Journey -

Journey are an American rock band from San Francisco, formed around former Santana members Neal Schon and Gregg Rolie. They explored spacey hard-rock and jazz-fusion instrumentals on their first three Columbia albums, released between 1975 and 1977 before the arrival of Steve Perry.

The Perry/Rolie lineup gained radio traction with the 1978–80 albums Infinity, Evolution, and Departure, spurred by the FM hits “Wheel In the Sky,” “Lights,” “Lovin’, Touchin’, Squeezin’,” and “Any Way You Want It.”

Ex-Babys keyboardist Jonathan Cain replaced Rolie for the 1981 Journey release Escape, a watershed with the hits “Who’s Crying Now,” “Don’t Stop Believin’,” “Stone In Love,” and “Open Arms.” Their multi-platinum streak continued with the 1983 release Frontiers and the MTV/radio staples “Separate Ways,” “Send Her My Love,” “After the Fall,” “Chain Reaction,” and “Faithfully.”

Members: Neal Schon (guitar), Ross Valory (bass, 1973-85, 1995-present), Gregg Rolie (vocals, keyboards, 1973-80), George Tickner (guitar, 1973-75), Prairie Prince (drums, 1973-74), Aynsley Dunbar (drums, 1974-78), Robert Fleischman (vocals, 1977), Steve Perry (vocals, 1977-98), Steve Smith (drums, 1978-85, 1995-98, 2015-present), Jonathan Cain (keyboards, 1980-present), Randy Jackson (bass, 1985-87), Larrie Londin (drums, 1985), Mike Baird (drums, 1986), Deen Castronovo (drums, vocals, 1998-2015), Steve Augeri (vocals, 1998-2006), Jeff Scott Soto (vocals, 2006-07), Arnel Pineda (vocals, 2007-present)

Background

Journey formed in 1973 under the direction of manager Herbie Herbert, who worked as a roadie for Santana and had earlier managed Bay Area acid-rockers Frumious Bandersnatch, the two source-bands for the new group.

Keyboardist Gregg Rollie was a member of Santana from 1965 to 1971. Toward the end of his tenure, he rubbed shoulders with guitarist Neal Schon, who joined Santana at age 17 and played on the 1971/72 albums Santana III and Caravanserai. Afterwards, Schon partook in the 1972 debut album by Santana spin-off Azteca.

Bassist Ross Valery and guitarist George Tickner hailed from Frumious Bandersnatch. Valery also did a brief stint in the Steve Miller Band, playing on the 1971 release Rock Love. Journey played its first concert before a crowd of 10,000 attendees at San Francisco’s Winterland Ballroom on December 31, 1973.

Drummer Prairie Prince briefly rounded out the lineup, but left before recordings commenced. Journey found a stable drummer in Englishman Aynsley Dunbar, who’d played with numerous artists (John Mayall, Shuggie Otis, Frank Zappa) and led his own blues-rock combo. The band signed to Columbia in early 1974.

Journey

Journey released their self-titled debut album on April 1, 1975, on Columbia.

The album presents the first recorded Journey lineup with Rolie, Schon, Tickner, Ross Valory, and Dunbar. Rolie sings lead across the album and shares most of the credited material with Schon, Tickner, and Valory. Journey contains two instrumentals inspired by space-rock (“Kohoutek”) and Santana-style jazz-rock (“Topaz”).

“Of a Lifetime” blooms from soft strums into hard-surging passages, then folds Rolie’s vocal into extended jams. “In the Morning Day” turns a vocal opening into a hard instrumental break with stabbing organ and a fast solo. “Kohoutek” travels through sectional passages and shifting moods. “Topaz” pivots between a gentle guitar figure and hard ensemble runs. “In My Lonely Feeling / Conversations” lingers over slower vocal stretches before heavy chords and extended leads. “Mystery Mountain” closes on a heavier ensemble jam beneath Rolie’s strong vocal line.

A1. “Of a Lifetime” (6:54) – Rolie, Tickner, Schon
A2. “In the Morning Day” (4:26) – Rolie, Ross Valory
A3. “Kohoutek” (6:45) – Schon, Rolie; titled after a bright comet that passed the sun on Christmas Eve 1973.

