The story of Steve Perry, ‘The Voice,’ is the stuff of legend. Plucked from relative obscurity by a desperate manager and paired with a fiery young band desperately in need of a hit, Perry might not have been Journey’s first choice, but the results were undeniable.
Journey practically defined AOR rock throughout the late ‘70s and early ‘80s through a string of six increasingly successful albums. And while few would argue the importance of Neal Schon’s fretwork or Jonathan Cain’s power-ballad prowess, Perry’s voice was the key ingredient to the band’s meteoric rise.
Personally, I’ve long considered Steve Perry my all-time favorite vocalist, and I suspect I’m far from alone. I’d happily listen to the man sing the phone book. Fortunately, he’s provided a solid body of work over the course of his career. Sure, there’s certainly a sense of ‘what could have been’ (thanks to decades-long bouts of reclusiveness), but the back-catalog magic remains.
Now, before you read any further, please note that this is a Steve Perry-centric list. That means it only includes the Journey albums he sang on. I’m fully aware that the band released a trio of fusion-leaning albums before recruiting Perry and has continued to add to their catalog in the years since their ill-fated reunion back in the ‘90s. I own it all, but rather than rank all the non-Perry releases at the bottom of this list, I’d prefer to keep it positive and focus my efforts on the era I prefer.
Okay, with that out of the way, it’s time to move to the task at hand. Per usual, before we dive into my ranking, there are a few caveats I’d like to mention:
**Caveat Number One: In order to keep this ranking manageable, I’m also skipping over the trio of live albums, the not-so-memorable Christmas record, and the oft-overlooked soundtrack to the obscure 1980 film Dream, After Dream (which is currently not available on streaming).
**Caveat Number Two: It should go without saying, but I’m going to say it regardless: I’m a massive fan of Steve Perry. Any and all criticisms are subjective and should be taken with a grain of salt.
***Caveat Number Three: I’d like to file anything that I’ve written below in the ever-so-subjective ‘prisoner of the moment’ category. If I were to repeat this process six months from now, my results would probably change (actually, maybe not).
10. For the Love of Strange Medicine (1994)
1994’s For the Love of Strange Medicine is a great example of poor timing. Had it been released five years earlier (when the likes of Bad English were still tearing up the charts), Perry’s second solo effort would have fared far better than it did. That said, I admire Perry for sidestepping any effort to ‘grunge-ify’ his sound.
So, why so low, you ask? Well, the problem with For the Love of Strange Medicine isn’t the album’s dated, reverb-drenched production, it’s the songs. Continuing with a trend first established on Raised on Radio, Perry opted to frontload For the Love of Strange Medicine with the strongest material, leaving a run of mid-tempo ballads (largely devoid of hooks) to slog through on the record’s second half.
Save for the lead-off single, “You Better Wait,” there’s little here that rivals the songwriting or energy of Perry’s prior work (solo or with Journey). Of course, mileage always varies depending on expectations, but anyone expecting a triumphant return to Perry’s heyday was likely disappointed (I know I was). Fortunately, the album did eventually lead to a last hurrah for Perry and his ex-Journey bandmates, so there’s that.
Majestic (Highlights)
Despite my assessment above, I’ve grown to appreciate the majority of For the Love of Strange Medicine, warts and all. “You Better Wait” is the standout track here, but “Young Hearts Forever,” “Stand Up (Before It’s Too Late),” and the title track all deserve a spot on your Steve Perry playlist.
Castles Burning (Lowlights)
I have no issue with Perry going ballad-heavy with his solo work–the man knows his audience. But the blues-tinged “Somewhere There’s Hope” doesn’t work for me on any level. From the canned background singers to the overly acrobatic vocal runs, this six-minute (and change) slow jam simply derails this album.
No Erasin’ (Best Deep Cut)
On an album where the songs tend to run a bit long, “Listen To Your Heart” is a nice, concise rocker that would sound right at home on Street Talk.
