GD’s Most Dominating Albums Of The 1980’s (90-81)

GD’s Most Dominating Albums Of The 1980’s (90-81)

05/09/08  ||  Global Domination

Accept: Metal heart 90. Accept: Metal heart

Released: 1985

Metal Heart may not be as aggressive or heavy as its predecessors –
it might not be as influential either – but as far as I’m concerned,
Accept never sounded better than on this release. Why? Because every
single song on this album is catchy as fuck. Simple as that. I dare you
to listen to the perfect opener and title-track and not immediately want
to listen to it again. Sure, the Für Elise guitar solo is fun, but it’s
the quality of the song-writing, the energy of the band, and the
inimitably nasal vocals of Udo Dirkschneider that makes it a classic. As
it turned out, Accept weren’t “Bound to Fail”.


Blind Illusion: The sane asylum 89. Blind Illusion: The sane asylum

Released: 1988

You may be familiar with the names Les Claypool and Larry LaLonde.
Together with Tim “Herb” Alexander they formed Primus, possibly the most
original rock band of the 90s. “But Banesupper,” you say, “this is
about the 80s and metal and dingoes!” And you are most correct. This
isn’t Primus, but Blind Illusion, the band that led Claypool and LaLonde
into eachother’s waiting arms, and “Yay!” the crowd exclaimed; it is
metal. The particular brand of metal exercised is thrash-prog, ala
Voivod. Anyone familiar with Primus will not be surprised to find that
the most technically gifted musicians involved are Claypool and LaLonde.
While they’re both basically hired guns, they still get fair chance to
practice their own styles – Claypool’s masterful bass-slapping in
particular – and that’s a significant contributing factor to this
album’s quality. Don’t get me wrong though, the songs on here are
anything but weak. The ultimate standout must be “Kamikaze”, the chorus
of which will rock you into the next world and back.


Scorpions: Blackout 88. Scorpions: Blackout

Released: 1982

I believe there is an alternate reality where instead of the NWOBHM,
there was a New Wave of German Heavy Metal. Accept and the Scorpions
were the biggest bands in the world. The most popular hairstyle was male
pattern balding. Album covers were considered pornography. It was a
scary, scary time. The 1970’s not withstanding, “Blackout” is the
Scorpions at their peak. Like the follow-up, “Love at First Sting”, the
tracks are hard rocking, fun, and diverse. “No One Like You” is probably
the biggest hit on here and it shows that power ballads can still
fucking rock, even though “Still Loving You” on the next album proved
they didn’t have to. I challenge any of you fuckers to listen to the
title track or “Dynamite” and not want to bang your head. “Blackout” is
just a great bunch of songs from a band that has been writing good songs
for over 30 years. BLACKOUT!

-Hanging Limbs (ex-staffer/cocksucker)

Warlord: And the cannons of destruction have begun 87. Warlord: And the cannons of destruction have begun

Released: 1984

I dig the living shit out of 80s heavy metal from the US, and
Warlord is one of those bands that released awesome shit that nobody
seems to care about anymore. Their extensively titled debut “…And the
Cannons of Destruction Have Begun” is a quality record through and
through. Sure, the vocals aren’t on par with the likes of Bruce
Dickinson, and the production isn’t awe-inspiring (though it’s actually
superior to what most other bands from the era can boast), but when epic
songs like “Black Mass” or “Deliver Us From Evil” fills the air, it’s
impossible to not be seduced by Warlord’s righteous heavy metal sound.


Sabbat: History of a time to come 86. Sabbat: History of a time to come

Released: 1988

First and foremost, let’s pay attention to an often ignored element
of metal, the lyrics. Every once in a while, there appears a man that
transcends the mundane efforts of his peers with grace and ease.
Regarding lyric writing, such luminary is Mr. Martin Walkyrier. I mean,
80’s thrash metal with sophisticated lyrics in times thrash metal with
proper English lyrics were hard to find! Just go to the next metal
lyrics website and check them out, fancy wordplay and stylish texts
await you.

Enough about the lyrics, because a well-written phrase won’t save
the crappiest of riffs. Sabbat just fuckin’ delivered the goods. Andy
Sneap might be famous as a music producer extraordinaire, but fuck me
sideways if this guy isn’t one of the best riffmeisters of the eighties.
While the music was technical, what is really impressive is his ability
to blend more traditional metal and far from technical hooks when
needed. During some songs, you would be treated to a verse that evoked
finger cramps out of sheer complexity and then a chorus you could learn
how to play with a few lessons of guitar playing. Combine it with
Walkyrier’s dark lyrics propelled by his theatrical rasps and snarls,
and you have a delicious piece of metal, even considering the drumming
and bass work here is less than stellar.

Sabbat single-handedly took the term “British thrash metal” out of
total obscurity and for that, the Britons shall forever be grateful. But
even more grateful should be the fans of quality thrash metal

-Tiago Bonamigo (super rad special guest/whore)

Running Wild: Death or glory 85. Running Wild: Death or glory

Released: 1989

I don’t know what people see in pirates. Maybe it’s the nice red
uniforms, or the liters of rum consumed daily, or maybe the loot, rape
and murder are the factors that seem like the dreams come true. I
suspect that it’s for one of these reasons that Running Wild, instead of
praising Satan like any decent metal band, decided to go for a more
“piratey” image. This doesn’t really matter, as it is a generally
accepted truth that if a metal band’s lyrics make more sense than what
your mom told you about sex when you were 12, there’s something
seriously wrong with the band.

