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Queen, Journey, and Alicia Keys' Music Joins National Recording Registry in Library of Congress

On Wednesday, the Library of Congress unveiled the 25 songs, albums, and other important historical recordings that will be preserved for their significant contributions to American culture

Queen , Journey , and Alicia Keys are among the latest artists whose work will be archived and preserved by the United States government.

On Wednesday, the Library of Congress unveiled the 25 songs, albums, and other important historical recordings that will be inducted into the National Recording Registry in 2022 and preserved for their significant contributions to American culture. The Registry was established in 2000, and the Library of Congress chooses 25 new titles to be archived annually.

This year, albums joining the National Recording Registry include Duke Ellington's Ellington at Newport (1956), Max Roach's We Insist! Max Roach's Freedom Now Suite (1960), The Shirelles' Tonight's the Night (1961), Terry Riley's In C (1968), Linda Rondstadt's Canciones de Mi Padre (1987), Bonnie Raitt's Nick of Time (1989), A Tribe Called Quest's The Low End Theory (1991), Wu-Tang Clan's Enter the Wu-Tang (36 Chambers) [1993], Buena Vista Social Club (1997), and Keys' Songs in A Minor .

"I just think [ Songs in A Minor ] was so pure," Keys, 41, told the Library of Congress of her album's inclusion. "People hadn't quite seen a woman in Timberlands and cornrows and really straight 100% off of the streets of New York performing classical music and mixing it with soul music and R&B … And people could find themselves in it. And I love that."

" Canciones de Mi Padre is an album I've always wanted to make because of my Mexican heritage," Rondstadt, 75, said about the Grammy-winning album. "I love the musical traditions that came with it. I always thought they were world-class songs. And I thought they were songs that the music could transcend the language barrier."

Singles being welcomed into the Registry for 2022 include James P. Johnson's "Harlem Strut" (1921), Ernest Tubb's "Walking the Floor Over You" (1941), The Soul Stirrers' "Jesus Gave Me Water" (1950), Nat King Cole's "The Christmas Song" (1961), Andy Williams' "Moon River" (1962), The Disneyland Boys Choir's "It's a Small World" (1964), The Four Tops' "Reach Out, I'll Be There" (1966), Queen's "Bohemian Rhapsody" (1975), Journey's "Don't Stop Believin'" (1981), and Ricky Martin's "Livin' La Vida Loca" (1999).

"['Don't Stop Believin''], over the years, has become something that has a life of its own," Steve Perry , lead singer of Journey, told the Library of Congress. "It's about the people who've embraced it and found the lyrics to be something they can relate to and hold onto and sing."

"I believe that the energy of a movement is what dominates in that song [Martin's "Livin' La Vida Loca"] about Latinos, the empowerment of Latinos," said Draco Rosa, who co-wrote the 1999 Grammy-winning hit. "Life is full of great suffering, and 'La Vida Loca' is the total opposite. Let's live it up, right?!"

In addition to songs and albums, the National Recording Registry also features historical recordings, from radio shows to public speeches. Non-musical recordings joining the Library of Congress this year are a complete collection of Franklin D. Roosevelt's presidential speeches from 1933-1945, writer Norman Corwin's "On a Note of Triumph" (May 8, 1945), a broadcast of baseball player Hank Aaron's 715th career home run (April 8, 1974), radio station WNYC's broadcasts for the day of 9/11 (Sept. 11, 2001), and an episode of the WTF with Marc Maron podcast featuring an interview with the late Robin Williams (April 26, 2010).

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Queen + Journey Hit Songs Added to U.S. Library of Congress’ National Registry

Every year, the United States' Library of Congress selects 25 "culturally, historically or aesthetically significant" recordings to add to the National Registry. Among this year's entrants are two all-time great rock songs — Queen 's "Bohemian Rhapsody" and Journey 's "Don't Stop Believin'."

In a remarkable display of recognition of heavy music, the Library of Congress selected the entire  Master of Puppets album by Metallica back in 2016 in conjunction with the record's 30th anniversary. Nirvana 's  Nevermind was recognized earlier in the mid-2000s, but, in all, there's hardly any rock and metal representation in the Registry, which was created in 2000. You won't even find a single song by legendary artists such as Black Sabbath and AC/DC .

For Journey and Queen, the honor is well-deserved as both songs have served as enduring pieces of music and have penetrated pop culture repeatedly for decades.

Speaking about the inclusion of the hit 1981 single "Don't Stop Believin'," former Journey singer Steve Perry said , "That song, over the years, has become something that has a life of its own. It’s about the people who’ve embraced it and found the lyrics to be something they can relate to and hold onto and sing."

The song was certified five times platinum by the RIAA in 2013 and it is likely that figure now stands to be higher as streaming numbers have racked up in abundance over the last decade in particular, with over one billion Spotify streams as of February of 2021.

"Bohemian Rhapsody" has enjoyed even greater success and was certified diamond (10 times platinum) last March. On Spotify, the track sits at over 1.7 billion streams and it crossed the one billion view threshold on YouTube in 2019.

View the 2022 National Recording Registry selections directly below and for a complete list of every song that has ever been added, head here .

National Recording Registry, 2022 Selections (chronological order)

“Harlem Strut” — James P. Johnson (1921)

Franklin D. Roosevelt: Complete Presidential Speeches (1933-1945)

“Walking the Floor Over You” — Ernest Tubb (1941) (single)

“On a Note of Triumph” (May 8, 1945)

“Jesus Gave Me Water” — The Soul Stirrers (1950) (single)

“Ellington at Newport” — Duke Ellington (1956) (album)

“We Insist! Max Roach’s Freedom Now Suite” — Max Roach (1960) (album)

“The Christmas Song” — Nat King Cole (1961) (single)

“Tonight’s the Night” — The Shirelles (1961) (album)

“Moon River” — Andy Williams (1962) (single)

“In C” — Terry Riley (1968) (album)

“It’s a Small World” — The Disneyland Boys Choir (1964) (single)

“Reach Out, I’ll Be There” — The Four Tops (1966) (single)

Hank Aaron’s 715th Career Home Run (April 8, 1974)

“Bohemian Rhapsody” — Queen (1975) (single)

“Don’t Stop Believin’” — Journey (1981) (single)

“Canciones de Mi Padre” — Linda Ronstadt (1987) (album)

“Nick of Time” — Bonnie Raitt (1989) (album)

“The Low End Theory” — A Tribe Called Quest (1991) (album)

“Enter the Wu-Tang (36 Chambers)” — Wu-Tang Clan (1993) (album)

“Buena Vista Social Club” (1997) (album)

“Livin’ La Vida Loca” — Ricky Martin (1999) (single)

“Songs in A Minor” — Alicia Keys (2001) (album)

WNYC broadcasts for the day of 9/11 (Sept. 11, 2001)

“WTF with Marc Maron” (Guest: Robin Williams) (April 26, 2010)

Queen, "Bohemian Rhapsody"

Journey, "don't stop believin'", the real names of over 50 rock + metal icons, more from loudwire.

Classic Songs By Journey, Queen Inducted Into Library Of Congress Registry

By Andrew Magnotta @AndrewMagnotta

April 13, 2022

Journey 's "Don't Stop Believin'" and Queen 's "Bohemian Rhapsody" have each been selected for induction into the Library of Congress' National Recording Registry.

The National Recording Registry receives about 1,000 public nominations per year. The two classic rock songs were among 25 recordings that the Library's National Recording Preservation Board selected for induction this year. It brings the total number of recordings on the registry to 600 (the Library's recorded sound collection includes nearly 4 million items).

Longtime Journey frontman Steve Perry , who comes from a family of Portuguese immigrants, was ecstatic to receive the distinction.

"This is the greatest honor of my life," he said in a statement. "I've gotten platinum albums and gold albums and I've gotten inducted into the [Rock and Roll] Hall of Fame. But for my mother, my father, my grandmother and grandfather, I am truly beside myself that this is happening...it's an 'only in America' kind of thing."

Queen has yet to comment on the Library of Congress distinction. The 1975 release of the genre-bending "Bohemian Rhapsody" represented a major turning point in the band's history.

The song stayed at No. 1 for nine consecutive weeks in the U.K. — a record at the time — and it was Queen's first Top 10 hit in the U.S., signaling a major change of fortune for the band in America.

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The Queen’s Journey Home

By Yonette Joseph Sept. 13, 2022

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The state funeral for Queen Elizabeth II will take place at Westminster Abbey at 11 a.m. local time on Monday.

Here is a look at how events are unfolding →

On Tuesday , as the sun set, a Royal Air Force plane carrying the queen’s coffin took off from Edinburgh Airport, and the monarch left Scotland for the last time. Princess Anne also made the journey.

The plane landed at an air base west of London about 6:50 p.m. A small ceremony took place in near silence.

The coffin then made its way through the suburbs of London to Buckingham Palace. Crowds lined the streets amid rain and wind.

At Buckingham, the coffin was taken to the Bow Room.

On Wednesday, the coffin, adorned with the Imperial State Crown, will leave Buckingham at 2:22 p.m. for a procession through the heart of the city to Westminster Hall.

King Charles III and others will make the 38-minute walk with the cortege. Guns will be fired at Hyde Park. Big Ben will toll.

At Westminster Hall, Queen Elizabeth will lie in state for four days.

Members of the public can pay their respects from 5 p.m. Wednesday. About 400,000 visitors are expected to file past her coffin. They were warned they may have to line up for 20-30 hours.

On Monday, after the funeral, the coffin will travel from Westminster Abbey to Wellington Arch, and then to St. George’s Chapel at Windsor Castle, where the queen will be interred.

The funeral will be broadcast by BBC News, Sky News, ITV and other local news outlets from 11 a.m. local time.

The BBC’s YouTube channel is also expected to carry a livestream.

In the United States, NBC News NOW, CNN, ABC and Fox News were expected to air portions of the funeral from 6 a.m. E.S.T.

Read more coverage on the death of Britain’s longest-reigning monarch.

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Classic Rock News

Queen, journey songs added to national recording registry.

The Library of Congress (LoC) has announced music from Queen, Journey and more has been selected to be added to the National Recording Registry for 2022 .

Among the 25 recordings selected this year for the national library to preserve are Queen’s “Bohemian Rhapsody” and Journey’s “Don’t Stop Believin’.” Other songs selected for the National Recording Registry this year include Nat King Cole’s “The Christmas Song,” The Four Tops’ “Reach Out, I’ll Be There” and Ricky Martin’s “Livin’ La Vida Loca.”

Of “Bohemian Rhapsody,” LoC noted the song “…breaks nearly every rule in the playbook for rock songs: it starts with a gentle a cappella intro; it has a complex structure without a chorus; and it clocks in at nearly six minutes. Nonetheless, songwriter and vocalist Freddie Mercury, while acknowledging the risk, was convinced that the public would receive it enthusiastically.”

Of “Don’t Stop Believin’,” LoC noted, “While it has never left the airwaves — or Journey’s set list — the song has gained further cultural permanence via its frequent use at sporting games, in the Broadway rock musical ‘Rock of Ages’ (where the song was the show’s big closer) and in film and television, most notably the cryptic final episode of ‘The Sopranos’ and in the debut episode of ‘Glee.’

