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• April 28, 1978 Setlist

Journey Setlist at The Midnight Special, Burbank, CA, USA

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• Wheel in the Sky Play Video
• Feeling That Way Play Video
• Anytime Play Video
• Patiently Play Video
• La Do Da Play Video

Note: This is the broadcast date of the show, as the band played in Wheeling, West Virginia on that night.

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6 activities (last edit by coffinjose , 5 Sep 2023, 16:28 Etc/UTC )

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• Feeling That Way
• Wheel in the Sky

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The midnight special.

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Journey Gig Timeline

• Apr 25 1978 Knoxville Civic Coliseum Knoxville, TN, USA Add time Add time
• Apr 27 1978 Scope Arena Norfolk, VA, USA Add time Add time
• Apr 28 1978 The Midnight Special This Setlist Burbank, CA, USA Add time Add time
• Apr 28 1978 Capitol Theatre Wheeling, WV, USA Add time Add time
• Apr 29 1978 Freedom Hall Civic Center Johnson City, TN, USA Add time Add time
• Apr 30 1978 Huntington Civic Center Huntington, WV, USA Add time Add time

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Flashback: Journey Introduce Steve Perry to America in 1978

• By Andy Greene

Andy Greene

Steve Perry emerged from two decades of seclusion in August with new single “No Erasin'” off his upcoming album Traces . It was a rather stunning development for Journey fans that had largely given up on ever hearing him sing again, especially after he refused to perform with his old group when they were inducted into the Rock and Roll Hall of Fame last year. But in new interviews, Perry revealed that after losing his girlfriend Kellie Nash to cancer in 2012, he decided it was time to face the world again.

Perry said he’s considering promoting Traces with a solo tour, but don’t expect to see him back onstage with Journey. They’ve been doing just fine without him ever since Arnel Pineda became their new singer 10 years ago and have even played stadiums this summer on their co-headlining tour with Def Leppard. They exclusively play songs from the Perry era of the group, and Pineda sounds almost exactly like his predecessor did in 1983. Most audiences are quite happy to sing along with their favorite hits and don’t really care if the original guy isn’t actually on the stage.

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Forty years ago, however, Perry was a crucial part of Journey’s success. The group began in 1973 as an offshoot of Santana with guitarist Neal Schon and keyboardist/singer Gregg Rolie, but their first three albums failed to find a mass audience and they faced getting dropped from their record label. Steve Perry was brought into the group to help them develop a more commercial sound, beginning with 1978’s Infinity. The gambit worked immediately as lead single “Wheel in the Sky” reached Number 57 on the Hot 100. Here’s video of them playing their first hit song on The Midnight Special in February 1978, which was the first time many in America saw the group play with Perry.

If Perry decides to tour in support of Traces , Journey will face some competition on the road. Fans have had plenty of chances to see Journey minus Perry play the hits, but Perry minus Journey hasn’t done any sort of tour since a brief one in 1995 to support his solo album  For the Love of Strange Medicine . The tour generated very little interest since Journey were aggressively uncool in the Lollapalooza era, but things have changed quite a bit since then. He hasn’t sang “Wheel in the Sky” in over 23 years, but should he decide to go out and do it again he’ll probably be shocked by how many people are willing to pay big bucks to hear it.

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Episode list

The midnight special.

