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Escape (2022 Remaster)

“Don’t Stop Believin’” wasn’t the biggest single on Escape, or even the second. But the fact that we’re still prepared to hear it anywhere and at any time—grocery stores, baseball games, karaoke bars, finales of revered prestige-television series—is a testament to how deeply the song lodged in the cultural imagination. Like The Beatles in the 1960s, Led Zeppelin in the 1970s, or Nirvana in the 1990s, Journey captured their era, but they also transcended it. Listening to Escape, released in 1981, you can hear the blockbuster sound of the early Reagan years—the passion, the hair, the lights. But you can also hear the seeds of everything from Bon Jovi to Foo Fighters and Imagine Dragons—that blend of muscle and sensitivity that has defined arena rock for more than four decades. Interestingly, the singles that outshined “Don’t Stop Believin’” at the time—“Who’s Crying Now” and the Motown-esque “Open Arms”—pointed toward the past. And as an album in the era of so-called album-oriented rock, Escape is actually kind of weird, governed at one extreme by rowdy hard rock (“Dead or Alive”) and at the other by the fusion-curious sound the band had perfected long before vocalist Steve Perry was called up from the minors (“La Raza del Sol”). Talking to an interviewer in 2008, Perry described the feeling of being at a club and seeing a new generation sing along to “Don’t Stop Believin’” on the stereo: “There’s something reverent about that to me,” he said. “And I only wish to protect it, because it means something to them like it means something to me.”

July 31, 1981 10 Songs, 42 minutes ℗ 1981 Columbia Records, a division of Sony Music Entertainment

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By Deborah Frost

Deborah Frost

“Who’s Crying Now,” the hit single off Journey ‘s hit LP, isn’t super hip, super deep or even real, real hooky. But it does sound good. What I’m talking about is the way the song’s soft, soapy bass redeems its soft, dopey sentiment by diving beneath tiny fillips of acoustic guitar and bubbling up around a dream-sized dollop of fat harmonies. Every shimmery cymbal tick pays tribute to the state of modern engineering. Same goes for the sting in Neal Schon’s electric-guitar solo, which is what finally drives the tune up, out and home.

Would that one could say the same for the rest of the record. Aside from the passing grade scored by “Who’s Crying Now” in Advanced Jukebox Muzak, Escape is less a testament to talent than the times. Candy bars and the dollar aren’t all that’s shrinking these days. The latest victim of inflation is the value of a Number One album. When heavy-metal light-weights like Journey start swinging from the chart tops after years on the road (you know, the old Speed-wagon Come Alive shtick), there are usually at least two hummable reasons. But once you get past the single here, it’s tough to fathom why either the band or its new LP is riding such a hot streak. Journey could be any bunch of fluffbrained sessioneers with a singer who sounds like a eunuch under assault from the thrashings of a West Coast-style identi-riffer (Schon, Craig Starship or Steve Toto).

Maybe we’re supposed to buy the idea that the content settled during shipment. I don’t. If I want to hear the best parts of “Stone in Love,” I can always listen to Free’s “All Right Now.” When I want “Escape,” give me Deep Purple’s “My Woman from Tokyo.” For “Dead or Alive,” just turn the (Jimmy) Page to “Hots On for Nowhere.” And Lord knows how many weary pilgrims have managed to tramp down the memory lane of adolescent lust without the side trip that Journey make to the dank hole of dreck-ola. Examples: “In the heat with a blue jean girl/Burnin’ love comes once in a lifetime” and addressing their audience as “streetlight people.”

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In most of the arenas where Journey play, you probably can’t hear the words anyway, because all that registers are Schon’s guitar master moves and Steve Perry’s stiff preening. Whip out a familiar twiddly lick or old pep-rally cheer — what’s the diff? Something simple like “whisky, wine and women” or the mention of a Maserati will generally suffice.

The funny part is that Journey’s current success doesn’t have much to do with the hard-rock pose they’ve been trying to fool us with for nearly eight years now. Instead, Escape is a triumph of professionalism, a veritable march of the well-versed schmaltz stirrers. Then again, when heroes are hard to find, the first thing you’ll see are the showoffs. On second (or is that third?) thought, maybe there really are a lot of “streetlight people” out there. If so, my guess is that they’ll soon glow out of it.

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How Journey Tweaked Their Lineup and Went Supernova With ‘Escape’

Journey thought they were on the verge of something big in 1980. And they were – but only after a period of sudden adversity.

