1981 Metal & Hard Rock Albums

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.

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 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.

The Birthday Eve is the first Loudness album, issued in Japan by Nippon Columbia on 25 November 1981. Guitarist Akira Takasaki and drummer Munetaka Higuchi formed the band after Lazy broke up, with Minoru Niihara on vocals and Masayoshi Yamashita on bass; their debut concert at the Asakusa International Theatre sold out.

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

For Those About to Rock presents AC/DC’s most basic strengths on a larger scale.

Breaker unifies Accept’s sharp riffs, blunt rhythm and Udo Dirkschneider’s unmistakably rough voice.

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.

4 joins Mick Jones’s guitar riffs and Lou Gramm’s powerful voice inside a tightly polished production.

Bangkok Shocks, Saigon Shakes, Hanoi Rocks is a debut that mixes punk urgency, glam-rock color and bluesy guitar.

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.

Escape opens Journey’s melodic strengths to their fullest scale through Steve Perry’s soaring voice, Neal Schon’s fluid guitar and Jonathan Cain’s keyboards.

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

Music from “The Elder” moves Kiss away from riff-led celebration toward orchestration, keyboards and highly dramatic arrangements.

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.

Too Fast for Love is Mötley Crüe’s debut burst of rough guitar, hard beat and dangerously flamboyant personality.

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

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.

Fire Down Under places Guy Speranza’s high, urgent voice over the hard riffs of Mark Reale and Rick Ventura.

Moving Pictures compresses Rush’s intricate musicianship into shorter, clearer songs.

Renegade builds on Thin Lizzy’s familiar twin-guitar interplay and Phil Lynott’s conversational vocal style, then widens the sound with keyboards.

Turn Back keeps Toto’s polished studio discipline but brings harder guitars and faster rhythm to the front.

Fair Warning keeps Van Halen’s sense of flash and fun but steps into darker, tighter guitar territory.

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.

Earthshaker joins Y&T’s thick guitar riffs, straightforward rhythm section and Dave Meniketti’s emotional vocal delivery with real force.