REO Speedwagon had their greatest success in the 80s with their more pop oriented songs. I love the album “Hi-Infidelity” and was so glad it brought much deserved success to a band that was vastly underrated for over a decade. But to me, the epitome of what REO Speedwagon was happened in the 1970s, and was encapsulated on their live album “You Get What You Play For”. This album ranks up there with the greatest of the great live albums which are in my humble opinion Bob Seeger’s “Live Bullet”, Peter Frampton’s “Come’s Alive” and REO’s live album from 1977.
What gave this, and the preceding Studio albums by REO Speedwagon, their special character, was the band’s geographical Origins. Coming from Indiana, their early music had midwestern rock roots with just a slight hint of southern rock influence. Then they combined this, ever-so-slightly, with progressive rock that was influential in the seventies, and created a sound that was unmistakably unique. Yes, some of this came through in their later, more pop oriented material, but to me this was the epoch of what REO Speedwagon was at their finest.
I would be remiss to not mention every song on this album, in mentioning what makes a great. It really is the combination of the whole. But if I were to list standouts, they would be the opener “Like You Do”, “Keep Pushin'”, “157 Riverside Avenue”, with its incredible improvisational interplay between lead singer Kevin Cronin and lead guitarist Gary Richrath, “Ridin’ The Storm Out”, and what has to be one of the finest live album closers of all time, “Golden Country”.
This album is also one of the reasons I started getting turned off by compact discs. Although they offered convenience, quite often the remastering of some albums left something to be desired. Either the recordings were over compressed, muddying the sound of the original recording, or they came across sounding thin, losing much of the dynamic range of the vinyl record. With “You Get What You Play For”, it was the latter.
What made it even worse though, was the omission of critical songs off the record. To omit “Little Queenie” might have been forgivable, but “Gary’s Guitar Solo” was one of the defining moments of this album. To delete it was near blasphemy. The CD noted that this was because of time constraints. I later recorded my own CD, direct from the album (this was in the era predating MP3s). I merely edited the length of some of the audience sounds in between the songs and was able to fit the entire album onto one CD, so I call bulls***!. They just didn’t want to take the time to do it right – to give “You Get What You Play For” the respect it rightfully deserved.