Bob Seger ‎– Night Moves

Capitol Records ‎– 4369
Vinyl, 7", 45 RPM, Single, Jacksonville Pressing


A Night Moves 3:20
B Ship Of Fools 3:21

Companies, etc.



Label variation: The "From the LP "Night Moves" ST-11557" bit is printed under the song title.
Has anti-slip reeds around label perimeter.

℗ 1976 Capitol Records, Inc.

Barcode and Other Identifiers

  • Rights Society: ASCAP
  • Matrix / Runout (Label A): S45-934340
  • Matrix / Runout (Label B): S45-94051
  • Pressing Plant ID (Stamped in runout B): 0
  • Matrix / Runout (Scribed in runout A (Masterd line is stamped)): 93434 D 4369 F1 #4 KP MASTERED BY CAPITOL
  • Matrix / Runout (Scribed in runout B (0 & Masterd bit is stamped)): 94051 4369 F1 #8 0 MASTERED BY CAPITOL

Other Versions (5 of 24) View All

Cat# Artist Title (Format) Label Cat# Country Year
7243 8 818212 6 Bob Seger & The Silver Bullet Band* Night Moves(CD, Single) Capitol Records 7243 8 818212 6 Europe 1994 Sell This Version
2C 006-85075 Bob Seger Night Moves(7", Single, For) Capitol Records 2C 006-85075 US 1976 Sell This Version
4369 Bob Seger Night Moves(7", Single) Capitol Records 4369 US 1976 Sell This Version
P-4369, SPRO-8541 Bob Seger Night Moves(7", Single, Promo) Capitol Records, Capitol Records P-4369, SPRO-8541 US 1976 Sell This Version
C2 7243 8 58608 2 9 Bob Seger Night Moves(CD, Single) Capitol Records C2 7243 8 58608 2 9 US 1997 Sell This Version



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August 29, 2018
edited 10 months ago
The canadian connection to "Night Moves" (edited from interviews)
My manager wanted me to do something that sounded commercial, so we went up to Jack Richardson’s studio in Toronto and did three songs you’ve never heard because they weren’t very good. I was waiting for the right moment for “Night Moves.” I was worried that a sax [played by the Silver Bullet Band’s Alto Reed] wouldn’t sound right on it, and that the lead guitar player [Drew Abbott] wouldn’t get the certain feel I wanted. So when they left to drive home, I said to Jack, “I’ve got this song. Can I play it for you?” The bass player [Chris Campbell] and drummer [Charlie Allen Martin] stayed.
Jack said, “This song is really good. I’m going to get some more people here tomorrow.” So he called up these girls to sing and brought in Doug Riley, who played organ and piano. And I have no idea where he found [Joe Miquelon] to play the lead guitar part. Jack just said, “I knew he was nearby.”

Sharon Lee Williams: Doug Riley was my connection there, with Rhonda Silver and Laurel Ward. We were a very tight vocal group. And Jack was a good director in terms of what he wanted vocally. I hear my voice clearly. I think Laurel was on top, Rhonda was probably in the middle and I was at the bottom, as an alto. The “moves” part was a little fast. There’s a little lick in there, a movement of the note. That was us, putting that little flavor on it.

Garth Richardson: I was basically a janitor at my dad’s studio. “Night Moves” was my first real work. I got to run the tape machine and plug in the mikes. Bob Seger was sitting to the right of me. When the singers came in, Bob sang and played the acoustic guitar while sitting inside the control room because we had nowhere else to go.
Later they got Paul Cotton from Poco to play a guitar solo, which they edited out. But when you hear the finished song, you can hear the last note of the solo, right where the song slows down and Bob goes into the last verse.

Craig Lambert: They were mastering the album in Los Angeles and Punch [Andrews, Mr. Seger’s manager] brought it up to the Capitol tower and played it for us. We heard “Night Moves” and our eyes just opened up. Oh my Lord, pay dirt! But unbeknown to me and Punch, my colleague Steve Meyer had been taping the music as it played, a little covert operation. After Punch left, we drove over to the Palm restaurant, where Bruce Wendell [the label’s head of national promotions] was having lunch with Paul Drew, who programmed all the RKO Top 40 radio stations in the country. He was the big gorilla then. If you got him on a record, you were pretty much guaranteed a hit.
He came out to the car and we played it for him. Two and a half minutes into it, he said, “That’s a smash.”
It was a huge risk for us to take. A record wasn’t done until Punch or Bob said it was done, and you didn’t do something like make a tape of it without them knowing. And what if Paul Drew had said, “I don’t think this is a hit.” The song would have had a stink on it.

Mr. Seger: Bruce Wendell called me and said, “You’ve got a career record here.” And I said, “What’s that?” He said, “Because of this song, you’re going to have a career that will last a lot longer than you think.” Good!