Blog author: Xavier Cattarinich
A few weeks back, our own Alex Stojanovic published his retrospective top 10 list of metal albums released in 1987, and confessed that those albums had been released before he had even been born. That made me look back wistfully on my own longtime relationship with metal, and inspired me to draw my own top 10 (for the record, I was 13 years old in 1987).
I had first been exposed to metal in 1985 through music videos by Twisted Sister and Ratt, and by the cassette tapes some of my grade 7 classmates would blast on their ghetto blasters and walkmans. The mid-80s was an era dominated by dime-a-dozen, crotch-rockin, party-all-the-time glam/sleaze metal bands in America, the rise of the New Wave Of British Heavy Metal in the U.K., and in the underground, the emergence of thrash and speed metal. This was also the time of the Parents' Music Resource Centre's (PMRC) war on metal. The organization, led by Al Gore's wife Tipper, had sought to censor metal music and its associated imagery. The matter was referred to congressional witch hunts.... er, hearings, which fanned a moral panic linking heavy metal to devil worship and other stuff. I could write a lot more about this, but bottom line: metal was under heavy assault by social conservatives.... and that made it the ideal time to dive in!
The first metal album I purchased (cringe) was Poison's Look What The Cat Dragged In (1986), and from there, the downward spiral was swift. Poison led to Motley Crue and Whitesnake, then on to Iron Maiden, Judas Priest, Ozzy Osbourne and W.A.S.P. By 1988, I had completed my conversion to Metalica and Megadeth. Looking back at the releases from 1987, I'm shocked at the realization that iwas an off year for studio albums from my favourite bands. Still, there was plenty of good stuff, and I find it interesting that the only album that Alex S. and I have in common on our lists is King Diamond's Abigail.
I had first been exposed to metal in 1985 through music videos by Twisted Sister and Ratt, and by the cassette tapes some of my grade 7 classmates would blast on their ghetto blasters and walkmans. The mid-80s was an era dominated by dime-a-dozen, crotch-rockin, party-all-the-time glam/sleaze metal bands in America, the rise of the New Wave Of British Heavy Metal in the U.K., and in the underground, the emergence of thrash and speed metal. This was also the time of the Parents' Music Resource Centre's (PMRC) war on metal. The organization, led by Al Gore's wife Tipper, had sought to censor metal music and its associated imagery. The matter was referred to congressional witch hunts.... er, hearings, which fanned a moral panic linking heavy metal to devil worship and other stuff. I could write a lot more about this, but bottom line: metal was under heavy assault by social conservatives.... and that made it the ideal time to dive in!
The first metal album I purchased (cringe) was Poison's Look What The Cat Dragged In (1986), and from there, the downward spiral was swift. Poison led to Motley Crue and Whitesnake, then on to Iron Maiden, Judas Priest, Ozzy Osbourne and W.A.S.P. By 1988, I had completed my conversion to Metalica and Megadeth. Looking back at the releases from 1987, I'm shocked at the realization that iwas an off year for studio albums from my favourite bands. Still, there was plenty of good stuff, and I find it interesting that the only album that Alex S. and I have in common on our lists is King Diamond's Abigail.
10. SAVATAGE - Hall Of The Mountain King
Much like King Diamond and Blackie Lawless of W.A.S.P., Jon Olivia had one of those unsetting voices that I initially found repulsive. Yet with every viewing of the video for the title track on MuchMusic's Power Hour, I found myself gradually drawn into the Hall Of The Mountain King and appreciating Olivia's eerily seductive (if something's grating) vocals. Dark fantasy themes, somber atmosphere, and classical arrangements sealed the deal for this 13 year-old Dungeons & Dragons devotee (I was hooked on classical music and John Williams soundtracks long before I ever took an interest in rock). Little did anyone know at the time that Hall Of The Mountain King would be an important step in Savatage's transformation from power metal outfit into progressive rock opera icons. Stand out tracks include "Legions", "Strange Wings", "The Price You Pay" and the title track.