B1. “To Play Some Music” (3:19) – Rolie, Schon
B2. “Topaz” (6:11) – Tickner
B3. “In My Lonely Feeling / Conversations” (5:00) – Rolie, Ross Valory
B4. “Mystery Mountain” (4:22) – Rolie, Tickner, Diane Valory

Roy Halee produced and engineered Journey. Mark Friedman handled recording, and George Horn mastered the album at CBS Studios in San Francisco. Nancy Donald handled art direction, with photography by Steven Silverstein.

Columbia lifted “To Play Some Music” as a June 1975 single (b/w “Topaz”). Journey reached No. 138 on the Billboard 200 chart.

Look into the Future

Journey released their second album, Look into the Future, in January 1976 on Columbia.

The album marks Tickner’s final appearance as a full Journey member. Side one contains the George Harrison cover “It’s All Too Much” between four group originals. Side two places the eight-minute title track before two Rolie–Schon pieces.

“On a Saturday Nite” bounces on compact figures and bright vocal turns. “Anyway” spaces heavier accents with open gaps and slide color. “You’re on Your Own” opens with an extended instrumental solo, then lifts through Rolie’s middle turn. “Look into the Future” lingers over Hammond shades and gradual crescendos. “Midnight Dreamer” charges through a fast-paced riff, frantic vocal lines, and a late solo crest. “I’m Gonna Leave You” drives through a heavy altered-time figure beneath extended solo runs.

A1. “On a Saturday Nite” (4:00) – Rolie
A2. “It’s All Too Much” (4:06) – Harrison
A3. “Anyway” (4:12) – Rolie
A4. “She Makes Me (Feel Alright)” (3:12) – Cash, Rolie, Schon
A5. “You’re on Your Own” (5:55) – Rolie, Schon, Tickner

B1. “Look into the Future” (8:12) – Rolie, Diane Valory, Schon
B2. “Midnight Dreamer” (5:13) – Rolie, Schon
B3. “I’m Gonna Leave You” (7:00) – Rolie, Schon, Tickner

Journey recorded Look into the Future between August and October 1975 at CBS Studios in San Francisco with Glen Kolotkin producing and engineering. George Horn mastered the album at CBS Studios. Rick Narin supplied the cover artwork, and Ethan Russell photographed the group.

Columbia lifted “On a Saturday Nite” as a March 1976 single (b/w “It’s All Too Much”). “She Makes Me (Feel Alright)” followed in July 1976. Look into the Future reached No. 100 on the Billboard 200 chart.

Journey released their third album, Next, on February 28, 1977, on Columbia.

Next presents the four-piece lineup after Tickner’s exit, with Rolie still the primary lead singer. Schon sings lead on “Hustler” and shares the lead on “People.” “Nickel and Dime” adapts Tickner’s earlier guitar piece “To Make Some Music.”

“Spaceman” glides through moody vocal lines, then surges into a hard blowout behind a searing guitar solo. “People” stretches a long intro toward clipped vocal phrases and a zippy synth break. “I Would Find You” slows after a mystical synthesizer bend and places the initial vocal low in the mix.

“Here We Are” drifts through sweet introductory chords before the vocal entry gains drive. “Hustler” lunges through a brief hard intro and a heavy riff. “Next” pounds through a repetitive intro before the final minute quickens under heavier riffs. “Nickel and Dime” spirals through a long instrumental intro and angular tempo turns. “Karma” grinds through frantic ensemble runs and a rough vocal close.

A1. “Spaceman” (4:01) – Dunbar, Rolie
A2. “People” (5:20) – Dunbar, Rolie, Schon
A3. “I Would Find You” (5:54) – Schon, Austin
A4. “Here We Are” (4:18) – Rolie

B1. “Hustler” (3:17) – Dunbar, Rolie
B2. “Next” (5:28) – Dunbar, Rolie, Cogdell, Schon
B3. “Nickel and Dime” (4:14) – Rolie, Schon, Tickner, Ross Valory
B4. “Karma” (5:08) – Dunbar, Rolie, Schon

Journey recorded Next between May and October 1976 at His Masters Wheels in San Francisco. Smiggy engineered and mixed the album, and Bruce Botnick mastered it. Bruce Steinberg and Ellie Oberzil designed the sleeve, with cover art by Jim Mansfield.

Columbia lifted “Spaceman” as a February 1977 single (b/w “Nickel and Dime”). Next reached No. 85 on the Billboard 200 chart.

Infinity

Journey released their fourth album, Infinity, on January 20, 1978, on Columbia.

