10. Bride - Show No Mercy

Pure Metal Records debut from Bride began a legacy that lasts to this day and includes fourteen additional studio albums and countless compilation and live albums.  Show No Mercy sees the Louisville, Kentucky based act impressing as dark and moody heavy metal with periodic Goth tinctures.  It works in that despite some production misgivings (the groups records budget was just $2500), Show No Mercy proves quite consistent.

I embrace albums progressive material to include speed based “I Will Be With You” with its haunting ethereal opening and powerful “Thunder In The City” in light of its adrenaline rush intensity and piano driven first minute.  I also value energetic numbers “Evil That Men Do” and “Forever In Darkness” from playing up Dale Thompson’s high-end, classic tenor vocal style, and slower, darker pieces “Now He Is Gone” and “The First Will Be Last” due to showcasing the wonderful guitar work of brother Troy Thompson and Steve Osbourne.  The technical riff action to “No Matter The Price” and albums stately title track also find the two at the top of their game.  Show No Mercy set the stage for Bride’s equally laudable but better produced Pure Metal follow up releases Live To Die (1988) and Silence Is Madness (1989).

9. Daniel Band - Rise Up

Fourth album from Toronto, Canada based act delivers a somewhat rawer hard rock to metal sound when placed alongside superlative but more polished 1984 predecessor Run From The Darkness.  The Refuge Records released Rise Up highlights its share of worthy material all the same, beginning with heavier cuts “Bethel”, a non-stop slammer to feature Toni Rossi’s gutsy mid-ranged vocals, but also including intricate riff driven “Don’t Walk Away” and keyboard tinctured but no less contentious “Fight Back”.  “Rock You” does exactly that in accenting Rossi’s pivotal guitar work.  On a more melodic side and giving prominence to bassist Dan McCabe’s classic tenor voice are choice ballads “Paradise” and “My Children” in addition to albums mirthfully catchy title track.  Lone skip button is “Call His Name” due to introducing some repetitious qualities.  In the end, Rise Up might not be my favorite from Daniel Band, but it otherwise proves a solid mid-eighties contender. 

8. Greg X. Volz - The River Is Rising

Myrrh Records debut solo release from vocalist Greg X. Volz trends similar melodic hard rock and AOR territory as the band in which he previously fronted, Petra.  Volz shines with his immaculate classic tenor vocal delivery, while standing out equally are talented guest musicians in keyboardist Carl Marsh, bassist Jimmy Lee Sloas and guitarist Kirk Henderson.  I take to albums heavier material to entail the immediate hooks to “Barrier”, piano intertwined “Livin’ For The Bell”, bluesy “Heaven is Within You” and expeditious “Break Out Of The Trance”.  That lighter is also of merit such as the AOR vestiges of “Joyous Grave” and “All I Can Do” not to mention albums scintillatingly melodic title track.  Choice ballads “Still Waters” and “Man Like You” deserve equal consideration.  Lone constructive comment revolves around how keyboards end up laid on a bit thick for my taste in places, but otherwise The River Is Rising is as solid a commercial hard rock album released during the period. 

7. Barnabas - Little Foxes

I challenge you to name a female fronted mid-eighties metal band better than Barnabas.  With fiery front-lady Nancy Jo Mann leading the way, the group rounds out its roster with über-talented guitarist Brian Belew and technical rhythm section of bassist Gary Mann and drummer Kris Klingensmith.  I always felt Barnabas hit its stride on Light Records third and fourth albums Approaching Light Speed and (1983) and Feel The Fire (1984) in which it combined straight on metal with inventive progressive tendencies.  Barnabas might have been breaking up at the time fifth Little Foxes (also Light) was recorded and backs from some of its innate progressiveness, but it still delivers some very creditable melodic heavy metal material.

