, 2023, 9:25 am

In the middle of an ongoing court battle between Journey bandmates, guitarist Neal Schon and keyboardist Jonathan Cain, over the band’s spending account and records, former singer Steve Perry has withdrawn his legal claim against the band over the trademarking of 20 of Journey’s songs.

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Schon shared a copy of the letter from the U.S. Patent and Trademark Office (USPTO), which confirmed that Perry dropped the case. “Petitioner, without the written consent of Respondent, filed a withdrawal of the petition for cancellation on January 4, 2023,” read a portion of the letter. “In view thereof … the petition for cancellation is denied with prejudice.” Using the phrase “with prejudice” means that Perry cannot restart the claim.

Perry, who permanently left Journey in 1996, filed the lawsuit in September 2022 over the use of 20 of the band’s songs as registered trademarks. Schon and Cain, who own the trademarks under their Freedom JN LLC banner, were granted trademarks for some of the band’s biggest hits, including “Anyway You Want It,” “ Separate Ways ,” and “ Open Arms ” for use in merchandising items like shirts, hats, jackets and more without Perry’s consent.

“Now we can talk as we were,” wrote Schon on Twitter, referencing the band’s strained relations with Perry over the years.

In his tweet, Schon also took a jab at Cain. “So much for [Cain] trying to throw me under the bus as he claimed I was blatantly trying to rip off [Perry] while collecting the checks for the very diligent work my wife and I did to protect our Merch,” added Schon. “Time for coffee.”

So much for JC trying to throw me under the bus as he claimed I was blatantly trying to rip off SP while collecting the checks for the very diligent work my wife and I did to protect our Merch. Time for coffee 👍🏽 pic.twitter.com/xsGQBr0wob — NEAL SCHON MUSIC (@NealSchonMusic) January 7, 2023

Schon and Cain, the last two original members of Journey’s original classic lineup, are currently in the middle of a court battle . The guitarist alleges that he was denied access to the band’s American Express card and records and recently filed a cease-and-desist claim against Cain’s wife, who he says improperly accessed the band’s bank accounts.

Though Cain and Schon have yet to settle this case, Journey is still set to embark on their 2023 tour, which will kick off on Jan. 27 and run through Feb. 22. Original keyboardist Gregg Rolie, who was with the band from their 1975 self-title debut through their sixth album, Departure , in 1980, will also join the band on this tour.

“We’ve written great music,” said Schon in response to one fan’s comment on how he will perform alongside Cain on the upcoming tour. “Gregg Rolie will be there also. Channel the great music. Honor it.”

Photo: Myriam Santos / btpr

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Former Journey member Steve Perry drops trademark lawsuit against ex-bandmates

Perry first filed the lawsuit in September of last year, requesting that ex-bandmates Neal Schon and Jonathan Cain be prevented from using the band's song trademarks on any official merchandise

Former Journey frontman Steve Perry has withdrawn the lawsuit against his ex-bandmates over the trademarks to 20 of the group’s biggest songs.

In September of last year , Perry – who exited Journey in 1998 after serving as its lead singer for a decade – filed a lawsuit against Freedom JN LLC. The filing requested that the company, which holds the band’s trademarks and is headed by Journey members Neal Schon and Jonathan Cain, be prevented from using the trademarks on any official apparel or merchandise.

Included in the company’s holdings were the trademarks to the Journey singles ‘Any Way You Want It’, ‘Open Arms’ and ‘Separate Ways’, among many others. Perry’s original lawsuit claimed that he, Schon and Cain had agreed to reach unanimous consent on any business decisions related to the trademarks, a condition which Perry claimed was not met at the time of filing.

Now, Schon has taken to Twitter to reveal that Perry has withdrawn the 2022 lawsuit, sharing screenshots of the cancellation filing on Saturday (January 7). “No more lawsuit with Steve,” Schon wrote in the accompanying caption. “Time to talk”. The attached documents outline that Perry “filed a withdrawal” of the lawsuit on January 4, 2023, and that he cannot relaunch the suit since it was “denied with prejudice”.

No more lawsuit with Steve.Time to talk ✌🏽 pic.twitter.com/JuLaMZxY0b — NEAL SCHON MUSIC (@NealSchonMusic) January 7, 2023

In another tweet, Schon also made reference to Cain, with whom he is in a separate legal battle around access to Journey’s credit card and its records.

That lawsuit was filed by Schon in October of last year, and accuses Cain of refusing to give Schon access to the group’s American Express card. Cain denied the accusation, saying the “lawsuit… has absolutely no merit” and that “Neal has always had access to the credit card statements” (per Variety ). 

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Meanwhile, in December of 2022, Schon sent Cain a cease-and-desist to prohibit him from playing Journey’s songs at the Mar-a-Lago hotel owned by Donald Trump . That lawsuit came a month after Cain performed the band’s 1981 track ‘Don’t Stop Believin’ at the former president’s estate, a set which Schon’s cease-and-desist claimed was a “harmful use” of Journey’s brand.