The National Recording Registry was founded in 2002. Per the Library of Congress, “Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress, with advice from the National Recording Preservation Board, selects 25 titles each year that are ‘culturally, historically, or aesthetically significant’ and are at least 10 years old…The national library maintains a state-of-the-art facility where it acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings.”

To see a complete list of recordings, head over to LoC.gov .

50 Best Power Ballads of All Time

50. ‘love song’ - tesla.

Soaring vocals from Jeff Keith? Check. Massive guitar solo from Frank Hannon? Check. Excellent use of “Du du du-du-du”? Big ol’ check right there! It’s no wonder this was one of Tesla’s biggest hits.

49. ‘The Ballad of Jayne’ - L.A. Guns

While the history of L.A. Guns is intertwined with Guns N’ Roses due to Axl Rose’s brief stint in the band in 1984, L.A. Guns only managed one hit with 1989’s “The Ballad of Jayne,” but they sure did make it count. And no, the song isn’t an ode to late actress Jayne Mansfield. Singer Phil Lewis said in a 2011 interview , “It’s not about [Jayne Mansfield] at all. It’s about a fictitious character, but I based it on so many of these young girls who leave their small towns and go out to LA to become a star.”

48. ‘Nothing’s Gonna Stop Us Now’ - Starship

All due respect to Andrew McCarthy and Kim Cattrall, but “Nothing’s Gonna Stop Us Now” was the best thing about the 1987 film Mannequin. The track features Mickey Thomas sharing vocal duties with Grace Slick, who just two decades prior was wailing “Feed Your Head!” on “White Rabbit.” (Honestly, that’s still jarring years later.) Penned by songwriting giants Diane Warren and Albert Hammond, “Nothing’s Gonna Stop Us Now” would go on to be nominated for the Academy Award for Best Original Song .

47. ‘Black Velvet’ - Alannah Myles

An ode to Elvis Presley, Alannah Myles’ “Black Velvet” was included on the three-track demo that eventually led to her being signed by Atlantic Records. The track, oozing with swagger and that giant chorus, would top the Billboard Hot 100 charts for two weeks and would earn Myles the Grammy for Best Female Rock Vocal Performance in 1991.

46. ‘I Miss You’ - blink-182

“Where are you? And I’m so sorry!” Sure, “I Miss You” feels more like a meme than a song in recent years, but it remains one of blink-182’s most enduring and endearing tracks in their catalog. And never forget when belting the chorus, it’s “yead,” not “head.” 

45. ‘High Enough’ - Damn Yankees

When the world was introduced to Ted Nugent, the last thing anyone thought — and this likely includes Uncle Ted, himself — was that a massive power ballad was in his future. But that’s what happened when the Motor City Mad Man joined forces with Styx’s Tommy Shaw, Night Ranger’s Jack Blades and future Lynyrd Skynyrd drummer Michael Cartellone to form Damn Yankees. The band’s self-titled 1990 debut would go on to sell two million copies, and it was thanks to this massive power ballad, which peaked on the Billboard Hot 100 chart at number 3. 

44. ‘When I See You Smile’ - Bad English

Yet another song written by Diane Warren! (BTW: She pops up another time later in this list.) Bad English – the supergroup made up of The Babys’ John Waite and Ricky Phillips and Journey’s Neal Schon, Deen Castronovo and Jonathan Cain, who was in The Babys and Journey – was only around for two albums. “When I See You Smile” was the second single released from their self-tited 1989 debut, and it was their biggest hit topping the Billboard Hot 100 in November 1989.

43. ‘Silent Lucidity’ - Queensryche

“It’s a place where you will learn/To face your fears, retrace the years/And ride the whims of your mind/Commanding in another world/Suddenly you hear and see/This magic new dimension.” This power ballad is as tender as it is beautifully haunting. We have Geoff Tates’ stunning vocals and guitarist Chris DeGarmo’s songwriting to thank for that.

42. ‘It Must Have Been Love’ - Roxette

Fun fact: This Roxette hit was first released in 1987 as “It Must Have Been Love (Christmas for the Broken Hearted).” (Yeah, it was originally a Christmas song!) It was only released in the duo’s native Sweden but would be edited and re-released internationally in 1990 as part of the soundtrack for the hit film Pretty Woman . Singer Marie Fredriksson would die in December 2019 from a brain tumor, but songs like “It Must Have Been Love” will live on forever as examples of her dynamic voice.

41. ‘Fly To The Angels’ - Slaughter

By the time Slaughter released their 1990 debut Stick It to Ya , there was already a popular formula in place for many rock bands releasing a new LP: First single is the rocker, and the second single is the power ballad. While the formula was successful, you still need quality songs for it to work. Slaughter definitely had them, especially with their second single “Fly To The Angels.” Just thinking about the notes Mark Slaughter hits during the chorus makes my throat hurt.

40. ‘Heaven’ - Bryan Adams

“Heaven” was a massive hit for Bryan Adams and was his first number-one single in the U.S. If you think the song is reminiscent of Journey’s “Faithfully,” you’re not wrong; Adams toured with Journey while they supported their Frontiers LP, and then-Journey drummer Steve Smith plays on “Heaven.” The song is so dreamy, it lent itself to a particularly swoon-worthy scene from Magic Mike XXL .

39. ‘We Don’t Need Another Hero (Thunderdome)’ - Tina Turner

After Tina Turner’s smash comeback album Private Dancer, many were likely wondering what her next move was. It turns out it was starring alongside Mel Gibson in 1985’s Mad Max Beyond Thunderdome and singing the film’s theme “We Don’t Need Another Hero (Thunderdome).” And by singing, we mean absolutely belting the hell out of it. It’s one of Turner’s best songs, which is saying something considering her incredible catalog of work.

38. ‘Iris’ - Goo Goo Dolls

A number of songs on this list are featured on soundtracks. It makes sense due to the bombastic, dramatic nature of power ballads. In the case of Goo Goo Dolls’ “Iris,” it was written for the 1998 film City of Angels starring Nicolas Cage and Meg Ryan. It went on to become a massive crossover international hit. And that booming chorus…wow! It still blows us away to this day.

37. ‘Close My Eyes Forever’ - Lita Ford & Ozzy Osbourne

A number of the songs on this power ballad ranking have something interesting in common: They’re often the artist’s biggest hits in their entire catalog. This duet of Lita Ford and Ozzy Osbourne is no exception. The third single from Ford’s self-titled 1988 studio album, “Close My Eyes Forever” who peak on the Billboard Hot 100 at #8.

36. ‘Don’t Know What You Got (Til It’s Gone)' - Cinderella

“I can’t tell ya baby what went wrong…”There’s something very poetic about this power ballad from Cinderella. Who hasn’t been in a relationship – romantic or not – that went sour, and you just couldn’t figure out why? It might be one of the most realistic and relatable songs on this entire list.

35. ‘Eternal Flame’ - The Bangles

“Eternal Flame” may have burned bright for The Bangles, but it ended up being the band’s last huge hit before their breakup in 1989. They would reunite about a decade later, but if a band is going to break up, there’s nothing like going out with a number one hit song. Talk about sun shining through the rain, right?

34. ‘Fall To Pieces’ - Velvet Revolver

Velvet Revolver was one of a number of supergroups to emerge in the early aughts. They were together for only six years, but that time produced some great tunes, including this power ballad from their 2004 debut LP Contraband . Scott Weiland’s unique vocals truly open up on the song’s sing-a-long chorus, and the track serves as yet another example of how a Slash guitar solo can take a song to another level.

33. ‘To Be With You’ - Mr. Big

When you’re waiting on a line just to be the next to be with someone, you got it bad . Turns out Mr. Big’s frontman Eric Martin did have it bad for someone he knew years before the song became a hit. Martin would say in an interview in 2011 , “T his girl had a lot of boyfriends who treated her like sh-t. I wanted to be the knight in shining armor, wanted to be with her. She wasn’t having it. It never came to play.” It’s too bad for her because Martin clearly had strong feelings for this woman. At least a great tune came out of it.

32. ‘More Than Words’ - Extreme

Brilliantly described by Max (Adam Pally) on the cult sitcom Happy Endings as “two men playing acoustic guitar at each other,” “More Than Words” sounded nothing like any of Extreme’s metal music. Regardless, the tender tune featuring the beautiful harmony vocals of Gary Cherone and Nuno Bettencourt would go on to top the Billboard Hot 100 chart.

31. ‘Why Can’t This Be Love’ - Van Halen

The first single of the “Van Hagar” era of Van Halen was this keyboard-happy power ballad. What a statement! Of course, “Why Can’t This Be Love” definitely had what it takes. It helped Van Halen’s seventh studio album, 5150, sell over six million copies.

30. ‘The Flame’ - Cheap Trick

“You were the first, you’ll be the last.” SWOON! Before “The Flame,” Cheap Trick hadn’t had a top 40 hit since 1979. At the request of Epic Records, they had their choice of two songs the label was certain were going to be number one hits. Cheap Trick chose “The Flame,” and as predicted, the song topped the Billboard Hot 100. (For what it’s worth: The other songs was “Look Away,” which was released by Chicago in September 1988, and it also topped the charts.)

29. ‘Wind of Change’ - Scorpions

Not every power ballad is about romantic love; sometimes, they’re an agent of peace. Such was the case of “Wind of Change” from Scorpions. Klaus Meine was inspired to write the song after Scorpions took part in the Moscow Music Peace Festival in August 1989. Shortly there after, Meine would write this epic tune that, to this day, is historically tied to the end of the Cold War and the Soviet Union. Of course, there’s also the conspiracy theory that the CIA actually wrote “Wind of Change,” but we’ll let you dive into that on your own via the podcast of the same name .

28. ‘Free Bird’ - Lynyrd Skynyrd

“Free Bird” isn’t typically in the power ballad conversation, but when you examine the classic tune per the aforementioned definition from the Cambridge University Press, it totally is! “Constant escalation and an expressive formula that combines the euphoric uplift created by rousing music with sentimental themes and ploys”? Um, yeah…”Free Bird” has that and then some! The guitar work from Allen Collins and Gary Rossington alone should be enough.

27. ‘Against All Odds’ - Phil Collins

Ever have a drunk cry to this Phil Collins classic after a brutal breakup? No? Just me? Oh, well…it’s quite therapeutic, as is belting out the anthemic chorus. Collins wrote the tune for the 1984 film of the same name that starred Rachel Ward, Jeff Bridges and James Woods. The film wasn’t a big hit, but the song sure was! It was even nominated for Best Original Song at the 1985 Academy Awards. It lost out to Stevie Wonder’s “I Just Called to Say I Love You” from The Woman in Red , which is really one of Wonder’s most pedestrian tunes, but that’s a rant for another day.

26. ‘It’s All Coming Back To Me Now’ - Celine Dion

Okay…now at this point, some of you might be mad to see Celine Dion on this list, but do yourself a favor and just revisit this epic from the singer’s 1996 hit album Falling into You. BTW: If you’re thinking that “It’s All Coming Back To Me Now” sounds a lot like a Meat Loaf song, it’s because it was written by composer Jim Steinman. He’s best known for writing Meat Loaf’s Bat Out of Hell and Bat Out of Hell II: Back into Hell.

