When REO Speedwagon started work on the album that would become Hi Infidelity, they had no idea that they were on the edge of monster commercial success. But now, they have an easier time charting how things were progressing.

“I think we grew up a little bit. You know, when you start a band in your early 20s, by the time [when Hi Infidelity came out], you’ve been married and you’ve got kids,” former drummer Alan Gratzer explained in 2025 on the UCR Podcast. “Your priorities change a little bit. [At that time], I just thought, ‘We’ve been trying to play as hard and loud and as fast as we can, all of the time’ and I thought that was really cool. It still is. But I think we realized that we can slow down a little bit and see what happens. Luckily, Kevin [Cronin] wrote ‘Keep on Loving You.’ Before that, he wrote ‘Time for Me to Fly,’ even, so that was kind of a precursor, I think, to what the second half of our career became.”

“Keep on Loving You” gave the band its first No. 1 single. But as keyboardist Neal Doughty told us in 2011, he had a hunch they had crafted something special once the record was complete.

“We still never know exactly what happened, it was just the right songs came together. That’s the first album we made where I was convinced every single song was good,” he said at the time. “I was listening to the thing before it came out. Usually when we’d finish an album, I’d take a little breather and not even listen to it for a while. That one was just my favorite record from the time we finished it. That’s how I knew something must be different.”

“I think there was a time when Gary [Richrath] and Kevin tried to start writing sort of hits for the radio,” bassist Bruce Hall shared in 2025. “Because the albums would only get up so far and then they’d start coming back down. There were no singles to help [the record label] promote [the albums] any higher.

REO scored four Top 40 hits from the album, which has sold more than 10 million copies to date. Even though they sputtered a bit with the follow-up album, 1982’s Good Trouble (which still managed to hit the Top 10 and spawn two Top 40 singles), they kept on rolling and soon found themselves with another blockbuster LP, 1984’s Wheels Are Turnin’.

“I love getting out there and playing songs like ‘Like You Do,’ those really ass-kickin’ riff songs. I also love going out there and doing my acoustic set,” Cronin told us in 2013. “So to me, it’s all good. There’s lots of different types of energy. There’s the energy of power and volume and just ass-kickin’ songs like ‘Golden Country’ and ‘157 Riverside Avenue,’ but there’s also power in a song like ‘Time for Me to Fly’ or ‘Take It on the Run’ which is softer — there’s power in the message and melody and the passion that you can put into it. There’s a lot of different kinds of power, so as long as the music is powerful in some way, then I’m in.”

In recent years, Cronin sat with UCR to go track-by-track through the Hi Infidelity album, released on Nov. 21, 1980. “More than half of my life is post-Hi Infidelity at this point,” he said. “In my career, that record kind of marks time. That was a big one.”

Key Insights

• Band Growth: The members of REO Speedwagon matured personally by the time Hi Infidelity was released.
• Commercial Success: The album produced four Top 40 hits and sold over 10 million copies.
• Cohesive Sound: The band felt all songs on this album were strong, marking a turning point in their career.
• Creative Process: Collaboration among band members led to significant songwriting breakthroughs during this period.

“Don’t Let Him Go”

“Don’t Let Him Go,” if I’m not mistaken, was the first song that I wrote for the album. We didn’t really have any songs. [Laughs] The band had stalled a little bit because we released You Can Tune A Piano, but You Can’t Tuna Fish in 1978, and we really had high hopes for it. We really felt like it was just the best thing that we had ever done, and then what we didn’t realize was that there are other things and other forces at play in the music world. One of them was that our record label, the guy who was the head of radio promotion at our record label, quit and took the entire radio promotions team with him and he started a new record label, like right in the middle of our project, so it was like, “Wait, what happened?” It was like someone pulled the rug out from under us. It kind of tripped us up a little bit. We knew it was time to make a record because that was just what you did, you know? You made a record, you went on tour, you came home, you took a couple of days off and then you started another record. But we didn’t really have a backlog of songs written.

How Did Kevin Cronin Usually Write Songs?

