This two-in-one set features a pair of LPs by REO Speedwagon, R.E.O. Speedwagon and R.E.O./T.W.O., originally issued in 1971 and 1972. These 16 tracks include such original compositions as "Anti-Establishment Man," "Five Men Were Killed Today," "Being Kind (Can Hurt Someone Sometimes)," and the Chuck Berry classic "Little Queenie."
For those who have never heard of W.E.T. the band comprise of Jeff Scott Soto on lead vocals and keyboards, Erik Mårtensson on rhythm/lead guitar and backing/lead Vocals, Robert Säll on keyboards/guitar & backing vocals, Magnus Henriksson on rhythm/lead guitar and backing vocals, Robban Bäck on drums and Andreas Passmark on bass. So if any of those names means anything to you, you will know that the band has on paper the highest pedigree, being something of an AOR supergroup.
How GOOD is this album really? The answer is in 13 songs that melt together with ease, influenced by Journey, Talisman, Whitesnake and Giant in a grandiose sound with a contemporary production and arrangement that is as current as the Top 10 artists around the World!
Hook after hook, “Rise Up” is another one of these albums where you can enjoy the dynamics of a brilliant partnership bringing out a unique result. Melodic bullet rockers are followed by haunting ballads and fabulous arena rockers in an album that leaves the listener in awe from start to finish.
Recorded during and immediately following R.E.M.'s disaster-prone Monster tour, New Adventures in Hi-Fi feels like it was recorded on the road. Not only are all of Michael Stipe's lyrics on the album about moving or travel, the sound is ragged and varied, pieced together from tapes recorded at shows, soundtracks, and studios, giving it a loose, careening charm. New Adventures has the same spirit of much of R.E.M.'s IRS records, but don't take the title of New Adventures in Hi-Fi lightly – R.E.M. tries different textures and new studio tricks. "How the West Was Won and Where It Got Us" opens the album with a rolling, vaguely hip-hop drum beat and slowly adds on jazzily dissonant piano. "E-Bow the Letter" starts out as an updated version of "Country Feedback," then it turns in on itself with layers of moaning guitar effects and Patti Smith's haunting backing vocals. Clocking in at seven minutes, "Leave" is the longest track R.E.M. has yet recorded and it's one of their strangest and best – an affecting minor-key dirge with a howling, siren-like feedback loop that runs throughout the entire song.