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Album Journey 1983 Frontiers

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Frontiers by Journey

Album Reviews 1983 Albums , 2013 Reviews , Album Reviews by Ric Albano , American Artists , California Artists , Journey 0

buy Frontiers

Musically on Frontiers , the band made a concerted effort to move away from (albeit very slightly) the consistent, commercial formula which they had forged over their recent previous albums. However, they may have chosen the wrong direction in which to deviate from the pop/rock sound, primarily by making this album more synth-heavy than anything previously. Although he had emerged as the band’s chief songwriter, Jonathan Cain has a bit over the overall vibe with his keyboard work, and it caused some missed opportunities with the album’s sound. Further, bassist Ross Valory abandoned his unique, fret-less buzz which he had mastered on Escape for a more traditional rhythm sound. This would be Valory’s final album with Journey for over a decade, as he and drummer Steve Smith were replaced in 1985, only to return for the Journey mid-nineties reunion a decade later.

Left out of the final cut of the album was the future hit “Only the Young”, which eventually appeared on the soundtrack to the 1985 film Vision Quest and reached the Top Ten. This song is dominated by a consistent, almost-acoustic riff, a strong rhythm, guitar textures and vocal melodies along with with a striking message – “only the young can say they’re free to fly away…” – which shows just how talented Journey can be when all the elements are maximized.

Sequentially, the album is quite out of balance, with all five songs from the original first side released as singles (and all becoming radio hits), while none of the five from side two received any significant radio play. “Separate Ways (Worlds Apart)” starts things off, with Cain’s keyboard riff biting and eerie, like if Pink Floyd went pop. This couples with Schon’s rifle-sharp guitar track during the song proper to make for a very powerful and driving rhythm. Written in early 1982, “Separate Ways” is the oldest composition on the album and it peaked at #8 on the charts, making it the highest charting hit on the album. The calm “Send Her My Love” follows as the album’s first ballad. The song is built on a bluesy piano riff which is accented brilliantly by subtle guitar licks and some swelling sonic textures from all directions. Perry’s melody is left to carry the tune pretty much throughout until it breaks into more intense outro led by Schon’s lead guitar.

The middle of side one contains a couple of strong rockers. “Chain Reaction” is kind of boilerplate on the surface but is executed brilliantly by the band, giving it a unique edge. The rich vocal harmonies above this most guitar and riff heavy of tracks, gives it an air that it could have been an eighties hair metal classic if performed by the right group. “After the Fall” is a true pop gem, very rich and melodic throughout. This song is led by Perry’s vocals, which are at their absolute peak here, and brought out perfectly by the rest of band playing a reserved, supporting role. In between the vocals, the guitar and keyboard harmonized riff acts as a perfect counter-melody and “After the Fall” is one of the few tracks on the album where Valory’s bass is clear and up-front. The real highlight of the song is the commencement of third verse, which demonstrates how pure performance can overtake lack of fresh lyrics.

The first side concludes with “Faithfully”, the all-time, ultimate “power ballad”. While very slow and deliberate, the song packs a mighty punch, especially as it builds towards a perfect climax at the end. Written solely by Cain, the “rolling” piano riff was inspired by the sound of wheels constantly present while traveling on tour, with the simple lyrical message of keeping a relationship together while touring in a rock band. While the song is totally Cain’s in composition, the performance is carried mainly by Perry and Schon and this hit song reached #12 on the charts.

The second side is much less even than the first. “Edge of the Blade” sounds like it falls about ten minutes short of the hour, in both composition and production. While there are some good individual elements to this song, as a whole it doesn’t work at the quality we expect from Journey. “Troubled Child” is a bit better, although built on rather cheesy synths (which otherwise might have been some good riffing). The song has a dark and soulful core and is a bit off-beat, which makes it interesting. Drummer Smith added a strong enough drum pattern to take a songwriting credit for “Back Talk”, a song which takes an almost-Van-Halen-like approach musically and sounds like it would fit in perfectly with some type of theatre production lyrically. The title song “Frontiers” is the weakest song on the album and may be as close to filler as you’ll hear on a Journey album.

“Make a move across the Rubicon, futures knockin’ at your door Take your time and choose the road you want, opportunity is yours…”

The closer “Rubicon” is the only true gem on the second side. Musically choppy and moody but lyrically inspired (this could have been a theme for a Rocky film), the song possesses a great theme and concept which, even while very synth heavy, makes it feel like a true rock anthem which could have existed in many eras.

At the top of their commercial game after the success of Frontiers , Journey made a common mistake – they took too much time off and got lost from the musical scene. Perry did put out a very successful solo album called Street Talk in 1984, and the band released a songs for Soundtrack albums (including “Only the Young”) during that time period. But by the time the band returned for their next studio album, Raised on Radio in 1986 (without Valory and Smith), it was clear that the golden age of the band was over.

