Lists of Domination
GD's Most Dominating Albums Of The 1980's (50-41)
19/09/08 || Global Domination
50. Judas Priest: Screaming for vengeance
“Screaming” is an aptly named album, as it features the return of Halford’s legendary scream, which had been absent for the past few efforts. And, oh, what a return it is! It’s always good to see a band who had previously wimped out get back into the hard stuff, and it’s even better when the results are this metal. The Tipton/Downing double solo attack never sounded better than it did on this album (sorry, “Painkiller” fans), with each guitarist cranking out the riffs and solos in such a way that their two styles contrast beautifully while still maintaining a sense of lethal cohesion. “The Hellion / Electric Eye” is one of the most legendary openers out there, and with tracks like “Bloodstone” and the dominating title track, it’s no wonder that this album is considered an essential metal classic.
49. Voivod: Nothingface
The quintessential album from the Québécois squad, “Nothingface” is the prime example on how to be innovative and distinctive without making your music highly unappealing to the audience. While Piggy, Away, Blacky and Snake cared about the idiosyncrasies that made their craft unique, they also had a knack for writing really great catchy tunes. That, first and foremost, seemed to be their goal.
Let’s say the foundation of Voivod’s music is thrash metal. Their first two albums are pretty much straight thrash metal and after their third release, “Killing Technology”, different elements found their way into Voivod’s sound. Their music started to build into something in a league of its own. In “Nothingface” those alien elements are fused in such a homogeneous way that it becomes hard to pinpoint the sources of such inspiration and really antagonistic feelings come from listening the the album.
“Nothingface” as a whole sounds futuristic and cold, but the vocals by Snake are sometimes really uplifting and happy, Piggy is pulling out pop riffs from time to time while Away and Blacky inject heavy doses of groove into the equation. That sounds quite far from cold, right? Still, it is not a happy album, it features that kind of veiled darkness you can’t put your finger into. You feel it is disturbing, but can’t really say why.
For those who’ve never heard this album before, there is a gigantic chance you’ll dismiss it as a weird piece of metal and leave it behind, but please, do persist. This album offers the kind of experience you won’t be able to find anywhere else. Cherish it as such.
-Tiago Bonamigo (ex-staffer/cocksucker)
48. Anthrax: Among the living
Anthrax quickly established themselves as heroes to me when I was young. They had the witty humour, Bermuda shorts, Joey’s crappy-but-working vocals and finally: they were the fucken shit when it came to thrash metal with a seldom matched groove at the time. I actually held Anthrax in such high regard I eventually ended up buying a pair of yellow shorts with the ugly dude they used on their merchandise. Those shorts were hideous on all accounts. Luckily their music was anything but.
“Spreading the disease” tickled the top of my penis quite a bit, but “Among the living” took me by my fucken balls, squeezed them until I was blue in the face and then slowly crushed them against the wall of my childhood room. Anthrax were kings for me for a long, long time thanx to this recording. This album is such a display of a band in its absolute prime. The hooks are there, the production is definitely there and the songs are so catchy Ebola’s got nothing on them. “Among the living” has no weak tracks whatsoever. The fact that this is the last album from Anthrax that is actually listenable through and through shows that this was and will always be their peak.
-Lord K Philipson
47. Testament: The new order
Emerging from the infamous SF Bay Area just as many of their peers in the golden era of American thrash, Testament were the thrash titans that never quite made it to the big time, somewhat unjustly but, in some ways, thankfully so. My guess is that the lack of commercial success helped them stay true to their beginnings, and allowed them to churn out very decent albums through their career while other, more illustrious names faltered and went down the shitter. “The New Order” was Testament’s second album, and without any doubts is an essential thrash record. This record is such a thrashing-mad romp that it won’t fail to move you, hell yeah! Guitar god Alex Skolnick fires some of his most inspired and sickest solos ever, complementing the mammoth riffs laid down by Eric Peterson, while the monstrous, larger than life roar of Chuck Billy spells out tales of prophecy, doom, death and destruction.
Classics like “The New Order”, “Into the Pit”, “Trial by Fire”, “Disciples of the Watch” and “The Preacher” are known to everybody. They are the kind of awesome thrash songs that best exemplify what Testament was about: aggression fueled thrash with an edge, groove and refinement seldom seen on other bands of the style. “The New Order” my dear beavers, is mandatory thrash of the best quality and deserved all the accolades it has received through the years and more!
46. Sodom: Persecution mania
After single-handedly laying one of the largest cornerstones of the black metal scene with their first two releases (a cornerstone with very little precision and a lot of brutality), Sodom finally began to justify their place in the Teutonic Big 3 of thrash with this album. The addition of Blackfire into the lineup gave the band a much tighter sound and as the lyrics swayed towards modern warfare, the sound followed. Tom Angelripper has a rare load of good old fashioned rock’n‘roll attitude that allows his music to kick ass with none of the frills of its American contemporaries.
Also, if that didn’t convince you, just look at the cover art, summing up everything that was terrifying about the Cold War period and looking incredibly metal as well.
