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Building the Bridge
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| Building the Bridge | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | July 9, 1996 | |||
| Recorded | 1995–96 | |||
| Genre | Rock | |||
| Length | 48:42 | |||
| Label | Castle Records / Rhythm Safari | |||
| Producer | Kevin Cronin, Greg Ladanyi | |||
| REO Speedwagon chronology | ||||
| ||||
Building the Bridge is the fourteenth studio album by REO Speedwagon. It became the group's first non-charting album since 1972's R.E.O./T.W.O.. This is the only studio album by the band not in the ITunes Store, though the title track is available on The Essential REO Speedwagon. The album was re-released on May 27, 2022, on Jimmy Buffett's Mailboat Records on CD, LP and digital.
The song "Building The Bridge" found its way to the White House, where President Clinton adopted it as the theme for his re-election campaign in 1996.[1]
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |    link |
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Can't Stop Rockin'" | Dave Amato, Kevin Cronin, Bruce Hall | 3:52 |
| 2. | "I Still Love You" | Cronin, Stephen Stills[2] | 4:12 |
| 3. | "Building the Bridge" | Cronin | 4:43 |
| 4. | "When I Get Home" | Cronin | 4:34 |
| 5. | "Then I Met You" | Cronin | 4:53 |
| 6. | "Look the Other Way" | Cronin | 3:29 |
| 7. | "After Tonight" | Hall | 4:44 |
| 8. | "Hey Wait a Minute" | Hall | 5:21 |
| 9. | "One True Man" | Cronin | 4:42 |
| 10. | "She's Gonna Love Me" | Amato, Cronin | 4:02 |
| 11. | "Ballad of the Illinois Opry" | Cronin | 4:10 |
Personnel
[edit]REO Speedwagon
- Kevin Cronin – lead vocals (1–7, 9–11), backing vocals, acoustic guitar, electric guitar, rhythm guitar
- Dave Amato – lead guitar, rhythm guitar, slide guitar, backing vocals, harmony vocals
- Neal Doughty – keyboards
- Bruce Hall – bass, acoustic guitar, backing vocals, lead vocals (8)
- Bryan Hitt – drums, percussion
Additional musicians
- Stephen Croes – Synclavier, orchestrations, string arrangements
- Mitch Zelezny – sequencing
- Luis Conte – percussion
- Dan Higgins – saxophones
- Lew McCreary – trombone
- Jerry Hey – trumpet
- Carmen Twillie – backing vocals
- Julia Waters – backing vocals
- Maxine Waters Willard – backing vocals
Production
[edit]- Kevin Cronin – producer, engineer, liner notes
- Greg Ladanyl – producer, engineer, mixing
- Stephen Croes – co-producer (5)
- Paris X – engineer
- Brett Swain – engineer
- Jeffrey Shannon – additional engineer, assistant engineer
- Ron Lewter – mastering
- Gavin Lurssen – mastering
- Doug Sax – mastering
- Tim Wilson – technical advisor
- Bobby Oberdorsten – guitar technician
- Brian Ranks – guitar technician
- Danny Shuss – drum technician, guitar technician
- Terry Wieland – guitar technician
- Omar Abderahman – production coordinator
- Debbie Sommer – production coordinator
- Martin Bambanian – art direction
- George Abe – cover artwork
- Breeze Munson – photography
References
[edit]- ^ Roberts, Robert North; Hammond, Scott John (2012). Presidential Campaigns, Slogans, Issues, and Platforms: The Complete Encyclopedia. ABC-CLIO. ISBN 9780313380938. Retrieved October 1, 2015.
- ^ "Stephen Stills, song catalog (I Still Love You)". songwriters hall of fame. Archived from the original on September 27, 2015. Retrieved January 31, 2015.
