Glam Metal

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Glam metal (also known as hair metal) is a subgenre of heavy metal that arose in the late 1970s and early 1980s in the United States, particularly on the Los Angeles Sunset Strip music scene. It was popular throughout the 1980s and briefly in the early 1990s, combining the flamboyant look of glam rock and playing a power-chord based hard rock musical style.

Musically, glam metal songs are traditional heavy metal songs with pop-influenced catchy hooks and guitar riffs. Like other heavy metal songs of the 1980s, they often feature shred guitar solos. Glam metal performers became infamous for their debauched lifestyles of late-night parties (widely covered in the tabloid press), very long backcombed hair, use of make-up, gaudy clothing and accessories (chiefly consisting of tight denim or leather jeans, spandex, and headbands). Many of these traits were reminiscent of glam rock.

Source: http://en.wikipedia.org/wiki/Glam_metal

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Showing only albums and EPs | Based on members ratings & MMA custom algorithm | 60 min. caching

MÖTLEY CRÜE Shout At The Devil Album Cover Shout At The Devil
MÖTLEY CRÜE
4.14 | 41 ratings
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WINGER Winger Album Cover Winger
WINGER
4.20 | 19 ratings
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LITA FORD Dancin' on the Edge Album Cover Dancin' on the Edge
LITA FORD
4.46 | 4 ratings
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RATT Invasion Of Your Privacy Album Cover Invasion Of Your Privacy
RATT
4.03 | 15 ratings
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RATT Out Of The Cellar Album Cover Out Of The Cellar
RATT
3.97 | 22 ratings
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DOKKEN Under Lock And Key Album Cover Under Lock And Key
DOKKEN
3.96 | 23 ratings
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DEF LEPPARD Pyromania Album Cover Pyromania
DEF LEPPARD
3.88 | 46 ratings
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SKID ROW Skid Row Album Cover Skid Row
SKID ROW
3.89 | 39 ratings
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QUIET RIOT Condition Critical Album Cover Condition Critical
QUIET RIOT
3.99 | 10 ratings
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KIX Hot Wire Album Cover Hot Wire
KIX
4.17 | 5 ratings
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RATT Infestation Album Cover Infestation
RATT
3.90 | 11 ratings
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JOHN NORUM Total Control Album Cover Total Control
JOHN NORUM
4.08 | 5 ratings
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EXTREME Extreme

Album · 1989 · Glam Metal
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siLLy puPPy
Coming from Boston, USA, the funk glam metal band EXTREME formed from the ashes of several other bands imploding before they barely got started. Gary Cherone (vocals) and Paul Geary (drums) from a band called The Dream, Pat Badger (bass) from a band called In The Pink and guitarist Nuno Buttencourt coming from Sinful. Once the four hooked up and began writing songs, the chemistry was complete and quickly caught attention in the live circuit of the Boston region. While forming in 1985 it only took a year to win the Boston Music Awards in both 86 and 87. This caught the attention of A&M Records turned PolyGram in 1988 and soon thereafter the band was signed and released their eponymous debut album catching the wave of the 80s alternative funk metal scene coupled with a glam appearance.

Despite the attempts to pigeonhole EXTREME into any sort of categorization however they were actually quite distinct from other bands of the day with their tracks consisting of catchy Van Halen-esque guitar riffs accompanied by funky syncopated counterpoints. Nuno Betterncourt was a particular developed guitarist offering super fast and technically advanced guitar soloing much in the vein of Eddie Van Halen. These guitar antics are most pronounced on “Mutha (Don’t Wanna Go To School Today)” and the track “Play With Me” the latter of which took parts of Mozart’s “Rondo Alla Turca in A minor” as the intro and outro with a sizzling classical infused solo in the middle. “Play With Me” track was featured in the films “Bill & Ted’s Excellent Adventure” and “Jury Duty” which helped get the band some greater national attention. Also, Gary Cherone had a deep voice sounding a lot like Paul Stanley of KISS and the band also employed three-part harmonies especially on the slower ballady tracks such as “Watching, Waiting” and “Rock A Bye Bye.”


