The Seger File
An unofficial web site about the music of Bob Seger
Written and edited by Scott Sparling

Number 9
The Seger File's Ninth Anniversary Birthday Party.
February 11, 2007
On February 11, 1964, the Beatles played their first American concert in Washington, D.C.
Little did they know that just 34 years later, a web site about Bob Seger would be launched...

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I've Got Tonight

Night Moves Trilogy

Cobo Photos

Got You Covered

Bob Seger, True Animal of Scene

I've Got Tonight

What a party! All my celebrity friends showed up, plus quite a few people I probably ought to recognize, but don't. They all look like celebrities, though.

There's Shirley Bassey over there by the cheese dip in her white strapless gown, flirting shamelessly with Tom Jones. Patti Austin is here, looking very purple. Members of a Brit band named Lemon Grass showed up and spent most of the time gathered 'round this reggae chick named Nana Mclean. Penthouse Pet Kelly Wilde somehow got in, and I'm pretty sure I saw Kenny Roger's white beard poking through the crowd. I never thought so many people would turn out.

After about ten hours, though, things went a little sour. I was happily playing foosball with Sheena Easton, when I must have blacked out. You know how it goes. One minute everyone's having a good time. The next minute you look up and your friends have formed a tight little circle around you and they're all demanding that you drop some evil habit or other. One by one they tell you how you've got to stop molesting the neighbor's goldfish, or selling email addresses to Nigerian spammers.

An intervention, I guess they call it. I'm sure it's happened to you. (What? It hasn't? You live some kind of perfect life? What fun is that?)

My friends weren't mad about spammers or worried about goldfish though. Well, maybe they are, but that's not what they wanted to harrangue me about. My friends were ticked off about how I've never liked "We've Got Tonight."

"Open your mind, Sparling," Elkie Brooks said. "It's one of Seger's greatest songs. You run the Internet's oldest Seger site -- and all you do is make fun of it. It's a shame."

"Your sarcastic point of view is ruining the song for young lovers," said Lulu, who was once married to Barry Gibbs.

"It's hopeless," Tom Jones said. "You've got no sense of romance, son. No wonder you spend all your time online."

I tried to argue with them -- I mean, just because I run a Seger web site doesn't mean I have to like every single song he ever wrote, does it? But it's always a huge mistake to argue during an intervention. It just makes the crowd more determined.

As soon as I opened my mouth, the lovely Tracy Huang -- who flew all the way from Singapore to be here -- stopped me by starting to sing. Pretty soon Richie Havens joined in. Even Dinah Shore, who's been dead for 13 years, picked up the beat. Then they were all singing and they wouldn't stop until I agreed that Seger's pick-up song about an anonymous one night stand was the most romantic thing ever written.

By this point, my head was spinning so bad I couldn't see straight. It was like looking at the world through Coke bottle lenses.

It was a nightmare, I tell you. I just thank god I didn't invite Barry Manilow.

Well, I did, actually, but he didn't show.

February 11, 2007

The Night Moves Triology

One of the best things about running the Seger File is hearing from people who take the time to write and share their stories. A while ago, an email came in with the sender's name listed as Stephen Meyer. I recognized the name immediately -- Stephen Meyer was always mentioned by Seger as the person at Capitol who picked the singles.

The email contained a column called "THE A-SIDE" all about "Night Moves." Stephen originally wrote the column for DISC&DAT, a weekly newsletter he produces for the music and entertainment industry.

Around the same time, a radio producer from the BBC named John Sugar wrote asking how he could contact Seger for an interview. I was no help at all. But still, when the interview was done, John sent me a copy. It too focused on Night Moves -- the song and the album. As far as I know, the interview has only aired on the BBC.

Completing the trilogy is the recent piece in the Toronto Sun about the recording session that produced "Night Moves."

So what better way to celebrate than to spend a little time with the song that made Seger a star. Here we go, then, starting with Stephen Meyer:

Commentary and One Man's Opinion - 3/17/2004
by Stephen Meyer

It was a long time coming, but they finally inducted Bob Seger into the Rock'n'Roll Hall of Fame this week.

I had the privilege of working with Bob and his manager, Ed "Punch" Andrews, when I was National Promotion Manager at Capitol. Bob even credited me with picking most of his singles from "Nightmoves" on through "Roll Me Away" in MUSICIAN magazine in May of 1983...the same month I left Capitol to join Irving Azoff and his new team at a rejuvenated MCA Records. Bob's induction this week made me think about the first time I heard "Nightmoves."