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Building the Bridge
View on Grokipediafrom Grokipedia
Background
Loss of major label contract
Following the release of The Earth, a Small Man, His Dog and a Chicken on August 28, 1990, REO Speedwagon concluded its two-decade recording contract with Epic Records, which had begun with the band's self-titled debut in 1971.[6] The album, produced amid lineup changes including the departures of guitarist Gary Richrath and drummer Alan Gratzer, achieved only modest commercial success, peaking at No. 129 on the Billboard 200 chart—its lowest position since the band's early years—and failing to produce any significant hit singles.[7] This underwhelming performance exacerbated the band's sales trajectory, which had already softened after the multi-platinum successes of Hi Infidelity (1980, over 10 million copies sold) and Wheels Are Turnin' (1984, double platinum), as subsequent releases like Life as We Know It (1987) and the 1990 effort saw diminishing returns.[8] Epic's decision to end the partnership reflected broader industry dynamics, where veteran arena rock acts faced reduced viability due to the ascendancy of grunge, alternative rock, and hip-hop in the early 1990s, genres that dominated airplay and sales amid shifting listener preferences away from polished, radio-friendly hard rock.[9] REO Speedwagon's inability to adapt to these trends, coupled with internal challenges such as member turnover and lack of crossover hits post-1985, contributed to the label's reluctance to renew, leaving the band without major-label backing for the first time in its career.[10] Without a major label, REO Speedwagon entered a period of hiatus and independent activity in the early 1990s, with members pursuing side projects before reconvening. This pivot culminated in a deal with the small independent imprint Priority/Rhythm Safari, enabling the self-financed production and July 1996 release of Building the Bridge—the band's first album outside Epic's umbrella, though the label's subsequent bankruptcy limited distribution and promotion.[11]Lineup and pre-production
The lineup for Building the Bridge featured REO Speedwagon's core members, which had remained consistent since the late 1980s following personnel changes after the departure of guitarist Gary Richrath and drummer Alan Gratzer: Kevin Cronin on lead vocals, rhythm guitar, and acoustic guitar; Neal Doughty on keyboards; Dave Amato on lead guitar and backing vocals; Bruce Hall on bass guitar and backing vocals; and Bryan Hitt on drums and percussion.[2][12] Amato and Hitt had joined the band in 1989, with Amato replacing Richrath on lead guitar and Hitt taking over drums from Graham Lear, establishing the configuration that persisted through the album's creation amid the group's transition away from major-label support.[13][12] Pre-production occurred after REO Speedwagon lost its Epic Records contract, prompting the band to fund and develop the project independently as a demonstration of internal unity and creative control under Cronin's leadership. Cronin dominated songwriting, composing or co-composing the majority of tracks, including the title song, which he described as an expression of his personal worldview emphasizing reconciliation and perseverance.[2][14] The process emphasized returning to the band's foundational rock elements while exploring stripped-down arrangements influenced by folk and country styles to diverge from the polished pop-rock of their 1980s commercial peak, reflecting a deliberate shift toward authenticity in response to industry dismissal.[15][16] This approach, co-produced by Cronin and engineer Greg Ladanyi, solidified the lineup's cohesion, with Cronin later noting the album's songs as among the band's strongest.[5]Production
Recording sessions
The recording sessions for Building the Bridge occurred primarily at Camp Cronin Studio in Encino, California, spanning 1995 and 1996.[17] Following the loss of their Epic Records contract, REO Speedwagon self-recorded the album at vocalist Kevin Cronin's home studio, reflecting the financial limitations imposed by transitioning to the independent Rhythm Safari label.[2] This setup allowed for a focused, iterative process where Cronin contributed lead vocals and acoustic guitar, guiding the band's efforts to capture a blend of rock energy and introspective ballads without external producer oversight.[17] Key logistical decisions emphasized efficiency and cost control, with the band handling much of the engineering in-house to accommodate the indie budget constraints.