United States Metal & Hard Rock Albums of the 1990s

Sonic Brew establishes Black Label Society through weighty riffs, earthy blues feeling and rough vocal delivery.

Buckcherry arrives with bluesy guitar riffs, gritty vocals and a dangerous rock-and-roll rush.

Burning Rain’s debut combines thick guitar riffs, blues-rooted lead work and soulful vocals.

Erase the Slate organizes sharp guitar work, firm rhythm and melancholy-tinged vocals into a return to classic melodic metal.

Metropolis Pt. 2: Scenes from a Memory joins complex rhythm, fluent soloing and memorable vocal melody into a single narrative arc.

Great White's ninth studio album, produced by Jack Blades, came out in Japan in May 1999 and then on Portrait in the US.

The Fourth Legacy gathers heavy riffs, flowing keyboards and narrative-minded melody into a grand Kamelot power-metal statement.

Issues layers low, unsettling guitar, bouncing bass and nervous rhythm to make Korn’s themes of isolation and anger feel especially close.

The sixth L.A. Guns studio album, released in 1999 and the only one with Jizzy Pearl on vocals. The Japanese edition appeared on 24 July 1999 as ZACB-1008. Twelve songs.

Burn the Priest is a useful way to hear LAMB OF GOD from a different angle within the 1999 catalogue.

Queen of the Ocean paints a fantasy-tinged rock world with expansive keyboards, dramatic guitar and Lana Lane’s clear vocal presence.

Fields of Yesterday highlights Lillian Axe’s shaded melodies and carefully shaped guitar arrangements.

The Burning Red retains Machine Head’s heavy riff foundation while bringing in bouncier rhythm, more dynamic vocals and modern production.

Risk deliberately pulls back from Megadeth’s usual thrash attack and moves toward smoother melody, mid-tempo groove and more pop-shaped arrangements.

Masterpeace attacks with heavy guitar riffs, hard-edged drums and urgent vocals, reaffirming Metal Church’s traditional heavy-metal force.

Angelfire combines smooth vocal melody, shimmering keyboards and polished guitar in Millenium’s melodic-rock approach.

Ministry's seventh album, out on 8 June 1999. It is the last record they made for Warner Bros.

Neurosis's sixth album, released in 1999. It is the first they made with Steve Albini, and a reference point for what is called post-metal.

Nevermore's third album, issued by Century Media in 1999. It is a concept record following one man's slide out of his mind.

Nine Inch Nails' third album, issued by Nothing and Interscope in 1999. Twenty-three pieces across two CDs, a good many of them instrumental.

Overkill's covers album, from October 1999: it opens with Motörhead's "Overkill", from the album the band is named after, and runs from punk to hard rock.

Overkill's tenth album, released in February 1999 and recorded at the Carriage House in Stamford late in 1998, produced by the band with Andy Katz.

Q2K reduces some of Queensrÿche’s more elaborate progressive machinery and presents vocals and riffs in a more direct rock form.

Alive and Well puts Quiet Riot’s upbeat rock-and-roll spirit and big singable choruses back in front.

The Battle of Los Angeles unites bouncing bass, hard drums, unorthodox guitar sounds and sharply delivered words in Rage Against the Machine’s tense political rock.

Ratt centers on dry, sharp guitar riffs, spring-loaded rhythm and a vocal presence with a little danger in it.

Sons of Society brings together driving rhythm, sharp twin guitars and rising vocal melody in Riot’s power-metal mode.

Red Voodoo is a useful way to hear SAMMY HAGAR from a different angle within the 1999 catalogue.

Back to Reality retains Slaughter’s catchy melodies and smooth choruses while moving into a more settled rock texture.

Slipknot’s debut collides heavy riffs, accelerating drums, layered percussion and screaming vocals into an overwhelming whole.

The sixth album, with tributes to Frank Zappa and Stevie Ray Vaughan, and a guest turn from B'z.

The Gathering pushes Testament into a particularly aggressive space, layering sharp thrash riffs with a low, heavy sound.

The Dillinger Escape Plan's debut, issued by Relapse on 28 September 1999. It is the record that settled what mathcore means.

Mindfields uses Toto’s considerable musicianship in service of atmosphere rather than display.

Helldorado drives forward with thick guitar riffs, heavy beats and Blackie Lawless’s theatrical vocal presence.

Volume 8: The Threat Is Real keeps Anthrax’s thrash sharpness at the core while bringing in thick groove, hard-rock hooks and contemporary weight.

Four the Hard Way brings together catchy choruses, crisp guitar and a bright rock-and-roll lift.

David Lee Roth's 1998 album credited to the DLR Band, released on his own Wawazat!! label on 9 June and recorded and mixed in ten days.

Fear Factory's third album, issued by Roadrunner in 1998. It is a concept record built on "Conception 5", a story written by Burton C. Bell.

Category 5 combines Firehouse’s soaring vocals, clean guitar work and easy-to-grasp choruses.

Godsmack’s debut combines low-tuned guitar, dragging rhythm and rough-edged vocals.

The seventh album and his first for Epic, and the first on which he recorded with a seven-string guitar.

Siege Perilous is an early Kamelot album that adds classical color and story-minded drama to melodic-metal power.

Psycho Circus gathers thick guitar riffs, handclap-ready beats and choruses made for everyone to sing.

Follow the Leader expands Korn’s unique heaviness through low, rolling bass, bouncing rhythm and vocals that expose raw hurt.

Garden of the Moon centers Lana Lane’s clear vocal tone within symphonic keyboards, melodic guitar and a sense of cosmic space.

Garage Inc. is a strongly conceptual covers album on which METALLICA translated a number of songs it reveres into their own sound.

Monster Magnet's fourth album, out on 16 June 1998. "Space Lord" carried it to RIAA gold, and it is the band's biggest commercial success.

Mourning Widows combines sharp guitar cutting, thick groove and alternative-rock shadow around Nuno Bettencourt’s playing.

Seven brings Night Ranger’s soaring vocals, interlocking guitars and wide-open choruses back to the foreground.

Flying Dog gathers Paul Gilbert’s fast, precise guitar, flexible rhythmic sense and playful ideas into a lively rock record.

King of Clubs combines Paul Gilbert’s quick, vivid guitar playing with a pop-minded sense of melody.

Queens of the Stone Age's debut album, from September 1998, made by Josh Homme after the end of Kyuss with Homme playing most of the instruments himself.