It only feels fitting that the best hair metal album from 1984, is, in fact, 1984 by Van Halen, one of the greatest hair metal bands to come out of the era. I feel like this album is the very embodiment of hair metal, the glam, the showmanship, it's huge, it's a massive production. This is David Lee Roth at his most Diamond Dave-y, when he was swinging into concerts like George Of The Jungle doing karate kicks while Eddie Van Halen was shredding through solos at a breakneck speed, shirtless, wearing nothing but a bandana and leopard-spotted tights.
Depending on who you are, this either signaled the end of Van Halen, or the beginning, as this was the last album with David Lee Roth, and Sammy Hagar would soon take over (and make the band substantially worse). This has, most likely, their biggest hit, "Jump", a song that, at the time, was exceptionally different for Van Halen, mostly because of the thick synth, but it remains one of the great singles of the 80s. With this album, Van Halen took all of the glitz and glamour of hair metal and fused it together with catchy melodies and made one of the best albums they've ever released. Along with "Jump" , you've got "Hot For Teacher", "Panama", and "I'll Wait", all hair metal classics.
To sum it up, this album just flat-out rawks _________________ Progressive Rock
This is a great album. It is really is, but the synth on Jump makes me laugh. It's over the top catchy and just seems straight out of Spinal Tap. I'd likely dismiss the album after that song, but then Panama kicks in and keeps me listening. Eddie is right back to his gritty guitar work. And that intro to Hot For Teacher.. well fuck. I'll Wait is probably my favorite track on the album. See, I don't hate the synth. It used much more tastefully here.
Anyway, I enjoy the album every time, but it doesn't hold a finger to their debut. _________________
RockyRaccoonIs it solipsistic in here or is it just me?ModeratorProfile Maryland
There's no way I'm listening to this. Why spoil a good thing. It could potentially ruin the experience for ever. 🤣
I agree their debut is the best, but I listen to their The Replacements-era period era the most nowadays. You know the effortless we don't give a fuck, we're so crazy talented that we can do anything and we're just having a great time punk attitude that marks stuff like Woman and Children First. After three albums of that, the professionalism and carreerism of 1984 was startling. I cannot think of another "sellout" heavy metal record that alienated none of the old fans while gaining tons of new one just becasue its so fucking good. Perhaps the best "sellout" metal record of all time.
Depending on who you are, this either signaled the end of Van Halen, or the beginning, as this was the last album with David Lee Roth, and Sammy Hagar would soon take over
Yeah, I'd consider this a transitional album if it wasn't executed so flawlessly. As a stated earlier, stylistically and production-wise this marked a huge switch from their earlier stuff which while tightly played perhaps had a loose & sloppy feel to it like they weren't trying too hard. Their preceding records contained the ultimate slacker, anti-establishment let's drink & get wasted vibe. 1984 marked Eddie getting bored of the party schitck and wanting to make big sounding, professional records. It worked for this one album thanks to David Lee Roth, some of their best songs, and Alex's drumming. Hell I even like 5150 for what it was. But, after that, they're dead to me. LOL.
mickilennialThe Most Trusted Name in NewsProfile Detroit
I think "Heavy Duty/Defenders of the Faith" gives "Eat Me Alive" a run for its money in the Spinal Tap department. Sounds like a British Steel leftover. But, yeah. I totally agree that while great (especially Side A) this is mid-tier Priest and lacks a certain personality which their classics have in spades, and it wasn't very surprising that they would flounder a bit for the rest of the 80s before somehow getting a second (and short lived) wind with Painkiller.
I'm looking forward to what Gowi has to say about this. *nudge* *nudge* (:P)
I'd also love to have the perspective of anyone else (such as Frogger) that had this in their list.
This is one of Judas Priest’s finest albums and what I consider in the “upper echelon” of their discography only being beat out by Painkiller, Sad Wings of Destiny, and Screaming for Vengeance. At this point I’m fairly sure that Judas Priest had their impact but despite this being what had become known as the norm of hard rock’s evolution into traditional heavy metal it is still very iconic and fine indeed as it stands over most other albums in the ‘traditional heavy metal’ pigeonhole of the year. Great riffwork, energy, and execution all around and I love it greatly so but as I said before they made records I preferred before and after. Is it one of the strongest records of 1984? Yeah. It’s certainly better than homogenized AOR-charged metal (see: hair metal) like Van Halen and other contemporaries but alongside Metal Church and Trouble’s refreshing takes on metal and one of Iron Maiden’s most perfect albums it stands in a queer place; I go back and forth to preferring Metal Church’s s/t to Judas Priest’s Defenders of the Faith so I can’t say for sure even with my own bias that if Metal Church or Judas Priest deserves the mention more. I certainly think they are worth status above many others. If it isn’t top five material, it’s worth an honorable mention and certainly far better than a lot of impactful and popular records of the time (“1984”, “Stay Hungry”, “The Last in Line”).
Favorite songs include “The Sentinel”, “Jawbreaker”, “Freewheel Burning”, and “Eat Me Alive”.
mickilennialThe Most Trusted Name in NewsProfile Detroit
Seemingly impressive at first glance, but I always felt like this (despite being influential and impactful on many) as just another glimpse at what metal shouldn’t be with bad AOR-touched production and vocals that reeks of utterly bland songwriting outside of the occasional wankery on the guitar. I don’t question its significance or why it is popular but I think it’s a seeping piece of mediocrity that I avidly dislike due to, in my opinion, being a piece of utter dreck that gave even more of an awful appearance of metal and hard rock to the public. There’s a reason people think the “golden age” of metal was sexist and cheap as the goods at your local thrift shop instead of fun and engaging.
RockyRaccoon wrote:
Other excellent hair metal albums to come out of 1984:
You actually consider these hair metal musically? What? Both are obvious trad. heavy works with no traces of AOR or contemporary homogenization at all.
JasonconfusedIf We Make It We Can All Sit Back and LaughProfile California
I love Yngwie Malmsteen but I'm always considered his albums neoclassical metal. Is that too specific?
It's a debate to note for sure; but for my analysis I think it should not be noted as a musical style due to the fact the musicians who do them fit fine into other categories (power metal, traditional heavy metal) very tightly. I mean Stratovarius and Axenstar aren't "neoclassical metal" as they play power metal with neoclassical movements rather than blues/jazz ones. I think it's neat to note when a guitarist uses neoclassical scales/arpeggios rather than jazz or blues, but I don't think it should make an entirely redundant sub-genre.
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RockyRaccoon
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