So much for JC trying to throw me under the bus as he claimed I was blatantly trying to rip off SP while collecting the checks for the very diligent work my wife and I did to protect our Merch. Time for coffee 👍🏽 pic.twitter.com/xsGQBr0wob — NEAL SCHON MUSIC (@NealSchonMusic) January 7, 2023

Referencing Cain in his announcement of Perry’s dropped lawsuit, Schon wrote: “So much for [Cain] trying to throw me under the bus as he claimed I was blatantly trying to rip off [Perry] while collecting the checks for the very diligent work my wife and I did to protect our Merch.”

Despite the in-fighting between the longtime bandmates, Journey are set to embark on their Freedom Tour towards the end of this month. The tour – which will see Cain and Schon share the stage with original Journey vocalist Gregg Rolie for the first time in 43 years – kicks off on January 27 in Oklahoma.

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Steve Perry Is Still Making Millions From Journey, Even Though He Quit The Band In 1998

• Steve Perry continues to make money from his association with Journey even though he left the band years ago.
• Perry received a lucrative sendoff from Journey when he left, earning a percentage of the net income from post-Perry albums and live appearances.
• Steve Perry's net worth is estimated to be $70 million, although it is unclear exactly how he earned that money.

Steve Perry, charismatic former frontman for Journey, had a stellar career with that band from 1977 to 1998. His vocal talent and down-to-earth stage persona made him and their hits such as "Open Arms" and "Separate Ways" extremely popular. Rolling Stone ranked Perry 76th among its greatest 100 singers ever. He won more kudos from a former bandmate. According to Biography , "Other than Robert Plant, there's no singer in rock that even came close to Steve Perry ," commented Randy Jackson, previously an American Idol judge and Journey bassist ( he's also been very busy since both of those gigs ).

Perry made his exit from Journey long ago, allegedly because he was "feeling burnt out." What many fans of his may not realize, however, is that he continues to make money — lots of it, reportedly — from his association with the band even though he left it years ago. What arrangement does Perry have from his long and successful connection with Journey that still adds to his net worth?

Related: The Real Reason Howard Stern And Journey's Steve Perry Absolutely Hate Each Other

Steve Perry Helped Make Journey Famous With Hits Like "Don't Stop Believin'"

Born on January 22, 1949, in Hanford, California, Perry developed an interest in music and singing as a teenager. He headed for Los Angeles at 18, determined to make his reputation as a vocalist .

Perry didn't hit it big right away, though. He got in at the ground level of the music industry, singing for television ads and radio and latching onto some little-known bands. It was a real, albeit very modest, start. Nevertheless, Perry began to despair that his dream of big-time rock stardom would ever materialize.

His mother did not give up on him, however. She urged Perry to hang in there a little longer. Her faith in him proved justified when Journey's manager at the time invited him to audition for the band's lead singer role. As music history proved, he and Journey were a terrific fit.

They reeled off a string of hits that seemed to define the era; "Oh Sherrie," "Send Her My Love," "Who's Crying Now," and "Any Way You Want It." But one tune became Journey's classic anthem- "Don't Stop Believin'." Its toe-tapping rhythm and upbeat message have made it a perennial fan favorite.

It had humble beginnings. According to New York Magazine via Songfacts , Perry reportedly said that he came up with the lyrics while he was sleepless in a hotel room in Detroit one night. The song gained traction, eventually turning up in the film Monster (2003), in a slew of TV shows like South Park and King of the Hill , and perhaps most memorably, in the last episode of The Sopranos in 2007.

Related: 10 Celebs Reveal Their Favorite Rock Bands

Steve Perry Left Journey In 1998, But He Didn't Leave Empty-Handed

When Perry left the band, he sounded downcast, relating that he felt "wrung out" and really empty of music post-Journey , something that scared him. But Perry's lucrative sendoff from Journey may have eased his angst.

In 2020, an agreement between Perry and two members of Journey, Jonathan Cain and Neal Schon, was reported by UltimateClassicRock.com. The three rockers apparently "licensed the Journey mark," per a 1986 deal between them. When Perry decided to leave the band, he was let out of that agreement at a price that made him far richer.

According to the outlet, Perry received "a sum total of 50 percent of the net income due Schon or Cain, whichever is higher, from the first two post-Perry Journey albums." He was reportedly also slated to rake in 25 percent of the income from Journey's third album sans Perry, and 12.5 percent of the income from each Journey LP thereafter.

Related: Lindsey Buckingham Claimed This Fleetwood Mac Album Was A Disaster To Make

Perry also allegedly nabbed a piece of the money from Journey's live appearances, too, earning half the net income from the first two tours post-split, with a fraction of subsequent tours, too (a tenth tour, for example, would still net Perry 12.5 percent, per various sources.

Arrangements were reportedly put in place to pay Perry a slice of the "net income" from Journey's tours, which encompassed "tour merchandise, tour sponsorship income and any tour support payments." Altogether, it totaled an enviable payday for the legendary singer.