Bob was mixing the 'Nightmoves' album downstairs at the Capitol studios and one night around 7:30 p.m. Punch walked into my office with an acetate of some songs from the album. He asked me to listen to a few tracks and I did.

The first track I heard was "Rock'n'Roll Never Forgets" and I thought it was another great Seger rock and roll record. Then I heard "Mainstreet" and my hairs started to stand-up...and then the opening chords of "Nightmoves" came through my speakers. It was a "one listen" record for me (and most everyone) and I knew it was going to be a BIG hit and elevate Seger into star status.

Punch said something like he and Bob thought it was a hit as well, but that Bob might not want to release a mid-tempo record first because his audience might not expect it.

Punch left my office to take a phone-call and I then did my own "nightmove"...I quickly put a blank cassette-tape into my tape recorder, played the song again, and without Punch knowing, I taped a copy of it.

Punch returned to my office and we continued some dialogue and I saidsomething like "this song is has to be the lead single on thisalbum." Punch told me that Don Zimmerman (then President of the label) and John Carter (one of our A&R men...and a legend in the business to this day) told him the same thing, but Bob was going to need to be convinced to release it as the first single. Bob came into my office about a half hour later and while talking to me, started staring at some black and white performance photos I had of Bruce Springsteen on my wall. "Guess you're a Bruce too," he said. I said, "I called BORN TO RUN a pivotal album in rock'n'roll history in ROLLING STONE..." We chatted a bit more about "The Boss" and I eventually said, "This song is YOUR 'Born To Run''s gonna' change everything..."

After Punch and Bob left my office, I called my boss, Bruce Wendell (then Capitol's VP of Promotion) and told him I HAD to come by and play him the tape. It was a "one listen" for Bruce as well and then he said, "I'm having dinner tomorrow night at The Palm with Paul Drew (then head of programming for the RKO Radio Top-40 stations), I have to play this for him."

Bruce had that dinner and he played the song for Paul Drew and Paul heard the same thing we all did...a smash. He told Bruce he was going to put in on WHBQ in Memphis and WRKO in Boston out-of-the-box and if it did what he expected, he'd add it a week later at KHJ in L.A., KRFC in San Francisco, 99X in New York and elsewhere. Getting these stations back then was tantamount to having a rubber-stamp that said 'HIT' to all of radio and Bob Seger had never had a single achieve that level of major Top-40 airplay.

Bruce and I called Bob and Punch several times, as did other Capitol executives, and we all now insisted that "Nightmoves" had to be released first. I remember Bob was still concerned about not having a real rock'n'roll record out for his base in Michigan (as were some other Capitol execes), and I remember saying something like, "This song is going to be so big Bob I wouldn't worry...Detroit will be proud to claim you as their favorite son." He asked Bruce and I if we thought the song would get some immediate response from some big Top-40 stations and we both told him we guaranteed it would...never revealing what had already transpired after I made a tape of the song and Bruce played it for Paul Drew.

Obviously the single was released and the rest, as they say, is history. To this day, I don't think Punch ever knew I made a copy of the song and what we did with it...but it probably wouldn't have made any difference. "Nightmoves" went on to become the "Single Of The Year" in ROLLING STONE, it took Bob into multi-platinum sales success, and it connected with the audience at large that ended up embracing Bob from coast to coast for years to come.

"Nightmoves" was just the first of many Bob Seger hits. Soon it was followed by "Mainstreet," "Still The Same," "Hollywood Nights," "We've Got Tonight," "Old Time Rock & Roll" (made even more famous by Tom Cruise later on in that great scene from 'Risky Business'), "Fire Lake," "Against The Wind," "You'll Accompany Me," "Roll Me Away," "Shame On The Moon," "Like A Rock" and more.

In 1987, my boss at MCA, Irving Azoff, asked me if I'd like to promote a single by Bob from the soundtrack to 'Beverly Hills Cop 2' and he played me a demo of "Shakedown." I smiled and said, "If Bob cuts this I'll kill for this single and ram it up the charts." It went on to become Bob's only #1 single in BILLBOARD and I had great fun promoting it and to this day take great pride in its chart status.

Bob Seger was one of rock's best singer/songwriters...and I miss seeing him live. If you haven't listened to Bob lately, pull out one of his CDs and sit back and enjoy.

Congrats Bob on your well-deserved induction!

by Stephen Meyer
Reprinted from 'Disc&Dat, A New Media Letter For The Music Industry,' 3/17/2004
Copyright - Steve Meyer, Las Vegas, Nevada, 2004-2006.
Stephen Meyer and Bob Seger backstage at Madison Square Garden, 1980.

