Devil. Werman was present at rehearsals and helped to select and arrange the songs before production began. The recording of the album started in Spring 1984 at Cherokee Studios in Hollywood, California with veteran sound engineer Geoff Workman, whose personality and erratic behaviour did not mesh easily with Werman's direction. This troubled relationship only added up to the escalating clash of egos between Lynch and Dokken, which was furtherly exacerbated by the abuse of cocaine and alcohol by musicians and technicians. Werman set the working schedule to avoid the contemporary presence of guitarist and vocalist in the studio, with the former recording with the rest of the band late morning and in the afternoon and the latter at night. This arrangement was maintained for all the permanence of George Lynch in the band, as he and Dokken never worked together in a recording studio. After a few weeks of work, the situation exploded when Lynch violently rejected Werman's advice for some of his guitar solos and refused to work again with the producer. Werman quit and left for a summer vacation with his family, bringing Don Dokken to request again the hiring of Michael Wagener to complete the recordings and mixing the tracks. Despite Werman and Burnstein's agreement on Wagener's involvement, the rest of the band continued to refuse him, jeopardizing the release of the album. The singer expressed his concerns to the label executives and pleaded with them for Wagener's help. Elektra complied to Dokken's request, but hired also the British producer Roy Thomas Baker, famous for his work with Queen, Journey and The Cars and for his hedonistic lifestyle. Baker's main task was to keep the band in check and occupied while Wagener recorded lead vocals by night and mixed the album, secretly assisted by Dokken. Production also overcame the sudden and unmotivated disappearance of Lynch for a week and wrapped up recording and mixing in August 1984. Music style Dokken are considered players of the hair/pop/glam metal subgenre by many critics and fans and Tooth and Nail is included in various polls of best glam metal albums. However, in a 2004 interview, Don Dokken disclaimed the band's belonging to that category and any comparison with acts like Poison, Winger and Mötley Crüe. A more thorough analysis by Canadian music journalist Martin Popoff places Tooth and Nail in transition from the NWOBHM-influenced debut album towards a more melodic