If you were hanging around a record shop in May 1979, the cover of Ted Nugent State of Shock probably stopped you in your tracks. It’s classic "Motor City Madman" imagery. Ted is literally being electrocuted, hair standing on end, clutching his Gibson Byrdland like a lightning rod. It promised a high-voltage experience.
But for a lot of fans, the actual music felt more like a static shock than a power surge.
The late seventies were a weird time for hard rock. Disco was everywhere. Punk was kicking the doors down. Nugent, meanwhile, was coming off a massive winning streak with Cat Scratch Fever and Double Live Gonzo!. He was the king of the arena-rock jungle. Then came this record, his fifth solo studio outing, and suddenly the crown looked a little loose.
The Highs and Lows of the State of Shock Sessions
Recording for this one went down at Quadradial Studios in Miami and CBS Studios in New York. You’d think that change of scenery might bring out some fresh madness. In some ways, it did. But honestly? It also felt like a man running on fumes after years of relentless touring.
The lineup was solid. You had Cliff Davies on drums and producing, along with Walt Monaghan on bass. Then there was Charlie Huhn. Huhn had the unenviable task of filling the shoes of Derek St. Holmes, the voice behind many of Ted’s biggest hits. While Huhn is a powerhouse, the chemistry was just... different.
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Take the opening track, "Paralyzed." Now, that’s a Nugent song. It’s got that slinky, predatory guitar riff and the kind of "gonzo" energy that makes you want to drive too fast. It’s probably the most "classic" thing on the disc.
But then you hit the mid-album slump.
Why the George Harrison Cover?
One of the most head-scratching moments on Ted Nugent State of Shock is the cover of George Harrison’s "I Want to Tell You." Don't get me wrong, it's not a bad version. It’s actually quite melodic and catchy. But it feels like it belongs on a Cheap Trick record, not a Nugent LP. It’s polished. It’s "pop-rock." For a guy who built his brand on raw, animalistic energy, hearing him do a refined Beatles cover was a bit of a curveball. Some critics at the time, like those at Ultimate Classic Rock, noted that when a cover is the highlight of your album, your songwriting might be in trouble.
Breaking Down the Tracklist
It's a bit of a mixed bag. You've got 10 tracks, and they vary wildly in quality.
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- "Alone": This is a rare power ballad for the Nuge. Charlie Huhn really gets to stretch his vocal cords here. It’s surprisingly emotional, though some die-hard fans thought it was a bit too "soft" for a guy who usually sings about hunting and "Wang Dang Sweet Poontang."
- "Bite Down Hard": This is Ted being Ted. It’s aggressive, it’s got a biting riff (pun intended), and it keeps that high-voltage theme alive.
- "Saddle Sore": A fun, groovy track that shows Ted still had some gas in the tank when it came to writing catchy, guitar-driven rock.
- "Snake Charmer": Vicious. This is one of the "scorchers" that reminds you why Nugent was such a force in the seventies.
The Commercial Reality
Numbers don't lie, but they do tell a story. Ted Nugent State of Shock reached the U.S. Top 20, which sounds great on paper. However, it was Nugent’s first solo album not to hit platinum status. It settled for gold.
Basically, the "hot streak" was cooling off.
The critics weren't particularly kind, either. The Daily Vault gave it a "C," calling the songwriting formulaic and "boring." There’s a sense that the record was rushed to meet a touring schedule. When you're playing 200+ shows a year, finding time to write another "Stranglehold" is tough.
What Most People Get Wrong
A lot of modern listeners dismiss this era as "the beginning of the end." That’s a bit harsh. While it might not be a masterpiece like Ted Nugent (1975), it’s a fascinating snapshot of a rock star trying to figure out his place in a changing musical landscape.
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The title track, "State of Shock," is actually a pretty cool departure. It’s got a different rhythm, almost a shuffle, and Ted handles the vocals himself. It shows a level of experimentation that often gets overlooked because it’s sandwiched between more standard rockers.
Actionable Insights for the Vinyl Collector
If you're looking to add this to your collection, here’s the deal:
- Check the Pressing: Original 1979 Epic pressings are everywhere. You can usually find a decent copy for $10 to $20. Look for the "FE 36000" catalog number for the US release.
- The Cover Art: The "electrified Ted" cover is iconic. If you find a copy with the original inner sleeve intact, grab it. The photography by Ron Pownall is top-tier 70s rock aesthetics.
- The Sound: To really appreciate the guitar work on tracks like "Paralyzed," listen to the vinyl. The digital remasters can sometimes sound a bit thin, losing that "warmth" of the original analog recording.
- Listen to Charlie Huhn: Forget the St. Holmes comparisons for a second. Listen to what Huhn brings to "Alone." It’s a great vocal performance that deserves more credit.
In the end, Ted Nugent State of Shock isn't the best thing he ever did, but it’s far from the worst. It’s a loud, messy, occasionally brilliant record from a guy who refused to turn the volume down, even when the world was starting to change the station.
If you're a fan of 70s hard rock, give it another spin. Just maybe skip the Beatles cover if you're feeling particularly "gonzo."
Next Steps for Your Collection
Check your local used record bins for the 1999 reissue if you want the bonus tracks, or hunt down the original 1979 Epic "Stereo" pressing to hear the mix exactly as it was intended for those five-stack Twin Reverb setups.