For 1971's Brand New Morning, he disbanded his group and recorded a singer/songwriter effort. The title track became a national hit, climbing to number 17, but the group's follow-up, Noah, stiffed and Seger decided to quit the music business at the end of 1969 to attend college.īy the end of the summer, Seger had returned to rock & roll with a new backing band, releasing Mongrel at the end of the year. In 1968, he formed the Bob Seger System and signed with Capitol Records, releasing his debut album, Ramblin' Gamblin' Man, in the spring of that year. Several other local hit singles followed on Cameo Records, including 'Persecution Smith' and 'Heavy Music,' before his label folded. In 1966, Seger released his first solo single, 'East Side Story,' which became a regional hit. Barry Sadler song 'The Ballad of the Green Beret.' The single was withdrawn shortly after its release after Sadler threatened a lawsuit. Billing themselves as the Beach Bums, the band released 'The Ballad of the Yellow Beret,' a parody of the Sgt. Moving to Ann Arbor, he played with the Town Criers before he became the keyboardist and vocalist for Doug Brown & the Omens. Seger began playing music in 1961 as the leader of the Detroit-based trio the Decibels his future manager, Eddie 'Punch' Andrews was also a member of the band. After the platinum success of those albums, Seger retained his popularity for the next two decades, releasing seven Top Ten, platinum-selling albums in a row. Following several years of missed chances and lost opportunities, Seger finally achieved a national audience in 1976 with the back-to-back release of Live Bullet and Night Moves. While he never attained the critical respect of his contemporary Bruce Springsteen, Seger did develop a dedicated following through constant touring with his Silver Bullet Band. Combining the driving charge of Ryder's Detroit Wheels with Stonesy garage rock and devotion to hard-edged soul and R&B, he crafted a distinctively American sound. (Lengthier excerpts from this program can be found here and here.Originally a hard-driving rocker in the vein of fellow Michigan garage rockers the Rationals and Mitch Ryder, Bob Seger developed into one of the most popular heartland rockers over the course of the '70s. If you don’t daydream to music, then you’re not listening to good music. Because whenever I listened to music while either driving in a car or sitting at a bar or listening to Coltrane or Billy Holiday – you daydream. I chose songs that I knew emotionally worked with these scenes that I wrote. Or the scene plays better than it would have with a different song. If the song is emotionally correct for a scene, the scene plays better. It’s just as important as anything else. Music is so emotionally important to the movie. I’m talking about yesterday and my day, which are the 40s, 50s, 60s, and 70s. It’s part of the soundtrack that what we all grow up with. I’m wondering if you did this because you have an aversion to Carl Stalling-style orchestral music.īakshi: First of all, I love music. And there’s “Ah’m a Niggerman†from Coonskin, which you wrote. You pilfered from your record collection for that, as well as the “Maybelline†sequence in Heavy Traffic. It’s certainly important in American Pop. montage, operating in the present as an artist, being honest, The Last Days of Coney Island, the impending collapse of America, Barack Obama, burning out, American avarice, and Bill Plympton.Ĭorrespondent: I wanted to ask you about music in your films. Subjects Discussed: The role of music in Bakshi’s films, making good films without a lot of money, emotionally correct songs, daydreaming, Bakshi’s record collection, the original idea of using Led Zeppelin for Lord of the Ring, Leonard Rosenman, Bakshi’s relationships with composers, Andrew Belling’s Wizards score, the “Maybelline” sequence in Heavy Traffic, artistic freedom, why Bob Seger’s “Night Moves” was the final song in American Pop, the relationship between writing fast scripts and revising in animation, the ending of Heavy Traffic, subconscious symbolism, the use of long shots and extended takes, Sergei Eisenstein, Aleksander Nevsky, giving Thomas Kinkade his first big break, on Fire and Ice not being a Bakshi film, using imagination with pre-existing visual elements, rotoscoping, getting the little artistic details, Edward Hopper, designers vs. Listen: Play in new window | Download (Running Time: 43:33 - 39.9MB)Ĭondition of the Show: Caught in a musical daydream.
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