A few more stories from Stephen Meyer:

Before Bob and Punch released the AMERICAN STORM album, Punch called me up and asked me if he could play me the album. (I'd already left and gone to MCA, but Punch and I were in contact.) I invited him up to my house and he played me AMERICAN STORM first and said it was what Capitol wanted for the first single...a rocker.

Several Capitol execs had told Punch and Bob that my choice of 'Shame On The Moon' for the first single on THE DISTANCE was one reason the album didn't reach the sales levels of Bob's last few albums. I pointed out that 'Shame On The Moon' was #2 in Billboard for a month...and Bob's biggest single at Top-40 ever at that point...and maybe, just maybe, Capitol dropped the ball on marketing the album after I left. (I left in March of 1983...during the run of 'Even Now' on the charts). You'd have to ask Punch for his take on in hindsight now. But all the previoius ballads/mid-tempos I'd chosen sure didn't harm any of Bob's albums at retail and I think Punch and Bob would say they contributed greatly to his multi-platinum status on every album from NIGHTMOVES on.

In any case, I heard LIKE A ROCK next and told Punch right then and there at my house that if I was his still his promo guy, I would've demanded it for the first was a one-listen classic for me...the lyrics were just too potent, Bob's vocal on it was passionate and resonating, and I knew the song was just too damn good. Punch told me it was too late to change...Capitol had already made up their minds, they wanted a rocker, so they went with AMERICAN STORM as the first single.

It got to #12 in Billboard, but was the first single released from a new Bob Seger album that didn't go Top-10 (and most first singles went top-5) since NIGHTMOVES. Of course LIKE A ROCK was the second single and it peaked at #12 in Billboard...but I'm sure it did a whole lot more for sales of the album than AMERICAN STORM did...and I still believe to this day, had LIKE A ROCK been the first single, it would've gone top-10, stayed in the top-10 for awhile, and it would've changed the whole life of the album at retail and radio.

Needless to say, when Irving Azoff played me the demo of SHAKEDOWN when I was Sr. VP of Promotion at MCA and asked me if I would like to promote Bob again if he cut the single, I just smiled big and said, "If Bob cuts this record, you know I'll ram it so far up the charts, it will be his biggest single since I left Capitol!" I had a dinner with Punch (still remember was at a restaurant called L'Express right near MCA) and we talked about it and I told him the same thing.

And now three anecdotes about that single:

1. Punch called me and asked me to come by the studio where Bob was recording the single one night...and after seeing the movie PLATOON and getting out around midnight I drove almost 100 miles an hour down Lankershim Blvd to the studio (think it was Giorgio Moroder's studio)

I got pulled over for speeding by L.A.P.D. ...and they asked me why I was driving so fast. I told them who I was and that "Bob Seger is in the studio here cutting a single for us...blah, blah. blah..." and the cop goes, "THE Bob Seger"!" And I said, "Yes..." And he tells me that Seger is his favorite artist blah blah, we talk and he lets me go w/a warning!

I went inside the studio, told Punch what happened and I remember saying 'This is a good omen..." Then I heard what Bob had recorded so far, and the hairs on the back of my neck stood up and i knew it was going to be a major hit.

2. One week before the single was released to radio, Punch called me and said, 'Stop the single from going to radio's EQed all wrong...we need to remaster it." I had already sent the single to my entire staff and many of them had played it for radio...but I had an emergency conference call and told the staff we'd have new singles in their hands within a week.

After the call, several promotion people called to tell me they had radio ready to go and when they called them and told them to hold it, several program directors said, "It's a SMASH the way it is!" We got them to hold of it until we had the new singles in their hands, and the next week it was the "Most Added" single in the country at CHR radio. I told Punch that was omen #2.

3. On Bob's birthday (May 6th)...I think the single went into the Top-5 at either Billboard or Radio & Records...can't remember which, or maybe both...but I remember telling Punch if the single went Top-10, I'd get it Top-5, and if it went top-5, I'd kill for #1. It was omen #3...and of course, the rest as they say is history and SHAKEDOWN went to #1.

It was one of my most rewarding promotion efforts ever...and I remember what Bob said to me when I called him as I was leaving Billboard, "Now I can tell my mom I have the #1 record in America!"

BBC Radio 2: "10 Million Can't Be Wrong."

