Ted Nugent Albums (18)
'Motor City Mayhem: 6,000th Concert'
Release Date 6/26/2009
Tracks 23
Label Eagle Vision
See Album Tracklist and Review
What The Critics Say
This album won't supplant Double Live Gonzo! in the record collections of Nugent fans, and it certainly won't win him any new listeners, but just like 2008's Sweden Rocks (and his previous two studio albums), it's evidence that even as he persists in his obnoxious right-wing crankitude on cable talk shows and in print, when the Nuge straps on his Gibson, he can still lay waste to an audience. This July 4, 2008, show, recorded before a rapturous hometown crowd, is a greatest-hits run-through with a few surprises and a version of then-new single "Love Grenade," but the current rhythm section -- bassist Greg Smith and drummer Mick Brown -- gives the old songs a visceral kick, and Nugent's leads and solos scream and sting as powerfully as ever. There are guest stars, but they're stars within the Nugeiverse and/or the history of Detroit rock & roll -- his guitar teacher, Joe Podorsik, shows up for a surprisingly mellow and tasteful "Honky Tonk," while drummer Johnny "Bee" Badanjek of Mitch Ryder & the Detroit Wheels takes over on a version of that group's "Jenny Take a Ride," and Derek St. Holmes (vocalist in the '70s band that first brought Nugent to solo prominence) returns to the fold for "Hey Baby," "Cat Scratch Fever," and "Stranglehold." His clear, powerful voice adds something essential to Nugent's bluesy, funky hard rock, and a full-on reunion of the two men would be something special. Though three ten-minute tracks in a row ("Stranglehold," "Great White Buffalo," and "Fred Bear") is a little much to take as things wind down, ultimately, Motor City Mayhem rocks almost all the way through. Ted Nugent's still got it. ~ Phil Freeman, All Music Guide
What The Critics Say
You cannot stop Ted Nugent -- heck, you can't even hope to ignore him. Remarkably, even as his musical profile dwindled to near-zero within the greater pop/rock conscience in the late 90s, Nugent cleverly re-asserted himself via his vocal defense of his hard-line conservative politics, arguably achieving even more notoriety in the process, and obtaining an afterlife of sorts for his bread and butter: the music. Not only that, his renewed zest for aggressive self-expression has translated quite positively to his musical direction, making 2002's Craveman (his 19th -- count 'em -- studio L.P. as a solo artist) his fiercest effort in decades, and certainly his heaviest ever. Having realized that any attempt at subtlety or grace would be a waste of his precious hunting time, even "Damned if You Do," which sees him reunited with former Damn Yankees bandmates Tommy Shaw and Jack Blades, is surprisingly ballsy and un-cheesy. Admittedly, Nugent's songwriting ain't what it used to be in the '70s, when his wildman antics and flaming guitar acrobatics created the legend that is; but it's also nowhere near as lame as his confused '80s persona, when too much studio tampering transformed his mighty roar into a glossy whimper. No, Craveman's opening number, the nonsensical "KLSTRPHNKY," is, quite literally, a Kid Rock song, and therefore firmly entrenched in the new millennium. But as the album begins to unfold, Nugent steers his inspirational monster truck straight down memory lane, so that old-school fans will quickly begin drawing parallels with the man's '70s glory days. For example: "Rawdogs & Warhogs" and "Going Down Hard" replicate the Meat Loaf-sung ditties of old and "At Home There" emulates the slide guitar-heavy strut of "Stranglehold," while the main melody riff of "I Won't Go Away" is a ringer for "Just what the Doctor Ordered," and so it goes. Nostalgic? Most definitely. Revisionist? Not exactly -- at least not in any amount that will offend the faithful. Ultimately, the statute of limitations has pretty much expired for labeling this release a 'return to form,' but suffice to say that Craveman arguably constitutes the first truly worthy new entry to the Ted Nugent discography in well nigh 20 years. ~ Eduardo Rivadavia, All Music Guide
What The Critics Say
Like Double Live Gonzo recorded over 20 years before it, Full Bluntal Nugity is a concert recording that features the Motor City madman's biggest and best '70s arena rock hits. Recorded live during a New Year's Eve performance at Ted Nugent's annual Whiplash Bash in the guitarist's hometown of Detroit, this collection also includes plenty of Nugent's fast-talking concert banter. Not only is Nugent in fine performance form, but his accompaniment -- courtesy of drummer Tommy Aldridge (Whitesnake, Ozzy Osbourne) and bass player Marco Mendoza -- is also top-notch. The recording is clean and the performances are surprisingly energetic. Listening to Nugent as he blazes his way into the fifth decade of his performing career is a bit of a wonder, as songs like the epic "Great White Buffalo" and "Wang Dang Sweet Poontang" sizzle with the man's hard-edged guitar crackle and type-A vocal blasts. Classic records like Free for All and Cat Scratch Fever from Nugent's peak '70s solo era are perhaps the best source for new listeners looking to get into the man's music. But hardcore fans and especially completists will get plenty of kicks out of Full Bluntal Nugity. ~ Vincent Jeffries, All Music Guide
