Dig Me Out: 80s Metal

In 1987, the world of rock and metal was ruled by flamboyant frontmen and larger-than-life bands. But with Surfing with the Alien, Joe Satriani flipped the script. An instrumental album led not by a voice but by six strings, it captured the imaginations of rock fans and musicians alike, proving that the guitar itself could sing.

Joe Satriani’s Surfing with the Alien is often hailed as a milestone in instrumental rock, but its legacy isn’t without debate. While many view it as a masterful fusion of melody and virtuosity, others see it as emblematic of a niche genre that struggles to connect emotionally with a wider audience. Released in 1987, the album showcased Satriani’s technical brilliance and melodic instincts, but its reception reflects a mix of awe, skepticism, and nostalgia.

The Story Behind the Album

Satriani’s journey to guitar stardom began modestly, teaching guitarists like Steve Vai and Kirk Hammett while scraping by in California’s music scene. After a lukewarm reception to his 1986 debut, Not of This Earth, Satriani poured everything he had—financially and creatively—into his follow-up, Surfing with the Alien. The result was a lean, melody-focused album recorded on a modest $13,000 budget that sought to balance technical guitar work with a broader emotional appeal.

The album’s comic book-inspired cover, featuring Marvel’s Silver Surfer, hinted at the larger-than-life ambitions within. Tracks like the title song and “Satch Boogie” delivered on that promise with dizzying technicality, while the ballad “Always With Me, Always With You” showed a more tender, melodic side. These contrasts earned Satriani critical acclaim and a Grammy nomination, yet the album’s broader appeal has remained divisive.

A High-Water Mark for Some, Overindulgent for Others

For fans of instrumental rock, Surfing with the Alien is a triumph. Its melodic hooks and memorable themes make it stand out in a genre often criticized for prioritizing flash over substance. Songs like “Ice 9” and “Crushing Day” blend technical mastery with accessibility, offering riffs and melodies that resonate well beyond the confines of the guitar-obsessed. It’s an album that has moments of brilliance, where the guitar takes on the role of a vocalist, singing stories through its strings.

But not everyone is moved by its charms. For some, the album represents the limitations of instrumental guitar music—tracks that, while impressive, can feel like exercises in technique rather than fully realized emotional experiences. The lack of lyrics and a frontman, which are often strengths for Satriani’s fans, are viewed as barriers for those who find the album’s tone more clinical than heartfelt. Surfing with the Alien’s success in breaking into the mainstream is undeniable, yet its staying power with broader audiences remains a topic of contention.

A Snapshot of a Moment in Rock History

Released at a time when guitar gods like Eddie Van Halen and Yngwie Malmsteen were dominating rock, Surfing with the Alien carved out its own niche. Unlike the baroque complexity of Malmsteen or the blues-rock swagger of Van Halen, Satriani’s approach was focused on melody and structure. While technically dazzling, his songs were crafted to stick in the listener’s mind, often resembling vocal melodies translated to the guitar.

Yet, the album’s groundbreaking status also reflects a specific era. Its mix of virtuosic playing and synthesized production feels firmly rooted in the 1980s, which can be both an asset and a drawback depending on the listener. For those nostalgic for that era, Surfing with the Alien is a time capsule of innovation and possibility. For others, it may feel dated or too polished compared to the raw energy of vocal-driven rock bands of the same time.

The Legacy of Surfing with the Alien

Surfing with the Alien undeniably shaped the trajectory of instrumental rock. It reached number 29 on the Billboard 200, stayed there for 75 weeks, and went platinum—an astonishing feat for an instrumental album. Tracks like “Always With Me, Always With You” remain staples of Satriani’s live performances, while “Satch Boogie” showcases his ability to blend technical prowess with funk-inspired grooves.

Satriani’s influence extends beyond his own discography. His teaching career helped shape the sounds of rock icons like Steve Vai and Kirk Hammett, and his innovations—like pitch axis theory—continue to inspire guitarists across genres. However, the debates surrounding the emotional impact and relatability of his music highlight the challenges instrumental albums face in achieving universal acclaim.

Surfing with the Alien remains a touchstone for guitar enthusiasts and a divisive topic for others. It’s an album that sparks both admiration and critique—praised for its melodic ingenuity and technical mastery, but also questioned for its ability to connect on a deeper emotional level. Whether it’s a groundbreaking classic or a niche curiosity depends on where you stand in the conversation about instrumental rock.

For those willing to dive in, Surfing with the Alien offers a ride through the outer reaches of what the guitar can achieve. Whether it leaves you awestruck or searching for something more, one thing is certain—it’s a journey you won’t forget.

Songs in this Episode

* Intro - Crushing Day

* 18:44 -Right Thru Me - Nicki Minaj

* 23:29 - Ice 9

* 25:03 - Surfing with the Alien

* 26:18 - Echo

* 27:28 - Satch Boogie

* 29:27 - Hill of the Skull

* Outro - Lords of Karma

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

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March 1984. Prince, Kenny Loggins, and Bruce Springsteen dominated the pop charts, but something heavier was brewing. Hard rock and metal were clawing their way into the spotlight, and MTV was playing a pivotal role in this revolution. Enter Ratt, with their major-label debut, Out of the Cellar. In a year defined by arena-ready riffs and eye-catching videos, Ratt burst onto the scene with an album that captured the spirit of the times and proved that metal could be more than just a passing trend.

Ratt’s Out of the Cellar is a quintessential snapshot of a band balancing grit and glam at the height of their powers. Released in March 1984, the album combines raw energy with slick production, delivering a sound that’s equal parts rebellious and radio-ready. With tracks like “Round and Round” and “Wanted Man,” Ratt crafted an album that helped define the MTV era of glam metal while staying grounded in the Sunset Strip’s hard rock roots.

A Band Ready for the Big Stage

By the time Out of the Cellar dropped, Ratt was no overnight success. Years of grinding it out in the Los Angeles club scene had sharpened their skills, and their 1983 self-titled EP had already sold an impressive 100,000 copies independently—a testament to their undeniable appeal. The band’s lineup had solidified around frontman Stephen Pearcy, guitarists Warren DeMartini and Robin Crosby, bassist Juan Croucier, and drummer Bobby Blotzer, creating a dynamic chemistry that carried them to the top of the hard rock heap.

Ratt’s dual-guitar approach set them apart, with DeMartini’s sharp, groove-heavy riffs balancing Crosby’s bold, melodic solos. Pearcy’s distinctive snarl gave the band a rougher edge compared to many of their contemporaries, adding a layer of grit to their glam. Their sound wasn’t just catchy—it had character.

The Tracks That Made Out of the Cellar Legendary

“Round and Round” remains the standout hit, with its infectious hooks and soaring dual-guitar solo. The track epitomizes Ratt’s ability to create music that’s equal parts heavy and accessible. Then there’s “Wanted Man,” a cinematic opener that channels old-school Western vibes, and “Back for More,” a slow-burning anthem that builds from acoustic introspection to full-on rock power.

Ratt’s rhythm section deserves its own spotlight. Blotzer’s drumming, especially on tracks like “Lack of Communication,” is far more dynamic than your average 80s metal backbeat. His clever use of cymbal accents and syncopated rhythms brings depth to the album, making it as danceable as it is headbang-worthy.

A Sound That Defined Its Era

Ratt hit their stride at the perfect moment, just as glam metal was breaking into the mainstream. Out of the Cellar is a product of its time, but its rawness and unique qualities keep it relevant. While the production leans a little thin by modern standards, it complements the band’s high-energy style, letting their dual guitars and blistering solos shine.

Thematically, the album balances tales of outlaws (“Wanted Man”) with relationship struggles and party anthems. It’s a snapshot of a time when rock bands weren’t afraid to have fun, but Ratt did it with a touch more grit and attitude than their more polished peers.

The Legacy of Out of the Cellar

Ratt wasn’t just another glam band—they were trailblazers for the MTV generation of hard rock. Out of the Cellar went on to sell over 3 million copies in the U.S., cementing the band’s place in 80s rock history. Its success wasn’t just about “Round and Round” dominating MTV; it was about Ratt’s ability to craft songs that could move between stadiums and smoky clubs with equal swagger.

