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This is a two CD set. In the liner notes, lead singer Kevin Cronin claims the version of "Son Of A Poor Man" has never before been released. However, it was previously released on the band's Decade of Rock and Roll 1970-1980 album on Disk One.

Essential REO Speedwagon (2004) – Liner Notes By Kevin Cronin

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Disk One

We decided to get things rolling by picking one song from the first album which personified the bar band days of the original REO lineup. We felt “Sophisticated Lady” captured the raw energy, sexuality and riff rock power on which the band built its original Midwest following, and landed a recording contract with Epic Records. Terry Lutrel [sic – His name is spelled "Luttrell"] belted out the vocals on this one, and soon after left the group.

On R.E.O./T.W.O., the songwriting was becoming more personal. The band was jamming hard, but Gary and I were realizing that the words were important, too. “Music Man,” (I lifted the title from a line in Elton John’s “Tiny Dancer,”) and “Golden Country,” (Gary lifted the title from an article in Time [sic – it was Newsweek] magazine), best represent this shift in songwriting priorities, and to some degree, the direction of the band.

During the recording of our third album, Ridin’ the Storm Out, I accidentally spilled a glass of red wine on producer Bill Halverson’s wife’s white carpet… bad move by the new kid. After a few rough weeks at Wally Heider Studios in Hollywood, the band decided they needed some new blood. They fired me...so I U showed them, I quit! I was prompted airbrushed off the album cover, and my vocals were replaced, but luckily not erased. This previously unreleased version of “Son Of A Poor Man” is perhaps more “essential” than the album version, considering how things turned out. [sic – This version was previously released on REO’s Decade of Rock 1970-80 album]

Champaign Illinois native Mike Murphy sang on the next three REO records. Of all the songs he recorded with the band, “Lost In A Dream,” which he co-wrote with future band member, young Bruce Hall, was the best fit. It has a classic REO instrumental section, surrounded by a strong piece of Illinois songwriting.

By late 1975 the Murphy era was winding down. I had sent the band a demo of “Keep Pushin’ ” and they must have liked it, because we ended up together at the Record Plant in L.A. in early 1976. We were still rediscovering one another musically, searching for that magic chemistry and getting closer to finding it on our own infamous COW album. Along with “(I Believe) Our Time is Gonna Come,” and “Lightning,” the seeds of REO’s classic sound were being sown.

After ten months of solid touring we were strong, our show was well-oiled, and the band was playing as tight as ever. We convinced Epic that our best bet was to capture the excitement of an REO concert on tape. The double live You Get What You Play For was our first gold album, and the live version of “Ridin’ the Storm Out” was spreading to rock radio stations all over the country.

Although “Like You Do,” “157 Riverside Avenue” and “Flying Turkey Trot” all appeared previously on studio albums, we feel the live recordings are the essential versions of those songs. After that tour Greg [sic – Gregg is spelled with two g’s] Philbin handed over bass guitar duties to Bruce Hall, and the Classic REO line up was formed.

We were ridin’ high on the success of the live album, so we naively asked if we could produce our next studio album, and incredibly, Epic agreed. The result was You Can Tune A Piano But You Can’t Tuna Fish, one of our most popular records to date, as well as a band favorite. We raised the bar in the songwriting department with “Roll With the Changes” and “Time For Me to Fly,” and kept the REO party vibe going with “Say You Love Me or Say Goodnight.”

Disc Two

With the Nine Lives album we were in the mood to get a little heavier. “Back on the Road Again” and “Only the Strong Survive” reflect the pendulum swinging back in the direction of some of the earlier records. We were searching for a balance between our newfound songwriting prowess and our love of playing rock’n roll.

In 1981 it all hit the fan. Ten years of solid touring and recording all came together as we released our tenth studio album Hi Infidelity.

Although our personal lives were a wreck, we channeled our collective insanity into a bunch of songs which allowed us to get it all out. It was difficult to leave any of the songs from this album off the list. On a ten million seller, every cut is essential. But we picked four songs which were the singles, and have become staples of our live concerts as well, “Don’t Let Him Go,” “Keep on Loving You,” “In Your Letter,” and “Take It On the Run.” We went right back into the studio to record the follow up, Good Trouble.

With hindsight, one might concede that we were in a bit too much of a hurry on this one. “Keep the Fire Burnin’ and “The Key” represent the spectrum of emotions which we were dealing with at the time. It was one of the darker periods in our history, but with the perspective that time affords, I am beginning to appreciate the strength of our survival instinct that was reflected in those songs.

In 1983 we took our first real break in over 12 years. We came back with our Wheels Are Turnin’ record. With tracks such as “Can’t Fight This Feeling,” (our second #1 single) “One Lonely Night” and “Live Every Moment,” this was truly our comeback record. We toured for sixteen months, including our appearance at the historic “Live Aid” concert in the summer of 1985.

Our next record, Life As We Know It, would be the final studio album from the classic REO line up. We had found the magic chemistry, and had taken it as far as we could with songs like “That Ain’t Love,” “Variety Tonight” and “In My Dreams.” But after a year of touring we could feel change was in the air.

In 1989, with Gary Richrath and Alan Gratzer having left the band, we released THE HITS album, as a fitting closure to phase two of the REO history book. “Here With Me” was a bonus track on that CD, and serves as a transition into the current era of our band.

The following year Dave Amato and Bryan Hitt joined Neal Doughty, Bruce Hall and me, as the new REO debuted with the release of the oddly titled The Earth, A Small Man, His Dog and a Chicken. Had that record been a huge hit, as planned, that album would have been genius, but our fans were not quite prepared for the many changes we sprung on them. We are proud of the songwriting, but faced with choosing one single track, we went for the opening track, “Love Is a Rock.”

The new REO, having toured for five straight years, was ready to venture into the studio again in 1996. We are again very proud of the songs and performances on our Building the Bridge CD, but we again had to choose one song so we picked the title track. The album is a bit of a departure from our classic sound, but if you like this song you might want to check out the entire CD. It is the new band at its best.

In 1999 we compiled a CD of our softer side called The Ballads. We included a couple of new songs including “Just For You.” It is cut from similar cloth as our classic hit ballads, brought up to date, and as such is essential.

I just listened to the final remastered Essential CDs and it was quite a trip. Naturally, as each cut plays my brain is going full throttle. I remember writing the songs, working out the arrangements, the recording sessions, it all comes rushing back. We have worked hard, played hard, and been very fortunate to be in a position to release this double CD.

And of course, you have been a huge part of our journey. As I have said many times, “Our audience is the sixth member of REO Speedwagon.” Part of our essence is your energy. As you listen to this record, please know that you are truly essential to us.

Thanks and as always Keep Pushin’ KC

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