Dig Me Out: 80s Metal

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

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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)

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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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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 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.

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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

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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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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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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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 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 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

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 →