This album helped set the stage for the glam metal explosion that defined the mid-to-late 1980s. Its raw edges, blazing guitars, and distinct personality made it stand out in a crowded field, giving Ratt a voice that’s still celebrated today.

Why Out of the Cellar Still Rocks

Listening to Out of the Cellar today, it’s clear why this album endures. Its energy, musicianship, and unapologetic attitude make it more than a nostalgia trip. It’s a cornerstone of 80s rock that still feels fresh and fun, especially when tracks like “Back for More” or “Lack of Communication” hit your speakers.

Ratt didn’t just release an album—they created a moment in time. Out of the Cellar captures the raw ambition of a band poised to take over the world, and for a while, they did.

Songs in this Episode

Intro - Round and Round

30:16 - In Your Direction

35:17 - Lack of Communication

36:08 - Back for More

39:06 - Lack of Communication

44:10 - Wanted Man

1:09:09 - One Like a Son

(Vertex) Outro - Round and Round

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In the summer of 1987, the music scene was shifting: the larger-than-life sounds of glam rock and heavy metal were at their peak, and the neon-drenched days of the MTV era were in full swing. Hair metal dominated, with bands like Def Leppard, Whitesnake, and Bon Jovi ruling the charts and radio. Rock fans were riding high on guitar solos, power ballads, and the theatrical spectacle of live shows. Amidst this, a familiar name from a different era, Ace Frehley, the original “Spaceman” of Kiss, reemerged with Frehley’s Comet—a solo album that would go on to become a cult favorite, bridging his past as a member of Kiss with his fresh start as a solo artist.

The Road to Frehley’s Comet

Frehley’s Comet, released in April 1987, was Ace’s first attempt to break out independently since his 1978 solo album with Kiss. This time, however, it wasn’t just a side project—it was an opportunity for Ace to stand alone. After a rocky exit from Kiss, characterized by struggles with addiction and brushes with death (including a notorious car accident in his DeLorean that he references in the track “Rock Soldiers”), Ace had a point to prove. With support from Eddie Trunk, who helped secure him a spot on the Megaforce label, Ace was back in the game, determined to reclaim his legacy in rock.

A Blend of Grit and Melody

As the Dig Me Out hosts delved into Frehley’s Comet, they highlighted its unique blend of Ace’s signature gritty style mixed with melodic, almost pop-rock elements that made it different from a typical heavy metal album. Tracks like “Rock Soldiers” served as a rallying cry, a self-reflective anthem about overcoming personal demons, while “Into the Night,” a mid-tempo stomp, showcased Ace’s ability to craft a compelling hook that stuck with listeners long after the song ended. The hosts also noted how “Stranger in a Strange Land” exemplified Ace’s unmistakable style: raw yet melodic guitar riffs combined with a vocal delivery that was uniquely his own, both rough and endearing.

The Todd Howarth Factor

What made Frehley’s Comet stand out wasn’t just Ace’s return. The album also benefited from the contributions of Todd Howarth, whose more polished, AOR-style vocals and songwriting contrasted with Ace’s grittier approach. Tracks like “Calling to You” and “Something Moved” reflected this dynamic, adding a surprising level of variety to the album. This blending of styles made Frehley’s Comet feel like more than just a solo project—it felt like a band effort, and the result was a sound that was both nostalgic and refreshingly modern for its time.

Embracing the Strange and the Nostalgic

Despite its strengths, Frehley’s Comet isn’t without its quirks. Some tracks, like “Dolls,” with its odd, almost creepy lyrics about mannequins or inanimate “dolls,” veered into strange territory. And while songs like “We Got Your Rock” aimed to pump up the listener, the lyrics felt somewhat clichéd even for the ’80s, as the hosts pointed out with humor. Yet, these moments only added to the album’s charm, capturing a time when rock didn’t take itself too seriously, embracing both the raw and the ridiculous in equal measure.

Legacy of a Comeback Album

Looking back, Frehley’s Comet isn’t just a product of its era but a testament to Ace Frehley’s resilience and talent. The album succeeded in reminding fans why they fell in love with the “Spaceman” in the first place while introducing him to a new generation eager for guitar heroes. While Ace may have never reached the commercial heights of Kiss in his solo career, Frehley’s Comet endures as a cult classic, cherished by fans who appreciate its rough edges, varied styles, and unapologetic rock ethos. For Ace, it was more than just an album—it was a comeback, a declaration that, indeed, the Ace was back.

Songs in this Episode

* Intro - We Got Your Rock

* 21:55 - Stranger in a Strange Land

* 25:14 - Breakout

* 32:17 - Rock Soliders

* 37:28 - Into the Night

* 42:05 - Dolls

* Outro - Calling to You

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

Suggest an Album → | Support the Mission →

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This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

October 1985: hair was big, riffs were bigger, and rock was veering toward an electrified blend of glam, grit, and decadence. Metalheads and rock fans everywhere were tuning in to MTV, where every week, a new video was promised to capture their attention. This era was when albums weren’t just records; they were statements dripping with attitude and energy. Bands like Quiet Riot, Ratt, and Mötley Crüe were heating the charts, and fans were hungry for high-energy anthems to keep the adrenaline pumping. Into this scene dropped Midnite Dynamite, the third album from Maryland rockers KIX, an underdog act grinding it out in clubs with a mix of hard rock bravado and glam-metal flash. For KIX, this was a make-or-break moment, a chance to pull up from the underground and make their mark with a record that didn’t just play to the rock crowd but demanded attention.

Building to a Big Break

KIX had been around since the early 80s, putting out two albums and gaining a reputation for their high-energy performances and raw sound. They were a staple on the Maryland rock circuit, where fans recognized their signature mix of tight musicianship, outrageous on-stage antics, and the ability to turn a live show into a real experience. Despite the grind, KIX hadn’t yet found a breakout record that would push them to national attention. That’s where Midnite Dynamite comes in—this album was set to be a game-changer, and the band knew it had to deliver.

Enter Bob Halligan Jr.: The Songwriter Who Got Kix

When it came time to make Midnite Dynamite, KIX partnered with songwriter Bob Halligan Jr., a musician with a gift for digging into a band’s core and translating it into unforgettable tracks. Halligan’s resume included writing credits with Judas Priest, so he knew a thing or two about blending melody with the heaviness that KIX needed to reach new fans. Initially, Halligan admitted he thought they’d meant KISS when he heard the name “KIX.” But once he met the band, the creative spark was instant, especially with bassist and primary songwriter Donnie Purnell.

The Dynamic Duo: Halligan and Purnell

Donnie Purnell was the force behind KIX’s sound, with a drive to keep each song fresh and meaningful. Together, Purnell and Halligan struck a balance, crafting lyrics and riffs that stood out from the era’s typical glam-rock fare. Halligan brought in elements that polished KIX’s raw power without taking away the band’s edge. With a focus on memorable choruses and punchy lyrics, their collaborative magic helped produce songs that would resonate long after the first listen.

For Halligan and Purnell, Midnite Dynamite wasn’t about writing cliché rock songs—it was about giving the audience something they hadn’t heard before. Tracks like “Walking Away” became anthems for teens going through the highs and lows of young love, while “Sex” offered a tongue-in-cheek take on rock’s fascination with romance. Instead of glamorizing indulgence, KIX’s songs had humor and perspective that elevated them above the typical fare of the day.

One of the things that makes Midnite Dynamite stand out is its dynamic range. The album plays with tempo and mood, jumping from high-energy riffs to introspective moments, keeping listeners on their toes. Lead singer Steve Whiteman’s vocals add to this dynamic, often hitting octaves higher than the songs were initially written for, adding an electrifying edge to each track. Halligan also brought a production approach similar to Def Leppard, using digital drums to layer the sound and make the album feel slick without losing its rawness.