Much like King Diamond and Blackie Lawless of W.A.S.P., Jon Olivia had one of those unsetting voices that I initially found repulsive. Yet with every viewing of the video for the title track on MuchMusic's Power Hour, I found myself gradually drawn into the Hall Of The Mountain King and appreciating Olivia's eerily seductive (if something's grating) vocals. Dark fantasy themes, somber atmosphere, and classical arrangements sealed the deal for this 13 year-old Dungeons & Dragons devotee (I was hooked on classical music and John Williams soundtracks long before I ever took an interest in rock). Little did anyone know at the time that Hall Of The Mountain King would be an important step in Savatage's transformation from power metal outfit into progressive rock opera icons. Stand out tracks include "Legions", "Strange Wings", "The Price You Pay" and the title track.
09. WHITESNAKE - Whitesnake
Does any album capture the anthemic power of mid-80s arena rock better than Whitesnake's eponymous seventh record? With Whitesnake, the serpent shed its 70s blues rock sound in favour of a much more polished modern style. Though dismissed by some as a Robert Plant clone, David Coverdale belts out the tunes with soul on this release and John Sykes churns out truly inspired riffs and solos. The rhythm section is muscular as hell throughout the album. Even more so than the classic "Here I Go Again", "Crying In The Rain" and "Still Of The Night" stand the test of time surprisingly well.
Does any album capture the anthemic power of mid-80s arena rock better than Whitesnake's eponymous seventh record? With Whitesnake, the serpent shed its 70s blues rock sound in favour of a much more polished modern style. Though dismissed by some as a Robert Plant clone, David Coverdale belts out the tunes with soul on this release and John Sykes churns out truly inspired riffs and solos. The rhythm section is muscular as hell throughout the album. Even more so than the classic "Here I Go Again", "Crying In The Rain" and "Still Of The Night" stand the test of time surprisingly well.
08. GUNS 'N ROSES - Appetite For Destruction
When G'N'R leaped out of the L.A. gutter with Appetite For Destruction in 1987, they basically kicked all the other hair bands and wannabes in the nuts. Axl Rose and co. injected a heavy dose of grit and ugly street level honesty into their debut album, in stark contrast with the stale, overproduced and irrelevant dross spewing out of the glam metal scene at the time. Many of the songs on Appetite were stories featuring characters that rang with truth, however nasty and unpleasant. My fourteen year-old self is still upset at his parents for preventing him from seeing G'N'R open for Iron Maiden at the Calgary Saddledome in 1988 on the Seventh Son tour. The three big hits from Appetite, aside (you don't need me to list them, do you?), "It's So Easy", "Nightrain", "Mr. Brownstone", "My Michelle", "Think About You" and "Rocket Queen" also emerge as excellent tracks.
When G'N'R leaped out of the L.A. gutter with Appetite For Destruction in 1987, they basically kicked all the other hair bands and wannabes in the nuts. Axl Rose and co. injected a heavy dose of grit and ugly street level honesty into their debut album, in stark contrast with the stale, overproduced and irrelevant dross spewing out of the glam metal scene at the time. Many of the songs on Appetite were stories featuring characters that rang with truth, however nasty and unpleasant. My fourteen year-old self is still upset at his parents for preventing him from seeing G'N'R open for Iron Maiden at the Calgary Saddledome in 1988 on the Seventh Son tour. The three big hits from Appetite, aside (you don't need me to list them, do you?), "It's So Easy", "Nightrain", "Mr. Brownstone", "My Michelle", "Think About You" and "Rocket Queen" also emerge as excellent tracks.
