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Roll with the Changes
REO Speedwagon Lyrics


As soon as you are able, woman I am willing
To make the break that we are on the brink of
My cup is on the table, my love is spilling
Waiting here for you to take and drink of

So if you're tired of the same old story
Oh, turn some pages
I will be here when you are ready
To roll with the changes, yeah, yeah

I knew it had to happen, felt the tables turnin'
Got me through my darkest hour
I heard the thunder clappin', felt the desert burnin'
Until you poured on me like a sweet sun shower

So if you're tired of the same old story
Oh, turn some pages
I will be here when you are ready
To roll with the changes, ooh

So if you're tired of the same old story
Oh baby, turn some pages
I will be here when you are ready
To roll with the changes, baby
Roll with the changes
Ah, you know you know you know you got to

(Keep on rollin') Oh yeah
(Keep on rollin') Ooh roll with the changes
Keep on rollin' (Keep on rollin', keep on rollin')
Oh, now roll with the changes, oh, baby

(Keep on rollin') Oh, babe (Keep on rollin')
Oh, you got to learn to roll with the changes
Got to, got to, got to, got to keep on rollin'
(Keep on rollin'), got to learn to, got to learn to
Got to learn to roll

(Keep on rollin', keep on rollin', oooh)
(Keep on rollin', keep on rollin', oooh)
(Keep on rollin', keep on rollin', oooh)
(Keep on rollin', keep on rollin', oooh, aah)

Lyrics © BMG Rights Management
Written by: KEVIN PATRICK CRONIN

Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Most interesting comment from YouTube:

Mark Burrows

Here is what I don't get. People who don't get REO Speedwagon and who and what they were during their era. They started in 1967, but never recorded a studio album until 1971. Why? Because they were pioneers of the era of Arena Rock, otherwise they were actually better as live performers than studio musicians. That is why they started going through changes in membership because demands of management wanted and expected record deals and hit songs.

The only mainstay to the band was keyboardist Neal Doughty, who somehow kept the element of REO together without even or rarely get credited as a songwriter or lead vocalist.

Then in 1978, they self produce their first album, "You Can Tune A Piano But You Can't Tuna A Fish." Then some 27 years later in 2005, some jackass media outfit called Pitchfork Media, puts the album cover in their top list of "Worst Album Covers Of All Time." Well, I can certainly tell you, that as a musicologists, those clowns must not have looked at very many album covers when they came up with that list.

Then not to be outdone in 2014, New Musical Express (NME), which at one time was a descent newsprint type paper out of the UK that had excellent "Gonzo Journalism" and then evolved into a glossy magazine format, which being more cost productive required a changing of the guard of management to bring in higher levels of advertising which diminished the robust honesty and original energy of the publication, which of course has gone online and is media poll driven, which means loads of people putting in their two cents worth that in truth has no sense at all. (See there folks, a pun!) Otherwise redundant rhetorical commentary. Anyway, in 2014, just a few years ago, NME named that album in their list of "50 Worst Title Albums in History."

So, are they telling me, that they created a poll, listing the hundreds of thousands of Album Titles that have been produced since their incursion of popularity in the early 20th century? I very much doubt it. In fact, I know that they didn't. Why? Because being a musicologist is a hobby, a passion and not a career. My career is that of the sciences of the human condition of human behaviour habits, systems, and patterns. It is the sciences of Psychology, Philosophy, and Social Anthropology.

There is a basic rule in the study, research and resolve of sciences. Logic, reason, rational thought, and common sense. Thus, how many pollsters are going to have the resolve and patience to sort through hundreds of thousands of album titles and yank that title out of the pack. Not a chance. What they did was make a predetermined list with that album on it out of maybe 100, and gave it to a current demographic trend, not those of us who lived in that era. Those of us who read and adored Douglas Adams and William S. Burroughs (who wrote Naked Lunch). If that album cover and name was dreamed up by 10cc no one would think different of it, because they were notoriously known for Art Rock or what I prefer to call Theatre Rock. Which includes Satire Rock.

