Smokin O.P.S [Original recording remastered]

Detroit music in the 1960's and early 1970's was more than just Motown. The area also produced cult favorites and proto-heavy rockers like The Stooges and the MC5. Unless you're from Detroit, however, you may be unaware that Detroiter Bob Seger released a series of albums before he arrived on the national stage in the mid-1970's with break-out hits such as 'Night Moves" and 'Beautiful Loser'. In fact, for quite a few years, both Seger and his fans bemoaned the lack of national attention his work received. Looking back on some of his work reveals why his local fans were perplexed at his delayed ascent, and also why a national audience eluded Seger.

'Smokin' O.P.'s' (meaning smoking other people's... in this case other people's hits rather than cigarettes, although the front insert is a wonderfully simplistic play on a pack of Lucky Strike cigarettes) is a great collection of cover songs. In his early incarnations Seger sounded much more like the sharp-edged J. Geils Band (who first gained acclaim with their 'Full House' LP, recorded at the Grande Ballroom in Detroit) than the more middle-of-the-road rocker he became in the mid-'70's. 'Smokin' O.P.'s' was Bob's fifth album, released in 1972, and for the most part was a collection of excellent cover songs. Most are standard hard-rock offerings (the sound that went down best in local Detroit venues) including an impressive opening trio of Ellis McDaniel's 'Bo Diddley/Who Do You Love', Stephen Stills' 'Love the One You're With', and Tim Hardin's 'If I Were a Carpenter'. The first two songs feature slick lead guitar solo's from Monk Bruce, while 'If I Were a Carpenter' owes it's foundation and some great solo work to organist Skip Knape (aka 'Van Winkle' from 'Teegarden & Van Winkle'; David Teegarden provides percussion on this disc as well).

On the original vinyl release side one mellowed out a bit at the end with a cover of Leon Russell's 'Hummin' Bird' ("don't fly away"). Seger is really showing some grit by covering these four classic hits, and while it's hard to say that any of them surpass the original versions, they are sung with an obvious joy and excitement that make them a thrill to experience. It's probably the best single album side Seger put together before his more acclaimed persona emerged.

The remaining five tracks offer a couple gems as well. Seger offers a sweet version of 'Turn On Your Love Light', feeding off a funky rhythm guitar foundation, and the closer, a remake of Seger's 1966 hit with The Heard, 'Heavy Music'. 'Heavy Music' seems misplaced on the disc, as does it's predecessor, 'Someday'. Both are Seger compositions (which doesn't fit with the theme of the album), 'Someday' is a misfit as a quiet, piano-based ballad, and 'Heavy Music' would serve much better as an opener than the closer. 'Let It Rock', the opener of side two, comes across as a generic bar-hall stomper, and 'Jesse James', while less distinguished than some of the other tracks, has a beat like a churning locomotive that blends in well with the albums other tracks.

While there's a lot to like on 'Smokin' O.P.'s' including some excellent musicianship, quality composing ('Heavy Music'), and an audibly resounding desire to deliver "the goods", clearly Seger needed to develop more consistency, and broaden his range of music to become an elite performer, a mystery he solved as the '70's progressed. It's a shame that Bob has not seen fit to reissue some of his earlier work, such as this disc, his original 'Bob Seger System' album, as well as 'Noah' and 'Mongrel'. On a smaller scale, for fans of Seger, not having access to these tracks is akin to only experiencing The Beatles from 'Rubber Soul' on. While these discs may not reveal the mature talent Seger would eventually develop, their raw energy and gritty late 60's/early 70's sound has its own vintage appeal. If you release them, Bob, the fans will come.

2/8/05 ADDENDUM: Thanks, Bob! Here we come!

I used to see Bob Seger at several venues back in Michigan around 1969 and later. I truely enjoyed him then as well as now.

The version of Bo-Diddley on here is the best I have heard. Bob Seger never sang a song without pure unadulterated passion and this CD is no exception. This CD is full of old hits, I bought my copy at a used CD store in Oak Ridge Tn and drove home with the windows down and thinking I was young again.

Bo Diddley, If I was a Carpenter, Heavy Music and Turn on your love light will turn on some old memories for sure.

Bob Seger. The raw edge of old time rock and roll.

A few years before Bob's truly "breakout" albums (BEAUTIFUL LOSER, LIVE BULLET, AND NIGHT MOVES), he toured heavily and turned out several obscure records. In spite of being ignored by the masses, these "lost" albums formed the solid rock on which Seger's concert shows were built on. SMOKIN' O.P.S is a great album that shows everyone these days what all the excitement was all about.

Here Seger took mostly hits for others and put them to the Silver Bullet. The hot whiskey buzz swings right off the bat with "Bo Diddley". "Bo Diddley" had been a minor entry in the Rock Catalogue; but Seger's treatment breathes high octane life into the old standard. Segar sings his butt off with energy and gusto and the solo guitarist pours fire from his steel strings. "Love the One You've With" intertwines the spirit of James Brown into Stills' Latin flavored/California hymn to "free love" (which legend has it Stills practiced with impunity.).

"If I Were a Carpenter" is Tim Hardin's claim to immortality and has been covered by everyone from Bobby Darin to Johnny Cash. It is such a great song that nearly all performances and recordings are a least "good" to "very good" (Cash's version has a special place in my heart). The temptation for someone like Seger is to turn down the energy and get all soft and sensitive. Instead, Seger flat out rocks this old chestnut and breathes dynamic power into each verse. Excellent. Deserves far more exposure than it has received.

Unfortunately, Seger did not pour his locomotive force in Leon Russel's "Hummin' Bird". In the spirit of full disclosure, I have to admit I have always been under whelmed by the song. It is one of those early 1970's ballads whose style was popular among a certain set of the rock/folky/weed smokin' public that I thought didn't deserve half the adulation it got. Be that as it may, this is where Seger does try to go soft and sensitive. Leon Russel had a sterling reputation and standing at the time and so, perhaps, Seger felt out of respect he shouldn't turn it inside out to make it his own as he had the others on this album. But for my money it is the only clinker in the set. It breaks the vigor and liveliness of SMOKIN' O.P.S -which is too bad since its inclusion was so unnecessary.

This misstep aside, the album picks itself up and plows right on through to the end. Of special note is Seger's new adaptation of his regional hit "Heavy Music". I have the original version on an old LP of Michigan local rock bands and favorite "one-off" singles. I have to say the original version pales in comparison to this one. Don't bother seeking out the earlier rendition. This "Heavy Music" is definitive.

Seger has said at this stage of his career he didn't quite know how to make records to draw the same attention and success that the Eagles and the Doobie Brothers had. I disagree. Just because his records at this time were largely ignored doesn't mean they were sub-standard. He knew how to put on a fantastic show and that same talent spilled over on to his records. Here's hoping Seger's BACK IN '72 is also brought back in a CD edition. It is every bit as good.

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