Bob seger night moves mp3skull12/8/2023 He had recently purchased a house due to the success of his first live album, Live Bullet, and he and the band would write and practice in its large basement. The song took Seger over six months to complete writing. Seger later told journalist Timothy White that many of his early songs were written to impress the girl. Seger promptly pursued a romance with the girl, but eventually her boyfriend returned and they married, leaving Seger broken-hearted. "It's about this dark haired Italian girl that I went out with when I was 19, she was one year older than me," he later recalled. Through these, he met a woman-credited as Rene Andretti in the Encyclopedia of Great Popular Song Recordings-whose boyfriend was in the military and was away. ![]() The song's contents are largely autobiographical for example, the group of friends would often hold parties they called "grassers", which involved going to a farmer's field outside Ann Arbor to dance. At a certain point, he began socializing with a rougher crowd, who thought he was cool because he played music. "Night Moves" has roots in Seger's adolescence he wrote the song in an attempt to capture the "freedom and looseness" he experienced during that period of his life. ![]() The song was responsible for changing Seger from being a popular regional favorite into a national star. It also charted at number five in Canada and was a top 25 hit in Australia. Released as a single in December 1976, it reached number four on the Billboard Hot 100, becoming Seger's first hit single since " Ramblin' Gamblin' Man" from 1969. As much of Seger's Silver Bullet Band had returned home by this point, the song was recorded with several local session musicians. It took him six months to write and was recorded quickly at Nimbus Nine Studios in Toronto, Ontario, with producer Jack Richardson. It was based on Seger's own teenage love affair he experienced in the early 1960s. Seger wrote the song as a coming of age tale about adolescent love and adult memory of it. It was the lead single from his ninth studio album of the same name (1976), which was released on Capitol Records. (Lengthier excerpts from this program can be found here and here." Night Moves" is a song by American singer-songwriter Bob Seger. 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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