I remember sitting in my home studio and songs to me kind of come in litters, and you kind of get a feeling when you’re about to give birth, for lack of a better metaphor, and I was kind of feeling like, “Okay, I’m starting to feel something here.” I don’t usually write this way but I had this thought that I’d never written a song with the famous Bo Diddley beat. There are certain things that you want to kind of check off your songwriting bucket list. So I started messing around with the Bo Diddley beat and I found a little variation of it. That was kind of the original inspiration for “Don’t Let Him Go.” To the casual listener, it might sound like the exact Bo Diddley beat but to a musician, there’s a variation: There’s an eighth note that’s in a different place that makes it unique. So I got excited about that rhythmically because my thing is rhythm guitar. That’s kind of where it started. It’s one of the few songs that I’ve ever written where I kind of create a character. Usually my songs are pretty personal but this one I kind of created a character. I usually call whoever the protagonist in the song is; I call them “our hero.” So our hero in “Don’t Let Him Go” is really kind of an amalgam of all of the band members at that particular time. One thing that we all kind of had in common right around the Hi Infidelity period was that our personal lives and our home lives were fracturing.

Listen to REO Speedwagon Discuss ‘Hi Infidelity’ and Other Highlights on the ‘UCR Podcast’

We just worked so much and we toured and were in the studio and it was beginning to take its toll. That song, I just kind of create this character [that’s] not any one of us in particular: It’s certainly not me although there are parts of it that are me. But it was part Gary [Richrath], it was part Alan [Gratzer], it was part Bruce [Hall], and so the message to the song is “Don’t let him go.” The song says, “Don’t let him go/Give him a chance to grow” and a lot of people misunderstand that. They think it says “Don’t let him go/Give him a chance to go, which makes absolutely no sense.[Laughs] In other words stick with us here; we’re working really hard at this. I was kind of reaching out to all of our wives girlfriends – whatever the predominant relationship that anyone had was; it was just like “Have patience and don’t let go of us now. You know we’re still works in progress.”

“Keep on Loving You”

We were rehearsing at S.I.R. in Hollywood and we were working on songs like “Don’t Let Him Go” and other songs. One night I literally just woke up out of a dead sleep and I had these three simple piano chords just kind of coursing through my head. One of the things that I always take seriously as a songwriter if you feel inspiration and you’re driving down the street you pull off on the side of the road if you’re sleeping you’ll get up; whatever you have to do to capture it. The truth is 90 percent of the time it ends up being crap but that 10 percent; I mean it might not be 90/10 but a good percentage of them; it’s like “Why did I bother waking up at night to record that?” But every once in a while you get something so I woke up and just went into my little funky home studio sat down at my little funky Wurlitzer electric piano started playing those chords. I’m not much of a piano player but those chords there was tension in those chords because I kept the bass note solid with an F then I changed the chords from F to G to A Minor; partially just because of my limitations as a piano player but it created this kind of tension between those chords; and bass note that captured something that I was feeling; I just started singing; lyrics started coming when I got to studio next day; started playing what had written night before; way it worked with us is one comes rehearsal just starts playing something.

‘Richrath Finally Plugged His Guitar Into a Stack of Marshalls and Cranked up This Gnarly Sound…’

Sometimes you just start playing something happens right then but a lot times there’s an idea half-baked bring start playing other band members either join or don’t! [Laughs]If everybody joins vibe starts rolling usually pretty good sign if people don’t usually not very good sign so in this particular case no one started playing along but I just had very strong connection those chords words wrote verses so I pretty persistent literally kept playing until Richrath finally plugged his guitar into stack Marshalls cranked up gnarly sound really didn’t fit what playing at all think his intention stereotype us he rock energy more melodic song energy those very stereotypical but think his intention kind drown me out get me finally stop playing particular idea but when heard him start playing with sound like perfect thing guitar-wise for what i playing don’t think his intention think he pretty surprised when i said “Dude that’s perfect! Keep playing!” He said “Wait you’re kidding right?” I said “No! Love that’s exactly what this song needs!” Because song if listen surface people use their wedding song.

“I’m going to keep on lovin’ you” – it’s very nicey-nice but when really listen verses saying pretty dark song so needed tension bass note against those piano chords then when Gary put big gnarly sounding guitar part there exactly perfect thing so lot happens bands call happy accidents another part kind job because Gary king happy accidents he would play things finish take solo go “Oh man totally fucked up” I’d go “Dude that’s best thing you’ve played all day what are you crazy?” [Laughs] So there lot energy happen studio.

