Could it possibly be? Yes! Yes it can! We’ve made it through the hazy mist of the 1970s! No more fuzzed out guitars, blues based boogie, or drawn out psychedelic jam sessions. From here on out, you’re either metal, or you’re not. 1980 was the year that line was distinctly drawn in the sand and these albums played a major role in such. Before I go on, I’d like to preface this list by pointing out two notable exclusions: AC/DC’s Back in Black and Judas Priest’s British Steel. Both albums were commercial smashes, expanding the bands’ audiences by tenfold. However, when compared to other albums in these artists’ catalogs, they’re really not that great. And when compared to the following ten album, they’re REALLY not that great. If you still disagree by the end of this list, feel free to explain why in the comments and I’ll tell you why you’re wrong. Now, without further ado, here’s our Top 10 Metal Albums of 1980!
10. Saxon – Strong Arm of the Law
“Stop! Get out!” Ah, I had to open this list with that classic line. After releasing their uneven 1979 self titled debut, a confusing collection of metal, glam, and prog, Saxon found their mojo fast in 1980. What took Judas Priest and Scorpions years to accomplish, Saxon achieved in a short matter of months. They quickly shed all other musical tendencies and became a full blown heavy metal machine. This is evidenced by not one, but two masterpiece albums they released that year: Wheels of Steel (more on that in a bit) and Strong Arm of the Law. If you’re going into this album expecting nothing more than a collection of WoS session leftovers, think again. Filled with high energy cuts like “Heavy Metal Thunder”, “To Hell and Back Again”, and “20,000 Feet”, as well as radio ready hard rockers like “Dallas 1 PM” and the title track, Strong Arm of the Law is bona fide British brilliance.
9. Van Halen – Women and Children First
Not as happy as go lucky as their first two releases, but not as dark as the subsequent Fair Warning, Women and Children First was a transitional record for the mighty Van Halen. It was the album that catapulted them to permanent arena headliner status. With such success comes tension and consequences. The inclusion of a full sized poster depicting a shirtless, leather pants clad David Lee Roth handcuffed to a chain link fence was much to the chagrin of the VH brothers, who wanted the music to the talking. Thankfully for us, there’s a much ear candy on WaCF as there is eye candy on its accompanying bonus poster. The album’s sole single, “And the Cradle Will Rock…”, was arguably the darkest song VH had recorded up until that point. Other highlights include mischievous party anthems like “Everybody Wants Some!!” and “Romeo Delight”, as well as the sun baked speed metal of “Loss of Control” (if you’re of a certain age, you just said the song title three times in a row).
8. Diamond Head – Lightning to the Nations
At first glance, Diamond Head’s full length debut, Lightning to the Nations, looks as unappealing as it is intriguing. Originally limited to 1,000 copies and issued in a plain white sleeve, one can’t help but wonder, “What the hell is this?” Well if you were a denim and leather clad British metalhead in 1980, this was the record you’ve been waiting at least a few years for. The hype surrounding Diamond Head was rightfully earned. Their knack for hooks and melodies earned them such lofty titles as “the next Led Zeppelin”. In an ideal world, Lightning to the Nations would’ve been just as massive a smash as Zeppelin’s self titled debut, selling copies in excess of the zillions and earning a permanent spot on every classic rock radio station’s playlist. Due to a series of unfortunate events, this was not to be. Despite not being as commercially successful as Zeppelin’s debut, Lightning was just as groundbreaking, proving massively influential to the development of thrash metal stateside. In fact, a little band named Metallica ended up covering most of the album, resulting in some lofty royalty payments coming singer Sean Harris and guitarist Brian Tatler’s way. As the old saying goes, good things come to those who wait!
7. Ozzy Osbourne – Blizzard of Ozz
“Crazy, but that’s how it goes”. This is more than just a lyric from “Crazy Train”. It’s a statement that sums up Ozzy Osbourne’s life up until that point in 1980 when he released his solo debut, Blizzard of Ozz. The late 70s were turbulent times for Black Sabbath. For starters, they released two albums on which they were trying to sound like anything but a metal band. Osbourne eventually left, then returned, only to be given the axe for good come 1979. Having surrendered to his vices, Osbourne planned to crash and burn in true rockstar fashion with the aide of alcohol, drugs, and groupies. That is until Sharon Arden intervened. As much as fans call out the now Ms. Sharon Osbourne, and there are many reasons why, she must get credit where credit is due. She’s saved the Prince of Darkness’ life on many occasions. And if it weren’t for her faith in Ozzy, we very likely would’ve never gotten Blizzard of Ozz.
With the assistance of veterans Lee Kerslake on drums, Bob Daisley on bass, and Don Airey on keyboards, as well as a young hotshot guitarist by the name of Randy Rhoads, Ozzy Osbourne unleashed a whirlwind of melodic metal on Blizzard. While perhaps similar to Sabbath in the lyrical department, classic cuts like “I Don’t Know”, “Mr. Crowley”, and “Suicide Solution” were worlds apart musically. Rhoads may not have been able to riff like Iommi, but he could sure shred solos around him. Osbourne knew this and used the rising star to maximum effect on both this album and its follow up, Diary of a Madman.
