Before he godfathered heartland rock, Seger was pushing forward the same proto-punk that his neighbors the MC5 and the Stooges would later perfect. “These days,” wrote Marsh, “an interest in Bob Seger seems much less exclusive … Yet somehow, he’s still the same guy who struggled for fifteen years to get any kind of break out of Detroit at all.” He was holding out for the day when everyone, including Seger, would catch up. Like most critics and even some fans, Marsh admired the idea of Seger more than his actual music. Marsh, also from Detroit, was one of the great frenemies of Seger - he often reviewed Seger with backhanded praise, cringing over a huge talent wasting his potential - and he was relieved that Seger finally became famous. In 1978, he released Stranger In Town, arguably his best album. Two years before, Seger, having spent over a decade working his way through a competitive Detroit rock scene and retiring a few times, had just broken through with back-to-back career-defining LPs: Live Bullet, one of rock ‘n’ roll’s great live albums, and Night Moves, a contender for best car record ever. Bob Seger’s “might be the strangest career in the history of rock and roll,” wrote Dave Marsh in his 1978 Rolling Stone profile.
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