25. ‘Bringin’ on the Heartbreak’ - Def Leppard

Many people were introduced to Def Leppard’s trademark group vocal via “Bringin’ on the Heartbreak” from their 1981 LP High ‘n’ Dry. A number of power ballads from Def Leppard could’ve made this list, but there’s something special about how this track builds into the chorus while also giving Joe Elliott plenty of time to shine on his own.

24. ‘Keep On Loving You’ - REO Speedwagon

The lead single from REO Speedwagon’s ninth studio album Hi Infidelity , “Keep On Loving You” was a massive power ballad that helped the Illinois-based band achieve a new level of stardom. Hi Infidelity would go on to be the biggest-selling album of 1981. This power ballad definitely helped make that happen.

23. ‘Shadows of the Night - Pat Benatar

Pat Benatar could be (and still is) an utter badass, but she also has a number of hits that showed off her sensitive side. “Shadows of the Night” finds Benatar walking the line between toughness and sweetness, and she walks that line brilliantly. (“You can cry, tough baby, it’s alright/You can let me down easy, but not tonight.”) Her powerful vocals certainly don’t hurt matters either.

22. ‘Blaze of Glory’ - Jon Bon Jovi

“Blaze of Glory” was Jon Bon Jovi’s first solo single, and out the gate, the track topped the Billboard Hot 100. Written for the 1990 film Young Guns II, the song came to be after Emilio Estevez wanted Bon Jovi’s “Wanted Dead or Alive” for his movie. JBJ declined and ended up writing this song and a whole soundtrack. (Jon even makes an uncredited cameo in the film, which was his first appearance in any film .) While there are theme similarities between “Blaze of Glory” and “Wanted Dead or Alive,” the former was certainly a better fit for a film about Billy the Kid and truly evokes that spirit of the Wild West.

21. ‘Heaven’ - Warrant

If you ever questioned what a great power ballad could do for a band, look no further than Warrant. The second single from their 1989 debut album Dirty Rotten Filthy Stinking Rich, “Heaven” would help propel the album to being certified double platinum and would peak on the Billboard Hot 100 at number two . The song that prevented Warrant from topping the chart? Milli Vanilli’s “Girl I’m Gonna Miss You.”

20. ‘Sister Christian’ - Night Ranger

Fine, let’s just say it: Who knew such a sweet song about a younger sister growing up would end up soundtracking such a bizarre film scene like in 1997’s Boogie Nights ? That movie moment aside, “Sister Christian” remains one of the most memorable power ballads thanks in small part to that ridiculously catchy “Motoring!” chorus.

19. ‘Mama I’m Coming Home’ - Ozzy Osbourne

Inspired by wife/manager, Sharon, “Mama I’m Coming Home” somehow increases in wholesomeness when you learn Motorhead frontman Lemmy Kilmister wrote the lyrics to this beautiful power ballad. Sure, that doesn’t make sense in theory, but after just one listen, it just sort of clicks. Listen below if you’re still having doubts!

18. ‘Lady’ - Styx

If you weren’t sold by the wholesomeness of the previous song, get ready for this. Originally released in 1973, Dennis DeYoung wrote “Lady” for his wife, Suzanne. They were married in 1970 and are still married to this day! This was also Styx’s first top-ten hit, too. How wonderful is that?! 

17. ‘I Found Someone’ - Cher

When Cher released “I Found Someone,” it was her first new piece of music in five years. (Cher opted to focus on her acting career for most of the mid-80s.) This time around, Cher embraced more rock elements, and it certainly paid off with the track becoming Cher’s first top-ten hit in nine years.

Fun fact: “I Found Someone” was written by Michael Bolton and Mark Mangold and originally recorded and released by Laura Branigan about a year-and-a half before Cher released her version. Bolton would serve as producer on Cher’s version, as well.

16. ‘Is This Love’ - Whitesnake

“Is This Love” was a monster hit for Whitesnake, but it almost wasn’t their song. In an interview with Ultimate Classic Rock , David Coverdale said, “‘Is This Love’ was for Tina Turner originally. EMI had asked me, and then David Geffen said, “You’re f—in’ keeping it!” And thankfully so! Arrogantly, I scream at the beginning of it, ‘This is a chorus that will take over the world’ — and it f—ing did! I am at least a man of my word.”

15. ‘Total Eclipse of the Heart’ - Bonnie Tyler

The late Jim Steinman will be best remembered for his work with Meat Loaf, but he also contributed some incredible tunes to other artists, as evident from number 26 on this list and “Total Eclipse of the Heart.” Bonnie Tyler absolutely belted the hell out of this ballad. The album version of this track was nearly seven minutes long, because Jim is gonna Steinman. The single version would be edited down to 4:30 so…you know…it would get played on the radio. (Note: One more composition from Steinman will appear on this list.)

14. ‘I Remember You’ - Skid Row

Believe it or not, Rachel Bolan and Snake Sabo – who wrote “I Remember You,” it should be noted – lobbied to keep the obvious hit off Skid Row’s 1989 self-titled debut album. Why? As Bolan put it in an interview with Ultimate Classic Rock , “We don’t want to be a chick band – We want to be a hard-rock band.” Clearly, Bolan and Sabo changed their minds, and thankfully they did. Who else but Sebastian Bach can you imagine hitting those high notes? Exactly.

13. ‘Kiss From A Rose’ - Seal

The Marvel Cinematic Universe is lovely and all, and it’s done wonders for classic rock with the soundtracks for Iron Man 2 and the Guardians of the Galaxy films, but when’s the last time it helped spawn a hit like this? While “Kiss From A Rose” was originally released as a single in July 1994, its inclusion in 1995’s Batman Forever and its subsequent soundtrack made Seal a star. The track also cleaned up at the 1996 Grammy Awards winning Record of the Year, Song of the Year and Best Male Pop Vocal Performance.

12. ‘The Show Must Go On’ - Queen

“Inside my heart is breaking/My makeup may be flaking/But my smile, still, stays on.” Without question, “The Show Must Go On” is the most devastating song on this list but one of the most beautiful. The track was released as a single just six weeks before Freddie Mercury died from complications related to HIV/AIDS. Brian May was the lead writer on the track, but it’s almost as if the entire group banded together in order to give their dear friend a grand, dramatic send-off fit for royalty.

11. ‘I Want to Know What Love Is’ - Foreigner

Most power ballads have big, booming choruses, but few of them make you scream-sing them in your car quite like Foreigner’s “I Want to Know What Love Is.” Foreigner had plenty of hits before “I Want to Know What Love Is,” but this one managed to top all of them, literally. It went to number one in the United States and ten other countries and remains Foreigner’s most successful single in their catalog.

10. ‘Always’ - Bon Jovi

If power ballads are an art, then Bon Jovi is Picasso or Van Gogh or whichever *really* famous artist you prefer. Bon Jovi is one of the reasons why this list limited artists to one entry, because Bon Jovi could easily dominate this entire list. One of two new songs on their 1994 greatest hits LP Cross Road , “Always” was a smash hit all around the world. How could it not with dreamy lyrics like, “When he holds you close, when he pulls you near/When he says the words you’ve been needing to hear/I’ll wish I was him ’cause those words are mine/To say to you ’till the end of time/Yeah, I will love you, baby, always/And I’ll be there forever and a day, always.” The song is so over-the-top delightful, it allows you to forgive the band for its weird music video with the plotline that makes no sense! 

9. ‘Every Rose Has Its Thorn’ - Poison

It’s a tale as old as time: Bret Michaels phones his girlfriend at the time while out on tour, and when she answered, he heard some other guy in the background. Thus, an iconic power ballad that’s a little bit country, a little bit rock and roll ballad was born! Oh, and like many other songs on this list, “Every Rose Has Its Thorn” would become Poison’s lone number-one hit.

8. ‘Nothing Else Matters’ - Metallica

“Nothing Else Matters” is at a particular status now where it’s almost like a standard. It’s hard to imagine a time when it could have been deemed controversial. (Unless you’re the type of metalhead that absolutely hates “The Black Album,” and if so, frankly, it’s baffling you’re reading this list in the first place.)

Anyway, James Hetfield said in an interview in June 2012 with The Village Voice , “It was a song for myself in my room on tour when I was bumming out about being away from home. It’s quite amazing, it’s a true testament to honesty and exposing yourself, putting your real self out there, and taking the risk, taking a gamble that someone’s either going to step on your heart with spikes on or they’re going to put their heart right next to it, and you never know until you try. That solidified, I think, that we were doing the right thing, writing from the heart about what we felt, and you can’t go wrong that way.”

7. ‘November Rain’ - Guns N’ Roses

“November Rain” is both a sonic and visual epic. Axl and his piano and Slash and his two massive guitar solos are the stars of this nearly nine-minute power ballad. Of course, even when listening to “November Rain,” you can’t help but think of its decadent music video. From Slash walking out of the church to Stephanie Seymour’s mullet wedding dress, some of the scenes are the most-memorable in music video history.

Fun fact: “November Rain” was the first music video released before the invention of YouTube to reach 1 billion views.

6. ‘Home Sweet Home’ - Motley Crue

In the realm of power ballads, “Home Sweet Home” is among the most quintessential. Even when listening to it in your car, you’re almost tempted to lift up your lighter or phone and just sway. Tommy Lee’s piano intro is instantly recognizable, and his little drum fill at the end of the track is the perfect cherry atop one epic tune. Add Mick Mars’ guitar solo and the way Vince Neil wails “Tonight, tonight!” during the chorus, it’s no wonder this tune penned by Nikki Sixx made our top ten.

5. ‘Alone’ - Heart

Written and recorded originally by songwriting duo Billy Steinberg and Tom Kelly, Heart would take “Alone” to new heights when they covered the tune for their 1987 album Bad Animals . If at this point you weren’t sold on Ann Wilson being one of rock’s strongest voices, just listen to “Alone” a few times on repeat. And, once again, this stunning power ballad would go on to be Heart’s biggest hit of their career topping the Billboard Hot 100 for three weeks in July 1987.

4. ‘I’d Do Anything For Love (But I Won’t Do That)’ - Meat Loaf

This delightfully over-the-top classic resurfaced following the untimely death of Meat Loaf, which sadly happened just nine months after the death of songwriter Jim Steinman. If the deaths of Meat Loaf and Steinman brought anything to the forefront it’s the importance of theatrics in rock and roll and how they’re incredibly missed.

“I’d Do Anything For Love” would resurrect Meat Loaf’s career, give him a number one hit in nearly 30 countries and net him a Grammy for Best Rock Vocal Performance, Solo.

Oh, and the thing he won’t do for love is cheat on his partner. He says so at the very end of the epic tune, in case this was somehow a mystery to anyone reading this.

