Seems like only yesterday, I walked over to Daniel’s Den to see Bob Seger. I lived just a few blocks away and anyway the Den was located only one door down from White’s Bar. We shared a gravel parking lot and whenever a big band like Seger, SRC, or the Amboy Dukes performed at the Den, the parking lot would be overflowing. On occasion I would work for my dad as a “parking lot attendant” and would try to keep Den customers from crossing the imaginary line into White’s Bar territory. The kids seemed to understand and I was never hassled about it, not even once. But tonight was my night out and I didn’t give a hoot about the parking lot…I was walkin’ anyway. And I was looking forward to this show. I idolized Seger and I had all of his hits (copped ‘em from my brother) on their original labels Hideout, Are You Kidding Me? Cameo-Parkway – my favorite records along with my Bossmen and Beatle’s 45’s. I even had a recently purchased pristine copy of Ramblin’ Gamblin’ Man that would soon be trashed by repeated playing on my precious Gerard modular phonograph – it could play about twenty 45’s stacked on top of the other for almost an hour’s worth of uninterrupted tunes. And though I wasn’t a fanatic LP collector – yet - I purchased Seger’s first LP on Capitol Records, Ramblin’ Gamblin’ Man as soon as it was released in 1969. It took me away to a whole other universe down by the riverside with fortune wheels, shady characters throwin’ dice, tales from the other side of the tracks. It gave me that first seed of wanderlust - that something else was out there, something different and full of life and just a bit on the edge. I liked that. I began to travel… Florida, Colorado, Tennessee, Oklahoma, Oregon, California. Yep. Seger was one of my early influences. He helped me believe in another way. This ’68 performance would be my first Seger experience but there would be several more, the Delta Pops Festival in ’69, opening for the Kinks at the Easttown in 1970 and a few others. The very last time I saw Seger he was rockin’ the Brewery in East Lansing in ’73. But after all these years it was that first show in ’68 that stands out in my mind. I was mesmerized by the band. They were heroes to me. I would collect the weekly radio charts at the local record stores…WKNX Powervoice 1210 BIG 10 Survey, Big SAM 1400 Super Sound Survey, WTAC Fab 40 List of Top Records. Even Shopper’s Fair had a CHARTBUSTERS 45 rpm Pop Hits survey. And in each and every one of these “surveys” local heroes such as Bob Seger, the Bossmen, the Rationals and others were listed right alongside the Beatles, Dylan, the Stones, Henry Mancini and the Mamas & Papas. I had no idea that they were only regional stars. Ultimately it didn’t matter. I loved ‘em anyway. And for the few that did gain stardom, like Seger, their best work (in my eyes) was their earliest work – the “Michigan Rock” stuff.
I arrived at the Den early, but a line had already formed. There was a much talk, alotta excitement. The Bob Seger System – a new name and an LP in the works – not just another 45 and it’s on a major label. Seger really has made the big time. There was a real buzz in the crowd. Whose in the band now? Same band…Dan Honaker on bass, the famous Pep Perrine on drums – he even hand made that incredible three-tired drum kit, and that new fella…Bob Schultz on organ, love that riff on Ramblin’ Gamblin’ Man…heard he sings just like Seger too. Seger’s playing guitar now…heard he can’t play and sing at the same time...naw…he just don’t play guitar very good. Finally the doors open and we squeeze ourselves (in an orderly fashion, thank you Officer Ed) inside and claim our territory. I’m close-up stage left, I can see everything perfectly. Seger is young, in his prime, with a trim Beatle haircut, bangs and all, nothing too long or outrageous. The band is good and Seger’s vocals are powerful. They open with the organist singing the Vanilla Fudge version of You Keep Me Hanging On - and it’s great, This Schultz fella has an incredible voice, even sounds like Seger. But then Seger took over and showed us why he’s the star. He proceeded to sing lion in heat, ferociously, as if his life depended on it. It seemed like he was possessed by some supernatural force. I never heard anyone sing like this before, such soul and grit. His voice channeled the anguish and longing of the ages as if he was the vessel for a thousand lost souls. I wondered how could he know this. He did those delightful regional hits I grew up with…East Side Story was a particular favorite, an emotional over-the-top performance and Persecution Smith was intriguing despite, or because of, its heavy-handed Dylan parody though the live performance sounded more like the Syndicate of Sound than Dylan. Heavy Music was incredible – brutal and orgasmic and aimed right at yer loins, one of the best rock songs ever waxed. Seger also did some covers - the best was a phenomenal version of Ike & Tina Turner’s River Deep Mountain High - Seger nailed it in a full throttle assault that beat his own later version. His voice was simply magnificent and at this time in his career he could still hit those upper registers that could give a song an extraordinary amount of juice. He even did a surprisingly soulful take on the Beatles’ recent smash hit, Hey Jude. I never put the two together – Beatles/Seger – but this version worked, it worked well. Honaker’s take on the Bee Gee’s Holiday was passable but ultimately a throwaway. But it was the new songs that lit a fire under the crowd – the soulful blues of Ivory, the foreboding almost frightening tones of Tales of Lucy Blue, and the peace and love vibe of The Last Song was crafted by the powerful unison vocals of Honaker, Schultz and Seger. 2+2=? was absolutely brutal, an anti-war anthem personal and in your face. But Ramblin’ Gamblin’ Man was the highlight. It’s piledrivin’, rockin’ majesty was evident from Schultz’s concise intro to Seger’s soulful vocal gymnastics. It was climbing the charts and the band was in a good spot, no noticeable dissension and a reasonable optimism for the future. The pendulum hadn’t swung back yet and a major label was getting’ behind the band. Hell, they may have only received $700 for the Den appearance but they were getting’ $10,000 or more in Florida. The future looked bright, very bright. But Seger, even at this young age, was a veteran of the scene and acquainted with the rock 'n roll swindle. He was already troubled, pissin' and moanin' about Cameo/Parkway, livin' with his mother, and doubting himself. He was quitting music and going back to college, sometimes he was in another world altogether. There were times when he wouldn't show up for a gig. Schultz would take over the vocals and no one seemed to notice. I never imagined these troubles and I couldn't tell from Seger's exuberant performance that so much trouble and pain existed underneath it all. In less than two years this lineup would be rearranged and Seger would lose his muse, only to return in the mid-seventies to write some of his best songs Night Moves, Rock ‘N Roll Never Forgets, Mainstreet, Katmandu. I never saw Seger during his arena days, coulda I suppose, but didn’t want to spoil the memory. I thought his best work was behind him and that his big hits were just retreads of past glories, sell a truck and lose your soul? Hmm, like Alex Chilton told me at one of them silly "Oldies Shows" doin' his Box Tops Schtick..."it’s easy money"
Peace
Bo White
12/27/05
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