At the end of the ’70s, Ted Nugent was the worst nightmare of
\nboth feminists and parents alike. Feminists hated him for some of
\nhis song titles, while parents were wringing their hands in
\ndesparation as Nugent grew in popularity.<\/p>\n
The ferociousness of his live show was captured to vinyl on
\n1978’s
\nDouble Live Gonzo<\/i>, but 20 years later, the dosc proves two
\nthings: the live show is still the most difficult thing to capture
\non a recording, and no matter who or when, sex sells.<\/p>\n
Recorded in various locations throughout 1976 and 1977, Nugent
\nand his backing band were hitting the stage all guns blazing, ready
\nto level the concertgoer from start to finish. But
\nDouble Live Gonzo<\/i> proves there can be too much of a good
\nthing, as Nugent and the band continually vamp to extend some
\nsongs. I always thought the point was to make your musical
\nstatement, then to get out.<\/p>\n
For a good portion of the album, Nugent handles the lead vocals
\n– and while he’s never pretended to be a great singer, he handles
\nthe chores rather well. The excitement of the live show is evident
\nas sometimes Nugent’s diction takes a turn towards the
\nunrecognizable. (It should be noted that Derek St. Holmes is unable
\nto match the vocal power live that he showed on the studio
\nefforts.)<\/p>\n
Anyone who is offended by double entendres – aw, who am I
\nkiddin’, out and out sexuality, don’t say you weren’t warned.
\nTitles like “Yank Me, Crank Me” and “Wang Dang, Sweet Poontang” let
\nyou know that this ain’t Romper Room. Compared to some live albums,
\nthough, this one is rather tame – but don’t let the wild man of
\nrock hear me making that comment!<\/p>\n
The biggest problem with
\nDouble Live Gonzo<\/i>, besides a somewhat muddled sound (an old
\nvinyl copy from the Pierce Archives is what I make that statement
\nfrom), is an overall sense of boredom I got from the records. I
\nmean, there’s not really a question as to whether Nugent was a
\ntalented guitarist. But the extended guitar solo\/showoff piece
\n“Hibernation” lacked originality, while the songs from the first
\nalbum – “Just What The Doctor Ordered”, “Stormtroopin'”, “Motor
\nCity Madhouse” – sounded very uninspired. You want to hear good
\nversions, check out the
\nTed Nugent<\/i> album. (Also, I have to admit I’m biased when it
\ncomes to “Baby, Please Don’t Go” – no one will ever touch the
\nversion AC\/DC cranked out in 1975.)<\/p>\n
Some songs do stand out, though. “Great White Buffalo” is a nice
\nsurprise, while a rendition of the then-new song “Cat Scratch
\nFever” holds its own pretty well. But the sad fact is that while
\nDouble Live Gonzo<\/i> is a nice album to dust off every once in
\na while, you can hear better versions of most of these songs on
\ntheir corresponding studio albums.<\/p>\n
The diehard Nugent fans, of course, will slobber over every note
\ntwisted out of his Gibson Byrdland, while classic rock afficionados
\nwill no doubt want to hear this to see what all the hype was about
\nin the late ’70s. Problem is that after listening to
\nDouble Live Gonzo<\/i> again, even I’m still wondering what the
\nbig deal was.<\/p>\n
If there was ever an album that was strictly for the fans, it
\nhas to be
\nDouble Live Gonzo<\/i> – either that, or it’s the perfect tool to
\nuse when trying to break your apartment lease. For anyone else,
\napproach this one with caution.<\/p>\n
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