The Rolling Stones’ New Collection of BBC Recordings Is A Gem For Fans

“On Air” documents radio recordings from band’s formative years

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Last Friday (Dec 1), The Rolling Stones released On Air, a collection of recordings made by BBC Radio between 1963 and 1965 – a great piece of early Stones performance history and a true gem for fans. According to Wikipedia, The Sunday Times first mentioned the existence of the BBC tapes in early January 1998. Why it took almost 20 years to release a compilation of these recordings isn’t clear to me. Some reviews regarded the record as a sequel to Blue & Lonesome, the band’s first all-blues cover album from last year. Given the unexpected success of that record, which topped the charts in 15 countries, perhaps there is something to it. On Air certainly makes for a great Christmas present, especially for Stones fans.

The collection is available in a standard 18-track and a deluxe 32-track version. The above picture shows the cover of the deluxe. All of the recordings were captured live in-studio, a BBC Radio requirement for any band that wanted air time on their shows in the 60s – no lip-synching allowed! Some of the performances happened in front of live audiences. The shows during which these performances aired included Saturday Club, Yeah Yeah, Blues In Rhythm, The Joe Loss Pop Show and Top Gear. Saturday Club, which was on the air from 1957 until 1969, was one of the earliest pop music radio programs in England.

Rolling Stones at BBC

On Air features blues and rock & roll covers of tunes from the likes of Chuck Berry, Bobby Troup and Willie Dixon, as well some early Stones originals, such as Satisfaction, The Spider And The Fly and The Last Time. What’s especially intriguing is that the collection includes eight songs the Stones had never recorded or released commercially before. Unfortunately, these tunes are nowhere revealed, so I suppose fans have to figure them out by themselves – not an easy task, given the Stones mostly played covers in their early years.

Only very few reviews I’ve seen pointed out the mystery around the eight songs. Instead, some reviewers were upset about the fact that the tracks are not presented chronologically. While the order in fact does appear to be arbitrary, that aspect doesn’t bother me much. For folks who don’t want to listen to say Satisfaction prior to Route 66, Little By Little or Walking The Dog, they can simply queue up the songs accordingly. Figuring out the eight previously unreleased tracks is more tricky!

Abbey Road Studios

In addition to the great music, what’s truly remarkable to me is the crisp sound of some of the tracks. That is due to audio source separation. According to a press release, the process “involved de-mixing the transcripts and allowing engineers at Abbey Road access to the original instrumentation and voices within each track, so that they could be rebuilt, re-balanced and remixed to achieve a fuller, more substantial sound.”

Time for some music clips! First up: Satisfaction. Obviously one of the original tunes penned by Mick Jagger and Keith Richards, the song was first released as a single in the U.S. in June 1965 and was also included on the American version of the Stones’ fourth studio album Out Of Our Heads, which appeared in September that year. The BBC version was recorded just a few days prior to the appearance of that record. I just love how this recording sounds even more guitar-focused than the original studio version, especially the roar of Richards’ signature guitar riff!

Roll Over Beethoven, one of the above noted eight tracks, is a highlight of the collection and I think my favorite on the album. It is one of various Chuck Berry covers. Berry, a huge influence on the Stones, originally released the tune in May 1956. It was also included on Chuck Berry Is On Top, one of the most amazing classic rock & roll records ever released. The BBC recording is from October 1963. I’ve always liked The Beatles’ version of the song. This one kicks it up a notch, in my opinion, and I say this as a huge Beatles fan. Similar to Satisfaction, the sound of the recording is just amazing!

Another great track on the collection is Route 66, the Bobby Troup rhythm & blues classic from 1946. The BBC recording is from 1964 and is one of the songs the Stones apparently performed in front of a live audience, though one can only hear screaming folks in the beginning and at the end.

Fannie Mae, another cover, was recorded in 1965. One can clearly hear that the Stones had become a more mature band by that time. The tune features great blues harp playing by Brian Jones. Fannie Mae was written by American blues and R&B singer Buster Brown and originally recorded in 1959.

Confessin’ The Blues, which was recorded for The Joe Loss Pop Show in 1964, is another performance in front of a live audience. Similar to Fannie Mae, it features Brian Jones doing another amazing job on blues harp. Written by Jay McShann and Walter Earl Brown, the Stones first recorded the tune for their second American studio album 12 X 5, which was released in October 1964.