07. CELTIC FROST - Into The Pandemonium
Confession time: I never gave this album a full listen until 2017, and my adolescent self despised what little Celtic Frost he did hear in the 80s. What a shame, even though Into The Pandemonium admittedly is a challenging album to listen to. It sounds like lead vocalist Tom Warrior and crew are giving everyone the finger and making a mockery of their own music (starting off with a goofy cover of Wall Of Voodoo's "Mexican Radio" doesn't help, even if I can't help but smile when I hear it). Warrior's vocals alternate between a depressive, semi-catatonic moan/whine, and an upbeat, gruff and goofy quasi-spoken word style. Beyond the vocals, there is a great deal of genre-bending experimental stuff on Pandemonium. While many count Celtic Frost among the forerunners of death metal, on this album, they also take turns at being Nirvana, Nine Inch Nails on "One In Their Pride", and Therion before any of those bands existed. Symphonic metal, atmospheric black metal, grunge, goth and industrial metal all have roots that can be traced back to this album, if not to its predeccesor To Mega Therion. One song, "Tristesses De La Lune", is an orchestral piece with French lyrics sung by a female vocalist (remember, this is long before the rise of symphonic metal as a sub-genre), and on another "I Won't Dance", Frost turn Bowie on his head. They're strange little tunes, but I dig them. The more one listens to the flawed gem that is Pandemonium, the more one might (or might not) appreciate the self-deprecation, satire and humour that underlie this oeuvre of avant-garde metal... or whatever you want to call it.
Confession time: I never gave this album a full listen until 2017, and my adolescent self despised what little Celtic Frost he did hear in the 80s. What a shame, even though Into The Pandemonium admittedly is a challenging album to listen to. It sounds like lead vocalist Tom Warrior and crew are giving everyone the finger and making a mockery of their own music (starting off with a goofy cover of Wall Of Voodoo's "Mexican Radio" doesn't help, even if I can't help but smile when I hear it). Warrior's vocals alternate between a depressive, semi-catatonic moan/whine, and an upbeat, gruff and goofy quasi-spoken word style. Beyond the vocals, there is a great deal of genre-bending experimental stuff on Pandemonium. While many count Celtic Frost among the forerunners of death metal, on this album, they also take turns at being Nirvana, Nine Inch Nails on "One In Their Pride", and Therion before any of those bands existed. Symphonic metal, atmospheric black metal, grunge, goth and industrial metal all have roots that can be traced back to this album, if not to its predeccesor To Mega Therion. One song, "Tristesses De La Lune", is an orchestral piece with French lyrics sung by a female vocalist (remember, this is long before the rise of symphonic metal as a sub-genre), and on another "I Won't Dance", Frost turn Bowie on his head. They're strange little tunes, but I dig them. The more one listens to the flawed gem that is Pandemonium, the more one might (or might not) appreciate the self-deprecation, satire and humour that underlie this oeuvre of avant-garde metal... or whatever you want to call it.
06. BLACK SABBATH - The Eternal Idol
I'm going to catch a lot of flack for this one, but yes, I am a fan of the widely panned Tony Martin prog era Black Sabbath, and of the albums The Eternal Idol and Tyr in particular. Sure, Martin sounds like a cross between Ronnie James Dio and Don Dokken, but I don't care (no offense intended to Dio, who must be howling in his grave by now). The melodies are intriguing and the music - highly polished than earlier Sabbath standards - is inspired and atmospheric throughout (skip the substandard bonus tracks on the 2010 deluxe reissue). "The Shining", "Ancient Warrior", "Hard Life To Love", "Glory Ride", "Born To Lose" and "Scarlet Pimpernel" make it worth the price of admission, and the sinister title track would be right at home on any classic Sabbath album.
I'm going to catch a lot of flack for this one, but yes, I am a fan of the widely panned Tony Martin prog era Black Sabbath, and of the albums The Eternal Idol and Tyr in particular. Sure, Martin sounds like a cross between Ronnie James Dio and Don Dokken, but I don't care (no offense intended to Dio, who must be howling in his grave by now). The melodies are intriguing and the music - highly polished than earlier Sabbath standards - is inspired and atmospheric throughout (skip the substandard bonus tracks on the 2010 deluxe reissue). "The Shining", "Ancient Warrior", "Hard Life To Love", "Glory Ride", "Born To Lose" and "Scarlet Pimpernel" make it worth the price of admission, and the sinister title track would be right at home on any classic Sabbath album.