3. ‘Open Arms’ - Journey

“Open Arms” truly took power ballads to a new level upon its release on Escape in 1981. The entire ‘80s decade saw a massive boom in the release of power ballads, and one could argue that Journey had a lot to do with that considering the success of “Open Arms.” Journey had plenty of other power ballads they would later introduce, but “Open Arms” was their best and grandest thanks to the sweet, sincere and soaring vocals of Steve Perry.

2. ‘Purple Rain’ - Prince

Similar to Lynyrd Skynyrd’s “Free Bird,” Prince’s “Purple Rain” isn’t typically in the power ballad conversation, because the idea of a power ballad is traditionally reserved for metal bands. However, Prince was never one for musical boundaries or limitations.

Upon the briefest of examinations, it totally is a power ballad. Prince once said of the meaning behind the classic track , “When there’s blood in the sky – red and blue = purple…’Purple Rain’ pertains to the end of the world and being with the one you love and letting your faith/God guide you through the purple rain.” It’s truly appropriate that a heavy song has such a heavy meaning.

1. ‘I Don’t Want To Miss A Thing’ - Aerosmith

Power ballads are traditionally based around grandness. With that considered, being the theme to 1998’s Armageddon — a film about an asteroid threatening to destroy Earth — is about as over-the-top as it gets. “I Don’t Want To Miss A Thing” wasn’t Aerosmith’s first power ballad, but it’s the band’s biggest both sonically and commercially. Written by Diane Warren, the track boasts a string section and one of Steven Tyler’s greatest screams ever recorded.

In 1998, there was truly no escaping this song. “I Don’t Want To Miss A Thing” was seemingly everywhere . It would top the Billboard Hot 100 chart for four weeks and is Aerosmith’s lone number-one hit in the United States. As if that weren’t enough, the song was a number-one song in nine other countries. And if the Bad Boys from Boston care about superlatives, “I Don’t Want To Miss A Thing” tops this Best Power Ballads list. While assembling this entire list was very difficult, putting this blockbuster at number one was the easiest part of the process.

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The Best Bands Like Journey

Looking for more classic pop rock bands like Journey? You've come to the right place. Thanks to timeless ballads like "Don't Stop Believing," the San Fancisco outfit is considered one of the best arena rock bands of all time, but there are many other great bands who share a similar sound. 

Foreigner, Boston, REO Speedwagon, and Kansas are among the top bands from the '70s and '80s that are often considered to be related artists to Journey because of the combination of their clean, melodic rock sounds. And because of Steve Perry and company's capacity for hit-making, they've even drawn comparisons to the legendary Queen.

Undeniably, Journey has had a massive influence on popular music, inspiring both contemporaries and new bands today. And, while there are a lot of goodVote up  groups and artists that sound like the legends from the City by the Bay, it's up to you to decide which are the best of the best. Vote up the bands you'd be most likely to recommend to people who are fans of Journey, and be sure to add any that you feel we might have missed.

REO Speedwagon

REO Speedwagon, a quintessential American rock band formed in 1967, shares Journey's penchant for melodic hooks and heartfelt lyrics. With their arena-ready anthems like "Keep on Loving You" and "Take It on the Run," fans who appreciate Journey's unforgettable tunes and soaring vocals will undoubtedly find themselves humming along to REO's hits. Beyond their commercial success, the group's captivating live performances and indelible chemistry make them a surefire favorite among Journey enthusiasts seeking bands with a similarly timeless and electrifying energy.

Rock Out To Some Of The Most Popular Songs From REO Speedwagon   - "Can't Fight This Feeling"   - "Keep On Loving You"   - "Take It On the Run"

Dive Into REO Speedwagon's History With Some Unique Deep Cuts   - "Golden Country"   - "Roll with the Changes"

Cheap Trick

For those seeking a dose of infectious power-pop mixed with classic rock sensibilities, Cheap Trick surely hits the mark. Formed in 1973, this Illinois-based band has churned out hits like "I Want You to Want Me" and "Surrender" that boast catchy melodies and singalong choruses reminiscent of Journey's anthemic hits. While their music may lean more towards a playful, punk-tinged style, their tight musicianship, engaging live shows, and ability to craft earworms with emotional depth make them an appealing option for fans of Journey looking to explore a slightly different flavor of rock 'n' roll.

Rock Out To Some Of The Most Popular Songs From Cheap Trick   - "I Want You To Want Me"   - "Surrender"   - "The Flame"

Dive Into Cheap Trick's History With Some Unique Deep Cuts   - "He's a Whore"   - "Mandocello"

Led by powerhouse sisters Ann and Nancy Wilson, Heart offers a unique combination of hard-hitting rock and emotive ballads that will captivate fans of Journey's anthemic sound. Formed in 1973, the band has provided hits like "Barracuda" and "Alone," showcasing their ability to deliver powerful vocals, memorable hooks, and emotionally resonant lyrics. With their dynamic musicianship, captivating stage presence, and intense passion for their craft, Heart is an outstanding choice for Journey fans seeking bands with a similar blend of raw talent and irresistible charm.

Rock Out To Some Of The Most Popular Songs From Heart   - "Barracuda"   - "Alone"   - "Crazy on You"

Dive Into Heart's History With Some Unique Deep Cuts   - "Mistral Wind"   - "Dreamboat Annie"

Boston, hailing from its namesake city, burst onto the rock scene in 1976 with their self-titled debut album that blended progressive and melodic elements, akin to Journey's signature sound. Their hits like "More Than a Feeling" and "Peace of Mind" showcase the band's rich harmonies and powerful guitar riffs, much to the delight of Journey fans. Furthermore, Boston's lush and intricate production makes them a thrilling choice for those who appreciate Journey's craftsmanship and attention to sonic detail. Combining technical prowess with emotion-laden songwriting, Boston is a must-listen for fans searching for more bands like Journey.

Rock Out To Some Of The Most Popular Songs From Boston   - "More Than A Feeling"   - "Peace Of Mind"   - "Amanda"

Dive Into Boston's History With Some Unique Deep Cuts   - "Foreplay / Long Time"   - "Hitch a Ride"

Foreigner, a British-American rock band formed in 1976, has earned their place among the ranks of bands like Journey with their powerful vocals, memorable hooks, and energetic sound. Hit songs like "Cold as Ice" and "Juke Box Hero" showcase Foreigner's knack for blending catchy pop elements with hard-hitting rock sensibilities, making them irresistibly appealing to Journey fans. Furthermore, their passionate live performances and ability to connect emotionally with audiences make Foreigner an ideal choice for those seeking a band that shares Journey's magnetic spirit and enduring appeal.

Rock Out To Some Of The Most Popular Songs From Foreigner   - "I Want to Know What Love Is"   - "Cold as Ice"   - "Juke Box Hero"

Dive Into Foreigner's History With Some Unique Deep Cuts   - "Long, Long Way from Home"   - "Blue Morning, Blue Day"

The progressive and hard rock outfit Styx, formed in 1972, has captured the hearts of many rock fans with their bombastic sound and melodic sensibilities, making them a fitting choice for Journey admirers. Hits like "Come Sail Away" and "Renegade" showcase Styx's gift for storytelling and powerful vocals, reminiscent of Journey's unforgettable tunes. Additionally, their tight musicianship, theatrical live shows, and intricate arrangements make them a thrilling option for any Journey fan seeking a band with a comparable level of artistry and performance prowess.

Rock Out To Some Of The Most Popular Songs From Styx   - "Come Sail Away"   - "Mr. Roboto"   - "Renegade"

Dive Into Styx's History With Some Unique Deep Cuts   - "Suite Madame Blue"   - "A.D. 1928 / Rockin' the Paradise"

Hailing from Jacksonville, Florida, 38 Special offers a distinct blend of Southern rock and melodic hooks that will entice fans of Journey's heartfelt lyrics and memorable tunes. Formed in 1974, the band found success with hits like "Hold On Loosely" and "Caught Up in You," showcasing their talent for crafting infectious melodies and sing-along choruses. With their signature blend of muscular guitars and emotive storytelling, 38 Special provides a refreshing twist on classic rock that Journey enthusiasts are sure to enjoy.

Rock Out To Some Of The Most Popular Songs From 38 Special   - "Hold On Loosely"   - "Caught Up in You"   - "Rockin' Into the Night"

Dive Into 38 Special's History With Some Unique Deep Cuts   - "Wild  -Eyed Southern Boys"   - "Back Where You Belong"

Pat Benatar

Pat Benatar, one of the most iconic female rockers of all time, is known for her powerful vocals, emotive storytelling, and anthemic hits that will undoubtedly appeal to fans of Journey. Songs like "Hit Me With Your Best Shot" and "Love is a Battlefield" showcase her impressive range, passionate delivery, and memorable hooks, making her a fantastic choice for fans seeking a similarly captivating sound. With a career spanning four decades, her relentless energy and undeniable talent make Pat Benatar a must-listen for anyone who loves Journey's infectious tunes and unforgettable performances.

Rock Out To Some Of The Most Popular Songs From Pat Benatar   - "Hit Me with Your Best Shot"   - "Love is a Battlefield"   - "We Belong"

Dive Into Pat Benatar's History With Some Unique Deep Cuts   - "You Better Run"   - "Hell Is for Children"

Def Leppard

As pioneers of the new wave of British heavy metal and hard rock, Def Leppard has captivated rock enthusiasts around the world, including Journey devotees. With hits such as "Photograph" and "Pour Some Sugar on Me," the band perfectly demonstrates their knack for crafting infectious hooks, powerful guitar riffs, and sing-along choruses - elements that also define Journey's sound. Furthermore, Def Leppard's distinctive harmonies and fist-pumping anthems make them appealing to those who appreciate Journey's signature energy and unyielding rock'n'roll spirit.

Rock Out To Some Of The Most Popular Songs From Def Leppard   - "Pour Some Sugar On Me"   - "Photograph"   - "Love Bites"

Dive Into Def Leppard's History With Some Unique Deep Cuts   - "Wasted"   - "Mirror, Mirror (Look Into My Eyes)"

Hailing from Canada and formed in 1979, Loverboy delivers a winning combination of hard-hitting rock and irresistible hooks that will captivate Journey enthusiasts. With anthems like "Working for the Weekend" and "Turn Me Loose," this band shares Journey's talent for crafting unforgettable tunes that resonate with fans both lyrically and melodically. Loverboy's high-energy live shows and nostalgia-inducing sound make them an appealing choice for those seeking bands with a similar timeless appeal and rock 'n' roll spirit.

Rock Out To Some Of The Most Popular Songs From Loverboy   - "Working for the Weekend"   - "Turn Me Loose"   - "Lovin' Every Minute of It"

Dive Into Loverboy's History With Some Unique Deep Cuts   - "When It's Over"   - "Hot Girls in Love"

Kansas, hailing from their namesake state, offers a unique blend of progressive rock, hard rock, and melodic hooks that will undoubtedly appeal to those who appreciate Journey's sound. With timeless hits like "Carry On Wayward Son" and "Dust in the Wind," the band has proven their talent for crafting unforgettable tunes that resonate with fans of emotive, anthemic rock music. Kansas' skillful musicianship, intricate arrangements, and heartfelt lyrics make them a must-listen for Journey enthusiasts seeking more bands that excel in both technical prowess and emotional depth.