On this series for BBC Radio 2, British journalist and broadcaster Kate Thornton focused on 6 albums, which each sold in excess of 10 million copies. The series began in spring 2006. Artists under consideration for the show at that time included Coldplay (A Rush Of Blood To The Head), Alanis Morisette (Jagged Little Pill) and Lenny Kravitz (Are You Gonna Go My Way).

Producer John Sugar contacted me in January 2006, writing that "the network heads at Radio 2 were keen for the series to feature Bob Seger exploring his album 'Night Moves,'' which I believe has sold in excess of 10 million worldwide...I hope Bob Seger will want to be involved especially as I think he would kick the series off with a bang!"

The interview was recorded in March. After it aired, John gave me permission to post a few short excerpts. Here are three mp3s of about :40 each.

Seger on "Night Moves"

Seger on "Sunburst"

Seger on "Ship of Fools"

Finally, one more version of the recording session for "Night Moves." It's a story that's been told before, but I like that this version specifically mentions Burton Cummings, Randy Bachman and the Guess Who -- a band that Ears Two turned me onto years ago:

Seger has affection for Toronto
Toronto Sun

Bob Seger says growing up in Michigan meant he has a special affection for Toronto and the city's audiences.

"I really like those people, they really remind me of Michigan people, we're all northern people, and it feels real comfortable being around them," Seger told the Sun in a Canadian newspaper exclusive.

In fact, Seger recorded one of his best-known songs, Night Moves, from the 1976 album of the same name, in Toronto.

"Yorkville, that's where we recorded it with Jack Richardson, years ago," remembered Seger. "In '74, he used to produce The Guess Who, and of course I knew Burton (Cummings) and Randy (Bachman). I loved the sound of The Guess Who records so I went to Jack. And we recorded it at about 1 in the morning in Toronto at the end of a four-song session. Isn't that amazing?"

Seger said he basically saved the best for last as far as Richardson was concerned.

"It was the fourth song we cut that day and I hadn't even played it for Jack. And I said, 'Well, what do you think of this one?' And he went crazy.

He said, 'That's my favourite one!' It took two days. Jack was so knocked out about it, he kept me there for an extra couple of days. He called in four girls from Montreal to sing background, found a piano player to play the piano thing, found a guitar player to play the guitar thing, and basically it's just me, my drummer and my bass player 'cause all the other guys had gone home. It was 1 in the morning, I was doing vocals, and I said, 'Let me play you this one more song.' The only people that were left, because they were riding with me in the car home, were the drummer and the bass player, Chris Campbell and Charlie Martin. And so we cut it with an acoustic guitar, bass and drums in Toronto and then Jack said, 'Well you're not going home. They can go home. I'll fly you home. Let them take your car.' And we're going to finish this thing tomorrow 'cause it's too good.' "

For a longer versions of how "Night Moves" was recorded -- from Seger's point of view, and from producer Jack Richardson -- check out the "Night Moves" page of the Seger File.

Back to Cobo

It wouldn't be a party without photos. Here's some from one of the last times Seger played Cobo, in June 1980, courtesy of Seger fan Lynn Anderson.

Got You Covered

Sooner or later when Seger fans get together, the rare records come out -- the tracks you found in used record stores or dark corners of the Internet. So here's mine. Some Seger songs you'll never hear on the radio -- at least not these versions.

In the coming days, I'll add some notes and links about who these bands are. Or maybe you already know.

Copyright attorneys, take note: All of these are :30 samples, presented under the glorious auspices of the Fair Use provision of copyright law. And all (except the covers from Julia and Dylan) are commercially available, if you look hard enough. I encourage everyone to do what I did, and buy them.

Who Needs Tomorrow?

So there it is. I've said it all now. Well, all except thanks for coming -- to the party and more importantly, to the web site all these years. Here's to another nine. Cheers!

To take us out, this marvelous translation by Google of a French web site on Seger. Enjoy.

February 12, 2007

Saga de Bob Seger in integral

Type-setter inspired, true animal of scene, Bob Seger is also one of the great voices of the music rock'n'roll. It is rightly compared often, and, in Bruce Springsteen. But contrary to the Boss, it owed galérer a whole decade before knowing a deserved dedication thousand times.

Become rock'n'roll star at an age where many of its alter ego thinks already of the retirement, Bob Seger is from now on an institution. To the United States, all the formats of radio pass its music and publicity often used. Another sign of the richness of its talent, its songs were taken again by people as different as Rod Stewart, Garth Brooks, them Pointer Sisters and Metallica. In France, Johnny Hallyday drew from his repertory on several occasions.

