bob seger night moves mobile fidelity review

I remembering reading about some kind of toxic problems with the formula but can't find the info anymore, but I just came across this that says when JVC shut its vinyl operation down, it simply would not share or even sell the formula, nor would it divulge info about its pressing processes: The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.Click to expand.I do, too. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient - allowing engineering to minimize the effects of inherent limitations within the vinyl format. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. And, because of his passion and craft, it remains a thoroughly terrific record years later.” AllMusic Review by Stephen Thomas Erlewine Thankfully, this was delivered to a mass audience eager for Seger, and it not only became a hit, but one of the universally acknowledged high points of late-'70s rock & roll. Seger may have been this consistent before (on Seven, for example), but the mood had never been as successfully varied, nor had his songwriting been as consistent, intimate, and personal.

Yes, this is all hard rock, but the acoustic ballads reveal the influence of Dylan and Van Morrison, filtered through a Midwestern sensibility, and the rockers reveal more of Seger's personality than ever. He floats back in time, turning in high-school memories, remembering when wandering down 'Mainstreet' was the highlight of an evening, covering a rockabilly favorite in 'Mary Lou.' Stylistically, there's not much change since Beautiful Loser, but the difference is that Seger and his Silver Bullet Band - who turn in their first studio album here - sound intense and ferocious, and the songs are subtly varied. Throughout much of the album, he's coming to grips with being on the other side of 30 and still rocking. “Bob Seger recorded the bulk of Night Moves before Live Bullet brought him his first genuine success, so it shouldn't come as a surprise that it's similar in spirit to the introspective Beautiful Loser, even if it rocks harder and longer. Lacquer cut by Stan Ricker at JVC Cutting Center Produced by Bob Seger (all tracks), Punch Andrews (A1, A3-4, B5), Jack Richardson (A2), Pete Carr (B1-4) Recorded by Jim Bruzzese, Brian Christian, Jerry Masters, Steve Melton, Greg Miller Recorded in 1976 at Pampa Studio, Michigan (A1, A3-4, B5) Nimbus Nine, Toronto (A2) Muscle Shoals Sound Studios in Sheffield, Alabama (B1-4)

Written by Bob Seger (A1 to B2, B4), Earl Randle (B3), Willie Mitchell (B3), Young Jessie (B5), Sam Ling (B5) Laurel Ward – backing vocals on 'Night Moves' (A2) Rhonda Silver – backing vocals on 'Night Moves' (A2) Sharon Lee Williams – backing vocals on 'Night Moves' (A2) Joe Miquelon – guitar on 'Night Moves' (A2)ĭoug Riley – piano, organ on 'Night Moves' (A2) Jerry Luck – accordion on 'Ship of Fools' (B4) Roger Hawkins – drums, tambourine, maracas, congas, timpani, production (B1-4) Jimmy Johnson – rhythm guitar, production (B1-4)īarry Beckett – piano, organ, ARP synthesizer, clavinet, melodica, production (B1-4) Pete Carr – lead guitar, rhythm guitar, acoustic guitar, production (B1-4) Drew Abbott – guitar (A1-4, B4-5) background vocals on 'Mary Lou' (B5)Īlto Reed – tenor saxophone, alto saxophone, baritone saxophone, flute (A1-4, B5)Ĭhris Campbell – bass (A1-4, B5) background vocals on 'Mary Lou' (B5)Ĭharlie Allen Martin – drums, tambourine, maracas (A1-4, B5) background vocals on 'Mary Lou' (B5)

Bob seger night moves mobile fidelity review