1984: Metal
by 
Repo 
- Chart updated: 09/02/2023 19:15
- (Created: 09/10/2021 18:09).
- Chart size: 72 albums.
There are 0 comments for this chart from BestEverAlbums.com members and 1984: Metal has an average rating of 87 out of 100 (from 1 vote). Please log in or register to leave a comment or assign a rating.
View the complete list of 57,000 charts on BestEverAlbums.com from The Charts page.
Buy album
- #Sponsored
HOF
[First added to this chart: 09/14/2021]
Year of Release:
1984
Appears in:
Rank Score:
9,318
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
81
Buy album
- #Sponsored
HOF
Hardcore Falls Apart. A sludge is formed. [First added to this chart: 01/07/2023]
Hardcore Falls Apart. A sludge is formed. [First added to this chart: 01/07/2023]
Year of Release:
1984
Appears in:
Rank Score:
624
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
HOF
NWOBHM Attends a Funeral Procession. [First added to this chart: 09/28/2021]
NWOBHM Attends a Funeral Procession. [First added to this chart: 09/28/2021]
Year of Release:
1984
Appears in:
Rank Score:
476
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
HOF
It’s the Riffs, Stupid!
You could point to any number of reasons why this album was such a success. The album that instantly transformed them into legends in the metal underground. The album that is considered the gate post to seemingly every branch of metal. Black Metal. Death Metal. Even Doom! One reason, as Tom G. Warrior (TGW), Celtic Frost's guitarist and vocalist, points out is that they played slowed-down, heavier versions of Venomsongs. Before rehearsals, they would play Venom’s In The League Of Satan at 45 RPM instead of 33RPM just to make it that much heavier. And that became their goal. To sound like that.
Or as another reason, (and I just love this quote from TGW), “We weren’t good enough on our instruments at the time to emulate something more sophisticated, so punk was within the realm of the achievable”. TGW continues “…Discharge, which to me was a revolution, much like Venom. When I first heard the first two Discharge records, I was blown away. I was just starting to play an instrument, and I had no idea that you could go so far. Discharge totally opened my eyes.”
So they were heavy. And they were primitive. But, what throws them over the top, what makes them until this very day gods of extreme metal, were the riffs. The heaviest riffs imaginable completely on par with even the mighty Sabbath!
And of course, TGW’s creative ear. They may have changed their names from Hellhammer to Celtic Frost because they yearned to play better, but cutting to the chase, they still couldn’t really play their instruments. But, it didn’t matter! They had an ear for this shit. Like Venom before them, they were metal visionaries. They saw potential that people even with (or should I say especially with!) classical training just couldn’t see. Instead, TGW used his whammy bar and production overdubs like a weapon. Distorting notes in ways others said couldn’t work. As TGW said… “Most classical musicians would say ‘You cannot do that’ or ‘You cannot overdub that’ – just every possible denial. It was always a huge struggle to get them to do what we wanted to do, but at the end of the day everybody was always fascinated that it actually worked.” Amen to that! [First added to this chart: 09/28/2021]
It’s the Riffs, Stupid!
You could point to any number of reasons why this album was such a success. The album that instantly transformed them into legends in the metal underground. The album that is considered the gate post to seemingly every branch of metal. Black Metal. Death Metal. Even Doom! One reason, as Tom G. Warrior (TGW), Celtic Frost's guitarist and vocalist, points out is that they played slowed-down, heavier versions of Venomsongs. Before rehearsals, they would play Venom’s In The League Of Satan at 45 RPM instead of 33RPM just to make it that much heavier. And that became their goal. To sound like that.
Or as another reason, (and I just love this quote from TGW), “We weren’t good enough on our instruments at the time to emulate something more sophisticated, so punk was within the realm of the achievable”. TGW continues “…Discharge, which to me was a revolution, much like Venom. When I first heard the first two Discharge records, I was blown away. I was just starting to play an instrument, and I had no idea that you could go so far. Discharge totally opened my eyes.”
So they were heavy. And they were primitive. But, what throws them over the top, what makes them until this very day gods of extreme metal, were the riffs. The heaviest riffs imaginable completely on par with even the mighty Sabbath!