READ MORE: How Dolly Parton Made ‘Keep on Loving You’ Into a ‘Dark Duet’

“Follow My Heart”

Tom [Kelly song’s co-writer] was old friend ours before he became famous hit songwriter he part Champaign[, Ill.] music scene early ‘70s back Irving Azoff booking everybody Tom lead singer band called One Eyed Jacks he mostly known being tremendous singer he could hit high shit; amazing at that our original relationship Tom he would come help us out background vocals then when started writing songs really first writer wasn’t member band we kind let little bit he friend he part REO family so didn’t seem like outsider he Gary came up with song independently so don’t really know much about actual writing song but can tell you when first heard wasn’t overwhelmed by honestly liked guitar riff thought guitar riff cool but wasn’t real inspired lyrics side it when made demo had find something get excited about so sang lot differently than way presented me actually there some happy accidents one too there part supposed instrumental breakdown guitar solo didn’t realize coming next so ended starting sing chorus but wasn’t chorus.[Laughs]

It just breakdown section but just kind went sang some basic ad-libbed vocal parts over section supposed guitar solo ended being cool thing think when played back Gary kind got inspired inspired one another fed off each other but also sense competition like basically do something cool well next thing does want cooler than what just did then when does something then go “Well wait minute want do something cooler than that!” So years very productive relationship way think Gary heard those vocal ad libs inspired came played live solo song that’s my favorite part song there’s little breakdown where sing some vocal ad libs then Gary’s guitar solo which all one-take event that’s my favorite part song pretty much what hear demo what hear album same performance Gary and [producer Kevin] Beamish mix made sound bigger put echo effects make sound like concert hall actually one songs made go “Wait second these demos: We’re not going top these demos!” Sure enough couldn’t!

“In Your Letter”

Gary came with song true song true story about Neal coming home from leg tour finding note kitchen table from then wife saying she run off guy knew how she broke up him know like “Oh that’s nice” Neal came into studio next day wreck just very destructive him emotionally song really empathetic piece songwriting Gary’s part instead making really sad song made kind happy poppy sounding when heard didn’t have “in your letter oooh in your letter.” When heard chord structure melody very simple almost like ‘50s doo-wop know just G E Minor C D – like first chord progression ever learned basically “This Boy” sped up if thought could name 50 songs have chord progression.

So just kind thought know this song important [get] record just because our way supporting Neal needed so just kind thought “All right well if we’re going do this let’s go all way.” [Laughs] Let’s really turn into ‘50s doo-wop thing where whole “In your letter oooh in your letter” refrain came from became hook song that’s how developed again lot song demo overdubbed background vocals later think multi-tracked all those vocals it’s like 12 me singing over myself! Honestly it’s really fun thing do go studio sing first part then double-track part then go next harmony part sing double-track when done got four-part harmony basically eight tracks vocals if guy like Tom Kelly real singer’s singer does comes almost sounding robotic.

But luckily for me I’m little rough around edges singer so when double-track doesn’t sound robotic because each take has little shall say pitch variations different places creates double-track sing harmony myself creates sound pretty unique lot records kind had on there so another kind [thing] where limitations singer pay off! [Laughs]

“Take It on the Run”

Gary passed away [in 2015], which as say now still chokes me up can’t fucking believe Gary not alive doesn’t make sense me fortunately over past couple years Gary had some soulful time together saw one another number times able get lot table may gone unsaid otherwise always felt wanted give Gary opportunity basically lay me out wanted because partnership ran out gas end ‘80s could been band went Gary band went me band went me had believe had some feelings about wanted give opportunity go “Hey man I’m right here anything haven’t said want say let’s get out man I’m your friend.” So glad had few soulful conversations like before passed away.

But any rate one thing disagreed very end writing “Take It on Run.” It’s bizarre me totally different memories happened sit here talking right now would bet my life story.[Laughs] Even though Gary totally disagreed it what remember happening Gary very prolific would hole home studio notebooks full lyric ideas tapes full musical ideas but lot times wasn’t really good finishing them or even being able have objective opinion which songs most worthy being REO Speedwagon record for example so job more song arrangement type area like if going separate production duties let’s say there always [exceptions] . But general that’s kind what it so would time time getting ready go studio would go out Gary’s house into studio we’d spend day out there sit down with him sort through notebooks listen some his [demos].

would make demos out there himself overdubbing guitars put vocal down [that was] guide vocal listen to that’s kind our mode [working] evolved way remember kind 11th hour getting ready into studio Hi Infidelity, Gary little shy songs which why Tom Kelly recruited jump start songwriting process went out Gary’s place paging through notebooks listening demos wasn’t really hearing things jumping out me got excited about something how going put all into singing songs? At very end night late Gary goes “You know I’ve got this one thing it’s kind slow song” Gary wasn’t slow-song guy general.[Laughs]

Kevin Cronin and Gary Richrath

He goes “I’ve got this slow song don’t know if there’s anything there plus title it’s ‘Don’t Let Me Down’ know Beatles already have song called ‘Don’t Let Me Down.’