'Live at Hammersmith '79'
Release Date 3/11/1997
Tracks 10
Label Sony
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What The Critics Say
Originally broadcast on the King Biscuit Flower Hour, this 1979 set recorded at London's Hammersmith Odeon as the finale to Nugent's European tour includes crowd favorites including "Cat Scratch Fever," "Gonzo," "Motor City Madhouse" and "Free-for-All." ~ Jason Ankeny, All Music Guide
What The Critics Say
Spirit of the Wild ranks as one of Ted Nugent's finest moments because it cuts away the filler and keeps the wildman's tendency for indulgence in check. A fair amount of the material does concern itself with the wilderness, which fits right in with his '90s reinvention as a conservative family-values spokesman. That doesn't mean that it's a tame record -- it means that Nugent sounds committed again, since that passion for hunting and family flows throughout his performance. ~ Stephen Thomas Erlewine, All Music Guide
'If You Can't Lick 'Em...Lick 'Em'
Release Date 10/25/1990
Tracks 10
Label Atlantic
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What The Critics Say
Ted Nugent's final album of the '80s is undoubtedly his strongest of the decade. Although that isn't saying much. Reuniting with producer Tom Werman, it's evident that Nugent had a particular sound in mind when he set out to record If You Can't Lick 'Em...Lick 'Em. If the album's sound marks a return to the classic compact Nugent guitar sound, the songs once again leave a lot to be desired. Recorded and mixed at Conway Studios in L.A., Lick 'Em suffers from a lack of consistent material, pontificated by the fact that Nugent sings each and every song on the record -- making it sound completely one-dimensional. In an effort to garner FM airplay, the Nuge collaborates with Jon Bon Jovi and Richie Sambora on "That's the Story of Love"; sadly, the track sounds like a bad Kiss outtake. The "Little Wing"-inspired "Spread Your Wings" never takes flight either, as the ridiculously titled "The Harder They Come (The Harder I Get)" is anything but hard or cutting-edge. Once again, hiring the best studio dogs that money can buy (like stellar drummer Pat Torpey or knack engineer John Purdell) can save Nugent from himself. ~ John Franck, All Music Guide
'Little Miss Dangerous'
Release Date 1/1/1985
Tracks 10
Label Atlantic
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What The Critics Say
A Ted Nugent album full of artificially triggered sounds. ~ John Franck, All Music Guide
What The Critics Say
Ted Nugent's sophomore release for Atlantic makes a classic case in point for an artist trying to catch up to the times. On Penetrator, the Nuge enlisted two-thirds of Billy Squier's backup band, which at one time included longtime Squier keyboard player Alan St. John and veteran drummer Bobby Chouinard. Nugent also hired future Bad Company frontman Brian Howe to handle vocal duties along with Doors bassist Doug Lubahn. Together, this odd mix of arena rockers would enter New York's Power Station to cut basic tracks for what would emerge to be Nugent's Penetrator. The album clearly emulates the production of Billy Squier's '80s albums. The rhythm tracks are virtual blueprints for Squier's Emotions in Motion and Signs of Life, which, ironically, was released the same year as Penetrator. Includes "Tied Up in Love," "Knockin' at Your Door," "Thunder Thighs," "Lean Mean R&R Machine," and the melancholic ballad "Take Me Home." Curiously, the ensuing tour would see Nugent playing mid-sized theaters with vocalist Brian Howe once again at the helm. In a live setting, these songs (minus the studio mucky muck) would fit neatly into a set that highlighted Nugent's past hits. ~ John Franck, All Music Guide
What The Critics Say
The 1982 release of Ted Nugent's second self-titled release ushered in a new era for the Motor City Madman. With his relationship with Epic having run its course, the Nuge signed a deal with Atlantic Records. From the album's black-and-white sleeve to a reunion of sorts with the undervalued, underappreciated Derek St. Holmes, Nugent made it evident that for all intensive purposes, this album was meant to be a "return to basics." Producing the record himself, Nugent surrounded himself with an ace band that included Jeff Beck/Rod Stewart drummer Carmine Appice as well as Pat Travers and longtime Nugent bass player Dave Kiswiney. Kicking off with the classic Nuge rocker "No, No, No" and "Bound and Gagged," Nugent gets off to a strong start. Unfortunately, things quickly deteriorate from there. The tracks that follow tend to run from the mediocre "Fightin' Words" to the just plain awful, like "We're Gonna Rock Tonight." On a positive note, the album's compact production has not only aged well, it has proved to be Nugent's only relevant sounding record of the '80s. For hardcore Nugent fans only. ~ John Franck, All Music Guide