Steve Perry Is Worth $70 Million Today, And Makes Multiple Millions Per Year

Steve Perry's whopping net worth has been gauged at $70 million , according to Celebrity Net Worth. It's not clear exactly when or how he made that money. Fans can assume that most of his wealth stems from his time with Journey, although exactly how much is uncertain.

His numerous money-making endeavors reportedly include acting, investments, endorsements, licensing, and merchandise sales.

He has made a handful of solo records and clearly seems not to have forsaken music, even though his glory days fronting Journey are long past. What Perry does next musically is anyone's guess, but he told Forbes in 2018, "The only compass I have is the one in my chest and that's the one I listen to." Hopefully it will lead Steve Perry to produce more phenomenal music.

Steve Perry Worried About Addiction Before Quitting Journey

By Andrew Magnotta

August 28, 2018

While we don't know if Steve Perry was contemplating the history of self-destructive rock stars towards the end of his time in Journey , he was at least worried about the state of his health and mental well-being. 

And that was enough for him to make the biggest decision of his life: quit his dream job as the lead singer of a world-renown rock band.

Perry suggested in a new interview with Q104.3 New York's Out of the Box with Jonathan Clarke that as his enjoyment of music began leaving him, he tried to make up for it with substance abuse. 

"Back in the days, we used to sometimes party a little bit...that would fill your empty heart for a minute, and then when you came off of that, guess what? It's worse," he said.

Since returning from a more than 20-year hiatus and announcing a new album, Traces (due out October 5) , Perry has been open about how he lost and then rekindled his love of music . 

"I'm not complaining [about Journey]," he clarified. "It was a dream come true for me. I loved every bit of it. In fact, that was the hardest part was it was a dream come true. How do you walk away from something like that? Well, the only reason I did it was because my passion for it, my actual connection to it started to become invisible...I thought, 'What am I? Just a parody of myself?'"

Perry says he dreaded telling his bandmates that he was leaving, and it hurt him to upset the fans, who still support him to this day. 

But the singer is happy to be back. He says he'll get back on stage in support of the new album as soon as the details are worked out. 

Watch the full interview above.

Photo: Getty Images

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The First Time Journey Fired Ross Valory and Steve Smith

Getting fired may have felt a little like deja vu for Journey 's Ross Valory and Steve Smith.

Guitarist Neal Schon and keyboardist Jonathan Cain let the band's rhythm section go this week in what they said was a dispute over control of the band's name . The split came almost exactly 35 years after Valory and Smith were fired the first time.

Journey initially assembled for the long-awaited follow-up to 1983's Frontiers with the same lineup intact. But internal dynamics had changed: Singer  Steve Perry arrived in commercial ascendancy, having just notched double-platinum success with his first solo album, Street Talk . He ended up producing 1986's  Raised on Radio , and that included casting the music – which Perry wanted to have a more R&B-inflected feel.

As the early sessions unfolded in the fall of 1985, Perry became increasingly unhappy with the results. Journey typically worked out songs in the studio, with everybody in one room, but this time Perry arrived with extensive demos recorded with Schon at Cain's home studio. Drum-machine beats and bass parts were already sketched out, leaving Valory and Smith feeling isolated.

"My original strategy was to keep the band intact, not to change anything," Perry told the Orlando Sun-Sentinel in 1986 after the album's release. "We played everything with the original band, but we ended up after three months with only a couple of keeper tracks. It was scary because we all saw the group in a different light. The three of us wanted to do these songs, but the band couldn't play them. So, we had to look and figure out where the weak link was. It turned out to be the rhythm section."

Perry ended up firing Valory and Smith, breaking apart a lineup that had seen Journey rise to their chart zenith just a few years earlier with 1981's Escape .

"At that point, the band was hugely successful and egos swell," Valory said in Neil Daniels' 2011 book, Don't Stop Believin': The Untold Story of Journey . "There were struggles for power and control of the band's direction. In that setting, Steve Smith and I left. We'd had enough, and I think it was probably a good time to do so."

Journey's longtime manager Herbie Herbert vocally disagreed with the move, but said he was overruled by Perry. He ultimately decided to continue honoring the rhythm section's agreed-upon salaries.

"Of course, that was completely ridiculous, and I forced him to pay them as if they were there on the tour and everything," Herbert told Melodic Rock in 2008. "That's what I think you do for your people. There's very little chance that Ross Valory or Steve Smith would remember it, let alone reciprocate, but that is the honest-to-God truth. I made sure they were taken care of. I thought it was patently ridiculous, and thought that Steve Smith was one of the best drummers on the planet."

Perry installed bassist Randy Jackson and drummer Larrie Londin for the bulk of the tracks. Jackson, though best known for his work with jazz-fusion great Jean-Luc Ponty, had earlier sat in on bass for "After the Fall," from Frontiers . Londin was a former Motown sessions ace who'd also worked on Perry's solo project.

"When I heard Larrie was there for two weeks tracking, it was a terrible time for me," Smith said in Don't Stop Believin': The Untold Story of Journey . "I felt hurt, personally betrayed and really unappreciated. During the whole thing it was, 'You're not happening.' I was constantly made to feel that I wasn't a good musician, and that hit me where I live."

