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REO Speedwagon - The Ballads (1999). Artist: REO Speedwagon. TORDO222 commented on top hits of 70s amazing hits 2003: “THANKS A LOT! REO Speedwagon - The Early Years 1971-1977 (2018) [8 Disc Clamshell Boxset], 11:00. Although best known for the AOR and radio hits from the early 1980s (which included the number ones 'Keep On Loving You' and 'Can't Fight This Feeling'), R.E.O. Speedwagon's long history goes way back to their formation in Champaign, Illinois in.
Many albums have scaled to the top of the American charts, many of them not so good, but few have been as widely forgotten and spurned as 's. In a way, the group deserved this kind of success. They had been slogging it out in the arenas of the U.S., building up a sizeable audience because they could deliver live.
And then, in 1980, they delivered a record that not just summarized their strengths, but captured everything that was good about arena rock. This is the sound of the stadiums in that netherworld between giants like and MTV's slick, video-ready anthems. This is unabashedly mainstream rock, but there's a real urgency to the songs and the performances that gives it a real emotional core, even if the production keeps it tied to the early, previsual '80s. And so what if it does, because this is great arena rock, filled with hooks as expansive as Three Rivers Stadium and as catchy as the flu. That, of course, applies to the record's two biggest hits - the power ballad 'Keep on Loving You' and the surging 'Take It on the Run' - which define their era, but what gives the album real staying power is that the rest of the record works equally well. That's most apparent on the -inspired opener, 'Don't Let Him Go,' whose insistent beat sent it to the album rock charts, but also such great album tracks as 'Follow My Heart,' the sun-kissed '60s homage 'In Your Letter,' and 'Tough Guys.' What's really great about these songs is not just the sheen of professionalism that makes them addictive to listen to, but there's a real strain of pathos that runs through these songs - the album's title isn't just a clever pun, but a description of the tortured romantic relationships that populate this record's songs.
This is really arena rock's, albeit by a group of guys instead of a singular vision, but that makes it more affecting, as well as a killer slice of ear candy. It's easy to dismiss, since they weren't hip at the time, and no amount of historical revisionism will make them cool kitsch. And, let's face it, their records were usually hit-and-miss affairs. But they did get it right once, and it's on this glorious record - if you need proof why arena rock was giant, this is it.
REO Speedwagon's huge late 1980 release Hi Infidelity may have reached No. 1 on the album charts in 1981 and has now exceeded 10 million units sold, but its singles far exceed its lesser-known album tracks in quality. That alone isn't unusual for pop music, but for this former hard rock and ultimately quintessential band of the '70s known for its work ethic, it was perhaps ironic that transforming into a singles band brought REO's greatest success. Here's a chronological look at 10 of the finest tracks from REO Speedwagon's most commercially relevant decade, defined by slick, accessible pop/rock. This lead-off single from Hi Infidelity quickly announced REO's flashpoint moment in time, offering up a rhythmic and melodic dynamism the band had not been able to muster during its previous decade. Perhaps inevitably, nothing would come together quite as beautifully for the band thereafter, but frontman Kevin Cronin's lively performance and focused songwriting seem to convey that he grasped his band's golden opportunity for stardom. Gary Richrath's lead guitar similarly shines, and even Neal Doughty's keyboards rise to the forefront of the arrangement, presenting a total package made up of equal parts pop, melodic inspiration, and a lyrical sense of fun.
I'm normally not a huge Cronin fan, but his vocals delight here. Though it peaked only at No.
20 on the pop charts, this lesser-known gem outperformed 'Don't Let Him Go' and set the stage for the really huge hits to follow. Again, this is playful stuff, effectively employing an almost old-fashioned call-and-response approach during the chorus that really gives the tune a blithe, favorably wispy feel. In fact, Richrath's musical take on the proverbial Dear John letter feels almost peppy in both arrangement and performance, demonstrating a versatility that the group rarely gets credit for. The disparate brilliance of Hi Fidelity's charting singles stands as an emblem of REO's prowess during this window of time, and this song also argues convincingly that the band is a strong ensemble indeed. As one of the most shimmering and ultimately deserving No. 1 songs of the '80s, this track perfectly combines the three strongest elements of the band's sound at this critical juncture.
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Supported ably by piano, convincing rock guitar, and a tremendous pop sensibility, this tune stands up tremendously well 30 years after its release, no matter what style mavens and musical hipsters might say otherwise. And aside from being high-quality pop/rock of an almost archetypal nature, 'Keep on Loving You' also holds a central place in the Generation X nostalgic pop culture core, as almost anyone in that age group finds this song, for better or worse, to be practically inescapable. One of the most solid power ballads ever recorded. Richrath scores again here as a primary songwriter, penning perhaps REO's finest pure track of its career. It's interesting that the band had not previously specialized in heartbreak songs, but when the time came for such a focus, the group was exceptionally prepared to deliver. Richrath also delivers his longest guitar solo of this era, taking a few moments to demonstrate his unique style without detracting from the central pop music appeal of the composition. 'Heard it from a friend who/Heard it from a friend who/Heard it from another you been messin' around' stands as one of the niftiest examples of lyrical repetition in rock and roll history, and as song introductions go, this one's done about as well as you could hope for.
Another classic from REO's commercial period, this mid-tempo gem stands out even more because of its inclusion on a deeply inferior record, 1982's Good Trouble. Oh, it's not a bad album, but the serviceable mainstream rock is nothing if not nearly impossible to distinguish from all the other music pressed internationally, nationally and regionally.
But while much of the arena rock of the early '80s sounded staid and lacked emotion, this track holds far more warmth than merely the image of its title. Meanwhile, Doughty injects an organ solo that ties everything together beautifully, and Cronin provides a bridge that contains as much permanence as standard rock music was capable of during the early '80s. If for no other reason than to prove that REO Speedwagon was still a rock and roll band by 1984, this tune belongs on a best-of list for this perfectly competent but less often distinctive band from the American heartland. That praise is actually more faint than it should be, as this is a thoroughly enjoyable romp that does a decent job of crystallizing REO's harder-rocking '70s sound into a new era. As I said before, this is a band that didn't exactly enjoy a surplus of serious or important album cuts, but it would be inaccurate not to acknowledge that the quintet had its moments worth celebrating beyond Top 10 pop ballads.
Despite a status as one of the so-called 'faceless' bands of album-oriented rock, REO could display a nose for fun. Were smart enough to know there had to be some balance on 1984's Wheels Are Turnin' release to counteract the sweetness of this heavily produced but undeniably successful power ballad for the ages. A top hit of 1985 ultimately for plenty of good reason, this track nonetheless requires rock fans to make either a notable exception or lie through their teeth that they don't enjoy it. I gave up the lying years ago when I came to terms with my non-existent coolness factor, so I don't do much anymore but sing this tune's considerable praises. I mean, come on, what a sparkling one-line bridge: 'And I'm gettin' closer than I ever thought I might.' When the guitars come in, just try to fight the irresistible feeling to sing along - at least under your breath. REO's last great song.