Albums first side encompasses four equally good tracks combining high-energy guitar driven fortitude with subtle but defined hooks: “Gospel Maniac”, “Little Foxes”, “Destroy After Use” and Auschwitz ‘97”.  Opening second side cut “China White” is in similar vein but separates with Belew’s stunning lead guitar work, while also notable is grainy hard rocker “Sins Of The Fathers”, melodic “All Alone” and jazzy saxophone laced “Suite For The Souls Of Our Enemies (Part 2 - Lover)”.  It is disappointing we never heard from Barnabas again because there is too much talent to be sitting on the sidelines. 

6 (tie).  Idle Cure - Idle Cure

Frontline Records self-titled Idle Cure debut is first of three choice melodic hard rock and AOR albums to make the final cut.  The group stands out for introducing guitarist Chuck King, whom went on to bigger things as part of Shout with vocalist and guitarist Ken Tamplin.  Catchy hard rocking opener “Breakaway” does a good job highlighting his abilities as do other heavier pieces “Overdrive” and “Come Alive” with their driving guitar impetus and “Feeling The Heat” in reference to its spicy saxophone.  Front man Steve Shannon impresses equally with his at times gritty and others melodic vocal style, particularly on the smooth melodic AOR to “Silent Hope” and radio friendly ballads “Take It and “From The Heart”.  If Idle Cure included a couple more songs - it is a bit short in including just eight cuts - I would potentially rate it higher.

6 (tie).  Motherlode - The Sanctuary

Finely honed melodic hard rock and AOR from Swedish mainstream band with a believing front man in Sonny Larsson, whom makes his faith known from penning majority of the albums lyrics (song titles are self-explanatory in terms of subject matter).  Larsson brings one of the most pure and crystalline classic tenor voice I have heard, with victorious anthem “He’s Coming Back” and easy-going acoustic rocker “Wise Man” finding him standing out in this regard.  Other choice numbers include the high-energy “The Rock Of Ages”, awesome progressive based eight minute “Father Of Lies” and laid back, mid-paced groove of “Line Of Thought”.  Rounding things out is albums two minute acoustic instrumental title track and a couple of fun up-tempo pieces in “Downtown” and “(Singin’ About) Rock ‘N’ Roll”.  Rodney Matthews contributes some of the years finest cover art.

5. Stryper - To Hell With The Devil

I hope I am not underrating To Hell With The Devil, but in my opinion the four that rank ahead of it are better albums.  Yes, the Enigma Records released THWTD delivers its share of classic heavier material to include its anthem-like title track, concert favorites “The Way” and “More Than A Man” and revved up “Rockin’ The World” in addition to that with a melodic hard rock basis in “Free” and “Sing-Along Song”.  “Honestly” is as classy a ballad recorded during the period.  Outside of that, however, am I out of line to suggest the album is inconsistent when factoring “Calling On You” and “Holding On” are medium good at best and “All Of Me” a throwaway ballad?  My point being that THWTD is a very fine album but potentially overrated as a classic. 

Stryper would not realize a level of consistency and continuity allowing it to record a full album of good material (again, my opinion) until 1990’s Against The Law and excellent latter albums No More Hell To Pay (2013) and Fallen (2015) but also including Even The Devil Believes (2020) and The Final Battle (2022).  It deserves note how former two feature a pair of respective top-notch songs in “Marching Into Battle” and “King Of Kings” written back in the day that could have made THWTD a deeper album.  Include the two as part of the track listing in place of “Calling On You” and “Holding On” and you have not only a top three finisher but also potential pole position candidate.      

4.  Barren Cross - Rock For The King

Beginning with Star Song Records debut Rock For the King, Barren Cross delivers straightforward heavy metal with power, progressive and speed based tendencies.  Opening “Dying Day” separates in this regard with its fiery, power-based mentality, as does the intricate time signature driven “It’s All Come True”.  The two allow Mike Lee to shine with his expansive Dickenson influenced vocal abilities.  “He Loves You” takes a bluesy metal form (noting Ray Parris’ extended stretch of gritty lead guitar) and “Believe” and “Just A Touch” an expeditious, upbeat heading.  Albums title track is as hulking a metal anthem you will find.  Barren Cross also makes effective use of acoustic guitar on the first minute to “Going Nowhere” and throughout melodic semi-ballad “Light The Flame”.  That said, the ‘mid-eighties-hair-metal-time-warp-outfits’ cover art is a bit much to take, while production is on the raw side.  Rock For The King otherwise showcases the potential that led to Barren Cross signing with mainstream label Enigma for follow up releases Atomic Arena (1988) and State Of Control (1989). 