Infinity introduces Steve Perry after a brief, unrecorded lineup with singer Robert Fleischman. Perry sings lead on most tracks and shares the front line with Rolie on “Feeling That Way.” Dunbar makes his final Journey studio appearance.

“Lights” is a tender candlelight singalong dedicated to San Francisco and the Bay Area sunrise. “Feeling That Way” swells through Rolie and Perry’s shared vocal lines, then hands the close to stacked a cappella layers. “Anytime” carries Rolie’s lead through layered group vocals and a bright bridge. “La Do Da” barrels through opening effects and long sustained vocal tones. “Patiently” glides from an acoustic-toned figure into a full-band jam.

“Wheel in the Sky” strides on a bright riff with echoing falsetto and doubled lead sustain. “Somethin’ to Hide” lifts Perry’s high vocal line over subtle keyboard shading. “Winds of March” darkens under piano runs and flanged percussion. “Opened the Door” closes with layered guitar lines and an Eastern-toned edge.

A1. “Lights” (3:09) – Perry, Schon
A2. “Feeling That Way” (3:27) – Perry, Rolie, Dunbar
A3. “Anytime” (4:03) – Rolie, Silver, Fleischman, Schon, Ross Valory
A4. “La Do Da” (2:58) – Perry, Schon
A5. “Patiently” (3:24) – Perry, Schon

B1. “Wheel in the Sky” (4:12) – Schon, Fleischman, Diane Valory
B2. “Somethin’ to Hide” (3:28) – Perry, Schon
B3. “Winds of March” (5:04) – Matt Schon, Neal Schon, Fleischman, Rolie, Perry
B4. “Can Do” (2:40) – Perry, Ross Valory
B5. “Opened the Door” (4:35) – Perry, Rolie, Schon

Journey recorded Infinity between October and December 1977 at His Masters Wheels in San Francisco and Cherokee Studios in Los Angeles. Roy Thomas Baker produced and mixed the album, with engineering by Geoff Workman. Tommy Steele designed the sleeve; Kelley and Mouse supplied the cover art, and Sam Emerson photographed the group.

Columbia lifted “Wheel in the Sky” as a March 1978 single (b/w “Can Do”), which reached No. 57 on the Billboard Hot 100 chart. “Anytime” followed in June 1978, paired with “Feeling That Way.” “Lights” appeared in August 1978 (b/w “Opened the Door”). Infinity reached No. 21 on the Billboard 200 chart.

Evolution

Journey released their fifth album, Evolution, on March 20, 1979, on Columbia.

Evolution introduces drummer Steve Smith, who replaced Dunbar after the Infinity tour. Perry writes or co-writes all eleven titles. Rolie retains lead-vocal spots on “Just the Same Way” and “Do You Recall,” while Greg Errico receives a co-credit on “Lovin’ You Is Easy.”

“Majestic” rises from gentle picking into hard-chorded crunches and stacked vocal harmonies. “Too Late” settles into a slower strut and turns toward a concise solo. “Lovin’, Touchin’, Squeezin’” lopes through a blues-weighted pace and a long closing chant. “City of the Angels” opens with a cappella harmonies before a raucous guitar riff.

“When You’re Alone (It Ain’t Easy)” holds Perry’s vocal out front over smooth lead phrases. “Sweet and Simple” slows through its first half, then hardens after the break. “Just the Same Way” pairs Rolie’s lead with Perry’s replies over bright figures. “Do You Recall” lifts a high vocal note into the solo handoff. “Daydream” alternates meditative passages with heavier ensemble turns. “Lady Luck” closes with a heavy stomp, early Rolie figures, and a wailing vocal.

A1. “Majestic” (1:16) – Perry, Schon
A2. “Too Late” (2:57) – Perry, Schon
A3. “Lovin’, Touchin’, Squeezin’” (3:52) – Perry
A4. “City of the Angels” (3:08) – Perry, Rolie, Schon
A5. “When You’re Alone (It Ain’t Easy)” (3:10) – Perry, Schon
A6. “Sweet and Simple” (4:12) – Perry

B1. “Lovin’ You Is Easy” (3:37) – Perry, Schon, Errico
B2. “Just the Same Way” (3:18) – Rolie, Schon, Ross Valory
B3. “Do You Recall” (3:17) – Perry, Rolie
B4. “Daydream” (4:41) – Perry, Rolie, Schon, Ross Valory
B5. “Lady Luck” (3:34) – Perry, Schon, Ross Valory

Journey recorded Evolution between October and November 1978 at Cherokee Studios in Los Angeles with Roy Thomas Baker producing. Geoff Workman engineered the album, with George Tutko as second engineer. Larry Noggle and Jim Welch designed the sleeve, with Kelley and Mouse artwork and photography by Sam Emerson and Hiro Ito.