The Legacy of Midnight Dynamite: An Underdog Classic

Nearly 40 years after its release, Midnite Dynamite remains a cult classic, especially for fans who were there in the golden era of 80s rock. It’s an album that captures everything we love about the era—huge riffs, clever lyrics, and a commitment to pushing the boundaries of rock without losing its soul. For KIX, this album marked a turning point and solidified their place in rock history.

If you’re feeling nostalgic or want to experience the thrill of 80s hard rock, give Midnite Dynamite a spin. Whether you’re an old fan or discovering KIX for the first time, this record captures the rebellious, energetic spirit of an era that rocked music to its core.

Songs in this Episode

* Intro - Midnite Dynamite

* 24:36 - Cold Shower

* 34:44 - Here She Comes Again (Night Ranger)

* 46:11 - Don't Close Your Eyes

* 52:20 - Walkin Away

* 1:09:11 - Scarlet Fever

* Outro - Bang Bang (Balls of Fire)

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

Suggest an Album → | Support the Mission →

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

April 1989: The world was a strange mix of excess and transition. On one side, the neon-drenched MTV era was still riding high, with hair metal bands like Poison, Motley Crüe, and Def Leppard dominating the charts with their polished, radio-friendly anthems. Power ballads and arena rock were inescapable, and rock fans were tuned in to Bon Jovi and Guns N’ Roses. Yet, beneath the surface, change was brewing. Bands like Jane’s Addiction and Soundgarden were slowly carving out a new, grittier sound that would soon transform the entire landscape.

Amid this backdrop, Blue Murder made their entrance—not as another Sunset Strip glam act, but as a hard-hitting supergroup led by a guitar hero who had already proven himself with Thin Lizzy and Whitesnake. John Sykes wasn’t looking to jump on the hair metal bandwagon. Instead, with Blue Murder, he aimed to bring the technical brilliance of the ’70s into the late ’80s, blending his bluesy, virtuoso guitar work with heavy grooves and intricate song structures. Sykes, along with legendary drummer Carmine Appice and fretless bass wizard Tony Franklin, formed a trio that drew on the legacy of hard rock and metal titans, delivering something deeper and more ambitious than most of their glam metal contemporaries.

Yet, for all their talent, Blue Murder wasn’t about writing catchy three-minute radio singles. Their self-titled debut album was a blend of towering guitar riffs, thunderous drums, and epic song structures that leaned closer to the ‘70s hard rock tradition of Led Zeppelin and Deep Purple than the bubblegum metal that filled the charts. But in 1989, as hair metal ruled the airwaves and grunge was lurking around the corner, Blue Murder stood out—ambitious, raw, and musically masterful.

The Road to Blue Murder

John Sykes had already proven his chops with Whitesnake’s 1987 album, a monster hit that spawned chart-topping singles and dominated MTV. But creative tensions with Whitesnake’s leader, David Coverdale, led to Sykes’ unceremonious departure just as the band was at the peak of its commercial success. Undeterred, Sykes began writing material for what would eventually become Blue Murder, determined to put together a powerhouse group that could rival his previous success.

At first, Sykes wasn’t planning to be the frontman. The band initially brought in some big-name vocalists to handle lead duties. Ray Gillen of Black Sabbath and Badlands fame was the first to join the lineup, contributing vocals to some early demos. But Gillen left after just a few months, reportedly due to creative differences. The next contender was Tony Martin, another former Black Sabbath singer, but he, too, didn’t stick around for long. After several auditions and some disagreements with the label Geffen Records, the A&R team suggested that Sykes himself take over lead vocals. Despite being known more for his guitar work, Sykes stepped up, and his voice turned out to be a perfect match for the band’s sound—gritty, soulful, and powerful.

With legendary drummer Carmine Appice, who had played with the likes of Jeff Beck and Vanilla Fudge, and fretless bass virtuoso Tony Franklin, fresh off his stint with The Firm alongside Jimmy Page and Paul Rodgers, Blue Murder had a lineup that was nothing short of rock royalty. The result was a self-titled debut that combined technical brilliance with bluesy hard rock, reflecting Sykes’ desire to channel the spirit of ’70s heavyweights like Led Zeppelin and Deep Purple, rather than chasing the more formulaic sound of the late-’80s hair metal scene.

Building the Sound: A Guitarist as a Frontman

For a guy who wasn’t originally a vocalist, Sykes delivered some serious vocal prowess on Blue Murder. He was filling big shoes, considering he had just played alongside David Coverdale, one of rock’s great frontmen. And while the album isn’t a complete departure from Whitesnake’s bluesy, hard-hitting rock, it’s more expansive, both musically and lyrically.

The standout track, “Valley of the Kings,” showcases the epic grandeur Blue Murder was going for. Co-written by Black Sabbath’s Tony Martin, the song combines powerful riffs, intricate solos, and a historical theme that was rare in the pop-metal scene of the time. This track had a “late ’80s Sabbath” feel, blending hard rock with doom-like weight, something that set the band apart from the typical hair metal crowd.

Tracks like “Jelly Roll” and “Out of Love” demonstrate the band’s diversity—moving between blues-infused swagger and heartfelt ballads, all carried by Sykes’ smooth yet powerful vocals and, of course, his signature guitar tone. The hosts also discussed how “Out of Love,” a lesser-known power ballad, was one of those hidden gems deserving far more attention than it ever received.

The Legacy of Blue Murder

Though the album charted respectably (peaking at #69 on the Billboard 200), it didn’t make the impact that Whitesnake’s 1987 album did. Part of the issue was the changing musical landscape. By 1989, the glam metal scene was beginning to saturate, and the introspective rawness of grunge was on the horizon. Blue Murder, with its complex musicianship and Sykes’ ambitious songwriting, may have been too sophisticated for an audience that was more accustomed to quick-hit rock anthems.

But for those in the know, Blue Murder became a cult classic. Its combination of blistering guitar work, thunderous drums, and intricate bass lines made it a musician’s album—a performance record. For fans of technical prowess and intricate song structures, Blue Murder was a band worth rediscovering.

What Could Have Been

Despite the talent and the potential, Blue Murder never achieved the commercial success many expected. Tensions with their label, Geffen Records, didn’t help. Sykes believed Geffen was trying to sabotage the band in hopes he’d rejoin Whitesnake. Whether or not that’s true, it’s clear that Blue Murder didn’t get the marketing push it deserved.

After a follow-up album in 1993 (Nothing But Trouble), Blue Murder faded into the background, overshadowed by the grunge explosion. However, Sykes continued to be a respected figure in the hard rock and metal scenes, even though he never reached the heights of Whitesnake’s success again.

A Call to Revisit a Lost Masterpiece

So why does Blue Murder still resonate with those who know it? It’s a record that transcends the pop-metal limitations of its time. If you’re a fan of Thin Lizzy, Whitesnake, or just killer guitar work, this album is well worth revisiting. And for those who missed it the first time around, now’s the perfect time to dive into one of the best-kept secrets of late ’80s metal.

Take a listen, let it transport you back to 1989, and then wonder how this gem flew under the radar.

Songs in this Episode

* Intro - Blue Murder

* 22:17 - Black-Hearted Woman

* 27:14 - Out of Love

* 31:53 - Ptolemy

* 37:59 - Billy

* 39:04 - It's Too Late (demo w/ Ray Gillen on lead vocals)

* Outro - Valley of the Kings

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In our quest to explore the depths of 90s Rock, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Together, let's unearth the treasures of 90s Rock, one listener-powered episode at a time.

