My favorite Ted.
The first concert I ever went to was Ted Nugent opening for Black Sabbath! It was in 1976 at the Capital Center in Washington DC. I was sixteen years old, and just getting into the hard rock scene.
Ted had just released the album "Stranglehold", and Sabbath had just released "Sabotage". It was a killer concert, and it set the bar pretty high for what I expected from subsequent concerts I would attend in the following years.
70's concerts were major events, and very loud. Lots of weeds were being combusted in various devices, and the air was always thick with it! The loudest concert I ever attended was a Kiss concert in Brussels Belgium at the Forest National Arena in about 1983. Man oh man.......my ears were ringing for the next two weeks!
Yes, The Motor City Madman. Good call.
He was so much better when he stuck to playing his guitar!
His mastery of feedback was a wonder to experience live, and he can play the hell out of that guitar.
Ted got me through the Disco years. Insane player!
Nugent was on Sammy Hagar's show a while back. Good interview and Ted let it rip on guitar.
The Nuge was an early influence of mine (especially since he played a hollowbody!). Some of my faves:
Killer tone, and gonzo playing!
Always thought "Cat Scratch Fever" would be a great cover by The Sex Pistols. I think Steve Jones' playing would make something good out of that.
For me, the only Nuge that matters (after "Journey"):
These Dukes were monsters, reflecting credible jazz and funk influence along with the remains of psychedelia and the hard rock aborning - not to mention nods toward prog - and Ted's playing is slick, witty, and musically entertaining. The band is both tight and loose, disciplined and adventurous.
If you don't know it, this live album - from several years before the Dumbed Down Lowest Common Denominator that dominated the carfoonery of his later Big Career - is well worth the listen. I'm finding it's also good for a re-listen even if you're familiar. It's scattered with long moments of gold.
The classic rock organ is a great counterweight to Ted's sprawling pyrotechnix, and a needed instrumental foil. Andy Solomon is more than up to the task of answering Ted's virtuosity. (And it's more or less the last time keyboards would matter much in a Tedband.)
The opening tune also has some of the best feedback solo work in the history of history, and additional examples are strewn throughout - incuding several long threshold-of-pain episodes in the last song, which seem to have the audience crying for mercy. (The musical emergence of the Tedator?)
One of my all-time favorite live albums, and a non-stop hoot. It lets me ignore his comparative mid-career formulaic mediocrity and late-career self-parody and inane politics. I'll always prefer to remember this young, hungry, musically diverse Nuge.
I'm noticing as I listen through that this album must have had a significant influence on my lead playing. It was entirely a matter of unconscious osmosis, I guess, as I never once tried to learn - or even imitate - any of the playing. Same goes for Jimmy Page (several of whose solos I did try to cop).
It's annoying and amusing, along with curious, because while I like early Ted and almost all Page, I recognize that both are kinda sloppy players, with great ideas frequently marred (though never completely derailed) by occasionally clumsy technique and at least the occasional outright stumble - at least by the standards of later more studied and refined players.
Along with some specific techniques, general scalar choices, melodic shapes, rhythmic figures, and dynamic gestures, the very thing I most absorbed from them was the slop. Something like a willingness to forgive myself indiscipline - failure to learn efficient fingerings, truly and thoroughly learn scales and modes and arpeggios, or lock to a metronome.
If I had to emulate, I would much rather hear Beck, Blackmore, Gilmour, Holdsworth, and Morse reflected in my playing. But no. I get echoes of the guys I never particularly wanted to sound like.
(Ehh. For what it's worth, I hear some slop in Hendrix, Mahavishnu-era McLaughlin, Howe, and Fripp as well - mostly natural artifacts of scrambling for the passages they're going for, and little rhythmic irregularities as they get there. Of course I forgive them. I just wish I'd picked up elements of their approaches other than technical imperfections.)
in the 1980s i knew a guy in San Francisco called Edd Haynes, who had an album out on Berserkeley around 1986. he used to cover "Wang Dang Sweet Poontang" on solo acoustic in a deep, resonant baritone. it went over wonderfully, and was heckin' hilarious..
Stills and Young are both noted for their randomness and, erm, lack of great technical facility, but they were my first lead guitar infulences (on acoustic my first influence was John Sebastian's solo albums). i learned Stills' solo on "Find The Cost Of Freedom" complete with the POP in the second bar of the third chorus of the solo where Stephen's finger slips off the string intact. perhaps that's part of why technical players have never really appealed to me with certain exceptions. or maybe it was just that there was no way i would ever get within ICBM range of McLaughlin, but Garcia and Cippolina were attainable.
Agree about the Amboy Dukes years, but T,F&C was my #1 record for a long time (followed by Call Of The Wild). Nuge is the reason I bought a Guild T-100, close to a Byrdland but with a long scale neck.
Good call Bob!
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