Rock Out To Some Of The Most Popular Songs From Kansas   - "Carry On Wayward Son"   - "Dust in the Wind"   - "Point of Know Return"

Dive Into Kansas' History With Some Unique Deep Cuts   - "The Spider"   - "The Pinnacle"

Survivor, perhaps best known for their triumphant anthem "Eye of the Tiger," delivers a powerful blend of hard rock and melodic hooks that will unquestionably resonate with Journey fans. Formed in 1978, this Chicago-based band consistently provides anthemic tracks like "Burning Heart" and "High on You," which showcase the group's penchant for emotive lyrics and memorable melodies. With their arena-ready sound and passionate performances, Survivor is an excellent choice for those seeking a band similar to Journey with an unstoppable spirit and energizing vibe.

Rock Out To Some Of The Most Popular Songs From Survivor   - "Eye of the Tiger"   - "Burning Heart"   - "I Can't Hold Back"

Dive Into Survivor's History With Some Unique Deep Cuts   - "Hesitation Dance"   - "Rebel Girl"

Eddie Money

Eddie Money, an iconic rocker with a soulful voice and a knack for storytelling, has been captivating audiences since the late '70s with his memorable tunes and emotive performances. Songs like "Two Tickets to Paradise" and "Take Me Home Tonight" showcase his ability to craft unforgettable hooks and heart-tugging lyrics, making him a fantastic choice for fans of Journey's anthemic sound. With a career spanning over four decades, Eddie Money's relentless energy and passion for his craft make him a must-listen for anyone who loves Journey's timeless appeal and unforgettable performances.

Rock Out To Some Of The Most Popular Songs From Eddie Money   - "Take Me Home Tonight"   - "Two Tickets to Paradise"   - "Shakin'"

Dive Into Eddie Money's History With Some Unique Deep Cuts   - "No Control"   - "I Wanna Go Back"

Huey Lewis & the News

Huey Lewis & the News, a versatile rock band formed in 1979, offers a unique blend of feel-good tunes and infectious hooks that will undoubtedly resonate with Journey fans. With hits like "The Power of Love" and "Hip to Be Square," their catchy melodies and energetic sound provide a refreshing twist on classic rock. Their undeniable charisma and engaging live shows make Huey Lewis & the News an ideal option for fans of Journey seeking bands with a similarly vibrant and uplifting vibe.

Rock Out To Some Of The Most Popular Songs From Huey Lewis & the News   - "The Power of Love"   - "Heart and Soul"   - "Stuck with You"

Dive Into Huey Lewis & the News' History With Some Unique Deep Cuts   - "Walking on a Thin Line"   - "If This Is It"

Formed in 1981 as a progressive rock supergroup, Asia brings together members from iconic bands such as Yes, King Crimson, and ELP, resulting in a sound that's sure to enthrall Journey fans. With chart-topping tracks like "Heat of the Moment" and "Only Time Will Tell," Asia adeptly fuses intricate musicianship and lush arrangements with accessible melodies that echo Journey's unforgettable hits. Their ability to combine a progressive edge with catchy hooks makes Asia a compelling choice for fans seeking a band like Journey with a touch of prog-rock flair.

Rock Out To Some Of The Most Popular Songs From Asia   - "Heat of the Moment"   - "Only Time Will Tell"   - "Don't Cry"

Dive Into Asia's History With Some Unique Deep Cuts   - "Time Again"   - "Wildest Dreams"

Toto, known for their impeccable musicianship and genre-defying sound, has captured the hearts of many rock fans since their formation in 1977, including those who adore Journey. With iconic hits like "Hold the Line" and "Africa," the band's penchant for soaring choruses and emotive storytelling is undeniably similar to Journey's style. Toto's fusion of rock, pop, and jazz influences adds a unique twist to their music, offering a fresh yet familiar listening experience for those who love Journey. As a band with incredible technical skill and a diverse catalog that spans decades, Toto is truly a treasure trove for Journey fans eager to delve into more great music.

Rock Out To Some Of The Most Popular Songs From Toto   - "Africa"   - "Rosanna"   - "Hold the Line"

Dive Into Toto's History With Some Unique Deep Cuts   - "St. George and the Dragon"   - "White Sister"

Bad English

As a supergroup featuring Journey's very own guitarist Neal Schon and Jonathan Cain, it should come as no surprise that Bad English delivers a sound reminiscent of Journey's classic rock style. Formed in 1987, this short-lived yet impactful band provided hits like "When I See You Smile" and "Price of Love," showcasing their ability to produce melodic rock ballads and catchy hooks guaranteed to please any Journey fan. While their tenure may have been brief, Bad English's legacy lives on among rock aficionados who value memorable songs and superb musicianship.

Rock Out To Some Of The Most Popular Songs From Bad English   - "When I See You Smile"   - "Price of Love"   - "Heaven is a 4 Letter Word"

Dive Into Bad English's History With Some Unique Deep Cuts   - "Ready When You Are"   - "Ghost in Your Heart"

Night Ranger

Night Ranger, formed in 1979, has earned their place among the pantheon of bands like Journey with their catchy hooks, soaring vocals, and anthemic rock sound. With hits such as "Sister Christian" and "Don't Tell Me You Love Me," this Californian band shares Journey's talent for delivering unforgettable melodies that resonate with fans on an emotional level. Night Ranger's undeniable chemistry and relentless work ethic make them an ideal option for those seeking bands with a similar vibe and commitment to delivering top-notch performances.

Rock Out To Some Of The Most Popular Songs From Night Ranger   - "Sister Christian"   - "Don't Tell Me You Love Me"   - "When You Close Your Eyes"

Dive Into Night Ranger's History With Some Unique Deep Cuts   - "Rumours in the Air"   - "Penny"

As one of the most iconic rock bands of the '80s, Bon Jovi boasts an impressive catalog of anthems filled with infectious hooks, heartfelt storytelling, and powerful vocals that Journey fans are sure to appreciate. Hits like "Livin' On a Prayer" and "Wanted Dead or Alive" cemented their status as rock legends, sharing Journey's knack for crafting tunes that resonate with fans on a deeper level. Beyond their commercial success, Bon Jovi's electrifying live shows and indomitable spirit make them a must-listen for fans seeking bands with a similarly timeless and passionate energy.

Rock Out To Some Of The Most Popular Songs From Bon Jovi   - "Livin' on a Prayer"   - "You Give Love a Bad Name"   - "Wanted Dead or Alive"

Dive Into Bon Jovi's History With Some Unique Deep Cuts   - "Blood on Blood"   - "Wild is the Wind"

Van Halen, the explosive hard rock band formed in 1972, showcases electrifying guitar riffs and anthemic choruses that will undoubtedly captivate Journey fans. With hits like "Jump" and "Panama," their powerful sound and infectious hooks strike a chord with those who appreciate Journey's stadium-ready tunes. While their style leans more towards hard rock, Van Halen's impressive musicianship and energetic live performances make them an appealing option for fans of Journey seeking bands with a similarly remarkable stage presence and undeniable charisma.

Rock Out To Some Of The Most Popular Songs From Van Halen   - "Jump"   - "Panama"   - "Hot for Teacher"

Dive Into Van Halen's History With Some Unique Deep Cuts   - "I'm the One"   - "Dirty Movies"

For those who appreciate Journey's powerhouse vocals and hard-rocking sound, Whitesnake is a perfect choice. Formed in 1978 by former Deep Purple vocalist David Coverdale, the band has churned out hits like "Here I Go Again" and "Is This Love," which showcase their ability to deliver emotive ballads and fist-pumping anthems alike. With their passionate performances and unyielding rock'n'roll attitude, Whitesnake is sure to delight fans seeking bands with a similar magnetic energy and unforgettable stage presence.

Rock Out To Some Of The Most Popular Songs From Whitesnake   - "Here I Go Again"   - "Is This Love"   - "Fool for Your Loving"

Dive Into Whitesnake's History With Some Unique Deep Cuts   - "Ain't No Love in the Heart of the City"   - "Slow an' Easy"

Billy Squier

Billy Squier, an American rock musician who rose to fame in the '80s, offers a catalog filled with catchy hooks, powerful guitars, and emotive lyrics that will resonate with fans of Journey. Hits like "The Stroke" and "Lonely is the Night" showcase his ability to craft infectious tunes that blend rock and pop sensibilities, making him an appealing choice for those seeking a similar sound. Squier's passionate performances and undeniable talent make him a must-listen for fans who appreciate Journey's unforgettable tunes and captivating stage presence.

Rock Out To Some Of The Most Popular Songs From Billy Squier   - "The Stroke"   - "In the Dark"   - "Lonely Is the Night"

Dive Into Billy Squier's History With Some Unique Deep Cuts   - "My Kinda Lover"   - "Learn How to Live"

With their unique blend of progressive rock, pop, and jazz elements, Supertramp stands out among bands like Journey and offers a refreshing listening experience for their fans. Formed in 1969, the band earned success with hits like "The Logical Song" and "Take the Long Way Home," demonstrating their knack for weaving intricate arrangements with catchy hooks and engaging storytelling. Supertramp's sonic diversity and musical prowess make them an excellent choice for Journey fans who crave a band with a distinctive sound and a commitment to artful musicianship.

Rock Out To Some Of The Most Popular Songs From Supertramp   - "The Logical Song"   - "Give a Little Bit"   - "Breakfast in America"

Dive Into Supertramp's History With Some Unique Deep Cuts   - "Asylum"   - "Even in the Quietest Moments"

Canadian power trio Triumph, formed in 1975, delivers a potent blend of hard rock and melodic hooks that will appeal to those who appreciate Journey's stadium-ready tunes. With anthems like "Lay It on the Line" and "Fight the Good Fight," the band shares Journey's talent for creating unforgettable melodies that resonate with fans on a deeper level. Triumph's tight musicianship, soaring vocals, and relentless work ethic make them an ideal choice for those seeking bands with a similar vibe and commitment to delivering top-notch performances.

Rock Out To Some Of The Most Popular Songs From Triumph   - "Lay It on the Line"   - "Magic Power"   - "Fight the Good Fight"

Dive Into Triumph's History With Some Unique Deep Cuts   - "Never Surrender"   - "A World of Fantasy"

Rick Springfield

With a career spanning over five decades, Australian rocker Rick Springfield has proven his ability to deliver unforgettable melodies, heartfelt lyrics, and infectious hooks that will captivate fans of Journey. His iconic hit, "Jessie's Girl," along with other tracks like "Don't Talk to Strangers" and "Love Somebody," showcase Springfield's talent for crafting catchy tunes that resonate with fans on an emotional level. Combining powerful vocals with an energetic rock sound, Rick Springfield is an excellent choice for those seeking bands with a similar timeless appeal and unforgettable stage presence.

Rock Out To Some Of The Most Popular Songs From Rick Springfield   - "Jessie's Girl"   - "I've Done Everything for You"   - "Love Somebody"

Dive Into Rick Springfield's History With Some Unique Deep Cuts   - "State of the Heart"   - "Affair of the Heart"

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The greatest rock bands and artists in every conceivable sub-genre, ranked.

