journey frontiers cover art

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What exactly is the story of the Frontiers album artwork?

Moderators: Andrew , T-Bone

Re: What exactly is the story of the Frontiers album artwork

tammy wrote: Today I was listening to the radio in the car and the DJ was doing a trivia question thing about what album art cover cost $60,000. I had to drop my kid off and when I got back in the car "Faithfully" was playing. I listened for another 1/2 hr and never heard the answer...so, does anyone know? Since Faithfully was playing it made me wonder if it was Frontiers....and, now what is the inspiration for this design anyway?

Saint John wrote: I believe Andrew posted the original art wrok in the Herbie interview a while back. Big mistake by Perry. The original artwork was so much better. The Frontiers cover is one of the worst in the history of rock. WTF is that thing?

Rick wrote:

Tito wrote: I saw some guy wearing that shirt last week too. It's popular.

Rick wrote: He posted an alternate ROR artwork.

Saint John wrote: Rick wrote: He posted an alternate ROR artwork.

Seven Wishes wrote: "Abysmal? He's the most proactive President since Clinton, and he's bringing much-needed change for the better to a nation that has been tyrannized by the worst President since Hoover."- 7 Wishes on Pres. Obama

tammy wrote: So no one has seen the original Frontiers cover? Any description? Is this an alien (aka Elmo) or does it have to do with the movie, "Tron" which had a Journey song in it? Still curious to know the trivia answer to what album cover cost $60,000.

Tito wrote: I still think they should find a hockey goalie who is a fan and they could have their goalie masks like Elmo and one has scarab too

Matthew wrote: Come on...the band HAD to get rid of all the scarab and flames and feathers imagery. In 1983 it would have seemed incredibly dated....

JSS Rocks! wrote: Matthew wrote: Come on...the band HAD to get rid of all the scarab and flames and feathers imagery. In 1983 it would have seemed incredibly dated....

Lora wrote: I don't recall that there ever was an alternate album cover for Frontiers. That cover was designed by Journey's then in-house graphic artist, Jim Welch. The alien dude on the cover was dubbed "Elmo" as some said there was a resemblance between him and Elmer Fudd. They even made up a crew t-shirt with a morphed image of the Frontiers alien and Mr. Fudd. If I can find my shirt, I'll put up a pic of it.

StoneCold wrote: Lora wrote: I don't recall that there ever was an alternate album cover for Frontiers. That cover was designed by Journey's then in-house graphic artist, Jim Welch. The alien dude on the cover was dubbed "Elmo" as some said there was a resemblance between him and Elmer Fudd. They even made up a crew t-shirt with a morphed image of the Frontiers alien and Mr. Fudd. If I can find my shirt, I'll put up a pic of it.

Lora wrote: StoneCold wrote: Lora wrote: I don't recall that there ever was an alternate album cover for Frontiers. That cover was designed by Journey's then in-house graphic artist, Jim Welch. The alien dude on the cover was dubbed "Elmo" as some said there was a resemblance between him and Elmer Fudd. They even made up a crew t-shirt with a morphed image of the Frontiers alien and Mr. Fudd. If I can find my shirt, I'll put up a pic of it.

Hollywood wrote: Andrew did not post original Frontiers artwork, although he did post one of the alternate ROR covers. I have looked high and low for an image of the original Frontiers cover and have never seen it. I know it was designed by Kelley/Mouse. For me I’m just curious more than anything as I am TOTALLY biased. I love the Frontiers cover more than any other. This is probably due to the fact that it was my first exposure to Journey. I was 9 and starting noticing music and my brother gave me a Frontiers button to wear to school and I was hooked. If any one has it or knows where to see please share with us.

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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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Album Review: “Frontiers” By Journey

Frontiers album cover - ForeverStevePerry / Youtube

Frontiers, Journey’s eighth studio album, succeded the acclaim of its predecessor  Escape with a close commercial performance, albeit sporting a stark difference in execution.  Frontiers  veered away from the band’s pop-oriented arena rock sound and instead went for synth-heavy instrumentation that was both unorthodox yet productive for the Journey. The album also saw the exit of bassist Ross Valory and drummer Steve Smith, who returned in the next decade for a reunion.