Columbia lifted “Just the Same Way” as a March 1979 single. “Lovin’, Touchin’, Squeezin’” followed in June 1979 (b/w “Daydream”) and reached No. 16 on the Billboard Hot 100 chart. “Too Late” appeared in December 1979 (b/w “Lovin’, Touchin’, Squeezin’”). Evolution reached No. 20 on the Billboard 200 chart.

Departure

Journey released their sixth album, Departure, on February 29, 1980, on Columbia.

Departure is the final full-time Journey studio album with Rolie. Perry and Schon dominate the authorship credits, with Rolie co-writing “Someday Soon” and Ross Valory co-writing “People and Places.” Smith receives his first Journey composition credit on “Homemade Love.”

“Any Way You Want It” bursts from big harmony vocals into a crashing guitar entrance and a late solo. “Walks Like a Lady” saunters through a low-key shuffle with deep Hammond and bluesy lead figures. “Someday Soon” trades Rolie and Perry vocal lines, then broadens into a rich group close. “People and Places” layers panned opening voices before Schon and Perry split the lead. “Precious Time” runs from rapid-strummed figures into a harmonica-led jam.

“Where Were You” pounds through a straight riff with a slight piano flicker between phrases. “I’m Cryin’” smolders under heavy lead chops and Perry’s wide dynamic turns. “Line of Fire” charges through an upbeat surge and a recorded shotgun accent. “Departure” glimmers through brief harmonics. “Good Morning Girl” turns finger-picked electric lines and smooth Mellotron strings under Perry’s light vocal. “Stay Awhile” slows around Perry’s vocal line. “Homemade Love” jabs at off-beat accents under near-scat phrases and a closing lead.

A1. “Any Way You Want It” (3:21) – Perry, Schon
A2. “Walks Like a Lady” (3:16) – Perry
A3. “Someday Soon” (3:32) – Perry, Rolie, Schon
A4. “People and Places” (5:04) – Perry, Schon, Ross Valory
A5. “Precious Time” (4:48) – Perry, Schon

B1. “Where Were You” (2:59) – Perry, Schon
B2. “I’m Cryin’” (3:42) – Perry, Schon
B3. “Line of Fire” (3:04) – Perry, Schon
B4. “Departure” (0:38) – Schon
B5. “Good Morning Girl” (1:43) – Perry, Schon
B6. “Stay Awhile” (2:48) – Perry, Schon
B7. “Homemade Love” (2:53) – Perry, Schon, Smith

Journey recorded Departure in November 1979 at the Automatt in San Francisco with Geoff Workman and Kevin Elson producing. Workman engineered the album, and Wally Buck served as assistant engineer. Jim Welch designed the sleeve, with photography by Sam Emerson.

Columbia lifted “Any Way You Want It” as a February 1980 single (b/w “When You’re Alone”), which reached No. 23 on the Billboard Hot 100 chart. MTV gave first-year rotation to the video, which opens from a jukebox and pans to the group on a small soundstage.

“Walks Like a Lady” followed in May 1980 (b/w “People and Places”) and reached No. 32. “Good Morning Girl” / “Stay Awhile” appeared in July 1980 and reached No. 55.

Departure reached No. 8 on the Billboard 200 chart.

Dream, After Dream

On December 10, 1980, Journey released Dream, After Dream, the soundtrack to the Japanese fantasy film Yume, Yume No Ato, directed by fashion designer Kenzo Takada.

Journey recorded the album during Rolie’s final months in the band. The soundtrack places full-length vocal pieces beside shorter incidental cues written by Schon, Perry, Rolie, Ross Valory, and Smith.

“Destiny” unfolds through episodic sections and layered Perry harmonies. “Snow Theme” drifts through mellow, moody instrumental passages. “Sandcastles” widens around Perry’s vocal line and spacious instrumental breaks. “Moon Theme” hovers on understated lead phrases. “When the Love Has Gone” mourns through blues-weighted lines with Schon in front. “The Rape” recasts “Conversations” as a short orchestral passage. “Little Girl” swells behind Perry’s vocal, then closes with a solo turn and Rolie’s harmonica.

