1985 Metal & Hard Rock Albums

Misdemeanor, released by Chrysalis in November 1985, brought UFO back with a new line-up around Phil Mogg, Atomik Tommy M and Paul Gray.

Dio's third album, released on 12 August 1985, was Vivian Campbell's last with the band and reached number 29 in the US and number 4 in the UK.

David Lee Roth's first solo record, a four-song EP of covers released on 28 January 1985 while he was still Van Halen's singer.

Savatage's second album and their major-label debut on Atlantic, released in April 1985 and produced by Max Norman, known for his work with Ozzy Osbourne.

Saxon's seventh album, released in September 1985. It is their first for EMI and the last with the founding bassist Steve Dawson.

A side project built around two members of Anthrax with Billy Milano and Dan Lilker, cut in four days at Pyramid Sound in Ithaca, New York in July 1985.

Iron Maiden's first live album, drawn from the World Slavery Tour of 1984 and 1985 and released by EMI as a double LP on 14 October 1985.

Amebix's first full-length album, produced by Jason Rosenberg and released by Alternative Tentacles in September 1985.

Marillion's third album, a continuous work recorded at Hansa Tonstudio in Berlin between March and May 1985 with Chris Kimsey producing.

Possessed's debut, recorded at Prairie Sun Studios in Cotati, California between 30 March and 5 April 1985 with Randy Burns producing.

Trouble's second album, out in 1985 and pushed further towards slowness and weight than the debut. It is still named among the classics of doom metal.

Destruction's debut album, recorded at Caet Studio in Berlin and released by Steamhammer on 24 May 1985. With Sodom and Kreator, it is one corner of the German triangle.

Overkill's debut album, recorded at Pyramid in Ithaca, New York and released by Megaforce Records in 1985. It is one of the starting points of East Coast thrash.

The second album by Canada's Razor, recorded at Phase One Studios in Toronto in July 1985 and released by Viper Records in October that year.

Celtic Frost's second album, recorded between 14 and 28 September 1985 at Casablanca studio in Berlin. The gatefold sleeve carries H. R. Giger's 1977 painting Satan I.

Kreator's debut, cut and mixed inside ten days at Caet Studio in Berlin in March 1985 and issued by Noise that October. Mille Petrozza and drummer Ventor trade lead vocals from song to song, a split the band never repeated.

Ready To Ride is an Anthem mini-album released on 18 December 1985: two new songs plus three tracks from the debut re-sung in English, issued as a twelve-inch record.

Anthem is the band's debut album, released on 21 July 1985 on King Records' Nexus label under the slogan Power Metal Martial Law. It holds "Wild Anthem", "Warning Action!" and "Steeler".

Thunder in the East, released on 21 January 1985, was the first Loudness album issued worldwide. It reached No. 74 on the Billboard 200 — unprecedented for a Japanese band — and stayed on the chart for nineteen weeks, with a US tour supporting Mötley Crüe.

A studio album released by Music for Nations in 1985 as MFN 50, and the first the band made without founder Robb Weir. Victor issued the Japanese edition on 21 January 1986 as VDP-1066.

The Atlantic debut, made after the move to New York, and home to the MTV single "On And On".

The follow-up to Danger Zone, recorded with Accept guitarist Herman Frank in the line-up.

The second album, released in 1985.

Fly on the Wall by AC/DC: track list, Spotify player, music videos and English liner notes on METAL BOOST.

Metal Heart preserves Accept’s hard, compact riff power while adding larger melody and more detailed arrangement.

Done with Mirrors brings Aerosmith back toward guitar-led rock and roll after the return of Joe Perry and Brad Whitford.

Spreading the Disease keeps thrash-riff aggression but puts Joey Belladonna’s high, clear voice and larger melody in front.

Astra centers John Wetton’s soaring voice and Geoff Downes’s layered keyboards as Asia moves toward a harder, more edged sound.

Without Love refines Black ’N Blue’s sharp guitar riffs and catchy choruses into a smoother 1980s sound.

7800° Fahrenheit keeps the debut’s momentum while putting harder guitar and higher-energy choruses further forward.

Under Lock and Key brings technical guitar and singable chorus writing together at a high level.

Bonded by Blood is Exodus’s debut collision of punk-like momentum and hard heavy-metal riffing.

The Spectre Within layers more complex movement and a fantastical atmosphere onto Fates Warning’s traditional-heavy-metal weight.

Heart’s self-titled album connects Ann and Nancy Wilson’s expressive strengths to a more open pop-rock design.

Walls of Jericho combines Helloween’s raw speed-metal attack with the melodic instinct that would later blossom more fully.

Asylum gathers bright 1980s keyboard color, firm guitars and easy-to-sing choruses into a focused KISS record.

Killing Is My Business... captures Megadeth’s raw early drive around Dave Mustaine’s sharp, twisted riff sense.

Theatre of Pain keeps some of Mötley Crüe’s early aggression while moving further into glam-metal color and larger melody.

7 Wishes uses twin guitars, keyboards and multiple voices to build carefully crafted melodic rock.

I Am the Night is a useful way to hear PANTERA from a different angle within the 1985 catalogue.

Invasion of Your Privacy keeps the previous album’s momentum while tightening the placement of riffs, choruses and guitar solos.

Rough Cutt is a debut built around Paul Shortino’s soulful, powerful voice and twin guitars stacking heavy riffs.

Power Windows keeps Rush’s guitar-rock foundation while expanding its use of keyboards and electronic texture.

Brave the Storm builds polished hard rock around Tony Mills’s soaring high voice and Steve Harris’s melodic guitar.

Hell Awaits keeps Slayer’s speed while moving toward more complex, uneasy song structures.

Love by THE CULT: track list, Spotify player and English liner notes on METAL BOOST.

Scratch and Bite is Treat’s debut foundation for Nordic melodic hard rock, combining firm guitar riffs with bright keyboard color.

Come Out and Play places brighter choruses and theatrical humor over Twisted Sister’s rough metal frame.

Alibi centers Adrian Vandenberg’s singing guitar style as the band refines its melodic-hard-rock outline.

The Last Command keeps W.A.S.P.’s provocative momentum while bringing larger melody and drama into the songs.

Fight to Survive joins White Lion’s accessible melodic-hard-rock side to Vito Bratta’s distinctive guitar voice.

Down for the Count keeps Y&T’s blues-rooted hard-rock feel while bringing in brighter melodies and keyboard color.

Marching Out connects Yngwie Malmsteen’s classical-harmony sense and rapid phrases to a more aggressive heavy-metal attack.