Customer Reviews

Smokin Op's

5 star:		(15)
4 star:		(8)
3 star:		(3)
2 star:		(0)
1 star:		(1)

 

 

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.

This is a great album as all the reviewers have already said. There is not much I can add to what they have said, except that no one seems to remember that this CD and 3 others have been released before. They are Mongrel, Ramblin' Gamblin' Man, Seven, and Smokin' O.P's. They were out in '92 or '93. They went out of print pretty fast. I have these and the new version of S.O.P.'s. It definetly sounds better with the new remastering. "Back in '72" was listed in Ice Magazine for release on 8-16-05 but it didn't happen. Must have been pushed back. That album has never been released on CD, so it will be a welcome addition to my collection. Hopefully, the powers-that-be will see fit to re-release the others with the new remastered sound which is superior to the first go rounds. Also, I vaguely remember seeing "Noah" on vinyl years ago, but I don't recall much about it. I was really looking forward to the "Back in '72" CD. I found a good copy of it on vinyl a few months ago and transferred it to my computer which sounds o.k. My favorite is "Rosalie" which Thin Lizzy covered much to the original way Bob did it. ....Heavy Music, Indeed!!

About 10 years ago, Bob Seger did have most of his early Capitol albums on CD (with the exception of Noah, Brand New Morning and the holy grail of Seger albums Back In 72 with the original version of Turn The Page), and for some reason Ramblin Gamblin Man, Mongrel and Seven as well as Smokin OPs were deleted, leaving fans who wanted the CDs try to outbid one another on EBAY.

Perhaps Bob finally got the message from his fans and did managed to re release the very popular Smokin OPs, a stunning collection of cover versions that Bob liked. It doesn't get any heavier with lead track Bo Diddley to which even on the CD version, the bass rumbles through the speakers. Hey Bob, who do you love?

Other faves include Love The One You're With, a version that is just as good if not better than Stephen Stills, and a version of If I Were A Carpenter which has to be heard to be believed. On the other side of the record, you have Let It Rock and Turn On Your Love Light which pays homage to Chuck Berry and Bobby Blue Bland. The ballads Someday and Leon Russell's Hummingbird does sound kinda out of place granted with the rock and roll on this album, and it all concludes with Heavy Music, which sounds like it was mastered off a 45. Love the bass on that.

Certainly Bob is proud of Night Moves and beyond, however the early Capitol Seger years shows that alongside Detroit superstars Iggy and the Stooges, Mitch Ryder and The Detroit Wheels, MC5 and a few others, that Bob was a rocking force to be reckon with as well. This is true rock and roll, and it's great to see Smoking OPs back in print. Now Bob how about releasing the rest again? (Seven, Back In 72, etc etc)

Fun fact. Smoking OPs was recorded at a studio with a bowling alley upstairs (Pampa Lanes).

SMOKIN' O.P.'S presents a side of Bob Seger that many people might not know. On this CD, all but the last two songs are written by other people, and Seger has a sound much more rooted in the 60s than the one we've come to know. Still, this is a great album, and the fact that it was reissued just as Seger was advocating sanctions against Indonesia for that country's trumped-up drug-smuggling conviction of a young Australian tourist is as good a reason to buy this CD as are his great covers of such compositions as "Hummingbird" and his own "Heavy Music."

The Good
Seger and company pump up "Bo Diddley" with funky guitar tones and licks, stirring tambourine, and pulsing Hammond organ tones. More funk-style guitar dominates "Love the One Your With". This is one of the most soulful and emotionally charged versions I've heard of this song. The tuneful female vocals blend well with Seger's deep, throaty delivery. The bluesy solo work is simply stunning.

"Humming Bird" is all about the vocals during the first few moment of the song. The emotion builds with the addition of faint guitar and piano. The track takes a spiritual turn when the choir kicks in. "Let It Rock" is all about blues-rock with its blues chord progression and 50's style licks. They forgo the standard guitar solo for an impressive organ solo. Bob's touching and earnest vocals compliment the harmonica, strings, and piano on "Someday".

