Ramblin' Gamblin' Man: It's 1967 and Bob doesn't know whether he wants to be Mitch Ryder, John Fogerty, or Love (Arthur Lee). In other words, it's a wildly inconsistent mish-mash of current hippie styles. Fascinating as a historical document, but there are only 2 genuine classics - the title track and "2+2 = ?" a proto-punk anti-draft raver. B-
Noah: Even more hippie, because some other secondary songwriter tried to usurp the band. This notable for two cuts: Seger's darkest, most intense song, "Death Row" which lives up to the heavy "Hey Joe" title. The other is "Cat" which is -- look, I always knew the guy was a Cro-Magnon horndog, but his response to fellow scenesters' the Stooges' "I Wanna Be Your Dog" is practically a porno track. He got away with this on a major label in 1969?! C
Mongrel: He goes full-on tilt-boogie for this one, as if he's trying to keep with his peers Ted Nugent, the MC5. and Iggy. It's crude and hamfisted. "Highway Child" is a keeper. The other tracks get by on raw energy alone. B-
Brand New Morning: almost losing his contract due to commercial indifference, he ditched his band and threw away a contractual obligation LP of raw piano/guitar balladry. It winds up much more pleasant and listenable than his first 3 albums, if much blander. B - it's nice, and I don't mind hearing it
Smoking O.P.'s - "Other People's" - All of these covers have been done better by other artists. Useless. D
Back in '72 - Seger is finally getting into his groove. This is the one with "Turn the Page" on it, as well as "Rosalie", and he betters definitive Van Morrison and Allman Bros. B+
Seven - "Get Out of Denver" is the only real classic, but it's solid meat'n'potatoes pub rock. B
Beautiful Loser - His songwriting improves by leaps. The only reason I don't rate this higher than B+ is --
Live Bullet - One of the greatest live double LPs of the '70s, it works as a greatest hits by collecting almost every early Seger song you'd ever want to hear, and vastly improving on the tepid studio versions. And any white man who can rip Tina Turner to shreds at her own game deserves mega-props. A-
Night Moves - His breakout hit, as his songwriting catches up to his enthusiasm, but he's getting much mellower, which is not a good thing. The non-hits aren't that memorable, but half of these songs were hits, so... B+
Stranger in Town - Same as above, virtually a clone of his most successful LP, and not any better or worse. B+
I have no interest in any of his '80s albums, and so it ends.
TL;DR -- Live Bullet for the early stuff, Greatest Hits for the rest of his career, and be done with the man.