Hard Rock 1980s Albums - Page 3

The follow-up to Danger Zone, recorded with Accept guitarist Herman Frank in the line-up.

The second album, released in 1985.

Love by THE CULT: track list, Spotify player and English liner notes on METAL BOOST.

Scratch and Bite is Treat’s debut foundation for Nordic melodic hard rock, combining firm guitar riffs with bright keyboard color.

A studio album released by Music for Nations in 1985 as MFN 50, and the first the band made without founder Robb Weir. Victor issued the Japanese edition on 21 January 1986 as VDP-1066.

Misdemeanor, released by Chrysalis in November 1985, brought UFO back with a new line-up around Phil Mogg, Atomik Tommy M and Paul Gray.

Alibi centers Adrian Vandenberg’s singing guitar style as the band refines its melodic-hard-rock outline.

Down for the Count keeps Y&T’s blues-rooted hard-rock feel while bringing in brighter melodies and keyboard color.

Black ’n Blue is a debut that gathers clear riffs, layered choruses and youthful momentum.

Bon Jovi is a debut built from the momentum of a young New Jersey band, joining direct hard rock to memorable melody.

Perfect Strangers reunites Deep Purple’s Mk II lineup and brings the members’ individual strengths back into one powerful sound.

Dio's second album, recorded at Caribou Ranch in Colorado and released on 2 July 1984, was the band's first record certified platinum in the US.

Tooth and Nail brings Dokken’s catchy vocal melodies and virtuosic guitar into a single, natural hard-rock statement.

Wings of Tomorrow finds Europe before its arena-rock transformation, playing traditional heavy metal with real youthful fire.

Agent Provocateur balances hard rock and large-scale balladry around Mick Jones’s careful songwriting and Lou Gramm’s powerful voice.

Great White's debut album, produced by Michael Wagener and released by EMI America in February 1984, peaked at number 144 on the Billboard 200.

Two Steps from the Move expands Hanoi Rocks’ punk agility, glam shine and hard-rock push into a larger sound under Bob Ezrin.

Animalize pushes Kiss’s unmasked-era hard rock through faster, more aggressive guitar and larger choruses.

Disillusion is the fourth Loudness album, released on 21 January 1984. It was recorded, mixed and mastered in London in 1983, with Julian Mendelsohn — an engineer whose previous credits included Yes and Elton John — at the desk.

The first full album after signing to CBS, opening on a passage from Carmina Burana.

Queen's eleventh album, released on 27 February 1984: a UK No. 2 with four singles, among them "Radio Ga Ga" and "I Want to Break Free".

Condition Critical puts Quiet Riot’s thick riffs, bouncing beat and Kevin DuBrow’s full-throated voice directly in front.

Out of the Cellar crystallizes the glamour of Los Angeles through heavy, curling riffs and Stephen Pearcy’s distinctive vocal sneer.

Grace Under Pressure increases Rush’s use of synthesizers while sharpening the precision of its three-player ensemble.

VOA joins Sammy Hagar’s big, open voice to Ted Templeman’s tightened hard-rock production.

Love at First Sting joins the aggression Scorpions had refined for years to melody in its brightest form.

SINNER's first album for Noise Records, and the start of the run that placed the band in the first wave of German metal.

The debut album, issued on his own label in January 1984 and made in a shed converted into a studio.

The band's 1984 debut.

Dreamtime gathers post-punk tension, gothic shadow and psychedelic lift into the Cult’s distinctive debut.

Knights of the New Thunder adds Tony Harnell’s soaring high voice and Ronni Le Tekrø’s vivid guitar to the hard frame of traditional metal.

1984 keeps Eddie Van Halen’s guitar revolution intact while bringing keyboards to the front and widening the band’s reach.

Slide It In keeps Whitesnake’s blues-rock pull at its center while giving the band a heavier guitar frame and clearer hard-rock hooks.

In Rock We Trust naturally joins Y&T’s bluesy guitar instinct to the larger choruses of 1980s hard rock.

Flick of the Switch concentrates AC/DC’s force into thick rhythm guitar, hard beat and Brian Johnson’s shouted vocal attack.

Pyromania combines sharp guitar riffs, stacked choruses and tightly controlled rhythm with remarkable density.

Dio's debut album, recorded at Sound City Studios in Los Angeles and released on 25 May 1983, was later certified double platinum in the US.

Breaking the Chains establishes Dokken’s basic shape through Don Dokken’s soaring voice and George Lynch’s cutting guitar.

Europe’s debut combines energetic guitar, bright keyboards and Joey Tempest’s clear high voice.

Back to Mystery City moves like a run through city nights, driven by lean guitar, bouncing beat and Michael Monroe’s voice—both glamorous and rough around the edges.

Passionworks places Ann Wilson’s powerful voice and Nancy Wilson’s guitar inside a tougher, more contemporary 1980s production.

Lick It Up puts thick guitar riffs, straight-ahead beat and the contrasting voices of Paul Stanley and Gene Simmons in the foreground.

The Law of Devil's Land is the third Loudness album, released by Nippon Columbia on 21 January 1983 and later distributed in Europe by Roadrunner Records. That July the band played its first shows on the US west coast and in Europe.

Built to Destroy centers on Michael Schenker’s flowing guitar phrases, joining lyrical color to straight-ahead hard rock.

Shout at the Devil gathers Mick Mars’s heavy riffs, Nikki Sixx’s rolling bass and Vince Neil’s sharp vocal into a clear, aggressive statement.

Another Perfect Day, released in 1983, is the only Motörhead album played by Brian Robertson of Thin Lizzy. Official videos exist for "I Got Mine", "Shine" and "One Track Mind".

Midnight Madness brings Night Ranger’s bright twin-guitar interplay, the voices of Jack Blades and Kelly Keagy, and clear choruses into a focused whole.

Bark at the Moon by OZZY OSBOURNE: track list, Spotify player, music videos and English liner notes on METAL BOOST.

Metal Health brings rough guitar, Kevin DuBrow’s full-throated vocal and handclap-ready choruses together in a direct, physical attack.

Bent Out of Shape brings Joe Lynn Turner’s open vocal and Ritchie Blackmore’s sharp guitar into more polished songwriting.

The second album, released by Scratch Records in the period before the band moved to Noise.

Thunder and Lightning keeps Thin Lizzy’s twin-guitar strengths while stepping into a harder, heavier sound.

Making Contact, UFO's early-1983 album, was made by a four-piece without Pete Way and was followed by the band's break-up that spring.

Heading for a Storm centers on Adrian Vandenberg’s fluid guitar and balances weight with melody carefully.

Mean Streak is a forceful Y&T record centered on Dave Meniketti’s voice and guitar.

Rock in a Hard Place is a rough, tense Aerosmith record made during an unsettled period.

Oriental Beat finds Hanoi Rocks mixing raw rock and roll with punk speed and glam-rock color.

Self Destruction Blues gathers early Hanoi Rocks singles and B-sides, yet plays like one continuous rush of raw rock and roll.

Private Audition keeps Heart’s powerful rock foundation while deepening the shade and tension of its songs.