And of course, TGW’s creative ear. They may have changed their names from Hellhammer to Celtic Frost because they yearned to play better, but cutting to the chase, they still couldn’t really play their instruments. But, it didn’t matter! They had an ear for this shit. Like Venom before them, they were metal visionaries. They saw potential that people even with (or should I say especially with!) classical training just couldn’t see. Instead, TGW used his whammy bar and production overdubs like a weapon. Distorting notes in ways others said couldn’t work. As TGW said… “Most classical musicians would say ‘You cannot do that’ or ‘You cannot overdub that’ – just every possible denial. It was always a huge struggle to get them to do what we wanted to do, but at the end of the day everybody was always fascinated that it actually worked.” Amen to that! [First added to this chart: 09/28/2021]
Buy album
- #Sponsored
HOF
'84:c Master Craftsmen
Aka Tightening The Bolts
The Setting: Ok. This is where Maiden gets a little ridiculous. They had just put out FOUR albums in FOUR years. And were coming off their massively successful World Piece Tour that had catapulted them unquestionably as the Masters of The Metal Universe. Time for a bit of a break, wouldn't you say? Kick back. Get some beach time Nope. Powerslavedriver Steve Harris would have none of that. Instead, he flies everyone back down to the Bahamas (where they had recorded Piece Of Mind). It was the first time they would have the same lineup for a recording. Could they possibly make Piece Of Mind Part II?!
The Listen: To try to compare this to Piece Of Mind is to miss the point. Iron Maiden were master craftsmen. And perfectionists. They weren't about to release some dodgy rehash of last year's album. Not on Harris & Dickinson’s watch. And THAT is perhaps the most striking thing about Powerslave. It does NOT sound like Piece's Of Mind Part II. It's the same lineup. The same recording studio. AND, the same producer. YET, Powerslave is something new. . Once more we get mystical & magical stories. Chock full o' epic, wistful solos and riffs tighter then the bark on a tree. This was not a mere sequel but, once again, transportive world building crafted from metal not of this time or place. BUT, this time it's a different world. A different place.
The Verdict: Maiden’s FIFTH essential album in as many years cements them as one of the greatest metal bands of all time. Loved by all at the time of its release, Powerslave is the equal to the game-changing Piece Of Mind, where they crafted a a sound out of time and place. A sound that has never been equaled in the metal kingdom. A sound beyond NWOBHM and sound that had already started spawning the beginnings of both Power Metal and Prog Metal.
The Rating: Twisted Evil Twisted Evil Twisted Evil Twisted Evil Twisted Evil [First added to this chart: 09/14/2021]
'84:c Master Craftsmen
Aka Tightening The Bolts
The Setting: Ok. This is where Maiden gets a little ridiculous. They had just put out FOUR albums in FOUR years. And were coming off their massively successful World Piece Tour that had catapulted them unquestionably as the Masters of The Metal Universe. Time for a bit of a break, wouldn't you say? Kick back. Get some beach time Nope. Powerslavedriver Steve Harris would have none of that. Instead, he flies everyone back down to the Bahamas (where they had recorded Piece Of Mind). It was the first time they would have the same lineup for a recording. Could they possibly make Piece Of Mind Part II?!
The Listen: To try to compare this to Piece Of Mind is to miss the point. Iron Maiden were master craftsmen. And perfectionists. They weren't about to release some dodgy rehash of last year's album. Not on Harris & Dickinson’s watch. And THAT is perhaps the most striking thing about Powerslave. It does NOT sound like Piece's Of Mind Part II. It's the same lineup. The same recording studio. AND, the same producer. YET, Powerslave is something new. . Once more we get mystical & magical stories. Chock full o' epic, wistful solos and riffs tighter then the bark on a tree. This was not a mere sequel but, once again, transportive world building crafted from metal not of this time or place. BUT, this time it's a different world. A different place.
The Verdict: Maiden’s FIFTH essential album in as many years cements them as one of the greatest metal bands of all time. Loved by all at the time of its release, Powerslave is the equal to the game-changing Piece Of Mind, where they crafted a a sound out of time and place. A sound that has never been equaled in the metal kingdom. A sound beyond NWOBHM and sound that had already started spawning the beginnings of both Power Metal and Prog Metal.
