Neal Schon Albums (8)
What The Critics Say
One must give credit where it is due to Steve Vai and his imprint, Favored Nations. Like CMC International is to hair metal, Vai has assembled some of the most revered guitar shredders of the '80s and '90s and given them a safe home to roam freely and express their creative visions, without having the normal pressures of record labels hanging over their heads. The latest to join the family is Journey axe-slinger Neal Schon, who returns to the solo light after being away for several years. What's noticeably different right away is the sense of composition that was lacking in several of Schon's previous solo releases. Though the playing, guitar tones, and technical wizardry are clearly Schon, the influence of Vai and Satriani freely run throughout and make their presence known. This presence runs translucently from the album's opener, "Blue Passion" (which sounds like it could be a thoughtful response to Satriani's "Flying in a Blue Dream"), all the way until the end. The gentle keyboard washes and pads further reinforce this notion, but on the title track they almost bring Schon into dramatic new age territory. I on U runs a bit long in the tooth, but compensates by being solid, with barely any moments that could be regarded as filler. It's a nice return to form after a few solo slip-ups, and die-hard fans of Schon and his guitar solos in his other projects will find this to be a nice addition to their collections. ~ Rob Theakston, All Music Guide
What The Critics Say
Perhaps when Neal Schon was playing with Journey and Bad English, he heard a lot of great pop songs that he couldn't play as part of those bands' repertoires. He established himself as a topnotch rock guitar instrumentalist with Beyond the Thunder, then went a little avant-garde with Electric World, and now goes about as commercial as possible doing blistering distorted electric versions of favorite hits like Mariah Carey's "Hero," Annie Lennox' "Why" (interestingly, pairing the guitar with synth vocals that approximate those of Lennox), "Killing Me Softly," "Everything I Do (I Do It for You)," "I Can't Make You Love Me," and the good old reliable "My Heart Will Go On." The few non-hits might best attract skeptics to the brilliantly performed project. "Caruso" is a crying ballad that finds Schon wailing almost mournfully over a lush cushion of ambience, while "Con Te Partiro" is a sweeping classical-flavored anthem replete with soaring synth washes and poignant melodic echoing guitar passages. Leon Russell's "A Song for You" is given a blues treatment with simple piano accompaniment behind the wild and wacky distortion. If you're a Schon fan or if you just want to hear instrumental versions of songs you love that are definitely not Muzak, this is a great CD. But since breaking through with the all-original Behind the Thunder, he hasn't quite recaptured the magic. ~ Jonathan Widran, All Music Guide
'Piranha Blues'
Release Date 7/27/1999
Tracks 12
Label Blues Bureau Int'l
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What The Critics Say
Despite its overly ambitious two-CD length, Electric World is a step forward for guitarist Neal Schon. Two years before Electric World, he returned to solo recording with the acoustic Beyond the Thunder, which showed promise, but was generally unfocused. He may still meander on Electric World, but it's a richer listen. Essentially, the record is a fusion exercise in the vein of Carlos Santana, which shouldn't be a surprise, since Schon spent much of the mid-'90s playing with the legendary guitarist. There's less meat to Schon's music than Santana's, since he can't resist slick, polished production and plays like a session musician, but there's no denying that Electric World is one of his most accomplished efforts to date. ~ Stephen Thomas Erlewine, All Music Guide
'Beyond the Thunder'
Release Date 1/1/1995
Tracks 11
Label Higher Octave
See Album Tracklist and Review
What The Critics Say
With the release of former Journey guitarist Neal Schon's simmering instrumental debut, Beyond the Thunder, Higher Octave must be hoping that former rock god lightning will strike twice. Ex-Starship stringman Craig Chaquico's two acoustic projects have been phenomena, and there's no reason the thoughtful, inventive Schon can't achieve a similar splash. After years of bouncy, straightforward, and usually loud pop/rocking, Schon seems committed to calmly reflecting on the many places he's been over the years, and so keeps his melodies generally simple and the production highly atmospheric, with special accents on the dazzling electric and acoustic soloing that became his trademark in the Journey days. Unlike Chaquico, he never goes out of his way to blow listeners' minds rhythmically, but the jazzy Spanish flavors of the rolling "Espanique" prove a fascinating counterpoint to the potent but less inventive fare. Helping Schon with the complementary textures is a fellow Journey man, keyboardist Jonathan Cain, who surrounds Schon's tight riffs with some magnificently haunting acoustics. It's always a treat to hear the sensitive side of a rocker, and Schon's promising debut points to a rich new phase and some friendly competition for his already flying labelmate. ~ Jonathan Widran, All Music Guide
