Dig Me Out: 80s Metal

What happens when a band ditches thrash just as it goes mainstream… and dives headfirst into French poetry, industrial noise, and orchestral arrangements? You get Into the Pandemonium by Celtic Frost, a boundary-shattering 1987 album that still divides, bewilders, and inspires.

In this episode, we dig deep into this genre-defying masterpiece that blurred the lines between black metal, gothic atmospheres, and avant-garde experimentation. Was it ahead of its time or just too weird to work? Either way, it’s unforgettable.

We explore the album’s fascinating backstory—from label resistance and chart failure to its underground cult status and lasting influence on extreme music. Along the way, we unpack everything from Baudelaire lyrics and Bosch album art to dive-bomb guitar solos and operatic vocals. If you’re into the darker corners of 80s metal or love when bands break all the rules, this one’s for you.

If you’re a fan of Ministry, Bauhaus, Slayer, or the experimental side of Metallica, hit play.

🔍 Episode Highlights

• 0:00 – Intro music – Why Into the Pandemonium is unlike any metal album from the 1980s• 5:57 – From Zurich to the underground – Celtic Frost’s chaotic path to cult legend status• 10:06 – Label friction – How Noise Records hated the record and refused to promote it• 14:36 – “Mexican Radio” – The controversial cover that opens the album on a strange note• 16:15 – Strings, chanting & French vocals – The bold sonic turns that confused fans• 20:01 – Thrash roots meet goth experimentation – Influences from Slayer to Baudelaire• 26:30 – What’s working: track highlights, including “Babylon Fell” and “I Won’t Dance”• 35:00 – What didn’t work: sequencing issues, divisive vocals, and industrial missteps• 44:00 – Legacy check – Why Celtic Frost influenced everyone from Napalm Death to Dave Grohl• 50:33 – Final verdicts: Is it a better EP, a classic album, or just a chaotic curiosity?

📢 Subscribe, rate, and share this episode if you love uncovering the strange, daring, and totally unforgettable corners of rock and metal history.

🎧 Dive deeper and support the show at digmeoutpodcast.com

What if one of punk rock’s most essential records wasn’t born in London or New York—but in a repressive corner of 1970s Australia? In this episode, we dive into I’m Stranded, the ferocious, lo-fi debut from Brisbane’s own The Saints—a band that burned bright before punk even knew what it was supposed to sound like.

Recorded in just two days with cranked amps, no overdubs, and a heavy dose of youth rebellion, I’m Stranded delivers raw power with surprising musical depth. The Saints weren’t copying anyone—they couldn’t. Isolated from punk’s UK and US scenes, they built something unique: a mix of garage rock swing, proto-punk energy, and rock 'n' roll heart that would go on to influence everyone from Kurt Cobain to Mark Lanegan.

This episode unpacks the album’s explosive origins, its unexpected impact overseas, and how the band’s refusal to conform—musically or stylistically—helped set a new standard for underground music. We also explore its enduring influence on punk, garage, grunge, and beyond.

If you dig bands like The Stooges, The Damned, Radio Birdman, Nirvana, or The Hives, you’ll want to hear this one.

🎧 Episode Highlights:

• 0:00 – Intro track – Setting the scene: Brisbane in the 1970s and the birth of I’m Stranded• 2:30 – Police vans, DIY labels, and “Pig City” – The political tension that fueled The Saints' sound• 6:18 – The Saints vs. punk fashion – Why the band rejected industry makeovers and stayed true to themselves• 10:44 – "(I’m) Stranded" – Dissecting the title track's sneer, groove, and timeless rage• 15:00 – “Messin’ with the Kid” – Stones vibes meet Aussie grit in a proto-grunge ballad• 20:35 – Covers and deep cuts – From Elvis to New Zealand garage rock: the Saints' unlikely influences• 25:50 – Ahead of their time – How this 1977 album sounds like it could’ve dropped in 1998• 30:45 – The Saints’ legacy – From Bob Geldof’s praise to their influence on Nirvana and Seattle’s scene

Crank it up and join us as we rediscover I’m Stranded—a chaotic, soulful, and essential artifact in punk rock history.

👂 Listen, subscribe, and explore more at digmeoutpodcast.com💬 Join the community and help pick future episodes at dmounion.com

Don’t forget to rate and review—your support helps us keep digging up the lost classics that deserve your ears.

