Journey’s Greatest Non-Hits of the ‘80s

In general, "greatest hits" collections cannot be trusted, and there are few better examples of this fact than Journey. Let's face it: if you're droppin' gems like "Separate Ways (Worlds Apart)" and "Don't Stop Believin'," there's no way in hell your complete albums don't have more to offer—especially when your standard fare Greatest Hits collection (spanning 1978 - 1986) has sold more than 20,000,000 copies worldwide, and contains track after track of flawless songwriting perfection. So, here's a chronological list of some of Journey's greatest non-hits from their peak era during the '80s...

"Someday Soon," from Departure (Columbia, 1980)

This laidback chiller sees Steve Perry sharing co-lead vocals with Journey's founding keyboardist (and former lead singer) Gregg Rolie, who left the band by the end of 1980. The two trade off and harmonize with relaxed ease, and Neal Schon's solo is the perfect accompaniment for the fluidity of the vocal performances.

"Destiny," from Dream, After Dream (Columbia, 1980)

Another (for the most part) lush and breezy composition—complete with horns and strings—"Destiny" comes from Journey's strangely unknown and largely instrumental soundtrack album for the Japanese film Yume, Yume No Ato: a temporary throwback to the band's full-on prog rock days of the '70s. The highlight? You'd almost have to go with the mind-blowingly incredible, epically layered vocal harmonies of Steve Perry.

"Keep on Runnin'," from Escape (Columbia, 1981)

This riff-heavy rocker even kicks enough ass to have been covered by Anthrax on 2013's Anthems EP.

"Lay it Down," from Escape (Columbia, 1981)

Another Escape-era cut with riffs for days, this badass jam does indeed lay it down with snarling, meaty chugs; open, ringing chords; and a chorus not just packed with vocal harmonies, but also layering in some gorgeous acoustic guitars for added brightness.

"Only Solutions," from Tron: Original Motion Picture Soundtrack (CBS, 1982)

Heading back in a somewhat softer direction, this memorable tune from the Tron soundtrack also appeared as the B-side for a few singles ("Stone in Love" and "After the Fall") in '82/'83, and later resurfaced as a bonus track on CD reissues of Frontiers.

"Edge of the Blade," from Frontiers (Columbia, 1983)

The B-side of "Faithfully," the dark, driving energy of Ross Valory's pulsing bass grooves and Jonathan Cain's eerie synths in "Edge of the Blade" make it the superior song. Though, of course, from a mainstream radio perspective, what could possibly compete with "Faithfully"—the ultimate road-weary power ballad?

"Troubled Child," from Frontiers (Columbia, 1983)

The subtly proggy "Troubled Child" was not originally included in Frontiers' tracklist. Popped in as a last-minute replacement when the even stronger "Ask the Lonely" and "Only the Young" were pulled for soundtracks (Two of a Kind and Vision Quest, respectively), it was also featured as the B-side to "Ask the Lonely" in Japan.

"Positive Touch," from Raised on Radio (Columbia, 1986)

This bouncy, Toto-ish number was the B-side of Raised on Radio's final single—the somewhat lackluster ballad "Why Can't This Night Go on Forever"—in 1987, and may have been a stronger choice for the A-side!

"Once You Love Somebody," from Raised on Radio (Columbia, 1986)

Raised on Radio was an 11-song album with a whopping six singles, and yet the bulk of its remaining five cuts are still just killer. Take, for instance, the funky caress of "Once You Love Somebody."

"It Could Have Been You," from Raised on Radio (Columbia, 1986)

Quirky pinch harmonics and volume swells from Schon and whistling keyboard melodies from Cain thrive in this B-side of " Girl Can't Help It."