1988 Metal & Hard Rock Albums

Ain't Misbehavin', a seven-track EP issued by FM-Revolver in 1988, was the last record Phil Mogg made with guitarist Atomik Tommy M.

David Lee Roth's second full-length album, released on 21 January 1988 and co-produced with Steve Vai, reached number 6 on the Billboard 200.

Blind Guardian's debut, from 1988: raw speed metal recorded with producer Kalle Trapp, built on songs from their demos as Lucifer's Heritage.

Overkill's third album, released in July 1988: the first with drummer Sid Falck, and the one whose "Hello From the Gutter" video was played on MTV.

Soundgarden's debut album, out on 31 October 1988: their only record for SST, later nominated for the Grammy for Best Metal Performance.

Voivod's fourth studio album, from June 1988: a concept record about the band's cyborg Korgull, recorded in West Berlin.

Carcass's debut album, issued by Earache in 1988 and generally taken as the first record of what came to be called goregrind.

Saxon's ninth album, from March 1988 and their last for EMI. It opens with a cover of Christopher Cross's "Ride Like the Wind".

Ministry's third album, out on 11 October 1988, which their own biography credits with redrawing the post-punk axis.

Outrage's major-label debut, out on 25 April 1988. It includes a reading of Flower Travellin' Band's Slowly But Surely.

Jane's Addiction's major-label debut, recorded at Eldorado in Los Angeles in January 1988 and released by Warner Bros. on 23 August that year.

Crimson Glory's second album, recorded at Morrisound Studios in Tampa, Florida with Jim and Tom Morris producing.

Death's second album, made at Morrisound Recording in Tampa, Florida in April 1988 with Scott Burns engineering. It is the only Death studio album with guitarist Rick Rozz.

Danzig's debut, recorded between September 1987 and April 1988 at Atlantic Recording Studios and Chung King in New York, produced by Rick Rubin.

Vio-lence's debut, recorded between February and April 1988 at Music Grinder in Los Angeles and Alpha & Omega in San Francisco, and released by MCA's Mechanic sublabel.

Coroner's second album, recorded at Sky Trak Studios in Berlin in May 1988 with Guy Bidmead producing, and released by Noise on 1 August that year.

Bathory's fourth album, recorded at Heavenshore Studio in Stockholm in February 1988. It is named among the earliest examples of what came to be called Viking metal.

Napalm Death's second album, recorded at Birdsong studio in Worcester, England in July 1988 and released by Earache Records. It entered the UK Indie Chart at number one.

The debut L.A. Guns album, released by Vertigo in January 1988 with eleven songs. In Japan it has always carried a title of its own, and Universal Music Japan reissued it as a limited budget edition (UICY-78616) on 14 March 2018.

Gypsy Ways is Anthem's fourth studio album, released on 21 May 1988. It is the first record with Yukio Morikawa as singer, and its title track and "Shout It Out!" became fixtures of the band's sets.

Jealousy is a mini-album released only in Japan on 25 May 1988. It was the last recording by the original line-up; Minoru Niihara left the band at the end of the domestic tour that supported it.

The seventh album, self-produced for Combat Records in America and the first with ex-Pentagram drummer Joe Hasselvander.

The fourth album, released in 1988.

Blow Up Your Video strips AC/DC back to the essentials: the Young brothers’ riff engine, Brian Johnson’s full-throated voice and a beat that moves straight ahead.

State of Euphoria brings Anthrax’s fast riffs, bouncing rhythm and Joey Belladonna’s clear voice together in a record where weight and fun coexist.

In Heat puts Black ’n Blue’s thick guitar, bouncing beat and memorable chorus writing in the foreground.

New Jersey gathers thick guitar, strong rhythm and instantly singable choruses with a very high level of finish.

Long Cold Winter keeps Cinderella’s earlier flash while digging deeper into blues grit and Southern-rock earthiness.

Frolic Through the Park keeps Death Angel’s thrash framework but brings in funk, hardcore energy and unpredictable turns.

Out of This World moves Europe further into polished arena rock through grand keyboards, open vocals and bright guitar work.

No Exit expands Fates Warning’s progressive-metal language through sharp riffs, shifting rhythms and long-form development.

G N’ R Lies places Guns N’ Roses’ raw early charge beside more introspective, acoustic-led songs.

Keeper of the Seven Keys: Part II gathers fast riffs, bright melody and grand choruses at remarkable density.

Seventh Son of a Seventh Son keeps Iron Maiden’s traditional charge while adding keyboard color and a connected narrative.

Ram It Down puts Judas Priest’s heavy riffing, rapid drumming and Rob Halford’s high voice back at the front.

Lillian Axe’s debut joins sharp guitar figures to singable melody and leaves real shadow inside its hard-rock gloss.

Dragon’s Kiss shows Marty Friedman using guitar not only for neoclassical speed but also for unusual melodic shapes, Eastern-flavored color and strong song feeling.

So Far, So Good... So What! drives Megadeth’s twisted riffs, sharp turns and Dave Mustaine’s abrasive voice into a volatile whole.

...And Justice for All builds a vast, hard-edged world through long forms, interlocking riffs and rhythm that sustains tension.

Man in Motion puts Night Ranger’s twin-guitar interplay and clear vocal melody at the center of a more rock-driven sound.

No Rest for the Wicked sets Ozzy Osbourne’s uneasy, unmistakable voice against Zakk Wylde’s thick riffs and rough guitar attack.

Power Metal is a useful way to hear PANTERA from a different angle within the 1988 catalogue.

Open Up and Say... Ahh! gathers Poison’s bright hooks, light-footed riffs and live-ready rhythm into an immediate statement.

Operation: Mindcrime binds social anger, personal doubt and a dramatic narrative to Queensrÿche’s hard-edged riffs and refined melody.

QR brings a new voice to Quiet Riot and steps slightly away from the band’s expected image.

Perfect Man adds more ordered melody and structure to Rage’s speed-metal sharpness.

Reach for the Sky builds on Ratt’s twin-guitar identity, placing Robbin Crosby and Warren DeMartini inside thick riffs and smooth groove.

Thundersteel is Riot’s high-speed restart, driven by cutting riffs, urgent drumming and Tony Moore’s soaring voice.

Savage Amusement shapes thick guitars, clear rhythm and Klaus Meine’s bright voice into a polished hard-rock sound.

South of Heaven refuses to simply repeat the violent speed of Slayer’s previous record.

The New Order connects Testament’s cutting riffs, Chuck Billy’s forceful voice and Alex Skolnick’s fluent lead guitar.

The Seventh One unites Toto’s precise rhythm work, layered keyboards and open-hearted vocals without allowing studio polish to turn cold.

OU812 expands Van Halen’s Sammy Hagar-era momentum through Eddie Van Halen’s inventive guitar and keyboards and Hagar’s open, powerful voice.

Vixen by VIXEN: track list, Spotify player and English liner notes on METAL BOOST.

Winger’s debut connects big choruses, precise rhythm and Reb Beach’s guitar into an immediate introduction.

Odyssey brings Yngwie Malmsteen’s fluid guitar work into contact with songs that give melody a larger role.