Before glam exploded and metal ruled MTV, one album tried to bridge the shred-heavy brilliance of Europe with the big-hook ambitions of American rock radio—only to be lost in the chaos of lineup changes and flashing lights. Literally.

In this episode, we rediscover Assault Attack by the Michael Schenker Group—a cult classic released in 1982 that had everything going for it: a legendary guitarist, a powerhouse vocalist, and production by Martin Birch. So why didn’t it break through?

We dig into the story behind the album’s creation, from the fallout after One Night at Budokan to the last-minute firing of Graham Bonnet before the band could tour. Along the way, we explore what makes Assault Attack stand out musically—from Schenker’s melodic riffing to the underrated grooves laid down by bassist Chris Glen and drummer Ted McKenna.

This episode is for fans of underappreciated hard rock, for those who love when bands sound like bands (not just guitar showcases), and for anyone who’s ever found a hidden gem in the cassette bin and wondered how it got there. If you’re into Rainbow, UFO, or even Iron Maiden’s deeper cuts, this one’s got something for you.

Episode Highlights

• 0:00 – [Intro: “Assault Attack”] – The mystery of a great album no one saw live• 5:12 – [Band History] – How MSG went from Budokan to Bonnet• 12:45 – [Album Overview] – Birch’s production magic and the shift in sound• 21:30 – [“Desert Song”] – A haunting riff and vocal synergy• 29:00 – [“Broken Promises”] – The secret star: Chris Glen’s bass lines• 34:20 – [“Dancer”] – Big hooks, goofy lyrics, and Bonnet’s vocal drama• 42:00 – [Legacy & What-Ifs] – What could’ve been with Coverdale or a proper tour• 48:10 – [Community Pick] – How one vote brought this album into the spotlight

Don’t Miss Out

Dig deeper into forgotten albums and the stories that shaped them. Listen to the full episode now, and if you want to have a say in what we cover next:

👉 Subscribe at digmeoutpodcast.com👉 Join the Union and vote on future picks at dmounion.com

High and Dry: Def Leppard’s Gateway from NWOBHM to Arena Rock Kings

Before Hysteria took over MTV and Pyromania lit up the charts, Def Leppard were loud, raw, and hungry. Their 1981 album, High and Dry, was the crucial turning point—bridging the grit of the New Wave of British Heavy Metal (NWOBHM) with the polished, hook-laden sound that would dominate ‘80s rock radio. But does it get the recognition it deserves?

This week, we go deep into Def Leppard’s unsung classic—breaking down the ferocious dual-guitar attack, the emergence of the power ballad, and why this album is the missing link between underground metal and stadium rock dominance.

If you love AC/DC, Scorpions, Van Halen, or Judas Priest, this episode is for you.

🔥 Episode Highlights:

0:00 – “Lady Strange” (Intro) – Setting the stage: High and Dry as the transition between NWOBHM and mainstream rock

5:12 – The sound of young, hungry Def Leppard – Raw energy, Mutt Lange’s production, and how the band sharpened their hooks

12:45 – Pete Willis & Steve Clark: The ultimate riff duo? – How their partnership shaped High and Dry’saggressive yet melodic sound

18:49 – “You Got Me Running” – The underrated gem hiding in High and Dry’s deep cuts

21:02 – “Switch 625” – Steve Clark’s defining instrumental moment and its lasting impact on rock guitarists

23:44 – “On Through the Night” – The overlooked link between Def Leppard’s NWOBHM roots and their stadium-filling ambitions

28:12 – “Bringing on the Heartbreak” – The song that rewrote the rules of hard rock ballads (and set the stage for ‘80s power ballads)

29:58 – “High ‘N’ Dry (Saturday Night)” – Def Leppard’s most unapologetic party anthem—was this their Highway to Hell moment?

32:17 – “Bringing on the Heartbreak” (Mariah Carey Cover) – From Sheffield to pop royalty: How this song found an unexpected second life

35:10 – The High and Dry legacy – Where does this album rank among Def Leppard’s best? Did it get overshadowed by Pyromania and Hysteria?

Outro – “Let It Go” – Closing thoughts: Why this album still deserves a front-row seat in hard rock history

🔊 Join the Discussion & Support the Podcast!

💬 What’s your take on High and Dry? Underrated classic or just a stepping stone? Let us know in the comments!

📢 Subscribe & Review! Help us keep rediscovering lost rock gems by rating the show on your favorite podcast app.

