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This is where I first was introduced to Bob Seger and the very first Seger song I heard from him was the title track Night Moves. I still crank it every time I hear it. This album is simply a killer. Bob Seger in those days was playing raw, essential rock and roll at its best. There's not a loser on this whole album, but the title song is a must hear. It's not particularly original album, but it's a good, solid rock album, delivered with honesty the songs alternating between up-tempo songs... (show more)

This is where I first was introduced to Bob Seger and the very first Seger song I heard from him was the title track Night Moves. I still crank it every time I hear it. This album is simply a killer. Bob Seger in those days was playing raw, essential rock and roll at its best. There's not a loser on this whole album, but the title song is a must hear. It's not particularly original album, but it's a good, solid rock album, delivered with honesty the songs alternating between up-tempo songs, excellent, fiery rockers, mid-tempo grooves and ballads. Now a bit o' trivia: Beginning with 1976's Night Moves, the title track of which became a top 5 smash, Seger began a lengthy hit streak that brought him enormous success. Between 1976-81, the singer released eight top 20 singles and Night Moves became a blockbuster reaching the Top Ten going quintuple platinum. It has also generated the hit singles Mainstreet and Rock & Roll Never Forgets heard regularly on classic rock radio today. (show less)

In most cases, I did not see the production that went with the recording in my CD player - so frequently, I wonder in how far I would evaluate something differently if I had seen it on stage. In this case, I actually did - but it does not help, I'm as indifferent to what is going on on disc as I was to what was going on on stage. In theory, "Tell me on a Sunday" is one of the most interesting Lloyd Webber shows because it can really draw you into a single character - Bernadette Pete... (show more)

In most cases, I did not see the production that went with the recording in my CD player - so frequently, I wonder in how far I would evaluate something differently if I had seen it on stage. In this case, I actually did - but it does not help, I'm as indifferent to what is going on on disc as I was to what was going on on stage. In theory, "Tell me on a Sunday" is one of the most interesting Lloyd Webber shows because it can really draw you into a single character - Bernadette Peters did that expertly on her recording of the score. Denise van Outen, however, is very unengaging - particularly for being so very unengaged herself. She does not invest any emotion into the proceedings, she just sings what they want her to sing and is done with it. I do not assume that the annoying slow tempo on "Come back with the Same Look in her Eyes" was her idea, so I will not blame her for that - but did she maybe request to get an istrumental in "Unexpected Song" where the climax should be? Both sound wrong, no matter whose idea it was. What makes the recording interesting nonetheless is the fact that there is some new material, written specifically for this production. But well, "Somewhere, Someplace, Sometime" gives a faux sugar coating to the ending that is not in line with the surprising judgmental aspect of the character in "Speed Dating", which is an interesting concept otherwise. "Haven in the Sky" is pretty but unnecessary so that leaves "Tyler King" as my favorite new song. van Outen performs that one with much energy - but that's all - the Bernadette Peters Broadway version improved upon the original by giving the character a name and an occupation, making it necessary for her to succeed in New York - Denise van Outen's character apparently just is a bored girl from England that hoped for transatlantic adventures - there's not much reason to care - but don't worry, Denise van Outen must have thought the same. (show less)