Shutup & Jam!
Shutup & Jam! is the 14th solo studio album by American guitarist and singer Ted Nugent. The album was released on 7 July 2014 in 8 July 2014 in the United States, it features a guest appearance by Sammy Hagar on the song "She's Gone", is his first studio album since 2007's Love Grenade. The album was released on red 12 inch vinyl, as well as digital download; this is the last album to feature drummer Mick Brown. "Shutup&Jam!" "Fear Itself" "Everything Matters" "She's Gone" "Never Stop Believing" "I Still Believe" "I Love My BBQ" "Throttledown" "Do-Rags and a.45" "Screaming Eagles" "Semper Fi" "Trample the Weak Hurdle the Dead" "Never Stop Believing" Ted Nugent – lead guitar, Fender Bass VI, vocals Derek St. Holmes – rhythm guitar, backing vocals, lead vocals on "Everything Matters" Greg Smith – bass Mick Brown – drums: Screaming Eagles, Johnny B. Good Forever Johnny Bee Badanjek – drums: She's Gone, I still Believe Jonathan Kutz – drums: Shut up and Jam, Fear Itself, Trample The Weak, Semper Fi, Doo Rag and a.45, Everything Matters, I Love My BBQ, Never Stop Believing, Never Stop Believing Sammy Hagar – vocals on "She's Gone" Andy Patalan – Engineering, mastering, backing vocals Tim Patalan – Engineering
The Ultimate Ted Nugent
The Ultimate Ted Nugent is a compilation album by Ted Nugent released in 2002. "Stranglehold" – 8:23 "Stormtroopin'" – 3:09 "Hey Baby" – 4:00 "Just What the Doctor Ordered" – 3:45 "Snakeskin Cowboys" – 4:34 "Motor City Madhouse" – 4:33 "Where Have You Been All My Life" – 4:05 "Free-for-All" – 3:22 "Dog Eat Dog" – 4:03 "Writing on the Wall" – 7:11 "Turn It Up" – 3:38 "Street Rats" – 3:37 "Hammerdown" – 4:09 "Cat Scratch Fever" – 3:39 "Wang Dang Sweet Poontang" – 3:16 "Death by Misadventure" – 3:29 Rob Grange appears on Tracks 1, 2, 3, 4, 5, 6, 7, 8, 10, 11, 12, 13, 14, 15 and 16 "Out of Control" – 3:28 "Live It Up" – 4:00 "Home Bound" – 4:44 "Need You Bad" – 4:19 "Weekend Warriors" – 3:08 "Smokescreen" – 4:14 "Paralyzed" – 4:11 "Take It or Leave It" – 4:08 "State of Shock" – 3:23 "Snake Charmer" – 3:20 "Wango Tango" – 4:51 "Scream Dream" – 3:19 "Jailbait" – 5:20 "Yank Me, Crank Me" – 4:35 "The Flying Lip Lock" – 4:11 "Baby, Please Don't Go" – 5:58 Rob Grange appears on Tracks 1, 2, 3, 14 and 16
Free-for-All (Ted Nugent album)
Free-For-All is the second studio album by American hard rock musician Ted Nugent. The album was released by Epic Records, it was his first album to go platinum. As the recording of Free-For-All commenced, rhythm guitarist and lead vocalist Derek St. Holmes left the band, citing growing personal and creative conflicts with Nugent. Two solid years of living together on the road had taken its toll on the relationship. Additionally, St. Holmes was unhappy with Tom Werman's production, saying that the producer was watering down the band's sound. A full year before Bat Out of Hell brought him international success, vocalist Meat Loaf was brought in by producer Werman to sing on the album. Meat Loaf was paid the sum of $1000 for his contributions to the album, which included crafting all of the vocal arrangements and two days of recording sessions, he says that after he agreed to do the album he was sent a lyric sheet containing just the words with no arrangements. Having no idea what the songs were going to sound like, he nonetheless created the vocal arrangements for every song.
