Top 10: Spooky Tooth Songs

Another week, another in memoriam article. On September 4, 2023, classic rock staple Gary Wright passed away after a private battle with Parkinson’s and Alzheimer’s. He was 80 years old. Although Wright is best known for his soft rock synth-driven solo hits, “Dream Weaver” and “Love is Alive”, he initially cut his teeth as the singer, keyboardist, and songwriter for English proto-metallers Spooky Tooth. Similar to so many bands of the era who didn’t have the fortune of being named Black Sabbath, Led Zeppelin, or Deep Purple, Spooky Tooth is one of those acts who are widely heralded by those in the know, yet largely unknown to most in the hard rock and metal community. Today, we celebrate the achievements of this wildly innovative band and the late Gary Wright with our Top 10 Spooky Tooth Songs.

10. “The Wrong Time”

We ironically kick off this list with a song that, while co-written by Wright, does not feature his musical talents. After the ambitious rock opera Ceremony (1969), Wright exited the band to back George Harrison on All Things Must Pass (1970). This led to fellow keyboardist/vocalist Mike Harrison soldiering onward, assuming frontman duties for their fourth album, The Last Puff (1970). This album scaled things back to the hard-nosed, blues-infused prog of their early output, exemplified on the no frills “The Wrong Time”. The lead riff isn’t far removed from what one would hear on the first two Zeppelin albums or even Sabbath’s debut. Harrison gives a soulful vocal performance, which is further highlighted by the presence of female backing singers. Even though this was an English band, they sure loved their American soul.

9. “Cotton Growing Man”

If You Broke My Heart So I Busted Your Jaw (1973) isn’t the best Budgie album title never imagined, I don’t know what is. Three years after their initial split, Spooky Tooth was back. So was Gary Wright, whose initial solo ambitions didn’t pan out as planned. Despite its headstrong name, Jaw isn’t nearly as aggressive as one would believe. Perhaps it’s because the band was still getting back in the groove of things, but the songs range from bone-crunching metal to humble blues rock to sleepy piano ballads. The opening “Cotton Growing Man” stands tall above the rest with its driving riffage, morose atmosphere (a signature of Spooky Tooth), and Beatles-esque maneuvers.

8. “Hell or High Water”

It took quite a few years to reclaim their past glory, but come their second breakup in 1974, Spooky Tooth were firing on all cylinders, releasing their strongest album since Spooky Two (1969), The Mirror. No Mike Harrison? No problem. Wright prevails as the band’s fearless leader, guiding the band through what is arguably their most metallic album in the traditional sense of the term. Released as their final single, “Hell or High Water” combines R&B driven swagger with organ-driven hard rock, not far off from a forgotten Argent or Lucifer’s Friend deep cut. It’s catchy and approachable, yet with no shortage of bite, so beware!

7. “Women and Gold”

Deep Purple weren’t the only band releasing heavy funk-infused music in 1974. So was Spooky Tooth, who give Coverdale and Hughes a run for their money on the rollicking “Women and Gold”. Laying down those gravelly growls is the late Mike Patto, best known for his cult namesake band and their self titled 1970 debut album. The Mirror was his sole album as a member of Spooky Tooth. Contrasting him with that high register, yet equally dynamic delivery is Wright. Together, the two give a performance that leave headbangers in awe and wonderment of what could’ve been had the collaboration lasted past one album.

6. “Sunlight of My Mind”

In the hypothetical Guitar Riffs Hall of Fame, there’s no doubt in my mind that buried in between “Smoke on the Water”, “Into the Void”, and “Raining Blood” lies “Sunlight of My Mind”. It doesn’t receive a fraction of the airplay that the little AOR band Mick Jones formed after leaving Spooky Tooth does, but it should. What was that band called again? Oh yeah! Foreigner! Get a load of the guitar-work and proggy leanings of this one. It doesn’t take a rocket scientist to notice the seeds being sown for the likes of “Feels Like the First Time”, “Double Vision”, “Hot Blooded”, and so many other FM staples.

5. “Waitin’ for the Wind”

Move over Bonzo! Get a load of the drum groove that kicks off Spooky Tooth’s magnum opus, Spooky Two, courtesy of Mike Kellie. Equally explosive are the powerhouse vocals and pummeling organ of Gary Wright, which act as guitars on the opening “Waitin’ for the Wind”. By ’69, keyboards were becoming more and more pivotal to contemporary rock music. A song like this would help usher in the era of Jon Lord, Rick Wakeman, Keith Emerson, and so many other giants, better known today as the ’70s. While other bands were still wallowing in a pool of post-Sgt. Pepper’s psychedelia, Spooky Tooth were cranking up the volume and energy, setting the stage for the arrival of heavy metal.

4. “I Am the Walrus”

Seldom do I include a cover on a band’s top 10 list. In the same breath, seldom is there a cover as is mind blowing as Spooky Tooth’s take on The Beatles’ “I Am the Walrus”. On its own, the song is a tripped out, acid nightmare of an epic, easily the finest cut off Magical Mystery Tour (1967). Leave it to Spooky Tooth to up the heaviness tenfold, dragging it out and reimagining it as a proto-doom metal dirge. Ironically, Wright was working alongside former Beatles George Harrison and Ringo Starr at the time of this cover. The Beatles connection doesn’t end there. Playing guitar on this ultra heavy rendition is none other than future Wings guitarist Henry McCullough. The more you know!

3. “Fantasy Satisfier”

The mid ’70s were an intriguing period for metal. Bands were starting to shake off the psychedelic cobwebs of the genre’s first few years in exchange for more energetic, streamlined, riff-centric songs, serving as a mediator between the early metal of Sabbath, Zeppelin, Purple, etc. and the NWOBHM explosion of ’79. This era was best defined by UFO and Judas Priest, but alas, these English titans weren’t alone. Spooky Tooth made their own contribution to this historic niche with the opening track to The Mirror, “Fantasy Satisfier”. Jones’ guitar playing is its sharpest ever, practically leaping out of the speakers with vengeance. Wright’s vocals reach the peak of their range, giving it an extra traditional metal flair. I’m amazed nobody has attempted to cover this yet (that I know of). Let’s keep it that way.

2. “Better by You, Better than Me”

Speaking of Judas Priest, you knew we couldn’t get through a Spooky Tooth list without mentioning “Better by You, Better than Me”. While Priest’s infamous cover has more pep to its step and perhaps a subliminal message or two (Spoiler alert: It doesn’t.), the original version trudges along with a hulking proto-doom atmosphere. If there were an argument for metal’s proper existence pre-Sabbath (and there are such arguments out there), this song would have to be in the discussion. The guitars and organs are as devastating as any early Sabbath or Purple outing, and Wright’s vocals are dripping with anguish. Don’t mistake this for a run of the mill proto-metal blues rocker!

1. “Evil Woman”

By the time Spooky Tooth covered “Evil Woman” in 1969, it had already been recorded by Canned Heat, Lou Rawls, and various other artists. Didn’t know that? Of course you didn’t. Why? Because prior to Spooky Tooth, nobody cared. This song could subsequently be covered 2 zillion times (and has) and nothing will touch the brilliance of this: The centerpiece of Spooky Two. One of the greatest proto-metal jams of all time, “Evil Woman” showcases Spooky Tooth at their absolute peak, soloing their asses off for damn near 10 minutes and not sounding the least bit pretentious about it. And get a load of Wright’s falsettos, which easily cement this as his finest vocal performance. There’s no way a young King Diamond WASN’T listening to this. For all these reasons and more, “Evil Woman” is the greatest Spooky Tooth song of all time. Rest in power Gary.