The Bad
Nothing notable

The Verdict
Light one up, sit back, and enjoy. Smokin' O.P.'s is a lost classic.

I am not really a Bob Seger "fan", but I am a fan of Michigan Rock, and no fan of Michigan Rock should be without this disc, as this is a classic example.
Bob Seger is one of the most eccletic performers in all of rock, willing to tackle nearly every musical style--sort-of like another Michiganite, Kid Rock, of his day. And that is why nearly every album he's ever put out is like a different "phase" of his career--what "bag" he's into at the moment, as well as creating different atmospheres for the album he is trying to create. However, like the aforementioned Kid Rock, and any other Michiganite for that matter, Seger sounds best on what he cut his teeth on first--and that is just basic, raw, stripped-down funky, rockin' soul. And that's much of what you hear on this disc. The basic theme here seems to be trying to funkify "O.P'S"--other people's music, and like any great Michiganite before or since--from Grand Funk Railroad to Ted Nugent--Seger and his band here reconstruct and even out-perform the originals. This is especially true on the first three tracks, "Bo Diddley", "Love The One You're With", and "If I Were a Carpenter". Bob Seger had probably one of the tightest bands to work with on this album, particularly the organ work of Skip Knape, which was brilliant all through this record, and I've always thought that Seger sounded best with an organ, rather than a piano, behind him (and now he has one of the best organists in rock--formerly of Grand Funk Railroad, Craig Frost, playing behind him in the Silver Bullet Band!) But this album was at least three years before all that "Silver Bullet" nonsense that I never really cared much for, all that 'grandiose, E. Street-type show band' stuff that I don't really think suits Bob Seger best--but, again, that his "bag" and wanting always to try new things. The band on this disc was just thrown together between his days in the "Bob Seger System" and the "Silver Bullet band" and was just a simple, crackerjack outfit consisting of nothing more than a bass, drums, organ, and guitar. But for the kind of music he did on this album, that's all he really needed. The back-up singers added a nice touch on "Love the One Your With", and even really outshine the ones Steven Stills used (of course, it's not hard to find a good backup singer in Detroit, they stand on nearly every street corner!)
The last song, "Heavy Music", sounds like it was a leftover track from his 60s band, that as some bands did at the time--he tried to pass off as a new song and put on a new album, but with it's Mitch Ryder-style rhythm and old, dusty, studio echo, you can't help notice that it sounds "dated"--even by 1972 standards! I do believe he had the song as far back as 1967 in two parts as "Heavy Music, parts one and two" that remained unreleased when his record label at the time, Cameo, went bust, and perhaps with the theme of this album being raw, stripped-down rockin' soul, maybe he thought the time was right for this track to re-emerge here--but it certainly sounds like an earlier recording that he at least "tweaked" with, sounding really edited down, and possibly layering some of his 1972 band to it. That said, the edited down 2 minutes of this number don't do this racuous tune justice. If there was a "part two" of "Heavy Music", it sounds as if maybe it was somehow "spliced" together with "part one", to keep the length of this album perhaps shorter, but it does sound like it was "tweaked" with. But just the two minutes I heard of "Heavy Music" tell me all I need to know about "Michigan rock", and is the perfect rock anthem for the music that emerged from that state. Put "Heavy Music" in what ever full form it might have previously existed in, I would easily give this album "5 Stars", rather than "3". As for what the "O.P" is on "Heavy Music"--perhaps, just Seger's new band adding a layer onto Seger's old band.
All told, this was Bob Seger's best album to me--just for the kind of music he made, and the kind of band he made it with. Bob Seger sounds best when he's just singing gritty old rockin' soul, with no horn section--just a bass, drums, guitar, and a double dose of organ behind him. The theme of this album is "Smokin' O.P's" (other people's music), and I've never heard a bad "O.P" smoked by a Michigan rocker--Bob Seger included!

This is an excellent cd for any Seger fan, avid or not - good old fashioned R&R! Amazon service was quick, fast and hassle free.

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.