Opening the album is  “Separate Ways (Worlds Apart)” , a synth riff courtesy of Jonathan Cain driving the song along with Neil Schon’s piercing guitar playing. Following it is the laidback ballad  “Send Her My Love”,  carrying a blues piano progression and is accentuated by Steve Perry doing the main melody before the guitar breaks off into a lead fiasco.  “Chain Reaction”  is carried by nonstop riffing that teeters on the verge of hair metal, while  “After The Fall”  takes hints of pop back into the mix with Perry taking center stage with his vocals. Ending the first side is the universally-acclaimed power ballad,  “Faithfully”,  carries the theme of keeping a relationship while being in a rock band, with the nostalgic piano progression and soaring vocals adorning its run.

The second side starts with  “Edge of The Blade”,  which is rather weak compared to the previous tracks.  “Troubled Child”  soon follows, with synths painting a brooding atmosphere and enhanced by an offbeat rhythm.  “Back Talk”  is edgy in a hard-rock kind of way, while the title track ironically doesn’t do much for the album except as a filler. Closing the entire record is  “Rubicon”,  a versatile rocker that could have done better if it stuck to the theme of the album.

Frontiers  was probably the band’s best effort before they sunk to mediocrity due to complacency.

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Frontiers (Journey album)

by Kingston Feb 23, 2023

Journey's 'Frontiers' album is a legendary masterpiece that epitomizes the band's polished hard rock sound. Released on February 1, 1983, the album was the band's eighth studio album, and their last to feature bassist Ross Valory until 1996's 'Trial by Fire.' Despite the last-minute substitution of two tracks, the album garnered four top 40 singles, including 'Separate Ways (Worlds Apart),' 'Faithfully,' 'After the Fall,' and 'Send Her My Love.' It also featured the rock radio hit 'Chain Reaction.'

The album's overall sound is a perfect balance between the band's polished sound and the hard rock edge that defined them. From the opening track 'Separate Ways (Worlds Apart),' the album hooks you with its thumping bassline, catchy guitar riffs, and soaring vocals. The album's sound is polished, but not to the point of being overproduced, which allows the band's hard rock edge to shine through. The result is an album that is melodic and accessible, but still retains the raw energy and power of hard rock.

Another standout track on the album is 'Faithfully,' a power ballad that showcases Steve Perry's vocal range. The song is a perfect blend of hard rock and pop sensibilities and features a memorable guitar solo that is sure to make any listener air-guitar along. 'Send Her My Love' is another power ballad that showcases the band's softer side, with its beautiful piano intro and soaring chorus.

'After the Fall' is a catchy, up-tempo rocker that features a sing-along chorus and a guitar solo that will have you tapping your feet along. 'Chain Reaction' is a hard-driving rocker that features Neal Schon's guitar work at its finest, and 'Back Talk' is a classic Journey track that features a thumping bassline and catchy guitar riffs.

'Frontiers' is an album that stands the test of time and is a must-listen for any fan of hard rock or classic rock. The album's timeless sound and memorable tracks are a testament to the band's incredible talent and musicianship. It's no wonder that the album went on to achieve the RIAA certification of six times platinum. If you haven't already, give 'Frontiers' a listen and discover why Journey is one of the greatest rock bands of all time.

Album artwork

Journey, the legendary American rock band, has had a long and fruitful journey, both musically and visually. When it comes to album covers, the duo of Stanley Mouse and Alton Kelley have created some of the most iconic artwork for Journey's albums, but with their eighth studio album 'Frontiers,' a new designer took over the reins.

Jim Welch, Journey's art designer for more than three decades, stepped up to create the album cover for 'Frontiers.' The cover marked a subtle shift from their previous albums, as Welch chose to go in a different direction from Mouse and Kelley's style. He drew inspiration from the theory of relativity and motion, particularly the concept of tunnels and the bending of time.

The cover for 'Frontiers' features a black background with a mysterious, otherworldly figure in the foreground. Welch referred to this figure as a "connection to a higher level of listening to Journey," which may have been a metaphor for the band's evolution and musical progression.

The design of the cover conveys a sense of depth and distance, with the figure appearing to be moving towards the viewer through a tunnel. The use of contrasting colors, with the vibrant orange and green hues of the figure contrasting with the dark background, adds to the artwork's striking visual impact.

