studio until 2:30 in the morning to get the song right. After the tracks were mixed by Richardson and engineer Brian Christian, Richardson said that he received a call from Seger's manager/producer Punch Andrews expressing dissatisfaction with the tracks, and Andrews said that Capitol Records had been equally disappointed. A few months later, when Richardson was talking to a Capitol A&R executive, he asked about the Seger sessions and was told that "both tracks" were potential B-sides. It turned out that Seger and Andrews had never given "Night Moves" to Capitol, so Richardson did and, after hearing it, Capitol made it the title track of Seger's next album, as well as the first single. Composition "Night Moves" is a mid-tempo number that starts quietly with acoustic guitar. Bass and drums are introduced as the song's setting is described: 1962, cornfields, '60 Chevy. While Seger actually owned a 1962 Chevy, he felt "'60" flowed better in the song. Seger uses the word "points" in verse one to reference his pointed boots and his love interest's breasts. An intense summertime teenaged love affair is described, knowingly more sexual than romantic, with short instrumental lines breaking the evocative imagery, sometimes in mid-sentence. Piano, backing vocals, electric guitar and organ are added as the song's emotional nostalgia builds momentum. Then suddenly it stops, as the narrative flashes forward to some period in the future, where he hums a song from 1962. Seger has claimed in interviews that he was referencing the song "Be My Baby" by the Ronettes, though that song was actually released one year later. To a quiet acoustic guitar, the narrator, awakened by a clap of thunder and unable to fall back asleep, ponders a different sense of the title phrase. Seger said this passage was inspired by late-night self-analysis and "the uncertainty night represents": "I was thinking about the whole aura of nighttime, the four o'clock in the morning moment when you assess yourself, check your weaknesses." Then the rest of the instruments fall back in, for an extended coda vamp of the chorus. Richardson said that "the whole arrangement came together in the studio." The decision for an unusual bridge (consisting of three separate movements) was inspired by the Bruce Springsteen song "Jungleland". He credited that song, in addition to the Born to Run album, with helping him complete the song: "He had like a multiple bridge, he had