Queen's remarkable rise: from pop oddities to rock'n'roll legends

It's 45 years on from their first album, and Queen's career was no bed of roses, no pleasure cruise... but they kept on fighting

Wembley Stadium, July 13, 1985. When Freddie Mercury skipped like a show pony on to Queen's Live Aid stage, right arm aiming air-hooks at the sea of faces before him, it’s worth remembering that Queen were at a new low point in their career. 

Following their controversial decision nine months previously to perform at Sun City, jewel in the segregated crown of apartheid-ruled South Africa – an act in direct violation of United Nations sanctions that would see them fined by the UK Musicians’ Union and placed on a United Nations blacklist – Queen had become pariahs of pop; outcasts of rock; social, musical and political undesirables. It didn’t help that Queen had always been portrayed in the press as pompous, aloof, arrogant even. It was there in their music: arch, grandiose, majestic. 

It was there even in the way they performed: Freddie, pouring champagne over the heads of the audience at Madison Square Garden, boasting of bringing ballet to the masses and declaring: “Darling, I’m simply dripping with money! It may be vulgar, but it’s wonderful.” 

None of that, though, had ever stopped Queen fans from simply loving them, the same way they did the real Royals: unequivocally, unashamedly, undeniably, no matter what. The stink of those South African shows had clung to Queen though in a way it seemed impossible to shake off. Right up to the moment that Freddie plonked himself down at the piano on stage at Wembley Stadium that hot, never-to-be-forgotten day and picked out the blissfully familiar intro to Bohemian Rhapsody – and all 72,000 people there, plus the 1.9 billion across the globe watching on TV at home, went crazy. 

From there it just got better. As they segued into the intro to Radio Ga Ga , Freddie was up and prancing, rolling those shoulders and pursing those lips, eyes sparkling as he waved around that phallic truncated mic stand like a sceptre. Watching a YouTube clip of it now, that glorious moment when the ecstatic Wembley crowd do the synchronised hand-clapping à la the Radio Ga Ga video , the shivers still spiral up the spine. 

It’s a moment of musical divinity. An actual shot of rock immortality. And Freddie knew it. As Live Aid organiser Bob Geldof put it: “Queen was absolutely the best band of the day. They played the best, had the best sound, used their time to the full. It was the perfect stage for Freddie – the whole world. And he could ponce about on stage doing We Are The Champions . How more perfect could it get?” The answer: it couldn’t.

No time for losers. That had always been the Queen credo. Yet only in so much as it applied to the band members’ own aspirations. As Brian May later explained to me: “It wasn’t meant as a put-down or an arrogant thing. When Freddie wrote that it was more directed at himself, a kind of self-affirming thing. You’d say: ‘You can’t do that! We’ll get slaughtered.’ He’d just go: ‘Yes we can.’ And he was right.” 

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Any other band might have given up, such were the unpromising circumstances that greeted Queen’s arrival on to the London scene in 1973. So there was Brian, the nerdy space brain who’d built his own guitar from a fireplace (a what?) and liked to wear capes and clogs on stage; John Deacon, another Bunsen-burning bright boy, who always looked the most doubtful; or as he later put it: “I knew there was something,” but wasn’t “convinced of it” until long after Queen became stars; Roger Taylor, the blond, pretty-as-a-daffodil ex-public schoolboy from Cornwall who’d studied to become a dentist; and up front the brilliant Farrokh Bulsara – Freddie to his great many friends – who’d come from a boys’ boarding school near Mumbai, India and was an arty, fashion-freaked, Hendrix-obsessed, pan-sexual dynamo who’d renamed himself Mercury after a line in one of his own songs. (‘ Mother Mercury, look what they’ve done to me ,’ from The Fairy King .) 

A motley collection of over-entitled popinjays, you might say – and the critics said a lot worse – that had arrived late for the glam party, yet still opted for make-up and satin pants while remaining in thrall to the already past-it hippie fogey-isms of Zeppelin (Ogre Battle, anyone?) 

Or as that redoubtable organ of socio-musicological critique Record Mirror put it at the time: “If this is our brightest hope for the future then we are committing rock’n’roll suicide.” Nevertheless, in the summer of 1973 when Queen’s self-titled first album was released, it was hard to place quite where the newbies-come-very-lately fitted exactly. 

Bowie had just retired Ziggy; Zep were already five albums and a million rainbows in; Yes and Genesis had already demarcated public-school prog; Rod Stewart and Elton John had cornered the good-geezer/wise-barfly market. What use, then, for another bunch of nail-polished, guitar screeching look-at-mes? 

Against that backdrop, what Queen had to offer appeared highly contrived – and in 1973 ‘contrived’ was the worst insult you could throw at a band with pretensions to being true album-oriented contenders. Even small victories came tainted. 

When The Old Grey Whistle Test producer Mike Appleton commissioned an animated sequence to run on the show as a visual to accompany a sub-Zep rocker titled Keep Yourself Alive , he admitted he had no idea it was a Queen track. He’d simply “found this white label in my office, no name on it, and liked the opening track”. 

There’s one thing nobody could deny, though: Queen were always a great band live. They’d been honing their live act all through the two years it took to complete their first album. 

Then in October 1973 they got their big break, opening for Mott The Hoople on a 31-date tour of the UK. You couldn’t be ‘contrived’ and pull off performances of cinematic epics like Father To Son and White Queen . Clearly this was a band that knew how to rock. The worry was whether they would be able to roll with the changes long enough to really catch on. 

They certainly talked a good game. May laughed when I reminded him once of Freddie’s famous quote from those pre-fame days about refusing to take public transport. “It’s… slightly embellished,” he chuckled. “I did a lot of bus journeys with Freddie, actually. If you ever get on a number nine bus and go upstairs and go to the front left, that’s where Freddie and I used to sit, going up to Trident [studios, which their then managers, brothers Norman and Barry Sheffield owned] to beat them on the heads, to try and make them do something, cos we felt like we were in a backwater for so many years.” 

The backwater years ended in 1974, with the release in March of Queen II ; more specifically, the hit single Seven Seas Of Rhye . More specifically still, their spectacular performance of it on Top Of The Pops. That weekly TV chart show meant everything in that largely pre-video age. As an over-impressionable 15-year old Ziggy-kid with Mott-spots and Zep cravings, for me Top Of The Pops was where Queen really kept themselves alive in the mid-70s. 

One wild-eyed shot of them doing Seven Seas Of Rhye had me stealing a ten-bob note from my mum’s purse in order to purchase the single during school lunch hour the next day. It was the same when they came on doing Killer Queen – the most sublimely brilliant single of 1974 – later the same year. As for the adrenalin overload of watching them do Now I’m Here just weeks later. None of that ‘ironic’, ‘we know that you know we’re only miming’ 80s nonsense with Queen in 1974. 

Look at the clip now of Freddie waggling his black nail-polished fingers in your face during Killer Queen , wrapped in bum-warmer fur while Brian and John throw cooler-than-thou, rock-idol shapes and Roger pouts as he pounds, and tell me you think they’re faking it.

Looked back at now, it’s easy to see the rest of Queen’s career trajectory as an enviably upward line of unbroken success. That after the attention-grabbing Queen II and the pay-off of Sheer Heart Attack , those two albums released within eight months of each other, their formula for success was firmly established. 

May brought the hard rock ( Now I’m Here ), Mercury the sophisticated pop ( Killer Queen ), while Taylor and Deacon were the Ringo and George of the group – the side salad to the steak (although both would later contribute their own significant hit singalongs to the Queen canon.) 

In fact, the mid-70s found the band in a perilous place. They were big at home in Britain, and through Killer Queen getting bigger in Europe, and had the first signs of a US breakthrough when both Killer Queen and Sheer Heart Attack reached No.12 on their respective charts, but still just wage slaves, living in rented accommodation, sashaying around the clubs at night, scrabbling around to pay the bills the next morning. 

Roger Taylor later recalled the band coming home from headlining two shows at the 15,000-capacity Budokan in Tokyo in the spring of 1975 and going home to his tiny bedsit in Richmond, and “we were still on sixty quid a week”. 

John Deacon, by now married, had to beg for the £2,000 he needed as a deposit on a house, while the Sheffield brothers who managed Queen were supposedly driving around in Rolls-Royces. 

Something would have to be done. Quickly. 

Enter the most feared management figure in the London-based music business of the 1970s: Don Arden. Arden (father of Sharon, soon-to-be Osbourne) once described for me how he became involved with Queen. 

“Queen was at its height at the time, yet they were penniless,” he said. “They didn’t even have a car between them. Freddie and the rest of the guys in the band were friendly with Sharon, and so they asked for [my] advice. I [said] my advice would be to get their coats on and fuck off! But they said they wouldn’t do that because they were terrified of the Sheffield boys – they had the group believing they ruled the streets of Soho. Well, we would see about that.“ 

Queen was signed to EMI, but the deal the label had done had been via the brothers’ own production company. It was the same with all the deals the band made: nothing was signed directly to them, but to the brothers’ production company. As a result, the brothers not only owned their management contract, they owned their recording contract and their song publishing too.

As a result, said Don, “the Queen boys had a roof over their heads and an old van they travelled in when they were on tour. I couldn’t believe it. It was like they’d never sold a record. 

I said: ‘Well, what do you want me to do?’ They said: ‘We want you to manage us, Don.’ I said: ‘Okay, get your lawyer to send me a letter confirming your intention to come to me, and I’ll go and sort these fucking guys out for you.’ We shook hands on it, and the very next day I drove up to Soho to see the Sheffields

"I didn’t actually bother making an appointment, I just turned up. I knew they were fakes. Sure enough, when I walked into their office and announced myself it scared the hell out of them. They began talking very fast, chattering away about how they’d just been shopping with their wives buying them jewellery. 

"They were starting to make me sick, so I looked at my watch and said: ‘Well, we’ve done with the niceties. Now listen to me very carefully. I’m not here to talk about your fucking wives. I’m here to inform you that you no longer represent Queen. It’s over, okay? Finito.’ “They looked at each other. They might have put the frighteners on Queen, but did they have the balls to actually take on Don Arden? No, they fucking didn’t. 

"They couldn’t even look me in the eyes. They were worried about what was coming next. Would I have a go? Maybe. But I wasn’t evil to them. I didn’t have to be. I just told them how stupid I thought they were. In fact I gave them a bit of a lecture. ‘If you’d at least bought them all a fucking car and put a few quid in their pockets it would probably never have come to this,’ I said. ‘Why didn’t you do all that and then think about screwing ’em? Well, you’ve blown it now. They’re gone.’ “They hung their heads in shame.

"I told them that if they agreed to walk away right now this instant, they would get a cheque for a hundred thousand pounds for their trouble and they would never have to see me again. I pointed out that if they didn’t agree, however, the group would still be gone but they wouldn’t get any money at all, and they’d have me to deal with. They sensibly took the money. 

“When I got back to the office that day and told [Queen] what I’d done they literally wept for joy. They were hugging me and kissing me. Then as soon as they got their hands on the money I never heard from them again.” In fact, as Sharon Osbourne later explained to me, the band had decided instead to go with Elton John’s manager, John Reid. 