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In this episode, we dive into the unconventional journey of Riot and their 1990 album The Privilege of Power. As the 80s faded, Riot defied metal norms by blending their power metal roots with jazz horns, progressive influences, and politically charged themes. We explore the band’s turbulent history of lineup changes, bad luck, and the struggle for recognition despite their groundbreaking sound. Whether you’re a seasoned fan or new to the band, this episode unpacks the complex layers of an album that stands apart from the mainstream metal of its time. Join us as we dissect the music, the madness, and the legacy Riot left behind.Subscribe

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We explore the pivotal 1986 release by Canada’s iconic rock trio, Triumph, as they navigated the evolving landscape of 80s music. Blending their signature guitar-driven sound with radio-friendly synths and melodic hooks, the album reflects the band’s attempt to balance commercial success with their hard rock roots. Dive into the musical experimentation, industry pressures, and how this era-defining record both captivated new listeners and challenged long-time fans.Subscribe to the Podcast Become a Patron

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As the curtain began to fall on the extravagant 80s, the dawn of the 90s brought an undercurrent of change to the music world. In 1990, the air was thick with anticipation—grunge was still bubbling under the surface, and glam metal was clinging to its throne, not yet ready to relinquish its crown. This was a time when bands like Tigertailz were still riding high on the wave of excess and flamboyance that defined the previous decade. Against this backdrop, Tigertailz released Bezerk, a bold and defiant album that stood as a vibrant testament to the enduring spirit of glam metal, even as the tides of musical taste began to shift.

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Hailing from Cardiff, Wales, Tigertailz was often seen as the UK’s answer to the likes of Mötley Crüe and Poison. They embraced the excesses of glam metal with open arms—big hair, outrageous outfits, and a sound that was as colorful as their appearance. However, Tigertailz wasn’t just a carbon copy of their American counterparts. They brought a certain European flair and a sense of humor that set them apart in a genre that often took itself too seriously.

By the time they released Bezerk, the band had already made a name for themselves with their debut album Young and Crazy, but it was with this sophomore effort that they truly hit their stride. Bezerk was an unapologetic celebration of everything that made glam metal so much fun—infectious choruses, slick guitar riffs, and a party-ready attitude that refused to be dampened by the changing musical landscape.

Listening to Bezerk is like stepping into a time machine that takes you back to a world where bigger was always better. The album is packed with anthems that are tailor-made for arena singalongs. Tracks like “Love Bomb Baby” and “Sick Sex” are pure glam metal gold, featuring catchy hooks that stick in your head long after the music has stopped. There’s a sense of over-the-top fun in every note, from the blistering guitar solos to the layered harmonies that beg to be shouted along to.

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One of the album’s standout elements is its production—glossy and polished, it perfectly encapsulates the era’s love for bombast. Everything about Bezerk is turned up to 11, from the pounding drums to the sizzling guitar leads. The lyrics, while not exactly profound, capture the escapist spirit that glam metal fans craved. Songs about love, lust, and living life to the fullest dominate the tracklist, making it the perfect soundtrack for a night of excess.

Unfortunately for Tigertailz, Bezerk was released at a time when the glam metal genre was on the decline. Despite its strong reception, the album didn’t catapult the band to the heights of fame they might have achieved had it been released a few years earlier. However, Bezerk has since become a cult classic, beloved by fans who appreciate its unabashed celebration of glam metal’s glory days.

For many, Bezerk represents the last great gasp of glam metal before the grunge wave fully took over. It’s an album that proudly waves the flag of a genre that was all about fun, excess, and escapism—a stark contrast to the more introspective and somber tones that would come to define rock music in the 90s.

In today’s music landscape, where genres are often mixed and matched, and nostalgia for past eras is at an all-time high, Bezerk stands as a reminder of a time when rock music was larger than life. It’s an album that doesn’t apologize for what it is—a neon-soaked celebration of glam metal’s heyday. For fans of the genre, or anyone curious about what made glam metal so infectious, Bezerk is a must-listen. It’s a record that captures the spirit of a time when rock music wasn’t just about the music—it was about making a statement, living in the moment, and having as much fun as humanly possible.

Songs in this Episode

* Intro - Call of the Wild

* 14:46 - Peace Sellz (Megadeth cover)

* 27:14 - Action City

* 28:52 - Love Bomb Baby

* 31:55 - I Can Fight Dirty Too

* 34:07 - Sick Sex

* 41:04 - Heaven

* 43:08 - Love Overload Outro - Twist and Shake

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1990 was a year on the cusp of change. The world was watching as the Berlin Wall fell, signaling the end of an era. In pop culture, we were transitioning from the neon glow of the ’80s into the more grounded and grunge-tinged ’90s. But in the heart of New York City, a different kind of sound was brewing—a sound that captured the raw, untamed energy of the streets.

Spread Eagle’s self-titled debut album dropped in 1990, right before the tidal wave of grunge would alter the rock landscape forever. But before Seattle’s gloom took over, bands like Spread Eagle were embodying the gritty, dangerous spirit of the urban jungle. If Los Angeles had its glitzy, Sunset Strip glam metal, New York had something dirtier, darker, and undeniably more real.

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Formed in the late ‘80s by members who had cut their teeth in the rough-and-tumble world of Boston’s rock scene, Spread Eagle brought a level of authenticity to their music that set them apart from their more polished contemporaries. With Paul DiBartolo’s blistering guitar riffs, Rob DeLuca’s throbbing bass lines, and Ray West’s raw, powerful vocals, the band crafted an album that was as much about attitude as it was about musicianship.

Songs like “Switchblade Serenade” and “Scratch Like a Cat” are prime examples of the album’s relentless energy. These tracks, dripping with the sweat of countless nights in dingy clubs, capture the essence of what it meant to be a rock band in New York City at the dawn of the ‘90s. This wasn’t just music; it was a lifestyle—a survival mechanism for the band members who were living on the edge, both figuratively and literally.

The album’s lyrics paint a picture of a world where danger lurks around every corner. From the seedy underbelly of city life to tales of love and betrayal, Spread Eagle’s debut is an unfiltered look at the world they inhabited. It’s no surprise that this album resonated with fans who were looking for something more than the superficiality that had begun to creep into the rock scene by the late ’80s.

Yet, despite their raw talent and the album’s undeniable quality, Spread Eagle didn’t quite reach the heights of some of their peers. Perhaps it was the timing—just as they were finding their stride, the musical tide was turning towards the flannel-clad introspection of grunge. But for those who were there, and for those who have discovered this gem in the years since, the album remains a powerful testament to a band that could have been huge in a slightly different era.

In many ways, Spread Eagle’s debut is a snapshot of a fleeting moment in rock history. It’s the sound of a band on the brink, both creatively and commercially, giving everything they had to make their mark. And while they may not have achieved the widespread recognition they deserved, the album remains a beloved artifact for those who appreciate the raw, unpolished power of NYC street metal.

For anyone looking to dive back into the raw energy of late 80s Metal, or for new listeners curious about what else the era had to offer beyond the big names, Spread Eagle is a must-listen. It’s not just an album; it’s a slice of history, capturing a band and a scene that was every bit as vital as anything else happening in rock at the time.

So, crank up the volume, let the gritty riffs wash over you, and take a trip back to a time when rock and roll was still dangerous.

Songs in this Episode

* Intro - Switchblade Serenade

* 07:52 - Summertime (Bang)

* 35:15 - 42nd Street

* 37:16 - Broken City

* 38:00 - Switchblade Serenade

* 39:27 - Thru These Eyes

* 44:25 - Hot Sex

* 57:28 - Thru These Eyes

* 57:38 - Sweet Child O' Mine (Guns N' Roses)

* 59:17 - Dead of Winter

* Outro - Spread Eagle

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Remember the late ’80s when thrash metal was still underground? Metallica, Megadeth, Slayer, and Anthrax were solidifying their places as the big four of thrash and “The Black Album” hadn’t propelled the genre to the mainstream yet. Amidst these giants, bands like Paradox were also carving their unique paths with blistering riffs and complex compositions. If you’re the type of metalhead who loves to dig through the crates at your local record store, hoping to stumble upon something you might have missed, then Paradox’s 1989 release “Heresy” is the treasure you’ve been looking for.

Paradox formed in Würzburg, Germany, in 1986, led by the dynamic duo of Charlie Steinhauer and Alex Blaha. Initially part of a cover band paying homage to acts like Overkill and Venom, they quickly transitioned to creating their original sound. By 1987, they had inked a deal with Roadrunner Records, a label synonymous with underground metal. Their debut, “Product of Imagination,” set the stage, but it was their sophomore effort, “Heresy,” that really made waves in the metal community.

