Heaven & Hell-The Devil You Know (2009)

Heaven and Hell was a short-lived project led by original Black Sabbath members Tony Iommi and Geezer Butler, with contributions from two other former members, Ronnie James Dio and Vinny Appice, who had played on several of the band's albums after the departure of Ozzy Osbourne and Bill Ward. It was named Heaven and Hell, a reference to the band's acclaimed 1980 album, to distinguish it from Black Sabbath, which at that time was still active under the leadership of Ozzy Osbourne. However, the initial project was only intended to record several songs for a Black Sabbath compilation album based on the Dio era, specifically the period between 1980 and 1982. But after recording enough material, they decided to release a full album under the Roadrunner label titled "The Devil You Know", which was released in mid-2009. While not reaching the brilliance of such legendary works as their debut album or others like "Paranoid", "Master of Reality", "Vol. 4", "Sabbath Bloody Sabbath", or the aforementioned "Heaven and Hell", this is another great demonstration of heavy metal and hard rock with Iommi's demonic guitar riffs, Dio's somber vocals and powerful, distinctive voice, and the impeccable rhythm section of Butler and Appice. Heavy doom metal like "Atom And Evil", lively heavy rock "Fear", frenetic heavy metal "The Turn Of The Scew" and "Eating The Cannibals" or forceful leaden hard rock like "Bible Black", make up a work that would soon capture the most unconditional fans of the group and millions of heavy metal followers around the world.

Skid Row-Skid Row (1989)

Skid Row arrived relatively late to the 1980s hair metal scene, but when they did with their debut, they created one of the greatest albums in heavy metal history. Formed in 1986 in New Jersey, their initial lineup consisted of vocalist Sebastian Bach, drummer Rob Affuso, guitarists Scott Hill and Dave Sabo, and bassist Rachel Bolan. With a repertoire packed with powerful heavy rock anthems adorned with driving guitar riffs and catchy choruses, interspersed with poignant ballads, they quickly became considered classics of heavy metal and hard rock. Songs like "Big Guns", "Sweet Little Sister", "Piece of Me", "Youth Gone Wild", "18 and Life", and "I Remember You" were a true sensation in the United States, Europe, and Japan. The album, produced by one of the best heavy metal engineers of the eighties, Michael Wagener, would manage to place itself in the top positions of the charts in half a dozen countries around the world, with sales that far exceeded six million records.

Faith No More-The Real Thing (1989)

Let's go back to the 80s, that decade where tastes and styles were constantly changing, opening and closing countless musical horizons. Another band categorized as alternative rock and heavy metal was the American group Faith No More. Formed in the late 70s, their main characteristic was their skillful combination of a multitude of styles, including heavy metal, funk metal, rap, and avant-garde hard rock. Their first lineup consisted of Mike Bordin (drums), Billy Gould (bass), Chuck Mosley (vocals), Jim Martin (guitar), and Roddy Bottum (keyboards). After their first and commendable album, "We Care a Lot" (1985), and the more elaborate "Introduce Yourself" (1987), they changed vocalists, a position that would fall to Mike Patton, a figure who would be crucial to Faith No More's successful trajectory. With this new lineup, they released their best work, "The Real Thing", where the Californian band showcased their eclectic style, revealing influences from thrash metal, punk, rap, and more accessible sounds, as demonstrated by energetic tracks like "Epic", "Falling to Pieces", and "Surprise! You're Dead". These were followed by captivating mid-tempo songs such as "Zombie Eaters" and "Underwater", the instrumental "Woodpecker from Mars", and an exciting cover of Black Sabbath's "War Pigs". Together, these tracks formed a superb repertoire that would lead them to achieve multiple platinum records for their multi-million sales worldwide. 