Bob Seger has just published "PROMISED FACE THE", a new very awaited album which shows it faithful to its image and its style. The disc was carried out between 2001 and 2006, primarily in Nashville where ten of the twelve titles were recorded which make it up.


Robert Clark Seger was born in Detroit, in Michigan, on May 6, 1945. As of his early childhood, Bob is initiated with the music by his father, Stewart, a male nurse who works at Ford and which, at its lost times, directs its own group, Stewart Seger Orchestra. At the house, there are a ukulélé piano, but also a guitar, one, a banjo, a saxophone and a clarinet on which the young boy takes his first lessons, but without particular attraction for this instrument.

Bob Seger is ten years old when his/her father gives up the family residence to go to try his chance in California. With his mother Charlotte and her elder brother George, it then leaves middle-class suburbs for a more modest district of Ann Harbor where it will pass all his youth. Of his father, Bob preserved the virus of the music. Very quickly, it forsakes the clarinet for the piano and the guitar, and it makes its first weapons within the Decibels, a trio which animates the festivals of the college.

Its finished schooling, Bob Seger joined Town Cryers, then, in 1964, Omens where it holds the keyboards. At the beginning of 66, for their first attempt, Omens have fun to record a parody of American N°1 of Barry Sadler, "The ballad of the green berets", which they rename "Thank you yellow beret". The war of Vietnam makes rage and our jokers took care well to publish their 45-turns under a pseudonym, The Beach Bums.

At this time, Omens are taken in hand by a local promoter, Eddie Andrews, whom one calls "Punch". In fact, "Punch" is especially interested by Bob Seger. It guessed its enormous potential and decides to reorganize the group around him. Omens become Bob Seger & The Last Heard, Bob passing to the guitar solo and the song. Bob Seger & The Last Heard will publish five individual, of which "Heavy music", a hard rock'n'roll and violent one where one feels the influence of James Brown. He appears on Hideout Records, the label created by" Punch" Andrews.

"Punch" Andrews also deals with the interests of another group of Strait, Mushrooms, to which belonged the young person Glenn Frey. Bob Seger written and produces their individual "Such has lovely child". It is the birth of a friendship which will lead to a collaboration between Eagles and Bob Seger about which we will speak a little later.

Bob cumulates local successes and its dimension does not cease climbing. Relegated to the second plan, Doug Brown, the former leader of Omens, decides from to go away. Bob benefits from this departure to train Bob Seger System who signs at Capitol in 1968. As of February 69, Bob Seger System obtains a national hit with the generic title of its first album, "RAMBLIN' GAMBLIN' MAN". It is a perfect example of rhythm & white blues which reaches the eighteenth place of the hit-parades.


It is thought at this time that Bob Seger System is at the beginning of a beautiful career, the more so as the scene rock'n'roll of Strait knows one euphoric period with Iggy Pop & The Stooges, MC5 and the group of Ted Nugent, The Amboy Dukes. But the commercial failure of the two following albums, "NOAH" in October 69, and "MONGREL" one year later, led to the premature dissolution of the group. One finds on "Mongrel" a recovery "To rivet deep, mountain high" that it is to better forget, by charity for Bob Seger. But one notices there "Lucifer", a composition a little in the vein of Creedence Clearwater Revival which is a small success in the discotheques.

From now on in solo, Bob Seger publishes "BRAND NEW MORNING" in November 71. It is an acoustic album which does not meet more echo than its preceding discs. Discouraged, it gives up the music to resume its studies, but passion is strongest and well quickly, one surprises it to make ox with the duet Teegarden & Van Winkle.

"I always was in the music", will declare it in 1975. "I like that so much that I do not see myself making another thing. The day when nobody any more will come to listen to me, I will surely choose to be a disc jockey".

With the assistance of "Punch" Andrews which became his manager, his producer and his friend, Bob Seger assembles his own label, Palladium Records, distributed by Reprise. It is thus on its own label that it publishes "SMOKIN' O.P.' S" in July 72. O.P.' S means "Other Persons". It is an expression of Middle West used to designate the foreigners. The foreigners in question, they are the authors of the songs which Bob Seger interprets here, since it is primarily about an album of recoveries.


With the credits of "Smokin' O.P.' S", one finds "Yew I were has carpenter" of Tim Hardin, "Coils the one you' Re with" of Stephen Stills, or "Bo Diddley" of Bo Diddley. Bob Seger proposes in more two personal compositions, "Someday" and "Heavy music", his success of 1967 with the group The Last Heard. But what it is especially necessary to retain of this album, it is that Bob has almost abandoned the guitar solo to concentrate on the song. And its éraillée and powerful voice makes wonder.