Imagine discovering an album purely by accident on a metal blog, where a quick 30-second sample convinces you that you’ve struck gold. That’s precisely what happened when Tim stumbled upon “Heresy.” This album is a masterclass in thrash, delivering the speed, technical prowess, and raw energy defining the genre while infusing progressive elements that set it apart.

From the opening acoustic strains that segue into ferocious thrash anthems, “Heresy” grabs you by the throat and doesn’t let go. Tracks like “Kill Time” showcase the band’s insane technical skills, with 30-second note melodies played at breakneck speeds. It’s not just about speed and aggression; Paradox brings a level of musicianship and melody often lost in thrash’s chaos.

A standout track, “Search for Perfection,” features harmonized leads that are as captivating as they are complex. These guys aren’t just about playing fast; they’re about playing smart, weaving intricate guitar lines that demand repeat listens to appreciate fully. The tracks “Heresy” and “700 Years On” blend the historical narrative with relentless riffs, creating a listening experience that’s both intellectually and sonically stimulating.

What makes “Heresy” particularly fascinating is its concept. The album delves into the Albigensian Crusade of the 13th century, a campaign initiated by Pope Innocent III to eradicate Catharism in southern France. This historical depth adds a layer of intrigue, making the lyrics worth diving into despite their rapid-fire delivery.

The production, handled by Harris Johns (known for his work with Celtic Frost, Kreator, and Sodom), ensures that every note and beat hits with precision and power. No wonder this album still sounds fresh today, able to stand toe-to-toe with modern thrash releases.

The band’s journey didn’t end with “Heresy.” After a hiatus, they returned in 2000 with “Collision Course” and have since released several albums, including “Heresy II: End of a Legend” in 2021. While line-up changes have been frequent, Charlie Steinhauer remains the driving force, keeping the spirit of Paradox alive and thrashing.

So next time you’re flipping through vinyl, keep an eye out for “Heresy.” Whether a $32 import or a hidden gem in the bargain bin, it’s a worthy addition to any thrash aficionado’s collection. And if you’re still on the fence, take a listen on your preferred streaming platform. This is thrash metal at its finest, and it might just become your new favorite discovery.

Songs In This Episode

Intro - Heresy

15:29 - Killtime

16:55 - Search for Perfection

21:01 - Castle in the Wind

24:47 - Massacre of the Cathars

27:26 - 700 Years On

Outro - Crusaders Revenge

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In 1982, the metal scene was rapidly evolving, marked by the raw energy of the New Wave of British Heavy Metal (NWOBHM) and the nascent thrash movement that would soon explode onto the scene. Within this context, the band Accept from Solingen, West Germany, released their groundbreaking fourth studio album, “Restless and Wild.” This album solidified their place in metal history and bridged the gap between traditional heavy metal and the faster, more aggressive sounds that would come to define the genre in the years to come.

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At this point, Accept was no newcomer. Formed in the late 1960s as Band X and later renamed after Chicken Shack’s album “Accept,” the band had undergone numerous lineup changes. By the time of “Restless and Wild,” the lineup featured Udo Dirkschneider on vocals, Wolf Hoffmann on guitar, Peter Baltes on bass, and Stefan Kaufmann on drums. This band had been refining its sound, and “Restless and Wild” represented a pivotal moment in their career.

The early 80s were a fertile time for heavy metal, with bands like Iron Maiden and Judas Priest defining the genre’s sound and image. Accept, however, brought something uniquely German to the table, blending the melodic sensibilities of NWOBHM with a harder, faster edge that foreshadowed the coming thrash metal wave.

“Restless and Wild” opens with “Fast as a Shark”, a track that kicks off with an unexpected twist—a snippet of the traditional German folk song “Ein Heller und ein Batzen”. This playful intro is quickly obliterated by one of the earliest examples of speed metal, a genre-defining moment that influenced countless bands. With its relentless double-kick drumming and rapid-fire riffing, “Fast as a Shark” is often cited as a precursor to thrash metal, pre-dating Metallica’s “Kill ’Em All” by several months.

The title track, “Restless and Wild,” follows suit with its high-energy delivery and Hoffmann’s searing guitar work, a highlight throughout the album. His solos are a masterclass in early 80s metal guitar, blending technical prowess with a keen sense of melody. Tracks like “Neon Nights” and “Princess of the Dawn” showcase the band’s versatility, with “Neon Nights” weaving between acoustic passages and heavy riffs, and “Princess of the Dawn” featuring a haunting, epic structure that closes the album on a high note.

“Restless and Wild” didn’t just solidify Accept’s place in the metal pantheon; it also played a crucial role in the genre’s development. The album’s influence can be heard in the speed and thrash metal movements that followed. Bands like Metallica and Slayer, who released their debuts in 1983, were undoubtedly impacted by Accept’s fusion of speed and melody.

While “Balls to the Wall” would become their most commercially successful album, “Restless and Wild” remains a favorite among metal purists for its raw energy and pioneering spirit. It’s an album that captures a band on the brink of stardom, experimenting with their sound and pushing the boundaries of what metal could be.

Songs in this Episode

* Intro - Demon's Night

* 7:53 - Fast as a Shark

* 14:51 - Fast as a Shark

* 16:19 - Neon Nights

* 17:29 - Don't Go Stealing My Soul Away

* 20:48 - Restless and Wild

* 25:27 - Shake Your Heads

* 28:42 - Get Ready

* 31:44 - Princess of the Dawn Outro - Flash Rockin' Man

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In the mid-1980s, heavy metal was undergoing a transformative era. The genre, already known for its rebellious spirit and loud, aggressive sound, was embracing a new level of theatricality and spectacle. Bands like Iron Maiden and Judas Priest had set high bars for both musical prowess and stage performance. Amidst this vibrant scene, a band emerged from the chaos and cacophony of the Los Angeles metal scene, destined to leave a lasting impact: W.A.S.P.

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In the early 80s, heavy metal was at a pivotal juncture. The New Wave of British Heavy Metal (NWOBHM) had crossed the Atlantic, influencing a generation of American bands to push the envelope in terms of both sound and stage presence. It was an era of excess, where bands were not just musicians but larger-than-life figures whose off-stage antics were as talked about as their music. This was the backdrop against which W.A.S.P. released their self-titled debut album in 1984.

W.A.S.P., led by the enigmatic and controversial Blackie Lawless, burst onto the scene with a blend of hard-hitting riffs, anthemic choruses, and shocking stage shows. Blackie Lawless, born Stephen Edward Duren, had a musical journey that took him from the churches of Staten Island, where he was a born-again Christian at age 11, to the occult studies of his teenage years. Before forming W.A.S.P., Lawless had stints in various bands, including New York Dolls offshoot Killer Kane and Sister, which featured future W.A.S.P. guitarist Randy Piper and a young Nikki Sixx of Mötley Crüe.

W.A.S.P.’s formation was marked by a series of lineup changes typical of many bands in the volatile LA scene. By 1982, the lineup had solidified around Lawless, Piper, drummer Tony Richards, and guitarist Chris Holmes.

Released in August 1984, W.A.S.P.’s self-titled debut album encapsulated everything that made the band notorious: shock rock theatrics, controversial lyrics, and anthemic metal hooks. The album opener “Animal (F*** Like a Beast)” immediately set the tone with its provocative title and raw energy. Though the song was too controversial for their label, Capitol Records, it was released through an independent label, Music for Nations, becoming an underground hit.

The album features some of W.A.S.P.‘s most enduring tracks, including “I Wanna Be Somebody,” a defiant anthem of self-empowerment that resonated with countless disaffected youth. “Love Machine” showcased the band’s knack for combining catchy melodies with hard rock intensity, while “Sleeping (In the Fire)” offered a glimpse of their ability to write slower, more melodic songs without losing their edge.