The last track I’d like to highlight is Ain’t That Loving You Baby, which according to one review I read is also among the above eight mystery songs. The tune was written by Don Robey and first recorded by Bobby Bland in 1962.

While doing some research for this post, I came across a great story in the Los Angeles Times. It includes an interview with Richards discussing his recollection of the Stones’ experiences at the BBC Radio recordings. Since I found his comments fascinating, following are some excerpts.

“At the time we were doing this, we were, like, ‘Oh, my God — the BBC!’. We were just trying to disguise our actual terror. There was a lot of adrenaline…Once we started playing, we didn’t give a [damn]. They [the Stones] still don’t — bless their hearts. We just got off the road, and I wish there were a few more shows. We were just hitting a groove!”

“The BBC wanted us and we didn’t know really why or what we were doing. We were playing blues in bars, for Christ’s sake, but then we got a top 10 record and suddenly we’re the other alternative to the Beatles, bless their hearts. Yeah, I mean, they broke the doors down, especially Johnny. We always got along.”

“You think — you believe, the way you’re brought up in London — that the BBC know what they’re doing. Then you get there and find out they have no idea how to record a band like this.”

“The first thing I remember about my encounter with the BBC was there was this guy: Microphone Control Man. He had a huge mustache, like an officer in the RAF [Royal Air Force], one of them ginger jobs. He told me, ‘If you touch that microphone, I’ll decapitate you.’ I didn’t know what I would do with it anyway, but he had no more idea what to do with it than we did.”

“On those shows, you had no idea what the microphones were picking up and what was actually coming out of the radio. You just winged it and hoped for the best. Listening to it now, I think they captured the spirit of it all. I could argue about whether Brian was too loud or not, but apart from [stuff] like that, I think it’s a fascinating record as a piece.” Well said!

Sources: Wikipedia, Uncut, Rolling Stone, Los Angeles Times, YouTube

U2 Release Songs of Experience

Companion to “Songs of Innocence” is a solid record

On Friday, U2 released their 14th studio album Songs of Experience after a one-year delay. While their first five records Boy (1980), October (1981), War (1983), The Unforgettable Fire (1984) and especially The Joshua Tree (1987) will probably always remain my favorites, after listening to the album various times, I agree with NPR’s take that it is a reboot the Irish rock band needed after the botched release of its predecessor.

Bono mentioned Songs of Experience the day Songs of Innocence was released in September 2014, but he didn’t start writing until after his serious bike accident in November that year. Using a mobile studio, the band worked on the album during the 2015 Innocence + Experience Tour. Work continued in 2016 with the goal to release the album toward the end of the year. But after the outcomes of the Brexit vote and the U.S. Presidential elections, U2 decided to hold and reassess the record. Bono reportedly ended up rewriting some of the lyrics.

U2

The album opens with Love Is All We Have Left. As is common for U2, the lyrics and the music are credited to Bono and the band, respectively. The song was produced by Andy Barlow, one of multiple producers U2 used for the album, mirroring the approach for the predecessor. The tune’s opening lines Nothing to stop this being the best day ever/ Nothing to keep us from where we should be were criticized by various reviewers as out-of-touch optimism – not the first time U2’s lyrics have caused such reactions.

You’re The Best Thing About Me is the record’s lead single, which was released on September 6. The track was produced Jacknife Lee with Ryan Tedder, Steve Lillywhite and Brent Kutzle, who also were involved in most of the other tunes. As Rolling Stone reported, Bono characterized the catchy tune as “defiant joy” during an interview with Jimmy Fallon on the Tonight Show in September, adding, “It’s a love song to my Mrs., and in these difficult times it’s important to tell your loved ones how you feel.”

American Soul is one of album’s openly political tunes, produced by Lee with Joylon Thomas and Declan Gaffney. Even though it doesn’t spell out names, the spoken intro by rapper Kendrick Lamar leaves little doubt who the song refers to: Blessed are the bullies/For one day they will have to stand up to themselves/Blessed are the liars/For the truth can be awkward. The tune’s line, It’s not a place, this country is to me a sound of drum and bass, you close your eyes to look around, is taken from Lamar’s track XXX, which appeared on his most recent studio album Damn.

The Little Things That Give You Away has a touch of Joshua Tree with The Edge’s signature echo guitar sound. While it’s of course not new, to me this sound doesn’t get boring, and I actually wish he would have used it more often on the album. Thomas and Barlow are listed as the tune’s producers.