Part of Classic Rock Review’s celebration of 1983 albums.

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40 Years Ago: Journey’s ‘Frontiers’ Signals the Beginning of the End

Journey was coming off their biggest year ever when they started recording their eighth album, Frontiers .

Their previous LP, 1981’s Escape , contained their best set of songs, a consistent mix of radio-friendly pop and fist-raising rock that they had been striving for since 1975. The band was rewarded with its first (and only) No. 1 album and its all-time best seller – not counting 1988’s Greatest Hits collection – with more than nine million copies sold. So expectations were high when they stepped into a California studio to record the follow up.

But ever since their fourth album, 1978’s breakthrough Infinity , when they hired Steve Perry as singer, Journey hadn’t so much upgraded their sound as they had sharpened it. By the time they released Escape on Feb. 1, 1983, they weren’t making different records, just better ones. And they stuck by that foolproof plan for Frontiers .

Taking what worked on Escape (big pop hooks mixed with crowd-swaying ballads), tossing out what didn’t (excessive soloing by the band’s veteran musicians) and adding a glossy early-‘80s sheen that gave the album the group’s most state-of-the-art production, Journey crafted Frontiers by the hit-making playbook. More than anything, the record was designed to sell a lot of copies and to continue the roll they were on since Escape catapulted them to the top.

Watch Journey's 'Separate Ways' Video

The plan halfway worked. The four singles released from the album – "Separate Ways (Worlds Apart)," "Send Her My Love," "After the Fall" and "Faithfully" – all hit the Top 30, but "Separate Ways" was the only one to reach the Top 10. The LP itself hit No. 2 and eventually sold six million copies. But besides a handful of tracks, the songs don’t make much of an impression. The quintet left little breathing space in the music; they were so determined to make a hit record that most of the album sounds like it was manufactured in a sterile, pop-music factory.

Frontiers would be the last classic-lineup Journey record until a one-off reunion in the '90s. By the time they got around to the follow-up, 1986’s Raised on Radio , two longtime members were fired, Perry had seized control of the group and the music sounded as faceless as the band’s critics had always claimed it was. Frontiers was the beginning of the end.

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Verskotzi’s “SHIRING” Album: A Journey Through Live Performances and Immersive Experiences

Photo Credits – Liz Bretz

Verskotzi , the Los Angeles-based folk/rock musician, unveiled his third full-length album, “ SHIRING ,” on February 9th, 2024, under Preach Records, a label affiliated with Universal / Virgin Music. The release was celebrated with a live performance at the renowned Hotel Cafe Main Stage in Hollywood, where he played with his full band.

However, Verskotzi ‘s efforts to promote “SHIRING” are far from over. Recognizing the fleeting nature of modern album releases, he is currently engaged in a series of album release shows across major cities throughout 2024.

Reflecting on the promotional strategies in the music industry, Verskotzi remarked, “In the music industry, you often hear about the ‘long tail’ of an album, referring to how long you can extend the marketing efforts for a piece of work. For me, it’s important to promote an album for at least as long as it took to create, ideally for a full year, through various channels like live shows, social media campaigns, music videos, and more.”

Photo Credits – Gretchen Burkhart

In today’s digital age, with streaming payouts at an all-time low, artists are forced to cut costs wherever possible. Coupled with rising inflation, the already thin margins for touring have become even slimmer. To adapt, Verskotzi decided against a traditional tour in favor of targeted album release shows in key markets. Having not toured regularly since 2016, and having relocated from Minneapolis to Los Angeles, he felt the need to adjust his strategy to align with the current industry landscape.

“This album is designed to be experienced live,” Verskotzi shared. “My band and I have crafted an immersive show, and I want to bring this experience to as many people as possible. Pressing the album on vinyl was a decision made with touring in mind. These focused tour dates allow us to give each performance the attention it deserves, making every show unique. While I look forward to more extensive touring in the future, these ‘fly dates’ are an excellent way to reintroduce myself to these markets and keep the business side manageable.”

So far, Verskotzi has performed in Los Angeles at The Hotel Cafe and in his hometown of Minneapolis at Icehouse. Next on the agenda is a performance in Chicago, which will also feature the premiere of a mini-documentary that delves into the creation and significance of “SHIRING.” This Chicago event will be a private showcase hosted at a local advertising agency that collaborated on the documentary. Future plans include album release shows in Nashville, Toronto, New York City, and other locations.

To stay updated on Verskotzi’s upcoming performances and events, follow him on social media and check out his work on all platforms.

https://linktr.ee/verskotzi

This article is published by NYTech in collaboration with Evertise Studios.

