United Kingdom Metal & Hard Rock Albums of the 1980s - Page 2

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

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.

Alpha centers on grand keyboards, smooth guitar and John Wetton’s emotional voice while moving toward more compact songwriting.

Born Again sets Tony Iommi’s sinking, heavy riffs against Ian Gillan’s rough, high vocal attack.

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

Piece of Mind joins racing riffs, carefully built rhythm and Bruce Dickinson’s powerful vocal into a confident Iron Maiden statement.

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

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".

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

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

The third album, co-produced by Michael Wagener and Accept's Udo Dirkschneider, and home to the song "Athletic Rock".

Saxon's fifth album, from March 1983. It is the first with Nigel Glockler on drums and their best-selling record, over 1.5 million copies worldwide.

Once Bitten...Twice... is Shy’s debut, joining high, open vocals to bright guitar and keyboard color.

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.

Asia is a debut in which highly skilled players turn toward concise, arena-sized melodies.

The Number of the Beast expands Iron Maiden’s world through racing guitars, leaping bass and a vocal performance that heightens every dramatic turn.

Screaming for Vengeance shapes Judas Priest’s twin-guitar precision, Rob Halford’s high attack and muscular rhythm into more refined song structures.

Coda collects unreleased material and live recordings from different Led Zeppelin periods.

Assault Attack centers on Michael Schenker’s cutting guitar and builds tension and melody with care from track to track.

Released by Bronze on 17 April 1982 and a UK No. 6, Iron Fist is the last studio album by the three-piece of Lemmy, Eddie Clarke and Phil Taylor; Clarke left after it.

Queen's tenth album, from May 1982: the band took the funk of "Another One Bites the Dust" further, with horns, synth bass and drum machines.

Straight Between the Eyes centers on Ritchie Blackmore’s sharp guitar and gives Rainbow a concise, clear-lined hard-rock shape.

The second album, recorded and mixed in six days alongside the Crash Bang Wallop EP, and released in May 1982.

The fourth studio album, issued by MCA Records in 1982 as MCF 3150. It is the last with John Sykes, and its eleven tracks include the cover "Love Potion No. 9".

Mechanix, released by Chrysalis in February 1982, reached number 8 in Britain, the best UK placing of any UFO studio album, before Pete Way quit.

Saints & Sinners keeps Whitesnake rooted in bluesy hard rock while bringing deeper shade and urgency into the songs.

Mob Rules sharpens Black Sabbath’s dark world around Tony Iommi’s heavy riffs and Ronnie James Dio’s dramatic voice.

High ’n’ Dry keeps Def Leppard’s rough NWOBHM edge while moving toward more organized riffs, layered choruses and stronger melody.

Killers locks Steve Harris’s racing bass, Dave Murray and Adrian Smith’s guitars, and Paul Di’Anno’s rough vocal into a focused attack.

Point of Entry keeps Judas Priest’s metal bite while experimenting with more open, radio-ready songwriting.

MSG is carried by Michael Schenker’s sharp riffs and singing lead guitar, with Gary Barden’s open, melodic voice giving the songs their center.

Diary of a Madman surrounds Randy Rhoads’s classical-flavored phrases and cutting riffs with Ozzy Osbourne’s uneasy, deeply human voice.

The debut Praying Mantis album, released by Arista on 3 April 1981. It has been read ever since as one of the defining records of the new wave of British heavy metal, and it reached number 60 on the UK albums chart. Nine songs.

Difficult to Cure puts Ritchie Blackmore’s bright guitar work and Joe Lynn Turner’s high, open voice at the center of a more melodic Rainbow.

The 1981 debut, and the first LP Neat Records ever issued — recorded a day at a time over a long stretch.

Saxon's fourth album, released on 25 September 1981 and reaching number nine in Britain. It went gold across Europe and is the last record by the founding line-up.

The third studio album, released by MCA Records on 3 November 1981 as MCF 3123 — barely seven months after Spellbound.

The second studio album, released by MCA Records on 10 April 1981 as MCF 3104. It is the first with the new line-up: John Sykes on guitar and Jon Deverill on vocals.

The Wild, the Willing and the Innocent, a self-produced UFO album released on 16 January 1981, brought in Neil Carter in place of Paul Raymond.

Come an’ Get It centers David Coverdale’s deep, soulful voice within layers of Micky Moody and Bernie Marsden’s guitars and Jon Lord’s keyboards.

Heaven and Hell opens a new Black Sabbath chapter with Ronnie James Dio, giving the band’s heavy riff world a wider vocal horizon.

On Through the Night feels like Def Leppard’s youthful impulse captured without restraint.

Iron Maiden brings punk-bred urgency and heavy-metal structure together around Steve Harris’s leaping bass.

British Steel strips Judas Priest down to the direct collision of riff, beat and Rob Halford’s cutting voice.

The Michael Schenker Group is a debut built around Michael Schenker’s fluid, emotional guitar playing and a strong hard-rock frame.

Motörhead's best-known album, released by Bronze in 1980. It entered the UK chart at No. 4 and the title single reached No. 15; the fortieth-anniversary edition gave all twelve songs official videos.

Blizzard of Ozz opens Ozzy Osbourne’s solo era with Randy Rhoads’s innovative, classically colored guitar at its center.

Queen's ninth album and first soundtrack, released on 8 December 1980: eighteen pieces for the film Flash Gordon, woven together with its dialogue.

Queen's eighth album, released in June 1980: recorded in Munich, their first with a synthesizer, and a No. 1 album in both Britain and America.

Saxon's third album, released in 1980 and reaching number eleven in Britain. It arrived only six or seven months after Wheels of Steel.

Saxon's second album, released on 3 April 1980. It reached number five in Britain, still their highest placing, and remains one of the records the new wave of British heavy metal is named by.

The debut album, released by MCA Records in 1980. It was made by the four-piece of Jess Cox (vocals), Robb Weir (guitar), Richard "Rocky" Laws (bass) and Brian "Big" Dick (drums). It is on no streaming service, so this page leads with the sleeve.

No Place to Run, UFO's January 1980 album and the first with guitarist Paul Chapman, was produced by George Martin and reached number 11 in Britain.

Ready an' Willing centers on David Coverdale’s soulful voice and joins Whitesnake’s blues-rock depth to a harder push.