In February 73, "BACK IN `72" is recorded mainly in Muscle Shoals, in Alabama, with in particular the participation of J.J. Fix on the resumption of the "Midnight to wrinkle" of Greg Allman. Criticisms are very good, but the public is not yet with go. Except of course at his place, in its stronghold of Michigan, where it is already an institution. It is in fact the two following albums which will prepare the blossoming of Bob Seger.


For "SEVEN", in April 74, Bob Seger assembles a new group which it baptizes "The Silver Bullet Band", literally: the orchestra of the money ball. It is composed of Andrew Abbott to the guitar, Rick Manasa with the keyboards, Chris Campbell with low and Charlie Martin with the battery.

Their presence is still discrete since they exploit only one half of the album, the second part having been realized with the assistance of musicians of Nashville, in particular Charlie McCoy. Silver Bullet Band accompanies Bob Seger on "Get out of Denver", a minor success which confirms a talent of type-setter in full evolution.


Bob Seger finds then Muscle Shoals, his rhythm section and his coppers, for the recording of its eighth album. He baptizes it "BEAUTIFUL LOSER", the splendid loser. It is a qualifier which it could apply, but that it chose in reference to the book éponyme of Leonard Cohen of which he is an enthusiastic admiror.

"Beautiful loser" is refused by Reprise which does not find it commercial enough and it is Capitol which recovers thus Bob Seger for the second time. The ballade "Jody girl", "Katmandu", and the resumption flamer of "Nutbush City limits" ensure success - still relative - disc. In any case, "Beautiful loser" is sold more than the first seven albums of Bob Seger joined together.

After the replacement of the keyboard Rick Manasa by Robyn Robbins and the arrival of the formidable saxophonist Reed Viola, Silver Bullet Band becomes the permanent group of Bob Seger. It is an exceptional group, near to the E. Street Band de Bruce Springsteen with which one will often compare it.

It is thus with Silver Bullet Band that Bob Seger records double "LIVE BULLET", on September 4, 1975, in Cobo Hall of Strait in front of twenty-four thousand compatriots very won over to his cause. It is a true scathing attack, four faces of pure rock'n'roll, the equal one of the best public albums ever carried out. But especially, for Bob Seger, it is finally the beginning of the dedication after ten years of frustrations and disappointments.

"Live bullet", which appears in April 76, is very quickly certified disc of gold and remains classified in the hit-parades during one year whole. But this success rests still mainly on the only sales of Middle West.

The national recognition, Bob Seger finally obtains it in November 76 with "NIGHT MOVES". Certified platinum disc the very same day of its exit, the critic regards it as one of the best albums of its time. The generic title is classified N°4, whereas the ballade "Mainstreet" and "Rock'n'roll never forgets" reach Signal 40. Bob Seger seems now assured to have his place with the Pantheon of the rock'n'roll, a place which it deserved well before it is given to him.


In the current of the year 1977, the beater Charlie Martin is victim of a car accident which leaves it paralysed. It is replaced by Richard Teegarden who had belonged to the group of Bob Seger at the time of "Smokin' O.P.' S".

"STRANGER IN TOWN" appears in May 78. One once more finds there the rhythm section of Shoals Muscle and one notices the presence of both there Eagles Glenn Frey and Don Felder with the guitar. Bob Seger takes again the gaining formula of the preceding album by alternating poignant ballades and rock'n'rolls with energy devastator. It is on this disc that one finds "Old time rock'n'roll", that Johnny Hallyday will adapt in French to make of it "the good time of the rock'n'roll & roll".

In his "Best of" of 1994, Bob Seger will make this comment in connection with "Old time rock'n'roll": "This song had been addressed to me by the rhythm section of Shoals Muscle. It was a simple model with another singer. I rewrote the verses, but I asked not to be credited like the joint author with the text. It was an error, because "Old time rock'n'roll" is the second today titrates more diffused of all times in the American juke-boxes, just behind "Crazy" of Patsy Cline." Indeed, in 1992, Bob received a "Legend of the Jukebox Award" to officialize this record.

In addition to "Old time rock'n'roll "roll", "Stranger in town" contains three other tubes: "Still the same", "Hollywood nights" and "We' ve got tonight".