Smith was ultimately reduced to a bit-player role in the project: He played on only "Positive Touch," "The Eyes of a Woman" and "Why Can't This Night Go on Forever." Valory didn't appear on Raised on Radio at all.

"To try to keep Steve [Perry] in the brotherhood, seeing that he was heading down a specific musical path, we felt we had to pursue the music he wanted to make," Cain said in his 2018 autobiography, Don't Stop Believin': The Man, the Band and the Song That Inspired Generations . "I helped our band make the particular type of sound that Steve wanted – but the new songs came at the expense of our two brothers."

Ross had made significant contributions to every previous Journey album, co-writing more than a half dozen songs – including the radio favorites "Anytime" and "Just the Same Way." Smith joined in time for 1979's Evolution , an album after Perry came on board.

The drummer was surprised how much had changed since then. "Steve just felt that what had been recorded didn't live up to the demos," Smith said in Don't Stop Believin': The Untold Story of Journey . "On one hand, I wasn't completely surprised, because it wasn't fun going to work every day. There was so much tension."

Raised on Radio continued Journey's multi-platinum streak, producing four Top 20 singles – including the No. 9 hit "Be Good to Yourself." But a titanic shift had happened: Promotional photos from the era portrayed Journey as a trio now, with only Cain, Perry and Schon.

"It was not an easy decision," Cain told the Sun-Sentinel . "These guys were a big part of the band's sound, but it was time to move on. The three years we were off, they drifted away from where we were. The three of us had been writing the songs and we just said, 'We've got to make this record now. It's nothing personal; we've got to get down to business.' They were hurt, but they were really nice about accepting the decision."

Valory reemerged when Journey put their early-'80s era lineup back together for 1996's Trial by Fire . Smith initially went back to fronting his own jazz group, Vital Information, before returning for stints in Journey from 1995-98 and 2016-20. Still, it took the drummer a while to recover from the initial shock.

"When it first happened, I stayed at home, didn't do anything for a while, and just had to do a lot of thinking," Smith told Billboard  in 1986. "Even though I had a lot of experience playing with people outside the band, when it got right down to it, I had become really involved during the seven years I was with Journey. It was my life."

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Journey celebrates 50th anniversary: Rock band members then and now

Journey was formed in february 1973 by neal schon, gregg rolie and herbie herbert.

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Journey recently celebrated 50 years since the band first formed.

The band's most well-remembered lead singer, Steve Perry, was spotted on a walk in Los Angeles earlier this month. The 74-year-old was the frontman and prominent songwriter for the band for 10 years alongside Neal Schon, Gregg Rolie, Ross Valory, Jonathan Cain, Aynsley Dunbar and Steve Smith.

Current members of the band include Schon, Cain, Deen Castronovo, Arnel Pineda, Jason Derlatka and Todd Jensen.

Here is what Journey band members from the Perry era are up to now as the band's 50th anniversary tour comes to a close April 25 in Palm Springs, California. 

STEVE PERRY WOWS CROWD AFTER 19 YEAR ABSENCE FROM STAGE

Steve Perry 

Steve Perry was brought on as a replacement for lead singer Robert Fleischman and was the frontman during the band's most prosperous era. (Shutterstock/SplashNews.com)

Steve Perry joined the band as a replacement for Robert Fleischman, making his debut as the frontman in October 1977. As well as acting as the band's lead singer, Perry also was one of the band's principal songwriters. He was nominated to the Songwriter's Hall of Fame in 2020.

Although fans were skeptical of Perry when he first joined the band, he was able to win fans over after the release of his first album, "Infinity," which had a much different sound than Journey had created in the past. They then began getting more radio airplay. He sang lead vocals on the albums "Evolution," "Departure," "Dream, After Dream," "Captured," "Escape," "Frontiers," "Raised on Radio" and "Trial By Fire."

Perry went solo for the first time in 1984 when he released "Street Talk," which sold over 2 million copies and featured the singles "Oh Sherrie" and "Foolish Heart." He was also featured on the 1985 benefit song, "We Are the World." He attempted to reunite with Journey. However, he was caring for his ill mother and couldn't be present for a majority of recording, and the band went on break in 1987 after its "Raised on Radio" tour.

In 1988, Perry began working on a second solo album, which he never released, eventually releasing a successful second album in 1994, called "For the Love of Strange Medicine."

Perry sang lead vocals on the albums, "Evolution," "Departure," "Dream, After Dream," "Captured," "Escape," "Frontiers," "Raised on Radio" and "Trial By Fire." (Michael Putland/Getty Images)

The singer once again reunited with his former band in 1996 to record the very successful album, "Trial By Fire," which debuted at No. 3 on the Billboard charts and went platinum by the time the year was over. To capitalize on the success of the album, a tour was planned, but it had to be postponed due to Perry injuring his hip while hiking in Hawaii.

A doctor determined his injury required surgery, but Perry was reluctant to agree to go under the knife. The decision delayed the tour longer than expected, which angered his bandmates. They eventually went on tour without Perry, and he announced his permanent exit from the band.