S7.E11 ∙ Episode #7.11

S7.e12 ∙ episode #7.12, s7.e13 ∙ episode #7.13, s7.e14 ∙ episode #7.14, s7.e15 ∙ episode #7.15, s7.e16 ∙ episode #7.16, s7.e18 ∙ episode #7.18, s7.e20 ∙ episode #7.20, s7.e21 ∙ episode #7.21, s7.e22 ∙ episode #7.22, s7.e23 ∙ episode #7.23, s7.e24 ∙ episode #7.24, s7.e25 ∙ episode #7.25, s7.e26 ∙ episode #7.26, s7.e27 ∙ episode #7.27, s7.e28 ∙ episode #7.28, s7.e30 ∙ episode #7.30, s7.e31 ∙ episode #7.31, s7.e32 ∙ episode #7.32, s7.e35 ∙ music, s8.e1 ∙ the charlie daniels band, journey, robert john, gerry rafferty, timothy leary, paul mccartney & wings, s8.e2 ∙ the cars, suicide, the records, s8.e3 ∙ blondie, robert fripp, robert palmer, bram tchaikovsky, rick james, s8.e4 ∙ the captain and tennille, chicago, yvonne elliman, dr. john,, s8.e5 ∙ peaches & herb, france joli, maureen mcgovern, s8.e6 ∙ kc & the sunshine band, the dirt band, kool & the gang, deniece williams, s8.e7 ∙ lionel richie & the commodores, frankie valli, wolfman jack, the captain and tennille, destination, s8.e8 ∙ roger miller, blondie, ian hunter, brenda russell, tina turner, s8.e9 ∙ episode #8.9, s8.e10 ∙ episode #8.10, s8.e11 ∙ episode #8.11, contribute to this page.

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Watch Journey and Herbie Hancock elevate Junior Walker's Road Runner into the funkosphere

Journey get their funk on with Herbie Hancock as The Midnight Special continues to mine its rich seam of classic rock gold

Most Journey fans think of the band as the one with Steve Perry out front, with their enormo-hits and their glistening, super-slick, radio-friendly power ballads . Open Arms. Who's Cryin' Now. Don't Stop Believin' . All of that. 

But there's always been the other Journey. The band Before Perry. The Journey of the first three albums, the one with all those jazzy, progressive rock sounds. The one that favoured lengthy instrumental workouts over three-and-a-half minutes singles. And it's that Journey who are the subject of the latest video to be uploaded to The Midnight Special 's increasingly unmissable YouTube archive.

The broadcast actually comes from May 1979, two years after Perry had joined the band, and two months after their release of fifth alum Evolution . Hosting the show, Journey were able to open up the broadcast with five songs from the new album – Loving You Is Easy , Just the Same Way , Lovin' Touchin' Squeezin , City of the Angels and Too Late – before taking it old-school for the show's closer. 

The action kicks off with a huge-haired Neal Schon introducing a "jam" for the audience. He welcomes jazz fusion pioneer Herbie Hancock to the stage, and the band play a tight-but-loose version of (I'm a) Road Runner , the Holland-Dozier-Holland song that was a hit for Junior Walker and the Allstars in 1966. 

The two musicians – who had both appeared on the self-titled debut album by all-star Latin fusion outfit Giants the previous year – trade licks (as they used to say) as the jam evolves, Perry shows he can "do" funk as well as the next man, and there's both choreographed and unchoreographed dancing. It's extremely fluid, and, quite frankly, way more fun than it ought to be. 

Quite how the rest of the show panned out is unclear. Hancock followed Journey's first set, with further dance-friendly material from The Jacksons and Anita Ward, plus an unlikely showing from barely-remembered UK rockabilly crew Levi and the Rockats. Sounds like a good night.       

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

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Journey’s midnight special performance of feeling that way is a reminder of the brilliance of steve perry.

Watch Steve Perry and Gregg Rolie’s 1978 duet on Feeling That Way, another release from The Midnight Special’s gold-filled archive

Another prime example of how good music TV used to be has emerged in the shape of a Midnight Special performance from Journey . The band’s version of Feeling That Way – taken from Infinity , their first album with vocalist Steve Perry – was broadcast on April 28, 1978, three months after the album’s release. And now it’s been made available via the show’s recently launched YouTube channel.

The performance of the song – a duet between Perry and keyboardist Gregg Rolie – comes from a show hosted by disco queen Donna Summer that also showcased country star Kenny Rogers, R&B singing group Brooklyn Dreams, and soft rock duo The Captain and Tennille. A promo video for Journey’s classic Lights – released as a single later that year – was also shown. 

Feeling That Way had its origins in a then-unreleased Journey recording called Velvet Curtain , written and sung by Perry’s predecessor, Robert Fleishmann. Gregg Rolie subsequently reworked the song, calling it Let Me Stay , but it was pulled from 1977’s Next album at the last minute. It was then rewritten by Perry and included on Infinity . Velvet Curtain finally saw the light of day on the 1992 compilation Time3.    

