Although an early member of The Steve Miller Band, Ross Valory is most associated with Journey. He’s played bass for the US AOR giants across two spells, spanning their inception in 1973 to being fired in 1985, and again from 1995 to a second, equally ugly dismissal in 2020. He discusses Journey’s early jazz-rock era and his debut solo album, All Of The Above, released in 2024.
As a recording artist of more than 50 years, why has it taken you so long to release a solo album?
The easiest answer would be that I spent the better part of 50 years building a career with Journey. But also I needed to increase confidence in my writing and arranging ability. I wasn’t sure whether people would like the songs as much as I did. It also took time to build a studio and find the players.
And work on a follow-up has begun?
Yes, it has.
You’ve said that the best way to experience All Of The Above is to turn off your phone, dim the lights and wallow in the music.
Yeah – wind up the cat and throw out the clock! The way the songs are sequenced allows the listener to go on an adventure. I’m proud that it’s an eclectic album. It’s meant to be heard from start to finish, without interruption.
Are you thinking about playing it live?
I would love to play out, and it’s doable, but before that happens I’m going to start by playing in. I will be streaming performances from this very room [his impressive home studio, The Sandbox].
There’s no shortage of potential contributors, with new names and old, from Miles Schon [son of Journey’s Neal] – who plays some superb solos, notably on Tomland – to your former Journey compadre, drummer Steve Smith.
Miles has inherited the brilliant talent of his father, who I consider a very underrated player. Steve Smith is probably the hardest guy to get hold of, as is Mark Russo. His saxophone is all over the album, but he’s always out with The Doobie Brothers. Prairie Prince [drummer of The Tubes] lives locally to me. It will all depend upon who is available at the time.
Why did you cover Santana’s Incident At Neshabur?
I’ve been a major fan since their days as The Santana Blues Band. Incident At Neshabur is one of the Santana songs that didn’t get the same level of notice as Oye Cómo Va or Black Magic Woman. Along with [War’s] Low Rider it’s one of those songs I’ve wanted to record for many years.
Tell us about your appreciation of progressive music. Is it a big component of your DNA?
It certainly is, in terms of the fact that I’m experimental and don’t really care about what’s popular. If I consider a musical idea exciting, I’ll record it and offer it to the world.
I’m harkening back to those early years with Journey. I’ve no concerns over whether it’s popular or not
At the very beginning of Journey, we were extremely tied to progressive music. Some of our early songs were three minutes long – but others, like the title track of Look Into The Future [1976], lasted for seven or eight and had nothing to do with popular music. That’s who we were at the time. I remember Journey played a short tour with Mahavishnu Orchestra. Now I’d call that progressive; wouldn’t you?
All the same, to the casual music follower you’re best known for membership of a band considered the kings of smooth.
The later career of that band morphed into a completely different type of music; the success of which, of course, was a blessing. But while Yes, Genesis and Rush evolved into something else, that didn’t work for Journey, even though those first three albums sold well. Our record label, CBS, just didn’t know what to do with us.
What I’m doing with All Of The Above is harkening back to those early [jazz-rock-fuelled] years with Journey. I’ve no concerns over whether it’s popular or not. I just want to play.
Going even further back, how did you come to join the Steve Miller Band?
I was part of a band called Frumious Bandersnatch, and most of its members ended up joining Steve. It was an in-between point for him. He was making the transition from blues to the music he became famous for. It was a good experience for me. I got to record my first album with a known artist [Rock Love, 1971].
Do you have any theories on why progressive music seems to have not only lasted, but is arguably more popular than ever?
I don’t want Journey fans to read this and say, ‘Oh, he’s coming back!’
I think it has to do with the fact the music as a whole is so much more varied, partly because of the internet. What’s being presented to the public is no longer in the hands of record labels.
I’ve been pleasantly surprised by how the Journey fans have enjoyed my album. For some of those people, it’s their first time listening to what can loosely be described as progressive rock. And they like it!
Your second spell with Journey ended in an ugly fashion. Are there any circumstances under which you could return?
A wise man once said: “Never say never” – but I don’t want fans to read that and say, “Oh, he’s coming back!” Sure, it’s within the realm of possibility, but for the most part everyone involved has moved on with their lives. At this very time Journey are on tour and I’m very excited to be getting on with this marvellous, longstanding career of my own.