In 1978, on his album "Stranger in town", Bob Seger had accomodated both Eagles Glenn Frey and Don Felder. In October 79, it collaborates in the album of Eagles, "The last run" where it Co-sign their N°1, "Heartache tonight".

And to and from continues. In March 80, Gift Henley, Glenn Frey and Timothy B. Schmit make the choruses on "Fire lake", the title high-speed motorboat of the new album of Bob Seger, "AGAINST THE WIND".

Silver Bullet Band lost his keyboard, Robyn Robbins, which is replaced by prestigious guests like Bill Payne (of Little Feat) or Dr. John. But on the bottom, the music remains the same one. " Against the wind" is classified N°1 of the albums and offers to Bob Seger its first Grammy Award.


For the round which follows, Bob Seger called upon Craig Frost, the old keyboard of Large Funk Railroad, and it is with him that double public album "NINE TONIGHT is recorded". For what it is necessary to regard as "Live Bullet" number 2, they are the public ones of Cobo Hall of Strait and Boston Garden which were put at contribution. Bob dedicates the disc to them, like with all the spectators in front of whom it played one day, because they remain, says it, "his best reason to go up on scene".

In 1982, Bob Seger composes "That girl" and "Nobody' S business" for the first respective albums solo of Glenn Frey and Gift Henley. In December, it publishes "THE OUTDISTANCES" and obtains to a new success with "Shame one the moon", a signed ballade Rodney Crowell.

The back of the small pocket of the album "The Outdistances" watch Silver Bullet Band reduced to three musicians: Chris Campbell, Reed Viola and Craig Frost. On the other hand, like compensating, the guests are numerous and they do all left the circle of the friends: Roy Bittan (of the E. Street Band), Russ Kunkel, Waddy Wachtel, Danny Korchtmar, as well as impossible to circumvent Glenn Frey and Don Felder.

Bob Seger disappears then during three long years. He does not leave album, does not undertake any round, does not give any interview, but however takes down two small successes thanks to original film bands. In September 83, Tom Cruise MIME "Old time rock'n'roll" in the film "Risky business". That is enough so that the song, which goes back to 1979, finds a good place in the charts. In January 85, on the original tape of the film "French Teachers" (: "A low Profs! "), one finds a new of Bob Seger, "Understanding", which climbs until the eleventh place of the hit-parade American.


A new album of Bob Seger, LIKE A ROCK'N'ROLL", arrives finally in April 86. The three year old hole which separates "The distance" from "Like has rock'n'roll" is explained by at the same time sentimental and professional reasons. Sentimental, bus Bob had much evil to overcome the failure of its marriage after eleven years of common life. Professional, because it decided to produce itself this disc, and for this reason, it had to learn the trade from A to Z.

Contrary to the preceding albums, "Like has rock'n'roll" does not bring a tube and that in spite of the presence of Jackson Browne and Rick Vito, the future guitarist of Fleetwood Mac. The individual ones which is extracted from it, "American storm", "It' S you", "Miami" and "Like has rock'n'roll", reach honourable classifications in the charts, but without more.


Some speak already about its decline, but Bob Seger, the leaf, did not say his last word. In August 87, it is for the first N°1 time of individual with "Shakedown", an extract of the original band of film "the cop of Beverly Hills 2".

"Shakedown" is a composition of Harold Faltermeyer and Keith Forsey which was intended at the beginning with Glenn Frey. Although it hardly appreciates the text of the song, Glenn prepares to record it when it is victim of a laryngitis.

In the urgency, it turns to his friend Irvin Azoff who is also the former manager of Eagles. This one thinks immediately of Bob Seger who agrees to record "Shakedown", provided that it can rewrite the words of them. The result is known. The evening when the song reaches the first place of the classifications, Glenn Frey - which, let us recall it, was born close to Strait -, calls Bob Seger to congratulate it. And it adds: "At least, the money will remain in Michigan!"


In 1989, Bob Seger makes an appearance surprised on "Let it roll", the album which marks the return of Little Feat. He also takes again "to Blue monday" Conceited people Domino for the original band of the film "Road house", a version recorded with Steve Lukather, the guitarist of Louse.

To discover a new album, two years must still be had patience, until September 91 exactly. The disc which marks the return so much awaited of Bob Seger calls "THE FIRE INSIDE". It was recorded over one two years period between Los Angeles and Nashville. The guests are numerous and it for the majority of is accustomed. Once more, it is Silver Bullet Band who ensures the cohesion of the unit. On "The fire inside", Bob Seger takes again two songs of Tom Waits, but it is one of its own compositions, "The real coils", which brings a new success to him.


