Our definitive list of the top 5 albums that had the greatest impact and heaviest influence – musically – on what would become ‘thrash’ metal; that is, the grand form of heavy metal that began with VENOM’s Welcome to Hell and METALLICA’s Kill ‘em All. Although there are dozens of demos, EP’s, albums and records that are responsible for having an influence on the development of thrash metal, the following are where we, specifically, hear the roots of thrash loudest and clearest:

#1

MOTORHEAD – OVERKILL

MOTORHEAD are MOTORHEAD. And their landmark second album, Overkill, testifies to that beautiful fact. Recorded in December 1978 and January 1979, and released in March of that same year, Overkill remains the band’s best album to-date, and most influential to boot.

This is where the band, classic lineup intact, solidified their sound. The production is spot on and allows the music to shine. From the blistering and raw, proto-thrash opening (title) track to the heavy as lead, blues-grounded final track (Limb from Limb), Overkill surgically opens a musical wound and forces it to stay open… and fester. The album bleeds with a speed, heaviness, attitude, and rawness yet to be encountered by 1979, and would go on to influence generations and genres with this bombastic and sheer in-your-face style.

Stripped down, blues-inflected, rock and roll by its nature, with a reckless abandon and weightiness that ties you down and sets you free both at the same time – for most, this was enough. For some, however, it would become a dare. How could we take this already extreme form of musical inspiration up another notch, they would ask? Could a band play faster, heavier, and with even more attitude? Was it possible?

Thanks to MOTORHEAD, the world would soon find out.

#2

BLACK SABBATH – SABBATH BLOODY SABBATH

Which Sabbath album to choose? Ah, yes… we undoubtedly settle on this grand fifth studio album, released in December 1973, by the legendary creators of the mighty genre itself. And what a bloodbath it is, indeed… From the opening sludge-fest of a title track right into the crunching riffs, with their subtle swing, of National Acrobat, you can hear deep down inside these two tracks alone, the birth of a new sub-genre of metal.

Not to be overshadowed by Fluff, itself an important step in proving that charming instrumentals unequivocally do have a place in metal. Then straight off into the ingenious riff of Sabbra Cadabra, again with that oh, so subtle swing – trademark Sabbath – and the birth of thrash, which after all is… all about the RIFF. Killing Yourself to Live proves more of the same while also demonstrating the power of weaving monster guitar solos within mammoth riffs, changing time signatures and soaring vocals.

The remainder of the album remains important, but more for its experimental side than anything else, including the addition of keyboards and strings, something not uncommon in the world of metal today. (Not to mention the direction Ozzy would later fully accomplish summed up in the album’s final track Spiral Architect.) After all, bands need to grow and so did Sabbath, having by this time released no less than 5 legendary albums in fewer than four full years!

A brilliant record from start to finish, proving the test of time, just like the others, but exhibiting a more progressive sound for the band, and in so doing, helping to plant the seeds of thrash in the minds of young lads the world over.

#3

JUDAS PRIEST – SAD WINGS OF DESTINY

Just listen to the colossal riff that opens track number 1 (Victim of Changes) of this brilliant 1976 sophomore release from the metal gods, and you’ll understand why we chose Sad Wings of Destiny to mark the middle of this list.

RIght in we go, straight under the knife of The Ripper, again with that heavy swing and groove that we’ve been talking about elsewhere. Thrash is not all about the speed. It’s just as much about the groove. That’s right… a song driven by a riff which is wrapped in swing, groove, and heavy (used here as a noun folks!). Time changes, weaving solos, heavy, crunching riffs… it’s all here. From the classic Deceiver and Tyrant to the moving Island of Domination, we drink from the goblet of these grand metal forefathers, and, get t[h]rashed.

There’s just something about the sound of this particular album that sets it apart from other PRIEST records, especially as the band progresses into British Steel territory. It’s made a lasting impression on the genre as a whole, and no doubt had an incredible influence on the string of proto-thrash bands that would emerge in the very early ’80′s, at the dawn of thrash itself.

#4

DIAMOND HEAD – LIGHTNING TO THE NATIONS

With Lightning to the Nations, we can begin to see the impact that the above records have actually made on an individual band bent on originality and… oh yes… world domination. Recorded in 1979 and released in 1980, these NWOBHM kings were probably ahead of their time, not garnering the appreciation they so deserved back at the crossroads of the ’70′s into the ’80′s.

Lightning to the Nations has it all… the speed, the driving rhythm section, the swing and groove laden riffs and all the time changes one could ask for in 14 blistering tracks of over 70 minutes of heavy music. Almost every song breezes forward effortlessly with an interesting rhythm, only to abruptly change direction into something else even more relatable than what you just heard. Solid riffs and solos abound as the drumming pounds. There are too many songs here to mention… you all know the standouts, including what we would consider thrash precursors, specifically, Sucking My Love, Am I Evil, Helpless and It’s Electric. There’s a reason why METALLICA, in its embryonic state, covered these songs!

A landmark record from a landmark metal band that would unknowingly sacrifice itself (and the world domination they so desperately desired) for the good of metal, as a whole, and the sub-genre of thrash, specifically.

From our kitchen table to yours… Thank You, DIAMOND HEAD.

#5

SAVAGE – LOOSE ‘N’ LETHAL

I know what you’re thinking… SAVAGE? Loose ‘N’ Lethal? Really?

Fuck yes, really!

Another under appreciated and more than deserving NWOBHM band that, like DIAMOND HEAD, made a tremendous impression on angry, young kids starving for the next fast and heavy sound to come off the Isle, whether as a demo or in a compilation. And man, did these young guys hit it… hard.

Although officially released in 1983, a number of the songs on this album were written earlier, including the now-classic Let It Loose and Dirty Money, which appeared on the 1981 compilation, Scene of the Crime, and Ain’t no Fit Place and The China Run, which were issued as a single in early ’82.

From start to finish this album kicks ass – there’s no two ways about it. From the opening riffs of Let it Loose, you know right from the start what you’re in for… do you hear that distortion?! This is what separates this record from the pack. That distortion, whether the result of intention or poor production (but probably both), is what takes this record straight into the heart of proto-thrash territory.

We kid you not.

If you listen closely to the heart beat of Let it Loose, for example, you will hear Metallica’s Hit the Lights… we promise. It’s there. Listen closely. Go back and forth if you have to. Hear it? That’s right… and 2 years before the release of Kill ‘em All, no less!

Now try Berlin (not to overlook Cry Wolf which kicks fucking ass too). Listening? No, no… I don’t think so. Turn it up. Louder… LOUDER. OK, now you’re listening. So wait for it… at about 33 seconds in you’re going to hear a crunching riff. You hear it? From .33 to .37 there’s that sludgy, heavy, groove, as if the amplifiers are giving birth. You hear it? Yes, folks… that’s trademark METALLICA right there. Just listen to it again (it underlies the entire song), then go ahead and pull out Kill ‘em All and put on Seek & Destroy. Hear the similarity? We thought so.

That crunching heaviness… that groove… that distortion… those guitars! It’s called paying homage… paying respect… and it’s real. This is why we love this record and why it’s such an important piece of metal history, in general, and thrash metal history, in particular.

Cheers!