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

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

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

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

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

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

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

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

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

Songs in this Episode

* Intro - Switchblade Serenade

* 07:52 - Summertime (Bang)

* 35:15 - 42nd Street

* 37:16 - Broken City

* 38:00 - Switchblade Serenade

* 39:27 - Thru These Eyes

* 44:25 - Hot Sex

* 57:28 - Thru These Eyes

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

* 59:17 - Dead of Winter

* Outro - Spread Eagle

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

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

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

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

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

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

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

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

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

Songs In This Episode

Intro - Heresy

15:29 - Killtime

16:55 - Search for Perfection

21:01 - Castle in the Wind

24:47 - Massacre of the Cathars

27:26 - 700 Years On

Outro - Crusaders Revenge

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

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

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

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

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

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

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

Songs in this Episode

* Intro - Demon's Night

* 7:53 - Fast as a Shark

* 14:51 - Fast as a Shark

* 16:19 - Neon Nights

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

* 20:48 - Restless and Wild

* 25:27 - Shake Your Heads

* 28:42 - Get Ready

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

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

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

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

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

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

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

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

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

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

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

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

Songs in this Episode

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

* 33:59 - B.A.D.

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

* 40:20 - I Wanna Be Somebody

* 41:28 - The Flame

* 46:30 - Sleeping (In the Fire)

* Outro - Tormentor

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

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

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

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

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

Songs in this Episode

* Intro - Evil Thing

* 22:59 - Twist of Cain

* 25:38 - Mother

* 27:35 - Possession

* 28:48 - Evil Thing

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

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

* 33:03 - Soul on Fire

* 34:56 - End of Time

* 41:57 - The Hunter (Albert King)

* 42:13 - The Hunter

* 42:40 - The Hunter

* 59:18 - She Rides

* Outro - Out of This World

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

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

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

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

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

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

Songs in this Episode

* Open - Hard as a Rock

* 5:47 - "Wonder Woman" by Attila

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

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

* 27:57 - "Smooth Up in Ya"

* 30:30 - F#9

* 31:21 - Crank Me Up

* 33:48 - Hell on My Heels

* 39:30 - For the Love of Money

* 45:47 - Hard As a Rock

* Close - Crank Me Up

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

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

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

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

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

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

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

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

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

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

Songs in this episode

* Open - Stellar Masters

* 19:48 - Air Attack

* 21:19 - Hell Rider

* 25:43 - Rockin With You

* 27:55 - No Haven for the Raven

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

* 32:35 - Into the Ground

* 34:17 - Stellar Masters

* Close - Godz of Thunder

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

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

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

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

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

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

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

Songs in this Episode

* Intro - Out of the Silent Planet

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

* 28:47 - Over My Head

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

* 35:14 - Summerland

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

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

* 40:00 - Send a Message

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

* 43:42 - Out of the Silent Planet

* 48:30 - Over My Head

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

* 58:06 - This Picture - Jerry Gaskill

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

* Outro - Pleiades

Your Metal Picks

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

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

Highlights of This Episode:

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

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

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

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

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

Songs in the Episode:

Intro - Dreams in the Dark

34:53 - Street Cry Freedom

39:41 - Dreams in the Dark

41:06 - Jade's Song

52:55 - High Wire

55:27 - Devil's Stomp

58:00 - Seasons

1:03:47 - Dancing on the Edge

1:05:43 - Winter's Call

1:14:19 - Winter's Call

Outro - High Wire

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

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

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

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

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

Songs in this Episode

* Intro - Babylon

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

* 27:50 - Bathroom Wall

* 30:30 - Bottle in Front of Me

* 35:25 - Ship Rolls In

* 36:16 - Smash Alley

* 40:55 - Shooting You Down

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

* 43:34 - Cathouse

* 46:00 - No Room for Emotion

* 48:05 - Babylon

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

* Outro - Bathroom Wall

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