The Rating: Twisted Evil Twisted Evil Twisted Evil Twisted Evil Twisted Evil [First added to this chart: 09/14/2021]
Year of Release:
1984
Appears in:
Rank Score:
3,937
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
HOF
ProgM [8]
Essential. [First added to this chart: 01/20/2022]
ProgM [8]
Essential. [First added to this chart: 01/20/2022]
Buy album
- #Sponsored
Essentail
FAN MAIL
Talk about weird. Bathory got their big break because of fan mail. In 1983, a small record label was putting together a compilation entitled Scandanavian Metal Attack. A band backed out at the last minute. Quorthon talked. The label boss relented. Begrudgingly and mostly as a favor to Quorthon’s Dad who owned the record label. And then it happened. The mail poured in. Lots & lots of it. Fan mail that is. Because the tracks were brilliant. The sound itself sounds like the beginnings of one of those classic jokes. Two albums walk into a bar. Metallica’s Kill ‘EM All. Venom’s Black Metal. They got shitfaced drunk. Sloppy & reckless. Fucked right there on one of the pool tables in the back. And spawned something new. Something awesome.
For at it’s core, it’s essentially a speed metal album mixed with a heaping ton of Venom worship. (After all they're named after a Venom song, the immortal “Countess Bathory.”) And created the most extreme speed metal heard at that point. What I love about my favorite kinds of music is that it’s sooo simple when you break it right down. Especially punk rock. And this is essentially punk rock. Simple plodding beats. A couple of cool riffs. Tension and release. Frenetic. And then easing off. Which isn’t surpinging really. Because long before he become the godfather of the entire black metal scene, Quorthon was just a punk. “Oh yeah, when I was a kid I was walking around with green hair and safety pins and stuff - I was totally into it. Ha! Ha!”. Quorthon continues, “Our interests are simple - sex, horror and the exploration of the dark side of life. It's just a way for me to let off a little steam, after all, this is supposed to be fun, right?".
And fun it is. What’s interesting to me is that tracks like "Necromancy" actually sound like goth rock mixed with industrial. Something that's not that far from early Skinny Puppy really. If "Necromancy" played at an industrial night at some dive-y punk club back in the mid 80s no one would have batted an eye. They would have just danced a little harder. That shit swings! [First added to this chart: 05/03/2022]
FAN MAIL
Talk about weird. Bathory got their big break because of fan mail. In 1983, a small record label was putting together a compilation entitled Scandanavian Metal Attack. A band backed out at the last minute. Quorthon talked. The label boss relented. Begrudgingly and mostly as a favor to Quorthon’s Dad who owned the record label. And then it happened. The mail poured in. Lots & lots of it. Fan mail that is. Because the tracks were brilliant. The sound itself sounds like the beginnings of one of those classic jokes. Two albums walk into a bar. Metallica’s Kill ‘EM All. Venom’s Black Metal. They got shitfaced drunk. Sloppy & reckless. Fucked right there on one of the pool tables in the back. And spawned something new. Something awesome.
For at it’s core, it’s essentially a speed metal album mixed with a heaping ton of Venom worship. (After all they're named after a Venom song, the immortal “Countess Bathory.”) And created the most extreme speed metal heard at that point. What I love about my favorite kinds of music is that it’s sooo simple when you break it right down. Especially punk rock. And this is essentially punk rock. Simple plodding beats. A couple of cool riffs. Tension and release. Frenetic. And then easing off. Which isn’t surpinging really. Because long before he become the godfather of the entire black metal scene, Quorthon was just a punk. “Oh yeah, when I was a kid I was walking around with green hair and safety pins and stuff - I was totally into it. Ha! Ha!”. Quorthon continues, “Our interests are simple - sex, horror and the exploration of the dark side of life. It's just a way for me to let off a little steam, after all, this is supposed to be fun, right?".
And fun it is. What’s interesting to me is that tracks like "Necromancy" actually sound like goth rock mixed with industrial. Something that's not that far from early Skinny Puppy really. If "Necromancy" played at an industrial night at some dive-y punk club back in the mid 80s no one would have batted an eye. They would have just danced a little harder. That shit swings! [First added to this chart: 05/03/2022]
Buy album
- #Sponsored
Essential
A: DOOM OFF! (1984)
Metal Disclaimer: Both albums that will discussed herein are bonafide classics. Both are essential building blocks for any decent Doom collection. But, it wouldn't be a DOOM OFF! without a little debate. Just keep in mind that I LOVE both.
First OFF!, I think both of these albums are GREAT, five star albums. Doom would NOT be the same without both of them. They are also very different Doom albums with very different styles despite both clearly being Doom albums. Pretty cool for a subgenre just inventing itself.
