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Bob Seger & the Silver Bullet Band - Greatest Hits 2 (Songbook)

Bob Seger Greatest Hits 2 Sheet Music Song Book

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Watches Casual Dress Sports. Eyewear Aviators Wayfarer Pilot Square. Underwear Boxers Briefs Undershirts Swimwear. Sponsored products for you. Thirty years later, the song has not lost one iota of energy -- it still has the same raw, pulsing urgency of a rock classic. Only in this case, it's a rock classic that most people have never heard.

If Seger ever does a boxed set or a true anthology, this song would be a must, shoulder to shoulder with "Heavy Music," "Ramblin' Gamblin' Man," and "Night Moves" -- the other three landmark songs of his career. I did not write that for me to do. I might have been a little derivative at that point just because I didn't think it would be my song.

I do remember losing some sleep over the fact that it sounded an awful lot like "Gloria,' though, if you put them side by side, they're not really all that alike. There are a lot more chords in 'East Side Story' than there are in 'Gloria. For what it's worth, a local song reaching 3 was not unheard of -- or even uncommon.

To name a Seger-related band that had already done it, "Man in the Glass" by the Underdogs got to number 3 in The single sold more than 50, copies, almost all in Detroit. Dave Marsh, June 15, , Rolling Stone. Not A Stranger Anymore. In , Seger told how he came to record the song: That would be a rare one to hear Did they actually record it, or simply play it? The flipside, "East Side Sound" is an instrumental version of the A side, with lead guitar added throughout.

Which raises the question: It's hard to believe Seger had no other material -- so perhaps it was simply economics. They wouldn't have had to pay for another full recording session just to overdub guitar. Could it be that when "East Side Story" was released, they couldn't even afford to record a real B-side? Produced and arranged by Seger. Engineered by Les Cooley. By some reports, "Persecution Smith" was released three times in by Hideout? This idea is disputed by early-Seger afficianado Joe Moorehouse, who writes that the song was indeed first recorded in This date referred to Cameo's name or label design, not the song.

The lyrics, however, are definitely in the Seger vein of social comment: In interviews conducted twenty years later, Seger would talk about the fact that his songs have always held that there are standards -- a right way and a wrong way to act, Listen to the standards that form the climax of one of his earliest songs: Except for a mention of Watts, California, and a strange reference to My Friend Flicka, the song hardly seems dated and wouldn't be out of place, say, on It's A Mystery.

On the other hand, it would stick out like a sore thumb on Against the Wind. It's another example of Seger's earliest material reflecting the values and themes that persist in his writing today. I'd just sing 'em to myself. I never really understood any of the lyrics Bob Seger, Best in the Midwest.

The song has real power, though it's brought down a bit by the sometimes silly lyrics. Perfectly crafted popular hit songs should never include the word "tummy. Much more so than "Persecution Smith," this is the beginning of the musical style that sustained Seger. His vocal riffs at the end -- "Gimme gimme gimme gimme gimme gimme gimmmmee, now"-- are classics of the genre. Sock It To Me, Santa. The single lists the songwriter as "Punchy. As with "Chain Smokin," what's important here is the energy and the music -- the lyrics exist just to put some syllables around that energy.

Indeed, the lyrics couldn't get any sillier: Still, what you hear when you listen to the song is not the silliness, but Seger's mastery of the form. You understand why Motown offered to sign Seger before Capitol did -- and it makes you wonder what direction his career would have taken if he accepted their offer. Later in Seger's career, second-rate music-reviewers fell back on the lame technique of comparing him to Springsteen.

I wonder if those same reviewers would have ended up lumping him in with James Brown, if Seger had signed with Motown. One more observation in this vein -- it's interesting to see how Seger attended to the quality of his lyrics when he was rocking -- as on "East Side Story" and "Persecution Smith" -- and focused on the groove and energy almost to the absence of lyrics when he was in the James Brown mode. You might even postulate that he really broke through and became a national artist when he started to consistently put the two together.

FYI, Seger fan extraordinaire Ken Settle --who has a great collection of very early Seger photos, featured in the Goldmine article -- told me once that he has a tape of Sock It To Me Santa where the engineer counts down into the song, and where there are no handclaps. In contrast to "Santa," the flipside of this single, "Florida Time," is notable for its absence of any discernible Seger influence. You can hear his voice in the chorus This is a straight rip of the Jan and Dean sound. In other words, here we have insipid lyrics and insipid music.

I'd like to hit Nassau but my wallet is dead. Seger told Timothy White in a Musician Magazine interview that he "praised the Florida surfing scene out of sheer gratitude for that state being my only loyal market outside of Michigan. The quality of the rsound is much better than 45 in my possession -- very little snap, crackle, pop -- so I'm guessing it came from whatever passes as the master at this point in time.

But most interesting of all is the writing credit. The song is now credited to one "T. Keels" -- whoever that might be. If you can find it, this cassette is definitely worth owning. Many thanks are due. It's hard to hear anything of the later day Seger in this song. If he was imitating someone or testing out a style, it's hard for me to hear what it was.

