Gary Dean Richrath was an American guitarist, best known as the lead guitarist and a songwriter for the band REO Speedwagon from 1970 until 1989. Richrath was born in Peoria, Illinois on October 18, 1949 to Curtis and Eunice Richrath, grew up in East Peoria, Illinois. Playing saxophone in the school band, he took up guitar as a teenager, becoming self-taught, he graduated from East Peoria Community High School in 1967. By 1968, Richrath was in a band called Suburban 9 to 5. Richrath wrote, performed on and sang on some of REO's early hits, including "Golden Country", "Ridin' the Storm Out", "Find My Fortune", "Son of a Poor Man", "Wild as the Western Wind", " Summer Love", "Flying Turkey Trot", "Only the Strong Survive" “In Your Letter” and "Take It On the Run". In 1977, he and other members of the band took over production, which resulted in the band's first platinum album. Along with playing lead guitar, Richrath sang lead vocals on "Find My Fortune", "Wild as the Western Wind", "Dance", "Any Kind of Love", "Only a Summer Love", "Breakaway" and "Tonight".
He left the band in 1989, with his new band named Richrath, released the album Only the Strong Survive in 1992. On November 22, 2013, REO and Styx announced a benefit concert titled "Rock to the Rescue" to raise money for families affected by a tornado in central Illinois; the concert was held on December 4, 2013 in Bloomington and produced by Jay Goldberg Events & Entertainment. Richrath reunited with REO for a performance of "Ridin' the Storm Out" to end REO's set at the sold-out concert. Richrath stayed on stage to help with the encore of "With a Little Help From My Friends" along with REO, Richard Marx and others. Families affected by the storm and first-responders sat near the stage at this concert. Richrath died on September 13, 2015, he was 65 years old. Speaking to the Songfacts website in 2017, Cronin disclosed the cause of Richrath's death - "He had some stomach problem or something, he went in the hospital to get treated for a stomach ailment, there were complications and he didn't make it."
1971 REO Speedwagon 1972 R. E. O./T. W. O. 1973 Ridin' the Storm Out 1974 Lost in a Dream 1975 This Time We Mean It 1976 R. E. O. 1977 Live: You Get What You Play For 1978 You Can Tune a Piano but You Can't Tuna Fish 1979 Nine Lives 1980 A Decade of Rock and Roll 1970 to 1980 1981 Hi Infidelity 1982 Good Trouble 1984 Wheels Are Turnin' 1985 Best Foot Forward 1987 Life as We Know It 1988 The Hits 1991 The Second Decade of Rock and Roll 1981 to 1991 1993 Star Box 1995 Believe in Rock And Roll 1995 High Infidelity Gold 1995 Subway in Tokyo 1998 Only the Strong Survive - REO 1998 Premium Best 1999 The Ballads 2004 The Essential REO Speedwagon 2008 Playlist: The Very Best of REO Speedwagon 2010 Setlist: The Very Best of REO Speedwagon Live 1992 Only the Strong Survive Review of Gary Richrath on Guitar Jam Daily Gary Richrath at Legacy.com
R. E. O./T. W. O. is the second studio album released by the Illinois-based rock band REO Speedwagon, released in 1972. Under the leadership of guitarist Gary Richrath, this album continued the musical direction set on 1971's REO Speedwagon with Richrath's own classic compositions carrying the record. R. E. O./T. W. O launched REO on its first national tour and presented a more polished production than the band‘s debut album. Despite this and R. E. O./T. W. O.’s failure to dent the Billboard Top 200, it has remained more available than the debut. The album went gold on August 13, 1981; the album introduced Kevin Cronin as vocalist and contributing songwriter to the band, replacing Terry Luttrell. Highlights of the album include Richrath’s compelling political statement “Golden Country” as well as "Like You Do". Both