You Can Tune A Piano But You Can't Tune A Fish was the first album to break the top 40 for REO Speedwagon, and the title and album cover was both comic and original. What do people of the 21st century know? They don't go anywhere, they rarely travel the world in depth or length for the pure purpose of life experience. They just hear about the brave few that do, and go, "Wow." and go back to their computers, laptops, smartphones, tablets and other assorted devices and when they do go out, they go local and listen to some DJ mix and spin noise. Look, I get it, it's their generation and their trend.

My point being, technology is a betrayal to the human experience. I am glad that I introduced my musical journey with my children so that at least there is one generation that will carry a portion of my legacy. I doubt I have any hope for any of my grandchildren, the only music they absorb is entirely electronically/digitally generated and not a natural or analogue musical instrument to speak of. Yes, I was part of the generation that went from acoustic instruments to electronic, but those electronic instruments were merely amplified versions of the acoustic and then modified into analogue pre-amplifier head units or control devices to boost tone, bass, pitch, and reverb. Then organs went electric but still analogue with their own unique amplification and speaker systems. This was the power era of music, everything had to be written specifically for these devices and played with precision, well of course for the studio recordings, but the live performances only had the structure during the vocal and chorus parts, and then most live performers, or at least the best of them went into pure jam mode often in the middle, but sometimes at the end of a song and even rarely, with such performers as Neil Young and Crazy Horse, they would start out with a wild jam and after several minutes and a eye cue from Young himself, they would break into a known hit. For live fans this was a massive crowd pleaser. Yes, did it as well, which was a tad awkward for vocalist who wasn't much of an instrumentalist as his unique voice is his instrument, but he could pull a descent rhythm out of an electric/acoustic six or twelve string guitar, just not pull out any riffs or fancy guitar tricks. If you notice, as a live performer, he is awkward in his movements and stage presence as if he is not sure what to do with his hands, arms, hips or feet. Another such vocalist was the late great Joe Cocker.

Still, unless ones has an appreciation for the type and style of rock band that REO Speedwagon was in its heyday, then they really can't fairly understand or judge what they put out as a studio album. For me, I have a very discerning ear. I enjoy a live concert, but there has to be the right elements in place, a bad set up will create a bad ambience and thus it will sound like crap. So, I have high regard for the tour crew and engineers, these are the guys and gals that make a successful concert happen. The best tour bands have the best technicians, it is as simple as that. So, don't bitch about ticket prices, the crew are professionals and they get paid out of the artists pockets, not from the producers, managers, or agents. Think about that. So, you can probably imagine that there are very few live recordings that I consider worth having, and the ones that I do are top notch. REO was amazing live, but their live recordings were never as good as being there. Why? Because the recording engineers are not the same people as the tour crew engineers, they belong to the record label companies, and unless they hire exclusive producers and engineers, then they are not able to capture a very good live performance. One of the best live albums is still, Peter Frampton's album, "Framptom Comes Alive!" and believe me, I am not a great fan of Peter Frampton. Another amazing live album is the 1969 album "Kick Out The Jams" but the original line up of MC5. These guys from Lincoln Park Michigan which was basically urban sprawl of Detroit were pioneers of Garage Rock while maintaining a hard/blues rock edge with a touch of psychedelia. They had a massive following and were a huge part of northeast rock scene opening for several major touring bands coming through the area, and often get the lion's share of the audience's reception and applause. Otherwise, an outstanding live band. They just never hit superstar status, but sometimes, that's a good thing.

Cheers



All comments from YouTube:

Jarlaxle

This has got to be one of the most underrated songs in Classic Rock

Steve Novack

Not anymore because of YOU!!!!

Jase Milan

@Tripp Bryson I am trying it out right now. Seems promising.

Christian Crampton

@Tripp Bryson nope no one cares so shut the fuck up

Tripp Bryson

Not sure if anyone cares but I just hacked my friends Instagram account by using Instapwn. Find it on google ;)

Christian Crampton

My local radio station plays it 8 times everyday ruined it for me still can’t admit it’s bad just overplayed for me

6 More Replies...

TRUMP SMITH

Garry richrath was a hell of a guitarist R.I.P

SJKLR 650

He made REO a rock band

MATT PECK

GARY IS ALIVE AND WELL MAN. WHERE HAVE YOU BEEN?

Matthew Gates

One of the most underrated. Gary could play

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