05. HELLOWEEN - Keeper Of The Seven Keys Pt 1
Building on the thematic foundations laid down by Ronnie James Dio via late 1970s Rainbow and the twin lead assaults and soaring vocals of Judas Priest and Iron Maiden, Helloween's sophomore album Keeper Of The Seven Keys (Part 1) is often cited as one of the most influential power metal albums of all time. Guitarist and founder Kai Hansen wisely cedes lead vocal duties to newcomer Michael Kiske on this release, which also benefits from top notch production. While Kiske's impressive vocal range gives Halford, Dickinson and Tate a run for their money, Keeper's fast songs and generally upbeat mood, killer melodies, classically influenced lead guitars and subtle use of synths all contribute to making this record a really strong release. "I'm Alive", "Twilight Of The Gods" and "A Tale That Wasn't Right" remain among Helloween's very best efforts.
Building on the thematic foundations laid down by Ronnie James Dio via late 1970s Rainbow and the twin lead assaults and soaring vocals of Judas Priest and Iron Maiden, Helloween's sophomore album Keeper Of The Seven Keys (Part 1) is often cited as one of the most influential power metal albums of all time. Guitarist and founder Kai Hansen wisely cedes lead vocal duties to newcomer Michael Kiske on this release, which also benefits from top notch production. While Kiske's impressive vocal range gives Halford, Dickinson and Tate a run for their money, Keeper's fast songs and generally upbeat mood, killer melodies, classically influenced lead guitars and subtle use of synths all contribute to making this record a really strong release. "I'm Alive", "Twilight Of The Gods" and "A Tale That Wasn't Right" remain among Helloween's very best efforts.
04. ALICE COOPER - Raise Your Fist & Yell
I can imagine a lot of eyebrows being raised at this one. Let's face it, there's some really horrid 80s cheese on Raise Your Fist such as "Give The Radio Back" and "Not That Kind Of Love", but there are also some delightfully tasty morsels and just plain awesome performances on this album, and from guitarist Kane Roberts in particular. If anything, I find myself appreciating this record even more now than I did in 1987, perhaps because I overlooked many of Cooper's Witty, tongue and cheek lyrics back then. But make no mistake, this is the grand daddy of shock rock at his heaviest. "Freedom" and "Lock Me Up" are direct responses to the PMRC offensive and they kick ass despite being wrapped in big anthemic 80s choruses (good cheese!). Kip Winger, who plays bass and does backing vocals on this record, has definitely left his mark there. "Step On You" is a real crusher of a track, and I can just picture Cooper chuckling to himself while penning the lyrics to "Prince Of Darkness" (yes, a song about lil' ol' Satan) and particularly the last verse, which he sings with mock pathos over a soft and tragedy-infused acoustic guitar passage: He smells the breath / Of deep human sin / And deeply breathes it in / Prince of Darkness. Hah! The last four songs: "Time To Kill", "Chop Chop Chop", "Gail" and "Roses On White Lace" combine to form a creepy and atmospheric horror story in true Cooper shock rock style, a sequence so good that I inevitably hit "repeat" whenever I listen to it. Yet another priceless tongue and cheek moment emerges in the chilling harpsichord interlude "Gail", when Cooper whimpers: "A dog dug up a bone / And wagged his tail / I wonder how the dog / Remembers Gail." Juicy stuff. The album closes with the intense slasher violence of "Roses On White Lace". Heavy as hell and sadly underrated.
I can imagine a lot of eyebrows being raised at this one. Let's face it, there's some really horrid 80s cheese on Raise Your Fist such as "Give The Radio Back" and "Not That Kind Of Love", but there are also some delightfully tasty morsels and just plain awesome performances on this album, and from guitarist Kane Roberts in particular. If anything, I find myself appreciating this record even more now than I did in 1987, perhaps because I overlooked many of Cooper's Witty, tongue and cheek lyrics back then. But make no mistake, this is the grand daddy of shock rock at his heaviest. "Freedom" and "Lock Me Up" are direct responses to the PMRC offensive and they kick ass despite being wrapped in big anthemic 80s choruses (good cheese!). Kip Winger, who plays bass and does backing vocals on this record, has definitely left his mark there. "Step On You" is a real crusher of a track, and I can just picture Cooper chuckling to himself while penning the lyrics to "Prince Of Darkness" (yes, a song about lil' ol' Satan) and particularly the last verse, which he sings with mock pathos over a soft and tragedy-infused acoustic guitar passage: He smells the breath / Of deep human sin / And deeply breathes it in / Prince of Darkness. Hah! The last four songs: "Time To Kill", "Chop Chop Chop", "Gail" and "Roses On White Lace" combine to form a creepy and atmospheric horror story in true Cooper shock rock style, a sequence so good that I inevitably hit "repeat" whenever I listen to it. Yet another priceless tongue and cheek moment emerges in the chilling harpsichord interlude "Gail", when Cooper whimpers: "A dog dug up a bone / And wagged his tail / I wonder how the dog / Remembers Gail." Juicy stuff. The album closes with the intense slasher violence of "Roses On White Lace". Heavy as hell and sadly underrated.