A1. “Destiny” (8:56) – Schon, Perry
A2. “Snow Theme” (3:24) – Ross Valory
A3. “Sandcastles” (4:42) – Rolie, Perry
A4. “A Few Coins” (0:42) – Rolie, Schon, Ross Valory, Smith

B1. “Moon Theme” (4:37) – Schon, Perry
B2. “When the Love Has Gone” (4:02) – Schon
B3. “Festival Dance” (0:59) – Rolie, Schon, Smith, Perry, Ross Valory
B4. “The Rape” (2:13) – Ross Valory
B5. “Little Girl” (5:51) – Schon, Perry, Rolie

Yume, Yume No Ato follows a young weaver who crosses a desert lake and enters a castle inhabited by two sisters, Moon and Snow. The film places the story in a remote fantasy space of water, stone, fabric, heat, and ceremonial movement. Journey’s score mirrors that visual field through a mix of full vocal pieces and short instrumental cues. “Snow Theme” and “Moon Theme” name the two sisters directly. “Sandcastles,” “A Few Coins,” and “Festival Dance” point to the film’s object-based and ritual imagery, while “Little Girl” supplies the album’s final full vocal piece.

Captured

On January 30, 1981, Journey released the live double-album Captured.

The album documents the Departure tour and marks Rolie’s final Journey album appearance. “Dixie Highway” had not appeared on a prior studio album. “The Party’s Over (Hopelessly in Love)” is a new studio recording with keyboardist Stevie “Keys” Roseman.

A1. “Majestic” (0:41)
A2. “Where Were You” (3:22)
A3. “Just the Same Way” (3:37)
A4. “Line of Fire” (3:25)
A5. “Lights” (3:30)
A6. “Stay Awhile” (3:15)

B1. “Too Late” (3:44)
B2. “Dixie Highway” (6:51)
B3. “Feeling That Way” (3:14)
B4. “Anytime” (4:27)

C1. “Do You Recall” (3:26)
C2. “Walks Like a Lady” (7:05)
C3. “La Do Da” (7:02)

D1. “Lovin’, Touchin’, Squeezin’” (5:14)
D2. “Wheel in the Sky” (5:03)
D3. “Any Way You Want It” (3:39)
D4. “The Party’s Over (Hopelessly in Love)” (3:43)

Journey recorded the live material on August 4–5, 1980, at Cobo Arena in Detroit; August 8, 1980, at the Montreal Forum; and October 13, 1980, at Koseinenkin Hall in Tokyo. Kevin Elson produced the album. Fantasy Studios in Berkeley hosted studio work on “The Party’s Over (Hopelessly in Love).”

Columbia lifted “The Party’s Over (Hopelessly in Love)” as a February 1981 single (b/w “Just the Same Way”).

Captured reached No. 9 on the Billboard 200 chart. Meanwhile, Neil formed Schon & Hammer, a jazz-rock duo with ex-Mahavishnu keyboardist Jan Hammer. Their first of two albums, Untold Passion, appeared in 1981 on Columbia.

Escape

Journey released their seventh studio album, Escape, on July 17, 1981, on Columbia.

Escape introduces keyboardist, guitarist, and songwriter Jonathan Cain, who replaced Rolie after Captured. Cain joins Perry and Schon as the main composition unit and co-writes eight of the ten titles. “Open Arms” and “Who’s Crying Now” pair Cain and Perry without Schon.

“Don’t Stop Believin’” stacks a rotating piano figure, Perry’s entrance, and Schon’s delayed guitar tap before the title chant. “Stone in Love” surges through fiery leads and a late coda. “Who’s Crying Now” glides through a voice-and-keyboard b-section before the closing solo. “Keep on Runnin’” hammers through a muscular riff and immediate group shout. “Still They Ride” lingers over slower measures and a reserved vocal before a late solo flare.

“Escape” grinds through repeated figures, then switches course at the midpoint. “Lay It Down” hammers through heavy-rock accents and Perry’s high wails. “Dead or Alive” sprints through darker riffs and clipped piano accents. “Mother, Father” shifts from acoustic-toned lines to chugging accents and a harmonized outro. “Open Arms” slows on lullaby chords and a 6/8 sway.