"I had to have a hip replacement, and the band was telling me when they thought I should do it," Perry said in an interview with MelodicRock.com in 2011. "And I said, ‘Major surgery like this is not a band decision.' I said that I would get it done, but I didn't get it done quickly enough. They just wanted to get on the road, and there was an ultimatum given to me. And I don't respond well to ultimatums."

FORMER JOURNEY FRONTMAN STEVE PERRY REVEALS WHY HE LEFT BAND AT ITS HEIGHT

Following his departure from the band, he released his "Greatest Hits + Five Unreleased" compilation album, which featured songs from his 1988 unreleased album. In 2005, Perry joined a few of his former bandmates when Journey was awarded a star on the Hollywood Walk of Fame. In 2009, he was voted one of the ten greatest rock singers of all time, and Rolling Stone placed him at number 76 in a list of "The 100 Greatest Singers of All Time." 

Perry joined his former bandmates on stage in 2017 for the band's induction into the Rock & Roll Hall of Fame. (Kevin Mazur/WireImage for Rock & Roll Hall of Fame)

For the next few years, Perry continued singing and writing, appearing on background vocals or on stage with various bands and artists. In 2017, he appeared on stage with Journey for the first time since they were together on the Walk of Fame in 2005 to accept the honor of being inducted into the Rock & Roll Hall of Fame. He did, however, opt out of performing with the band.

In 2018, Perry released another solo album, "Traces," which performed well, with a deluxe version debuting in 2019. In December 2021, he released a Christmas album, "The Season," and in 2023 he announced he would be singing background on Dolly Parton's new album.

Perry has a daughter and grandchildren but has chosen not to speak about them publicly to protect their privacy. 

Neal Schon is a founding member and guitarist for the band Journey. (Getty Images)

Neal Schon is a founding member of Journey and is the longest-serving original member of the band. Prior to helping create Journey, he was a member of the band Santana, playing guitar on the albums "Santana III" and "Caravanserai."

He briefly played with the band Azteca before founding Journey with Gregg Rolie and their manager Herbie Herbert. They initially called the band the Golden Gate Rhythm Section, however the name was changed after their roadie John Villaneuva suggested Journey.

Along with playing on the albums "Journey," "Look into the Future," "Next," "Arrival," "Generations" and "Revelation with Journey," Schon also released several solo albums, including "Late Nite," "Beyond the Thunder," "Piranha Blues," "The Calling," "So U" and "Universe."

The guitarist also produced two albums with keyboardist Jan Hammer and was a member of the supergroup Bad English. He also has fostered collaborations with Sammy Hagar as part of Hagar Schon Aaronson Shrieve and Paul Rodgers. Schon also plays guitar on Michael Bolton's album, "The Hunger.

Schon performed with his band at the 2017 Rock & Roll Hall of Fame ceremony, where Journey was being honored. (Kevin Mazur/WireImage for Rock and Roll Hall of Fame)

In 2005, Schon was present at the Hollywood Walk of Fame ceremony to accept the honor of receiving a star alongside his fellow bandmates. They reunited again in 2017 when they were inducted into the Rock and Roll Hall of Fame, where he and some of the other band members performed.

Schon is performing with Journey for the band's 50th anniversary tour, which also features Toto.

JOURNEY'S NEAL SCHON SLAMS BANDMATES OVER TRUMP MEETING

In September 2011, Schon confirmed his romance with former "Real Housewives of D.C." star Michaele Salahi, while also revealing they dated briefly in the '90s. Just a little over a year later, in October 2012, Schon proposed to her on stage while performing at a charity benefit, and the two were married in December 2013. 

Schon is married to his fifth wife, Michaele Salahi, a former "Real Housewife of D.C." (Gabe Ginsberg/Getty Images)

Schon was previously married to Tena Austin from 1976 to 1986. He was then married to Beth Buckley from 1987 to 1992, and had two children with her, Miles and Elizabeth, before splitting up. He then married Dina Gioeli from 1993 to 1999, and then Amber Kozan (from 2001-2008), with whom he has two children, Aja and Sophia. He also has a daughter named Sarah.

Gregg Rolie

Gregg Rolie was a member of Santana before forming Journey and was the lead singer on the first two albums. (Getty Images)

Gregg Rolie was a founding member of Santana before branching off to join what would become Journey. For the band's first six albums, he was the keyboardist, and he was the lead vocalist for the band's first two albums. Once Perry joined the band, Rolie sang co-lead on a few songs on various albums.

The musician chose to leave the band in 1980 and started a successful solo career. His first solo album was "Gregg Rolie," and he followed up with "Gringo" in 1987. 

"I left because I didn’t like my life anymore," Rolie told Rolling Stone in 2019. "I’ve said this a million times. And I know there’s people that say, ‘That’s not the reason.’ But I left because I was unhappy with what I was doing in my own life. I loved the management. I loved the music. I loved what we built. I just wasn’t happy, so I had to blow the horn on it and just stop it."