3. Messiah Prophet - Master Of The Metal

Previously known as Messiah Prophet Band on its 1984 Morada Records debut Rock The Flock, Messiah Prophet makes significant musical steps and strides on its Pure Metal Records sophomore effort Master Of The Metal.  I always identified with Messiah Prophet as walking a fine line between the driving mentality of traditional metal and accessible signatures to melodic metal.  Heavier cuts “Heavy Metal Thunder” and albums title track fit the bill in regards to former, as does the superlative progressiveness to seven-minute epics “Fear No Evil” and “Voice That Calling”.  Catchy speed based numbers “The Friend” and “Hit And Run” point to the latter while same applies to haunting ballad “Battle Cry” and acoustic metal take on Psalm 23, “For Whom Does The Bell Toll”.  An out of print and hard to find collectors item, Master Of The Metal is long overdue to be re-mastered and re-issued. 

2. Bloodgood - Bloodgood

I would not argue with anyone who ranks Bloodgood Frontline Records self-titled debut ahead of Time’s End due to bringing similar levels of musical aptitude and maturity, albeit in a more varied musical package.  Opening cut “Accept The Lamb”, for instance, trends melodic metal territory with its angelic choir vocals, while ensuing number “Stand In The Light” mirrors melodic hard rock and AOR.  Yet, a heavier side to Bloodgood reveals on the classic metal laced “Demon On The Run” (with David Zaffiro’s distorted guitar solo), bluesy metal to “What’s Following The Grave” and darker but equally weighty “”Killing The Beast”.  “Black Snake” touches upon speed metal.  Also fast paced and allowing Les Carlsen to exhibit his raspy, high-end vocal qualities is the fleet “Anguish & Pain” and worshipful companion track “Awake”.  Very finely done production attributes to Darrell Mansfield.

1. Saint - Time’s End

Pure Metal Records Saint sophomore album separates from the traditional metal pack.  The Salem, Oregon based act benefits from the continuity of carrying over its flagship lineup of vocalist Josh Kramer, bassist Richard Lynch and guitarist John Mahan (from 1984 debut EP Warriors Of The Son) and hitting its stride in the process.  Time’s End songwriting is taken to the next level accordingly, as found in the joining of the technical and engaging that is “In The Night” and albums title track not to mention the immediate accessibility to “Island Prisoner” and “Primed And Ready”.  Saint maintains the momentum on a pair of catchy speed metal rompers in “Space Cruiser” and “Phantom Of The Galaxy” in addition to the at times thrash based and others instrumental “Steel Killer”.  The group even pulls off a commercial metal piece in “Through You”.  Time’s End ultimately holds its own when placed alongside any classic metal album released at the time.  

Honorable Mention

AD - Reconstructions

The Sparrow Records released Reconstructions represents third album of commercial rock with progressive nuances from band to include former Kansas guitarist and keyboardist Kerry Livgren. 

Deliverance - Greeting of Death            

Independent debut demo from Deliverance introduced its renowned ‘Metallica cross Queensryche sound’ to highlight the soaring, high-end vocals of Jimmy P. Brown II.

Petra - Back To The Street

Star Song Records eighth Petra studio album is first to feature classic rock vocalist John Schlitt (ex-Head East), whom replaces the aforementioned Greg X. Volz.

Malachia - Under The Blade

Southern California based act combines the three and half octave range of front man Ken Pike with traditional metal guitars and moody Gothic signatures on independent debut EP.