W.A.S.P.‘s live shows were legendary for their shock value. Lawless would drink blood from a skull, throw raw meat into the audience, and perform with a codpiece adorned with a saw blade. These antics, combined with the band’s aggressive sound, attracted both fans and detractors. The Parents Music Resource Center (PMRC), led by Tipper Gore, targeted W.A.S.P. as part of their infamous “Filthy Fifteen” list, condemning their lyrics and stage performances as corrupting influences on America’s youth.

Despite (or perhaps because of) the controversy, W.A.S.P.’s popularity soared. They toured with major acts like Kiss, Iron Maiden, and Slayer, bringing their brand of theatrical metal to arenas across the globe.

W.A.S.P.‘s debut album didn’t just make waves; it helped define the metal scene of the 80s. Their blend of theatricality and raw musical power influenced countless bands that followed. Blackie Lawless’ unique voice and the band’s knack for combining catchy hooks with heavy riffs, set a template for what would become known as hair metal.

Even as metal evolved through the grunge-dominated 90s and beyond, W.A.S.P. remained a relevant force. Albums like “The Headless Children” and “The Crimson Idol” further cemented their legacy, showcasing their ability to adapt while staying true to their roots.

For fans of 80s metal, revisiting W.A.S.P.‘s debut album is a trip back to a time when music was raw, rebellious, and unapologetically theatrical. Whether you’re reliving memories or discovering the band for the first time, “W.A.S.P.” offers a powerful reminder of the era’s energy and creativity. So, dust off that old vinyl, crank up the volume, and let Blackie Lawless and company take you on a wild ride through one of metal’s most electrifying periods.

Songs in this Episode

* Intro - Animal (F**k Like a Beast)

* 33:59 - B.A.D.

* 36:03 - L.O.V.E. Machine

* 40:20 - I Wanna Be Somebody

* 41:28 - The Flame

* 46:30 - Sleeping (In the Fire)

* Outro - Tormentor

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Let’s rewind to 1988. Metal underwent a massive transformation, with flashy glam metal and its catchy hooks coexisting alongside darker, more intense sounds on MTV’s Headbangers Ball. Enter Glenn Danzig, fresh from his work with Misfits and Samhain, who was about to turn the metal world on its head with his new project. This shift was catalyzed by the involvement of legendary producer Rick Rubin, who signed Danzig to his label, Def American Recordings. Rubin, known for his work with diverse acts from Slayer to the Beastie Boys, recognized the unique potential in Danzig’s vision. Released in 1988, Danzig’s self-titled album brought a brooding, blues-infused metal sound unlike anything else. Recorded at Atlantic Recording Studios in New York City, the album blended raw power and dark, occult themes, setting a new standard for the genre.

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Danzig’s debut album is a masterclass in creating atmosphere and intensity. Take the opening track, “Twist of Cain.” It hits you with heavy, riff-driven soundscapes that instantly pull you into the album’s dark world. The song sets the stage with powerful guitar work and Danzig’s deep voice. Then there’s “Not of This World,” a track that explores themes of alienation and otherworldliness, perfectly encapsulating the band’s gothic aesthetic. The relentless rhythm and eerie lyrics create an atmosphere of mystery and foreboding, making it stand out on the record.

One of the most iconic tracks is “Mother.” It’s an anthem of rebellion and defiance, with a straightforward structure and unforgettable chorus that catapulted it into mainstream success. This song alone helped solidify Glenn Danzig’s place in rock history. But the album doesn’t stop there. “She Rides” slows things down but keeps the intensity alive with its hypnotic rhythm and darkly sensual lyrics, showcasing the bluesy influence that permeates the album.

“Soul on Fire” is another gem, combining haunting melodies with fierce guitar lines to create an atmospheric and intense track. Each song on this album isn’t just a listen; it’s drawing you deeper into the gothic and occult themes that Glenn Danzig is passionate about. His fascination with the occult and gothic literature bleeds through every track, making this album a dark journey you won’t forget.

The impact of Danzig’s debut album goes beyond just its immediate success. This album carved out a niche in the metal genre that blended bluesy riffs, gothic undertones, and powerful vocals. Glenn Danzig’s charismatic presence and the band’s tight performance created a new standard for metal. It’s no wonder that tracks like “Mother” continue to resonate with new generations of fans. The album’s success paved the way for Danzig’s future works, solidifying his legacy as a metal icon.

Songs in this Episode

* Intro - Evil Thing

* 22:59 - Twist of Cain

* 25:38 - Mother

* 27:35 - Possession

* 28:48 - Evil Thing

* 31:10 - In My Time of Dying (Led Zeppelin)/Twist of Cain

* 31:43 - Falling Apart at the Seams (Cinderella)

* 33:03 - Soul on Fire

* 34:56 - End of Time

* 41:57 - The Hunter (Albert King)

* 42:13 - The Hunter

* 42:40 - The Hunter

* 59:18 - She Rides

* Outro - Out of This World

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Let’s set the stage. It’s 1988. The airwaves are buzzing with the high-octane sounds of Def Leppard, Guns N’ Roses, and Bon Jovi. MTV is our go-to for the latest music videos, and hip-hop is making serious waves with N.W.A. and Public Enemy dropping game-changing albums. We’re quoting Die Hard, laughing at Beetlejuice, and tearing up at Rain Man. TV’s got us hooked on Roseanne and The Wonder Years. The Berlin Wall is still up, and the Cold War is real, but there’s a rebellious buzz in the air.

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Enter Bulletboys. Formed in 1987, these guys burst onto the scene with their self-titled debut album, blending swagger, sleaze, and pure rock energy that just screamed ‘80s metal’. The band featured Marq Torien on vocals, who had a stint with Ratt and King Kobra before joining Bulletboys. Guitarist Mick Sweda, also from King Kobra, brought his flashy, tight guitar work. Lonnie Vencent, another King Kobra alumnus, handled the bass with groovy, solid lines, and Jimmy D’Anda, known for his powerful drumming, completed the lineup.

We’re diving deep into the world of 80s metal with our special guest, Aaron Perrino. You might know Aaron from The Sheila Divine or his current project, Aaron and the Lord. He’s joining us to reminisce about the golden days of metal and share his unique perspective.

We’re talking all things Bulletboys—how they formed from the ashes of King Kobra, their big hits like “Smooth Up In Ya” and their killer cover of the O’Jays’ “For the Love of Money.” We’ll also dig into the highs and lows of their career, their many lineup changes, and their lasting legacy.

Aaron’s got some great stories, including seeing Bulletboys live on the legendary Cinderella tour. Plus, we’ll break down their sound, the production genius of Ted Templeman, and why these guys still matter.

Whether you’re a die-hard metalhead or just dipping your toes into the scene, this episode is packed with nostalgic vibes and deep dives into one of the era’s most dynamic bands. So, grab your denim jacket, crank up the volume, and join us!

Songs in this Episode

* Open - Hard as a Rock

* 5:47 - "Wonder Woman" by Attila

* 21:03 - MTV "Long Cold Winter" Cinderella contest

* 21:49 - "Smooth Up in Ya" (2011 Re-Recorded)

* 27:57 - "Smooth Up in Ya"

* 30:30 - F#9

* 31:21 - Crank Me Up

* 33:48 - Hell on My Heels

* 39:30 - For the Love of Money

* 45:47 - Hard As a Rock

* Close - Crank Me Up

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestionsdrive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

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The inspiration for this episode came from an unexpected source - none other than Sebastian Bach of Skid Row fame. During a brief interview with Chip Midnight , Sebastian shared a gem with us, recommending that we explore Malice's debut album. Sebastian is a genuine fan of rock and metal, so we were all excited for a deep dive exploration of a band that played a pivotal role in shaping the sound of Skid Row and the 80s metal scene.

The year was 1985. Metal was at a crossroads, evolving from its British heavy metal roots while flirting with the glitz and glam of the Sunset Strip. Bands like Judas Priest and Van Halen were experimenting with synthesizers, and the lines between hard rock and glam metal were becoming increasingly blurred. Enter Malice, a band that straddled these worlds, bringing a raw, aggressive energy that set them apart.

