(TED NUGENT-Survival of the Fittest: Live)-guitar hero/Amboy Dukes-D0-LP

	A$		30
	$		20

ITEM: VINYL 12” LP 33 1/3rpm
ARTIST: TED NUGENT
TITLE: Survival of the Fittest: Live
COUNTRY PRINTED: OZ
CAT No: POLYDOR, 2417 307
COVER: (Grade at EXCELLENT+)
LABELS: (Grade at NEAR MINT-)
VINYL: (Grade at NEAR MINT)
TRACKS:
All songs written by Ted Nugent unless noted.

"Survival of the Fittest" (Ted Nugent, Rob Ruzga, Andy Solomon, K. J. Knight) – 6:17
"Rattle My Snake" – 3:00
"Mr. Jones' Hanging Party" – 4:55
"Papa's Will" – 9:00
"Slidin' On" – 3:03
"Prodigal Man" – 21:20
  REVIEW: AllMusic Review by Joe Viglione
  After three albums on Mainstream Records and a Top 20 smash with "Journey to the Center of the Mind," Ted Nugent brought his new aggregation to Polydor(the late Lillian Roxon claimed there were 35 personnel changes prior to their first and only hit). This second album on that label (and before they would jump to Warner and eventually Epic), was recorded live at The Eastowne Theater in Detroit, MI, July 31 and August 1, 1970. A prime candidate for re-release with bonus tracks, the full hit is not here; the single disc contains six tracks, including the 21-minute-and-20-second epic "Prodigal Man," written by Nugent and sung by keyboardist Andy Solomon. Solomon handles the majority of the vocals on this album, with drummer K.J. Knight vocalizing on the bluesy "Mr.Jones Hanging Party" and songwriter/guitarist/focal point Nugent doing the chores on "Papa's Will." Solomon provides nice sax on "Mr. Jones' Hanging Party," showing the considerable talent he brought to the table. What's this live disc like? The riff to "Journey to the Center of the Mind" opens the album inside the instrumental collaboration written by the group, "Survival of the Fittest," and it is a big tease. Unlike the bad mutations of the Electric Prunes, H.P. Lovecraft, and the most blatant example, the Velvet Underground's pseudo-record, Squeeze, this is the leader of an original group as he goes through musical changes. "Rattle My Snake" is certainly more in the Pat Travers vein than the psychedelic intrigue of the original (on record anyway) Amboy Dukes, and though this recording is live and has that live excitement, it feels more like a new album, with none of the tracks appearing on previous discs. "Papa's Will" is Ted Nugent stretching out a riff that -- if it were brought up in the mix -- could inspire Black Sabbath. The collage of the four members on back is as bizarre as another Michigan product, Survival by Grand Funk Railroad. This album has that primal feel, though it is Ted Nugent with bows and arrows, in Native American garb, who is the solitary figure on the front cover.

COMMENT: Wikipedia
Career
Nugent has released more than 34 albums and has sold a career total of 30 million records. He was known throughout his early career in the 1970s for using Fender amps, a large part of his signature sound, and for playing the hollow-body Gibson Byrdland guitar.

Performing since 1958,[6] Nugent has been touring annually since 1967, averaging more than 300 shows per year (1967–73), 200 per year (1974–80), 150 (1981–89), 127 concerts in 1990, 162 concerts in 1991, 150 concerts in 1993, 180 in 1994, 166 in 1995, 81 in 1996, Summer Blitz '97, '98, Rock Never Stops '99, 133 concerts with KISS 2K. Nugent's 2005 plans involved a tour with country music singer-songwriter Toby Keith, whom Nugent met in Iraq while they were both performing in USO-sponsored shows for the coalition troops.[citation needed] Nugent toured with local Detroit musician Alex Winston during the summers of 2007 and 2008.[7]

On July 4, 2008, at the DTE Energy Music Theater in Clarkston, Michigan, Ted Nugent played his 6,000th concert.[6] Derek St. Holmes (original singer for the Ted Nugent band), Johnny Bee Badanjek (drummer for Mitch Ryder and The Detroit Wheels), and Nugent's guitar teacher from 1958 Joe Podorsek all jammed on stage with Nugent for various tunes.

Amboy Dukes
His first edition of The Amboy Dukes played at The Cellar, a teen dance club outside of Chicago in Arlington Heights, Illinois, starting in late 1965, while Nugent was a student at St. Viator High School. The Cellar's "house band" at the time had been the Shadows of Knight, although the Amboy Dukes eventually became a staple until the club's closing.[8]

The Amboy Dukes' second single was "Journey to the Center of the Mind", which featured lyrics written by the Dukes' second guitarist Steve Farmer. Nugent, an ardent anti-drug campaigner, has always claimed that he had no idea that this song was about drug use.[9] The Amboy Dukes (1967), Journey to the Center of the Mind (1968) and Migration (1969) — all recorded on the Mainstream label — sold moderately well. On April 5, 1968, Nugent along with a group of musicians paid tribute to Martin Luther King by having a folk, rock and blues jam session. Joni Mitchell played first, followed by Buddy Guy and Jimi Hendrix. Other musicians who participated were BB King and Al Kooper.[10]

After settling down on a ranch in Michigan in 1973, Nugent signed a record deal with Frank Zappa's DiscReet Records label and recorded Call of the Wild. The following year, Tooth Fang & Claw (which contained the song "Great White Buffalo", arranged with Rob Grange) established a fan base for Nugent and the other Amboy Dukes. Personnel changes nearly wrecked the band, which became known as Ted Nugent & the Amboy Dukes. Nugent reunited with the other members of the Amboy Dukes at the 2009 Detroit Music Awards, which took place April 17, 2009. The psychedelic band received a distinguished achievement honor at the event. The Dukes also played together at the ceremony, marking their first public performance in more than 30 years.[9]

Solo career
Nugent dropped the Amboy Dukes band name for good in 1975, and signed to Epic Records. Derek St. Holmes (guitar, vocals), Rob Grange (bass) and Clifford Davies (drums) were the primary additional band members for his 1970s multi-platinum[11] albums: Ted Nugent (1975), Free-for-All (1976) and Cat Scratch Fever (1977). These albums produced the popular radio anthems "Hey Baby", "Stranglehold", "Dog Eat Dog", and "Cat Scratch Fever". It was during these three years that Nugent emerged as a guitar hero to hard rock fans, many of whom were unaware of his lengthy apprenticeship with the Amboy Dukes.[12] This band lineup toured extensively, also releasing the multi-platinum live album Double Live Gonzo!, until its breakup in 1978 when St. Holmes and Grange departed. St. Holmes was replaced by Charlie Huhn and Grange by Dave Kiswiney. Davies left around 1982 after staying on to record Weekend Warriors (1978), State of Shock (1979), Scream Dream (1980) and Intensities in 10 Cities (1981).

On July 8, 1979, Ted was on the rock radio program King Biscuit Flower Hour. This was the original broadcast of Ted's performance of Live at Hammersmith '79 which had been recorded during the second set of a night at London's Hammersmith Odeon in 1979. An album of this program was released in 1997.

During this era, Nugent was notable for his declarations that he did not drink alcoholic beverages or smoke tobacco or marijuana. In an interview for VH1's Behind The Music, Nugent said this was due to his father's having reprimanded him when he came home smelling of alcohol after a night of drinking. Nugent has been cited as an influence on the straight edge movement, which disavows drinking and recreational drug use.[13]

  VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

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