The reason? “Freddie,” she said. “John was gay too and I think Freddie just felt safer with him.” A shrewd music biz guru, Reid immediately proved his worth by making a decision that would transform the band’s lives. It was Reid who put his foot down and absolutely insisted that the next Queen single should be a track that, on paper, appeared the least commercial of all the new material they were working on. A mock-opera, if you will, part ballad, part waltz, part rocktastic headbanger. 

It was called Bohemian Rhapsody. And when the suits at EMI heard it they nearly fainted. This was a joke, right? Wrong. This was a stroke of genius. We all know what happened next.

Roy Thomas Baker, the pop perfectionist who had produced all the Queen albums up until then, later recalled his time working with Freddie, listening, mouth open, as the singer demonstrated on the piano an “idea for a song” that he had. “It was going to be a brief interlude of a few Galileos and then we’d get back to the rock part of the song,” Baker memorably recalled years later. 

“When we started doing the opera section properly, it just got longer and longer.” Days went by with the recording. Every time a perplexed Baker thought they were done, “Freddie would come in with another lot of lyrics and say: ‘I’ve added a few more Galileos here, dear,’ and it just got bigger and bigger.” There had famously been long, ‘journey’ songs on albums before; tracks identified by their construction from seemingly disparate elements that built to a towering crescendo. The Beatles with A Day In The Life from the Sgt Pepper’s album springs to mind easily, as does Led Zep’s Stairway To Heaven . Also, most recently in the mind of Freddie Mercury, the three-part pop operetta Une Nuit A Paris from 10cc’s summer 1975 album The Original Soundtrack . 

None of those, though, had ever been released as a single. Yet when Capital Radio DJ Kenny Everett played it 14 times in two days, EMI commissioned the now legendary video, based on images from photographer Mick Rock’s iconic session with the band from the previous year. The result was not just the biggest hit of the year, but the biggest hit – certainly the most memorable – in British music history up to that point. One that perfectly encapsulated everything that we now think of when we think of Queen: rock grandeur, pop camp, multi-tracked musical ostentation, workson-many-levels lyrical imagery, fun, frisson, ‘you must be fucking joking’, ‘no I’m fucking not’ genius. All wrapped up in a song that would later be revealed as surprisingly autobiographical. 

For someone who appeared supremely confident, the truth is that by 1975 Freddie was in a mental and emotional quandary. Although he’d been in a loving relationship with boutique owner Mary Austin since before Queen, he’d been experimenting with men since he was at boarding school. 

Still living with Mary at the time he wrote Bohemian Rhapsody , but now also involved with music publisher David Minns, Freddie had also increasingly begun to enjoy casual gay sex on the road. 

As Brian May later explained to me: “The subject of Freddie’s sexuality never came up. Basically, because none of us had any idea that he might be different from us. Is that saying it the right way? I mean, we shared lots of flats and stuff, and I’ve seen Freddie disappear into rooms with lots of girls and screams would emerge, so, you know, we assumed that everything was fairly much the same way as we knew it. It was only later that we realised there was anything else going on with Freddie. We were on tour in the States, and suddenly he’s got boys following him into a hotel room instead of girls. We’re thinking: ‘Hmmm…’ And that’s about the extent of it. Even then, obviously, it was never a problem. I always had plenty of gay friends, I just didn’t realise that Freddie was one of them until much later.”

In that context, it’s easy to read the lyrics to Bohemian Rhapsody as a cry for help almost. Certainly a message in a bottle thrown out to sea by someone feeling isolated, confused, lost. The poor boy, confused between what’s real or just fantasy: ‘Because I’m easy come, easy go, little high, little low/Any way the wind blows, doesn’t really matter to me…’ None of which was easily detectable to the outside world in the mid-70s, as from this point on Queen really did take on the mantle of rock royalty. 

The album A Night At The Opera emulated the daring and sophisticated splendour of its most famous track, and became just as big a hit in its own realm, their first UK No.1, their first multiplatinum top-five hit in the US, and gold and platinum stop-offs around the world. From hereon in, everything about Queen would be defined in epic proportions. 

Not just the success – all of their albums followed A Night At The Opera into the upper reaches of the world’s charts, as did most of their singles, all the way up to The Game in 1980, which hit No. 1 in both Britain and America, their last to do so – but also the manner of that success, the sheer scale of their endeavours. Not just the increasingly over-the-top songs, but also the videos, live shows , album launch parties and of course the personal lifestyles of the band. The infamous launch party in New Orleans in 1978 for the Jazz album featured a guest list of 500: rock and film stars, street freaks and media loyalists; oysters, lobster, the finest caviar, champagne; dwarves serving cocaine from trays strapped to their heads; contortionists, fire-eaters, drag queens, naked dancers in cages suspended from the ceiling; grand marble toilets ‘serviced’ by prostitutes of both sexes. 

“Most hotels offer their guests room service,” Freddie giggled. “This one offers them lip service.” When the 1979 single Crazy Little Thing Called Love went to No.1 in America Freddie that boasted it had taken him just 10 minutes to write, doing an Elvis impersonation while lying in a bubble bath snorting cocaine in his £1,000-a-night suite at the Bayerischer Hof Hotel in Munich. As you do. 

Ironically, the bigger and more ostentatious became the Queen modus operandi, the more they were accused of being hollow, preposterous, inalienable. Yet nobody mocked Queen more than Freddie Mercury . 

“Of course, dear,” he told one writer. “We’re wonderfully shallow. Our songs are like Bic razors – designed for mass consumption and instantly disposable.” 

Teased about the elaborate stage productions they now toured with, Freddie laughed and said: “We’re the most preposterous band that’s ever lived.” 

As Brian May told me: “The most popular misconception of people outside the people who ‘get it’, is that [Freddie] took himself seriously. [They] didn’t understand that although he took his work incredibly seriously, there was always that element of self-parody, if you like, in Freddie. He was always slightly tongue-in-cheek; there was always a little twinkle in his eye. I think that’s what was missed by the outside world. It never mattered to Freddie, though, it never bothered him. It was like, they either get it or they don’t.”

Such hubris reaps its own bitter rewards, of course. And just as Queen seemed like they couldn’t get any higher – Another One Bites The Dust (written by John Deacon) from The Game became their second No.1 hit in the US, followed a year later by their only UK No.1 of the 80s, their David Bowie collaboration Under Pressure – they finally flew close to the sun and badly singed their wings. 

They didn’t make it public, but by the end of making The Game Queen had all but broken up. 

“Yes, we all walked out at various times,” May admitted. “You get hard times, as in any relationship. We definitely did. Usually in the studio; never on tour. On tour you always have a clear, common aim. But in the studio you’re all pulling in different directions and it can be very frustrating. You only get twenty five per cent of your own way at the best of times. So, yes, we did have hard times. Feeling that you’re not being represented, that you’re not being heard. Because that’s one of the things about being a musician, you want to be heard. You want your ideas to be out there. You want to be able to explore what’s coming to you in the way of inspiration. It was a difficult compromise to find, but always worth finding once you did find it.” 

Speaking nearly 20 years later, John Deacon put it more simply: “Once we’d achieved that level and been successful in so many countries in the world, it took away some of the incentive.” 

The bottom of the barrel arrived with their 1982 album Hot Space . After a decade at the top, Queen had demonstrated more versatility than any group since The Beatles. It seemed they could do anything, not just bring opera to the charts – opera, dude! – but also Aretha-soul ( Somebody To Love ), effervescent pop ( Don’t Stop Me Now ), music hall ( Good Old Fashioned Lover Boy ), rockabilly ( Crazy Little Thing Called Love ), heartland rock ( Fat Bottomed Girls ), Chic-style funk pop ( Another One Bites The Dust )… 

With Hot Space they decided they could do disco. “Freddie and John definitely shared an interest in exploring that funk direction,” said May. “I remember Roger’s first reaction to Another One Bites The Dust , which was unprintable! But he got into it in the end. And I make no apologies for the Hot Space album. I was well into it at the time. It took me a while to get into that philosophy of sparseness but it was very good for us, it was a good discipline and it got us out of a rut and into a new place.”

The trouble was, disco had already been done to death, and only recently. By releasing the single Body Language , a sleek, highly impressive electro-disco bump’n’grind, they had alighted on the form just as rap and soon-to-be hip-hop had reinvented the genre. 

But Freddie couldn’t see it. Now living in New York and a nightly habitué of the small-hours gay and S&M clubs where such music writhed and thrived, it wasn’t just the almost suffocating sounds of the tightly wound turntables he sought to emulate, it was the whole limb-tangled scene. 

Not only had ‘rock’ band Queen abandoned their musical foundation stones, also their singer had cut his hair butch-short and grown one of the moustaches that characterised the after-dark scene he now called home. Freddie’s change of image from svelte 70s rock star to short-haired and moustachioed pop diva was the moment when Queen’s career in America began to tank. 

“I think there’s a grain of truth in that, but there was a lot more going on, a number of factors,” May insists. “One of the factors was the video for I Want To Break Free . We’re talking about a bit later now, but I know that that was received with horror in the greater part of America. Because they just didn’t get the joke, you know. To them it was boys dressing up as girls and it was unthinkable, especially for a rock band. I was actually in some of those TV stations when they got the thing and a lot of them refused to play it. They were visibly embarrassed about having to deal with it. So that was one factor.” 

He also cited the band’s switch of US label in the early 80s: “We had spent a million dollars getting out of the Warner-Elektra deal to get on to the Capitol label. And Capitol got themselves into a heap of trouble with [a dispute that raged in the early 80s over the alleged corruption of independent record promoters in the US]. It was basically the ring of bribery that [went] on to get records played [on US radio]. There was a government enquiry into it and everybody shut down very, very fast. 

“Without going into it too deeply, Capitol got rid of all their ‘independent’ guys, and the reprisals from the whole network were aimed directly at all the artists who had records out at that time. We had Radio Ga-Ga out, which I think was number thirty and rising, and the week after that it disappeared from the charts completely. We got caught up in all that due to no fault of our own.” Mercury, as ever, affected not to care, as if nothing really mattered. Queen toured South America instead of North America. 

“Japan and Europe also became a huge thing for us. Eastern Europe opened up. And we were not seen for quite a long time in the States, due to a combination of all the circumstances that I’ve described. Plus the fact that Freddie didn’t want to go back smaller than we’d been before. He was like: ‘Let’s just wait, and then soon we’ll go out and we’ll do stadiums in America as well.’ Only of course we never did.”

For the Queen traditionalists – and there were still many millions of them – the release of The Works , in 1984, was an unexpected joy. To call it a return to form would be unjust. It was another move forward, just less deliberately weird than its much-derided predecessor. The electronics were there not just to unbalance expectations, but, as in royal days of yore, to become another Queen-endorsed part of the overall musical majesty. 

Radio Ga Ga , written by Taylor, was a giant hit, heralding what appeared to be a new chapter in the ever-unfolding story of Queen. Even better, though, was I Want To Break Free , with its gorgeous loping rhythm that John Deacon had again come up with, and blissfully muted synth solo, played by the great Fred Mandel, the first significant extracurricular musician ever to appear on a Queen record. 