If It Cuts…(Favorite Lyric and/or Moment)
And little by little, the sands move through time, And I can live a lie but I think I know better – “Young Hearts Forever”
9. Trial By Fire (1996)
The result of Journey’s much-anticipated mid-’90s ‘reunion,’ Trial By Fire might as well have been titled What Could Have Been. Sure, the album succeeded in reintroducing the long-dormant Journey to a whole new generation of fans, but the band simply couldn’t get it together. Despite a hit single, the tour failed to materialize. The ‘he said, she said’ details can easily be found elsewhere, but all that really matters is that Perry would soon exit the group (for the last time).
At first glance, Trial By Fire is a more than admirable swansong for the Perry-fronted Journey. Repeated listens, however, reveal a somewhat flawed album. The upbeat rockers tend to run a bit long, and the album’s back half is mired in mid-tempo snoozers and aimless ballads. Trim this fifteen track behemoth down to, say, ten tracks (adding in the fiery b-side “I Can See It in Your Eyes”), and you have a certifiable classic. As it stands, however, Trial By Fire remains an underwhelming last gasp from an ill-fated reunion.
Majestic (Highlights)
As with any Journey release, there are still a handful of gems to be found. “Message of Love” and “When You Love a Woman” are the go-to classics here, but for my money, “Can’t Tame the Lion” is the album’s best rocker, and the title track breaks new ground on the ballad front.
Castles Burning (Lowlights)
On an already bloated album, the meandering “It’s Just the Rain” feels like one ballad too many, especially sandwiched between two of the album’s best moments.
No Erasin’ (Best Deep Cut)
“Don’t Be Down on Me Baby” is both a tremendous showcase for Perry’s voice and quite possibly the album’s best ballad.
If It Cuts…(Favorite Lyric and/or Moment)
All my life I’m running
From the love that’s coming
Saving grace please pull me through – “Trial By Fire”
8. Traces (2018)
It’s tempting to gush over Perry’s most recent solo effort. Given the decades of silence and his advanced age (nearly seventy) at the time of its release, Seve Perry still sounding like, well, like Steve Freaking Perry was beyond a pleasant surprise. No one would’ve blamed the man if he’d opted to release a low-key collection of crooner standards (it sure as hell worked for Rod Stewart), but Traces actually opens with a surprising bang and manages to rock a little here and there.
But as is the case with all of Perry’s post-Raised-On-Radio projects, Traces is pretty front-loaded. In fact, other than the singles (especially “No Erasin’” and “Sunshine Rain”), this is a rather subdued collection of songs. Of course, a somber mood makes sense given Perry’s inspiration (the death of girlfriend Kellie Nash), and ballads like “Most Of All” and “In The Rain” are incredibly effective. Unfortunately, the hooks are few and far between, even if the album ultimately rewards repeated listens.
The bottom line: Traces is a pleasant surprise from an iconic voice. It may not be his best work (far from it), but there’s a very real chance that Traces will be Perry’s final release of original music. I hope I’m wrong, but if I’m not, I can’t help but feel grateful for this unexpected encore from my all-time favorite singer.
Majestic (Highlights)
“No Erasin’” and “Sunshine Rain” are obvious choices here, but “We’re Still Here” is probably the song that resonates with me the most–proof positive that Perry still has the ability to elevate a song with that unmistakable voice.
Castles Burning (Lowlights)
Considering that most of this album carries such deep and personal meaning, the upbeat “Easy To Love” feels woefully out of place. I appreciate the effort to add a touch of levity to the album’s dour back half, but the song’s anthemic ‘love is all we need’ message falls a bit flat.
No Erasin’ (Best Deep Cut)
I’ve seen a fair share of reviewers cite “I Need You” as a misstep, but I actually think it’s one of the best moments on the album’s back half. Obviously, anything ‘Beatles’ is sacred ground, but when it comes to covers, I say, go big, or go home.
If It Cuts…(Favorite Lyric and/or Moment)
Another night, Another town, Walkin’ my heart around, Same old choices, again – “We’re Still Here”
Full disclosure: we are now entering the ‘splitting hairs’ portion of this ranking, as everything from this point forward I consider a straight-up classic.
7. Departure (1980)
Notably Gregg Rolie’s final album with Journey (save for the Dream, After Dream soundtrack), the aptly titled Departure represented a change of pace for the Perry-fronted Journey. In lieu of another go-round with Roy Thomas Baker, the band shifted gears and opted for a ‘live off the floor’ approach to the production. This resulted in a handful of songs that showed off Journey’s ability to rock like never before.
