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Tooth, Fang & Claw
Tooth, Fang & Claw in Bloomington, MN
Current price: $15.99
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Size: CD
As
Ted Nugent
's dominant persona took over the sound as well as the band name,
Tooth, Fang & Claw
brought his
Amboy Dukes
concept a step closer to the stadiums than its predecessor,
Call of the Wild
. The bandmembers don't get photos on the back this time, it's just
Nugent
being a madman up against some Fender and Marshall amps. The songwriting credits on the originals are all his now as well.
"Lady Luck"
plays as if the
"American Woman"
riff by
the Guess Who
got inverted, placed upside down in the middle of the song, and then finds itself coated in
's flashy and glitzy guitar work. The instrumental
"Hibernation
kinda touches upon the
"Journey to the Center of the Mind"
riff just for a moment and veers off into points unknown. Where on previous albums,
Marriage on the Rocks/Rock Bottom
and even
, there was musical experimentation, the axe is front and center on this platter and all the experimentation is now with notes and how fast they can be played -- and in what order. Riff. Thud. Crunch. But beyond
's further emerging
hard rock
sound, a conscious shift away from the
blues
of the
Polydor
albums and
psychedelia
of the material on
Mainstream
records, these
Discreet
/
Warner Brothers
releases document the forging of a sound and identity that would establish the controversial guitar hero as a true
rock
icon. Though
Billy Squier
would have more and bigger hits in the '80s, this foundation, coupled with
's press antics, paved the way for lasting stardom. The version of
"Maybelline"
is so mutated you won't know it's a
Chuck Berry
song unless you listen hard; the melody gets put through the meat grinder. But the musicianship is refined. How could it not be with players like drummer
Vic Mastrianni
? The instrumental
"Free Flight"
is totally brilliant. That song isn't
or
heavy metal
; it is just fine musicianship displaying an elegance few
acts can muster. When he does want to crank it up, as with
"The Great White Buffalo,"
he's set the table, and the listener is primed and ready. Where his contemporaries from the '60s,
the Blues Magoos
, drifted from the
psychedelic
to
jazz
and
before fizzling out,
fused his
base with
, and found a stadium audience ready to devour it.
shows those claws just starting to extend. ~ Joe Viglione
Ted Nugent
's dominant persona took over the sound as well as the band name,
Tooth, Fang & Claw
brought his
Amboy Dukes
concept a step closer to the stadiums than its predecessor,
Call of the Wild
. The bandmembers don't get photos on the back this time, it's just
Nugent
being a madman up against some Fender and Marshall amps. The songwriting credits on the originals are all his now as well.
"Lady Luck"
plays as if the
"American Woman"
riff by
the Guess Who
got inverted, placed upside down in the middle of the song, and then finds itself coated in
's flashy and glitzy guitar work. The instrumental
"Hibernation
kinda touches upon the
"Journey to the Center of the Mind"
riff just for a moment and veers off into points unknown. Where on previous albums,
Marriage on the Rocks/Rock Bottom
and even
, there was musical experimentation, the axe is front and center on this platter and all the experimentation is now with notes and how fast they can be played -- and in what order. Riff. Thud. Crunch. But beyond
's further emerging
hard rock
sound, a conscious shift away from the
blues
of the
Polydor
albums and
psychedelia
of the material on
Mainstream
records, these
Discreet
/
Warner Brothers
releases document the forging of a sound and identity that would establish the controversial guitar hero as a true
rock
icon. Though
Billy Squier
would have more and bigger hits in the '80s, this foundation, coupled with
's press antics, paved the way for lasting stardom. The version of
"Maybelline"
is so mutated you won't know it's a
Chuck Berry
song unless you listen hard; the melody gets put through the meat grinder. But the musicianship is refined. How could it not be with players like drummer
Vic Mastrianni
? The instrumental
"Free Flight"
is totally brilliant. That song isn't
or
heavy metal
; it is just fine musicianship displaying an elegance few
acts can muster. When he does want to crank it up, as with
"The Great White Buffalo,"
he's set the table, and the listener is primed and ready. Where his contemporaries from the '60s,
the Blues Magoos
, drifted from the
psychedelic
to
jazz
and
before fizzling out,
fused his
base with
, and found a stadium audience ready to devour it.
shows those claws just starting to extend. ~ Joe Viglione
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