King Diamond-Abigail (1987)

King Diamond is one of those musicians who are both admired and hated, the latter by a significant portion of the more puritanical segment of society. Founder and creator of iconic bands like Mercyful Fate and his own eponymous project, his career has been tarnished by his associations with Satanism and his terrifying stories. In 1987, under his own name, he released his second album, "Abigail", a concept album based on a horror story conceived by the musician himself. Amidst a rich instrumentation featuring the powerful guitar riffs of Andy LaRocque and Michael Denner, Diamond's own vocals take center stage, making him the truly sinister and demented figure in the entire work. Epic songs like "The Possession", "The Family Ghost", "Black Horsemen", "Arrival", and "A Mansion in Darkness" stand out, collectively forming one of the foundations of his controversial heavy metal style.

Iron Savior-Iron Savior (1997)

Iron Savior is another band that emerged from the family tree of the power metal group Helloween. This German band began its career when former Helloween and later Gamma Ray guitarist Kai Hansen joined forces with bassist and vocalist Piet Sielck (formerly of Savage Circus) and drummer Thomas Stauch (formerly of Blind Guardian). With a style based on melodic power metal and science fiction-themed lyrics, they recorded their self-titled debut album, "Iron Savior", in 1997 a concept album centered on a spaceship. Beyond the album's concept and themes, musically this debut contains some of the best classic power metal anthems, such as "Iron Savior", "Assailant", "Protect the Law", and "For the World", which showcase a driving rhythm influenced by the NWOBHM, with vibrant drums, fast guitar riffs, and catchy vocal choruses. However, the change in members would cause their style to evolve in subsequent years towards more conventional sounds of classic heavy metal, but without completely losing their original identity.

Motörhead-Ace Of Spades (1980)

In the midst of a particularly prolific period, Motörhead released their fifth studio album, "Ace of Spades", another impressive showcase of their frenetic, abrasive, ferocious, and dizzying style of heavy metal punk. This time, their sound was more refined than their previous raw and gritty albums, yet retained their primal essence. Led by the cavernous Lemmy, whose gravelly, somber vocals, machine-gun-like, killer bass, and master-of-ceremonies demeanor surrounded a band of colossal musicians including the blistering drummer Philthy "Animal" Taylor and Eddie Clarke's superb guitar riffs and solos they left behind a monumental work of furious and ruthless heavy metal. Songs like the title track foreshadowed what would soon arrive in the world in the form of thrash metal, here disguised as punk rock. Other tracks like the immense "Love Me Like A Reptile" and "Live To Win", the brutality of "(We Are) The Road Crew" or the overwhelming "Bite The Bullet", "Dance" and "Fast And Loose", make up a sweeping and monolithic album that is an essential masterpiece in the history of rock.

Sir Lord Baltimore-Sir Lord Baltimore (1971)

Sir Lord Baltimore was another band from the late sixties that helped popularize the term "heavy metal" due to their style, which featured distorted and abrasive guitar riffs, extremely high volume, and shrill, mournful vocals. Formed in the late 1960s by guitarist Louis Dambra, bassist Gary Justin, and drummer/vocalist John Garner, the trio signed a contract with Mercury Records in 1970 to record several albums. Their first, "Kingdom Come", was released that same year and received both commercial and critical acclaim. A year later, they returned with their self-titled album, "Sir Lord Baltimore", which marked the end of their short-lived adventure due to poor sales despite its undeniable quality. An album that contains everything from epic moments with the heavy rock "Man From Manhattan", to proto-metal pieces like "Where Are We Going" and "Woman Tamer", passing through the hard blues "Chicago Lives" or heavy and dark hard rock like "Caesar LXXI" or "Loe And Belhod".

Stratovarius-Episode (1996)

Finland is the birthplace of some of the best heavy metal and progressive metal bands of today: Nightwish, Apocalyptica, Children of Bodom, Sonata Arctica, Amorphis, HIM, Lordi, The Rasmus, and Stratovarius, among many others. Focusing on the latter, considered one of the pioneers of progressive power metal, they were one of the most creative and original bands for much of the 1990s, boasting one of the most extensive and productive discographies, with nearly thirty albums, including studio and live recordings. Formed from the ashes of another band called Black Water, Stratovarius was founded in the mid-1980s in Helsinki by drummer Tuomo Lassila, who, along with guitarist Timo Tolkki, bassist Jyrki Lentonen, and keyboardist Antti Ikonen, released their first album, "Fright Night", in 1989 under the CBS label. After three more albums, the band would release what is considered their best work, "Episode", where the prodigious neoclassical sounds of progressive metal, driven by Tolkki's apocalyptic guitar, together with the sublime keyboards of new member Jens Johansson, make up an outstanding album with devastating and tremendously crushing tracks like "Father Time", "Speed ​​Of Light", or "Will The Sun Rise?", not forgetting the more complex and progressive "Stratosphere", "Babylon", and "Uncertainty".