Other artists who performed on the show – whose appearances will presumably become available over the coming months – include Led Zeppelin, Aerosmith, Kiss, Elton John, AC/DC, Badfinger, The Cars, Cheap Trick, Peter Frampton, Genesis, Heart, Little Feat, Prince, Roxy Music, Steely Dan, Thin Lizzy and ELO.

Highlights from the clips available at the launch of the Midnight Special channel included Fleetwood Mac playing  Rhiannon  in early 1976 and  Go Your Own Way  just two months after the release of  Rumours  in 1977, David Bowie performing  Space Oddity  in 1974, Rod Stewart hooking up with Keith Richards for a rumble through  Twistin’ The Night Away  in 1975, and Tina Turner delivering a feisty  Nutbush City Limits  in 1973.

The Midnight Special Channel on YouTube (opens in new tab) .

Source: loudersound.com

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Watch Fleetwood Mac romp through You Make Loving Fun on The Midnight Special in 1977

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The Ending Of Midnight Special Explained

We haven't gotten a new Jeff Nichols movie in a while, which is a shame, because the Arkansas-born American writer-director is easily one of the most exciting filmmaking voices of his generation. As a case in point, you can look to "Midnight Special," Nichols' 2016 sci-fi drama about a superpowered boy and the parents grappling with his abilities and doing their best to keep him safe.

Unlike most entries into the increasingly cluttered and omnipresent " superhero film " genre, "Midnight Special" is a film that dutifully, almost provocatively de-emphasizes the opportunities for popcorn-movie brouhaha offered by its premise. Instead of focusing on action sequences and CGI set pieces — though there are plenty of those too — or straightforward good-vs-evil showdowns, the film takes the shape of a muted, contemplative, character-based dramatic thriller, with very little in the way of exposition and a general proclivity for ambiguity and mystery in its world-building. This more complex and typically Nicholsian approach comes to a head in the film's ending, where the characters finally arrive at the destination they've been seeking out for the entire runtime — both on a literal physical level, and in a metaphorical sense, as the heady existential journey they've been on reaches its inevitable apex.

Yet the answers actually offered by that finale are a bit harder to parse, not least because the film plays coy about itself until its very last seconds. So what was up with the ending of "Midnight Special?" Keep reading on for an in-depth exploration.

Midnight Special is a film that deliberately withholds explanations

The plot of "Midnight Special" follows Roy Tomlin (Michael Shannon), his friend Lucas (Joel Edgerton), and his ex-wife Sarah Tomlin (Kirsten Dunst) as they struggle to protect Roy and Sarah's supernaturally gifted son Alton ( Jaeden Martell, of "It" fame ) and guide him to where he needs to be to fulfill his destiny, all while being pursued by both U.S. government authorities and members of the powerful cult from which Roy and Alton ran away.

The movie keeps explanations about Alton, the particulars of his powers, and their origin to a minimum, as the characters don't actually know that much themselves. This is very much intentional on Jeff Nichols' part: His aim throughout "Midnight Special" is to rope us into a situation where the limits of human understanding are defied by the enormity of the events at hand. The emotional crux of the movie is the dedication of Alton's guardians to protecting him even if they may not know just what is up with him or where it is they're taking him to — this no-questions-asked commitment, and the love it evinces, are what makes the film so moving, in its own taut, unfussy way. We move through chase sequences, run-ins with the military, and narrow escapes, and, all the while, what matters is Roy and Sarah's resolve to keep going for the sake of their son.

Eventually, the movie's action does lead to a climax — and it's perfectly in line with that unique approach.

The characters accept the unknown at the end

At the end of the film, just as the military has been able to apprehend Alton and it momentarily looks like all hope is lost, the boy is able to do to NSA agent Paul Sevier (Adam Driver) just what he's been able to do to all other adults over the course of the movie: By locking eyes with Sevier and showing him his light, he gets him to see , and to understand, immediately flipping him to their side.