The last song I’d like to highlight is The Blackout, which U2 first presented on their Facebook page at the end of August. Produced by Lee with Tedder and Kutzle, the haunting track is characterized by a stomping bass line from Adam Clayton and The Edge’s heavily distorted guitar. In September, Bono told Rolling Stone the tune “started off its life about a more personal apocalypse, some events in my life that more than reminded me of my mortality but then segued into the political dystopia that we’re heading towards now.”

Songs of Experience, which appears on Island Records,  was recorded in Dublin, New York and Los Angeles. It is available on digital and CD as Standard and Deluxe, and as a double vinyl album. The album’s cover shows Bono’s son Eli Hewson and Sian Evans, The Edge’s daughter.

U2 will support the record with a North American tour next year, the eXPERIENCE + iNNOCENCE Tour 2018. Things will kick off in Tulsa, Okla. on May 2 and conclude in Newark, NJ on June 29. I saw U2 in July this year as part of their Joshua Tree Tour 2017 to commemorate the album’s 30th anniversary – an amazing show I don’t think they can beat!

Sources: Wikipedia, NPR, Rolling Stone, YouTube

Eagles Release Hotel California 40th Anniversary Deluxe Edition

Collection includes original remastered studio album and 10 live tracks from 1976 show

The first Eagles tune I ever heard must have been Hotel California sometime in the late ’70s when I started listening to music on the radio. In my opinion, the song and the album count among the absolute highlights of ’70s rock. Today, the band released a 40th anniversary deluxe edition of their landmark album – almost one year after the actual anniversary.

The original album appeared on December 8, 1976. Recently asked about the timing by the Los Angeles Times, Don Henley noted, “Actually, it came out in December of 1976, but nothing really hit the charts until ’77, so we’re not really that late. We’re fudging it a little bit.”

I suppose it depends on how you look at it. The same LA Times story notes the album’s first single New Kid In Town entered the Billboard Hot 100 on December 18, 1976. But it took until Feb 28, 1977 before the song peaked at no. 1. The record’s two other singles, Hotel California and Life In The Fast Lane, were released in February and May that year, respectively. Hotel California became another no. 1 hit on the chart.

Eagles 1976
The Eagles in 1976. From left to right: Don Felder, Don Henley, Joe Walsh, Glenn Frey and Randy Meisner

Since the studio versions of the original album are well-known and not new, I’m highlighting some of the live tracks, which are released for the first time. According to an official Eagles announcement, they were recorded prior to the album’s release during the band’s three-night stand at the Los Angeles Forum in October 1976. Among others, the tracks feature one of the first live performances of Hotel California and New Kid In Town.

The live collection kicks off with Take It Easy. Written by Jackson Browne and Glenn Frey, the song was included on the band eponymous debut album, which appeared in June 1972. It was also released separately as the record’s first single in May that year.

Good Day In Hell is a great rocker written by Frey and Henley, and my kind of tune. It is from On The Border, the Eagles’ third studio album released in March 1974. Compared to their earlier more country rock-oriented music, the song has an edgier rock sound. Asked about that during a Rolling Stone interview last year, Henley explained, “Although Glenn was fascinated by the new “country rock” movement, and though he never forgot his Motown roots, his first love was rock & roll. Possibly through the influence of his friend and mentor, Bob Seger.”

Another excellent rock tune from the live set is Funk #49. Co-written by Joe Walsh, Jim Fox and Dale Peters, the track was first recorded in 1970 by James Gang, one of the bands in which Walsh played before joining the Eagles in December 1975.

As one of my favorite ’70s rock songs, of course, I must highlight the live version of Hotel California. The song was written by Don Felder, Henley and Frey. The epic guitar part at the end is played by Felder and Walsh.

The last song I’d like to call out from the live set is the excellent closer Already Gone. Written by Jack Tempchin and Robb Strandlund, it’s another tune from the On The Border album, which also appeared as the record’s lead single in April 1974.

According to Wikipedia, Hotel California became the Eagles second best-selling album after Their Greatest Hits (1971-1975), with sales of over 32 million copies worldwide, of which the U.S. accounts for half. The album was ranked at no. 37 on Rolling Stone’s 500 Greatest Albums Of All Time. The title track was ranked at no. 49 in Rolling Stone’s 500 Greatest Songs of All Time and best of the Top 100 Guitar Solos of All Time in a January 1998 Guitar Magazine readers poll.