The Sphere in Las Vegas really is a 'quantum leap' for live music: Inside the first shows

LAS VEGAS — Last September, U2 changed the concert experience as we knew it.

On a stage designed as a turntable, the illustrious rockers broke into “Zoo Station” and the concrete walls towering over them trembled and broke apart.

Or at least it looked that way thanks to a massive 160,000-square-foot wraparound LED screen.

As a static backdrop hissed, Bono roared, “I’m ready. Ready for what’s next.”

It was an apt proclamation for the first concert at Las Vegas’ new toy, the Sphere , an imposing domed venue on the Strip that promises to be the next frontier in live entertainment through design and technology.

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Since September, Phish and Dead & Company have also had turns at the Sphere, and The Eagles today announced their run will start Sept. 20. This prompted us to ask if the $2.3 billion venue is really the "quantum leap forward" as The Edge described it to USA TODAY before that first show, or another Vegas landmark where you can take a spectacular photo?

After seeing all three bands at the Sphere and talking with fans and stakeholders, we can say it turns the mundane into magical.

More: The Eagles are officially coming to the Las Vegas Sphere: Dates and ticket details

What is inside the Las Vegas Sphere?

On the Vegas skyline, the Sphere is the rotund counter to its towering neighbors The Venetian and Wynn Las Vegas.

It's the size of two city blocks and is taller than a football field is long. The Sphere has the seating capacity of an arena with all of the jaw-dropping wonder of a "Star Wars" ride at a Disney theme park, felt from the moment fans enter the futuristic atrium.

Built over four years, the Sphere is a uniquely fashioned venu e with immersive sound from 167,000 individual speakers installed behind a 160,000-square-foot (about 3.5 acres) LED screen with stunning 16k resolution.

The encompassing visuals are dizzying in the best way, whether they're the Elvis-inspired video creating a swooping feeling of movement during U2's "Even Better Than the Real Thing," the "scaffolding" that parted at the start of Dead & Company's “Mississippi Half-Step Uptown Toodeloo” to display a quaint row of Haight-Ashbury houses then a hovering image of Earth's atmosphere or Phish's amber-lit floating fabric pods during "Leaves."

The "beamforming" sound technology in the venue allows sound to be controlled and targeted directly to certain sections, which Phish employed to head trippy effect. The absence of sound bleed from inside the dome into the concourse is another extraordinary element. Take a step out of the seating area and hear nothing but ambient background. Step back into the venue and feel an aural bear hug.

Why the Sphere is special for musicians: 'It's not just plug and play'

As Dead & Company frontman Bob Weir told USA TODAY in an email, the Sphere unlocks creative boundaries to "take storytelling in live performance to the level of opera – maybe even beyond. U2 and Phish got the ball rolling. Now it’s our turn."

Because it can take up to a year to create specialized content to accompany live productions, the Sphere is utilizing the residency model – ideally at least eight shows – as its blueprint.

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The U2 extravaganza, which found the veteran hitmakers performing all of their 1991 album, “Achtung Baby,” along with a set of hits, extended from a rollout of five shows to 40. By its March 2 finale, about 800,000 fans experienced its marvel.

“It’s definitely not a touring venue. It’s not just plug and play,” said Josephine Vaccarello, executive vice president, live, for MSG Entertainment, who oversees concert bookings for the Sphere. “We need an act that has the fan base and the following, the artist that has the creative vision for what we can do with these creative tools and the journey they want to take their fans on.”

Dead & Company, which has dates through Aug. 10 , demonstrated the nimbleness of the Sphere's technology during its May 25 show when a camera atop the venue's roof captured a photo of the full moon. The image was quickly uploaded during the concert and appeared, along with a close-up of Weir, during “Black Peter.”

"Live concerts have always been the ultimate expression for music, and part of the joy of creating shows is making the most of what’s available in order to build a world with and around the music," John Mayer, Dead & Company guitarist and singer, said in an email to USA TODAY. "Having the Sphere as this giant new set of tools is a spectacular opportunity for musicians to tell a deeper, more immersive story. I’m honored to be one of the first explorers of this new frontier."

The Sphere offers an experience that's 'completely different' for fans

U2 fan Alejandro Familiar attended three of the band's shows, twice among the general admission throng on the floor and once from the steep 400-level.

The Las Vegas resident is a devotee of the Irish rockers, whom he's seen at least seven times in stadiums, which made the 20,000 concert capacity at the Sphere a relatively intimate experience – and one that enthralled him.

"The technology is crazy , the sound is completely different than anything I've experienced in every other venue. It's just a whole immersive experience. (The band) can make you feel like you're in space, at a beach, they can transport you anywhere," he said. "You're used to going to a venue and looking at the band and maybe the guitars on stage for a minute, but there's no other place to look. Now, the band is what you pay the least attention to because of everything around you, but I don't think that's a bad thing."