03. METALLICA - Garage Days Re-Revisited
Sandwiched between the titanic Master Of Puppets and ....And Justice For All, Garage Days Re-Revisited kept Metallica's rabid and rapidly growing fan base hooked and begging for more with this collection of five Diamond Head, Holocaust, Killing Joke, Budgie and Misfits covers. Released following the untimely death of Cliff Burton, Garage Days introduced his replacement Jason Newsted to the Metallica lineup. The EP was recorded in only six days in Lars Ulrich's garage, and the songs have a frantic urgency, as well as a fun, cathartic quality to them. Despite consisting exclusively of covers, the beefy sound and energetic performances that arguably elevate the originals make Garage Days Re-Revisited one of Metallica's finest recordings and a damn satisfying "in-between" release.
Sandwiched between the titanic Master Of Puppets and ....And Justice For All, Garage Days Re-Revisited kept Metallica's rabid and rapidly growing fan base hooked and begging for more with this collection of five Diamond Head, Holocaust, Killing Joke, Budgie and Misfits covers. Released following the untimely death of Cliff Burton, Garage Days introduced his replacement Jason Newsted to the Metallica lineup. The EP was recorded in only six days in Lars Ulrich's garage, and the songs have a frantic urgency, as well as a fun, cathartic quality to them. Despite consisting exclusively of covers, the beefy sound and energetic performances that arguably elevate the originals make Garage Days Re-Revisited one of Metallica's finest recordings and a damn satisfying "in-between" release.
02. KING DIAMOND - Abigail
I'll admit it, my preliminary auditory encounters with King Diamond creeped me out, and it took a while for me to appreciate the unorthodox vocal style. The former Mercyful Fate frontman really got in stride on his sophomore solo effort Abigail, a conceptual tour de force. Abigail is a gothic horror tale featuring a haunted house and spirit possession (I won't spoil the rest), complete with full cast of characters and dialogue, all brought to (un)life with distinct voices and personalities by Diamond himself. From demonic growls to cultic chanting, unsettling falsettos, multi-layered banshee wails and freaking childlike laughter, Diamond does it all. Although his multiple personality approach to singing has always polarized listeners (not to mention his face paint, and self-professed adherence to LaVeyan Satanism on a Geraldo Rivera TV special on Satanism in America that fanned the flames of the 1980s Satanic panic), none can deny that King Diamond has an absolutely unique an inimitable sound, which extends to his music as well as his vocals. Diamond's compositions and arrangements on Abigail ooze with atmospheric and originality, the album's multi-act progression is a genuine experience (disregarding Shrine, the uninspired bonus track on the reissue), and the musicianship is exceptional. While I confess that I can only take King Diamond in limited doses, Abigail arguably was the most unique and ambitious metal album of 1987, and remains one of the conceptual greats today.
