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"Nugent," - (1982) Ted Nugent (Spitfire Records Reissues) |
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The spirit of the wild, untamed and unleashed upon the world again, this latest four disc collection focuses on Nugent's lesser hailed quantities from the 1980's, a decade of music that followed on some of the more acclaimed works of his past, and one that probably wasn't given enough credit at the time. Not that I'll be quick to compare some of the more commercially-aimed features of something like "Little Miss Dangerous" with the more dangerous like "Free For All" or one of the most revered Rock albums of all time "Cat Scratch Fever," but today, in a time when our aging Rock stars are again afforded the opportunity to flash their musical wares and show the new kids how its done, Nugent's role within the ranks of Rock & Roll cannot be denied. Following up on the waning popularity of his late '70s hits, and at the dawn of a new decade, when gritty guitar-Rock began to give way to the more fashionable dictates of the time, Nugent's role would be diminished but this "Habitual Offender" was not ready to slow it down or turn it down… "Nugent," first released back in '82, the first of this reissue series, followed up on "Intensities in Ten Cities" and the "Great Gonzos" best of collection that wrapped up the glory days that first put the man into the bowels of Rock and Roll greatness. Fresh off a label change from Epic to Atlantic, and the usual revolving door musician policy that comes and goes with those greats of the game who's name stand at the forefront of front cover prominence, Nugent's self-titled foray featured the likes of Carmine Appice on drum duties-a veteran of the scene even then, Appice added another level of significance to the guitar-dominated Rock records of Nugent's past. As well this would be the last album to feature Derek St. Holmes on vocals, reunited again with the Nugent camp and a key component of the classic early sound… the rift between he and Ted however, would be later documented and soon lead to the six-string maniac himself taking over a larger share of vocal duties. "Bound and Gagged," "Habitual Offender," "Good and Ready" would lead the charge into a new era of Hard Rocking anthems in the traditionally hard, loud and self-effacing manner which lied at the root of all things Nugent, still shootin' for thrills in what wouldn't prove to be the most hospitable huntsman's terrain… Okay so we're a bit off the mark with the "self-effacing" suggestion but hey, two out of three ain't too bad. Fast forward two years ahead to 1984… everybody knew this album, if not for what it contained musically, then for its cool album cover with the serpent tattoo emerging from the guy's bicep! Right from the get go, "Tied Up in Love," first single, we knew things were going slightly in a more commercial direction-all of a sudden there are keyboards backing up the typically Nugent rhythmic extreme, with full backing vocals aimed at the catchy chorus… definitely not your average, everyday tone down of the time, just a little more musically… ambitious? But whatever the case, it worked well, the songs were broader, catchier, and maintained the same heavy integrity of the past. Continuing to a lesser degree at the political slant drawn out on the previous record, "Go Down Fighting," took the next step from "Bound and Gagged," aimed at the political inadequacies stemming from the Iran hostage crisis-nice job Jimmy-this one rode a broad range of ideas, but in the end, it was just good plain ol' fun in the Rock & Roll excess sort of extreme. New band, new sound, thick production, yet this was for some reason not the hit record it really should've been. Did Ted aim at a sell-out here? In a lot of ways it could sound that way-"Where Do You Draw the Line," "Don't You Want My Love," but in spite of itself, it wasn't, and that was okay. "Penetrator" featured future Bad Company vocalist Brian Howe, a Lou Gramm sound alike that was coincident with the latest Foreigner-like style of the music overall, but still bent wholly on the take no prisoners Nugent guitar wail… When "High Heels in Motion" first blurted out of my car speakers from this 1986 release, I admit having cringed a little. The slickly produced opener from the latest commercial wandering "Little Miss Dangerous" was a bit of a stretch for what I perceived as the guitar-grinding Rock and Roll animal now having placed a little too much emphasis on Pop harmonies and keyboard effects. This record also revealed the tribal instinct of Nugent, a character trait that had been there from the beginning; the angle was now directed in the more socially flaunting sexually over toned schematics that made for a decade's worth of notoriety for a growing list of "hair" bands-the exposure however, would not figure to the same degree. The name's the same, only the group had changed… again. This time Nuge took on more of the vocal responsibilities, along with Dave Amato manning the mic and providing extra rhythmic backing and synthesized accompaniment… a voice not unlike the higher pitch of his "Penetrator" predecessor. "Little Miss Dangerous," the title track, was a great tune-slow, soulful, full of swagger or as Nuge would later proclaim, "Sexual inspiration exploding in a firestorm of spiritual orgasm…" and few could say it better. And the mighty chorus, perhaps the biggest jump in the Nugent style during his ongoing work with Atlantic. But when he rocked, he rocked and few could argue with the fire that flew off the frets for such album highlights as "Savage Dancer," "Angry Young Man," and the unyielding power of "Painkiller…" The final Nugent release for the 1980's, "If You Can't Lick 'Em…" with its expected tongue in cheek title and of course the album cover contributes to this idea in no small detail, but here was Nuge's return to the gritty form that first marked the long, glorious career that began all those years ago when his Amboy Dukes project drew to a close. The "lick" as it was known throughout, was his