The video was a hoot, of course, with its cringingly short skirts, crooked women’s wigs, badly drawn lippy and droopy cigarettes. The track was fabulous, joyous and, when listened to alone, away from the hoovering video, a wonderfully fully realised demand for the one thing rock music was originally invented to champion: the freedom to be oneself, whoever the hell that might be, when no one else is looking. 

A few years later I attended the funeral of Brian Munns, the brilliant EMI press officer who had attended Queen’s career through thick and thin. I was deeply moved to discover he had requested that I Want To Break Free be played as his coffin was ushered into the flames of the crematorium. 

By then Freddie was dead too, but to hear him crooning ‘ It’s strange but it’s true/I can’t get over the way you love me like you do ’ brought a happy tear to the eye. 

For Freddie and Brian, for all of us. I also recalled the harsh criticism that news that Queen had been added to the Live Aid bill had engendered among my colleagues on the so-called free press. And how none of it really mattered by the time Freddie, Brian, John and Roger took Wembley and the world by storm that summer. 

When, exactly 20 years later, I asked Brian May what he would list as Freddie Mercury’s greatest attributes as live performer, apart, of course, from that fantastic four-octave voice, he replied: “I suppose that combination of such daring and audacity, but also a great vulnerability as well.” 

Isn’t that what made them Queen, though, that ability to be something more than just a rock band? 

“Well, that’s very kind of you,” he said. “It’s true that to us there were no boundaries. Alongside trying to never tread the same ground twice, there was always this great challenge of how far can we push things in any direction.” 

And on those several occasions when they went too far? 

“You’d have to ask Freddie.”

Mick Wall is the UK's best-known rock writer, author and TV and radio programme maker, and is the author of numerous critically-acclaimed books, including definitive, bestselling titles on Led Zeppelin ( When Giants Walked the Earth ), Metallica ( Enter Night ), AC/DC ( Hell Ain't a Bad Place To Be ), Black Sabbath ( Symptom of the Universe ), Lou Reed, The Doors ( Love Becomes a Funeral Pyre ), Guns N' Roses and Lemmy. He lives in England.

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Neal Schon Finally Speaks Up About Replacing Arnel Pineda

via Music Mad / Youtube

The future of Journey has been clouded by uncertainty ever since Arnel Pineda, the band’s Filipino vocalist, spoke out against racist remarks and pledged to keep singing, even if it meant parting ways with the iconic group.

Now, guitarist and founding member Neal Schon has stepped into the spotlight, aiming to silence the deafening rumor mill surrounding Pineda’s potential exit. 

Schon’s intervention comes at a crucial juncture, following Pineda’s heartfelt address that resonated deeply with fans and ignited discussions about inclusivity and respect within the music industry.

With tensions simmering and fans eagerly awaiting answers, Schon’s voice holds the potential to either soothe anxieties or exacerbate the drama. 

Arnel Pineda (left) and Neal Schon of Journey – the Classic West concert; Dodger Stadium; Los Angeles, CA (7-16-17). @NealSchonMusic @arnelpineda @JourneyOfficial Photo: Jeff Bliss https://t.co/XkblC3Lvm9 pic.twitter.com/yQrL7uYGQt — JCBliss (@JCBliss) July 31, 2020

“We are better than ever!”

Journey’s guitarist and founding member, Neal Schon, has shut down rumors circulating online about Arnel Pineda’s potential departure from the band. In a fiery Facebook post, he denounced “idiotic, relentless rag mag bulls**t articles” and emphasized that the band “are better than ever!”

Schon’s message serves as a much-needed dose of clarity for fans concerned about the band’s future. He reaffirmed their commitment to each other and expressed excitement for their upcoming tour, starting February 9th. This news comes after Pineda’s recent statement about facing racism and his dedication to continuing his music journey, regardless of the band.

Journey’s 2024 promises to be packed with action. Not only will they embark on their own tour, but they’ll also reunite with rock legends Def Leppard for a summer stadium tour, building on their successful collaborations from the past.

With Schon’s statement and the upcoming shows, it’s clear that Journey is ready to rock on, silencing doubts and fueling anticipation for their next chapter.

Neal Schon on Journey’s ‘New Strut,’ Possible Arnel Pineda Biopic, and His New Solo LP https://t.co/Lt39dAPgTe #Music #MusicFeatures pic.twitter.com/HNbgbJal27 — Siglov Freudivan (@DerangedRadio) January 7, 2021

“I won’t stop singing with or without Journey”

Pineda has faced a barrage of negativity since joining the band in 2007. His Asian heritage, coupled with the iconic band’s predominantly white lineup, sparked a wave of racism and doubt from some fans. However, Pineda refuses to be silenced.

In a recent Instagram post, Pineda addressed his critics head-on, calling out “bashers, foes, racists, bigots, haters,” and declaring: “No matter what or how you will name me, I won’t stop singing with or without Journey… It’s in my blood…”

His message resonated with many, highlighting his unwavering passion for music and his determination to overcome prejudice. He acknowledges his desire for a better life and recognition but emphasizes that being part of Journey was never a calculated move, but rather a dream come true.

Pineda’s defiant stance speaks volumes about his character and talent. Whether it’s “fate, destiny, divine intervention, or pure luck,” his journey with Journey is an inspiration to anyone facing discrimination or doubt. 

  View this post on Instagram   A post shared by arnel c. pineda (@arnelpineda2007)

The Filipino vocalist remained humble and forgiving

Against the backdrop of John Lennon’s “Love”, Pineda continued addressing his detractors, offering an apology for any perceived pain while emphasizing his unwavering belief in unity and forgiveness. His poignant message, echoing Lennon’s call for peace and love, highlighted his resilience in the face of prejudice.

This spirit of acceptance wasn’t confined to Pineda’s own words. The band members themselves, along with their legendary former vocalist, Steve Perry, had extended a warm welcome to the Filipino singer.

Perry’s public acknowledgment of Pineda during the 2017 Rock and Roll Hall of Fame induction ceremony symbolized the band’s embrace of their new frontman. Even Pineda’s predecessor, describing their first encounter, spoke of it as a “glorious moment”.

This chorus of acceptance stands in stark contrast to the negativity Pineda faced. It serves as a powerful reminder that even in the face of adversity, true talent and genuine connection can find a welcoming haven.

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Queen's final journey: The people from all walks of life who waited side-by-side for history to unfold before them

As the Queen's coffin passed by, the strains of state trumpeters in rehearsal for Monday's service of reflection could be heard, while on the rooftops, police marksmen watched on with binoculars, and springer spaniel sniffer dogs darted around the TV positions.

By Joe Pike, news correspondent, on Edinburgh's Royal Mile

Monday 12 September 2022 02:25, UK

In the heart of Edinburgh's Old Town, there was a realisation among much of the crowd of thousands: history is not just in the past, but something you can witness in the present.

New university students waited patiently for hours alongside retirees and tourists from across the globe who had changed their plans to be there. At points, the hordes were 15 people deep.

"It's just so heartbreaking", said Laura Lang from Georgia, USA, as the cortege finally passed. "Look, I know the Queen is 'Britain'. But she's Queen of the world, right?"

There was a spontaneous ripple of applause as the hearse moved down The Royal Mile, past St Giles' Cathedral, the High Kirk of Scotland, where a 24-hour vigil is due to start on Monday evening.

All updates live, as the Queen's coffin lies in rest in Edinburgh and proclamation ceremonies announcing Charles as King take place across the UK

Watching over the scene in the city's Parliament Square, a statue of the fifth Duke of Buccleuch. He would have recognised many of the ceremonies we have all witnessed in previous days because in the 1800s he was part of them.

"It was very moving. We were just so glad we were here," said Patricia Parker, who is on holiday from Northampton. "I just thought it was so regal and precise. We'd never been to Scotland before."

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The rain held off until after the cortege had passed, as preparations continued for the service of reflection due to take place at the cathedral on Monday afternoon.

A fanfare could be heard through the kirk doors - presumably the state trumpeters in rehearsal. On the roofs, police marksmen watched on with binoculars, while an explosive-detecting springer spaniel darted around the TV positions.

As the inevitable rain started to fall, the crowds headed in one direction: down towards the Palace of Holyroodhouse, where the Queen's coffin now lies at rest.

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‘Queenie’ Walks the Line Between Comedy and Tragedy — and Makes for Great TV

By Alan Sepinwall

Alan Sepinwall

We meet Queenie Jenkins under extremely intimate conditions in the first episode of Queenie . She’s in a hospital bed, getting a pelvic exam, while her voiceover narration talks us through recent problems at work, a fight with her boyfriend Tom, and the other challenges of her life as a self-described “loud, brash, sassy, confrontational, bitchy” British-Jamaican woman in her mid-20s. As more and more doctors gather to study an unusual test result, Queenie’s inner monologue suggests that they should call over the janitor while they’re at it.

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Without Tom — and, just as importantly, with him keeping the apartment they shared, while she can’t afford anything decent on her own — Queenie spirals into a series of sexual escapades that seem mildly reckless at first until they also turn out to be reflective of something much more serious, tying back to the reason she won’t speak with her mother, Sylvie (Ayesha Antoine).

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All eight episodes of Queenie are now streaming on Hulu. I’ve seen the whole thing.

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Book Reviews

Queenie's second life on screen gives her more room to grow.

Carole V. Bell

In the episode "From Virgin to Vixen,” Queenie is in peak fun mode, until her demons begin to catch up with her. Latoya Okuneye/Lionsgate hide caption

The new Hulu series Queenie explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.

The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.

The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.

As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, Queenie creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.

The performances bring the novel to life

As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama Criminal Record . Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn't know that other women felt like this. I didn't know other Black women felt like this.” So throughout taping she used the book “like a Bible.”

And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from The Fresh Prince of Bel Air ) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama You Don’t Know Me , radiates charisma and kindness as Kyazike’s cousin Frank.

The format allows the audience to go deep

The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.

Candice Carty-Williams' Q ueenie stars Dionne Brown and Bellah. Ramona Rosales/Disney hide caption

Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn't want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.” Queenie is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.

Despite the production’s extensive management structure (Lions Gate, Disney's Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out – and all the elements work well together.

Some important changes from novel to screen

Still, though faithful to the novel’s quarter-life crisis story, with the book's most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition – best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.

Queenie’s original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.

When Queenie debuted it appeared on best seller lists in multiple countries. Queenie won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.

In Britain, where Carty-Williams grew up, Queenie quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.

But the book's popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter – the heft and trauma of the book billed as a Black Bridget Jones Diary seemed to betray its framing . While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.

Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.

Gallery/Scout Press hide caption

Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, Queenie really is) that would be hard to take in ( Luster comes to mind). But that’s not how the book was positioned. Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.

Instead, the novel Queenie offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.

Exploring critically important topics in the book and on screen

That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a "strong Black woman," with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.

Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. Latoya Okuneye//Disney hide caption

A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the Queenie trailer.

When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of Queenie -the-series has a happier ending — giving Queenie more room to grow.