I'll admit it, my preliminary auditory encounters with King Diamond creeped me out, and it took a while for me to appreciate the unorthodox vocal style. The former Mercyful Fate frontman really got in stride on his sophomore solo effort Abigail, a conceptual tour de force. Abigail is a gothic horror tale featuring a haunted house and spirit possession (I won't spoil the rest), complete with full cast of characters and dialogue, all brought to (un)life with distinct voices and personalities by Diamond himself. From demonic growls to cultic chanting, unsettling falsettos, multi-layered banshee wails and freaking childlike laughter, Diamond does it all. Although his multiple personality approach to singing has always polarized listeners (not to mention his face paint, and self-professed adherence to LaVeyan Satanism on a Geraldo Rivera TV special on Satanism in America that fanned the flames of the 1980s Satanic panic), none can deny that King Diamond has an absolutely unique an inimitable sound, which extends to his music as well as his vocals. Diamond's compositions and arrangements on Abigail ooze with atmospheric and originality, the album's multi-act progression is a genuine experience (disregarding Shrine, the uninspired bonus track on the reissue), and the musicianship is exceptional. While I confess that I can only take King Diamond in limited doses, Abigail arguably was the most unique and ambitious metal album of 1987, and remains one of the conceptual greats today.
01. OZZY / RANDY RHOADS - Tribute
I have mixed feelings about this entry, if only because I'm reluctant to include live concert albums at the expense of newly released original material in a top 10 list. That having been said, Tribute is indeed my favourite and possibly most listened to album in 1987. Furthermore, just as King Diamond's Abigail set a personal benchmark for concept albums, so did Tribute (along with Iron Maiden's Live After Death, released in 1986) set my gold standard for live albums. Yes, I am biased towards Randy Rhoads, whose classically-influenced and heartfelt virtuoso playing blew me away as a teenager (still does), inspiring my friends and I to pick up instruments for the first time and start a band. He died far too young. In my eyes, Rhoads remains a musical genius and by far the best guitarist to have ever played alongside Ozzy. Hearing him perform live on Tribute is akin to a religious experience. The live versions of "Mr. Crowley" and "Revelation (Mother Earth)" still gives me goosebumps. Likewise, I consider Rhoads's rendition of Black Sabbath's "Paranoid" as the ultimate one, blowing away the original and its myriad covers. The tone of his guitar/amp combo, the tube screams and flourishes, the adrenaline injection, nothing compares. Rhoads' dynamic performance notwithstanding, Tribute has the vibe and sound that a live album should have. You feel like you're at the show. No heavy-handed, post-production "enhancements" here. Pure awesomeness. Rounding out the experience are studio outtakes of Rhoads recording the classical guitar instrumental "Dee" featured on Blizzard Of Ozz - a deeply intimate and fitting end to the album.
I have mixed feelings about this entry, if only because I'm reluctant to include live concert albums at the expense of newly released original material in a top 10 list. That having been said, Tribute is indeed my favourite and possibly most listened to album in 1987. Furthermore, just as King Diamond's Abigail set a personal benchmark for concept albums, so did Tribute (along with Iron Maiden's Live After Death, released in 1986) set my gold standard for live albums. Yes, I am biased towards Randy Rhoads, whose classically-influenced and heartfelt virtuoso playing blew me away as a teenager (still does), inspiring my friends and I to pick up instruments for the first time and start a band. He died far too young. In my eyes, Rhoads remains a musical genius and by far the best guitarist to have ever played alongside Ozzy. Hearing him perform live on Tribute is akin to a religious experience. The live versions of "Mr. Crowley" and "Revelation (Mother Earth)" still gives me goosebumps. Likewise, I consider Rhoads's rendition of Black Sabbath's "Paranoid" as the ultimate one, blowing away the original and its myriad covers. The tone of his guitar/amp combo, the tube screams and flourishes, the adrenaline injection, nothing compares. Rhoads' dynamic performance notwithstanding, Tribute has the vibe and sound that a live album should have. You feel like you're at the show. No heavy-handed, post-production "enhancements" here. Pure awesomeness. Rounding out the experience are studio outtakes of Rhoads recording the classical guitar instrumental "Dee" featured on Blizzard Of Ozz - a deeply intimate and fitting end to the album.
HONOURABLE MENTIONS (No Particular Order)
| DIO Dream Evil  | OVERKILL Taking Over  | SACRIFICE Forward To Termination  |
What? No mention of 1987 releases by Anthrax, Death or Death Angel? Nope, just not my thing. Thank you very much for reading.
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