Welch's interpretation of Einstein's theories and his creative use of colors and space make the 'Frontiers' album cover a standout in Journey's catalog. The cover art perfectly complements the album's themes of exploration, introspection, and the journey of self-discovery.

While some fans may have missed Mouse and Kelley's signature style, Welch's vision for 'Frontiers' added a new layer of depth and meaning to Journey's artistic legacy. The album cover is a perfect representation of the band's willingness to take risks, explore new territory, and push the boundaries of rock music.

In conclusion, Jim Welch's artwork for Journey's 'Frontiers' album cover stands out as a testament to the band's evolution and growth. His creative vision and interpretation of Einstein's theories result in an artwork that is both visually striking and thematically relevant. The album cover perfectly complements the album's music and lyrics, making it an essential part of Journey's musical legacy.

Critical reception

Journey's eighth studio album 'Frontiers' released in 1983, was met with mixed critical reception. While some critics praised the album for its pop-rock sound and catchy tunes, others criticized it for lacking innovation and creativity.

AllMusic gave the album a positive review, rating it 4 out of 5 stars. The reviewer praised the album's opening track "Separate Ways (Worlds Apart)" as a "rock radio classic", and also highlighted other popular tracks like "Faithfully" and "After the Fall". The review also noted that the album marked a shift in Journey's sound towards a more commercial pop-rock style.

However, Rolling Stone magazine gave the album a less favorable review, rating it only 2 out of 5 stars. The reviewer criticized the album for being "more of the same" and lacking any significant artistic growth. The Village Voice gave the album a D+ rating, describing it as "slick and boring", with songs that "coast along without ever really catching fire".

Despite the mixed reception from critics, 'Frontiers' proved to be a commercial success, reaching No. 2 on the Billboard 200 chart and producing several hit singles. The album's popularity was further cemented when it was ranked number 363 in Rock Hard magazine's book 'The 500 Greatest Rock & Metal Albums of All Time' in 2005.

In conclusion, 'Frontiers' may have divided critics upon its release, but it remains an important album in Journey's discography, and a testament to their ability to create catchy and memorable pop-rock hits. While it may not have been the most innovative album of its time, it certainly played a significant role in shaping the sound of 1980s pop-rock.

Track listing

Journey's 1983 album "Frontiers" is a musical journey that takes listeners on a thrilling ride through the frontiers of rock and roll. With a track list featuring some of the band's most iconic songs, "Frontiers" cemented Journey's status as one of the most innovative and enduring bands of the 1980s.

The album's opening track, "Separate Ways (Worlds Apart)," sets the tone for the rest of the album with its driving beat and soaring vocals. Written by Steve Perry and Jonathan Cain, the song speaks to the universal experience of heartbreak and the pain of letting go.

"Send Her My Love" follows, a tender ballad that showcases Perry's powerful vocals and Cain's skillful piano playing. The song is a testament to the power of love and the importance of holding onto it, even in the face of distance and separation.

Next up is "Chain Reaction," a rollicking rock anthem that features Neal Schon's virtuosic guitar playing and Perry's commanding vocals. The song is a testament to the power of perseverance and the importance of never giving up, even in the face of adversity.

"After the Fall" is a haunting ballad that speaks to the fragility of life and the inevitability of loss. Perry and Cain's lyrics are a poignant reminder that no matter how hard we try, we cannot control the forces of fate.

"Faithfully," the album's most iconic track, is a soaring ballad that speaks to the power of love and the importance of staying true to oneself. Cain's haunting piano melody and Perry's emotive vocals make this song an instant classic, and its message continues to resonate with audiences today.

The album's second side opens with "Edge of the Blade," a driving rock anthem that showcases Schon's dazzling guitar work and Perry's electrifying vocals. The song is a testament to the power of the human spirit and the importance of taking risks and pushing oneself to the limit.

"Troubled Child" follows, a haunting ballad that speaks to the pain of growing up and the struggle to find one's place in the world. Perry's emotive vocals and Cain's evocative lyrics make this song a powerful meditation on the human condition.