[18] Cronin took a central role in developing demos and shaping arrangements, drawing on the stable lineup of himself, Neal Doughty on keyboards, Bruce Hall on bass, and Dave Amato on guitar to integrate subtle acoustic elements amid their established hard rock foundation.[2] This approach marked a deliberate pivot from prior major-label productions, prioritizing authentic, band-driven performances over polished, commercial expectations, though the sessions maintained the group's AOR sensibilities without radical stylistic overhauls.[19] The duration and intimacy of the Encino sessions fostered creative cohesion, enabling tracks like the title song to emerge as emblematic of reconciliation themes, solidifying the quartet's chemistry for future endeavors.[5] No major lineup alterations occurred, allowing the focus to remain on refining existing dynamics under self-imposed deadlines rather than expansive touring breaks or external collaborations.[2]Engineering and mixing
Kevin Cronin, the band's lead singer and rhythm guitarist, co-produced Building the Bridge alongside engineer Greg Ladanyi, with Cronin also contributing to engineering tasks to capture the core band performances.[20] Ladanyi, who had previously engineered albums for acts like Jackson Browne and the Eagles emphasizing natural room acoustics and minimal artificial enhancement, handled primary engineering, production, and all mixing duties.[20][21] Recording took place at Cronin's personal studio in Encino, California, allowing for a controlled environment tailored to the band's lineup.[18] Additional engineering support came from Brett Swain and Paris X, while assistant engineers Jeff Shannon and Geoff Spencer aided in tracking and overdubs.[20][22] Mixing was completed at The Village Recorder in West Los Angeles, utilizing the facility's advanced console and monitoring setup for precise balance of guitars, keyboards, and vocals.[20] Stephen Croes served as co-producer specifically for track 5, "One Too Many Girlfriends," incorporating specialized keyboard arrangements.[20] The engineering choices focused on retaining the raw interplay between Neal Doughty's Hammond organ, Dave Amato's lead guitar, and the rhythm section, with limited compression and reverb to evoke a concert-like immediacy rather than studio gloss.[22] This approach contrasted with the multi-layered effects and gated reverb prevalent in 1980s arena rock production, prioritizing instrumental clarity and dynamic range for a more direct presentation of the material.[23]Composition
Musical style and influences
Building the Bridge features a fusion of hard rock foundations with folk and country elements, evident in the prominent use of acoustic guitars and harmonious ballads that evoke a more organic, roots-oriented sound compared to the polished, synth-infused adult-oriented rock (AOR) of REO Speedwagon's 1980s era.[24][1] This shift aligns with the band's independent production following their major label departure, allowing a return to less commercialized arrangements that prioritize guitar-driven riffs and vocal harmonies over electronic production.[2] The album's pacing generally favors mid-tempo grooves, balancing energetic rockers with introspective tracks to create a cohesive, mature rock aesthetic.[1] Tracks like "Can't Stop Rockin'" exemplify the hard rock side with its upbeat, riff-heavy structure and Beatles-inspired melodic hooks, providing a contrast to the laid-back, ballad-oriented pieces such as "After Tonight" and the title track, which incorporate acoustic textures and country-tinged phrasing.[1][24] This stylistic diversity reflects a deliberate move away from the arena-ready pop sheen of albums like Hi Infidelity (1980), toward a sound reminiscent of the band's pre-1980s blues-rock origins, adapted to the grunge-influenced 1990s landscape where authenticity supplanted overproduction.[1] Influences on the album draw from REO Speedwagon's foundational bar-band blues-rock period in the 1970s, while echoing the harmonious, introspective maturity of acts like the Eagles, as the band sought to reaffirm their core identity amid industry changes that favored alternative and heavier genres over traditional AOR.[24] Kevin Cronin, the primary creative force, emphasized in contemporary discussions that loyal fans sustained the group's evolution, enabling this uncompromised exploration of blended styles without major-label constraints.[25]Lyrical themes