songs, as well as Cronin’s “Music Man”, are part of the band's current setlist. All songs written except where noted. Side one"Let Me Ride" – 6:00 "How the Story Goes" – 3:34 "Little Queenie" – 6:39 "Being Kind" – 6:02Side two"Music Man" – 4:38 "Like You Do" – 5:57 "Flash Tan Queen" – 4:23 "Golden Country" – 6:33 REO Speedwagon Kevin Cronin - lead vocals, rhythm guitar Gary Richrath - lead guitar Neal Doughty - keyboards Gregg Philbin - bass, backing vocals Alan Gratzer - drums, backing vocalsAdditional personnelBoots Randolph - saxophone Kelly Bowen - backing vocals Tomi Lee Bradly - backing vocals
Lost in a Dream (REO Speedwagon album)
Lost in a Dream is the fourth studio album by REO Speedwagon, released in 1974. It peaked at number 98 on the Billboard 200 chart in 1975, It was the second album to feature Mike Murphy on vocals; the title track was written by Murphy and future bassist Bruce Hall, who would join the band in 1978. The title track was featured on the compilation A Decade of Rock and Roll: 1970-1980; the album was in print on CD format in 1992 for two months before being deleted. REO Speedwagon Mike Murphy - lead vocals Gary Richrath – guitar, lead vocals on "Wild as the Western Wind" Neal Doughty – keyboards Gregg Philbin – bass, backing vocals Alan Gratzer – drums, backing vocals Album - Billboard
Building the Bridge
Building the Bridge is the fourteenth studio album by REO Speedwagon. It became the group's first non-charting album since 1972's R. E. O./T. W. O.. This is the only studio album by the band not in the ITunes Store, though the title track is available on The Essential REO Speedwagon; the song "Building The Bridge" found its way to the White House, where President Clinton adopted it as the theme for his re-election campaign in 1996. All songs written except where noted. "Can't Stop Rockin'" - 3:52 "I Still Love You" - 4:12 "Building the Bridge" - 4:43 "When I Get Home" - 4:34 "Then I Met You" - 4:53 "Look the Other Way" - 3:29 "After Tonight" - 4:44 "Hey Wait a Minute" - 5:21 "One True Man" - 4:42 "She's Gonna Love Me" - 4:02 "Ballad of the Illinois Opry" - 4:10 Kevin Cronin – lead vocals, rhythm guitar Dave Amato – lead guitar, backing vocals Neal Doughty – keyboards Bruce Hall – bass, backing vocals Bryan Hitt – drums
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
Live: You Get What You Play For
Live: You Get What You Play For is a live album by rock band REO Speedwagon, released as a double-LP in 1977. It was recorded at Memorial Hall in Kansas City, the Convention Center in Indianapolis, Kiel Auditorium in Saint Louis and Alex Cooley's Electric Ballroom in Atlanta, Georgia, it peaked at number #72 on the Billboard 200 chart in 1977. The song "Ridin' the Storm Out" reached #94 on Billboard's Hot 100 chart; the album went platinum on December 14, 1978. The Japanese CD reissue, released in 2011, restores the album and songs to its original full length by including both "Gary's Guitar Solo" and "Little Queenie", which were omitted in the original single CD release due to time constraints. Sony Music released the unedited double LP Epic master on its Legacy Label for Compact Disc in 2011 as well. All songs written except where noted. Side one"Like You Do" – 6:43 "Lay Me Down" – 3:34 "Any Kind of Love" – 3:33 "Being Kind" – 6:27Side two"Keep Pushin'" – 3:59 " Summer Love" – 6:06 "Son of a Poor Man" – 5:25 " Our Time Is Gonna Come" – 4:46Side three"Flying Turkey Trot" – 2:34 "Gary's Guitar Solo"+ – 6:10 "157 Riverside Avenue – 7:35 "Ridin' the Storm Out" – 5:34Side four Encores"Music Man" – 2:29 "Little Queenie"+ – 4:45 "Golden Country" – 8:12Total length – 77:18 Appeared on the original double-LP release of the album, but omitted from the original single CD release.
