Life as We Know It (REO Speedwagon album)
Life as We Know It is the twelfth studio album by REO Speedwagon, released in 1987. It features "That Ain't Love" and "In My Dreams", both of which were Top 20 hits. At one point, "New Way to Love" was considered for use in the film Top Gun; this is the group's final studio release with Richrath and Gratzer, as well as their final top 40 album to date. Kevin Cronin – lead vocals, rhythm guitar Gary Richrath - lead guitar Neal Doughty – keyboards Bruce Hall – bass, backing vocals Alan Gratzer - drums, backing vocals REO Speedwagon - Life As We Know It @ MSN Music
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
REO Speedwagon is an American rock band from Champaign, Illinois. Formed in 1967, the band cultivated a following during the 1970s and achieved significant commercial success throughout the 1980s. Hi Infidelity contained four US Top 40 hits and is the group's best-selling album, with over ten million copies sold. Over the course of its career, the band has sold more than 40 million records and has charted thirteen Top 40 hits, including the number ones "Keep On Loving You" and "Can't Fight This Feeling". REO Speedwagon's mainstream popularity waned in the late 1980s, but the band remains a popular live act. In the fall of 1966, Neal Doughty entered the electrical engineering program at the University of Illinois in Champaign, Illinois, as a junior. On his first night, he met fellow student Alan Gratzer, they held an impromptu jam session in the basement of their Illinois Street Residence Hall dormitory and soon started a rock band. Gratzer had been a drummer since high school, was playing in a local group on the weekends, while Doughty had learned some Beatles songs on his parents' piano.
Doughty began to follow Gratzer's band sitting in on a song or two. The keyboard player was the leader. On the last day of the university's spring semester, guitarist Joe Matt called the band's leader and told him that he, drummer Gratzer, bassist Mike Blair had decided to leave the band to start a new one with Doughty, they made a list of songs to learn over the summer break, Doughty landed a summer job to buy his first keyboard. On his Farfisa organ, he learned "Light My Fire" by The Doors; the members returned to school in the fall of 1967, had their first rehearsal before classes started. They named the band REO Speedwagon, from the REO Speed Wagon, a 1915 truck, designed by Ransom Eli Olds. Doughty had seen the name written across the blackboard when he walked into his History of Transportation class on the first day they had decided to look for a name. Rather than pronouncing REO as a single word as the motor company did, they chose to spell out the name with the individual letters each pronounced.
An ad in the school newspaper produced their first job, a fraternity party that turned into a food fight. They continued to perform cover songs in campus bars, fraternity parties, university events; the first lineup consisted of Doughty on keyboards, Gratzer on drums and vocals, Joe Matt on guitar and vocals, Mike Blair on bass and vocals. In early 1968, Terry Luttrell became lead singer, Bob Crownover joined as the guitar player, replacing Matt; when Mike Blair left the band in the summer of 1968, Gregg Philbin replaced Blair, Marty Shepard played trumpet and Joe McCabe played sax until McCabe moved to Southern Illinois University. Crownover played guitar for the group until the summer of 1969. Fiorio departed in late 1969 assuming the name Duke Tumatoe, went on to form the All Star Frogs. Steve Scorfina came aboard for over a year, composing with the band and performing live, before being replaced by Gary Richrath in late 1970. Richrath was a Peoria, Illinois-based guitarist and prolific songwriter who brought fresh original material to the band.
Richrath had driven 100 miles to become a part of it. He is quoted as saying "I'm going to be a part of that band whether they like it or not", went about making it happen. With Richrath on board, the regional popularity of the band grew tremendously; the Midwestern United States was the original REO Speedwagon fan stronghold and is pivotal in this period of the band's history. The band signed to Epic Records in 1971. Paul Leka, an East Coast record producer, brought the band to his recording studio in Bridgeport, Connecticut where it recorded original material for its first album; the lineup on the first album consisted of Richrath, Doughty and Luttrell. With their equipment being hauled to dates in a friend's station wagon, REO played bars and clubs all over the Midwest; the band's debut album, R. E. O. Speedwagon, was released on Epic Records in 1971; the most popular track on this record was "157 Riverside Avenue". The title refers to the Westport, Connecticut address, where the band stayed while recording in Leka's studio in Bridgeport and remains an in-concert favorite.
Although the rest of the band's lineup remained stable, REO Speedwagon switched lead vocalists three times for their first three albums. Luttrell left the band in early 1972 becoming the vocalist for Starcastle, he was replaced by Kevin Cronin. Cronin recorded one album with the band, 1972's R. E. O./T. W. O, but left the band during the recording sessions for 1973's Ridin' the Storm Out because of internal conflicts. Ridin' the Storm Out was completed with Michael Bryan Murphy on lead vocal, featured Neal Doughty's memorable "wailing storm siren" entrance on the title track. Murphy stayed on for two more albums, Lost in a Dream and This Time We Mean It, before Cronin returned to the fold in January 1976 and recorded R. E. O., released that same year. Cronin's return came after Greg X. Volz turned down the position for lead vocalist after becoming a born-again Christian. In 1977 REO convinced Epic Records. Epic agreed to let them produce their first live album, Live: You Get What You Play For, certified platinum.
That same year, the band moved to California. In 1977 bassist Gregg Philbin left the band. Depending upon which band member is expressing an opinion, it was either because Philbin was disenchanted with the new corporate-structure R
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Neal Allan Doughty is an American keyboardist, best known as a founding member of the rock band REO Speedwagon and the only member to have played on every album. He formed the band with original drummer Alan Gratzer. Although he has never been one of REO Speedwagon's primary songwriters, Doughty has written or co-written several of the band's songs. Songs for which he is the sole composer include "Sky Blues" from 1974, "One Lonely Night" from 1984 and "Variety Tonight" from 1987; the latter two songs charted as Billboard singles, with "One Lonely Night" cracking the top 20. His most notable playing includes the Hammond Organ solo on "Roll With The Changes" and the honky-tonk piano work on "157 Riverside Avenue", he notes the piano track to "Can't Fight This Feeling" was his most difficult studio performance, but is now his favorite part of live concerts. He was an early adopter of the Moog Synthesizer, which can be heard on the opening swoop of "Ridin' The Storm Out." He is using synths made by Korg and Yamaha and tours with a Hammond B3 Organ routed through Leslie speaker cabinets.
Farfisa Organ Hohner Pianet Oberheim Synths Roland Synths Mini-Moog Synth Baldwin Acoustic Grand Kurzweil Digital Piano Official website REO Speedwagon official website
Bruce Hall (musician)
Bruce William Hall is the current bass guitarist for the rock and roll band REO Speedwagon. He joined the band in 1977, making an appearance on the album, You Can Tune a Piano but You Can't Tuna Fish released the following year, he replaced Gregg Philbin. Hall wrote and sang lead on a few of the band's songs, including "Back on the Road Again," "Girl With the Heart of Gold", "Let's Be-Bop," "Someone Tonight," "Hey, Wait a Minute," "After Tonight," and "Born to Love You." He co-wrote "Thru the Window" and "Accidents Can Happen" with his brother, Jeffery B. Hall and the Christmas carol "I Believe in Santa Claus" with Cronin, he collaborated with other members of REO Speedwagon in composing several other songs, including the title track of the 1974 album Lost in a Dream with then-lead singer Mike Murphy before he joined the band. Speedwagon.com FAQ – Where band members live