Familiar surmised that some U2 fans – like himself – went to multiple shows so they could focus on different elements of the concert each time, as well as from various vantage points. (Be aware that the visuals can be obstructed by an overhang above the 100-level from about rows 24-37. Tickets are categorized as limited view.)

"It was a different experience sitting up top, like being in a huge movie theater. The band looks small from there and the stage looks really small, but the sound and visuals, that's what makes it," he said. "And you can be listening to a song and then they'll blast (images of) giant Bonos and the band on the screen and you go, 'Ah, OK, there they are.'"

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Sphere challenges: 'We'll continue to learn'

Jennifer Koester, president and chief operating officer of Sphere, said nearly a million guests traveled through the venue by the fiscal third quarter that ended March 31. Yet some skeptics remain.

For those who wonder just what the big deal is about a venue with groovy technology , extremely vertical seating and pristine sound, it’s difficult to verbalize how transformative it is to feel, see and hear a show at the Sphere.

But as Vaccarello summarized, “Seeing it on videos is not the same as experiencing it in person. Once people experience it, they fall in love because it touches all of the senses.”

Along with the indisputable wonders of the Sphere, though, some operational hiccups left some guests with a frustrated impression.

At several U2 concerts and during Phish’s opening show , the ingress left fans crammed on the pedestrian bridge from inside the Venetian to the Sphere’s entry for 45 to 90 minutes. The first night of Dead & Company, the men’s bathroom lines snaked into the atrium.

These “pain points” as Koester calls them, were addressed by directing fans to other entry areas outside the venue for U2, opening doors earlier for Phish the second night of their residency and reversing one of the women’s restrooms – not quite as busy at a Dead show – to accommodate men.

The venue has also worked to offer reasonable parking options , including valet and space for limos, taxis and tour group buses. Several hundred spaces are available on site at the Sphere, with concert parking starting around $50 (it's $18 for the ongoing Sphere Experience with Darren Aronofsky’s breathtaking “Postcard From Earth” film ). The self-park garages at the adjoining Venetian and Palazzo are a minimum of $23 (event rates can vary), though casino visitors holding a certain level of player's club card can park for free. The rideshare scene is typical of any major event, with significant congestion at peak entry and exit times.

As next-level as the Sphere is, it manages logistical issues with customer experiences faced by every event venue.

“Those are all adjustments,” Koester said. “And we’ll continue to learn.”

What will the Sphere be in five years?

Only live event ticket buyers will experience the sensory engulfment found inside of the Sphere. But anyone can gape at the continually glistening digital exosphere, whether they are a photo-snapping tourist or one of the many airplane passengers scrambling for their phones on the descent to capture the newest landmark.

The Sphere's exosphere has shown playful emojis , glaring eyeballs , logos of its musical inhabitants, adorable memes , advertising and, coming July 4, student art . Only the truly apathetic can't be impressed.

The Sphere will also soon emit sound from its skeleton , an addition that has piqued the curiosity of some and pre-irritated others. The feeling among Sphere brass is that Las Vegas is already a cauldron of sound, so what's a little more?

But as eye-catching as the exosphere is, the future of the venue is all about what happens inside the dome.

The initial trio of Sphere bands leaned toward a middle-aged demographic, and the fourth, the Eagles , will park at the venue for eight shows beginning Sept. 20. Tickets are on sale at 1 p.m. ET June 21 via ticketmaster.com.

But there are plans to diversify the offerings and announce a few more performers, as well as other age-spanning multimedia events this year.

“We’re talking to a huge variety of artists. We’re just scratching the surface,” said Vaccarello.

One future ambition is being able to “flip” the venue within a single day; perhaps have a showing Postcard From Earth” – which plays most days there isn’t a concert at the venue – during the day and hold a live event that night.

The staging of the NHL Draft June 28-29 will mark the first live broadcast from the Sphere. Even corporate activity has emerged, with Hewlett Packard Enterprise scheduled to hold its keynote address at the venue June 18.

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Koester knows that for the Sphere to thrive, constant movement is paramount.

“I go back to the premise upon which this was built, that this is a venue that is a disruptor,” she said. “The hope is that I can sit here in five years and say, we’re still ahead of everyone else and are continuing to evolve and push the boundaries with technology. I wake up every day thinking about that.”

Does the Sphere live up to the hype?

The future of the Sphere is unquestionably intriguing. But its nine months of existence, it has proven to be a game changer for live experiences Its bewitching presence has convinced most cynics that this flashy attraction on the Strip is more than a colorful orb with impressive sound and visual technology.

“Everyone is pushing the boundaries of the capabilities of that venue,” said Koester. “I was at U2 opening night – I’ve been going to see them since I was 13 – and it ruined me for every other concert."