A1. “Don’t Stop Believin’” (4:10) – Cain, Perry, Schon
A2. “Stone in Love” (4:25) – Perry, Schon, Cain
A3. “Who’s Crying Now” (5:01) – Cain, Perry
A4. “Keep On Runnin’” (3:39) – Perry, Schon, Cain
A5. “Still They Ride” (3:48) – Perry, Schon, Cain

B1. “Escape” (5:15) – Perry, Schon, Cain
B2. “Lay It Down” (4:13) – Perry, Schon
B3. “Dead or Alive” (3:20) – Perry, Schon, Cain
B4. “Mother, Father” (5:28) – Perry, Matt Schon, Cain, Neal Schon
B5. “Open Arms” (3:21) – Perry, Cain

Journey recorded Escape between April and June 1981 at Fantasy Studios in Berkeley with Mike Stone and Kevin Elson producing and engineering. Wally Buck served as second engineer. Bob Ludwig mastered the album at Masterdisk. Jim Welch designed the sleeve, with Stanley Mouse artwork and photography by Aaron Rapoport.

Columbia lifted “Who’s Crying Now” as a July 1981 single (b/w “Mother, Father”), which reached No. 4 on the Billboard Hot 100 chart. The video uses performance footage from Journey’s November 6, 1981, Escape Tour concert at The Summit in Houston, filmed for MTV.

“Don’t Stop Believin’” followed in October 1981 (b/w “Natural Thing”) and reached No. 9. The clip came from the same Houston concert footage, which also supplied the MTV performance videos for “Open Arms” and “Stone in Love.”

“Open Arms” appeared in January 1982 (b/w “Little Girl”) and reached No. 2. Its video presents the band onstage at the Houston show, with Perry at center during the song’s slow piano-led opening.

Escape reached No. 1 on the Billboard 200 chart. Data Age issued the licensed Atari 2600 cartridge Journey Escape in 1982, with the player guiding band members past photographers, promoters, and groupies toward the Scarab Escape Vehicle.

Between Journey albums, Schon & Hammer released Here to Stay, a more vocal-based effort with the MTV-rotated single “No More Lies.” Also in 1982, Perry dueted with Kenny Loggins on “Don’t Fight It,” an upbeat track on Loggins’ fourth solo album, High Adventure.

Frontiers

Journey released their eighth studio album, Frontiers, on February 1, 1983, on Columbia.

Frontiers is the final Journey studio album with Valory until Trial by Fire. The album presents ten Perry–Schon–Cain titles, with Smith also credited on “After the Fall” and “Back Talk.” The final sequence replaced “Only the Young” and “Ask the Lonely” with “Back Talk” and “Troubled Child.”

“Separate Ways (Worlds Apart)” lunges from a biting keyboard figure into rifle-sharp guitar chords and hard-driving accents. “Send Her My Love” settles around a bluesy piano figure, subtle licks, and swelling layers. “Chain Reaction” charges through riff-heavy figures and stacked vocal lines. “After the Fall” suspends Perry’s lead above a harmonized counterline and clear low-end push. “Faithfully” gathers from a rolling figure toward Perry–Schon handoffs.

“Edge of the Blade” opens with a hard intro and blunt riff strikes. “Troubled Child” darkens through moody keys and a heavier title lift. “Back Talk” jabs over a tribal opening pattern and Perry’s edged vocal. “Frontiers” clips Perry’s phrases into a cool, detached line. “Rubicon” chops through moody figures and a broad closing sweep.

A1. “Separate Ways (Worlds Apart)” (5:24) – Cain, Perry
A2. “Send Her My Love” (3:52) – Perry, Cain
A3. “Chain Reaction” (4:18) – Cain, Perry, Schon
A4. “After the Fall” (5:00) – Cain, Perry, Schon, Smith
A5. “Faithfully” (4:24) – Cain

B1. “Edge of the Blade” (4:30) – Cain, Perry, Schon
B2. “Troubled Child” (4:30) – Cain, Perry, Schon
B3. “Back Talk” (3:18) – Cain, Perry, Schon, Smith
B4. “Frontiers” (4:03) – Cain, Perry, Schon
B5. “Rubicon” (4:20) – Cain, Perry, Schon

Journey recorded Frontiers in 1982 at Fantasy Studios in Berkeley with Mike Stone and Kevin Elson producing. Stone and Elson engineered the album, and Wally Buck assisted. Bob Ludwig mastered the album at Masterdisk.