🤘 Support us & get exclusive content at digmeoutpodcast.com

From Grand Prix to McAuley Schenker Group (MSG), Survivor, and the hard-hitting supergroup Black Swan, Robin McAuley has spent decades proving why he’s one of the most underrated vocalists in rock. Now, at 72 years old, he’s not slowing down—in fact, he’s getting heavier.

In this episode, we sit down with Robin to discuss his brand-new solo album Soulbound (out Feb 28), his surprise detour into graphic design, and the odds of a Black Swan tour finally happening. We also take a deep dive into his MSG years, the pressure to write radio hits, and what it was like to have The Black Crowes open for him in 1990—before they blew up.

If you’re a fan of Foreigner, Scorpions, Whitesnake, or classic hard rock with killer vocals, this episode is for you.

🔥 Episode Highlights:

0:00 – Intro: “Gimme Your Love”

5:12 – Supergroup that works? – How Black Swan became more than just a label project.

9:51 – “Love Is Not a Game”

10:53 – Soulbound and the sound of 2024 – Why Robin’s newest album is his heaviest yet.

18:50 – The truth about vocal longevity – Robin’s strict regimen that keeps his voice in top shape.

23:05 – That Perfect Timing album cover… – Why Robin never wanted MSG’s name change.

29:18 – The Black Crowes opened for MSG?! – Robin’s reaction when he saw their future coming.

34:26 – The MSG Unplugged Tour – The risk of going acoustic in the early ‘90s.

39:20 – Will Black Swan ever tour? – Reb Beach’s future might hold the answer.

1:05:27 – “Soulbound” – The title track from Robin’s new solo album.

1:10:00 – Outro: “Anytime” – Closing the show with MSG’s biggest hit.

🔗 Stay Connected: Enjoyed the episode? Subscribe and leave us a review!

🎧 More at digmeoutpodcast.com

🚀 Join the DMO Union: dmounion.com

📲 Follow us on social media for exclusive content and episode drops!

Our panel of metal experts to break down 1985—the year before metal's big explosion. Was it a golden age or just a transition? Our hosts Tim and Jason are joined by special guests Paul Lefevre (Bang Your Head Substack) and Tom Beaujour (Nothing But a Good Time, Axe Lords Podcast) to explore the records that still rip, the ones that fizzled, and the underground sounds that changed metal forever.

💥 What made 1985 a turning point?💥 Which albums stood the test of time—and which ones haven’t?💥 Why did thrash explode while some hair metal flopped?💥 Who really owned 1985—Dokken, Anthrax, or W.A.S.P.?

🚨 Subscribe & Support the Podcast 🚨🔥 Join the Dig Me Out Union and help shape future episodes → digmeoutpodcast.com

🎧 Episode Highlights & Timestamps

[00:00] 🎙 Intro & Setting the Stage

[05:00] 🤘 Meet the Guests

[10:30] ⚡ What Made 1985 a Weird Metal Year?

[15:45] 🔥 Albums That Stood the Test of Time

[30:20] 💀 The Albums That Haven’t Aged Well

[45:10] 🎭 The Strange Divide: Hair Metal vs. Thrash

[57:30] 🏴‍☠️ The Underground Awakens

[1:05:00] 🤯 Did 1985 Kill Classic Metal?

[1:15:00] 🤔 Final Picks: What Album Defines 1985?

[1:30:00] 🔗 Where to Find Our Guests & Closing Thoughts

📌 Follow Our Guests & Check Out Their Work

Paul Lefevre

📖 Bang Your Head (Metal Writing) → bangyourhead.substack.com🎮 Go to 10 Retro (Gaming & Tech Nostalgia) → go-to-10-retro.com

Tom Beaujour

📚 Pre-Order Lollapalooza: 1991-1997 → Buy Here🎸 Axelords Podcast (Guitars & Rock Culture) → YouTube Channel🌎 More from Tom → TomBeaujour.com

Ready to uncover a hidden treasure of late 80s metal? In this episode, we take a deep dive into Vain's debut album No Respect—an overlooked gem from the glam metal scene’s final years. Hear how the San Francisco band crafted a raw, dark take on glam with thrash and punk influences, setting them apart from the Sunset Strip's neon excess. We’ll explore the album’s dynamic guitar work, Davey Vain’s emotionally charged vocals, and the industry challenges that kept them under the radar. Discover why No Respect still holds up decades later. Don’t miss it—listen now, share with a friend, and subscribe for more stories from rock’s hidden history.