Scorpions-Blackout (1982)

With this album, Scorpions finally conquered the long-awaited North American market, achieving platinum status and entering the Billboard top ten for the first time. However, Scorpions already enjoyed considerable renown outside of Europe, for example, in the Japanese market, where all their previous albums had been very well received and revered by the Japanese public, as demonstrated by their double live album "Tokyo Tapes" (1978). Part of the success of this new album lay in the hit "No One Like You", with its catchy rhythm and addictive guitar riffs adorned with irresistible vocal melodies. In addition to this spectacular song, other standout tracks included the incendiary "Dynamite", "Blackout", and "Can't Live Without You", the exquisite "Arizona", the irresistible ballad "When the Smoke Is Going Down", and the devastating "China White". With this, their eighth work, the German band wisely combined commercial appeal and heavy rock, in an album as addictive as it is catchy and irresistible, which pleased both heavy metal fans and the general public.

Scorpions-Animal Magnetism (1980)

With "Animal Magnetism", Scorpions ushered in the 1980s with their seventh album, a record that, despite containing echoes of the dark and heavy hard rock of the 1970s, already showcased some of the atmospheres typical of the heavy metal sound of their new era. The systematic guitar harmonies of Rudolf Schenker and Matthias Jabs are accompanied by the sublime vocal melodies of Klaus Meine and the driving rhythm section comprised of the prodigious drummer Herman Rareball and bassist Francis Buchholz. Thrilling tracks like the heavy metal anthem "Don't Make No Promises" lead the album down tremendously heavy and melodic paths; "The Zoo", "Only a Man", "Animal Magnetism", "Hold Me Tight", and "Make It Real", in which they still struggle to shed their hard rock roots, while the melodic sensibility remains present in formidable compositions like the atmospheric "Lady Starlight". With this work, the German band perfectly combined the haunting sound of hard rock, their usual melodies, and the power of metal, something their fans recognized, achieving a well-deserved platinum record in the North American market.

Scorpions-Crazy World (1990)

In the 1990s, the German band Scorpions were going through a creative crisis after their golden age of the late 1970s and much of the 1980s. After the mediocre "Savage Amusement" (1988), despite still containing some good moments, two years later they released their eleventh album, "Crazy World", with which they managed to recover some lost ground thanks to tracks like the magnificent ballad "Winds of Change". However, this song somewhat overshadowed a repertoire full of vibrant heavy metal, including tracks like "Tease Me Please Me", "Don't Believe Her", "Restless Nights", "Hit Between the Eyes", and "Money and Fame", which maintain the album's high standard. While not reaching the heights of their most commercially successful works, "Crazy World" would once again top the charts and sell over seven million copies worldwide.

Iron Maiden-Killers (1981)

Iron Maiden's second album confirmed the band's growing popularity among heavy metal fans worldwide. While more elaborately produced than its predecessor, it sacrificed the spontaneity and freshness of their debut, opting instead for more restrained and accomplished compositions and greater instrumental complexity a trend that would be further reinforced in subsequent releases. This complexity is evident in the frenetic tracks "Purgatory", "Wrathchild", and "Twilight Zone", the reflective "Murders in the Rue Morgue", the intense and emotional "Innocent Exile" and "Genghis Khan", and the melodic "Prodigal Son". "Killers" became a classic for Iron Maiden and heavy metal in general, achieving overwhelming commercial success with numerous gold and platinum records worldwide for its multi-million sales.

