Daughtry
Separate Ways (Worlds Apart) [feat.Lzzy Hale]

That the Eighties are mythical is undeniable. Considering everything they brought on a creative level, especially in music and cinema, they rightfully remain a solid point for the nostalgic. The Twenties of the Two Thousands. The Eighties return forcefully disguised as an illustrious nostalgic memory of an era from which dust was removed and polished with wax.

And TV series and movies abound, armed with a dual, relentless purpose: to create orgasmic moments for those who were pre-teens and teens at the time, and to induce the new generations, quite bored with their era made of little fantasy, too much autotune, and scarce talent, to inhale the myth. The operation, therefore, plays on everyone's needs. Those who conceived it have always liked to win effortlessly (Bonji bonji bobobo).

In the field of music, the Majors revel like salmon with the current in their favor. Needless to say. If they then go hand in hand with the streaming giants, the great viziers of the new small screen and ingenious usufructuaries of the limited evening minutes, we immediately hit the mark.

Follow me: Soundtrack of Stranger Things (Netflix), semi desecration of a timeless success by Journey through a diabolically catchy mixing and cover idea released in the first days of the new year. Result: Claudio Cecchetto, step aside.

This is how this alternative version of “Separate Ways (Worlds Apart)” by the legendary Journey is born, performed by Chris Daughtry with the collaboration of Lzzy Hale from Halestorm.

Chris Daughtry, frontman and founder of the homonymous alternative rock band from McLeansville (North Carolina), finalist (fourth place) of the fifth season of American Idol, was, in fact, the moral winner, as his placement caused a popular uprising in Uncle Sam's land, overshadowing Taylor Hicks, the gold medalist of that far-off 2006 edition. In the sixteen years of activity with his band, Chris has released six albums and boasts dozens of collaborations, including with Slash in “What I Want”, a track from the self-titled debut album of the North Carolina band, and with Carlos Santana, in his album "The Greatest Guitar Classics of All Time," where he sings the cover of "Photograph" by Def Leppard.

The beautiful Elizabeth Mae “Lzzy” Hale is the frontwoman of Halestorm, a band from Red Lion, Pennsylvania, founded with her drummer brother Arejay Hale. Featured by the magazine Revolver among the “Hottest Chicks in Metal,” she is among the most talented female voices in rock and metal, for her ability to alternate melodic singing with the gritty one that characterizes almost all of Halestorm's discography. Since 2021 she has become the first woman ambassador of the Gibson brand. Being a great fan and user of the brand's products, she had previously collaborated on the creation of a limited edition guitar that bears her name, the Lzzy Hale Explorer. The appointment she received then gave her the opportunity to contribute to the design of other models branded Gibson, Kramer, and Epiphone.

The award-winning “Separate Ways (Worlds Apart)” is one of the most well-known and appreciated pieces of the entire discography of Journey. The sounds wear the typical attire of the era in which they were conceived, and the trio of synthesizer, drums, and guitar hold the main rhythm, making the melody captivating and engaging at the same time.

The vocals of the two protagonists of the cover are the added value on the occasion of this collaboration, although in my opinion, at times, it's excessively overflowing and goes to upset the character of the original piece.

Chris Daughtry's voice is not that of Steve Perry; it's much fuller, even though, to the ear, it shares the same octaves. It is appropriate and relevant and in general, it is very exciting. Lzzy Hale's accompaniment gives that touch that only female voices can provide, especially in rock. What turns out to be too concentrated and dissonant, despite the vocalizations being part of the craft of the two, are the choral shouts leading to the end of the piece. Taken individually, they energize the singing but together they seem almost exaggerated. In general, the musical context, the origin of the piece, the reference to its cinematic use, and the narrated period make everything very beautiful and powerful.

The remix of the song (made before this cover), done by Bryce Miller and Alloy Tracks, for the soundtrack of the fourth season of “Stranger Things,” was very much liked by Steve Perry (who is also a fan of the TV series), who suggested creating an extended version, which he eventually worked on with the same Miller.

And if what has been done pleases Perry, I believe it deserves more than one listen. Like this featuring, which I believe will have further satisfied good old Stephen.