1987 Metal & Hard Rock Albums

Great White's third album, released by Capitol in June 1987, went platinum behind the seven-minute "Rock Me", the band's first Hot 100 hit.

Dio's fourth studio album, released in July 1987, was the first with guitarist Craig Goldy and reached number eight in the UK and 43 in the US.

Savatage's fourth album, released in 1987: the first of eight with producer Paul O'Neill, and their best Billboard 200 placing at number 116.

Sepultura's second album, issued by Cogumelo in Brazil in 1987 and the first with Andreas Kisser.

The second album, which reached number 29 in the United States - a rare feat for an all-instrumental guitar record.

The debut EP, issued in 1987 on the band's own Pile Driver Records. Its cover earned it the nickname Peke Rage.

Voivod's third album, recorded at Music Lab in West Berlin between November and December 1986, produced by the band with Harris Johns.

King Diamond's second album and first full narrative work, recorded at Sound Track Studio in Copenhagen between December 1986 and February 1987.

Gary Moore's eighth album, dedicated to Phil Lynott, who died in 1986, and built around Irish melody.

Death's debut, recorded at The Music Grinder in Los Angeles in November 1986 with Randy Burns producing, and released by Combat Records on 25 May 1987.

Candlemass's second album, recorded at Thunderload Studios in Stockholm between July and September 1987 and released by Axis Records on 9 November that year.

Sodom's second album, recorded at Musiclab Studios in Berlin between 2 and 22 October 1987 and produced by the band with Harris Johns.

Overkill's second album, recorded at Pyramid Sound Studios in Ithaca, New York from September to December 1986 and produced by the band with Alex Perialas.

The debut by Switzerland's Coroner, released by Noise Records in June 1987. Its intricate writing places it at the beginning of technical thrash.

Bathory's third album, recorded at Heavenshore Studio in Stockholm between September and November 1986, with Quorthon playing every instrument as well as singing.

Mayhem's first commercial release, recorded at Creative Studios in Kolbotn, Norway in February and March 1987 and issued by their own Posercorpse Music in an edition of 1,000 hand-numbered copies.

The debut by Brazil's Sarcófago, recorded in July 1987 at J.G. Studio in Belo Horizonte and issued by Cogumelo Records that August.

The third album, released on 22 September 1987 and the first Kreator made as a four-piece, with Jörg Trzebiatowski on lead guitar. It was recorded at Horus Sound Studio in Hanover, and it is where arrangement starts to matter as much as speed.

Rock 'n' Roll was released by GWR in 1987. An official video was made for "Eat the Rich", and the Japanese pressing followed on 21 November as VDP-1288.

Bound To Break is Anthem's third studio album, released on 5 March 1987. Made with Chris Tsangarides, it is the finest of their early records; the band played in the United States that June, and it was the last album of Eizo Sakamoto's first spell as singer.

Hurricane Eyes is the seventh Loudness album, released worldwide with English lyrics on 10 August 1987. Eddie Kramer — whose credits include Led Zeppelin and Jimi Hendrix — produced. A Japanese-language version followed that December.

The solo debut, made in New York two years after Hanoi Rocks broke up, with Ian Hunter guesting on piano.

The last studio album of the band's first run, issued by Zebra Records in 1987 as ZEB 10. Founder Robb Weir had already left, and the band stopped after it.

The last Raven record for Atlantic, and the last with Rob "Wacko" Hunter on drums. Twelve tracks.

SINNER's last album for Noise. Andy Susemihl joined to record it, and Mathias "Don" Dieth left afterwards to become a founding member of U.D.O.

The second album, recorded at Bearsville Studios in New York with three producers split by the character of each song.

Permanent Vacation reconnects Aerosmith’s blues-rooted instincts with the radio and MTV scale of the late 1980s.

Among the Living locks sharp riffs, rolling rhythm and Joey Belladonna’s clear high voice into a single, highly physical sound.

The Eternal Idol places Tony Iommi’s heavy guitar at the center while Tony Martin’s soaring voice adds a new dramatic range.

The Ultra-Violence is a debut built on speed and raw force, yet it refuses to travel in a straight line.

The House of Blue Light puts Ritchie Blackmore’s hard-edged guitar and Jon Lord’s Hammond organ back in direct conversation.

Hysteria layers guitars, lead vocals and choruses until each song carries an enormous hook.

Back for the Attack lets Don Dokken’s expansive vocals and George Lynch’s cutting guitar playing sharpen one another.

Pleasures of the Flesh keeps Exodus at thrash speed while making its riff combinations and song structures more intricate.

Inside Information centers Lou Gramm’s powerful voice inside Mick Jones’s carefully assembled guitars and keyboards.

Appetite for Destruction captures Guns N’ Roses at the meeting point of raw playing and unusually strong melodic instinct.

Bad Animals surrounds Ann Wilson’s deep, powerful voice with thick guitar and expansive keyboards.

Keeper of the Seven Keys: Part I connects bright, racing riffs with clear high vocals and story-driven melody.

Crazy Nights keeps KISS’s thick guitar foundation but brings keyboards and huge choruses to the front.

Perfect Timing is a useful way to hear MICHAEL SCHENKER GROUP from a different angle within the 1987 catalogue.

Girls, Girls, Girls steps back from the pop shine of its predecessor and moves toward dirtier riffs and bluesy groove.

Big Life balances Night Ranger’s multiple vocal voices, twin guitars and bright keyboard color with care.

Execution Guaranteed builds on fast picking and tense rhythm while taking Rage into broader song structures.

Hold Your Fire brings together the synthesizer color Rush refined in the 1980s and the dense precision of its three players.

I Never Said Goodbye joins Sammy Hagar’s open, high voice to a stripped-down hard-rock frame.

Excess All Areas wraps Shy’s strong vocal ability and melodic sense in bright keyboards and polished guitar sound.

The Legacy is rooted in Bay Area thrash speed and attack, but it also carries detailed guitar interplay and memorable melodic shape.

Electric strips away much of the Cult’s earlier ornate atmosphere and places thick riffs and dry beats at the front.

Tell No Tales refines TNT’s hard-rock force through bright, soaring vocals and distinctive guitar phrasing.

Dreamhunter combines strong riffs, bright keyboards and memorable choruses with careful control.

Love Is for Suckers adds more polished melody and glam-rock brightness to Twisted Sister’s established rebellious metal identity.

Animal House builds around Udo Dirkschneider’s sharp, unmistakable voice with hard riffs and straight-ahead beats.

Pride joins White Lion’s hard-rock power to a refined, song-centered melodic sense.

Whitesnake surrounds David Coverdale’s bluesy, powerful voice with huge guitar riffs and layered choruses.

Contagious keeps Y&T’s direct hard-rock feel while polishing its choruses and production toward a broader radio sound.