What The Critics Say
At age 15, Neal Schon landed job offers from both Carlos Santana and Eric Clapton -- in the same week! Schon would eventually join Santana where he would meet keyboardist Gregg Rolie. After a short stint with Santana, Schon and Rolie would leave to form the super successful Journey. Despite Journey's ascension to the pinnacle of the rock world, Schon was often criticized for failing to live up to his advanced billing. The adulation of rock luminaries such as Carlos Santana and Eric Clapton left no room for anything but the Second Coming. Million's of fans saw it differently. Journey would eventually become the largest selling act in Columbia Records history; and, a 1983 Gallup Poll named Journey America's favorite band. Even in Journey, though, Schon's contributions were often eclipsed by the unique voice of Steve Perry. It would take him the better part of two decades, and the 1989 release of Late Nite, before he would finally take center stage. Late Nite represents a fully articulated vision of the Schon signature. From the opening of the title track to "Inner Circles," Schon, and keyboardist/composer Bob Marlette (Al Stewart, John Wetton, Tracy Chapman, et al.), create a soundscape of passion that is at once melodic, epic, and moving. In fact, there are few, if any, recordings that deliver as potent an emotional experience. In essence, Late Nite is a study in anthemic expression that can implant itself in the imagination of the listener. The majestic "Steps" is a perfect example of how the duo has encapsulated melodic electricity into a four-minute archetype of breathtaking beauty. Most of the album lingers in the psyche long after you've turned it off. What could easily have been an exercise in excess, Schon and Marlette serve up with good taste. Moreover, all of the tracks grab the listener with sharp, engaging, melodies. The arrangements provide the perfect launching pad for Schon's soaring guitar solos. A mix of instrumental and vocal tracks, Schon show's he is equally adept in both areas. No, he was not blessed with a Steve Perry voice, though his has pleasing qualities, and he is more than up to the challenge. Strong backups throughout Late Nite, which are at times soulful as on the charged "Rain's Comin' Down," also help to enhance the angelic quality of the tracks. Schon would later reinvent his guitar signature on the beautiful Beyond the Thunder. He would then shift gears again for Electric World, evolving yet another hybrid. Not a commercial success when it was released, Late Nite remains a thoroughly engrossing and at times, beautiful work. ~ Jeri Montesano, All Music Guide
What The Critics Say
Back for round two, guitarist Neal Schon and keyboardist Jan Hammer united for a collaboration once again -- 1982's Here to Stay -- barely a year after their debut appeared. Like the debut (1981's Untold Passion), the album is a combination of both player's prog, fusion, and rock backgrounds -- although a short songwriting leash prevents most of the tracks from stretching past the four-minute mark. The duo were obviously aiming for the top of the charts with the album-opener (whose accompanying video was quite popular during the early days of MTV), "No More Lies," which sounds like a song tailor-made for Pat Benatar. Elsewhere, Hammer gets to spread his wings on "Time Again," while Schon shows off his hard rocking side with the Zeppelin-esque "Turnaround." Like Untold Passion, Here to Stay was a moderate chart success. But despite its bold title, the album would prove to be the last Schon/Hammer collaboration. ~ Greg Prato, All Music Guide
What The Critics Say
Before Journey became one of the top pop/rock acts of the early '80s with a string of arena rock anthems and power ballads, the group had a more detectable prog and fusion edge -- while guitarist Neal Schon's earliest work was with the very un-Journey-like Carlos Santana. So at the height of Journey's popularity, it appeared as though Schon wanted to get back to his fusion roots by uniting with keyboard wizard Jan Hammer. However, the resulting album, 1981's Untold Passion, wasn't going to be confused with Mahavishnu Orchestra anytime soon -- tracks such as "I'm Talking to You" wasn't much different from Journey's melodic rock style, while "Hooked on Love" saw Schon (who also doubled as vocalist) replicate Paul Rodgers' singing style. That said, the funky keyboard/guitar duel "The Ride" gave both Schon and Hammer a chance to show off their chops. Untold Passion seems to lean toward the more melodic rock side of things, rather than finger-spraining chops. ~ Greg Prato, All Music Guide
