Do you ever think of the music that was popular when your parents, or even grandparents, were you r age? Have you ever listened to an “oldies” station or a channel that features classic rock from days gone by? If so, you might be a little familiar with the band Journey, who came out with their Frontiers album back in 1983, nearly 40 years ago.

Back when it was first released, Rolling Stone magazine wrote a review, signaling a decline in the band’s popularity:

It’s hard to say what Journey is up to on Frontiers. With several of the group’s members complaining to the press last year about how success had locked Journey into formula music, it seemed as if the band was signaling a shift to a less overtly commercial, more musically demanding sound. But as much as the sound on Frontiers has shifted, it’s hard to believe that Journey thought there was any risk involved. Indeed, in some ways this is the band’s most conservative effort yet.

Anyone who heard Here to Stay — the second album by Journey guitarist Neal Schon and former Mahavishnu Orchestra keyboardist Jan Hammer, which was released shortly before Frontiers — could have anticipated the “new” Journey sound. Whereas the duo’s first collaboration, Untold Passion, served as a busman’s holiday for Schon, giving him a chance to stretch out in a freer, jazz-oriented format. Here to Stay is obviously sales conscious. Although “Turnaround” and “(You Think You’re) So Hot” employ some admirably complex riffs (though all are in dependable 4/4 time), “No More Lies” and “Long Time” are typical FM rockers, and “Self Defense” is essentially Journey with Hammer sitting in.

Frontiers takes care to maintain an equally high level of musicianship, but those interested in that aspect of the band’s music will learn little beyond how smart guys play heavy metal. Despite the band’s musical ingenuity and undeniable chops, the aesthetic at work here never goes any farther afield than basic stomp and crunch. There are some interesting touches, such as the clever modal harmony in “Chain Reaction” and the zippy power-guitar figure behind “Edge of the Blade.” On the whole, though, Foreigner did a better job of stretching the limits of heavy-rock formalism with Head Games — and with fewer debts to other acts. The most energetic workout here, “Back Talk,” is strongly reminiscent of Van Halen’s “Everybody Wants Some,” while the album’s best ballad, “Faithfully,” sounds more like a Bob Seger tune than one belonging to Journey. (https://www.rollingstone.com/music/music-album-reviews/frontiers-248985/)

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