In this special crossover episode, we’re spotlighting Buffalo’s 1973 Volcanic Rock—a raw, proto-metal gem that helped shape the sound of 80s Metal and 90s Rock. With primal riffs and fearless energy, Buffalo laid the groundwork for the heaviness embraced by bands like Metallica and Soundgarden.

Picture it: the airwaves dominated by Dark Side of the Moon, Zeppelin’s Houses of the Holy, and Sabbath’s Sabbath Bloody Sabbath. Rock was entering its teenage years, shedding its innocence for something darker, more primal. Halfway around the world, Australia was a raw, untamed frontier where danger lurked in every shadow. Venomous creatures, desolate outback stretches, and a wild, unrelenting spirit shaped the people and their art. It was here, in this harsh and unpredictable landscape, that Buffalo unleashed their sophomore album, Volcanic Rock, on Vertigo Records. Like the searing sun, it scorched a path for heavy music, standing defiantly alongside its better-known contemporaries.

Buffalo was no Zeppelin or Sabbath knockoff. This Brisbane-to-Sydney transplant created their own blend of bluesy grit and proto-metal menace. Formed initially as “Head,” their pivot to Buffalo was guided by a manager who believed that bands starting with “B” (Beatles, Beach Boys) were bound for success. A dart on a map landed on Buffalo, and thus began a name and sound etched in volcanic fury.

Heavy as Hell, Raw as the Outback

Volcanic Rock lived up to its name—primitive, thunderous, and unpredictable. With Dave Tice’s raw vocal delivery leading the charge, and guitarist John Baxter’s primal riffage painting sonic landscapes, the album combined blues-rock roots with a proto-doom intensity that felt otherworldly. Songs like “Freedom” deliver nine-minute odysseys, meandering through psychedelic jam territory before crashing back into riff-laden crescendos.

Yet, the record wasn’t just music—it was spectacle. Its controversial cover art—a volcano shaped like a female torso spewing lava—reflected the wild creativity and raw edge of the band’s ethos. It was shocking then and remains iconic now, an image as bold as the sound within.

Misfits in a Golden Age

Despite their innovative sound, Buffalo never quite broke through. Opening for heavyweights like Black Sabbath and Rainbow, they faced the mischief of tour mates like Ritchie Blackmore, who infamously sabotaged their set. Still, they soldiered on, creating an album that influenced generations of grunge, stoner rock, and doom metal—long before the labels existed.

But Buffalo’s story is also one of commercial failure and creative frustration. Pushed by their label to pivot toward radio-friendly fare, they resisted, choosing instead to blaze their own trail. By the time their final album, Average Rock ’n’ Roller, hit shelves in 1977, the band was running on fumes. Yet, Volcanic Rock remains their defining statement, a timeless blueprint for heavy rock adventurers.

The Legacy: Why Volcanic Rock Still Matters

So why revisit Volcanic Rock in 2025? Because it’s an artifact of pure, unadulterated rock energy—a raw, imperfect gem that prefigures everything from Kyuss to Queens of the Stone Age. Its primal simplicity, coupled with its audacious ambition, captures the essence of a time when rock was still dangerous.

Want to know more? Dive into the latest episode of the Dig Me Out podcast, where we explore Buffalo’s story in greater detail. From the album’s creation to its lasting influence, it’s an in-depth discussion you won’t want to miss. Stream Volcanic Rock, then tune in to our episode to join the conversation and rediscover the molten core of 70s hard rock.

Songs in this Episode:

* Intro - Intro: Pound of Flesh

* 22:21 - The Prophet

* 28:28 - Freedom

* 32:01 - Shylock

* 52:44 - Sunrise (Come My Way) - Dave Tice's Buffalo Revisited

* Outro - 'Til My Death

Make Your 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.

Rescue an Album → | Support the Mission →

Picture this: It’s a crisp January morning in 1980. The new decade is fresh, brimming with possibility, and you’re flipping through the racks at your favorite record store. Disco is slipping out of fashion, punk’s rebellious roar still echoes, and the New Wave is gathering momentum. Amidst all this change, Rush—a band known for their sprawling progressive rock epics—is about to redefine themselves.