Second OFF!, I think 1984 is the launching point for the Doom sound. While Witchfinder General clearly incorporated doom elements, in particular the Sabbath worship, there were a also a great deal NWOBHM elements. In a way, there album Death Penalty looked backward. Meanwhile, both Pagan Altar and Witchfynde simply embellished on what Black Sabbath and other heavy Hard Blues Rock bands were doing in the early 70s. There is a revivalist feel to both albums even though BOTH are incredible albums. And because they were incredible examples of that magical & mystical early 70s sound, they proved incredibly influential on the Doom subgenre in the years to follow.
Third OFF!, if either of these bands are guilty of sounding too "Sabbath-oriented" it's Trouble's Psalm Nine. Both steal Sabbath riffs. Let's get that out of the way right from the start. However, at this point Sabbathian riffs (along with those of Judas Priest & Iron Maiden) were becoming established parts of the vocabulary of metal. However, Trouble not only stole the riffs, they were sonically and structurally more tied to early 70s Black Sabbath (check out songs "The Tempter" and "Revelation (Life Or Death)" as the best examples. The galloping riffs of "Revelation" are strikingly sonically tied to Sabbath.) then Saint Vitus. That's not a bad thing! Hell, that's probably what makes Psalm Nine so good!
BUT, Saint Vitus was creating something sonically & structurally completely new! And it's amazing that their sound & vision arrived so fully formed right Off! the bat. A lot of it comes from the fact that they were not completely tied to the metal scene. In fact, the metal community initially hated them. They were far more embraced by the punks. They were on SST. They toured a ton with Black Flag who were also pioneering their own kind of metal in 1984 with My War. In fact, the cross pollination of Saint Vitus and Black Flag in the early 80s is the stuff of legend. They both pushed each other in a direction that probably would not have happened otherwise. They were both partly playing slow as fuck and incorporating epic song lengths as a big Fuck Off! to the punk scene that had become, by 1984, engulfed in rigid, restraining rules (by the fans) of what punk & hardcore "should" be. Completely missing the point of what punk was in the first place! So Dave Chandler (of St. Vitus) and Gregg Ginn ( of Black Flag) essentially said Fuck Off! and became kindred spirits that eventually invented Doom (with Saint Vitus' debut) and Sludge Metal ( with side two of My War). Saint Vitus' sound and topics at this point were straight from the grave! They were playing what would become Funeral Doom with tales of Zombies, Psychopaths and Burials at Sea right from the start. Their sound was compressed, distorted, and haunting. They sounded like they were playing six feet under! Of course, a lot of this has to do their production team. The SST/Black Flag production team of Dez Cadena, Joe Carducci, and SPOT. Clearly this was a match made in heaven for me.
Metal Disclaimer2: I worship both SST and Black Flag. So this wasn't really a fair fight! [First added to this chart: 09/28/2021]
A: DOOM OFF! (1984)
Metal Disclaimer: Both albums that will discussed herein are bonafide classics. Both are essential building blocks for any decent Doom collection. But, it wouldn't be a DOOM OFF! without a little debate. Just keep in mind that I LOVE both.
First OFF!, I think both of these albums are GREAT, five star albums. Doom would NOT be the same without both of them. They are also very different Doom albums with very different styles despite both clearly being Doom albums. Pretty cool for a subgenre just inventing itself.
Second OFF!, I think 1984 is the launching point for the Doom sound. While Witchfinder General clearly incorporated doom elements, in particular the Sabbath worship, there were a also a great deal NWOBHM elements. In a way, there album Death Penalty looked backward. Meanwhile, both Pagan Altar and Witchfynde simply embellished on what Black Sabbath and other heavy Hard Blues Rock bands were doing in the early 70s. There is a revivalist feel to both albums even though BOTH are incredible albums. And because they were incredible examples of that magical & mystical early 70s sound, they proved incredibly influential on the Doom subgenre in the years to follow.
Third OFF!, if either of these bands are guilty of sounding too "Sabbath-oriented" it's Trouble's Psalm Nine. Both steal Sabbath riffs. Let's get that out of the way right from the start. However, at this point Sabbathian riffs (along with those of Judas Priest & Iron Maiden) were becoming established parts of the vocabulary of metal. However, Trouble not only stole the riffs, they were sonically and structurally more tied to early 70s Black Sabbath (check out songs "The Tempter" and "Revelation (Life Or Death)" as the best examples. The galloping riffs of "Revelation" are strikingly sonically tied to Sabbath.) then Saint Vitus. That's not a bad thing! Hell, that's probably what makes Psalm Nine so good!