A few years after releasing his second album, Rolie formed another band with Steve Smith and Ross Valory from Journey in 1991 called The Storm. Rolie worked as the keyboardist for this band. The band's eponymous debut album was a huge success, reaching No. 3 on the Billboard charts. It also featured a top 10 hit, "I’ve Got A Lot To Learn About Love."

Rolie left Journey in 1980 and started a solo career before founding another band. (Getty Images)

They did not reach the same amount of success with their second album. It was shelved by their record company before finally getting released in 1996. In 1998, Rolie and a few other members of Santana reunited to form the band Abraxas Pool, ultimately releasing one eponymous album.

Also in 1998, Rolie was inducted, along with the other members of Santana, into the Rock & Roll Hall of Fame. He became a two-time Rock & Roll Hall of Fame inductee in 2017 with Journey.

In 1999, while working on an album with Ron Wikso, they formed The Gregg Rolie Band, which featured Kurt Griffey on the guitar and Wally Minko as a second keyboardist. Together, they released the album "Roots" and a live CD, "Rain Dance," in 2009.

From 2012 to 2021, Rolie toured as a member of Ringo Starr and his All Star Band, during which he sang many of the hits he is known for, including some from his time in Santana. While performing, he also recorded an album with original members of Santana in 2016, "Santana IV."

Rolie frequently appears on stage with Schon and the rest of Journey during their 50th anniversary tour. (Rob Loud/Getty Images for Journey)

Rolie reunited with Schon in 2018 to perform some charity shows and occasionally joined Journey on stage during its most recent tour.

The keyboardist married his wife Lori in 1980 after first meeting her while on a flight in 1979. The two have remained together and live in Texas. They have two children together, a son named Sean and a daughter named Ashley.

Ross Valory

Ross Valory was an original member of Journey, which he joined after forming and releasing one album with the Steve Miller Band. (Getty Images)

Ross Valory was an original member of Journey, which he joined after forming and releasing one album with the Steve Miller Band. As a bassist, he has played on all the band's albums, except 1986's "Raised on Radio" and 2022's "Freedom."

During the band's hiatus in the late ‘80s and early ’90s, Valory played on Todd Rundgren's album, "2nd Wind," and released two albums as a member of The Storm, "The Storm," and "Eye of the Storm."

He returned to playing with Journey in 1996 on the "Trial by Fire" album. Valory was kicked out of the band in 2020, and he was once again replaced by Randy Jackson, who also took over for him in "Raised on Radio."

His 2020 exit came on the heels of a lawsuit involving him and Steve Smith, filed by their Journey bandmates Neal Schon and Jonathan Cain. Schon and Cain claimed Valory and Smith attempted to take over Nightmare Productions to gain control of the Journey trademark. 

Journey's management announced the two parties came to a settlement, releasing a statement in April 2021.

Ross Valory, right, was sued by his former bandmate, Jonathan Cain, left, for trying to gain control of the band's trademark. (Gabe Ginsberg/Getty Images)

"Neal Schon and Jonathan Cain acknowledge the valuable contributions that both Ross Valory and Steve Smith have made to the music and the legacy of Journey," the statement said. "Ross Valory and Steve Smith wish their former bandmates well and much success in the future. Journey looks forward to continuing to tour and make new music for their dedicated fans around the world." 

Valory was once married to Diane Oakes, however the marriage ended in a divorced. He later married his current wife, Mary Valory.

Steve Smith

Steve Smith replaced Aynsley Dunbar as the drummer for Journey. (Getty Images)

Steve Smith replaced Aynsley Dubar as the drummer for Journey, joining the band in 1978 and staying on until 1985. His first album with the band was "Evolutions" in 1979, and he left for the first time following 1986's "Raised on the Radio."

During the band's hiatus, he joined Valory and Rolie in the band, The Storm, appearing on their two albums. He also started a second band, Vital Information, and released several albums with them in that time, including "Vital Information," "Orion," "Global Beat," "Fiafiaga" and "Easier Said Than Done."

He returned to Journey in 1995 for a comeback album, "Trial by Fire," staying on for a few years before leaving a second time after the release of 1998's "Greatest Hits Live" album. He continued to release music with Vital Information, including "Ray of Hope," "Where We Come From," "Live Around the World" and 2017's "Heart of the City."

Smith left Journey and started his own band, Vital Information. (D Dipasupil/FilmMagic)

Smith was also a part of the jazz group Steps Ahead and can be heard playing on their albums "Live in Tokyo," "N.Y.C," "Yin-Yang" and "Steppin' Out." As a musician, he can also be heard on albums for Jeff Berlin, Frank Gambale, Henry Kaiser and Neal Schon.

In 2001, Modern Drummer magazine named Smith one of the Top 25 Drummers of All Time, and the following year he was inducted into the Modern Drummer Hall of Fame. Starting in 2007, he recorded two albums with Buddy's Buddies, a quintet made up of musicians who once played with Buddy Rich.

In 2017, Smith was inducted into the Rock & Roll Hall of Fame as a member of Journey. He performed with Journey during the ceremony.

