United States Metal & Hard Rock Albums of the 1990s - Page 5

Parallels keeps Fates Warning’s complex rhythm and extended development while giving the songs a clearer outline around Ray Alder’s vocal.

Unusual Heat introduces a new front voice and places Mick Jones’s guitar at the center of a harder, more early-1990s sound.

Great White's fifth studio album, released by Capitol in February 1991, reached number 18 in the US and was certified gold by the RIAA that April.

Use Your Illusion I keeps the dangerous charge of Guns N’ Roses’ earlier work while greatly expanding song length, arrangement and emotional range.

Paired with the same-day first volume, Use Your Illusion II shows a darker shade and a broader swing of feeling.

The third L.A. Guns studio album, released by Vertigo on 25 June 1991 with twelve songs. The Japanese edition at the time was PHCR-1085, and Universal Music Japan reissued it on SHM-CD on 25 March 2026.

The Human Factor brings Metal Church’s sharp guitar attack, heavy-moving rhythm and Mike Howe’s forceful voice into a focused whole.

Metallica, widely known as The Black Album, streamlines some of the band’s more complex thrash construction and brings low, heavy riffs and larger melody to the front.

Morbid Angel's second album, issued by Earache on 22 May 1991. It is slower than the debut and carries an audible debt to classical music.

Lean Into It places Paul Gilbert and Billy Sheehan’s virtuosity inside songs led by Eric Martin’s melodic vocal.

Nirvana's second album, released by DGC on 24 September 1991. It is the first record with drummer Dave Grohl, and Butch Vig produced it.

Overkill's fifth album, released in September 1991: the first as a five-piece with two guitarists, bringing elements of doom into their thrash.

Pearl Jam's debut, released by Epic on 27 August 1991. It was recorded at London Bridge Studios in Seattle with Rick Parashar.

Savatage's sixth album, a rock opera issued by Atlantic in October 1991: the rise, fall and redemption of a New York drug dealer who becomes a rock star.

Slave to the Grind keeps Skid Row’s ability to write large hooks but pushes guitar weight, Sebastian Bach’s scream and rough rhythm much further forward.

Soundgarden's third album, released in 1991. It is the first with bassist Ben Shepherd, built on alternative tunings and odd metres, and it was the band's first record to chart high in the United States.

Suffocation's debut, released in 1991. It was cut over a week at Morrisound in Tampa that June and became the template for brutal death metal.

Psychotic Supper avoids excessive overdubbing and brings guitar texture, Jeff Keith’s rough vocal and the band’s shared breathing to the front.

For Unlawful Carnal Knowledge reduces the keyboard emphasis and puts Eddie Van Halen’s thick guitar riffs and the band’s live-feeling drive at the front.

Mane Attraction keeps White Lion’s melodic strengths while moving toward longer forms and thicker guitar weight.

Hungry combines streetwise guitar riffing, Terry Ilous’s strong vocal and direct chorus hooks.

Alice in Chains' debut, released by Columbia in 1990. It was the first grunge album certified gold by the RIAA, reached number 42 on the Billboard 200 and has since gone triple platinum.

Persistence of Time finds ANTHRAX in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Atheist's debut, taped in 1988 and held back for years by a label bankruptcy before its international release in 1990. It is one of the earliest death metal records built on jazz-fusion phrasing.

Heartbreak Station finds CINDERELLA in a phase that puts hard rock’s physical pull forward on a base of bluesy grit and thick riffs.

Death's third album, out on 16 February 1990. It drops the gore of the first two records for social subject matter and raises the level of playing a step, and it is the turn in the band's course.

Act III finds DEATH ANGEL in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Dio's fifth studio album, released in May 1990, had an all-new line-up around Ronnie James Dio, including guitarist Rowan Robertson, hired at 17.

Impact Is Imminent finds EXODUS in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Pornograffitti finds EXTREME in a phase that crosses heavy riffs, bouncing rhythm and dense harmony to create a distinctive groove.

FireHouse captures FIREHOUSE at a point where the later image is not yet fully fixed.

Brigade is a useful way to hear HEART from a different angle within the 1990 catalogue.

Rust in Peace finds MEGADETH in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Obituary's second album, out on 19 September 1990. It was cut at Morrisound Recording in Tampa with Scott Burns producing, and it is one of the records by which Florida death metal is measured.

Cowboys from Hell finds PANTERA in a phase that pursues pressure that reaches the body through heavy riffs and clinging rhythm rather than speed.

Flesh & Blood is a useful way to hear POISON from a different angle within the 1990 catalogue.

Empire finds QUEENSRŸCHE in a phase that joins intricate movement and high-level musicianship to vocal melody and dramatic structure.

Detonator is a useful way to hear RATT from a different angle within the 1990 catalogue.

The Privilege of Power finds RIOT in a phase that reasserts the force of traditional metal through steel-edged riffs, forward beat and proud vocal delivery.

Stick It to Ya finds SLAUGHTER in a phase that uses hard-edged guitar and wide-open vocal melody to deepen a melodic-hard-rock outline.

Seasons in the Abyss is a useful way to hear SLAYER from a different angle within the 1990 catalogue.

The second album, the record that set the standard for instrumental rock: number 18 in the US and certified Gold.

The fifth album, released in 1990, closing out the run that began in the mid-80s.

Suicidal Tendencies' fifth album, released by Epic in 1990. It is the first with bassist Robert Trujillo and the last studio record with drummer R.J. Herrera, and it moves the band from crossover toward thrash metal proper.

Souls of Black finds TESTAMENT in a phase that uses angular riffs and urgent rhythm to examine thrash-metal aggression from several sides.

Trixter captures TRIXTER at a point where the later image is not yet fully fixed.

Rev It Up is a useful way to hear VIXEN from a different angle within the 1990 catalogue.

Cherry Pie is a useful way to hear WARRANT from a different angle within the 1990 catalogue.

In the Heart of the Young finds WINGER in a phase that uses hard-edged guitar and wide-open vocal melody to deepen a melodic-hard-rock outline.

Ten is a useful way to hear Y&T from a different angle within the 1990 catalogue.