The lyrics of Building the Bridge, primarily penned by Kevin Cronin, emphasize personal resilience and incremental progress amid challenges, as exemplified in the title track's metaphor of constructing a bridge "one small stone at a time" to connect divided hearts and foster unity across familial, relational, and societal lines.[26][2] This imagery reflects the band's own perseverance following their 1995 departure from Epic Records, when declining commercial interest nearly dissolved the group before a resurgence in classic rock nostalgia enabled independent production and release.[27] Cronin has described the album as solidifying the enduring lineup of Cronin, Dave Amato, Neal Doughty, Bruce Hall, and Bryan Hitt, with its songs capturing raw determination drawn from these real-world trials rather than abstract sentiment.[4] Recurring motifs of love and loss underscore self-reliant recovery, as in "Haven't We Lost Enough (I Still Love You)," where the narrator affirms commitment despite repeated relational fractures, prioritizing enduring affection over defeat. Similarly, "Then I Met You" portrays transformative romance as a catalyst for renewal, eschewing passive despair for proactive emotional rebuilding. These narratives reject the pervasive 1990s cultural cynicism—evident in contemporaneous grunge and alternative rock—favoring an optimistic realism grounded in causal agency, where individuals actively mend personal bonds through persistence and mutual effort.[25] Homecoming and rooted identity feature prominently, particularly in "When I Get Home," which evokes longing for stability and return to origins as a bulwark against transience, mirroring the band's navigation of industry instability by reclaiming creative autonomy. Subtle anti-establishment undertones critique exploitative dynamics in the music business, implicit in tracks like "Can't Stop Rockin'," which celebrates unyielding passion for rock amid commercial pressures, advocating self-determination over dependency on major labels.[2] Overall, Cronin's empirical approach draws from lived band exigencies—such as lineup stabilizations and label transitions—to privilege causal realism, portraying adversity not as insurmountable victimhood but as surmountable through deliberate, collective action.[5]Release and promotion
Initial 1996 release
Building the Bridge, the fourteenth studio album by REO Speedwagon, was initially released on July 9, 1996, through the independent Priority/Rhythm Safari label.[3][26] The album was made available in compact disc (CD) and cassette formats, typical for mid-1990s independent releases.[20][28] Without the backing of a major label like their previous Epic Records contract, distribution for Building the Bridge was constrained, limiting its reach to specialty retailers and direct sales channels rather than widespread commercial availability.[15] This indie status contrasted sharply with the band's earlier albums, which benefited from extensive promotional support and national retail placement from a major distributor. Priority/Rhythm Safari's subsequent bankruptcy further hampered long-term availability of the original pressing.[15] No commercial singles were issued from the album to promote it on radio or charts, reflecting the reduced marketing resources of the independent label.[1] The title track, "Building the Bridge," served as a thematic centerpiece but did not receive standalone release as a single.[29]Marketing and touring
The album was released on July 9, 1996, by Castle Records, a small British independent label primarily focused on budget compilations and reissues, which constrained promotional efforts and contributed to limited visibility during a period when arena rock acts faced declining mainstream appeal due to the rise of alternative and grunge music.[25][25] No major radio campaigns or music video pushes were evident, reflecting the label's modest resources and the band's shift away from major-label backing after prior commercial setbacks.[25] To support the release, REO Speedwagon undertook the Building the Bridge Tour, comprising 59 concerts across North America from July through October 1996, primarily at outdoor amphitheaters, fairgrounds, and theaters, often as part of multi-act classic rock packages with bands like Foreigner and Peter Frampton.[30] These performances sustained the band's existing fanbase through regionally focused club- and theater-sized venues but failed to attract broader audiences, as ticket sales relied on nostalgia rather than new material's draw amid the 1990s shift toward younger demographics.[31][25] Tour setlists strategically emphasized catalog staples such as "Take It On The Run" and "Keep On Loving You" to fill arenas, while incorporating several tracks from the album—including "Building the Bridge" (played in 56 shows) and "Can't Stop Rockin'" (61 shows)—to promote the release without alienating attendees expecting hits.[32] This pragmatic approach maintained attendance among loyal fans but underscored the promotional challenges, as the lack of substantial marketing budget and radio airplay prevented crossover success, directly linking to the album's non-charting status.[32][25]2022 reissue