Running Wild steer clear from that mistake and write songs about
being a pirate, getting into fights and, for some reason, the battle of
Waterloo. And they do this perfectly. I’m not sure which one is my
favorite: “Riding the storm”, with its marinistic opening riff which
almost beat Kat’s “Odi Profanum Vulgus” in the best opener competition,
the extremely catchy “Bad to the bone” or “The Renegade”. All songs on
this record are pure fucking gold and not singing along to some of the
choruses is extremely difficult. Running Wild is similar to other mid-
and late- 80s heavy metal bands, like Metal Church and to some extent
Steeler (the awesome first album, not the crappy second), in that they
mix a bit of speed into their heavy metal, only in this case there’s
some more marinistic riffs around. Sure, it can be said that all Running
Wild albums are too similar to each other, but fuck, if you’ve got a
formula that creates gems like “Death or Glory”, you would indeed be a
stupid cunt if you started to change stuff.

-Max Von Laibach (ex-staffer/cocksucker)

Liege Lord: Master control 84. Liege Lord: Master control

Released: 1988

Two years before Judas Priest released “Painkiller”, hailed by some
as the invention of speed metal, there was another album quite like it
in sound. I’m referring to Liege Lord’s “Master Control”, which I’m sure
you had guessed, ‘cause it’s right there in the title. It’s got the
energy and speed of thrash, with the dominant melodies and soaring
choruses of classic heavy metal, and no, it really isn’t markedly
inferior to “Painkiller”. Led by the powerful vocals of Joe Comeau,
“Master Control” is a tour de force of energetic, catchy riffs and
blood-pumping choruses. The title-track is a fine example of Liege
Lord’s thrashier material, and ultra-catchy “Broken Wasteland” is a
perfect example of the glory of their most melodic.


Sarcofago: INRI 83. Sarcófago: INRI

Released: 1987

When Wagner “Antichrist” Lamounier (now a professor of economic
sciences) left Sepultura, he really had no way of knowing the rather
speed metal-ish direction that band would take, and yet, “INRI” almost
seems like a deliberate counterargument to Sepultura’s highly structured
and epic works to come. Sure, Sarcófago still have da riffs, but make
no mistake: this album is primitive 80s black metal to the fullest. The
lyrics are a riot (“If you are a false don’t entry/Because you’ll be
burned and died”), but the music is deadly serious. It’s no surprise
that Sarcófago was such a huge influence on the wave of black metal to
come, right down to their corpse-painted and bullet-belted countenances.


Devil Doll: The girl who was... death 82. Devil Doll: The girl who was… death

Released: 1989

Devil Doll, ah… now there’s a difficult band to size up. The
Italian/Slovenian (!) outfit is as cult as cult can be, and while few
may have had the pleasure of hearing them, their fans are not in doubt:
this is just fucking brilliant. It’s one thing that Devil Doll were
among the first to expand the metal genre by incorporating decidedly
non-metal elements – a common gimmick nowadays – but even today the band
remains completely unique. Inimitable, I believe, is the word most
appropriate. Their twisted, horror-themed, pseudo-classical
compositions, led by the sprechgesang of the infinitely talented Mr.
Doctor, deserve to be heard, even if only to write it all off as “just
fucking weird”.


Class6(66) coverage

Agony: The first defiance 81. Agony: The first defiance

Released: 1988

If people at GD actually had the smallest of clues, this album would
be rated alot higher. Agony is one of the most overlooked bands in the
history of thrash metal. The fact that they are Swedish makes things
even better. “The first defiance” is a masterpiece on pretty much all
accounts. There are riffs-a-fucken-plenty that will make you cry out of
happiness and there’s some serious fucken songwriting going on. These
guys had it all figured out; they took the best parts of the Bay Area
scene, molded it into their own twisted form (Hello Forbidden!) and
ended up with a fantastic album. Coming from a punk background (and
formerly being known as Agoni – the Swedish word for “agony”, ofcourse),
“The first defiance” left the punk influences behind and concentrated
on the ABC of magnificent thrash fucken metal.
Yet to this day, no Swedish band have been able to capture what Agony
had back on this here recording. Their sound is unique without being
unique, if that makes any sense. Much of this is to blame on Pete’s
original vocal style.

If you claim to be a fan of thrash metal and you still have no idea
what Agony was about, well, then you better go back to your My Little
Pony collection and dollhouses. Agony’s first (as well as last) album is
full of everything you could ever want from a thrash band. And more.
“The first defiance” is easily one of my 10 all-time favourite thrash
albums. Do yourself a favour, try to find a copy of this. Now.

-Lord K Philipson

Class6(66) coverage


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This entry was posted on June 14, 2014 by in 1980s - Top 100, Best of, Decades, Lists of Domination.
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