While exhibiting a funk metal approach to the compositions, EXTREME comfortably fit in the glam metal scene as well with the standard gaudy hairspray and stretch pants of the day but mainly with the catchy pop hooks wrapped up in heavy rock riffing and extended soloing. On this debut album the band was still struggling to shed their influences which despite having a fairly unique sound still has plenty of sections that sound like they would fit right off a Van Halen or Queen album. The band also displays their love of genre jumping with not only classic heavy rock but the more subdued slower tracks as well but nothing near the more expansive free reign of their second album “Pornograffiti.” The album enjoyed moderate success selling over 300,000 albums with the help of the singles “Little Girls,” “Kid Ego,” "Mutha (Don't Wanna Go To School Today)" and "Play With Me" which found airplay on MTV and select radio play.

EXTREME is a fairly pleasant album to experience. The musicians are all tight with Nuno Bettencourt showing a highly developed sense of melodic virtuosity beyond the standard of the day. The tracks have an innocent playfulness to them as they are all associated with childhood experiences and the rhythms are not only catchy but have a bouncy carefree delivery save the two slower tracks. This debut album is actually a pretty accomplished recording but there a few issues i have with it. First of all the production is a little lackluster and sounds a bit too thin as if it was released on an MP3 before they existed. Secondly the band tends to try too hard to be other bands on any given track and a unifying chemistry hadn’t quite gelled yet as they were still getting their feet wet. All in all, EXTREME is a decent debut for a band that had a larger musical palette than most of their contemporaries. This debut was successful in garnering enough attention that would allow their followup to break them into the mainstream.

POISON Open Up And Say... Ahh!

Album · 1988 · Glam Metal
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progshine
First of all let me get this out of the way: You do not even have to read an interview with guitarist CC Deville or hear him talking about his influences to know that he was one of those American teenagers obsessed with Kiss (in a Detrot Rock City film style), just listen to his guitar sound and his riffs to see it clearly.

I confess that I have an absurd preconception about this Hair Metal thing. I have not yet heard a single decent record from this 'genre', but I keep trying, I guess. The only records I remember that I have somewhat enjoyed are The Final Countdown (Europe) and Screw It! (Danger Danger). Everything else I heard does not do anything for me. The almost Pop production of the 80s weights on that factor, and on several occasions, Metal does not even exist.

'Open Up and Say ... Ahh!', Poison's second record, does not change my mind, it's an ok record if it's playing as background music in some friends' meeting or at that Rock Bar you went for a beer, and that's all. 'Nothin' But A Good Time 'is a pretty cool track, and' Every Rose Has Its Thorn 'is the obligatory ballad of the record (every Hair Metal album needs a 'power ballad', right).

Like I said, in the end, forgettable after just one listen.

RATT Invasion Of Your Privacy

Album · 1985 · Glam Metal
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Unitron
Ah, glam metal/hair metal/pop metal/whatever you want to call it. It's a part of metal that's been long shamed, and it's easy to see why with bands like Poison, Warrant, White Lion, and the more recent Black Veil Brides being part of it. Though, that was mostly the second wave of the scene. At the start, you had the likes of Motley Crue, Lita Ford, Y & T, Great White, Quiet Riot, and my personal favorite Ratt.

This is when hair bands were metal, taking a lot more from the NWoBHM than what would come later. With a penchant for razor-sharp guitar riffing, catchy as hell melodies, and tight rhythm section, Ratt was at the top of their game during the 80's. Many prefer Out of the Cellar, which yielded the hit single "Round and Round", but as great as that album is, I find Invasion of Your Privacy to be superior and one of the best albums of the 80's.

The album immediately opens up with what should be a metal classic, "You're in Love", which is simply one of the best opening songs on any album. The guitar and drums perfectly play off of one another, making it almost impossible not to headbang with the syncopation. Speaking of, Bobby Blotzer brings in not only a gigantic loud drum sound, but also some really cool cannon/thunder effects. The twin lead guitars of Warren DeMartini and Robbin Crosby lays down (pun not intended) killer riff after riff and singing solos after another. Juan Croucier's bass brings a nice bounce in the bottom end, and Stephen Pearcy is easily my favorite glam metal vocalist. Pearcy's vocals remind me of a more melodic Dave Mustaine, as he has that same sort of nasal-y tone.

The whole album is flawless from beginning to end, but if I had to pick highlights besides "You're in Love", the other single "Lay It Down" is certainly one. The chorus is simply beautiful. "What You Give is What You Get", "Dangerous but Worth the Risk", and "Closer to My Heart" are also masterpieces. The latter especially has sweet contrast between the main riffs.