"Back Talk" is a fiery rock anthem that showcases the band's virtuosic musicianship and the tightness of their playing. Perry, Cain, and Steve Smith's lyrics are a reminder that sometimes, the best way to handle a difficult situation is to stand up and speak out.

The album's title track, "Frontiers," is a driving rock anthem that speaks to the power of exploration and the importance of pushing oneself to the limit. Perry, Schon, Cain, and Smith's lyrics are a powerful reminder that the only way to truly discover what we are capable of is to venture out into the unknown.

"Rubicon" follows, a haunting ballad that speaks to the importance of taking risks and pushing oneself to the limit. Perry, Schon, and Cain's lyrics are a reminder that sometimes, the only way to truly grow and evolve is to leave the safety of the familiar behind.

The 2006 CD reissue of the album includes several bonus tracks, including "Only the Young," "Ask the Lonely," "Liberty," and "Only Solutions." These tracks offer a glimpse into the band's versatility and the range of their talents, and they are a testament to the enduring power of Journey's music.

In conclusion, "Frontiers" is a thrilling musical journey that takes listeners on a ride through the frontiers of rock and roll. With its powerful lyrics, virtuosic musicianship, and emotive vocals, the album is a testament to the enduring power of Journey's music, and it remains a

When it comes to creating music, having the right people on board is crucial. And when it comes to Journey's album "Frontiers", they certainly had a talented lineup of musicians and producers at their disposal.

At the forefront of the band were the familiar faces of Steve Perry on lead vocals, Neal Schon on lead guitar, Jonathan Cain on keyboards and rhythm guitar, Ross Valory on bass guitar, and Steve Smith on drums and percussion. Together, these musicians created the signature sound that fans have come to know and love.

In addition to the core band members, "Frontiers" also saw the contribution of additional musicians, including Randy Jackson on bass guitar for the track "After the Fall". These additional musicians added an extra layer of depth and complexity to the album, elevating the music to even greater heights.

Of course, it takes more than just talented musicians to make a great album. The production team also plays a vital role, and "Frontiers" had a top-notch crew at the helm. Producers Mike Stone and Kevin Elson brought their years of experience and expertise to the project, ensuring that the album sounded its best. Wally Buck served as the assistant engineer, while Bob Ludwig mastered the final product.

Together, this team of talented individuals worked tirelessly to bring "Frontiers" to life. The result is an album that has stood the test of time, with songs that continue to resonate with fans decades after its release. It just goes to show that when you have the right people in place, anything is possible.

In 1983, Journey released their eighth studio album, Frontiers, which became one of their most successful records of all time. The album reached number two on the Billboard 200 chart and spent over 100 weeks in the top 40, a significant accomplishment that cemented Journey's place in rock music history.

The album's tracklist includes classic rock hits such as "Separate Ways (Worlds Apart)" and "Faithfully," which both achieved notable chart success. "Separate Ways (Worlds Apart)" reached the number eight spot on the Billboard Hot 100 chart, while "Faithfully" climbed to number 12. "Separate Ways (Worlds Apart)" also reached the number one position on the Mainstream Rock chart in the US and number 11 on the RPM100 Hit Tracks chart in Canada.

Frontiers was a worldwide hit, reaching the number six spot on the UK Albums Chart and the number 26 spot on the Oricon chart in Japan. The album also peaked at number 30 in Germany, number 21 in Sweden, and number 12 in Norway.

In Australia, Frontiers debuted at number 80 on the Kent Music Report. Despite the low ranking, Journey's popularity continued to grow in the country over the years. It's worth noting that in 2006, the album made a comeback on the Oricon chart in Japan, reaching number 143.

Journey's Frontiers album's chart performance solidified their place as one of the most successful rock bands of all time. With over 100 weeks in the top 40 of the Billboard 200, the album was a commercial success that proved the band's musical prowess. It's no surprise that both "Separate Ways (Worlds Apart)" and "Faithfully" became beloved classics that remain popular to this day.

In conclusion, Frontiers' success was a testament to Journey's ability to create timeless rock music that transcends generations. The album's popularity and chart performance showcased the band's musical talent and cemented their legacy in the annals of rock music history.