Listening to the live set reminds me of a great Eagles show in Atlantic City in July 2015 – the only time I saw the band. The gig was part of the History of the Eagles Tour and one of the last concerts with Frey prior to his untimely death in January 2016 at the age of 67. On Tuesday, the Eagles announced initial dates for a 2018 North American Tour. As during their most recent performances, Vince Gill and Deacon Frey will share responsibilities for singing Glenn’s parts.

The tour is set to kick off in Chicago on March 14. The last current date is Philadelphia on July 28. On some of the dates, the Eagles will play together with Jimmy Buffet and the Coral Reefer Band, James Taylor & His All-Star Band and Chris Stapelton. Philly, one of the dates where the band plays with Taylor who is another artist I admire, is only a 1.5-hour drive from my house. I went there to see John Mellencamp. I’m very tempted…

Sources: Wikipedia, Los Angeles Times, Billboard Eagles chart history, Eagles website, Rolling Stone, Guitar Magazine, You Tube

 

Clips & Pix: U2/The Blackout

The Blackout is from U2’s upcoming 14th studio album Songs Of Experience, which after multiple delays is now set to appear next Friday, December 1. According to NME, the band also released a limited edition 12-inch vinyl single of the tune in the U.S. today to coincide with Record Store Day Black Friday.

Initially released in August as the first track from the forthcoming album, The Blackout “started off its life about a more personal apocalypse, some events in my life that more than reminded me of my mortality, but then segued into the political dystopia that we’re heading towards now,” Bono told Rolling Stone in September. The first part of the statement refers to a bad bicycle accident the U2 singer had in November 2014, while the second part alludes to political changes in Europe and the US in late 2016. The latter were one of several reasons why U2 decided to delay the release of their new album.

Sources: NME, Rolling Stone, YouTube

Greta Van Fleet Continues To Rock Like Early Zeppelin On Sophomore Album

Michigan rockers deliver more hard-edged ’70s style rock

When I told a colleague yesterday I was going to see Led Zeppelin tribute band Get The Led Out last night (see previous post), he asked me whether I had ever heard of Greta Van Fleet. The name somehow sounded familiar, and just a little while ago, I finally remembered – I had first read about these Michigan rockers in a previous post from fellow blogger Music Enthusiast.  On November 10, the band released their second studio album From The Fires – close enough to put it into the “new music” category.

The record actually is a double EP, combining the four tracks from Greta Van Fleet’s debut EP Black Smoke Rising with four newly recorded tunes. I have to say I really dig their music, which almost sounds like a reincarnation of early Zep. Exactly because of that, I could see some people might dismiss them.

Greta Van Fleet

I also recall previously reading that Lenny Kravitz in his early years was accused of sounding too retro, too ’60s, too much like Jimi Hendrix; or that blues rock guitarist Kenny Wayne Shepherd essentially was a Stevie Ray Vaughan knockoff. The reality is great musicians listen to other great musicians, and in certain genres this inevitably leads to some repetition. Plus, last time I checked, Hendrix, Vaughan and Zeppelin recorded some of the best rock in music history, so I don’t mind if others embrace their sound. With that being out of the way, let’s take a look at From The Fires.

The record’s opener Safari Song is one of the four tracks from the first EP. Credited to all four members of the band – brothers Joshua Kiszka (lead vocals), Samuel Kiszka (bass guitar, keyboards) and Jacob Kiszka (guitar) and drummer Daniel Wagner – this rocker sounds like a tune that could have been included on Led Zeppelin IV. Here’s a cool clip of a live performance, which was captured in June at a music venue in Chicago. While at first sight these guys may look like a high school band, they certainly don’t sound like one!

Next up: Edge Of Darkness, one of the newly recorded tunes.

The album includes two covers: Meet On The Ledge, the second single from Fairport Convention, released in December 1968 and written by Richard Thompson; and the great Sam Cooke tune A Change Is Gonna Come, from his 1964 studio album Ain’t That Good News. I find this rock version intriguing, so here’s a clip.

The last track I’d like to call out is Talk On The Street, another new song.

