Bob Seger
Back In '72

Sixth studio work for the musician from Detroit, little known by the masses of the old continent but counted overseas among the ranks of the “working class heroes”.

The first steps of his musical career yield fluctuating results: he embraces the hippie philosophy and the first publications emerge, rather valid but tepidly received on the charts (among these is the well-known “Ramblin Gamblin Man” under Capitol's guidance). Subsequently, he dissolves his band named “Bob Seger System” and begins his solo career with “Brand New Morning,” an album once again disappointing from a commercial perspective. He then lends himself for third-party tours and moves to Palladium.

It's 1973 and for a few years now he's abandoned psychedelic rock for a harder yet more conventional, mature and more impactful rock. In “Back in 72,” the songs revolve around the theme of life on the road and individual freedom with some rough sketches of common people, the prejudices taken and the judgments passed on the average American, personal suggestions and torments that sometimes lapse into the inevitable love theme (“Turn the Page”).

He performs “Midnight River” by the Allman Brothers Band, plays the tearjerker card in “So I Wrote You a Song,” produces decent hard rock in the transgressiveness of “Stealer” and in the libertine past of “Back in 72,” sings the irresistible call of open spaces in “Neon Sky,” excellently sets to music the desolate daily routine in “I've Been Working,” and closes sweetly with “I've got Time,” halfway between existential drama and a declaration of love towards a girl.

“Turn the Page,” “I've Been Working,” and another piece, “Rosalie,” will become real showstoppers.

Under the blessing of JJ Cale and Aretha Franklin in the recording studio, there are, as a curiosity, noted disagreements between Seger and the excellent supporting musicians (among whom the sax of Alto Reed stands out, future member of the Silver Bullet Band, which excellently flavors the album's sound) regarding the deserved compensations.

In conclusion, nothing innovative but a product perfectly in line with a certain rock of the era; Seger will be able to improve the formula and place works of remarkable quality and warm reception (“Live Bullett” concert, the albums “Beautiful Loser,” “Stranger in Town,” “Night Moves,” and “Against the Wind”).