TED NUGENT: Double Live Gonzo! 1978 LP (2 x Vinyl Gatefold) EPC 88282. Check the video of the LP for sale! Holland / Dutch pressing. Check audio

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Check the exclusive video showing this LP for sale

Check the exclusive video showing this LP for sale


Ted Nugent – Double Live Gonzo!
Label: Epic – EPC 88282
Format: 2 x Vinyl, LP, Album, Stereo, Gatefold
Country: Europe (HOLLAND)
Released: 1978
Style: Hard Rock
A1 Just What The Doctor Ordered 5:13
A2 Yank Me, Crank Me 4:11
A3 Gonzo 4:40
A4 Baby, Please Don’t Go 5:22 Written-By – Big Joe Williams
B1 Great White Buffalo 5:39
B2 Hibernation 14:06
C1 Stormtroopin’ 8:03
C2 Stranglehold 9:46
D1 Wang Dang Sweet Poontang 5:00
D2 Cat Scratch Fever 3:35
D3 Motor City Madhouse 9:45

Phonographic Copyright ℗ – CBS Inc.
Copyright © – CBS Inc.
Pressed By – CBS, Haarlem
Arranged By – Ted Nugent
Bass – Rob Grange
Drums, Vocals – Cliff Davies
Guitar, Vocals – Derek St. Holmes, Ted Nugent

Written-By – T. Nugent* (tracks: A1 to A3, B1 to D3)
Recorded live between June 1976 and November 1977 :
A1, D1, D2 recorded at Municipal Auditorium, Nashville July 1977.
C1 recorded at Seattle Center Coliseum, August 1977.
B2 recorded at San Antonio Convention Center July 1976.
B1, D3 recorded in Dallas July 1976.
C2 recorded at Civic Center-Springfield, Mass. June 1976.
A3 recorded at Joe Freeman Coliseum, San Antonio November 1977.
A2, A4 recorded at Taylor County Coliseum, Abilene, Texas November 1977

℗ 1978 CBS Inc. / © 1978 CBS Inc.

Printed in Holland on cover
Made in Holland on label

Double Live Gonzo! is a live album by the American hard rock guitarist Ted Nugent, released as a double LP in 1978. In addition to live versions of songs from previous albums, this double album also contains original material played live, including: “Yank Me, Crank Me” and “Gonzo”. The album has reached 3× Platinum status in the United States.

There’s virtually no middle ground when it comes to Theodore Anthony Nugent, a quiet, unassuming lad from Redford Township, Michigan whose hobbies include hunting, firearms, and playing guitar. His single-minded quest to belly shoot every whitetail deer in North America rankles PETA, his cache of weapons has caused most gun control advocates many a restless and sleepless night, and his refusal to treat any liberal politician with even a modicum of reverence is, well, generally how politicians SHOULD be treated, regardless of stance. I’ll bet some of you just choked on the bong water.

But as anyone who’s been following the plot knows, Nugent’s transformation from self-styled, carrion-fortified, date-raping Motor City Mad Man to gonzo-yet-articulate spokesman for the far right didn’t really begin in earnest until his recording career was taking one final revolution around the bowl before disappearing entirely down the pipes. Despite a business empire which includes such ventures as hunting publications, gear, safaris, and television, as well as his nonprofit Kamp for Kids, the guy apparently still needs the spotlight like tomorrow needs today.

Based on “Double Live Gonzo,” it’s hard to believe his craving for attention wasn’t sated back in 1978, when he stalked the planet’s hockey barns and arenas on his own personal crusade to liberate most of middle America’s hearing, frilly undergarments, and wage packet. The last Nugent album to feature the glory-years lineup of Cliff Davies, Rob Grange, and Derek St. Holmes, it’s the sonic equivalent of plugging your head into the butt end of a Concorde during acceleration mode, his beloved Gibson Byrdland providing the thrust and sounding alternately like a wounded bull elephant, the Battle of Normandy, and the 5:15 Amtrak from Ann Arbor to Detroit clearing the tracks across Michigan Avenue of a bus full of retirees headed for the Greektown Casino.

Despite the presence of the more-than-capable St. Holmes, Nugent veers dangerously close to micro-managing the proceedings by taking more than his share of lead vocals, keeping things moving with snappy between-songs banter (a portion of from which Nashville Pussy took its name), and filling every available space with a six-string mustard gas attack, screams straight out of a wilderness therapy communal bloodletting, and what sounds like the primordial grunts and groans of a herd of buffalo in rut.

Speaking of buffalo, the beefy riff of “The Great White Buffalo” is here in all of its thundering glory, highlighting a set list which touches all phases of the former Amboy Duke’s back catalog, exposing his scorched earth policy of volume, rhythm, and braggadocio (musical, sexual, animal, or otherwise). And when he advises that “anyone who wants to get mellow can turn around and get the fuck outta here,” you know he means it.

But it’s hard to take anything Nugent says outside of hunting and music to heart, his live performances and studio output the aural equivalent of a ringside interview of Bobo Brazil and Dick the Bruiser before their big Saturday night match down at Cobo Arena. Yeah, we know he’s full of shit, but who amongst us could seriously blame him for that? Not I. Loving the sound of your own voice, and in his case, your own guitar, is part of the job description.

 


Something old, something new, something borrowed…

Touring virtually non-stop during the turbulent ’70s, with 300 gigs per year on the docket, Ted Nugent and his hired guns were one tight and well-oiled ass kickin’ machine. Fast talkin’ Ted flanked by guitarist/vocalist Derek St. Holmes and bassist Rob Grange, and backed by ever-steady drummer Cliff Davies, formed the classic Nugent line-up. By ’77, dead-eye Ted and the boys were filling sports arenas and stadiums across America. It was a steady rise in popularity that was punctuated with the Whackmaster’s 1978 release of Double Live Gonzo!

The high-octane concert recording pulls from deep in Nugent’s recording career with the inclusion of the lengthy, feedback frenzied “Hibernation” and the raging “Great White Buffalo”, while drawing on previously unreleased cuts via the brash “Yank Me, Crank Me” and the hyper “Gonzo”, plus the addition of a cover in the form of the pile-driving “Baby, Please Don’t Go”.

Originally issued as a ’70s standard double LP set, recorded at various locations across the states, “Stormtroopin'” and “Stranglehold” intensify the ball-busting performance, that also adds the infectious “Cat Scratch Fever” and the closing mayhem of “Motor City Madhouse”.

Ted’s epic chatter intro to “Wang Dang Sweet Poontang”, before the standing-room-only audience at the Municipal Auditorium in Nashville, on a steamy July night way back in ’77, will forever serve as a reminder that things were so much cooler before political-correctness took over.