Certifications

As a music lover, you might have heard of the legendary rock band, Journey. Their album, Frontiers, released in 1983, remains one of the most popular albums of all time. Journey took their fans on a musical journey with their iconic rock anthems, soaring vocals, and electrifying guitar solos.

The album's title, Frontiers, represents the band's spirit of exploration and pushing boundaries. Journey was not content with sticking to the same old formula and wanted to take their music to new frontiers. This hunger for innovation and experimentation is evident in the album's sound and lyrics.

Frontiers received critical acclaim and commercial success, with sales skyrocketing in the United States and Canada. The album was certified Platinum in both countries, with six million copies sold in the United States alone.

The Platinum certification is not just a testament to the album's popularity but also a reflection of the band's hard work and dedication. The certification process is rigorous, and it takes a lot to earn a Platinum certification. It's like climbing a musical mountain, with the band having to scale new heights to achieve this level of success.

Journey's music continues to resonate with audiences worldwide, with their timeless hits like "Separate Ways (Worlds Apart)," "Faithfully," and "Wheel in the Sky." Their legacy lives on, and their music still inspires new generations of rock fans.

In conclusion, Frontiers is not just an album, but a journey that took the band to new heights and explored new musical frontiers. The Platinum certification is a testament to the band's hard work and dedication, and their music continues to inspire and excite audiences worldwide. If you're a fan of rock music, Frontiers is a must-listen album that will take you on a musical journey like no other.

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How an Unused Jimi Hendrix Album Cover Led to Journey’s Scarab

Near the end of the video for Journey 's new single " The Way We Used to Be ," an animated proxy of guitarist Neal Schon appears to transform into a dung beetle. It would be an odd visual choice if not for the insect's importance in Journey lore, appearing — in various fantastical forms — on multiple album sleeves.

But why a beetle to begin with? The answer involves another rock giant.

"We got the job to do a Jimi Hendrix album cover," visual artist Stanley Mouse told NBC Bay Area in 2017, referencing his creative partner Alton Kelley. "And just as we finished it, [Hendrix] died, so the album cover never came out.

"But it was a scarab beetle with wings — very art nouveau, all done, airbrushed," he added of the image, prints of which are currently available for sale under the title "Power of Soul." "And when we got back to San Francisco … I knew the bass player in Journey, and he came over and said, 'Hey, can you do us an album cover?' So we morphed the Jimi Hendrix beetle into the Journey emblem, and that's where the Journey scarab was born."

It may be an unusual choice for a cover centerpiece, but the scarab immediately stood out on the front of Journey's sixth LP, 1980's Departure , as a rainbow-hued winged creature flies among the planets. Journey obviously dug the vibe: Two projects from the following year, the live LP Captured and blockbuster Escape , reworked the bug into new contexts.

The meaning of these images didn't need to be decoded: They're just striking as abstract art pieces. But Mouse, a regular collaborator in the psychedelic scene (including the Grateful Dead ), offered his own trippy explanation for the iconography.

"I did the Captured album in 1981, and it is a scarab that carries its eggs in a dung bowl," Mouse told the Washington Post in 2015. "When the eggs hatch, the babies feed off the dung and become beetles. It’s the regeneration of life. Escape is the beetle breaking out of a planet, which was the dung ball he was pushing around."

Asked if the band was aware of this meaning, he replied: "I didn’t even know about it. Some Japanese media people came to interview me about it. So I had to do some research. I went into ancient Egyptian mythology and learned myself."

By this point, Mouse had been a Journey regular for years, having earlier co-created sleeves with Kelley for 1978's Infinity and 1979's Evolution . But the succeeding dung-y era could be the most distinctive: bold enough to warrant picking the LPs off the racks, weird enough to keep fans intrigued years later.

The beetle also became a signature Journey reference, even spilling into other forms of media. A 1982 Journey Escape Atari game tasked users with guiding the band to the scarab spaceship amidst "hordes of Love-Crazed Groupies, Sneaky Photographers, and Shifty-Eyed Promoters," according to the manual .

Other artists prepared modified scarabs that appeared on subsequent Journey album covers – including 2001's Arrival , 2005's Generations and 2011's Eclipse – but the image remained crucial for Mouse on a personal level.

"I was working with [Kelley] for many years and that came to an end just before Escape ," he recalled in Neil Daniels' 2012 book,  Don't Stop Believin': The Untold Story of Journey . "We did a few Journey covers together. I did the Escape art by myself and, now that I think about it, the album was well named for my escape.

"I had escaped many things at that time when I look back at it," Mouse continued. "I had an agent that was also Journey's marketing agent, Jim Welch. My lady was pregnant with my daughter at the time (might be something to read into that). My influence was from a German artist who did a similar bursting, breaking-out smashing explosion. I don't recall his name, but it left a big impression on my mind. … You might say Captured and Escape was some 'breakthrough' art for me."

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Overthinking It

Album Covers That Blow My Mind: Journey’s Escape

A deconstruction of the cover art for the journey album escape ..

[This is the first in what will hopefully be a series of deconstructions of album covers that blow our minds .]

Journey’s seventh studio album, “Escape,” was released in 1981 and spawned no less than four hit singles: “Who’s Cryin’ Now,” “Still They Ride,” “Open Arms,” and everyone’s favorite karaoke/wedding/cryptic Soprano ‘s soundtrack choice, “ Don’t Stop Believin’ .” As if that somehow weren’t enough, these songs all come wrapped in fantastically mind-blowing cover art:

What’s so mind blowing about this?

The Birth of “Leet Speak”?

Did you notice the strange spelling of “Escape” (or rather, “E5SC4P3”) on the cover of this album? Looks pretty “1337,” doesn’t it?

Im in ur st3r30 rockin ur d00dz

Overthinking It readers are probably familiar with (and at least partially annoyed by) the prevalence of “1337” or “leet” speak across the internet. For the uninitiated, leet speak is the substitution of letters with numbers or other symbols to create a symbolic language decipherable only be a select–or shall I say elite–or shall I say “leet”–few.

Though leet speak became widespread with the proliferation of online gaming, in particular, Doom, the practice originated back the early 1980’s, when its use was limited to an actually somewhat “elite” corps of hackers and other sophisticated computer users to mask illicit activity (software piracy and porn distribution) from BBS administrators.

Hmm. Early 1980’s. You mean, like 1981 early?

Obviously, it’s a stretch to think that either the band Journey or the artist responsible for this album cover invented leet speak, or was even aware of its existence at the time. Yet, despite my best attempts at googling, I couldn’t find a more specific date for the birth of leet speak other than “the early 80’s,” which leaves open the oh-so-slight possibility that Steve Perry was teh 0r1g1n4l h4x0rs.

d0nt st0p bl3v1ng w00t!

Even if the leet phenomenon and the Journey album art are causally unrelated, the two combined do result in some pretty rich irony. Leet speak was originally used by an elite few to mask the true nature of contraband material from both the unknowing masses and from the authorities. Journey, on the other hand, was the polar opposite from “contra”-bands (pun intended) like AC/DC or Judas Priest and strove to maximize its appeal among the unknowing masses.

So why use the cryptic spelling of E5C4P3 on its album cover? Perhaps to convey a sense of mystical other-worldliness to go along with…

The Star Ship Scarab Beetle

Power ballads. The final frontier.

By now, you’re probably used to seeing the scarab beetle in association with Journey–it’s featured prominently on their mega-selling Greatest Hits compilation, of which I am a proud owner–but at the time of Escape , it was only the second instance out of their seven studio albums to use the scarab beetle on its cover. The previous album to do so, Departure , was released a year prior to Escape, and also featured other-worldly imagery, but Escape kicks things up several notches with its depiction of a warp-speed beetle busting out of some sort of spherical object.

Dude, it’s a dung beetle.

(Updated April 23, 2017: Twitter user @raycoopteacher pointed out that Journey released a live album  Captured that featured the dung beetle prior to  Escape. )

Google mysteriously comes up short in providing an explanation as to why the band chose to incorporate the scarab beetle on its album covers. Fortunately for us, that allows us to create our own interpretation.

First, a quick primer on Egyptian mythology: the scarab beetle was notable for a couple of things: first, it’s a dung beetle. Yup, the band Journey chose the same beetle that begins its life eating from the ball of shit that it was born into, then later rolls its own ball of shit into which it will plant its own eggs. Nothing says “80’s power pop/rock” like shit-eating beetles, right?

So that makes Steve Perry the shitty Paul McCartney?

Instead, let’s examine the other thing that the dung, er, scarab beetle is notable for. It’s a symbol of the Egyptian god, Khepri, who in turn is a symbol of rebirth, the sun, and creation. The solar association helps make some sense of the Departure album art–the beetle in that image is one of several heavenly bodies depicted–but that still leaves a lot to be explained for the star ship beetle on the cover of Escape.

The best explanation I can provide centers around the rebirth and escape elements. Rebirth, in the case of Journey, refers to the band itself: they started out as a jazz fusion/progressive rock group, but with the addition of singer Steve Perry in 1977, were reborn as a straight pop group. As for escaping, well, that one’s easy: “They took  the midnight train, goin’ anywhere…” Granted, a dung beetle traveling at light speed is several steps removed from the midnight trains referred to in “Don’t Stop Believing,” but you get the idea.

Bonus Video Game Postscript:

Or maybe I’ve got it wrong. Perhaps the scarab beetle is meant to be a vehicle for the band to escape from groupies and unscrupulous promoters:

Yup, that’s the Journey video game based on the album Escape. Hmm, it looks rather difficult. Perhaps only the most “elite”—or dare I say, “1337”—players could truly master this one.

And now it all comes together.

23 Comments on “Album Covers That Blow My Mind: Journey’s Escape”

Nothing about the countdown progression of “5-4-3” in the l33t speak letters?

No one has noticed the word “HOLY” in the breaking glass at the top?

The scarab beetle looks like a computer mouse to me. A rocking computer mouse.

I thought the same, I think the artist of the cover is a prophet , it took a message of God and put it on a draw, in 1981 mouses were not that broadly used , and if you google it, they were kind of square , this ship looks like a 2000’s mouse. and another coincidence is that the artist last name is Mouse. could you decipher the message

Mlawski amazing you mention the beetle looks like a computer mouse, as the artist who came up with the cover is named Stanley Mouse…. no kidding. Hmm..

@Sharper: good catch. I wonder where the 2 and 1 are.

Something else that I didn’t get around to overthinking: the way “Journey” is tilted 90 degrees on its side. I desperately want there to be some sort of hidden message. The N and E become a Z and W sideways. Could that be a clue?

In terms of the name Journey on its side, perhaps the artist wants us to view the cover at the angle so the word journey is standing upright and legible. I’m still looking… help me out here

@mlawski: ME FRIGGIN’ TOO!! So could that be intentional, as well? It would fit with the leetspeak, wouldn’t it? Did computer mice look like that yet?

Um, how could you forget the glaringly obvious Freudian subtext- here not a phallus, but the oddity of sperm actually escaping from the egg? Although to be fair (and the space theme helps this) it could equally be a fully formed fetus and the womb.

Ouch, that childbirth looks quite painful. Look at all the rips, and the deep red… Poor space woman metaphor.

Maybe it’s because my time zones are all messed up, and maybe I’m severely jet lagged, and maybe, just maybe it’s the result of a deranged thought process, or just too simple a mind, but am I the only one seeing the phallic representation here?

Journey’s live album “Captured” thus the next being Esc4p3(between Departure and Esc4p3) also featured the Beetle on the cover as well as the infinity symbol, which started with the album “Infinity”. Esc4p3 was the first album with Jonathan Cain, who replaced original keyboardist Gregg Rolie, so it kind of was an escape from their past sound. The original covers also had raised letters and art.

Recently I saw videos from the flat earth society (not that I believe it is) and it looks like the beatle is breaking free of the alleged dome that keeps humanity trapped inside. It could symbolize ascension and our souls being able to join with cosmic consciousness, freed from the confines of what some feel is a prison planet.

Mark Lee, I guess you are over thinking it. The band has always been fixated on the future and celestial travel, which they featured on the album covers. The members are seen floating like zero gravity, being transported on Look into the Future, Evolution, Departure, Captured, Escape and Frontiers. All had space travel as a theme one way or another…it’s the band’s JOURNEY together. I remember the tilted letters when the album Escape was released and it made you thing it was some alien writing. The Scarab was also a symbol of transformation which the band adopted in late 70’s. You have to realize we landed on the moon in 69 and the band was formed a couple of years later.