On July 10, 1993, in Bloomfield Hills, in his native Michigan, Bob Seger marries Nita. The couple has two children, Cole and Samantha, who have today respectively thirteen and eleven years.

In November 1994, after more than twenty-five years of career, Bob the first compilation publishes which covers a broad part of its career. Its title, "GREATEST HITS", can seem somewhat usurped. Indeed, one finds there the great classic like "Still the same", "Night moves" and "Old time rock'n'roll", but not two larger successes than Bob Seger had in the hit-parades: i.e. "Shame one the moon" and "Shakedown".


In October 1995, Bob Seger proposes a new album. He is called "IT' S.A. MYSTERY", and according to a well ground formula, he proposes eleven news and a resumption, once again a title of Tom Waits. Bob worked with more tightened team, primarily Silver Bullet Band increased by the guitarist Tim Mitchell.

The majority of the songs cover our time a glance often ironic, but never arrogant. "Really, I hate to be cynical and I do not like cynicism at the others, comments on Bob Seger, but good blood, comment on to make when you see the verdict of business O.J. Simpson!"


In 1998, Bob Seger signs "Chances are", a title which it interprets in duet with Martina McBride. It is an extract of the original band of "Hope floats", a film with Sandra Bullock who is called in French "Thus goes the life".

As it already did in the past, Bob is done discrete then. But this time, it is to devote itself to his/her children. Because it intends well to benefit from the joys of the paternity which it knew only tardily. Indeed, it was already 47 years old when his/her Cole son was born.

In 2003, "Against the wind" is always sold: it is certified quintuple album of platinum. It is perhaps sufficient for the singer, but not for his fans who push it to reveal new material when they learn that it is on the point of publishing a new compilation. Finally, they are heard, since one finds on "GREATEST HITS 2" of Bob Seger two news which it kept for a future album: "Satisfied" and "Tomorrow". In addition to these two news, this "Greatest Hits 2" takes again the two larger tubes of Bob Seger, "Shame one the moon" and "Shakedown", who had been voluntarily isolated of his first "best of".


Established with the Rock'n'roll Hall of Fame in March 2004, Bob Seger is back finally. He has just published "PROMISED FACE THE", a disc which had already been announced in July 2001. It is its first album studio since "It' S.A. mystery", which dates from the autumn 1995.

Bob Seger did not change. One can however note that it approached Nashville still a little more, since that ten titles of the album were recorded in the capital of the country, and that one finds there a resumption of Vince Gill and a duet with Patty Loveless. "Face the promised" proposes in no-claims bonus a DVD with the "making of" of the album, two versions live of "Still the same" and "Hollywood nights" (recorded in San Diego in 1978) and the clips of "Like has rock'n'roll" and "The fire inside".

Always managed by "Punch" Andrews, Bob Seger will take again the road. He announced it officially and the round will begin on November 8 with Grand Rapids, in Michigan, the state where he always saw.

DIFFUSED TITLES (in the order of their passage to the antenna):

- "Still the same" (CD "Stranger in town")

- "Wait for me" (CD "Face the promised")

- "Betty Lou' S getting' out tonight" (CD "Against the wind")

- "Heavy music" (LP "Smokin' O.P. 'S")

- "Ramblin' gamblin' man" (LP "Ramblin' gamblin' man")

- "Lucifer" (LP "Mongrel")

- "Yew I were has carpenter" (LP "Smokin' O.P. 'S")

- "Midnight to wrinkle" (LP "Back in '72")

- "Get out of Denver" (CD "Seven")

- "Nutbush city limits" (CD "Beautiful loser")

- "Beautiful loser" (CD "Live bullet")

- "Night moves" (CD "Night moves")

- "Old time rock'n'roll "roll" (CD "Stranger in town")

- "We' ve got tonight" (CD "Stranger in town")

- "Fire lake" (CD "Against the wind")

- "Against the wind" (CD "Against the wind")

- "Shame one the moon" (CD "The outdistances")

- "Understanding" (CD "Teachers")

- "Like has rock'n'roll" (CD "Like has rock'n'roll")

- "Shakedown" (CD "Beverly Hills COP 2")

- "The real coils" (CD "The fire inside")

- "Hollywood nights" (CD "Stranger in town")

- "Manhattan" (CD "It' S.A. mystery")

- "Satisfied" (Greatest Hits 2")

- "Wreck this heart" (CD "Face the promised")

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