Smith was inducted into the Rock & Roll Hall of Fame alongside the other members of Journey. (D Dipasupil/FilmMagic)

Smith was also named in the lawsuit filed against him and Ross Valory when they allegedly tried to gain control of the Journey trademark. Like Valory, Smith was kicked out of the band at this time. 

Jonathan Cain

Jonathan Cain was a member of The Babys before he left to join Journey, taking over the position Gregg Rolie held in the band.  (Getty Images)

Jonathan Cain was a member of The Babys before he left to join Journey, taking over the position Gregg Rolie held in the band. Cain's first collaboration was on the album "Escape." He was also one of the composers of the band's longstanding hit, "Don't Stop Believin'."

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One of his most well-known contributions to the band was when he wrote the ballad "Faithfully," a song about what it's like to live life on the road. Cain went on to play the keyboard on the albums, "Frontiers," "Raised on Radio" and "Trial by Fire."

Prior to "Raised on Radio," Cain reunited with his former Babys bandmates and formed Bad English, releasing two albums before breaking up in the early 90s. 

Cain wrote a memoir about his experience as a member of Journey in 2018, called "Don't Stop Believin': The Man, the Band, and the Song That Inspired Generations." (Brandon Williams/Getty Images)

Along with his albums with The Babys, Bad English and Journey, Cain recorded eight solo albums, including "Windy City Breakdown," "Back to Innocence," "What God Wants to Hear," "Bare Bones" and "More Like Jesus." He has primarily focused on making Christian-based faith music since 2016.

In 2018, Cain published a memoir, "Don't Stop Believin': The Man, the Band, and the Song That Inspired Generations," about his time as a member of Journey.

Cain married his first wife, singer Tane McClure, for which he wrote the song "Faithfully" before calling it quits. 

In 1989, he married Elizabeth Yvette Fullerton, and together they had three children — a daughter Madison and twins Liza and Weston. The two divorced in 2014 after 25 years of marriage. In 2015, Cain married his third wife, a minister named Paula White. 

Jonathan married his third wife, Paula White, in 2015. (Vincent Sandoval/WireImage)

Cain and Schon are currently at odds and are in a legal battle over a shared American Express account. 

Aynsley Dunbar

Aynsley Dunbar was the second drummer for Journey, taking over for Prairie Prince. (Getty Images)

Aynsley Dunbar was the second drummer for Journey, taking over for Prairie Prince, and played a big part in co-writing their first four albums, "Journey," "Look Into the Future," "Next" and "Infinity."

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Additionally, Dunbar played drums on albums for artists such as David Bowie, Lou Reed, Herbie Mann, Mick Ronson, Nils Lofgren, Ian Hunter, Sammy Hagar and Pat Travers.

Dunbar later joined Jefferson Starship and stayed with the band for three albums, including "Freedom at Point Zero," "Modern Times" and "Winds of Change." He then joined the band Whitesnake and stayed with them for two albums, including their eponymous record, which featured hits like "Still of the Night" and "What Is Love," and the album "1987 Versions."

Throughout the mid-90s, Dunbar played with some of the era's most notable bands and artists, including Aerosmith, Queen, Metallica, Black Sabbath, Pat Travers and Van Halen.  

Dunbar was inducted into the Rock & Roll Hall of Fame in 2017, along with other members of Journey. (Mike Coppola/Getty Images)

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Aynsley has three children, Gretchen, Bibs and Taylor. In 2000, his 5-year-old son Dash died of brain cancer. 

In 2005, Aynsley and the other members of Journey were honored with a star on the Hollywood Walk of Fame. In April 2017, Dunbar and the band were inducted into the Rock & Roll Hall of Fame for their contribution to the music industry.

Lori Bashian is an entertainment production assistant for Fox News Digital. 

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50 Years Of Journey: How Former Lead Singer Steve Perry, 74, Fought Dangerous Skin Cancer After Losing Love of His Life to Breast Cancer SHARE

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50 Years Of Journey: How Former Lead Singer Steve Perry, 74, Fought Dangerous Skin Cancer After Losing Love of His Life to Breast Cancer

• Save This Video

Losing a Loved One to Cancer

• The American rock band journey recently celebrated 50 years since its formation.
• The band’s former frontman, Steve Perry, is a survivor of melanoma, the most dangerous form of skin cancer.
• Melanoma is a kind of skin cancer that can develop from an existing mole or appear as a dark or pink growth on the skin even in places on the body that never see the sun.
• Perry fought the disease after losing the love of his life to breast cancer in 2012.
• Though he was only with Kellie Nash for a year and a half, he’s said “it was a lifetime of love packed into every moment.”

Journey is a classic American rock group that first formed in 1973. Current members of the band include Neal Schon, Jonathan Cain, and Arnel Pineda, according to the group’s website , but Perry was the lead singer during their height of commercial success in the late ’70s and ’80s.

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Steve Perry’s Cancer Battle

  View this post on Instagram   A post shared by Steve Perry (@steveperrymusic)

“Three weeks ago a routine mole was taken off my face and the lab report came back Melanoma skin cancer,” he wrote.

