Published on Jul 31, 1997
In his two decades-plus time in the public spotlight, Ted Nugent
has worn many hats – hunter,NRA spokesman, PMRC opponent, and
reportedly once almost the owner of the dreaded Muzak. Oh, yes –
he’s also been an influential musician and, aaah, unique stage
persona.
So when you pick up one of Nugent’s albums, you expect to hear
him living up to his reputation as the “Motor City Madman.” So, if
you pick up his 1975 solo debut,you may be disappointed at how
controlled the playing is. In retrospect, this was a smart
move – Nugent allows us to see that the groove is the thing to
watch.
(Editor’s note: Since this review was written, a re-mastered
version with four bonus tracks has been released.)
From the opening chords of “Stranglehold,” Nugent and his
bandmates are out to to show that they can not only carry a tune,
but make you want to get up and groove. Maybe the guitar solo lasts
a little too long on this one, but Nugent demonstrates his talents
withoug jumping into the deep end – and this control is what makes
the track noteworthy. The vocals of Derek St. Holmes also shine –
not just on this track, but throughout the album.
While “Stranglehold” is probably the best-known track on
Ted Nugent, it’s not quite the best. I’ve always preferred
the rollicking “Snakeskin Cowboys,” which I first heard in the
glory days of Z-Rock. The bass work of Rob Grange adds a solid
backbeat to the rhythm, and Nugent again turns in a solid,
controlled guitar solo. (In all fairness, I don’t think Nugent ever
was a flashy soloist – though he did have some that were a little
too chunky throughout his career.) Close behind this one on my
best-of list is “Stormtrooper,” which has a guitar riff that is
damned near impossible to clear from your head once it burrows its
way in there.
The greatest surprise on this album is a short delve into jazz
on “You Make Me Feel Right At Home,” complete with vibes provided
by drummer Cliff Davies. It is an unexpected curve ball that Nugent
et al. throw at you, but a very interesting one.
While a good portion of
Ted Nugent ranks as some of the best music he ever created,
the Nuge does make some minor mistakes. “Just What The Doctor
Ordered” is an okay song, but nothing special (and one which
probably was not the best choice to open
Double Live Gonzo a few years later). “Motor City Madhouse”
has a bit of a groove to it, but just fails to take off. And the
closing track, “Queen Of The Forest,” is the only true throwaway
track here.
It’s interesting to note that one track on this album, “Hey
Baby,” was covered some 15 years later by blues legend Koko Taylor
– showing how the two genres could overlap at times. I still prefer
Nugent’s version, but Taylor did an admirable job on her
version.
It’s also amazing how well this album has aged – 22 years after
its release, it still sounds fresh, and is one that awaits
discovery from new fans just getting into Nugent. With a re-release
due from Sony Music, it will be interesting to see how they plan on
tweaking the album for the ’90s.
Ted Nugent is a solid effort from an experienced musician
and band, and despite one or two slips, is still an enjoyable
listen that deserved to be re-discovered by rock fans of all
ages.