“Any Way You Want It” might have been the breakout single, but songs like “Where Were You” and “Line of Fire” added some much needed octane to the band’s live set. With the likes of Van Halen blazing a trail to world domination, one can’t help but wonder if Schon and Co. felt some pressure to ‘amp up’ their set.
In many ways, Departure is stylistically of a piece with Journey’s prior Perry releases. That said, I also find it a tad uneven. Other than the bangers mentioned above, it pretty much stays in a mid-tempo groove throughout.
That’s not to say that I don’t love this album, because I do, but the band seemed content to stay in their established creative lane. And who could blame them? After all, Departure was the band’s first top-ten showing on Billboard. Ultimately, it was Rollie’s unexpected (ahem) departure that set the stage for Journey’s ascent to mega-stardom.
Majestic (Highlights)
“Any Way You Want It” is this album’s calling card, but “Where Were You” perfectly encapsulates everything that made the Perry/Rolie lineup so good.
Castles Burning (Lowlights)
While I love me some Perry shrieks, “Homemade Love” has always felt like an unfinished demo and makes for an underwhelming close. I also never understood how a hippie-dippie anthem like “People and Places” made the cut.
No Erasin’ (Best Deep Cut)
If I could only pick one song for my zombie apocalypse mix, it’d probably be “Precious Time.”
If It Cuts…(Favorite Lyric and/or Moment)
The intro is probably the most iconic album opening this side of “Don’t Stop Believin’” – “Any Way You Want It”
6. Infinity (1978)
Technically, Infinity was Journey’s fourth release, but in many ways, the album feels like a proper debut. While there were a couple of hints on 1977’s Next, the band’s seemingly overnight transformation from a fusion-tinged powerhouse to Top-40 mainstays is pretty impressive. Of course, the key to Journey’s change of fortune was the addition of Steve Perry.
Thanks to his previous brush with the big time, Perry came to Journey a fully-formed frontman. Be it delicate ballads (“Lights,” “Patiently”), radio-ready anthems (“Wheel in the Sky,” “Anytime”), or even the odd prog-tinged holdover (“Winds of March”), Perry’s impact on the band’s sound was undeniable. Even Rollie (who still sings an occasional lead) sounds more confident behind the mic.
For a band desperately in need of a hit, Infinity delivered and then some. And thanks to Roy Thomas Baker’s unmistakable production, it endures as one of the band’s best sounding albums.
Majestic (Highlights)
“Lights” and “Wheel in the Sky” go without saying, but I will forever consider “Patiently” the band’s most underrated ballad.
Castles Burning (Lowlights)
On an album full of gems, “Can Do” is the only track that truly feels like filler.
No Erasin’ (Best Deep Cut)
Nestled between the ‘hit’ and the album’s longest track, “Somethin’ To Hide” is vintage Perry/Schon balladry complete with some awe-inspiring vocals–now there’s a deep cut for you.
If It Cuts…(Favorite Lyric and/or Moment)
So here we stand so patiently, For your song inside of me – “Patiently”
5. Raised on Radio (1986)
Rumored to have been recorded three times, Raised on Radio is a prime example of overbaked. Still, I’ve really grown to appreciate the band’s final ‘80s album over the years. Yes, it’s woefully ballad heavy, and yes, the production is glossy to a fault, but (as always) the songs persevered. Singles like “Girl Can’t Help It” and “Be Good to Yourself” were instant-classics, while deep cuts like “Happy to Give” and “The Eyes of a Woman” capture some of the best vocal performances of Perry’s career.
Had there been just a couple more Schon-driven numbers in the vein of “Raised on Radio” or “It Could Have Been You,” Raised on Radio would certainly be remembered more fondly by the Journey fanbase. Still, it’s an album I revisit often. And thanks to its lush, multi-layered production, I’m still discovering new ways to appreciate these songs.
Majestic (Highlights)
A rare example of a single that I’ve never grown tired of, “Girl Can’t Help It” is the epitome of ‘ear candy.’ If I’ve heard it once, I’ve heard the song ten thousand times over the past four decades, and I have yet to tire of it.
