Ted Nugent may be one of rock and roll’s most controversial and polarizing figures. It didn’t start out that way. In 1975, he broke out big with a self-titled solo album spilling over with rigid, muscular hard rockin’ riffs on songs like “Stranglehold” and “Hey Baby,” featuring Derek St. Holmes’ booming vocals and Nugent’s own screaming guitar antics. The guitarist later took over most of the vocals himself, on songs like ‘Free-For-All” and “Cat Scratch Fever,” and carved out a persona as a wild rock and roll warrior that still stands today.
Beyond that, of course, Ted Nugent is a multimedia personality whose exploits into television, radio, big game hunting and conservative politics has been both a blessing and a curse on his musical career. Clearly, some of Nugent’s activities have divided his audience — but the man makes no apologies for who he is or what he stands for. Toward the end of our brief conversation, we chatted a little about hunting and politics. While it may seem that a lot of what Nugent espouses — at least what’s picked up by the press — is all in the name of showbiz grandeur, there is some rational thought and reasoning behind his motivations, especially when it comes to hunting.
For the record, however, the main topic of the day was ShutUp&Jam!, Nugent’s 14th studio release. Not only is it chockfull of Ted Nugent hot rocking riffs, it also features a number with Sammy Hagar, as well as St. Holmes on second guitar and vocals, Greg Smith on bass, Mick Brown on drums and a special appearance by Mitch Ryder & The Detroit Wheels drummer Johnny “Bee” Badanjek. The guitarist takes the lead vocal on the soulful “Never Stop Believing,” and the song’s autobiographical lyrics truly touch a nerve, especially on the second slow blues version that ends the album. Say what you will about Ted Nugent, but, as the song reveals, he’s living the American Dream on his own terms and he never stops believing.
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ShutUp&Jam! is the first all-new studio album from you in seven years. First off, congratulations on a really solid record. It kicks ass.
It’s a kick-ass record, with kick-ass guitar, kick-ass musicians and kick-ass songs.
And the title track kicks ass too! No BS, straightforward, pretty much everything a great rock and roll song should be. Was that the objective?
My killer music has always erupted unto itself every time I grab my guitar, which is everyday. My peaceful hunting lifestyle so cleanses the soul & clears out the mind that each guitar jam is like the first time with a new loud amp as a kid in the garage, so the licks are pure, primal, raw, spontaneous, and that describes my songwriting stream of consciousness, or should I say sub-consciousness! I think not but rather unleash with a purely open mind and uninhibited craving for intense, driving patterns and chord changes. The lyrics unfold on their own as well. I simply strive for feel, groove, authenticity, spirit and soul in my music and in my stage show and everything I do.
Did you write “She’s Gone” with Sammy Hagar in mind?
I’ve been wanting to work with Sammy for a while. Sammy and I come from the same all American black soul music, blues, R&B and R&R school of authoritative music, so this classic grinding song was naturally custom made for his soulful voice and style. Our mutual threat to make killer music together was long overdue. Sammy’s not interested in hit singles, Sammy wants to jam. “She’s Gone” was easy — it’s like “Going Down” except it goes up.
“Never Stop Believing” is not your typical Ted Nugent song, at least in its initial delivery. What inspired you to write and record it?
I try to put my heart and soul everyday into showing my appreciation for the incredible sacrifices of the US military heroes by using my freedom and rights that they provided and safeguarded at such great sacrifice to the best of my ability fighting the enemies here at home. When you spend as much time as I do with wounded warriors and their families, and terminally ill kids and their families, you are humbled and powerfully inspired by their courage and positive energy to live your life to the absolute best you can everyday. It will wake you up really fast to never stop believing in your fellow man, God’s miraculous creation, and this phenomenal American Dream.
I read you originally wanted Derek St. Holmes to sing it, but he insisted you do it.
Yeah, Sammy and Derek both said, “You’re doing it motherfucker.”
(Laughs) Speaking of Derek, it‘s great to see him in the fold. What does he bring to the table in terms of musical chemistry?
Derek is my Motown blood brother and he has always joined us on the classics off and on pretty much every tour forever. “Stranglehold” is a monster unto itself every night, but that magical St Holmes vocal touch elevates into the uncharted stratosphere of superhuman soul music. We simply agreed enough with the occasional appearance, let’s do this fulltime again, and everyone is genuinely moved. The world hasn’t grasped Derek’s incredible guitar talents as yet, for he is one of THE best guitarists anywhere anytime. We create killer fire-breathing music together. The man deserves me.
On July 19, you’re playing your 6,500th show in your hometown of Detroit. Got anything special planned?
I think I shall ride onto the stage aback a very pissed-off, violently snarling T-Rex, then pirouette atop my wall of amps on fire, naked of course, fly to the stage astraddle two voluptuous skinny virgins with paint-on bikinis, grab two maniacally howling Gibson Byrdlands and break into a fire-breathing, dangerously illegally loud attack of “Motor City Madhouse.” Other than that, no, nothing special really, other than my average insanely special over the top, ultra high energy grindfest of soul-cleansing killer Detroit dance music. Just another show really.