The moment you unwrap Permanent Waves and place the needle down, something shifts. The opening notes of “The Spirit of Radio”cut through the speakers like a beacon for the new era. You’re swept into a world where Rush balances complexity with accessibility, progressive rock with mainstream ambition. The album was a turning point for a band about to define their legacy.

A Balancing Act Between Complexity and Accessibility

Permanent Waves, recorded at the now-legendary Le Studio in Morin Heights, Quebec, marked the beginning of Rush’s iconic 80s run. With Terry Brown returning as producer, the album showcased a deliberate pivot. Gone were the sprawling epics of Hemispheres (1978). In their place were tightly constructed, thematically sharp tracks that leaned into shorter runtimes while still showcasing the band’s virtuosity .

This album reached number four on the U.S. Billboard 200 and number three in Canada, earning gold and platinum certifications. Not only was it a commercial success, but it also marked the first time the band broke even on a tour, thanks to nine months on the road supporting the record .

A Showcase of Rush’s Evolution

The album opens with “The Spirit of Radio”, an anthem to music’s transformative power. Lifeson’s shimmering guitar riff, Peart’s intricate drumming, and Lee’s powerful vocals meld into a track that bridges progressive rock and radio-friendly melodies. Its unexpected reggae breakdown was a bold experiment, cementing the song’s status as a classic.

“Free Will”, the second single, explores existentialism with blistering technical interplay between guitar and bass. Meanwhile, deeper cuts like “Jacob’s Ladder” unfold like a storm—a dark, atmospheric journey that builds into an otherworldly crescendo.

A surprising inclusion as a single was “Entre Nous”, released in April 1980. Despite its relatively low profile in Rush’s live sets, it encapsulates the album’s lyrical intimacy, proving that even Rush’s quieter moments pack a punch .

Is Rush Metal?

The Permanent Waves episode of Dig Me Out reignited the perennial debate: Is Rush a metal band? While their technical prowess and influence on the genre are undisputed, Rush has always been more at home in progressive rock. However, their heavier tracks, like those from 2112 and even moments on Permanent Waves, ensured they earned respect among metal fans and artists alike .

Why Permanent Waves Still Resonates

With its release, Permanent Waves wasn’t just another Rush album; it was a declaration of intent. The band embraced the future while honoring their past, delivering an album that remains a cornerstone of progressive rock. Decades later, it’s still finding new fans and delighting old ones. As a Dig Me Out listener said: “This album has grown with me. I’ve owned it on every format, and it never gets old” .

Dust off your vinyl or pull it up on your favorite streaming platform—Rush’s Permanent Waves deserves a fresh listen. If this record still gives you chills or you’re discovering it for the first time, let us know.

Songs in this Episode

* Intro - The Spirit of the Radio

* 27:20 - Jacob's Ladder

* 35:33 - Natural Science

* 41:17 - Freewill

* Outro - The Spirit of the Radio

Make Your Voice Heard!

Rush fans, prog rock enthusiasts, and curious listeners, this one’s for you! Your input drives our journey into the music that defined eras. From underrated classics to monumental masterpieces like Permanent Waves, we rely on you to shape the episodes we bring to life.

By joining the DMO Union on Patreon, you help keep us independent and ad-free while gaining the power to vote on and choose the albums we dive into each year. Together, we’ll continue celebrating the art, the stories, and the magic of progressive rock and beyond—one listener-powered episode at a time.

Dig Me Out is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

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.

Suggest an Album →

Dig Me Out is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.

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

Make Your Metal Voice Heard!

We’re on a mission to dig deep into the heart of 80s metal, and we can’t do it without you. Your album suggestions fuel the show—whether it’s an overlooked classic or a hidden gem that deserves the spotlight. When you join the DMO Union on Patreon, you’re not just helping us stay independent and ad-free; you’re getting a say in the albums we explore. Together, we’ll uncover the anthems, riffs, and stories that shaped a decade. Let’s rediscover 80s metal, one listener-driven episode at a time.

Thanks for reading Dig Me Out! This post is public so feel free to share it.

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 →

Dig Me Out is a reader-supported publication. To receive new posts and support our work, consider becoming a free or paid subscriber.

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 →

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

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 →

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

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

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.

Buy us a beer 🍻

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.

Buy us a beer 🍻

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

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 →

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.

Drop a couple bucks in the DMO tip jar ✌️

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

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 →

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

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 →

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.

Thank you for reading Dig Me Out. This post is public so feel free to share it.

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

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 →