Glam Metal Albums - Page 2

XI: The Days Before Tomorrow uses heavy guitar, shadowed melody and restrained vocals to create mature hard rock.

New Audio Machine is Trixter’s return to straightforward American hard rock, driven by bright choruses, lively guitar and easy-rolling rhythm.

Hell Yeah! puts Black ’n Blue’s catchy choruses, thick guitar riffs and good-time rock-and-roll spirit up front.

Full Circle revisits FireHouse songs through new performances, bringing the band’s bright melodies, soaring vocals and lively guitar back into focus.

Animal Attraction packs Reckless Love’s flashy guitars, bouncing beats and instantly chantable choruses into bright, compact songs.

Balls Out delivers Steel Panther’s oversized eighties glam-metal riffs, flashy solos and giant choruses with full commitment to humor.

A 2011 album given over to songs by other artists.

Performocracy uses The Poodles’ large choruses, melodic guitar and bright keyboards to create polished Scandinavian hard rock.

Rockaholic is built around Warrant’s catchy choruses, easy-moving riffs and positive rock-and-roll feel.

Generation Wild joins Crashdïet’s sleazy rock-and-roll charge to catchy choruses and slightly shadowed melody.

Infestation revisits Ratt’s L.A. hard-rock appeal through catchy riffs, loose-but-satisfying groove and husky vocals.

Reckless Love is Reckless Love’s full-color debut, firing off huge choruses, bouncing beats and sweetly catchy melodies.

Revolve packs Danger Danger’s strengths—quick riffs and huge choruses—into a focused melodic-rock record.

Great White's eleventh album, out in Europe on 13 March 2009, introduced bassist Scott Snyder and was Jack Russell's last studio album with the band.

Sad Day on Planet Earth keeps Lillian Axe rooted in melodic hard rock while reaching for a more shadowed emotional tone.

Feel the Steel is Steel Panther’s debut celebration and send-up of 1980s glam metal.

A studio album released in 2009.

Clash of the Elements pushes the clarity of The Poodles’ Scandinavian melodic rock through stronger full-band performances.

Babylon channels W.A.S.P.’s apocalyptic and religious imagery into heavy riffs and theatrical vocals.

Lightning Strikes Again returns Dokken to direct melodic metal centered on George Lynch’s cutting guitar and Don Dokken’s vocal.

Saints of Los Angeles uses big choruses and rough riffs to let Mötley Crüe place its past and present in the same frame.

Return of the Pride finds Mike Tramp bringing White Lion’s open melodies and direct language back to the front.

The Unattractive Revolution combines thick riffs, flashy choruses, and a darker mood.

Great White's tenth studio album, released by Shrapnel on 17 July 2007, was its first in eight years, made after the band reunited in January 2007.

Waters Rising by LILLIAN AXE: track list, Spotify player and English liner notes on METAL BOOST.

Poison'd! finds Poison recasting rock, power-pop, and Southern-rock favorites in the band’s bright, easygoing hard-rock language.

Sweet Trade gathers soaring vocals, shimmering keyboards, and crisp guitar into clear, open songwriting.

Dominator uses W.A.S.P.’s dramatic heavy-metal language to emphasize pressure and anger.

Rehab finds Quiet Riot moving toward unadorned hard rock built from blues-rooted guitar, thick rhythm, and Kevin DuBrow’s distinctive voice.

Revolutions per Minute finds Skid Row using thick guitar, rough rhythm, and urgent vocals for a harder punk- and hardcore-leaning metal sound.

Metal Will Stand Tall is The Poodles’ debut, built from wide-open choruses, bright keyboards, and firm guitars.

A Twisted Christmas is a covers album on which TWISTED SISTER plays standard Christmas songs in the language of heavy and glam metal.

Live & Learn brings Vixen’s large choruses, clear guitar work, and melody-supporting rhythm into a reunion-era melodic-hard-rock setting.

Born Again returns Warrant to direct hard rock built from thick guitar, lively beat, and instantly singable chorus.

Rest in Sleaze puts thick guitar, springing beat and provocative vocals at the front of a sleaze-rock debut.

A studio album released in 2005, fifteen years after the one before it.

Hell to Pay is built around fluid guitar phrases, thick riffs and shadowed melody in a steady Dokken form.

Still Hungry revisits songs from the Stay Hungry period with a more immediate, heavier performance feel.

The Neon God: Part 1 – The Rise uses heavy guitar, shadowed vocals and dramatic movement to tell the story of a central character.

The Neon God: Part 2 – The Demise takes the story begun in the first volume into darker, heavier territory.