Melanoma is the most dangerous form of skin cancer, and it originates in the same cells that give your skin, hair and eyes their color. It can develop from an existing mole or appear as a dark or pink growth on the skin even in places on the body that never or rarely see the sun. This disease accounts for about 1% of all skin cancers , but it can be very dangerous if left untreated.

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"Melanomas are the deadliest type of skin cancer because they have a tendency to spread to other parts of the body," Dr. Anna Pavlick , medical oncologist at Weill Cornell Medicine, previously told SurvivorNet.

It’s unclear exactly what stage of melanoma Perry had, but treating stage 1 melanoma usually consists of a simple, in-office surgical removal by a dermatologist. When the cancer has spread beyond .08 mm in thickness , patients need an operation that is more involved.

“I’ve had two surgeries in two weeks to remove all the cancer cells and I’ve been told they think they got it all and no other treatments are required,” Perry wrote.

Although his cancer news was positive overall, Steve Perry’s 2013 post also included a heart-wrenching story about his late partner and her cancer battle.

When Perry first saw Kellie Nash, it was love at first sight. He was sitting in an editing room with a friend, Patty Jenkins, as she worked on a Lifetime breast cancer special when Perry noticed the Ph.D. psychologist in the opening scene.

The Toughest Conversations: Losing a Partner to Cancer

“When the scene was over I said to Patty, ‘Can you roll to the top of that opening scene for me?’ Patty asked, ‘Is something wrong?’ I said, ‘No. I want to see something,'” Perry wrote.

“As the camera again crossed Kellie’s smile I asked her to freeze right there.……. I asked Patty who that was. She said, ‘That’s Kellie Nash, a PHD Psychologist who was diagnosed with breast cancer, had a double mastectomy and she’s doing a cameo appearance.'”

That’s when Perry asked Jenkins to send Nash an email asking if she’d like to go on a date. Jenkins agreed but told Perry about the reality of Nash’s situation: She was currently fighting breast cancer that had returned as stage 4 and spread to her lungs and bones after eight months of remission.

“I was frozen……. I didn’t know what to do…….. I had lost my mom, dad, grandparents that raised me and I was an only child so my first thought was to maybe not send the email; then my heart said, Maybe we could be friends or maybe she could be my shrink,” he explained. “So I said, ‘Please send it.'”

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Nash happily obliged and gave Perry a call. In a couple weeks, they were on their first date, and the rest was history.

“I never felt like this before……. I had finally found her. She’s real and she’s right in front of me,” Perry wrote. “We started seeing each other and Yes, we both knew that we were meant to be together.

“My life was forever changed in ways I will explain at another time but it was all because of my Kellie.”

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Nash went courageously in and out of treatments, but she eventually passed away from the disease on Dec. 14, 2012. Although the two were together for just 1.5 years, Perry said “it was a lifetime of love packed into every moment.”

“She was so strong, so courageous and we really loved each other so very much,” he wrote. “I’ve been trying to grieve and not run from this loss so for the last 5 months that’s what I’ve been doing along with recalling everything being in Love with Kellie taught me.”

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"They've gotten me back into music. They touched me in a way that made me excited about music again": How the San Francisco Giants saved Steve Perry

Videos showing Steve Perry leading crowd singalongs of Don't Stop Believin' are an absolute delight

At the beginning of the last decade, a tradition began to develop at Oracle Park in San Francisco. Every time the MLB team the San Francisco Giants played a home game, Journey 's classic Don't Stop Believin' would be played during the eighth inning stretch. And every time Journey frontman Steve Perry attended a game, he'd lead the crowd in a singalong.

Don't Stop Believin' s relationship with baseball is a complex one. It was originally adopted as an anthem by the Chicago White Sox in 2005, and Perry led a singalong at the championship parade after the Sox beat the Astros in the World Series the same year. The Detroit Tigers began to use it. So too the Kansas City Royals. But if any team can claim ownership of the song, it's the Giants. And no more so than when Perry is in his seat in section 219. 

The videos prove it. Perry looks delighted when the song is placed. He dances. He runs up and down the aisles. He mimes like a sozzled wedding guest, throwing his arms into the air as the song climaxes, like he's having the best time imaginable. He's a joy to watch. And remember, much of the footage comes from a time when Perry wasn't making music, when he'd retreated from performance altogether.

"I had lost that deep passion in my heart for the inner joy of songwriting and singing," he told Classic Rock in 2019 . "I sort of let it all go. If it came back, great; if it didn’t, so be it, because I’d already lived the dream of dreams."

Meanwhile, Don't Stop Believin' was becoming one of the biggest songs in the world. That final scene in The Sopranos . The hit teen show  Glee . Countless episodes of The X-Factor  and  American Idol and similar reality TV shows across the globe. And for Perry, most importantly, the San Francisco Giants.

“I can't put into words what the Giants have done for me emotionally," he told a TV interviewer . "It's beyond words. In a lot of ways, they've saved me and they've gotten me back into music, to be perfectly honest with you. They touched me in a way that made me excited about music again."

Watch the videos below. 

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Online Editor at Louder/Classic Rock magazine since 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.  

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