BUT, Saint Vitus was creating something sonically & structurally completely new! And it's amazing that their sound & vision arrived so fully formed right Off! the bat. A lot of it comes from the fact that they were not completely tied to the metal scene. In fact, the metal community initially hated them. They were far more embraced by the punks. They were on SST. They toured a ton with Black Flag who were also pioneering their own kind of metal in 1984 with My War. In fact, the cross pollination of Saint Vitus and Black Flag in the early 80s is the stuff of legend. They both pushed each other in a direction that probably would not have happened otherwise. They were both partly playing slow as fuck and incorporating epic song lengths as a big Fuck Off! to the punk scene that had become, by 1984, engulfed in rigid, restraining rules (by the fans) of what punk & hardcore "should" be. Completely missing the point of what punk was in the first place! So Dave Chandler (of St. Vitus) and Gregg Ginn ( of Black Flag) essentially said Fuck Off! and became kindred spirits that eventually invented Doom (with Saint Vitus' debut) and Sludge Metal ( with side two of My War). Saint Vitus' sound and topics at this point were straight from the grave! They were playing what would become Funeral Doom with tales of Zombies, Psychopaths and Burials at Sea right from the start. Their sound was compressed, distorted, and haunting. They sounded like they were playing six feet under! Of course, a lot of this has to do their production team. The SST/Black Flag production team of Dez Cadena, Joe Carducci, and SPOT. Clearly this was a match made in heaven for me.
Metal Disclaimer2: I worship both SST and Black Flag. So this wasn't really a fair fight! [First added to this chart: 09/28/2021]
Buy album
- #Sponsored
Essential
Q: DOOM OFF! (1984)
Although 1982 could be considered the starting point for doom with both Witchfinder General and Pagan Altar "releasing" (pagan Altar's was just a demo tape that circulated wide & broad) stellar albums, most point to 1984 as the true proper launching point for the Doom genre. In 1984, speed ruled and Doom was impossibly out of style and out of step. You had to have balls of steel to get up on stage and play riffs this slow. But, play Trouble & Saint Vitus did. Saint Vitus in particular proved a seminal force mightily influencing their label & tour mates Black Flag during the early 80s and no doubt having a hand in one of the most important releases of the entire 80s - My War.
But who did it better? Saint Vitus or Trouble?
That both are classics of the Doom genre is inarguable. Any Doom Head needs both of these in their record collection. But which debut is best in your opinion?
Bonus Question: Is 1984 the true starting point for doom? Or is it 1982? Or even 1980 with Witchfynde's Give 'Em Hell?
Spyglass wrote:
Saint Vitus is an awesome album, but it sounds too Sabbath-otiented to really stand out. Psalm 9 has a stronger taste for darkness and atmosphere, so I vote Psalm 9.
Ledzep wrote:
Vote for Psalm 9, which is pretty great while Saint Vitus is “just” good. Love those early 80s underground metal gems [First added to this chart: 09/28/2021]
Q: DOOM OFF! (1984)
Although 1982 could be considered the starting point for doom with both Witchfinder General and Pagan Altar "releasing" (pagan Altar's was just a demo tape that circulated wide & broad) stellar albums, most point to 1984 as the true proper launching point for the Doom genre. In 1984, speed ruled and Doom was impossibly out of style and out of step. You had to have balls of steel to get up on stage and play riffs this slow. But, play Trouble & Saint Vitus did. Saint Vitus in particular proved a seminal force mightily influencing their label & tour mates Black Flag during the early 80s and no doubt having a hand in one of the most important releases of the entire 80s - My War.
But who did it better? Saint Vitus or Trouble?
That both are classics of the Doom genre is inarguable. Any Doom Head needs both of these in their record collection. But which debut is best in your opinion?
Bonus Question: Is 1984 the true starting point for doom? Or is it 1982? Or even 1980 with Witchfynde's Give 'Em Hell?
Spyglass wrote:
Saint Vitus is an awesome album, but it sounds too Sabbath-otiented to really stand out. Psalm 9 has a stronger taste for darkness and atmosphere, so I vote Psalm 9.