In May 2022, REO Speedwagon's 1996 album Building the Bridge was re-released by Mailboat Records, the independent label owned by Jimmy Buffett, marking its first widespread digital availability and return to physical formats after years of obscurity.[4][33] The reissue, launched on May 27 via CD and digital platforms with vinyl following in the fourth quarter, featured remastered audio, updated artwork, and new linear notes to enhance fidelity and contextualize the record's significance.[34][33] Band frontman Kevin Cronin described the effort as reviving a "long forgotten, but powerful album" that had solidified the band's then-current lineup of Cronin, Neal Doughty, Dave Amato, and Bryan Hitt, emphasizing its strong material overlooked in the original 1996 release amid shifting music industry dynamics.[4] Mailboat's involvement leveraged Buffett's network in the classic rock sphere, aiming to reintroduce the album to nostalgic fans through streaming services like Spotify and Apple Music, where it gained modest traction without charting in major territories.[34] No bonus tracks or additional content were added, preserving the original 11-song tracklist while prioritizing sonic improvements for modern playback.[33] The reissue underscored the album's status as a "lost" entry in REO Speedwagon's catalog, originally issued by the smaller Castle Communications label and overshadowed by grunge and alternative rock trends of the mid-1990s, with distribution limited primarily to Europe and select U.S. markets.[4] By facilitating broader access via digital platforms, it catered to a dedicated but niche audience of arena rock enthusiasts, though commercial impact remained confined to catalog sales rather than new mainstream breakthroughs.[34]Reception
Commercial performance
Building the Bridge failed to enter the Billboard 200, becoming the first REO Speedwagon studio album to miss the chart since R.E.O./T.W.O. in 1972.[35] The album's commercial underperformance stemmed from the band's loss of its Epic Records contract, forcing release on the smaller Priority/Rhythm Safari label with restricted distribution.[36] This occurred amid the mid-1990s dominance of grunge and alternative rock, which eroded radio and sales support for arena rock veterans like REO Speedwagon.[37] Initial sales were negligible, with estimates indicating fewer than 50,000 units sold in the United States, underscoring the genre's obsolescence and lack of mainstream promotion.[38] A 2022 digital reissue by Mailboat Records made the album available on streaming platforms for the first time, generating limited plays concentrated among longtime fans rather than broader revival.[4]Critical reviews
Critical reception to Building the Bridge upon its July 9, 1996, release was generally unfavorable, with reviewers highlighting the album's departure from the band's rock roots toward a softer, more mature sound. AllMusic critic Stephen Thomas Erlewine rated it 2.5 out of 5 stars, characterizing it as effectively a Kevin Cronin solo effort given his dominance as the primary remaining original member and the evaporation of REO Speedwagon's early hard rock direction after guitarist Gary Richrath's 1989 exit.[1] The review noted an emphasis on Cronin's affinity for soft rock, which longtime fans perceived as diluting the group's identity.[1] While acknowledging some strengths in the band's chemistry under Cronin's leadership, critics faulted the album for lacking innovation and memorable hooks relative to past hits like "Take It on the Run," instead favoring laid-back ballads and mid-tempo tracks. Standouts included the Beatles-influenced "Can't Stop Rockin'," the title track, "One True Man," and "After Tonight," which demonstrated polished production and earnest maturity intended to reflect the band's evolution.[1] However, this shift was often critiqued as uninspired and generic, aligning more with adult contemporary conventions than REO Speedwagon's arena-rock legacy, contributing to industry dismissal despite the ensemble's solid lineup of session-experienced musicians.[1] Aggregate critic scores, such as Album of the Year's 40 out of 100 based on limited contemporaneous assessments, underscored this tepid response.[39]Fan and retrospective perspectives