Castles Burning (Lowlights)
While I genuinely enjoy all of the album’s ballads, if I had to cut one to make room for another ‘rocker,’ “Once You Love Somebody” would be the first to go.
No Erasin’ (Best Deep Cut)
You won’t see it on any of the compilations, but “The Eyes of a Woman” is right there at the top of my ‘all-time’ favorite power ballads.
If It Cuts…(Favorite Lyric and/or Moment)
The final third of the song, beginning with Perry’s “…Go On Forever” and concluding with Schon’s brilliant solo – “Why Can’t This Night Go on Forever”
4. Street Talk (1984)
On the heels of touring for Frontiers, Steve Perry decided it was time to step out from behind the Journey machine. Unlike his fellow bandmates’ fusion-leaning side-projects, 1984’s Street Talk yielded some impressive commercial success thanks to a handful of top-40 singles (including the inescapable “Oh Sherrie”).
In contrast to Journey’s increasingly protracted recording process, Street Talk was quickly conceived and recorded in a “three week” blitz. Where future solo efforts would ultimately suffer from Perry’s perfectionist tendencies, Street Talk benefits from the spontaneity. On the vocal front, Perry sounds downright rejuvenated, confidently working within the confines of a (slightly) diminishing range. For their part, his session-player cohorts somehow manage to sound like a band in mid-tour form.
Call it slick, call it mid-tempo AOR, call it Journey-lite—you’re not wrong—but Perry’s first solo-outing is a surprisingly cohesive collection of gems. Sure, Street Talk may sound an awful lot like Perry’s day job, but who could blame Perry for wanting to remain close to his AOR roots?
Majestic (Highlights)
Everyone will remember the massive singles (“Oh Sherrie” and “Foolish Heart” in particular), but Street Talk is a surprisingly rocking affair–don’t sleep on “It’s Only Love,” “Captured by the Moment,” and the infectious “Strung Out.”
Castles Burning (Lowlights)
“Running Alone” is a perfectly fine song, but if I were ranking Perry’s requisite power-ballads, this one would be somewhere near the bottom.
No Erasin’ (Best Deep Cut)
Nestled away on the album’s back half, “You Should Be Happy” is an impressive, guitar-driven rocker that would sound right at home on any Journey record–easily my favorite ‘rocker’ from Street Talk.
If It Cuts…(Favorite Lyric and/or Moment)
“You should’ve been gone, knowing how I made you feel” is about as memorable an album open as it gets – “Oh Sherrie”
3. Evolution (2000)
With Roy Thomas Baker back at the helm, 1979’s Evolution saw Journey doubling down on the formula they established with Infinity a year earlier. The album notably delivered Journey their first top-20 hit (“Lovin,’ Touchin,’ Squeezin’”) and introduced fans to the incomparable talents of drummer Steve Smith.
Sure, the big single might have been yet another ballad, but Evolution was hardly a retread. In fact, the record refined just about everything that worked on Infinity. It rocked a little harder, the prog moments were a little more concise, and Perry sounded that much more comfortable in his role.
That said, there are some undeniable sonic similarities between Infinity and Evolution. For that reason, I’ve always viewed the first two Perry-led Journey releases as a sort of match set. Both are amazing records, but I prefer Evolution if only because the band sounds so comfortable and confident. With only a single cut making the grade for the band’s 1988 Greatest Hits release, Evolution tends to get overlooked, but for my money, this is the Rolie/Perry line-up at their peak.
Majestic (Highlights)
The opening salvo of “Majestic,” “Too Late,” and “Lovin,’ Touchin,’ Squeezin’” is as good as it gets. “Sweet and Simple” also deserves a shout out as it’s one of Perry’s best (and most underrated?) ballads. And that final run (“Do You Recall?,” “Daydream,” “Lady Luck”) of songs that closes out the album is just sublime.
Castles Burning (Lowlights)
This is tough, as I’m not sure there’s a second wasted on this thirty-seven minute masterpiece. Even though the song is my favorite Rolie/Perry trade-off, “Just the Same Way” is the sort of song Journey could write in their sleep at this stage in their career–it’s fine, but borderline filler.
