According to the liner notes, Hair of the Dog
was probably the only 8-track to go Gold in rock history. That should tell you everything you need to know as to whether or not you'd enjoy this album - it's the ultimate example of mid-70's mullethead rock ...
Picture some blue-collar long-hair hanging out in the parking lot, leaning against his red Camaro, arms folded: I got some whiskey, cocaine from a friend, and I gotta keep moving on
- if that image sounds cool, like the kind of guy you wish you could be, kicking ass and getting into barfights over some Daisy Duke-wearing not-so-sweet young thing, then this album will rock your world. If that image reminds you of the type of guys who you tried to avoid as much as possible in high school, then maybe you ought to avoid this album too.
Basically, Hair of the Dog
is dumb, macho, sinisterly violent Hard Rock, consisting of hard Sabbath riffs crossed with Aerosmith's raunchy boogie, but with more melodic underpinnings than either of those two bands. The lead singer screeches like Axl Rose's godfather, his trachea irrepairably damaged by endless swigs of Scotch whiskey, screaming hilariously stoopid macho like Now yerr messin' with ... a son-of-a-bitch!
The snake-hipped, swinging title track justifiably remains a staple of radio, and a classic Hard Rock anthem, and "Miss Misery" isn't too far behind. And the band do have good taste when it comes to covers - both Randy Newman's "Guilty" and Nils Lofgren's "Beggars' Day" are done justice (let's pretend the band's sappy overblown massacre of the Everly Brothers' "Love Hurts" wasn't a massive worldwide hit).
"Whiskey Drinkin' Woman" plods to a generic Southern rock/boogie, like some Lynyrd Skynyrd out-take, its lightness setting up for the heavy dark quasi-prog epic closer "Please Don't Judas Me". The reissue adds a pair of decent B-sides: "Down" and "Railroad Boy". Rated:
by Reviewer: Creative Noise
(blogging at Creative Noise