Columbia lifted “Separate Ways (Worlds Apart)” as a January 1983 single (b/w “Frontiers”), which reached No. 8 on the Billboard Hot 100 chart. The video places the band on a New Orleans wharf, where Perry and the group mime to the track as a woman in a white jacket walks past the performance space.

“Faithfully” followed in April 1983 and reached No. 12. The video combines stage footage with tour-life scenes, including travel, backstage material, hotel-room moments, and Perry’s mustache-shaving shot.

“After the Fall” appeared in July 1983 and reached No. 23, accompanied by a video of the band at a table inside a shunken living space. “Send Her My Love” followed in September 1983 and also reached No. 23. Phil Tuckett directed the video as a straight performance piece centered on the band.

Frontiers reached No. 2 on the Billboard 200 chart. An outtake from the album, “Ask the Lonely,” appears on the soundtrack of Two of a Kind, a 1983 comedy that reteamed Olivia Newton-John with her Grease co-star John Travolta.

After the Frontiers promotional rounds, Steve Perry released his first solo album, Street Talk, which spawned the 1984 hits “Oh Sherry,” “Foolish Heart,” and “Strung Out.” In 1985, he partook in USA for Africa, an industry charitable project assembled for “We Are the World,” a singer-by-singer trade-off ballad that climaxes with an all-star chorus. Perry takes the mic between Loggins and Daryl Hall for the line “There’s a choice we’re making, we’re saving our own lives.”

Raised on Radio

Journey released their ninth studio album, Raised on Radio, on April 21, 1986, on Columbia.

Raised on Radio is the first Journey studio album without Valory and Smith as full-session members. Perry, Schon, and Cain form the core lineup. Bassists Randy Jackson and Bob Glaub and drummers Larrie Londin and Steve Smith divide the rhythm-section credits. Perry and Cain write all lyrics; they compose “Suzanne,” “Happy to Give,” and “Why Can’t This Night Go on Forever,” while Perry–Cain–Schon write the remaining titles.

“Girl Can’t Help It” gleams through crisp flange, a simple piano riff, counter-harmonic guitars, and a second-section lift. “Positive Touch” clicks through a metronomic drive before saxophone and high Perry lines color the outro. “Suzanne” broods through its verses, then erupts into explosive title lifts. “Be Good to Yourself” punches through compact leads and stacked harmonies. “Once You Love Somebody” leans into a blues-weighted low-end figure. “Happy to Give” sways on an atmospheric keyboard opening.

“Raised on Radio” rises from a blues-harp entrance into a Schon-centered rocker. “I’ll Be Alright Without You” walks toward an outro riff under harmonized vocals. “It Could Have Been You” pushes Schon’s riff against Perry’s plaintive line. “The Eyes of a Woman” surrounds the vocal with deep synths and echoing chords. “Why Can’t This Night Go on Forever” closes on Perry’s high-wire vocal and Schon’s lead phrases.

A1. “Girl Can’t Help It” (3:51)
A2. “Positive Touch” (4:17)
A3. “Suzanne” (3:39)
A4. “Be Good to Yourself” (3:51)
A5. “Once You Love Somebody” (4:40)
A6. “Happy to Give” (3:50)

B1. “Raised on Radio” (3:49)
B2. “I’ll Be Alright Without You” (4:50)
B3. “It Could Have Been You” (3:37)
B4. “The Eyes of a Woman” (4:33)
B5. “Why Can’t This Night Go on Forever” (3:40)

Journey recorded Raised on Radio between October and December 1985 at the Record Plant in Sausalito and Fantasy Studios in Berkeley. Perry produced the album, with additional vocal production by Randy Goodrum. Jim Gaines served as associate producer and engineer, with Mark McKenna and Steve Rinkoff also engineering. Bob Clearmountain mixed the album, and Bob Ludwig mastered it at Masterdisk.

Columbia lifted “Be Good to Yourself” as an April 1986 single, which reached No. 9 on the Billboard Hot 100 chart. “Suzanne” followed in June 1986 and reached No. 17. “Girl Can’t Help It” appeared in August 1986 and also reached No. 17. “I’ll Be Alright Without You” followed in November 1986 and reached No. 14. “Why Can’t This Night Go on Forever” appeared in April 1987.

Raised on Radio reached No. 4 on the Billboard 200 chart.

Discography: