journey departure 1980

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How Journey Shaped Their Career With ‘Departure’

With their fifth studio album, 1979's Evolution , Journey finally cracked the Top 20 on Billboard 's album chart — and they soared even higher when they returned the next year with the follow-up, Departure .

Released in March 1980, Departure arrived at a crucial moment during Journey's transition from jam-friendly experimental rock to an arena-ready mainstream sound, and found the band continuing to streamline its songwriting in an increasingly successful quest to invade Top 40 radio.

True to its title, this LP served notice that the group was closing a chapter in its history by embracing a new direction while letting go of some formerly fundamental ingredients.

"We named it that because there's going to be a little bit of a musical change," singer Steve Perry teased in a spring 1980 interview with Voice . "We're departing from some of our roots and keeping some."

Neal Schon said he thought fans would "notice the successful elements from Infinity and Evolution , but there will be a new intensity there," during an October 1979 interview with Record Review . At the time, he was actually predicting a double album: "I think it will be a bridge between what we are doing now and our past work. Everything will just be intense, whether it's acoustic or electric, and I'm looking forward to making it."

Part of that intensity derived from a switch in producers. Having openly groused about working with Roy Thomas Baker on Evolution in spite of their dissatisfaction with the work he'd done on its predecessor Infinity , the band hired Kevin Elson to co-produce alongside engineer Geoff Workman. Together, they adopted a live-in-the-studio approach to tracking Departure that they hoped would add a little muscle to the music.

"This album represents more facets of the band, because they enjoy playing lots of different music," producer Kevin Elson told Modern Recording . "There's real good rock, some ballads, a little blues, some jazz. This album is a departure in the sense that there's more variety of material. A lot of solos, and even some vocals, have been done 'live,' so there's more of a feel."

Watch Journey Perform 'Any Way You Want It'

It all added up to an album that was perhaps somewhat edgier sonically than Evolution , but still eminently radio-friendly. Departure climbed to No. 8 on the chart and summed up the Journey of 1980's Top 40 appeal with its lead-off track and first single, "Any Way You Want It," which peaked at No. 23.

Neither that song nor its follow-up, the No. 32 hit "Walks Like a Lady," matched the performance of the Evolution hit "Lovin', Touchin', Squeezin'," but Journey was clearly making themselves comfortable on the pop charts, and settling in for the long haul among rock's biggest crossover stars of the era.

That success carried a price, however. Having already lost drummer Aynsley Dunbar, who departed prior to Evolution after openly complaining about the group's musical direction, Departure found Journey preparing for life after co-founder Gregg Rolie .

He contributed only one co-write (the ballad "Someday Soon," which featured his sole lead vocal on the album), and was quickly tiring of life on the road. He appeared on their second release of 1980, the Japanese soundtrack album Dream, After Dream , but Rolie soon yielded his spot in the lineup to former Babys keyboard player Jonathan Cain.

The switch would be fully felt on Journey's seventh album, Escape , which soared to the top of the chart upon its arrival in July 1981, fueled by a batch of radio-ready anthems penned by the new triumvirate of Cain, Perry and Schon. For fans who'd long lamented the loss of the group's prog-tinged roots — and critics who'd made a point of trying to lump them in with bands like Styx , Boston  and Toto — Journey's early '80s chart triumph was just proof that they'd sold out.

To their credit, however, the band members never apologized. "Look, any music that is sold is commercial," shrugged bassist Ross Valory in a 1980 conversation with Circus . "Whether it's Van Cliburn, Ravi Shankar or the Mormon Tabernacle Choir. It's just that we've made it without becoming the darlings of the rock press — and the victory is sweet."

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Following the band’s 1978 album Infinity , drummer Aynsley Dunbar was replaced by accomplished jazz drummer Steve Smith . In 1979, the group recorded the LP Evolution , which included the group’s first Top 20 single, but was less than satisfying for the band production-wise.

Former engineers Geoff Workman and Kevin Elson stepped up to assume producer duties on Departure . The band was well-stocked entering the studio, with nearly twenty new songs composed. Ultimately, they recorded a dozen songs for this album with a few excess tracks saved for other projects. These included the track “Little Girl”, which landed on the future soundtrack Dream, After Dream and the excellent song “Natural Thing”, a soulful rock/waltz co-written by bassist Ross Valory . Armed with all this compositional ammunition, the group was set to record most of the material live in the studio, which gave it and edge compared to the more refined work they did both before and after this record.

The album begins with its most popular and sustaining track, “Any Way You Want It”. The song was written by lead vocalist Steve Perry and guitarist Neal Schon and it peaked at #23 on the Billboard pop charts. More importantly, this opening track sets the pace for this album where Perry and Schon shine brightest throughout. Schon achieves this hard rock bliss through his potent and perfected rock riffs with melodic distortion, while Perry’s vocals use heavy reverb to add to the majesty. While the opener exists mainly in the stratosphere, “Walks Like a Lady” comes back to ground level while being just as entertaining. On this track, all five members of the band shine equally, from the skip-along bass of Valory to the fine drum shuffle by Smith, to the deep Hammond B3 chords by Rolie, to multiple bluesy riffs by Schon, to the fantastic melodies by Perry.

“Someday Soon” is the first of two rock duets, with Rolie and Perry trading vocal lines throughout this one. The mesmerizing rhythm carries song along at a steady pace and, after Schon’s first true guitar lead of the album, the song enters into a strong, majestic outro, led by a rich vocal chorus and more intense rock elements. “People and Places” is the closest to a prog rock track on the album, especially with the multiple voices in the intro cascade. On this second duet, Rolie takes the lead during the intense verses while Perry handles the uplifting choruses. The song has an English folk feel through its first half but then evolves into a theatrical hard rock track, closing with Rolie’s distant Hammond fading away. Filled with so many great little sound riffs, “Precious Time” starts with just Schon’s rapidly strummed electric guitar accompanying Perry’s fast-paced melodies until Rolie joins in with an impressive blues harmonica through the second verse. Eventually, the rhythm section comes in to make it a more steady hard rock song, ending with a decent blues jam led by the harmonica once again.

The short title piece begins the final progression of the album. Schon’s “Departure” is not really a true track, just some harmonics above seemingly random soundscapes. The next two short but satisfying ballads preview a vital aspect of Journey’s albums in the near future. “Good Morning Girl” is led by Schon’s finger-picked electric accompanied by a smooth Mellotron with differing strings and Perry’s melodic vocals. A very simple structure, with just verses at different rotating keys. “Stay Awhile” is like an old fashioned rock slow dance, but this one is almost completely led by the fine vocal melodies of Perry. The album closer, “Homemade Love”, contains an interesting off-beat by Smith with Perry’s nearly-scat vocals and Schon reserving one of his finest guitar leads for the album’s conclusion.

Departure went triple-platinum in sales and Journey rode this success with a major tour. This tour spawned the follow-up live album Captured , which was another major success for the group later in 1980. However, Rolie had become tired of life on the road and decided to leave the band and pursue solo projects.

Part of Classic Rock Review’s celebration 1980 albums.

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Journey's 'Departure' | RVM [Radio.Video.Music] March 14, 2023 @ 9:47 am

[…] Classic Rock ReviewArmed with all this compositional ammunition, the group was set to record most of the material live in the studio, which gave it and edge compared to the more refined work they did both before and after this record. […] […]

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REVIEW: Journey – Departure (1980, Remastered CD & 8-track) – Happy birthday Neal Schon!

Changes were afoot in Journey, and alluded to on Departure .  Aside from the Japan-only soundtrack Dream, After Dream , this was the last stand for Gregg Rolie.  While he would also appear one more time on the Captured live album , he was not there for the new studio track included.  For all intents and purposes, Departure is his “last album”, to use an inaccurate but easy term.  For the man who once was Journey’s only lead singer, Departure only has one of Rolie’s lead vocals, and only two co-writes.  (In the discography, Departure directly followed 1979’s compilation of early material, In the Beginning , featuring early material and a large number of Rolie vocals.)

With Steve Perry leading the charge, Departure commences with the party anthem “Any Way You Want It”.  Those who don’t know it, know it.  It has been featured in the Simpsons, twice!  A rare honour, and mega-exposure, for good reason.  Perry’s impeccably arranged chorus is irresistible.  Rolie’s organ is the perfect accompaniment to keep in the realm of classic rock and roll.  Of course Schon’s solo is also tasty as heck, but this song is know for its party-hardy chorus.  For those who like to dig deeper, Ross Valory’s pulsing bassline goes underappreciated today, and Steve Smith’s smooth cymbal work is often taken for granted.

A surprising twist is taken on track two, the laid back blues pulse of “Walk Like A Lady”.  Sounds like Smith is playing with brushes, and Neal really plays it classy.  Then, a jab of organ and the players are off to indulge themselves.  “Oooh yeah!” shouts Perry, as if enjoying the jamming himself.  Soulful harmony vocals by the band really take this out on an authentic note.

Third song, third musical direction:  power balladeering!  Rolie sings a duet with Perry backing him on “Someday Soon”, a melancholy but punchy ballad.  Though it was not a single, perhaps it should have been.  There’s a cool, unique angelic vocal section near the end that nicely complements Steve Smith’s drum fills.

“People and Places” is like an exercise in creative vocal arrangements, if not showing off.  Neal Schon sings lead with Steve Perry on this complex track.  It’s more like the Dream, After Dream material than a lot of Departure .  If only the modern Journey were unafraid to create more unique music like this.  It still has room for a powerful melody and some warming cascades of guitar.  This song moves directly into “Precious Time”, which has a vibe like the still-in-the-future track “Liberty”.  Lyrically it foreshadows the “Line of Fire” on side two, and also has Rolie on harmonica.  It turns into a more typical Journey rocker by the midpoint.  Lots of tasty Schon guitars to be savoured here.

The big concert rocker “Where Were You” kicks off the back end of Departure .  This one pounds the pavement with beats, riffs and boppin’ piano.  It too could have been a single, though it did open their concerts on tour.  Then, a completely different mood drops:  “I’m Cryin'” hits like a cold wave of grief, though not without its musical thrills.  Soon it’s over and the rockin’ “Line Of Fire” brings the party back.  There’s no better way to describe it than a fast, good time rock and roll song.  “So don’t go sayin’ Steve is a liar!” warns Perry to some young lady who done him wrong.  “Bye bye bye Susie, so long girl!”  (He sure got over what was bothering him on “I’m Cryin'” pretty fast.)  Take note of Schon’s technical solo work here.

“Departure” / “Good Morning Girl” is softly progressive, with strings and light guitar, and little else.  This is over quickly, and then it’s the ballad “Stay Awile”, one of the sweetest songs Steve Perry or Journey have ever done.  Once again, listen to the bass and drums for a different perspective.  Perhaps the only thing better than Perry’s lead vocals are when he does it live.

Fortunately, Journey had the wisdom to end the album on a rocker:  “Homemade Love”.  Some of Perry’s worst words accompany some of his most acrobatic singing.  Still, at least it’s a good jam to go out on, with some fretboard burning fingerwork by Neal.

On remastered CD, we got some slightly more interesting bonus tracks than 8-track offered.  “Natural Thing” is a bluesy B-side, which was later released as the B-side to “Don’t Stop Believin'”.  Chronologically though, it is from this era and is as strong as any similar material on the album.  Funny how some tracks don’t make the cut when others do.  If you were told this was a standalone single, you wouldn’t have a reason to doubt it.  The CD also includes “Little Girl” from Dream, After Dream which is a difficult album to find and Rolie’s studio farewell.  It is a string-laden power ballad, very progressive, and far darker than anything on Departure .

Departure features an unusually rougher sound than other Journey albums.  The production seems unpolished despite the complexities of some tracks, with the vocals sometimes occupying a strange space that’s not quite in front of the music.  Still, a classic album is a classic album and there are so few flaws with Departure that it’s easy to dismiss them all.

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16 comments

Departure and Captured are two good Journey albums thats for sure. Rollie leaving shifted the dynamics.

Such a great album, but those years, Journey didn’t make a bad album. Great review sir.

Like Liked by 1 person

They didn’t make a “bad” album but I bet you won’t see too many people praising the next one, Dream After Dream. Which I think is great, but hey…

I think I have that one. It is pretty good. Very different though.

Very different. But I like soundtracky music. Great show yesterday BTW.

Congrats on so many great scores, I will be back to planning heists again.

The army is waiting patiently.

Damn I have seen how this goes already.

Yeah, come during the winter as they really suck during the summer months.

Nice review, Mike. I was first exposed to Journey when “Escape” hit big, and although I bought all the earlier albums eventually (later), except for the singles I don’t know these albums as well as I should. Your review has inspired me to give this one another spin. Henry.

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I don’t know them super well either, as I have been picking them up piece by piece. In fact I only completed my collection last year with Infinity and Dream After Dream!

I got on the Journey train with Raised on Radio. Still missing albums before Infinity. Are they worth getting?

Yes but they are different! Instrumental largely with Gregg on vocals on the other half of the songs. Very meandering.

Thanks for this…listening to Departure now.

Solid choice on Neal’s birthday!

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Departure (Bonus Track Version)

February 29, 1980 14 Songs, 47 minutes ℗ 1980 Sony Music Entertainment

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