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Malice formed in Portland, Oregon, a city not typically known for its metal scene. They quickly made a name for themselves with their powerful sound and dynamic performances. By 1982, they were sharing stages with the likes of Metallica and Armored Saint, and their tracks were featured on the influential Metal Massacre compilation alongside future giants of the genre.

Malice's debut album, "In the Beginning," released in August 1985, is a testament to their unique position in the metal world. The album was co-produced by the legendary Michael Wagner, known for his work with Skid Row and Ozzy Osbourne, and Ashley Howe. This collaboration brought a polished yet powerful sound to the record, one that resonated with the intensity of live performances.

The lineup for the album included James Neal on vocals, Mick Zane and Jay Reynolds on lead guitars, Mark Behn on bass, and Clifford Carruthers on drums. The band's chemistry is evident throughout the album, with each member bringing a distinct energy that collectively created a sound both raw and refined.

"In the Beginning" is an album of contrasts, showcasing the band's versatility and struggle for a cohesive identity. Tracks like "Air Attack" and "Gods of Thunder" highlight their power metal prowess, with soaring vocals and relentless double-kick drumming. James Neal's vocal performance draws inevitable comparisons to Rob Halford of Judas Priest, especially on tracks like "Stellar Masters" and "Hellrider."

Yet, the album also dips into more mainstream, glam-rock territory with songs like "Rockin' With You" and "Squeeze It Dry." These tracks, while energetic, lack the same punch as their power metal counterparts, revealing the band's attempt to balance commercial appeal with their heavier roots.

Despite its uneven reception, "In the Beginning" holds a special place in the annals of 80s metal. It served as an inspiration for many, including Sebastian Bach, who cited it as an influential record for Skid Row's early sound. The album's production quality, particularly the clarity and punch of Wagner's work, set a standard for future metal recordings.

Malice may not have achieved the commercial success of their peers, but their impact is undeniable. They were a band ahead of their time, caught between the shifting tides of metal's evolution. Their music continues to resonate with those who seek the raw, unfiltered energy that defined 80s metal.

Songs in this episode

* Open - Stellar Masters

* 19:48 - Air Attack

* 21:19 - Hell Rider

* 25:43 - Rockin With You

* 27:55 - No Haven for the Raven

* 30:34 - Squeeze It Dry (Keep on Rockin)

* 32:35 - Into the Ground

* 34:17 - Stellar Masters

* Close - Godz of Thunder

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In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

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In the late 1980s, when hair metal was all the rage and grunge was just a whisper, King's X dropped "Gretchen Goes to Nebraska." Despite not hitting the mainstream heights of some of their peers, they seriously shook up our latest listener poll with this album. Today's episode of Dig Me Out dives into King's X's unique groove, which carved out a niche that straddled the worlds of their metal and alternative contemporaries.

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We explore how King's X meshed with—and stood out from—the bands they toured with. Imagine sharing the stage with the heavy hitters like Anthrax, AC/DC, and even alt-rockers like Living Colour. King's X managed to hold their own with a sound that mixed deep, soulful harmonies and heavy, intricate riffs. This made them a band that other musicians admired, even if they flew under the radar for the larger public.

“Gretchen Goes to Nebraska," showcased King's X’s knack for blending Rush-like complexity with the emotional rawness that would soon define grunge. Bands like Pearl Jam and Alice in Chains owe a bit of their sound to the trails blazed by King's X, and we're here to tell you exactly how and why.

Recorded with producer Sam Taylor in Houston and released on Megaforce Records, this album is a testament to King's X’s technical chops and thoughtful lyrics. We'll break down tracks like "Over My Head" and "Summerland," discussing how they mix thoughtful musings with rock-solid beats, setting King's X apart from both the glam scene and the emerging grunge movement.

We’ll also ponder why King's X, despite their massive influence and critical nods, never quite became household names. Touring with an eclectic mix, from the theatrical Blue Öyster Cult to metal gods Iron Maiden, showed their range but perhaps left fans puzzled about where exactly to place them in the rock spectrum.

So crank it up and join us on "Dig Me Out 80s Metal" as we dive into the fascinating world of King's X, exploring how they've left an indelible mark on the music scene, beloved by those in the know and just waiting to be rediscovered by new ears.

Songs in this Episode

* Intro - Out of the Silent Planet

* 14:01 - We Were Born to Be Loved - CBS Orchestra

* 28:47 - Over My Head

* 32:36 - You're The Only One - Sneak Preview

* 35:14 - Summerland

* 37:13 - The Difference (In the Garden of St. Anne's On-the-Hill)

* 38:23 - I'll Never Be The Same

* 40:00 - Send a Message

* 40:17 - Black Flag from King's X (1992)

* 43:42 - Out of the Silent Planet

* 48:30 - Over My Head

* 52:26 - I'll Never Be the Same

* 58:06 - This Picture - Jerry Gaskill

* 1:02:00 - Take Me Away - Supershine

* Outro - Pleiades

Your Metal Picks

As we jam through the vast world of 80s metal, it’s your insights and picks that fuel our episodes. Whether it's a hidden gem that slipped through the cracks or a classic that deserves a deep dive, your suggestions keep our playlists fresh and fascinating. By joining the DMO Union on Patreon, you not only help keep our show running smoothly but also get the chance to directly pick the albums we review. Dig into the rich tapestry of 80s metal with us, one record at a time.

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In the twilight of the 1980s, a year that marked the end of an era and the dawn of another, a band emerged that would encapsulate the raw energy and spirit of rock's golden years. This band was Badlands, a powerhouse ensemble formed by none other than Jake E. Lee, known for his explosive guitar solos with Ozzy Osbourne. As Lee parted ways with the Prince of Darkness, he gathered a group of seasoned musicians: Ray Gillen, whose commanding vocals could rival the legends; Eric Singer, a drummer with a pedigree from Black Sabbath (later KISS); and Greg Chaisson, whose bass lines were as deep as they were intricate.

Highlights of This Episode:

Formation of Badlands: After parting ways with Ozzy Osbourne, Jake E. Lee forms Badlands, recruiting powerhouse vocalist Ray Gillen, dynamic drummer Eric Singer, and bassist Greg Chaisson to create a lineup that promised and delivered a potent blend of talent and passion.

Album Exploration: We take a track-by-track look at the debut album, starting with the electrifying "High Wire," diving into the emotional depths of "Dreams in the Dark," and exploring the anthemic "Winter's Call." Each song represents the band's ability to weave powerful lyrics with robust instrumental performances.

Touring Tales: Hear about Badlands' memorable tours with bands like Tesla and Great White, capturing the transition era from glam metal to the rawer sounds that would define the 90s.

Legacy and Loss: Despite their short-lived journey, the influence of Badlands continues. We discuss the bittersweet legacy of the band, the challenges they faced, and how their music lives on in the hearts of fans.

Rare Recordings: The rarity of Badlands' recordings adds a layer of mystique to their legacy. We explore why their music remains a collector's treasure trove and a delightful discovery for new fans.

Songs in the Episode:

Intro - Dreams in the Dark

34:53 - Street Cry Freedom

39:41 - Dreams in the Dark

41:06 - Jade's Song

52:55 - High Wire

55:27 - Devil's Stomp

58:00 - Seasons

1:03:47 - Dancing on the Edge

1:05:43 - Winter's Call

1:14:19 - Winter's Call

Outro - High Wire

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Faster Pussycat emerged from the wild Sunset Strip scene of the 80s, which gave birth to legendary bands such as Quiet Riot, Van Halen, and Ratt. The band introduced a more intense dose of glam and sleaze, which helped them secure a major label deal alongside their peers Guns N’ Roses and L.A. Guns. Taime Downe, a Seattle native, fronted the band, and their debut album showcased a bluesy, pop-glam sound similar to The Rolling Stones and Hanoi Rocks.