Their first three studio albums with Steve Perry had each sold millions, followed by another multi-platinum live project, Captured . “The band had already exploded on tour, and the Captured record was exploding and the energy on that record was something you couldn’t deny,” co-founder Neal Schon told Goldmine in 2013. “And so, I felt that at any point that whatever we came with, as long as there were good songs, it was going to be big.”

But  Gregg Rolie , who'd started Journey with Schon after both left Santana , wanted out. When it came time to add a new studio cut to Captured , they had to turn to a sessions player, Steve Roseman. "The Party's Over (Hopelessly in Love)" went Top 40, but Journey was abruptly in disarray.

Certainly nothing pointed to the successes of Escape , which arrived on July 31, 1981 after the addition of Rolie's replacement,  Jonathan Cain . Yet, it became Journey's first-ever No. 1 album amid an amazing run of four Top 20 hit singles, including "Don't Stop Believin',' "Who's Crying Now," "Open Arms" and "Still They Ride" – along with the rock-radio favorite "Stone In Love."

"I have to attribute that to Jonathan coming in and joining the writing team," Perry told the New Haven Register in 2012. "Jon had so many creative ideas, and he and I did a lot of lyrics back then, too. It just turned another corner ... though at the time it felt like we were just doing more music the same way we always had. But time has shown it to be more of a quintessential album than some of the others."

Watch Journey Perform 'Stone in Love'

Cain, who favored a modern synthesizer sound versus Rolie's sturdy Hammond B-3, had been featured on a pair of Babys albums released in 1980 before joining Journey. They met when the Babys served as opening act on a tour in support of Journey's 1980 studio effort Departure .

Something immediately clicked between Cain, Perry and Schon. Escape was made with remarkable efficiency, and cost just $80,000 in total. Perry, whose mantra was reportedly "time is money," rarely did more than two takes. Despite the dramatic shift in sound, the album seemed to glide onto store shelves.

“When Jon came in, he brought in a whole different thing,” Schon told Goldmine. “It was like, he’s an accomplished songwriter ... and an accomplished keyboardist, a classical keyboardist like on piano. Gregg was more of a bluesy guy, someone from a B3/Jimmy Smith school of organ playing, which was a completely different thing. So we went more with Jon ... and there was always more of a classical vein to what we were doing, as opposed to what we were doing with Gregg.”

They emerged with a new signature song. No, not " Don't Stop Believin' ." In fact, back then, "Open Arms" – a song that set a template for '80s power ballads – was considered the album's stand-out single. The track soared to No. 2, and remained there for six weeks in early 1982. It had followed the opening single success of "Who's Crying Now," which topped out at No. 4.

In between was "Don't Stop Believin'," a single that barely crept into the Top 10. Today, it's undoubtedly the best-known thing about Escape , a track that became the adopted anthem of not one but two World Series teams (2005's White Sox and 2010's Giants), a fixture on TV (including memorable appearances on The Sopranos and Glee ), and one of the best-selling catalog items ever on iTunes. The song actually roared back into the Top 10 twice in the U.K., almost 30 years after its initial release.

Listen to Journey Perform 'Don't Stop Believin"

"Don't Stop Believin'" had much humbler beginnings. Cain brought the chorus melody and lyric into a rehearsal for the album being held at an Oakland warehouse. “The phrase came from my father,” Cain told the New York Post in 2010. “I had a tough time trying to get down the road in the music business, and he used to tell me that stuff, 'Don’t stop believing.'" Perry asked for some "rolling piano" to get things started, and he and Schon started tracking the music. That arpeggiated guitar riff, for instance, followed Perry's suggestion that Schon approximate the sound of a train.

Perry and Cain finished the lyrics later, including a line about a non-existent place called "South Detroit." "I ran the phonetics of east, west, and north, but nothing sounded as good or emotionally true to me as South Detroit," Perry told Vulture in 2012. "The syntax just sounded right. I fell in love with the line. It's only been in the last few years that I've learned that there is no South Detroit. But it doesn't matter."

Indeed, Schon says "Don't Stop Believin'" earns Journey as much as three times the amount of any other catalog song. That belated success underscores Schon's consistent, though at-first largely unheard, assertion that there was more to Journey's tour-de-force Escape than the soaring romanticism of its blockbuster ballad.