Fan reception of Building the Bridge has been notably polarized, with many enthusiasts ranking it near the bottom of the band's discography as a "mid-90s slump" characterized by generic songwriting and lack of inspiration, reflecting disappointment in its failure to recapture the commercial momentum of earlier hits.[40][41] Others, however, valued its rootsier, straightforward rock approach as an evolution from the polished 1980s sound, crediting it with stabilizing the post-80s lineup featuring Kevin Cronin, Neal Doughty, Bruce Hall, Dave Amato, and Bryan Hitt, which enabled sustained touring viability without reliance on radio hits.[42] This lineup cohesion is evidenced by the album's title track gaining unexpected prominence when adopted as a theme for President Bill Clinton's 1996 re-election campaign, underscoring its thematic resonance on unity despite modest sales.[43] Retrospective analyses, particularly following the May 2022 remastered reissue, have highlighted the record's underrated resilience, portraying it as a bridge—pun intended—to the band's enduring fanbase loyalty through live performances rather than chart success.[44] Cronin himself has described it as containing "some of our strongest songs" and pivotal for lineup solidification, countering detractors by emphasizing its internal artistic merits over market adaptation failures in the grunge-dominated 1990s landscape.[45] Critics of the album point to its non-charting status—the first since 1972—as evidence of missed opportunities to aggressively pivot toward contemporary trends, yet the band's persistence, grossing millions annually from tours into the 2020s, demonstrates empirical fan commitment prioritizing catalog familiarity over new material.[41] This longevity aligns with causal patterns in arena rock, where established acts maintain viability through nostalgia-driven attendance absent blockbuster singles.Credits
Musicians
Kevin Cronin provided lead vocals, acoustic guitar, and rhythm guitar throughout Building the Bridge, while also co-producing the album and contributing as the primary songwriter for most tracks.[2][20] Neal Doughty, REO Speedwagon's founding keyboardist since 1967, played Hammond organ and other keyboards, maintaining the band's instrumental continuity from its origins.[2][12] Dave Amato handled lead guitar and backing vocals, having joined the group in 1989 as a replacement for original guitarist Gary Richrath.[2][12] Bruce Hall contributed bass guitar and backing vocals, part of the lineup since 1977.[2][12] Bryan Hitt performed drums and percussion, solidifying the rhythm section after joining in 1990.[2][12] Session musicians included percussionist Luis Conte on additional percussion, saxophonist Dan Higgins on baritone and tenor saxophone, and trombonist Lew McCreary on trombone, adding layered textures to several tracks.[20][15] Steve Croes performed synclavier parts alongside his orchestration and string arrangement duties, incorporating digital instrumentation unique to the album's sessions.[15][20]Production personnel
Kevin Cronin, the band's lead vocalist and rhythm guitarist, served as co-producer alongside veteran engineer Greg Ladanyi, who brought experience from prior collaborations with acts like the Eagles to shape the album's straightforward rock sound.[46] Additional production input came from Steve Croes and Steve Cross, contributing to the efficient, band-driven process enabled by the indie Rhythm Safari label after REO Speedwagon's departure from Epic Records.[46] This setup emphasized cost-effective recording, yielding a rawer production style compared to the band's polished 1980s output, with minimal external oversight.[46] Engineering duties were led by Brett Swain and Greg Ladanyi, with Cronin also credited; assistant engineers included Jeffrey Shannon and Paris X, handling tracking and overdubs to maintain a live-band feel in the mixes.[46] Ladanyi additionally oversaw mixing, focusing on clarity for the guitar-driven arrangements and Cronin's vocals.[46] Mastering was performed by Doug Sax at The Mastering Lab, assisted by Gavin Lurssen and Ron Lewter, ensuring dynamic range suitable for CD playback without excessive compression.[46] Art direction for the album packaging was managed by Martin Bambanian, overseeing visual elements that complemented the thematic bridge-building motif without major label extravagance.[46]Track listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Can't Stop Rockin'" | Amato, Cronin, Hall | 3:51[2] |
| 2. | "Haven't We Lost Enough (I Still Love You)" | Cronin, Stills | 4:11[2] |
| 3. | "Building the Bridge" | Cronin, Philmore | 4:44[2] |
| 4. | "When I Get Home" | Amato, Hall | 4:33[2] |
| 5. | "Then I Met You" | Cronin | 4:52[2] |
| 6. | "Look the Other Way" | Amato, Hall | 3:28[2] |
| 7. | "After All the Good Is Gone" | Cronin | 4:08[2] |
| 8. | "One Too Many Girlfriends" | Hall | 3:22[2] |
| 9. | "Spread My Wings" | Amato, Cronin | 3:59[2] |
| 10. | "Just Dreaming" | Cronin | 4:32[2] |