Judas Priest-Sin After Sin (1977)

In 1977, Judas Priest was still finding its way, and despite having released the commendable "Rocka Rolla" (1974) and "Sad Wings of Destiny" (1976), these were far from defining the style that would propel them to fame years later. For their next album, "Sin After Sin", they moved away from the dark and melancholic sound of their previous record, raising the tone and adding much more aggression that would lay the foundation for their future work. They distanced themselves from the blues influences that had shaped greats like Black Sabbath, Led Zeppelin, and Deep Purple, and with their incendiary guitar duels perhaps the best in history (with all due respect to other legendary bands like Wishbone Ash and Thin Lizzy) and the accelerated tempos in some tracks, heavy metal began to grow and take shape. Tracks include true anthems like "Sinner" or the amazing version of Joan Baez's "Diamonds And Rust".

Judas Priest-Painkiller (1990)

"Painkiller" is one of the most memorable heavy metal albums ever recorded, a powerful record created by gods of the genre like Judas Priest. With this, their twelfth album, the British group reached the next level within their classic heavy metal style, featuring the blistering and lightning-fast guitar riffs of KK Downing and Glenn Tipton, Rob Halford's anguished and aggressive screams, Ian Hill's heavy and driving bass, and the prodigious, hyperactive double bass drumming of the newly added Scott Travis. Composed of ten tracks, the entire album is incredibly solid, dizzying, powerful, rhythmic, and tremendously catchy. Tracks like "One Shot At Glory", "Night Crawler", "A Touch Of Evil", "Painkiller", "Metal Meltdown", "Hell Patrol", "Battle Hymn" or "Leather Rebel" make up one of the most commercially successful and critically acclaimed albums worldwide, also representing a milestone in heavy metal, mainly due to the wide influence and impact it had on many subsequent bands.

Judas Priest-Turbo (1986)

In 1986, Judas Priest showcased their experimental side with the release of "Turbo", a controversial yet successful album where they first used synthesizers and embraced (albeit quite subtly) heavy pop. At the height of their success, Rob Halford and company dared to flirt with the styles that, at the time, most rivaled hard rock and heavy metal: the glamorous and commercial sound of American glam metal. Much like Iron Maiden did during those years, synthesized guitars are used elegantly, at least in tracks like the monumental "Turbo Lover", which would become an instant heavy metal classic. "Locked In" and "Private Property" follow a similar path, featuring the immense talents of K.K. Downing and Glenn Tipton on guitars and a driving rhythm section comprised of Dave Holland and Ian Hill. However, there are also glimpses of the usual Judas Priest sound with the ironic "Parental Guidance", the carefree "Wild Nights, Hot & Crazy Days", and the heavy rock of "Reckless". Despite being maligned by many of their more orthodox fans, "Turbo" is the album that best balances raw, powerful heavy metal with the rock/pop of the 1980s.

Judas Priest-Killing Machine (1978)

"Killing Machine" is the second album released by the British band Judas Priest in 1978, and the first to feature the same lineup as their previous album, "Stained Class". Interestingly, this album was released in the United States three months later than in the rest of the world, and was also retitled "Hell Bent For Leather". While maintaining a very high level of musicianship, this release adjusts the sound towards more basic parameters to make it more accessible and commercially viable. Even so, it remains a powerful heavy metal album, with thrilling, hard-hitting songs. Tracks like "Hell Bent For Leather", "Running Wild", "Delivering The Goods", "Evil Fantasies", and "Killing Machine" form the solid backbone of the album's heavy metal, while the melodic "Before The Dawn" is the only piece that offers a brief respite from the relentless pace of the rest of the album. "Killing Machine" is considered the perfect transition between the classic hard/heavy rock sound with some progressive tendencies of their previous works and the dark and accelerated tone of conventional heavy metal of their subsequent releases.

