About the Song

REO Speedwagon is an American rock band formed in 1967 in Champaign, Illinois. The band is known for its catchy melodies, powerful vocals, and energetic live performances. Can’t Fight This Feeling is one of REO Speedwagon’s most famous songs, and it has become a classic of rock and roll music.

The song was released in 1984 on the album Wheels Are Turnin’. It was written by band member Kevin Cronin, and it is a power ballad about the feeling of love. The song features a catchy melody, soaring vocals, and a memorable guitar riff.

Can’t Fight This Feeling was a huge commercial success, reaching number one on the Billboard Hot 100 chart in 1985. It has been certified platinum by the Recording Industry Association of America (RIAA), and it has sold over 2 million copies in the United States.

The song has been covered by many different artists, including Starship, Elton John, and Wynonna Judd. It has also been featured in several movies and television shows, including The Breakfast Club and The Sopranos.

Can’t Fight This Feeling is a classic rock and roll song that has stood the test of time. It is a beautiful and moving song that people of all ages can enjoy.

Keywords: REO Speedwagon, Can’t Fight This Feeling, power ballad, rock and roll, Kevin Cronin, Wheels Are Turnin’, Billboard Hot 100, platinum, RIAA, Starship, Elton John, Wynonna Judd, The Breakfast Club, The Sopranos.

Here are some additional details about the song:

  • The song was inspired by Cronin’s wife, who he met in 1972.
  • The song was originally recorded in 1982, but it was not released until 1984.
  • The song’s music video was directed by David Mallet, and it features the band performing in various locations around Los Angeles.
  • The song has been used in several commercials, including ads for Coca-Cola, Ford, and McDonald’s.
  • The song is considered to be one of the greatest power ballads of all time.

Can’t Fight This Feeling is a timeless song that continues to be enjoyed by fans around the world. It is a testament to REO Speedwagon’s songwriting talent and their ability to create music that connects with people on a deep level.

REO Speedwagon - IMDb

Video 

Lyrics: Can’t Fight This Feeling

I can’t fight this feeling any longer
And yet I’m still afraid to let it flow
What started out as friendship, has grown stronger
I only wish I had the strength to let it show
I tell myself that I can’t hold out forever
I said there is no reason for my fear
Cause I feel so secure when we’re together
You give my life direction
You make everything so clearAnd even as I wander
I’m keeping you in sight
You’re a candle in the window
On a cold, dark winter’s night
And I’m getting closer than I ever thought I mightAnd I can’t fight this feeling anymore
I’ve forgotten what I started fighting for
It’s time to bring this ship into the shore
And throw away the oars, foreverCause I can’t fight this feeling anymore
I’ve forgotten what I started fighting for
And if I have to crawl upon the floor
Come crashing through your door
Baby, I can’t fight this feeling anymoreMy life has been such a whirlwind since I saw you
I’ve been running round in circles in my mind
And it always seems that I’m following you, girl
Cause you take me to the places that alone I’d never findAnd even as I wander I’m keeping you in sight
You’re a candle in the window on a cold, dark winter’s night
And I’m getting closer than I ever thought I mightAnd I can’t fight this feeling anymore
I’ve forgotten what I started fighting for
It’s time to bring this ship into the shore
And throw away the oars, forever

Cause I can’t fight this feeling anymore
I’ve forgotten what I started fighting for
And if I have to crawl upon the floor
Come crashing through your door
Baby, I can’t fight this feeling anymore

 

You Missed

BOUND BY A STORMY TIDE OF TOXIC LOYALTY AND DEEP DEVOTION, LORETTA LYNN TURNED HER HUSBAND’S GREATEST DEMONS INTO THE UNFLINCHING ANTHEMS OF WORKING-CLASS AMERICA. When fifteen-year-old Loretta Webb married twenty-one-year-old Oliver “Doolittle” Lynn in 1948, she stepped into a life that would test every ounce of her endurance. It was Doolittle who bought her a modest seventeen-dollar Sears guitar—the very instrument that unlocked her destiny—and pushed a terrified young mother onto stages to share her voice with the world. Without his initial push, the legendary Coal Miner’s Daughter might never have found her path. Yet their domestic reality was a far cry from a romanticized country ballad. Doolittle’s heavy drinking, infidelity, and volatile temper left deep emotional scars, but Loretta refused to break. Instead of retreating, she fought back, stayed for her six children, and funneled that raw, agonizing truth straight into her songwriting. Anthems like “Don’t Come Home A-Drinkin’” and “Fist City” ripped the gloss off conventional marriage, giving a public voice to millions of women suffering behind closed doors. She famously noted that every song she wrote carried a piece of her husband inside it. They crossed the milestone of forty-eight years together on January 10, 1996. As Doolittle’s health deteriorated months later, Loretta sang “Wouldn’t It Be Great” to him—the final song she performed for the man who shaped her life before he passed away on August 22, leaving them just 225 days short of their forty-ninth year. Though their union was a turbulent storm of fierce love and deep pain, Doolittle gave her the instrument, their trials gave her the truth, and Loretta forged both into an immortal musical legacy.

BROUGHT IN SOLELY TO SATISFY A RADIO SPONSOR’S ODD DEMAND, ELEVEN-YEAR-OLD ROSE MADDOX STEPPED UP TO THE MICROPHONE AND BECAME THE UNTAMED, ELECTRIFYING HEART OF AMERICA’S MOST COLORFUL HILLBILLY BAND. Rose Maddox didn’t enter country music through a polished Nashville doorway paved with industry blueprints. She arrived via the brutal reality of Depression-era migration, pulling her family away from backbreaking fieldwork in California’s Central Valley where music wasn’t glamour—it was the only way to breathe after a grueling day of picking fruit. In 1937, her brother Fred managed to secure a radio slot for the family in Modesto, hitting a sudden roadblock when the sponsor insisted on having a girl singer. Out of pure necessity rather than career design, eleven-year-old Rose stepped forward. The moment she opened her mouth, however, that simple sponsorship checkbox became the entire focal point. Her voice was bright, razor-sharp, and entirely fearless, sounding less like a child helping out her kin and more like someone kicking the front door off its hinges from the inside. Dubbing themselves “America’s Most Colorful Hillbilly Band,” the Maddox brothers and Rose delivered a high-octane cocktail of honky-tonk drive, boogie-woogie, gospel heat, and flashy road-show swagger. Dressed in loud, eye-catching suits, they played with a raw ferocity that West Coast country had never witnessed. Long before country music knew how to frame women who were funny, stylish, and fiercely commanding, Rose stood right at the front—refusing to ever be treated as mere stage decoration. After the family band’s legendary run dissolved, she forged a formidable solo path, diving deep into bluegrass and earning a well-deserved Grammy nomination for $35 and a Dream, an album title that tipped its hat to her family’s hardscrabble journey west. The young girl once thrown on stage to fill a sponsor’s quota ultimately became the gold standard of raw authenticity—proving to generations of future artists that country music has always possessed an unquenchable fire.