6. Scorpions – Animal Magnetism
After claiming the title of heavy metal heavyweights of 1979, Scorpions knew the pressure was on for a follow up. Would they be able to replicate the magic of Lovedrive without Michael Schenker? The answer was a resounding yes. While it would’ve been easy for the Scorps to lazily throw together a rehash of Lovedrive, they offered something slightly different on Animal Magnetism. I don’t know if it’s just me, but there’s a dark, doomy aura to this album that the Scorps haven’t recaptured since. In particular, I’m talking about cuts like “Hold Me Tight”, “The Zoo”, and the epic closing title track. If this is doom metal, then doom metal has never been more sultry and seductive. You’ve also got your headbangers (“Don’t Make No Promises (Your Body Can’t Keep)”), your radio friendly anthems (“Make It Real”, “Falling in Love”), and of course, the obligatory ballad (“Lady Starlight”). In other words, it’s another record in the life of Scorpions.
5. Motörhead – Ace of Spades
Many, if not most, consider Ace of Spades to be the defining statement of Motörhead’s career. While I disagree with this assessment, I understand the reasoning behind such a claim. If 1979’s Overkill doubled down on the Motörhead ethos, Ace of Spades tripled down on it. That’s right, I just invented a new term. Ace of Spades is a musical smorgasbord of filth and fury, speed and sleaze. It’s metal that could only be made by three dudes decked head to toe in black leather, bullet belts, and cowboy hats. If you approached them in the desert, you’d think they were the evil English cousins of ZZ Top, and you wouldn’t be wrong. “The Chase is Better Than the Catch”, “Shoot You in the Back”, “Fast and Loose”, “Ace of Spades”: These are more than just headbanger anthems. These are outlaw hymns. Lemmy would’ve fit right in at a bar alongside Johnny Cash and Waylon Jennings.
4. Iron Maiden – Iron Maiden
Much like Diamond Head, Iron Maiden had been kicking around the English metal scene for quite a few years by the time they released their 1980 self titled debut. As history would have it, Maiden would have a far more fruitful career than Diamond Head. Their unorthodox combination of metallic madness, punkish aggression, and prog rock intricacies made them one of the most unique bands in heavy metal. It didn’t hurt that they had a badass logo and ghoulish mascot to top it all off. I’m well aware Steve Harris has insisted for years that Maiden owes nothing to punk. While that may be true on subsequent releases, how can one listen to the riffs and lyrics of “Prowler”, “Running Free”, and “Charlotte the Harlot”, and NOT hear a punk influence? For crying out loud, I can practically smell glue while blasting these classics! Come on Steve! Don’t deny your roots!
3. Saxon – Wheels of Steel
One whole month before Maiden took the metal world by storm, Saxon gave new meaning to the term “reinvention” with their second album, Wheels of Steel. Gone were the musical uncertainties of their debut. Aside from a light hearted pop ballad in “Suzie Hold On”, Wheels of Steel is a no hold barred, go for the throat, rip roaring metal album. From the opening exhaust noise on “Motorcycle Man”, we’re in for some high speed heaviness. Every riff is air guitar worthy. Every chorus is a singalong. Every hook will take permanent residence in your head. What more can I say? Wheels of Steel is as perfect a metal album as they come.
2. Rush – Permanent Waves
By 1980, the tide was turning for progressive rock, no pun intended. Rush had one of two options: adapt to the changing landscape while not completely abandoning their signature sound, or stick to their guns à la 2112 and risk “dinosaur” status. In terms of pure, unadulterated progressive metal, how much further could Rush go than Hemispheres? It only makes sense that they chose the former route for their seventh studio album, Permanent Waves. “The Spirit of Radio”, “Freewill”, and “Entre Nous” weren’t necessarily radio friendly by FM rock radio standards, especially when compared to hitmakers of the time like Journey and Styx. However, they were radio friendly by Rush standards. This rubbed some diehards the wrong way. Not to worry prog geeks and metalheads! As eager as they may have been to shake their prog past, Rush couldn’t completely do so. Not yet. “Jacob’s Ladder” and “Natural Science” stand as two shining examples of peak progressive metal. As I’m typing this, I’m just remembering I heard them play both songs live back to back in 2015 and now I’m getting sad. I better wrap this up and get to #1 before I start grieving Neil Peart again.
- Black Sabbath – Heaven and Hell
Heaven and Hell has been analyzed six ways to Sunday. There’s no way I’m going to attempt to explore the songs on this masterpiece in depth, at least not on here. Perhaps I’ll save that for a future entry of From My Collection. But there’s an angle that I DON’T think this legendary album has been examined from. Or if it has, I haven’t heard it. That angle is from the perspective of Ritchie Blackmore. Could you imagine Blackmore dropping the needle on this upon its April 1980 release? This is man we’ve been raised to perceive as a dark, brooding genius; an emotional rock unmoved by anyone or anything. Yet I can’t help but picture him shaking with rage at the opening notes to “Neon Knights”. THIS is the follow up to Long Live Rock ‘n’ Roll that could’ve been. Instead, here was Tony Iommi, Geezer Butler, and Bill Ward playing over the songs that should’ve been his, reclaiming their throne as the kings of heavy metal exactly a decade since inventing it. And that is why Heaven and Hell is the greatest metal album of 1980.
Honorable Mentions
- Angel Witch – Angel Witch
- Def Leppard – On Through the Night
- Michael Schenker Group – The Michael Schenker Group
- Thin Lizzy – Chinatown
- UFO – No Place to Run