If anything, I'd say it might be some kind of San Francisco sound -- there's a sitar-like guitar winding through the middle, fancy cymbal work and a little bit of skating rink organ. If that's Pep Perrine on drums, by the way, I'd say he's giving Keith Moon a run for his money -- the drums are pounding, full and excellent.

But overall, of this early bunch, "Vagrant Winter" is the most unSegerlike Seger song -- except for the B-side, "Very Few," which is even more unSegerlike. Here, Seger seems to step back to a late '50s style of pop ballad. Partly, it's because the music is so sedate and tame.

Bob Seger - Turn The Page (1973 Radio Version)

But also, it's song in a key so high, you barely recognize the voice as Seger's. In a lower key, with a better instrumental track, and minus the dopey back-up singers , the song might stand up as a halfway decent cut on any of the early to middle albums. Because "Very Few" is practically the antithesis of Seger in terms of power and energy and insight, it has become the punchline of a standing joke my friend Jesse and I share every decade or so when we are privileged to see Seger play live.

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We always laugh about shouting out "Very Few" at a concert just to see if Bob would react, and also as a parody of the depth of our obsession. We laughed about taking it to the Seattle concert and holding it up, to see what Seger would do. As it turned out, we didn't take it to the show. Needless to say, they kept their distance. June or July Produced and primarily arranged by Doug Brown.

Partition Bob Seger

Sold 66, copies in Detroit. This is the song that changed everything. This is the song that, ten years later, remained the focal point of Seger's live performance as captured on Live Bullet. It is the first song, on vinyl anyway, that really captured his ability to combine the raw power of rock with the punch and rhythm of the James Brown style soul music he loved.

It's not an exaggeration to say that this was a new sound. He wasn't following anyone here the way that he was arguably following Van Morrison with "East Side Story," the first landmark song of his career. Instead, he was combining two styles into a something new.

In a lesser but still potent way, "Heavy Music" might have exploded for Seger, too, except for the ultimate bad luck with Cameo-Parkway, which went out of business just as the song hit. Still, "Heavy Music" cracked open the door of stardom and, along with "Ramblin' Gamblin' Man," sustained Seger through ten years and ten thousand miles of strip joints, bars and dives.

Put it on with a pair of headphones today, and you can hear why: This is what they call mastery. I came back to Detroit and I wrote the verse, but Doug Brown, the producer, came up with the bass line, which of course was the crucial thing. Heavy Music was picked -- or was slated to be picked -- by Billboard as a national breakout, but Cameo-Parkway went bankrupt and couldn't fill orders. Punch and Seger phoned Cameo-Parkway and got no answer, as the story goes. Finally a janitor came out of the elevator and said, "Nobody's there. Is the song about sex? Some people certainly thought so.

Bob Seger & the Silver Bullet Band - Greatest Hits 2 (Songbook)

In fact, the first mention of Seger I ever saw in the national press appeared in the short-lived Eye magazine in The article, "It's the Sound," by John P. Robinson and Paul Hirsch, concerned the controversy over drug and sex references in rock lyrics. That was a song about the music, but a lot of people thought it was a song about music and sex, the two together.

There was nothing sexual in it, it was simply read in by a lot of program directors. The part about 'goin' deeper. I don't know, there were complaints about it when it was first played on Swingin' Time [a local TV music show]. Until, of course, it got out of hand and then they couldn't help but play it. Even then, they said, 'You know, you better go in and re-record that tail end, put something different on that ending because no one's ever gonna play it. Does rock and roll require youth?

It went right past Costas, who probably hasn't memorized every Seger lyric like some of us have, by which of course I refer to myself. On the other hand, I don't know many baseball stats.

Bob Seger Greatest Hits 2 Sheet Music Song Book

I'm 46 years old, and sure, when I'm up onstage I get sore now when I come off. So I can't do what I did in my twenties and give quite the same amount of energy I think if you're blessed with a voice, I think you can go on. The first anti-war song in the rock genre. Punch reportedly didn't tell the Capitol execs what the song was about until it was already in the stores. Which is a little hard to believe The single was reissued during the antiwar moratoriums of At least one issue of the single has a jarring guitar chord dubbed into the dramatic pause at the end To my mind, that silence and the blast of energy that follows is one of the high points of the song.

Reached number 17 on the national charts. On the strength of this hit, Seger toured California for the first time. Released in September , "Lookin' Back" is a classic Seger cut that has never been included on an album. The live version on Live Bullet has all the energy of the original At that time there was a lot of political upheaval happening in the area.

Plus it had a double meaning about the band, too, and the music that had gone down. If I Were A Carpenter. A good, but not great, Seger cover, to my mind. I mention it because Seger fan Ken Settle once told me there are two versions -- one with a darker blue label where the engineer used the wrong vocal track. In the early s, Dave Marsh wrote about rumors that Hideout might buy back the Cameo masters and "release them on an album called Bombs Away. Seger is not overly enthusiastic 'I wouldn't want it to be a hit, it's old-fashioned.

Today, CD-R bootlegs of the early singles are fairly common on the internet And some of the Cameo-Parkway singles can occasionally be found in oldies stores. This single, which has never appeared on any Seger album, was included on the soundtrack of "Teachers. To encourage Seger, Russo sent him a print of the film. In fact, Bob got up at the end and said, 'I'm gonna go write a song.