“I listen to it now and it’s a great record, but it’s all over the map,” Schon told Goldmine . “You’ve got a song like ‘Dead or Alive’ on it, which is like really musical punk. I don’t know what you’d call it. It had tight time changes and drum lines that Steve Smith had to sort out. And then you have ‘Open Arms’ on the other side of the spectrum, and so it was like everything between A and Z and everything in the middle.”    

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Escape by Journey

Album Reviews 1981 Albums , 2011 Reviews , Album Reviews by Ric Albano , American Artists , California Artists , Journey 1

Fortunately for Journey, the British pop band The Babys were breaking up at about the same time, freeing up keyboardist Jonathan Cain to join the band. This created the respectable songwriting triumvirate of Perry, Schon, and Cain that launched the band into mega popularity through the early 1980s, starting with their 1981 album, Escape .

Although a critical listener may find the lyrical content a bit common and trite, there is no denying that sound that was forged on this album creates a niche and feeling that is quite fantastic. There is an edge to each and every song that makes it indelible and taps into a deep reservoir of nostalgia, while some of the individual, performances are at a stratospheric level.

While Cain was the driving force behind crafting many of the songs on Escape , and Perry and Schon provided, without a doubt, the incredible performances of this album (more on them later), bass player Ross Valory added a special touch to this album, with a unique-sounding, high end buzz to his bass sound that gives it just an edge to make the overall sound distinct. This is evident right from the jump on the hit “Don’t Stop Believin’ ” as he compliments the low end of Cain’s rotating piano riff in a preview of one of the elements the distinguishes this album from any other (including other Journey albums).

A true classic in every sense, “Mother, Father” was arranged by Neal’s father and jazz musician Matt Schon who put together the ingenious chord structure that sets the mood for Perry’s soulful vocals and the absolutely superlative solo in the mid section. It climaxes with a surreal, harmonized outro, which completes a song that is as melodramatic as anything The Who ever did, while as deep into the “inner space” as anything that Pink Floyd ever did.

Steve Perry’s voice is a unique entity, unlike any ever quite heard before or since. He compliments any odd 7th or augmented chord by smoothly transitioning from note to note along an almost-superhuman range. He never seems to miss a note, but especially shines on the rockers “Lay It Down” and “Stone In Love”, as well as the ballad “Open Arms”, a calm lullaby that eases the album to its conclusion after the emotional journey of “Mother, Father”.

Another high point on the album is “Still They Ride” a haunting ballad, dripping with melancholy, that is dark yet addictive, here the band displays amazing discipline in measuring out the simple and slow notes with perfect, moody precision.

In total, Escape is a difficult album to pigeon hole. It is best known for its ballads that rose high in the charts, but yet has made a few “Top Heavy Metal Album” lists. It was undoubtedly a template for scores of album oriented rock efforts in the 1980s. Yet it gives a slight nod to the progressive rock of the 1970s with the exotic arrangements, jazz fusion, and the mini-suite title song, “Escape” (not to mention the official title of the album being the cleverly arranged “E5C4P3”).

No matter how it may be classified, it was certainly and instantly a hit, and the band did not shy away from reaping the benefits from this new found fame. In 1982, with the gush of a mainstream audience, Journey became the top-selling concert ticket, and that same year a Journey Escape video game was released for the Atari 2600 system.

Journey may be credited or blamed for what followed in the wake of Escape , when acts such as Poison, Bon Jovi, and countless other “hair” bands would put forth their own inferior carbon copies of this album but nonetheless stuck to the formula and gained success from it. In any case, they were the originators of this hybrid of pop-friendly “hard rock”, whether by design or not.

Part of Classic Rock Review’s celebration of 1981 albums .

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Product details.

• Is Discontinued By Manufacturer ‏ : ‎ No
• Product Dimensions ‏ : ‎ 5.62 x 4.92 x 0.33 inches; 3.84 ounces
• Manufacturer ‏ : ‎ Columbia
• Original Release Date ‏ : ‎ 1996
• Run time ‏ : ‎ 43 minutes
• Date First Available ‏ : ‎ February 17, 2007
• Label ‏ : ‎ Columbia
• ASIN ‏ : ‎ B000002BMV
• Number of discs ‏ : ‎ 1
• #830 in Arena Rock (CDs & Vinyl)
• #1,520 in Soft Rock (CDs & Vinyl)
• #2,185 in Hard Rock (CDs & Vinyl)

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