1991 Metal & Hard Rock Albums

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.

David Lee Roth's third full-length album, produced by Bob Rock and released on 15 January 1991, with Jason Becker on lead guitar.

Queen's fourteenth album, released in February 1991 (in Japan on 30 January): the last released in Freddie Mercury's lifetime, and a UK No. 1.

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

Paradise Lost's second album, released by Peaceville on 19 March 1991: the record their own biography credits with making them pioneers of gothic metal.

Voivod's sixth studio album, from 1991, produced by Terry Brown of Rush fame and turned towards alternative rock.

Saxon's tenth album, released in 1991. It is the first with Nibbs Carter on bass, a place he has held ever since.

Outrage's fourth album, out on 25 October 1991. It was their first recorded abroad, produced by Stefan Kaufmann, formerly of Accept.

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.

Sepultura's fourth album, released in 1991. It was made at Morrisound in Tampa with Scott Burns, and it has been called the point at which their death-thrash reached its conclusion.

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.

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.

Carcass's third album, issued by Earache in 1991. It is the first with guitarist Michael Amott and the first the band recorded as a four-piece.

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.

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.

Cathedral's debut, released in October 1991: doom played at a crawl on all but one track, and Lee Dorrian's favourite of all the records he has made.

Death's fourth album, out on 22 October 1991. Two members of Cynic and bassist Steve Di Giorgio play on it, and it became the reference point for technical death metal.

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

The band's second album, ten years after the first, and in practice their restart. Pony Canyon released it on 21 March 1991 as PCCY-00207, with Gary Barden of MSG singing and Dennis Stratton, formerly of Iron Maiden, on guitar. Eleven songs.

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.

1916, released by Epic in January 1991 and a UK No. 24, holds "R.A.M.O.N.E.S.", the band's tribute to the Ramones, and a title track about the dead of the First World War.

On the Prowl, released on 25 February 1991, marked the band's tenth anniversary. It pairs English-language self-covers of early Loudness songs with new material, and was the second and last album with Mike Vescera.

Made in Germany after the band took up with Kreator's management. Gallagher calls it darker and heavier than the low-budget record before it.

Attack of the Killer B's gathers ANTHRAX B-sides, covers and experiments, including a collaboration with Public Enemy that fused metal and rap.

Screw It! uses Ted Poley’s clear vocal, Andy Timmons’s vivid guitar and thick chorus layers to create bright, flamboyant hard rock.

Prisoners in Paradise keeps Europe’s large arena-rock outline while adding a calmer melancholy and greater polish.

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

Takin’ It to the Streets centers on Steve Overland’s smooth vocal and adds soft soul and pop color to FM’s melodic-hard-rock frame.

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

Sigh No More carries forward Gamma Ray’s early lift while adding darker riffing and a stronger sense of tension.

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.

Harem Scarem’s self-titled debut joins Harry Hess’s smooth, powerful vocal to Pete Lesperance’s expressive guitar, balancing hard-rock drive with AOR refinement.

Pink Bubbles Go Ape finds Helloween moving into a lighter, more colorful song style after Kai Hansen’s departure, while retaining speed and lift.

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.

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

No More Tears connects large heavy riffs and melancholy melody with unusual consistency.

One Size Fits All tightens Pink Cream 69’s blend of thick riffs, Andi Deris’s clear vocal and memorable chorus hooks.

Roll the Bones steps slightly away from Rush’s synth-centered 1980s design and brings Alex Lifeson’s guitar and the trio’s interplay back into sharper view.

Shadows of the Past is an early Sentenced death-metal record of sinking riffs, rough growls and dark air.

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.

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

Ceremony builds a longer, more shadowed song world around Billy Duffy’s thick guitar and Ian Astbury’s deep vocal.

Timebomb centers on Udo Dirkschneider’s rough roar and sharply chugging guitar in a hard-edged metal setting.

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.