Ledzep wrote:
Vote for Psalm 9, which is pretty great while Saint Vitus is “just” good. Love those early 80s underground metal gems [First added to this chart: 09/28/2021]
Buy album
- #Sponsored
Essential
[First added to this chart: 12/04/2022]
Year of Release:
1984
Appears in:
Rank Score:
750
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Total albums: 72. Page 1 of 8
Don't agree with this chart? Create your own from the My Charts page!
1984: Metal composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1980 | 0 | 0% | |
| 1981 | 0 | 0% | |
| 1982 | 0 | 0% | |
| 1983 | 1 | 1% | |
| 1984 | 71 | 99% | |
| 1985 | 0 | 0% | |
| 1986 | 0 | 0% | |
| 1987 | 0 | 0% | |
| 1988 | 0 | 0% | |
| 1989 | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Manowar | 2 | 3% | |
| Rush | 1 | 1% | |
| Warlord (US) | 1 | 1% | |
| Jag Panzer | 1 | 1% | |
| Loudness | 1 | 1% | |
| Tysondog | 1 | 1% | |
| Stone Fury | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
32 | 44% | |
 |
14 | 19% | |
 |
8 | 11% | |
 |
6 | 8% | |
 |
5 | 7% | |
 |
2 | 3% | |
 |
1 | 1% | |
| Show all | |||
1984: Metal chart changes
| Biggest fallers |
|---|
| Down 1 from 28th to 29th Tooth And Nail by Dokken |
| Down 1 from 29th to 30th See You In Hell by Grim Reaper (UK) |
| Down 1 from 30th to 31st Blood Sports by Avenger (UK) |
| New entries |
|---|
 The Dungeons Are Callingby Savatage |
1984: Metal similar charts
| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 50 Music Albums of 1984 | NHGRANITE | 1984 year chart | 2021 | |
| Top 40 Music Albums of 1984 |  mrblond | 1984 year chart | 2021 |  |
| Top 45 Music Albums of 1984 |  btener11 | 1984 year chart | 2012 | |
| Top 40 Music Albums of 1984 |  badseed | 1984 year chart | 2015 | |
| Top 31 Music Albums of 1984 |  UofTBlues | 1984 year chart | 2022 | |
| Top 30 Music Albums of 1984 |  Kaiser | 1984 year chart | 2015 |  |
| Top 44 Music Albums of 1984 | Chambord | 1984 year chart | 2022 | |
| Top 61 Music Albums of 1984 | nas062080 | 1984 year chart | 2013 | |
| Top 20 Music Albums of 1984 |  IlMala | 1984 year chart | 2022 |  |
| Top 70 Music Albums of 1984 | Imaybeparanoid | 1984 year chart | 2018 |  |
1984: Metal similarity to your chart(s)
Not a member? Registering is quick, easy and FREE!
Why register?
Join a passionate community of over 50,000 music fans.- Create & share your own charts.
- Have your say in the overall rankings.
- Post comments in the forums and vote on polls.
- Comment on or rate any album, artist, track or chart.
- Discover new music & improve your music collection.
- Customise the overall chart using a variety of different filters & metrics.
- Create a wishlist of albums.
- Help maintain the BEA database.
- Earn member points and gain access to increasing levels of functionality!
- ... And lots more!
Register now - it only takes a moment!
Other custom charts by Repo
1984: Metal ratings
87/100 (from 1 vote)
where:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
N.B. The average rating for this chart will not be reliable as it has been rated very few times.
Showing all 1 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 100/100  | 10/25/2022 18:48 | DJENNY | | 100/100 |
Please log in or register if you want to be able to leave a rating
1984: Metal comments
Be the first to add a comment for this Chart - add your comment!
Please log in or register if you want to be able to add a comment
Your feedback for 1984: Metal
Let us know what you think of this chart by adding a comment or assigning a rating below!
If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.
| Best Artists of the 2000s | |
|---|---|
| 1. Radiohead | |
| 2. Arcade Fire | |
| 3. The Strokes | |
| 4. Coldplay | |
| 5. Sufjan Stevens | |
| 6. Muse | |
| 7. Arctic Monkeys | |
| 8. Animal Collective | |
| 9. Wilco | |
| 10. The White Stripes | |
| 11. Kanye West | |
| 12. Phil Elverum | |
| 13. Interpol | |
| 14. Modest Mouse | |
| 15. Queens Of The Stone Age | |
| 16. Madvillain | |
| 17. LCD Soundsystem | |
| 18. Godspeed You! Black Emperor | |
| 19. The National | |
| 20. The Flaming Lips |