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Downe teamed up with Brent Muscat (guitar), Greg Steele (guitar), Eric Stacy (bass), and Mark Michals (drums) to work with producer Ric Browde and craft a classic album that became a staple of the era. The album, released on Elektra Records, includes MTV favorites like “Bathroom Wall” and “Don’t Change That Song,”. As Faster Pussycat embarked on the first tour, they supported a diverse range of artists, from Alice Cooper to David Lee Roth to Motorhead, honing their versatility and undeniable stage presence.

Our deep dive into Faster Pussycat's self-titled debut on Dig Me Out reveals the highs and lows of an album that's as synonymous with the Sunset Strip's glam metal scene as teased hair and leather pants. We explore the tracks that define, delight, and sometimes divide, offering listeners a comprehensive look at an album that continues to resonate.

In our exploration, we highlight the album’s key tracks, noting "Bathroom Wall" and "Don’t Change That Song" for their enduring appeal and MTV staple status, while "Babylon" stands out as an innovative yet ambivalent rap-rock hybrid. Despite its varied reception, the album embodies the rebellious spirit, chaotic nightlife, and unfiltered fun that marked rock 'n' roll's golden era on the Sunset Strip.

Wrapping up the episode, special guest Sebastian Bach drops in to recommend an album for our review, adding another layer of rock authority to our discussion. Join us as we revisit this iconic slice of rock 'n' roll history, celebrating the sleaze, glam, and raw energy that defines an unforgettable decade in music. This isn't just a retrospective; it's a tribute to the timeless allure of rock music and the lasting legacy of Faster Pussycat and its Sunset Strip contemporaries.

Songs in this Episode

* Intro - Babylon

* 10:22 - I Was Made for Loving You (KISS cover)

* 27:50 - Bathroom Wall

* 30:30 - Bottle in Front of Me

* 35:25 - Ship Rolls In

* 36:16 - Smash Alley

* 40:55 - Shooting You Down

* 41:09 - Look What The Cat Dragged In (Poison)

* 43:34 - Cathouse

* 46:00 - No Room for Emotion

* 48:05 - Babylon

* 1:04:20 - Special guest - Sebastian Bach

* Outro - Bathroom Wall

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

Suggest an Album → | Support the Mission →

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

This isn't just another record; it's a wild ride through punk's grit and glam rock's glitter, all mashed up in a way only Hanoi Rocks could pull off. Imagine punk's raw energy slamming into glam's flamboyance—that's "Oriental Beat" for you, a genre-bending explosion that set the stage for hair metal to strut its stuff.

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Diving into "Oriental Beat," you're tapping into the essence of Hanoi Rocks, featuring Michael Monroe's electrifying vocals, Andy McCoy's masterful guitar riffs, along with the rhythm foundation laid by Sami Yaffa on bass. It's worth noting that while Razzle is often remembered as the band's iconic drummer, it was actually Gyp Casino who pounded the drums on this particular album. His contribution set the beat for the groundbreaking sound that marked a turning point for the band and the broader rock world.

This album is a deep cut spotlighting a band that, let's be honest, should be on every rock aficionado's radar. Hanoi Rocks wasn't playing games; they were laying down tracks that would inspire legends like Guns N' Roses and Motley Crue. And let's talk about the look—those teased hairs and that rock 'n roll swagger weren't just for show. They were pioneers, setting trends that would dominate the scene.

But "Oriental Beat" isn't just about the tunes or the threads; it's the heart of Hanoi Rocks' story, marked by the tragedy of losing their drummer, Razzle. This event didn't just shake the band; it shook the whole rock world, adding a layer of depth and resilience to their legacy. It's this mix of innovation, influence, and sheer perseverance that makes diving into Hanoi Rocks such a compelling journey.

Listening to "Oriental Beat," you're not just hitting play on a record; you're unlocking a piece of rock history that continues to resonate. This album invites us to explore its standout tracks that defy genre norms to the captivating narrative of a band that rocked the 80s scene, enduring as a touchstone for musicians and fans alike.

So, here's to "Oriental Beat," an album that refuses to fade into the background, continuing to spark debates, inspire artists, and thrill new listeners. It's a testament to Hanoi Rocks' undeniable impact on the music world, a legacy built on innovation, style, and a spirit that's as infectious now as it was in the 80s. Hanoi Rocks might just be the best band you've never given a proper listen to, until now.

Songs in the Episode

* Intro - Oriental Beat

* 18:39 - No Law and Order

* 20:41 - Teenangels Outsiders

* 22:21 - Sweet Home Suburbia

* 25:17 - Visitor

* 31:06 - Oriental Beat

* 32:51 - Motorvatin'

* 35:48 - Devil Woman

* 46:10 - MC Baby

* 47:45 - Fallen Star

* Outro - Lightnin' Bar Blues

Make Your Voice Heard!

In our quest to explore the depths of 90s Rock, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Together, let's unearth the treasures of 90s Rock, one listener-powered episode at a time.

Suggest an Album → | Support the Mission →

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe

Dig into the captivating yet tumultuous story of Salty Dog, a band that carved out a niche in the 80s metal scene with a sound that defied easy categorization. Hailing from the vibrant streets of Los Angeles in the late 1980s, Salty Dog was an act that managed to blend the raw energy of hard rock, the soulful depth of blues, and a hint of the emerging grunge movement into their music. Despite securing a deal with the prestigious Geffen Records and releasing their sole album, Every Dog Has Its Day, in 1990, the band's journey was anything but smooth.

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The tale of Salty Dog is marked by several challenges, from the tumultuous lineup changes to the struggles they faced in the production of their music videos. Perhaps most notably, the band's potential was hampered by the heroin addiction that plagued their frontman, highlighting the personal battles that can deeply affect a band's trajectory. Nonetheless, Every Dog Has Its Day remains a testament to their unique sound, characterized by gritty guitar work, soulful vocals, and a distinct blues influence that set them apart from their contemporaries.

This episode takes a closer look at the diverse influences that shaped Salty Dog's sound. From the legendary riffs of Led Zeppelin to the unmistakable hard rock edge of AC/DC, the band drew inspiration from a wide array of sources. Yet, Salty Dog stood apart from the mainstream 80s metal bands, with vocal styles that ranged from the raspy undertones often associated with hair metal to the high-pitched screeches reminiscent of Guns N' Roses' Axl Rose. The guitar work showcased a broad spectrum, from introspective bluesy slides to the high-energy pinch harmonics often found in metal.

Salty Dog's story is more than just a narrative of music and personal struggles; it's a reflection of the broader challenges and transformations within the metal genre during a pivotal time. Their journey encapsulates the transition from the dominance of metal and hard rock to the rise of grunge in the early 90s, highlighting the volatile nature of the music industry and the personal demons that often accompany fame.

Through Chip’s firsthand experiences and insights, along with an in-depth analysis of Every Dog Has Its Day, we aim to uncover the enduring legacy of Salty Dog. While they may have released just one official album, their story is emblematic of the spirit and turmoil of the 80s metal scene, offering a poignant reminder of the challenges bands face in pursuit of their dreams.

Songs in this Episode

* 00:00 - "Keep Me Down"

* 24:28 - "Come Along"

* 25:22 - "Cat's Got Nine"

* 27:27 - "Where The Sun Don't Shine"

* 30:19 -"Heave Hard (She Comes Easy)

* 35:19 - "Lonesome Fool"

* 35:53 - "Lonesome Fool"

* 38:00 - "Nothing But a Dream"

* 42:23 - "Come Along"

* 50:25 - "Spoonful"

* 56:44 - "Sacrifice Me"

* 1:12:55 - "Come Along"

Make Your Metal Voice Heard!

In our quest to explore the depths of 80s metal, we rely on you, our listeners. Your suggestions drive our show – be it an underrated classic or a forgotten gem. By joining our DMO Union on Patreon, you help us stay independent and ad-free and gain the power to vote on and choose the albums we dive into each year. Let's unearth the treasures of 80s Metal, one listener-powered episode at a time.

Suggest an Album → | Support the Mission →

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit digmeout.substack.com/subscribe