calling card, and he wrote 'em and played 'em with the best of any Rock guitarist. The timing of this record probably couldn't have been worse considering the popularity of the mid-'80s poster boys and Pop stardom running rampant in the ranks of Metal, but then again, having taken the bait for the last couple of records, what did it matter anyway? Credibility in tow, Nugent assembled a then all star cast that featured the likes of Pat Torpey on drums, later to go on to play with Mr. Big, veteran bassist Chuck Wright… Ted would again share the vocal duties with Dave Amato, first heard on the last record, and this time producer Tom Werman, responsible for the many heady moments on the vintage stuff of the past, rejoined the ranks and non-coincidentally, the shared vision between the two resulted in one of the more inspired Rock records of the time-"If You Can't Lick 'Em…" an arena Rock anthem the recalls the "Free For All" days; "Skintight," a hyped up riff-ridden jam that carried a groove like we hadn't heard in years, and then of course "The Harder They Come The Harder I Get," which subjectively, needs little explanation, and by all accounts should've been big time with Rock radio but if nothing else, telling evidence of the fact that man cannot live on image alone… Nugent would soon go onto even bigger successes joining the ranks of Damn Yankees at the end of the decade and into the early nineties. An unlikely culmination at first that saw him unite with the likes of Tommy Shaw and Jack Blades of Styx and Night Ranger fame, Ted provided the rock solid backbone to this super group that would go onto hit the big time with songs as "High Enough," "Come Again," which should go down in history as one of Nugent's greatest bodies of guitar work, and later "Where You Goin' Now" and "Don't Tread." Simply put, there are few who work harder at their craft than Nugent-love him, hate him, laugh at him, whatever the case, he's endured as long as he has for a reason and few who've ever picked up a guitar could ever dismiss his influence. This new set of reissues features digital remastering, essential for the first two recordings, plus up to date liner notes with a too brief commentary from the man himself who for anyone who's even remotely followed his career in music, knows few others have a better way with words… or expressing their sometimes pointed views through the power of their music than the motor city madman. Released by Spitfire
Records. Review by Vinnie Apicella
[va85@columbia.edu] |
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Full Bluntal
Nugity
Ted Nugent |
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Great Gonzos it's the return of the Ted… night of the strong bows… fire your guns… choose what you wish, there's no one that can deliver the goods like Mr. Nugent-and in true ire-raising style, he yanks 'em, cranks 'em and mounts 'em on the wall when he's through. The Rock & Roll predator's on the loose again, this time runnin' wild at The Palace in Auburn Hills for his annual whiplash bash New Year's eve extravaganza, and setting the stage-what was left of it, for those other seventies' sensations, Kiss, and who better to stir things up? True to form, "Full Bluntal Nugity" is pure, primal and raw, on display for all to see and now for the fans-and listening to this guy speak, who wouldn't be a fan based on that alone. Outspoken to the extreme, Nugent's at one with his guitar, at one with the audience, and sharing the stage with an unsurpassed rhythm section that features Tommy Aldridge and Marco Mendoza on drums and bass, the old classics never sounded this sharp in years. And for about the first half hour, that's exactly what we're getting, a full dose of mad man raging on about the likes of "Snakeskin Cowboys," "Wang Dang Sweet Poontang," and dare we say the subdued "Free For All…" well if only for a moment-hearing these tunes again, some of the most memorable and let's face it, the glory years for old Ted and discounting Aerosmith and their knack for discovering the Pop market money tree, the rest of his classic Rock brethren of a bygone era. In fact this entire taping features those old favorites, the expected monsters that reared an ugly head some twenty five years prior, and amazingly enough, little's changed-the riffs, the attitude… the Nuge, all is as it once was, and at least for a night, maybe even that much better. Notably absent from the recording, though to many probably out of sight out of mind anyway, are some of those lesser-known quantities that made up the Nugent roster of records in the fading eighties. And while the hard-core fanatics will get their chance to revisit the likes of "Little Miss Dangerous" and "If You Can't Lick 'em, Lick 'em" in the upcoming Spitfire reissue series, you ain't gonna get 'em here. Admittedly, it wouldn't be a bad thing to hear him wail away on "Pain Killer" however, as it would fall in perfectly with the rest of these guitar-stompin' drop kickin' fret-burning assemblies, but then again, could the twelve songs available ever be enough anyway? Something of a surprise, Nuge mellows out for a stretch when he recalls old times with his old bud from the "Spirit of the Wild" release and "Fred Bear," an acoustically played ode that settles things down momentarily until he fires up the rest of everyone's want list starting up with "Cat Scratch Fever" and on down the line. With between song ranting abound, few have ever gone as far as Nugent, on the stage, and on record-double meaning fully intended. If you're old enough to remember the last time Ted did a live record, you'll want to definitely hear how he's sounding today. If you're not, what's it matter anyway, check out the ageless wonder as he wails away on anything and everything with a fully loaded arsenal that shows no signs of expending itself any fucking time soon-but be warned, overexposure will not only have debilitating effects on your hearing, it's guaranteed to expand the breadth of your suddenly limitless vocabulary. Released by Spitfire
Records. Review by Vinnie Apicella
[va85@columbia.edu] |