St. Holmes returned to the group after Free For All's release. Band management asked him to return at the request of Epic Records. All songs written by Ted Nugent, except where noted, all songs arranged by Nugent, Rob Grange, Derek St. Holmes and Cliff Davies. Band members Ted Nugent – lead and rhythm guitar, lead vocals, bass on "Dog Eat Dog" Meat Loaf – lead vocals Rob Grange – bass guitar, bass phase effects Cliff Davies – drums, background vocals on "Dog Eat Dog", producerAdditional musicians Derek St. Holmes – lead vocals, rhythm guitar on "Dog Eat Dog" Steve McRay – keyboards, background vocals Tom Werman – percussion, producerProduction Lew Futterman – producer Anthony Reale – engineer Tim Geelan – mixing engineer Paula Scher – album design Jim Houghton – photography Bruce Dickinson – 1999 reissue producer Vic Anesini – remastering Stephan Moore – 1999 reissue project director Howard Fritzson – 1999 reissue art director Gary Graff – 1999 reissue liner notes
Spirit of the Wild
Spirit of the Wild is the eleventh studio album of American hard rock musician Ted Nugent and his only studio album to be released in the 1990s. This album was produced by Michael Lutz for M. E. Productions and Ted Nugent, engineered by Jim Vitti and Lutz; this album marked the return of Nugent's original sound of hard rock and not the pop metal style of his'80s solo work. "Spirit of the Wild" is the theme song for Ted Nugent's hunting TV show Spirit of the Wild. "Fred Bear" is a tribute to the bowman Fred Bear. "Thighraceous" – 3:48 "Wrong Side of Town" – 5:15 "I Shoot Back" – 3:50 "Tooth, Fang & Claw" – 6:49 "Lovejacker" – 4:32 "Fred Bear" – 7:41 "Primitive Man" – 5:56 "Hot or Cold" – 4:31 "Kiss My Ass" – 3:20 "Heart & Soul" – 4:44 "Spirit of the Wild" – 4:22 "Just Do It Like This" – 6:08 Band membersTed Nugent – guitar, lead vocals, attitude and security, producer Derek St. Holmes – lead vocals on tracks 1, 2, 5, 7, 10 & 11 Michael Lutz – bass, vocals, engineer, mixing Denny Carmassi – drumsAdditional musiciansLarry Fratangelo – percussion Benny Rappa – drums on track 2, background vocals on tracks 2 and 10 Gunner Ross – drums on track 6 Doug Banker – piano on track 8, background vocals on tracks 9 and 11, managementProductionJim Vitti – engineer, mixing Brian Delaney, Jeff Campo – assistant engineers George Marino – mastering Donald May – art direction Steve Galli – cover photographer from Cobo Arena, Michigan, January 1, 1995
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Tommy Clufetos is an American session drummer most noted for his work with Black Sabbath during their Black Sabbath Reunion Tour, which highlighted their new album 13. He toured with them on their final tour, he is the drummer for Black Sabbath vocalist Ozzy Osbourne. Tommy Clufetos was born in Michigan, he attended Rochester Adams High School in Michigan. He began playing drums around the age of six. Clufetos started playing drums at age seven and went on to join Mitch Ryder and the Detroit Wheels before joining forces with Ted Nugent, he played on Love Grenade. After Ted Nugent, Tommy went on to join Alice Cooper's Band for his 2004 tour, he performed on Alice Cooper's 2004 release Dirty Diamonds. He went on to join Rob Zombie from 2005 to 2010, played on Zombie's 2006 album Educated Horses, on Zombie's first live release, 2007's Zombie Live, on 2010s Hellbilly Deluxe 2. In March 2010 Clufetos quit Rob Zombie to join Ozzy Osbourne. "I have no problem with, nor with Tommy joining his band," said Zombie.
"My beef was the way. If he'd come to me and said he wanted to leave, I'd have said, fine and wished him all the best, he didn't."In May 2012 Clufetos played with Black Sabbath, filling in for original drummer Bill Ward. However, he did not perform on their album 13, as Brad Wilk ended up behind the kit during the sessions. Clufetos returned to Sabbath in April 2013 for their North American tour, starting in Houston on July 25, 2013. Clufetos continued with Sabbath in 2014 with the first show at the Barclays Center in Brooklyn, New York, the final show at Hyde Park, London. In 2015 Clufetos played with Ozzy Osbourne including others. In late 2015 Clufetos began rehearsals with Sabbath for their farewell tour titled "The End", starting on January 20, 2016 in Omaha, Nebraska through to a final triumphant show on February 4, 2017 at Birmingham England's Genting arena, he is thus featured on Sabbath's DVD The End. Clufetos endorses Drum Workshop drums and Meinl Percussion cymbals. 2005: Dirty Diamonds 2002: Craveman 2007: Love Grenade 2008: Unbeautiful 2006: Educated Horses 2007: Zombie Live 2010: Hellbilly Deluxe 2 2007: The Devil Knows My Name 2008: Requiem 2009: Remixploitation 2010: The Art of Malice 2012: All Rise!
2016: The End 1999: Rock n' Roll Greats - In Concert - Mitch Ryder & the Detroit Wheels 2001: Full Bluntal Nugity - Ted Nugent 2006: "Ozzfest: 10th Anniversary" - Rob Zombie 2008: IMV Behind the Player - Tommy makes an appearance on John 5's guitar instructional DVD for IMV 2008: IMV Behind the Player with Tommy Clufetos. 2010: IMV Behind the Player Tommy makes an appearance on Ace Frehley's instructional DVD on the song "Shock Me" 2013: Live... Gathered in Their Masses - Black Sabbath Official website
Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new