According to their Facebook page, Greta Van Fleet was formed in 2012 in Frakenmuth, Michigan, just outside of Detroit, where 20 year-old twin brothers Josh and Jake Kiszka began playing shows with their 17 year-old younger brother, Sam, and 17 year-old family friend Danny Wagner. Their name is derived from a local resident called Gretna Van Fleet and used with her permission. Apparently, one of band’s members had heard it mentioned by a relative.

Wikipedia notes various remarkable accomplishments of the young band, especially in the past couple of years. In January 2016, their song Highway Tune was featured on an episode of Showtime comedy series Shameless. This April 21, Greta Van Fleet was named Apple’s new music artist of the week, and in October they won Best New Artist at the Loudwire Music Awards. The new album currently tops the Billboard Hard Rock Albums chart. Based on all the band’s success, it doesn’t appear their retro Zeppelinesque sound is hurting them, which is great to see. I certainly look forward to hearing more from these guys.

Sources: Wikipedia, Greta Van Fleet Facebook page, Billboard, YouTube

Jane Lee Hooker Release Powerful Sophomore Album

New York all-female band delivers more raw blues power

Jane Lee Hooker is a relatively recent discovery I made back in August when I saw this all-female blues rock band from New York at a free outdoor concert. I previously posted about them here. On Friday, they released their second studio album Spiritus on iTunes. According to the band’s website, the record is also out on CD in Europe and will become available in this format in the U.S. on January 26, 2018.

From the first to the last tune, the band exactly delivers what it does during their amazing live shows – raw oftentimes furious blues rock power that grabs you and invites you to move. Unlike their 2016 debut No B!, Spiritus mostly features original tracks. These five ladies definitely prove that in addition to covering tunes of blues greats like Muddy Waters and Johnny Winters, they also know how to write.

Except for one tune, I couldn’t find any of the studio recordings from the new album on YouTube, but luckily there are many clips of live performances, which are more fun to watch in the first place. Plus, according to a review in Music Republic Magazine, all tracks on the album were recorded live in the studio with no overdubs. This translates to the album’s sound, which comes across as unfiltered and spontaneous.

How Ya Doin’ kicks off the record. The uptempo blues rocker sounds like a perfect concert opener. Here’s a clip of the tune, which was captured in Orleans, France on November 1.

Gimme That, another original tune, has a nice Stonesey sound. But Jane Lee Hooker play it with more of an edge. The following clip is from a show back in July at Callahan’s Music Hall in Auburn Hills, Mich.

Here’s another nice tune, which was written by the band, Be My Baby. The clip is from another gig in France earlier this month.

Black Rat is one of the two covers on the album. It was first recorded in the 1940s by Memphis blues guitarist and songwriter Lizzie Douglas known as Memphis Minnie. BTW, that’s the same artist who together with her husband Kansas Joe McCoy wrote and recorded When The Levee Breaks in 1929, which was later reworked by Led Zeppelin and became the last song on their 1971 studio album Led Zeppelin IV. Jane Lee Hooker’s version of Black Rat sounds like triple the speed of the original.

The last song I’d like to highlight is the album’s closer, a cool slower track called The Breeze. It’s the only tune for which I could find a clip of the studio recording on YouTube.

Spiritus was recorded in New York this summer and produced by Matt Chiaravalle. According his website, Chiaravalle is a New York City-based music producer and engineer, who has worked with such artists as Debbie Harry, Courtney Love, Warren Zevon, and Joe Bonamassa. Like the band’s debut album, Spiritus appears on German contemporary blues label Ruf Records. Apparently, Jane Lee Hooker just wrapped up a European tour in support of the album yesterday (November 18) in Šumperk, Czech Republic. The only upcoming date that’s currently listed on their website is the Cincy Blues Winter Blues Fest on February 3, 2018 in Cincinnati, OH.

Sources: Wikipedia, Jane Lee Hooker website, Music Republic Magazine, YouTube

Bob Seger Still Like A Rock On New Album

‘I Knew You When’ features old time rock & roll and reflective tunes

I believe Old Time Rock And Roll was the first Bob Seger song I heard in the late ’70s when I started listening to music on the radio. Together with Bruce Springsteen, Tom Petty and John Mellencamp, Seger belongs to my all-time favorite American rock artists. On Friday (November 17), he released I Knew You When, his 18th studio album. While it may not include immediately obvious gems like Katmandu, Turn The Page, Rock And Roll Never Forgets and Old Time Rock And Roll, to name a few, it’s a pretty solid record that gets better after listening to it for a few times.