45. Kreator: Pleasure to kill
When comparing “Pleasure to kill” with “Endless pain” it is impossible to avoid astonishment at how much better Kreator got with their second album. This is not because of a huge increase in their musical abilities, it’s just that the whole thing seems a lot more mature than its predecessor. “Endless Pain” was by no means bad and it contained some killer tunes like “Storm of the beast” and “Flag of hate”, the latter being arguably the best song of early Kreator, but on “Pleasure…” everything seems more thought out. This is not a bunch of high school kids who got lucky enough to record an album anymore, this is a band that means business. The cover and production were got much better with the re-release, which came with the “Flag of Hate” Ep as bonus material. After this album it became clear that Kreator was a band to be reckoned with in the metal scene.
-Max Von Laibach (ex-staffer/cocksucker)
44. Megadeth: Peace sells…
1986 was a quite a fucked up year. One of the reactors at the Chernobyl nuclear plant exploded. Former U.N. Secretary General Kurt Waldheim was pissed after reading an article in the New York Times claiming he used to be a Nazi. The Montreal Canadians beat the Flames in 5 games to win the Stanley Cup. Cliff Burton died in a bus crash. Lindsay Lohan was born. Dave Mustaine was coming back smashed at 4am, trying not to wake up his girl. Of course, he told us all about it on “Peace Sells… But Who’s Buying?”, easily one of Megadeth’s most essential albums.
Interestingly enough, 1986 was also designated as the Year of International Peace by the United Nations. Mustaine has always had a knack for writing catchy, soulful jams about his favorite international organization. At least MTV/VH1 seemed to think so, since they used the title track’s opening bassline to start up their show for quite some time. You can’t really blame them, especially considering how fresh it still sounds after over 20 years. Dave’s angry and cynical (aka I’m out of smack and pissed at the world) snarl never gets old. While “Rust In Peace” might remain Megadeth’s peak, “Peace Sells…” was the perfect stepping stone for things to come. Just ask Mustaine’s liver (and lungs), I’m sure they’ll agree.
-Fishermane (ex-staffer/world’s worst lover)
43. Faith No More: The real thing
In 1988, after some measure of success, Faith No More had to fire their vocalist, Chuck Mosely, as let’s face it, he wasn’t much of a vocalist. He also fell asleep behind the microphone.
During a gig.
Then after hearing an old deathy demo from Mr Bungle (probably Raging Wrath of the Easter Bunny), Jim Martin suggested they try out Mike Patton, and in doing so they landed themselves a veritable goldmine of a vocalist. An inspired album, it features many styles of music – metal, funk, soul and a bit of hip hop. It’s also got a somewhat delightfully nasal Patton and on the title track, possibly one of the prettiest bass lines I’ve ever heard (the part that begins with the line, “Like the sacred song…” raises the hair on my body and has me murmuring, “yes, yes…oooh…just there…oh! Oh! Ooooohhhh!!!” Sinful). The production doesn’t quite hold up to today’s standards, but if you adjust the EQ on your stereo there’s nothing to bitch about and you’re guaranteed to be shaking your ass to a couple of classics. Just don’t look too closely at some of the lyric content, you might get a bit creeped out.
“Hey, little girl. Would you like some candy?”
-Tash (ex-staffer, genuine sweetheart/cunt)
42. Yngwie Malmsteen: Rising force
No words can make justice to the feeling incorporated in Yngwie’s solo debut. The honesty in the tones is unmatched on all accounts. Yngwie didn’t just play the guitar here, he was the guitar. There is a reason we always end up watching old Yngwie videos when we are having afterparties at my place. And the weird thing is – I don’t even care much about guitar solos in the first place. Fuck all those half-assed, overrated supposed-to-be guitar heroes (Richie Fuckmore, Marty Friedman, Leif Edling, Ingmar Stenmark), they never were, and never will be, better than what this fucko displayed on this very piece. Yngwie is god. That’s the truth, and you fucken know it. Should have been in the top 5 spot on this list without a doubt. Let’s just say that the guy who organized this feature has a soft spot for crystal meth and fucked up the ranking.
-Lord K Philipson
41. Mercyful Fate: Don’t break the oath
Ah the 80’s. Metal was cool. Metal was rebellious. Metal was evil…or at least that’s what concerned parents and politicians believed. Mercyful Fate, along with 14 other artists (not all of them metal), were targeted by the PMRC for what was believed to be inappropriate messages to kids. In MF’s case, it was that their occult-focused lyrics that drew the ire of good Christian parents like Tipper Gore. While the targeted album, “Melissa”, was a decent effort that exposed the band to metalheads, it wasn’t until the follow-up, “Don’t Break the Oath”, that the satanic legend of Mercyful Fate was solidified.
There is not a single bad song on “Don’t Break the Oath”, despite some seemingly less-than-stellar moments: Sloppy guitar harmonies, a goofy hymn to Satan, generic riffs, etc. If done by another band on another album at another time, it would have been a disaster, but Mercyful Fate delivered one of the 80’s finest albums. “Melissa” may have been the album that influenced Metallica, but “Don’t Break the Oath” shows a band that not only writes great songs, but delivers a fucking product. This is the most fun a Satanist can have without a goat.
-Hanging Limbs (ex-staffer/cocksucker)