The movie then pushes on through its exhilarating climax, in which Sevier successfully reunites Alton with his parents, and they all scramble to get Alton to a swamp in Florida, where he finally gets to make contact. Mere seconds after we get a glimpse of the beings who have been calling to him all movie long, and the awe-inspiring futuristic parallel world they inhabit, they — and Alton — vanish again into thin air.

Who are the beings? Why were they calling to Alton? Emotionally, the movie works just as fine if not better by not answering those questions clearly. It's enough, for us watching, to know that he belonged with them. The real point of interest is Roy and Sarah's process of acceptance of that fact — and, by extension, of the unknown, and the influence it exerts over their lives. But of course, much like the characters, we can still look back and try to get a handle on it all.

The parallel world represents a new horizon for human consciousness

When, in the film's most gorgeous and indelible scene, Alton parts ways with his mother and has his long-awaited encounter with the magical beings, a dome of light engulfs a large part of the United States' territory, and all those within its radius are suddenly allowed to see the mind-boggling structures of a world that has seemingly existed all along, just beyond our reach.

The beings who greet Alton are, themselves, made up of the same magical light that courses through him, leaving the question open of whether they are humans themselves who went through some sort of evolution process that Alton just got started on, or an altogether different species that somehow found one of theirs amongst us. The movie doesn't answer that question decisively — it doesn't even specify if that parallel world literally coexists with ours, invisible to us, or if what the beings opened was just some sort of temporary portal.

But, regardless of the answers to those questions, one thing is for sure: They are entities of higher knowledge and wisdom. The film codes them heavily as such by visually imagining their world as a hi-tech future beyond our wildest human dreams, and shows the humans' moment of contact with them as a great, universal dawning of clarity. It's safe to say that the event leaves everyone it touches fundamentally changed. All of which points back to the grand spiritual themes investigated by the film.

Midnight Special is a film about belief

Ultimately, the big question posed by "Midnight Special" is this: What is the nature of belief? The characters in it all know and understand, just going off Alton's existence outside all parameters of conventional scientific knowledge, that there's more to their world than they can really grasp. As mentioned before, they don't know and we don't know the how and why of Alton's powers, because this is specifically a movie about not knowing . But the thing about not knowing is that it doesn't preclude believing — and belief is a driving force in this film.

We, the audience, never see what it is that Alton shows Lucas and Sevier in order to get them to believe. What matters is that they do. We don't really get to know how Alton could have turned out to be a part of the entities' world if he is the son of two humans — what matters is that Roy and Sarah believe he belongs to that new world. The government scientists and cult members, each in their own way, try their best to rationalize and systematize the available knowledge on Alton — but everyone is immediately hushed by the dome of light, and the attending realization that what's happening is much too enormous to be accounted for. Suddenly, belief, as a mightier and more forceful human phenom than pure rational comprehension, takes precedence. They don't understand.  They don't have to.

This theme is most clearly refracted through the character of Roy — whose journey in the film can rattle the audience's own belief system.

The film ultimately asks us what we, ourselves, believe about Roy

Roy Tomlin is, in many ways, an exemplary father, one who understands his son on a deeper level than anyone else in the world. And the clearest indicator of how much he gets Alton is the unending faith he has in the boy, never putting the responsibility of tending to the concerns and anxieties he must be harboring as a father on Alton's shoulders. If Alton says it, so it is.

The question is, how exactly does Roy understand so clearly that Alton needs that space? How is he so instinctively capable of sympathizing with such an (almost literally) alien experience? The final shot of "Midnight Special" offers two possible answers: Watching the sunrise from his new home in prison, Roy's eyes briefly glimmer with a light that calls to mind Alton's own powers.

Does this mean that Roy belongs to the same kind as Alton? Did he give up on his powers to stay on Earth? Could that be why he gets Alton's needs so intuitively? Or is that glimmer just plain old sunlight? Is it merely a callback to the earlier moment of Alton watching the sunrise for the first time, and feeling an immense sense of joy and realization?

Each viewer's answer will depend on what they themselves are inclined to believe about belief — whether it's a product of the certainty of experience, or the outreach of love. There's no answer, only possibility to ponder.