In addition to arena first-pumping style rockers, Seger included various more reflective tunes. Perhaps this shouldn’t come as a big surprise. In May, the heartland rocker turned 72, and rock & roll is a tough business that certainly doesn’t get any easier with advancing age. Last month, Seger was forced to cut short his 2017 Runaway Train Tour with The Silver Bullet Band due to a back issue that required surgery. According to a recent announcement on Seger’s website, his recovery is going well and “rescheduled dates are being mapped out for a coast to coast reboot of the tour this Spring.”

Bob Seger

Seger’s new album is dedicated to his long-time friend Glenn Frey, who like Seger was born in Detroit, MI. The two met in 1967 when Fry played in a band called the Mushrooms. Seger helped him get a recording contract and also wrote and produced the band’s first single Such A Lovely Child. Together with Frey, Don Henley and J.D. Souther, Seger also co-wrote the Eagles classic Heartache Tonight, a 1979 Billboard Hot 100 no. 1 hit. I Knew You When also pays tribute to Lou Reed and Leonard Cohen with covers of Busload Of Faith and Democracy, respectively. While Seger isn’t known for being particularly vocal about politics, it’s safe to assume the inclusion of these two tunes is not a coincidence.

Currently, there are only clips of two songs from the new album on YouTube, and I wonder whether that’s by design. Only in June this year did Seger’s music become more widely available on streaming platforms like Spotify, Apple Music and iHeart Radio. In a 2014 interview with Rolling Stone, Seger pointed to his manager and record company: “It’s an ongoing issue with my manager and Capitol Records. You have to talk to him about that. They agreed to something many years ago about new media and they don’t want to live up to it. The record business is 50 percent of what it was ten years ago, so they’re trying to cut costs. Until that’s resolved, we let very little out.”

The first clip is Glenn Song, Seeger’s moving tribute to Frey, which initially appeared as a free download on his website this January on the first anniversary of Frey’s death. The song is included as one of three bonus tracks on the deluxe version of the new album. “It’s obviously not meant to be a hit,” Seger told Rolling Stone. “There’s no chorus per se or title section or anything. The idea was just to honor his memory and talk, very specifically, about my impression of him in 1966 when we first met.”

The second clip I found is Seger’s cover of the Reed tune Busload Of Faith. Reed included the track on his 1989 studio record New York and also released it separately as a single that same year. Seger’s version adds muscle to the original with a great electric slide guitar, soul-sounding horns and gospel-like backing vocals. It’s a highlight of the record. According to BillboardSeger adjusted some of the lyrics. He replaced the Reed lines “You can’t depend on the churches/Unless there’s real estate that you want to buy” with “You can’t depend on the president/Unless there’s real estate that you want to buy” – remarkable how lyrics that were written in a different context more than 25 years ago eerily fit the situation in present day America!

Other tunes I’d like to mention are Gracile and The Highway, two rockers written by Seger. A third rocker, Runaway Train, was co-written by Seger, Tim Mitchell and Silver Bullet Band keyboarder Craig Frost. According to Wikipedia, it is one of several tunes on the album that were recorded many years ago but had remained unreleased until now. This particular song was initially recorded in 1993 and intended for Seger’s 1995 studio album It’s A Mystery. Another example is the title track I Knew You When, which Seger wrote in 1997 and considered for his 2006 album Face The Promise.

I Knew You When was recorded in Nashville and Detroit and produced by Seger himself. According to an announcement on Seger’s website, the album marks his 49th year with Capitol Records, extending his record as the longest tenured solo artist in the company’s history. The standard version of the album has 10 tracks and comes on vinyl and CD.  The deluxe version of the album includes three additional tracks and is available on CD, digital download and via select streaming services.

Seger has earned 13 platinum and 7 multi-platinum RIAA-certified sales awards, including his studio albums Beautiful Loser (1975), Night Moves (1976), Stranger In Town (1978), Against The Wind (1980), The Distance (1982), Like A Rock (1986), The Fire Inside (1991), Face The Promise (2006) and his double live albums Live Bullet (1976) and Nine Tonight (1981). Except for Beautiful Loser and Face The Promise, Seger recorded all of these records with The Silver Bullet Band. Earlier this year, his Greatest Hits album was certified diamond by the RIAA for achieving 10 million units sold in the U.S.

Sources: Wikipedia, Bob Seger website, Rolling Stone, Billboard, YouTube