Review Summary: STRAIGHT TO THE TAAAAAHHHHP
While Breaking the Chains made a solid enough first impression, 1984’s Tooth and Nail is where Dokken as a proper band really started to come together. Of course, there were still some setbacks in the process; the label had to be convinced to give them a chance to even record a second album after the debut’s limp reception (a foot in the door to the other foot in the door, if you will) and the musicians’ evolving chemistry came with its share of personal conflicts and producer changeovers. It’s certainly worth questioning just how the old George vs Don dichotomy played out in reality compared to the legend that surrounds it, but the narrative is enough to suggest Tooth and Nail living up to its title.
What can’t be stressed enough is just how much the recruitment of bassist Jeff Pilson added to the group. Playing a role similar to Michael Anthony’s in Van Halen and bringing out the best of their strongest personalities, his bottom-heavy chugs give a much sturdier foundation for the guitars to go off while his higher backing vocals give the choruses that much more liveliness in their sing-along appeal. I’ve always maintained that Anthony was secretly the most important member in Van Halen and I could say the same for how Pilson seemed to be the glue that really made Dokken gel as well as they did.
It's also nice to see the songwriting step up in variety much more skillfully compared to the predecessor’s somewhat clumsy attempts to do so. The heavier tracks end up hitting harder due to the boosted production and tighter playing; the shreddy atmospherics of “Without Warning” lead into the title track’s intense speeds like an equivalent of the classic “The Hellion/Electric Eye” combo, “Don’t Close Your Eyes” brings in a strong percussive thrust to its verses, “When Heaven Comes Down” digs into an ominous mid-tempo flavor, and “Turn Up The Action” finishes up with a fast high energy shuffle. On the opposite end, “Alone Again” takes the plunge into power balladry with a strong chorus though I’ve always felt the production makes it feel a little claustrophobic.
Through it all, the melodicism remains a top priority and even finer tuned. “Into the Fire” serves as the album’s centerpiece and arguably shows the most growth with a structure that climactically takes on acoustic-driven verses and building explosive hooks. “Just Got Lucky” and “Heartless Heart” are tight straightforward rockers, the former especially standing out for its hyper-catchy backing vocals.
Overall, Tooth and Nail makes a strong case for being the best album that Dokken ever released. While the band’s biggest hits were still to come, it makes do on the promise of Breaking the Chains with more fluid musicianship and substantial songwriting. It also threads the needle of mid-eighties melodic metal quite nicely, having the polish to blend in with glam but heavy enough to hang. It may not have the flashiest presentation but it deserves to be recognized as one of the most notable efforts from the era.