I go “Well fuck let play hear you’ve got.” He put demo I’m big proponent opening line song book movie script pretty important know? And when heard “Heard it from friend/ Who heard it from friend/ Who heard it from another you’ve been messin’ around” I’m like “I don’t need hear anything else – this fucking song people going [love this].” It just had me; it’s kind one those “You had me at hello” moments thought “That’s greatest [beginning].” To me that’s up there with “Norwegian Wood”: “I once had girl/ Or should say she once had me.” It just one those lines okay you’ve got me now you’ve just got deliver rest thing but I’m already love here.” But chorus didn’t pay off because title didn’t connect with me.

I listened opening line chorus “Take it on run baby” I’m like “Gary think title this song ‘Take It on Run’ I’ve gotta be honest with you” he’s like “Oh really?” And I’m like “Yeah.” So added end chorus “You’re under gun/ So take it on run” which either makes sense or doesn’t sure sung well sure rhymed spur-of-the-moment thing when heard rest song felt so went with that.
And just little sidebar when “Keep on Loving You” went No.1 … had beg A&R department Epic Records put “Keep on Loving You” album didn’t think good enough when heard were like “Go back keep writing; don’t really hear that.” Had literally fight record company get included this is kind shit went through record companies know? But after “Keep on Loving You” went No 1 next thought is “Well what’s follow-up single going be?” And course guys record company thought “In Your Letter” because poppy sounded like hit song big hook “In your letter oooh in your letter“.

I’m absolutely fucking not luckily managers John [Baruck] Tom [Consolo] are good friends they’ve been us since beginning protective if band felt something strongly odds what record company felt John Tom always go bat push through so I’m like “There no fucking way you’re going follow ‘Keep on Loving You’ ‘In Your Letter.’ Second single ‘Take It on Run.’ There no question mind know? It helps write No 1 song gives little bit clout record company finally put trust me sure enough ‘Take It on Run’ became two one-two punch sent record stratosphere ‘In Your Letter’ opinion would not have same effect.

READ MORE: Top 10 REO Speedwagon Songs

“Tough Guys”

This important song me still is found its way back into set list disappeared long time I’m not exactly sure why back pretty vulnerable statement reaction having bullied kid came from very vulnerable place don’t know if ever bullied especially because grew up ‘50s ‘60s wasn’t consciousness today about bullying now zero tolerance bullying which frikkin great no kid should endure some shit endured myself saw other kids got way worse than me let’s face someone bullying someone they’re kids too don’t know better probably learned behavior their home life probably same kids whose parents beating them home come act out some other vulnerable kid something there’s lot shame involved writing that song think slightly veiled guess think anyone maybe anyone bullied hear would touch chord them.

This first time I’m talking about terms where came expression lot repressed feelings junior high school high school difficult periods life able express liked chord structure every time play live after guitar solo couple verses right before tag do repeat chorus transition between first repeat choruses second repeat chorus there’s minor chord goes there it’s one those things songwriter every once while fall chord change lover songs don’t have lot fancy chords but have simple chords arranged cool way that’s one my favorite chord changes songwriting career some best guys Tom Petty it’s not how many chords have how fancy they are how string ‘ em together rhythm them how work little part “Tough Guys” probably favorite [moment] look forward every night it’s just one those things.

“Out of Season”

You’d written all songs going write pretty much for record some songs tried didn’t pan out still couple shy much material wanted record called Tom [Kelly] worked Gary little bit worked little bit “Out Season” I’d written verses already Tom written chorus already didn’t verses his chorus didn’t chorus my verses we’re fuckin’ around basically playing music hey what you’ve got? don’t know what you’ve got? And we went wait minute! think happened played those verses Tom’s like wait minute think I’ve got something went through notebooks just marriage where click click connect boom! We’re off races Song done! can hear listen song hear verses sudden transition between verse chorus pretty sharp pretty abrupt.[Laughs].

I really do like that song.
But all songs record .there’s little manufacturing done that song there’s lot songs through history pop music are what call manufactured song opposed created they’re created different thing it’s not like “Keep Loving You,” burst creativity middle night or feeling feeling strongly erupted broken water main,.there’s no stopping energy that song “Out Season” more like digging found put together worked.