Journeys Music (with Steve Perry,of course,)transports the fans minds,hearts,and souls, to a whole other dimension. Journey has always poured its heart and soul in to it’s music. That is why Journey and it’s music has always resonated with me, and all it’s other devoted fans. I do not care if the music of Journey is esoteric in any way,shape,or fashion, they will always be The best to me,and all there worldly fans. Steve Perry is and always, shall be known, as the heart and soul of Journey. #1 fan, and admirer, for life.

I’ve taken the beetle to be a Jungian reference.

Diving in to The Red Book, it seems to be about synchronicity, awakening, and awareness of the human journey.

Like many bands of the mid 70’s- early 80’s, Journey presented their message/beliefs in their album covers. The limited access to see these bands in media platforms (tv award shows, later MTV), other than in concert, made album covers a big part of a fan’s ‘experience’. Journey was a leader in giving fans some amazing album covers.

Nobody has yet mentioned that their covers represented their belief in Astral Projection, an out of body experience, and reincarnation. Thus the connection with the Egyptian Scarab (Beetle), space travel, pyramids. This belief was shared with other bands in that era – Earth, Wind, and Fire is a good example.

As far as the Leet message, computer coding was in its infancy back in 81. If you were in a high school math class you may have been introduced to something called FORTRAN. This is what you’re seeing on E5C4P3.

https://www.deviantart.com/leathurkatt-tftiggy/art/Journey-Album-Covers-404525347

Departure Captured Escape

I think it’s as simple as that. The sphere the beetle is escaping from is the same one it’s captured in on the cover of the previous album.

You can almost make out Holy Horus in the cracking orb.

Almost zero people knew about 1337 at this point. However, it’s likely that the among the few people who did know, there were Sound Engineers if they were making/experimenting with computer sound creation/manipulation, which at that point was extremely low level programming. They’d certainly be what we’d consider 1337. Also, amongst the 1337 community there has always been a very close affinity and connection with such low level sound and music programming. Also, this is the type of music that alot of the 1337 computer creators and manipulators listened to. Also the fact that the cover points to Egyptian Gods and far-reaching ideas WAY outside the mainstream makes it far more likely to have had more meaning to the 1337folk. It’s entirely possible that this album cover created the movement, and 1337 users adopted it in tribute, at least for much of it. There would be a single handful of people who would have used it at that time, and in 81 you could pretty much say whatever you wanted in IRC, the entire internet was Dark web at that point. The fact that Journey is flipped 90 with a font design purposefully intended to be confusing for the layman and appear foreign is the very essence of 1337, and points to the E5C4P3 being their own original concept as well. Very likely they started the movement, not the band directly, but Sound Engineers and Designers of the day on the project.

Also, the Breaking out theme probably really resonated with the smarter, more technically elite people of the day, as it represents really the movement of the entire internet at that point, and the liberating ideas of the global perspective seeking to break limits and barriers and dogmatic views and beliefs oppressing and limiting the masses of the day. In truth, the cover represents currently much of what many people on the internet still feel today. It seems just as relevant to all of the people who are currently breaking free of the mainstream ideologies, looking beyond common beliefs and mass media consumption, breaking through the barriers that have been put in place to keep us confined, to an interspatial, limitless journey far beyond what “they’d” like us to believe. It really represents much of the Dark Web today.

It’s Osiris,or Baal or (INSERT OTHER CULTURES SUN GOD HERE), aka SATAN. They are obviously Satan worshipers.

The spaceship beetle bursting from the sphere, to me, is an obvious follow up to the album art for Captured. The cover art is spherical and the band members are shown looking trapped in a sphere on the back. Clearly they “escaped” from being “captured” on their next album by bursting through in a space beetle. I was a little surprised this wasn’t in the blog post, or am I the only one with this opinion?

All this talk about beetles and Egyptian mythology and no mention whatsoever about crediting the artist(s) who created it. One should think think that would be – oh I don’t know – maybe the very first thing that you would bring up.

does the word between journey and escape spell or mean anything? it almost looks like a word upside down and backward .

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Journey Frontiers Print by Stanley Mouse

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