A Belated Bob Seger Birthday Bonanza

The Detroit Rocker hit the 79 mark this week. Here's a salute to the Ramblin' Gamblin' Man and some of that early, heavy music.

NYC ‘77 Photo: Lisa Tanner

For the last few years, I decided to go through my record collection from A to Z. Partially inspired by an article on Discogs on how to kill time during the pandemic, partially inspired by journalist and author David Menconi who spent the lockdown doing an Archive Deep Dive of his CD collection. The exercise was sometimes fun, sometimes a chore, depending on the day. When it was time for Bob Seger, listening to his journey from Motor City Midnight Mover to Hollywood Night Moves Shakedown Man was still fascinating. What started as a Mitch Ryder/Wilson Pickett hybrid of Detroit Rock’n’Soul Mayhem in the mid-to-late ‘60s slowly morphed into a streamlined AOR staple by the end of the next decade.

Here’s what I originally posted on Seger’s Vinyl A to Z entry a couple of years back:

Call it heartland rock, blue-collar rock, whatever. The top three names in this sub-sub-genre of American music are usually Springsteen, Mellencamp, and Seger. After that, Petty and maybe Steve Earle. (I'd add Melissa Etheridge, John Hiatt, Joe Ely, James McMurtry, and Jason Isbell as well.) Springsteen, of course, gets all the press, while Mellencamp has seen a career resurgence with his latest. Bob Seger, however, decided long ago to put family first and just pop out every now and then for an album and tour. He's only released three albums this century, so he's moving at his own pace. Good for him, but a pity for his fans. Couple that with a refusal to play by the "rules" when it comes to making his full catalog available online and it can be difficult to initiate interest among younger classic rock fans.

Frustrating, because Seger possesses one of the greatest voices of the rock era. It was spawned from the Michigan auto plants and blue-collar factories of the region and perfected through years of sweating it out in dingy clubs while studying the soul squalls of James Brown, Wilson Pickett, and the rest. On top of that incredible voice, Seger's pen has captured the thoughts, wishes, and dreams of many of us. Whether hiding out in the back seat in the trusty woods or feeling like a number or caught on a long and lonesome highway or knowing you can't stick around, that you've got to roam, like a travellin' man. Turn loose my hand 'cause I'm goin'.

Maybe that's what happened. Seger paid his dues on the club circuit. He did it the hard way. Toiled for years before finally making it, earning his success one fan at a time along the way. He traveled. On the road again. Never stopped moving. But somewhere in the '90s, he decided he'd run enough. The songs stopped coming as often. I don't think he lost inspiration, I just think his priorities changed. And there's nothing wrong with that. In fact, slowing down and devoting yourself to what you feel is truly important is how you find peace and happiness. I'm glad he's found it.

My Seger stash.

(Now back to the present…)

Consider this post a belated birthday celebration of one of the best pure rock voices ever. Here’s to turning 79, Bob, and for rockin’ us for almost 60 of ‘em.

Hang on, we’re about to get heavy…

These Cameo recordings with the Last Heard are raw, immediate, and full of hunger, energy, and excitement. It’s tough to beat ‘em.

Next came The Bob Seger System and Tales of Lucy Blue, renamed Ramblin’ Gamblin’ Man after the first single became a nationwide hit. Also on that album was “2 + 2 = ?”, one of the most visceral anti-war songs of the Vietnam era, which is saying something.

Seger followed Ramblin’ Gamblin’ Man with Noah and Mongrel. He’s since disowned Noah (and a lot of his early work - see above), and to be fair, it’s clearly far from his best. Mongrel, however, sounds as fierce as its title. Just check out this live clip, with two tracks from the album, as well as a callback to RGM.

Mongrel closed with a powerful version of “River Deep, Mountain High” made famous by Ike and Tina - now that takes nerve. Here’s a rare, raw, (and delightfully out of tune) live version that, again, proves Seger was one helluva rock’n’roll soul man.

If you ever saw Seger live, you know he loved him some Chuck Berry (we’re “all Chuck’s children”, after all). He often closed his shows (and both his live albums) with “Let It Rock”, which also showed up on his classic covers set, Smokin’ OP’s. So, here he is tearing through another Chuck chestnut, “Oh, Carol”, backed by Teegarden and Van Winkle - or STK - at the John Sinclair (R.I.P.) Freedom rally on December 10, 1971.

That’s it for this time. I’ll dip back into more Seger soon, because there’s so much more to say. I haven’t gotten around to his middle pre-fame period, his fascination with Van Morrison, and the Springsteen/Seger battle that’s always going on in my head. But all that’s for another time.

For now, we’ll leave you with his ridiculously funky take on “Bo Diddley”, of course, from Smokin’ OP’s. Smoke ‘em if ya got ‘em…

BONUS CUTS: Thankfully (and amazingly), the Last Heard / Cameo era became available on streaming services not along ago. So maybe there’s hope for more someday.