If you've been apprehensive to check out glam metal, give Ratt's first four albums a try, especially this one. This one is up there with Powerslave, Screaming for Vengeance, Balls to the Wall, Metal on Metal, and Shout at the Devil as 80's heavy metal classics. This is pure metal all the way. Hope you found this review helpful, feel free to comment!

GREAT WHITE Great White

Album · 1984 · Glam Metal
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aglasshouse
If it weren't for the fact that Great White emerged from the United States, I would certainly confuse this release to be a part of the New Wave of British Heavy Metal movement of the early-1980's. This is because it's clear from their first record that Great White not only synthesized sounds from contemporary glam acts like Mötley Crüe and Quiet Riot, but also from emerging European groups such as Accept and Iron Maiden. This could be because the history of glam metal and the NWoBHM are very similar and happened at similar times, though on different continents.

But what differs Great White's 1984 breakout from albums like Killers or Breaker is the more pronounced hair metal nature of the record; from Jack Russel's catchy vocal hooks to punkish melodies, Great White channels the fabulosity of glam enough to differentiate them from their "darker"-in-tone European cousins. This also goes for lyrical value which, while not seemingly as brash and promiscuous as something Crüe might come out with, is still beautifully cheesy like on songs like 'Bad Boys'.

When it comes time to get heavy though, Great White certainly deliver. 'Substitute''s rollicking drum interlude interspersed with a chugging dissonant riff, the slowly rumbling and oddly dark 'Streetkiller"- these are just a few examples of how Great White uses the glam tradition of being able to please a stadium to bring an enjoyable (and often surprisingly intimidating) performance throughout. Though I will confess that Great White are prone to breaking the great atmosphere they create with awkward segues into uninspired cheesecake sections of pretty-boy rock, admittedly similar to what most glam-style bands do, which are presented seemingly as more of obligations than for sake of actual substance.

Great White's debut is much like a sore thumb compared to the rest of their discography. It's much more heavy, pugnacious, and raunchy than the more commercial style that they would go on to adapt. It remains a rather obscure and underappreciated piece of the sprawling puzzle that is 80's metal.

WEDNESDAY 13 Condolences

Album · 2017 · Glam Metal
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Kev Rowland
Wednesday 13 released five albums with Frankenstein Drag Queens From Planet 13, but it was when he joined forces with Joey Jordison from Slipknot in the latter’s side project Murderdolls that most people became aware of him. Their 2002 debut album, ‘Beyond The Valley Of The Murderdolls’ redefined the horror punk genre, and when they went on hiatus in 2004 he started his solo career, releasing albums that saw him hailed as the bastard son of Alice Cooper and The Misfits. He even found time for an outlaw country project, Bourbon Crow, and a one-off glam metal act, Gunfire 76, before Murderdolls reconvened in 2010. After the ‘Women And Children Last’ album and tour, they again went on hiatus and he revived his solo career, and his latest album ‘Condolences’ is now on the player.

He has moved away from punk, and now this is much more straight forward heavy metal, although still with huge swathes of Alice Cooper influences. Part of that is down to his vocal style, as Wednesday 13 sounds as if he has been gargling whisky before laying down the tracks, providing a rough rawness that works well with the music which also owes a great deal to early W.A.S.P.. He says that he feels that there are no longer any boundaries for him, and that he can perform whatever style he now wishes to, but to be honest there isn’t a tremendous deal of variety among the songs on offer. This is a basic album, with little to lift it to anything special, with the result being that while I may not walk across the room to take it off the player as it’s okay, I may not actually have put it on in the first place. He’s good at what he does, but just not what I want to hear.

glam metal movie reviews

NELSON After The Rain (VHS)

Movie · 1991 · Glam Metal
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1967/ 1976
A simple promotional VHS is this with 3 songs from their debut album, one previously unreleased and interview and various footages. Not bad at all.

The music is a melodic Glam Metal without surprises but good. The writing is correct.

The interview and various footages (between the songs) are good as a TV special and for promotional use, because for the rest, in my opinion, nothing of special are contained.

In definitive view: Nelson is a great band with a great songs, if you love melodic Glam Metal. This VHS is a promotional issue and nothing more. But in a Metal discography not disfigure.

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