T.W.O. (1972)



  1. Let Me Ride
  2. How the Story Goes
  3. Little Queenie
  4. Being Kind (Can Hurt Someone)
  5. Music Man
  6. Like You Do
  7. Flash Tan Queen
  8. Golden Country


 

So the first record barely sold a copy, and almost as quickly as it started, REO Speedwagon found themselves without a lead singer. Enter Kevin Cronin—sort of. The story goes that the band was using some so-called “musician’s referral service” to scout for a new frontman, only to discover that the service was a thinly veiled hustle by Cronin himself, who needed a job and took matters into his own hands. You’ve got to admire the guy’s tenacity. The gambit worked, and Cronin took over on vocals just in time for their second album, R.E.O./T.W.O..

In a lot of ways, this record is a step forward. It’s tighter, it’s got more swagger, and everyone sounds like they’re growing more comfortable with their roles. That said, it’s not without its growing pains. Progress almost always involves a few stumbles, and this is no exception. Sadly, Cronin wouldn’t be around long enough to iron out the kinks—he was booted after this record and wouldn’t return for several more albums. So whatever momentum they had going was short-lived.

There’s plenty of good news, though. Neal Doughty finally gets more room to shine, and guitarist Gary Richrath absolutely lets loose all over this thing. His snarling leads and blistering solos give the album its edge and help solidify him as the emerging musical identity of the band. Cronin, meanwhile, doesn’t drastically alter the band’s direction—his voice is unmistakable, but this isn’t the slick, polished Kevin Cronin most fans would come to recognize in the early ‘80s. The grit is still there.

Stylistically, the band hasn’t changed much from their debut. It’s still blue-collar, boots-on-the-floor barroom rock, and they do it well. The album opens with Let Me Ride, which builds from a relatively tame beginning into a nice hard-driving closer. But the real prize is Golden Country—arguably the best track here and one of the early standouts in the band’s entire catalog. There’s a structure and a purpose to the song that shows real promise. Like You Do flirts with that same energy, though it doesn’t quite stick the landing.

Unfortunately, things get a little sluggish elsewhere. Being Kind (Can Hurt Someone Sometimes) is a slow-moving clunker that points to the kind of balladry the band would one day perfect—but they’re not there yet. And the decision to drag out their cover of Little Queenie for six and a half minutes is a head-scratcher. Covers like this are supposed to breathe life into an album, not bog it down. Here, it just thuds along without much payoff.

The only track with any real staying power is Music Man, written and sung by Cronin. It’s an okay piece, and longtime fans still treat it as something of a gem, but let’s not kid ourselves—it’s not even one of the better tracks on this record. And given that this album didn’t move the needle commercially, Cronin was quickly out, and the band’s trajectory took a sharp dip. It would be a while before they figured things out again—and longer still before they realized that booting Cronin may not have been the wisest decision.

Still, R.E.O./T.W.O. has its moments. The band is clearly learning, evolving, and doing their best to find a groove. It’s not quite there yet, but you can see the framework starting to take shape.



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