They are included on the 2011 Japanese "remaster" two-CD release. Kevin Cronin – lead vocals, rhythm guitar Gary Richrath – lead guitar, lead vocals on "Any Kind of Love" and "Only a Summer Love" Neal Doughty – keyboards Gregg Philbin – bass, backing vocals Alan Gratzer – drums, backing vocalsProductionProduction as listed in album liner notes. John Stronach - production, engineering John Henning - production, mixing Gary Richrath - production, mixing Bruce Hensal - engineering Pete Carlson - engineering Jack Crymes - engineering Kelly Kotera - engineering Rick Sanchez - engineering Mike Klink - engineering Vartán Kurjian - illustration Justin Carroll - illustration Tom Steele - design Lorrie Sullivan - photography
The lead vocalist in popular music is the member of a group or band whose voice is the most prominent in a performance where multiple voices may be heard. The lead singer either sets against the ensemble as the dominant sound. In vocal group performances, notably in soul and gospel music, early rock and roll, the lead singer takes the main vocal part, with a chorus provided by other band members as backing vocalists. In rock music, the lead singer or solo singer is the front man or front woman, who may play one or more instruments and is seen as the leader or spokesman of the band by the public; as an example in rock music, Freddie Mercury was the lead singer of Queen. In soul music, Smokey Robinson was the lead singer of The Miracles, it is uncertain when the term "lead vocals" was first used, but it may have emerged in the late 1930s, when rich vocal interplay with multiple voices where one or more voices may dominate began to impact on North American popular music, dominated by solo vocals.
The practice of using a lead singer in vocal groups, has a longer history: an early form is the "call and response" found in work songs and spirituals sung by African-American slaves. Songs of the late nineteenth century used a leading solo voice, followed by a choral response by other singers; as the style developed through early commercial recordings and performances in the early 20th century, the role of the lead vocalist became more established, although popular groups of the 1930s and 1940s such as the Ink Spots and the Mills Brothers used different lead singers on different songs rather than keeping the same lead singer throughout. By the 1950s, singers such as Sam Cooke and Clyde McPhatter took on more defined roles as lead singers, by the end of the decade credited group names changed to reflect the leading roles of the main vocalists, with examples such as Frankie Lymon & the Teenagers and Dion & the Belmonts. Academic David Horn has written:The influence of US rhythm and blues recordings may well be a crucial one in the assimilation of the format of lead singer plus backing group into the guitar-based British'beat' groups of the 1960s, in US groups such as The Beach Boys.
From these various points - including Motown - it went on to become a standard device in much rock and pop music. In some bands - most famously, The Beatles - the role of lead singer alternated, while in others - for example, Herman's Hermits - one lead singer dominated. There are as many styles of lead singer as there are styles and genres of music. However, the lead singer of a group or band is the main focus of audiences' attention; the lead vocalist of band is sometimes called the "front man" or "front woman," as the most visible performer in a group. While most bands have a singular lead singer, many others have dual lead singers, or other member of the band that sing lead on particular songs. While the lead singer defines the group's image and personality to the general public, this is not always the case. In modern rock music, the lead singer is but not always the band's leader and spokesperson. While lead singers or spokespersons for any musical ensembles can be called a front man, the term is used widely in rock music.
Since the position has an expanded role from simple lead vocalists, there have been cases in which the front man for a band is someone other than the lead vocalist. For example, while the lead vocalist for the band Fall Out Boy is guitarist Patrick Stump, the bassist and lyricist, Pete Wentz, is called the front man, both in the media and by the band members themselves, since he represents the band in most interviews and contributes most to the band's image in the popular media. Another example is Angus Young of AC/DC, the band's lead guitarist, co-leader with his brother Malcolm Young. In many bands, such as The Who, Led Zeppelin, Living Colour, The Stone Roses and Oasis, the lead guitarist may share spokesman responsibilities with the lead singer; this is derived from that guitarist's specific role as a co-songwriter, co-founder and/or co-vocalist. In some cases, there are two frontmen, such as Alice in Chains, with singer Layne Staley sharing vocal duties with guitarist Jerry Cantrell, or Underoath, with singers Spencer Chamberlain and Aaron Gillespie sharing vocal duties.
Another example is Blink-182, in which vocal duties are split between bassist Mark Hoppus and guitarist Tom DeLonge. Hoppus carries out most media either by himself or together with DeLonge, while the band's other member, drummer Travis Barker remains quiet. Linkin Park had two vocalists as well, Mike Shinoda and Chester Bennington, both considered as frontmen. Another example is the thrash metal band Metallica, in which James Hetfield and Lars Ulrich share the spokesperson duties for being both founders and the only members who have never left the band. List of lead vocalists