Judas Priest-Ram It Down (1988)

In 1988, heavy metal was immersed in the sounds favoring the speed of thrash and glam that dominated MTV, leaving the genre's more traditional bands at a crossroads: whether to stick to their established philosophy or explore these styles that were trending at the time. In this context, Judas Priest had attempted to commercialize their style with "Turbo" (1986), a synthesizer-heavy album that was panned by their most devoted fans but nevertheless gained many new followers. Despite the commercial success of "Turbo", the band didn't want to continue down that path, or at least not so blatantly, and several years later released the challenging "Ram It Down", an album that straddled the line between their classic heavy metal and some of the experimentation they had showcased on their previous work. On "Ram It Down", Judas Priest returned with their fiercest and coldest sound, crafting a precise heavy metal album with the dizzying riffs of Glenn Tipton and K.K. Downing and the thunderous rhythm section of Dave Holland and Ian Hill. Songs like the galloping title track, the accelerated "Heavy Metal" and "Hard As Iron", the conventional heavy metal/hard rock tracks "Come And Get It", "Monster Of Rock", and "Love You Death", the dramatic "Blood Red Skies", and the experimental cover of Chuck Berry's "Johnny B. Goode" (the latter two being the closest to the sound of their previous album), not only demonstrated a profound reflection on the path forward but also showcased the astonishing vocal range of Rob Halford, who was at the peak of his powers during those years.

Judas Priest-Defenders Of The Faith (1984)

Considered by their most die-hard fans as one of Judas Priest's last great albums, "Defenders of the Faith" continued the triumphant path of its predecessors, "British Steel" (1980), "Point of Entry" (1981), and "Screaming for Vengeance" (1982). On this occasion, the band even transformed their visceral style into aggressive heavy metal, with countless instrumental pyrotechnics driven by their two ruthless guitarists, K.K. Downing and Glenn Tipton, and supported by the blistering rhythm section of bassist Ian Hill and drummer Dave Holland. Special mention must be made of the soaring vocals of a sublime Rob Halford in immeasurable form. Thrilling heavy metal tracks like "Freewheel Burning" or "The Sentinel", along with the raw "Jawbreaker", "Rock Hard Ride Free", "Love Bites", "Some Heads Are Gonna Roll" or "Heavy Dute", make up the amazing repertoire of one of the essential albums in the history of heavy metal.

Tokyo Blade-Night of the Blade (1984)

Tokyo Blade are another essential band of the "New Wave of British Heavy Metal" (NWOBHM) movement, and along with Iron Maiden, are among the few still active today. Formed in Salisbury, near Southampton, their beginnings date back to the late 1970s when several young men Alan Marsh (vocals), Andy Boulton (guitar), Ray Dismore (guitar), Andy Robbins (bass), and Steve Pierce (drums) founded a band called White Diamond. After several name and lineup changes, and finally settling on Tokyo Blade, they signed with the independent label Powerstation, with whom they recorded their self-titled debut album in 1983. This first release features tremendous tracks with breakneck rhythms, such as the fast and powerful "Powergame", the heavy punk "Break the Chains", and the potent heavy metal "If Heaven Is Hell". A year later, now under the wing of a more prestigious label like Roadrunner, they released their second album, "Night of the Blade", in which they embellished their powerful riffs with catchy choruses, as in the monumental tracks "Love Struck", "Rock Me To The Limit", and "Someone to Love", or the epic songs "Lightning Strikes" and "Warrior Of the Rising Sun". With this album and its predecessor, Tokyo Blade secured their place of honor in the history of heavy metal. 

Saxon-Crusader (1984)

After crafting five monumental albums considered essential works within the New Wave of British Heavy Metal (NWOBHM), Saxon embarked on their fifth album, subtly moving away from the electrifying heavy metal of their origins to showcase a more mature and serious side. In this new venture, the band, led by the prodigious vocals of Biff Byford, the razor-sharp guitars of Graham Oliver and Paul Quinn, and the powerful rhythm section of Steve Dawson and Nigel Glockler, created another of their essential works. Featuring a more striking cover than its minimalist and austere predecessors, the British band imperially presents epics such as the heavy metal anthem "Crusaders", a track as intense as it is devastating, the tremendous "A Little Bit Of What Your Fancy?", the powerful hard rock tracks "Rock City", "Bad Boys", and "Just Let Me Rock", and the heavy-hitting "Sailing to America" ​​and "Do It All For You". With this sixth album, Saxon continued their predictable musical evolution and the maturity necessary to continue facing, for many more years, one of the best sounds of British heavy metal.