No Erasin’ (Best Deep Cut)
Thanks in no small part to that brilliant bridge, “Lovin’ You Is Easy” is an enduring personal favorite–it’s just so infectious.
If It Cuts…(Favorite Lyric and/or Moment)
That high note in the final “It’s what I like to do” is a great example of Perry’s prime – “Sweet and Simple”
2. Frontiers (1983)
The differences between 1983’s Frontiers and its Diamond selling predecessor are apparent from the first notes of “Separate Ways (World’s Apart).” From the syrupy synth to Neal Schon’s reverb-drenched tone, Journey had fully embraced the sonic hallmarks that would come to define ‘80s music. And then, of course, there was Steve Perry’s voice.
The singer’s once angelic tone and effortless range had suddenly become a bit more gruff, and while the added rasp suited the muscular opening track, the change was nonetheless noticeable. Escape’s massive success resulted in a marathon tour, something that had clearly taken a toll on Perry.
That all said, what the man lost in range he more than made up for with raw passion. Be it heartache (“Faithfully”), anger (“Edge of the Blade”), or even hope (“Rubicon”), never before had Perry conjured such a wide range of emotions. And most importantly, Frontiers found the band pushing the envelope and breaking new ground–Escape 2.0 it is not, and that’s why it works.
Majestic (Highlights)
Songs like “Separate Ways (Worlds Apart),” “Faithfully,” and “After the Fall” speak for themselves. Hell, nearly the entire A side of this album was floating around on radio at one point.
Castles Burning (Lowlights)
The head-scratching last-minute move to pull two of the album’s best songs (“Only the Young,” “Ask the Lonely”) for soon-to-be-irrelevant soundtracks will forever confuse me.
No Erasin’ (Best Deep Cut)
For my money, “Edge of the Blade” is among the band’s heaviest moments and a career benchmark for Perry on the vocal front.
If It Cuts…(Favorite Lyric and/or Moment)
If it cuts, enjoy yourself – “Edge of the Blade”
1. Escape (1981)
Not only is 1981’s Escape Journey’s best-selling LP (not named Greatest Hits), the album is a hands down masterpiece. On the heels of Gregg Rolie’s exit, the band brought in Jonathan Cain. Not unlike Perry a few years earlier, Cain’s presence injected a new flavor into the Journey songwriting dynamic, resulting in an unparalleled level of radio success.
Sure, it’s easy to zero in on generational hits like “Don’t Stop Believin’,” “Who’s Crying Now,” and “Open Arms,” but deep cuts like “Keep On Runnin’,” “Dead or Alive,” “Stone in Love,” and “Lay it Down” underscore Journey’s ability to flat out rock. And then there’s the prog-tinged title track and the epic “Mother, Father,” both of which find Perry at the peak of his vocal prowess.
It’s difficult to imagine a pre-“Don’t Stop Believin’” Journey, but back in 1981, the band was far from a household name. Escape changed that, and it remains a musical and creative peak for everyone involved.
Majestic (Highlights)
I could easily cite nearly every song on this album–Escape is Journey’s finest hour.
Castles Burning (Lowlights)
While I appreciate the energy that “Lay it Down” adds to the album’s back half, it is probably the least memorable ‘rocker’ on an otherwise pitch-perfect record.
No Erasin’ (Best Deep Cut)
“Mother, Father” is, in my opinion, the epitome of an essential deep cut. Perry goes to another world on this one, and while it may sound like a ‘only-in-the-studio’ moment, Journey’s Live in Houston 1981 proves the man was more than capable of delivering the goods live (at least, for a while).
If It Cuts…(Favorite Lyric and/or Moment)
The entire vocal performance, from “she sits alone” all the way through the final “believe” – “Mother, Father”
A Final Note:
If anyone associated with these albums (including Mr. Perry himself) ever happens to read this article, I’d like to take this opportunity to say, thanks—your music has meant the world to me.
Steve Perry’s voice might be one of my earliest memories (he’s my mother’s favorite singer), but my relationship with this music goes far beyond a nostalgic trip down memory lane. As I’ve gotten older, I’ve continually rediscovered Perry’s work, both solo and with Journey. These songs have taken on new meanings at different stages of my life, something that I suspect will continue from here on out.
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