United States Metal & Hard Rock Albums of the 1990s - Page 4

Sound of White Noise finds ANTHRAX in a phase that marks a transition for Anthrax, bringing heavier groove and darker vocal character into a thrash-built frame.

Cynic's debut, issued by Roadrunner on 14 September 1993. It brings fusion playing and a vocoder into death metal.

Death's fifth album, out on 22 June 1993. Gene Hoglan and Andy LaRocque play on it, and it pushes the technical bent of the previous record further still.

Dio's sixth studio album, released in Europe in October 1993 after Ronnie James Dio's Black Sabbath reunion on Dehumanizer, with Tracy G on guitar.

The Spaghetti Incident? finds GUNS N' ROSES in a phase that reconnects Guns N’ Roses with the raw impulses of punk, glam and garage rock through a wide-ranging cover set.

Desire Walks On finds HEART in a phase that moves Heart into a harder early-1990s rock frame by combining tactile guitar weight with dramatic vocal presence.

The fifth album is a double: new and unreleased studio tracks on disc one, 1988 and 1992 live recordings on disc two.

On Psychoschizophrenia, LILLIAN AXE keeps its melodic hard-rock instinct but steps into heavy guitars, darker textures and more complex emotion.

Hanging in the Balance, METAL CHURCH's fifth album, keeps the weight of traditional metal and builds drama on Mike Howe's powerful vocals.

Bump Ahead finds MR. BIG in a phase that places Mr. Big’s exceptional musicianship beneath a softer melodic instinct and varied early-1990s arrangement.

Overkill's sixth album, released in March 1993: their first for Atlantic alone, and the first with drummer Tim Mallare.

Native Tongue finds POISON in a phase that adds blues, funk and soul texture to Poison’s familiar glossy hooks, showing a broader musical side.

Terrified finds QUIET RIOT in a phase that keeps Quiet Riot’s direct hard-rock momentum while leaning toward harder 1990s guitar tone and darker melody.

Nightbreaker finds RIOT in a phase that introduces a new vocal presence while carrying Riot’s sharp traditional-metal riffs and large melodies into a harder modern frame.

Savatage's seventh album, released in April 1993: the first with singer Zak Stevens, and the last album Criss Oliva lived to complete.

The third album, issued under the band name Vai and the first major record to feature Devin Townsend's singing.

Tool's first full-length album, released on 6 April 1993 and made with Sylvia Massy, the only one with original bassist Paul D'Amour.

Type O Negative's third album, issued by Roadrunner in 1993. It was the first record on that label to be certified gold by the RIAA.

Pull finds WINGER in a phase that keeps Winger’s melodic-hard-rock skill and song sense while moving into heavier guitar, intricate rhythm and a more inward atmosphere.

Alice in Chains' second album, out on 29 September 1992. Dave Jerden produced it as he had the debut, and it is the last record made by the four original members.

Keep the Faith tightens Bon Jovi’s celebratory 1980s image and moves toward heavier guitar and more mature songs under Bob Rock’s production.

Cannibal Corpse's third album, issued by Metal Blade on 22 September 1992. It is the last record made by the original line-up.

Images and Words joins complex rhythm, precise ensemble work and broad, singable melody at a very high level.

Force of Habit by EXODUS: track list, Spotify player and English liner notes on METAL BOOST.

III Sides to Every Story divides Extreme’s mix of funk-driven rhythm, hard-rock sharpness and orchestral scale into three connected sections.

Faith No More's fourth album, out on 8 June 1992. It is the first on which Mike Patton had a real hand in the writing, and the last with guitarist Jim Martin.

Fear Factory's debut, issued by Roadrunner in August 1992 and produced by Colin Richardson. Seventeen songs.

Hold Your Fire by FIREHOUSE: track list, Spotify player and English liner notes on METAL BOOST.

Time to Burn pairs Dann Huff’s expressive guitar and vocal with the firm playing of the rest of Giant, balancing weight and polish.

Great White's sixth studio album, produced by Alan Niven and Michael Lardie and released by Capitol in 1992, reached 107 on the Billboard 200.

Double Eclipse is Hardline’s debut built around Johnny Gioeli’s forceful, open vocal and Neal Schon’s fluent guitar.

Helmet's second album and major-label debut, issued by Interscope on 23 June 1992. Wharton Tiers recorded it in two weeks.

The fourth album, his biggest: number 22 in the United States, certified Gold, and home to Summer Song.

Revenge keeps KISS’s large choruses but places thick guitar and rougher rhythm at the front.

Poetic Justice connects thick guitar riffing with a more melancholy melodic sense.

Scenes steps away from Marty Friedman’s more aggressive guitar metal and moves toward clean tone, quiet arrangement and melodies that suggest Eastern color.

Countdown to Extinction streamlines some of the intricate thrash complexity of Rust in Peace and brings thick riffs, clear choruses and heavy groove to the front.

Ministry's fifth album, issued by Sire in 1992. Al Jourgensen and Paul Barker produced it, and it was recorded between March 1991 and May 1992.

Vulgar Display of Power turns low, rolling groove into weight rather than depending only on speed.

Rage Against the Machine's self-titled debut made a striking entrance in 1992, binding rap, funk groove and metal riffs with political urgency.

The Wild Life keeps Slaughter’s clear chorus hooks and bright hard-rock lift while moving into a more varied set of songs than its predecessor.

Sleep's second album, issued by Earache in Europe in November 1992 and in the United States in March 1993. It is named again and again as a starting point for stoner rock.

The Ritual tightens Testament’s earlier thrash attack and puts thick riffs and heavy groove at the front.

Tool's debut EP, released on 10 March 1992: four studio songs and two live tracks, picked for their heaviness at the label's urging.

Kingdom of Desire retains Toto’s polish while bringing guitar weight and a more immediate band feel to the front.

Hear! is Trixter’s second album of accessible melody, broad chorus and light-footed guitar.

The Crimson Idol is Blackie Lawless’s concept story of fictional rock star Jonathan Steel.

Dog Eat Dog keeps Warrant’s melodic identity while putting thicker riffs and tougher groove further forward.

White Zombie's third album, issued by Geffen in 1992. It leaves the band's punk and noise-rock roots for groove-driven metal, and it is their first record to sell in America.

Attack of the Killer B's gathers ANTHRAX B-sides, covers and experiments, including a collaboration with Public Enemy that fused metal and rap.

Screw It! uses Ted Poley’s clear vocal, Andy Timmons’s vivid guitar and thick chorus layers to create bright, flamboyant hard rock.

David Lee Roth's third full-length album, produced by Bob Rock and released on 15 January 1991, with Jason Becker on lead guitar.

Death's fourth album, out on 22 October 1991. Two members of Cynic and bassist Steve Di Giorgio play on it, and it became the reference point for technical death metal.