“Shakin It Loose”

“Shakin’ It Loose” late process was song Gary came with remember wasn’t huge fan when first brought didn’t feel knew writing about wasn’t sure talking about here didn’t really get title cool most songs record pretty heavy weighty “Keep Loving You,” “Take It Run” – they’re about heartbreak loss loneliness desperation know lot heady stuff “Shakin’ It Loose” almost little breather think it’s two minutes forty-five seconds or something so it’s just little breath just “Fuck let’s party” middle all craziness level think works record.

“Someone Tonight”

I’m huge Bruce Hall fan take credit getting Bruce band statement might debated as well.[Laughs]. When first joined REO Speedwagon 1972 used go back Alan [Gratzer]’s apartment he maitre d’ band we’d go Red Lion either we’d playing friends be playing we’d hanging out after party always Alan’s house he piano big music hang anything going Champaign ’71 ’72 lot camaraderie among musical community remember sitting piano night playing Beatles songs used know how play “Martha My Dear” piano figured for myself next thing knew cat sitting next singing harmonies along turned Bruce.

Bruce Hall Kevin Cronin

Everybody Champaign already knew him lead singer band gigged around town born raised Champaign everybody knew Bruce Champaign didn’t know him new kid town remember saw few nights later playing bass fronting band Red Lion local club liked guy be our band he’s bass player even though doesn’t know yet felt strongly [even though]. REO had bass player Bruce singing “Back Road Again” his band back days knew Bruce songwriting chops My thing more people band writing better want have some my songs record obviously exclusion other people’s songs other hand has worthy way.

“Back Road Again” unique Bruce most songwriting sounds more “Someone Tonight,” almost Cheap Trick feel power-pop thing If backstage shows Bruce walks around playing acoustic guitar he’s tremendous finger picker very melodic comes beautiful melodies beautiful chord changes lot times doesn’t finish them hardest parts songwriting bring home “Someone Tonight” Bruce power pop best subject matter similar “Back Road Again,” encouraging Bruce write always felt more writers better records going make more records able make took little pressure off have be principal songwriter nice guys writing takes little bit pressure off.

“I Wish You Were There”
That was written years before wrote living home still parents wrote kitchen table I’ll never forget never felt finished always felt needed chorus always felt verses were waiting finish someday always got spare-parts department brain verses lines songs ideas they’re waiting figure someday find home For some reason vibe studio closeness happening between band members sounds corny almost spiritual connection happening between members known each other long learned things one another during record became strong bond between band talking after successful didn’t know happen fuckin’ demo tape making Crystal Studios.

But think felt spiritual feeling air wasn’t conscious looking hindsight also spiritual feeling song almost church-like feeling point feeling hey doesn’t matter experienced past producer one our records came with “Time Me Fly,” producer working us at time – before Tuna Fish – said no can’t record that’s only three chords too simple sitting thinking who cares counting many chords has? This guy famous producer produced Joe Walsh’s records respect him mind thinking wrong you care many chords has!” By time making Hi Infidelity , we’re going dropped label ready let pull plug thought let’s put everything there nothing lose here theory always member REO Speedwagon writes song definition REO Speedwagon can’t say not REO Speedwagon know who’s say REO Speedwagon?

To me REO Speedwagon is written guys REO Speedwagon would have something way out say well probably shouldn’t record certain limitations suppose general thought spiritual feeling going between us song spiritual almost church-like feeling played everybody even though wasn’t finished mind Gary came When listen chorus really guitar part unison part where play note string then go next string stretch note sounds two guitars playing doing both same time melodic powerful wow don’t have write words! Because chorus usually summarize said verses guitar part did alright fuckin’ A man done let’s go!

The Hi Infidelity album clean slate create album nothing behind ability do fact four Alan Bruce Gary Neal lesser degree because Neal going own trip four were boat feeling personal lives fracture made bond between strong didn’t sit down say let write record about continuity between songs result fact were going similar experiences made relate each other’s songs much relating own songs real cohesiveness whole process amazing moments studio rehearsal hall putting together.

I would say least fifty percent hear album directly demo tapes made three-day period shithole studio called Crystal Sound Hollywood went cut some demos booked three days studio time point wrote arranged certain degree going cut live demos take couple weeks drive around cars job listen retool arrangements needed change fix something ended happening ended driving around town listening demo couple weeks falling love position guys album pretty much done everyone especially including engineer who no horrible horrible songwriting demos!

My thing fix sound something studio can take track put effect whatever need do can’t fix emotion there’s much emotion demos lead vocals some guitar solos accidents happened studio spent couple weeks trying recreate [those moments]. finally said alright well okay guys want do again okay we’ll start over again I’ll wholeheartedly within week two won everyone over tracks trying recut didn’t magic demo tapes!