1990 was something of a landmark in metal, with the final breaths of glam and thrash giving way for the incoming rise of grunge and alternative rock. It would be the last year that solos, spandex and men with perms would dominate the scene and music videos would boast scantily clad young women and rock stars holding their guitars like they are extensions of their manhood. It would also be a year that would mark the end of commercial success for one generation of bands and the starting point for many groups that would enjoy acclaim throughout the following decade. The excess and debauchery of Mötley Crüe and Guns N’ Roses would eventually be replaced by the melancholy of Nirvana and Pearl Jam, yet 1990 would prove to be the year that metal would dominate the charts.
The year began with the release of Shake Your Money Maker, the debut album from Atlanta-based blues rock group The Black Crowes. Executive produced by the legendary Rick Rubin and released through American Recordings, the album became a hit after the lead single Jealous Again became a major fixture of rock music shows. In the UK doom metal band Paradise Lost also released their first album, the imaginatively titled Lost Paradise, that would pave the way for the subsequent success of Gothic and Shades of God. Although they had previously released a live album (which featured an earlier version of their signature tune Tommy the Cat) funk metallers Primus recorded their first studio album, Frizzly Fry, which hit the shelves in early in 1990.
April sees the release of Vanity/Nemesis by Celtic Frost and Tattooed Millionaire by Iron Maiden frontman Bruce Dickinson, the latter having also written a book entitled The Adventures of Lord Iffy Boatrace. Dio‘s fifth album Lock Up the Wolves would mark yet another success for the legendary Ronnie James Dio, whilst Entombed marked their introduction to the music scene with the album Left Hand Path. With glam metal still proving relatively popular Poison released their third album Flesh & Blood which, despite including the hit single Unskinny Bop, saw the band move closer towards blues, even reducing their feminine image.
The summer of 1990 would be significant for two different types of music. First of all there would be a rise in aggressive metal that would be marked by the release of both Biohazard and Deicide’s self-titled debuts, as well as albums from Pantera (Cowboys from Hell), Cannibal Corpse (Eaten Back to Life), Napalm Death (Harmony Corruption) and Annihilator (Never, Neverland). The other trend would be the death rattle of glam metal, such as Ratt (Detonator), Vixen (Rev It Up) and Warrant (Cherry Pie). Taking time out from the success of Bon Jovi, frontman Jon Bon Jovi was hired to score the soundtrack to the ‘Brat Pack’ western Young Guns II: Blaze of Glory.
Other albums to be released during the summer would include Danzig’s II: Lucifuge, Sonic Youth’s Goo (which would take them further away from their punk roots and into grunge territory), Winger’s In the Heart of the Young, Extreme’s Pornograffitti and Pixies’ Bossanova. Anthrax would take their brand of thrash into more commercial territories with the classic Persistence of Time, whilst Alice in Chains release their debut Facelift. Queensrÿche followed the success of their classic Operation: Mindcrime with Empire, which would boast the hit single Silent Lucidity, whilst AC/DC enjoyed renewed success with the record The Razors Edge, mainly due to the track Thunderstruck.
Having spent the 1980s as one of the pioneers of thrash metal Megadeth began to explore more complex song structures with Rust in Peace, which would include the classic track Holy Wars… The Punishment Due, as well as the single Hangar 18. After a run of landmark albums Iron Maiden showed signs that their genius was slipping with the less-than-impressive No Prayer for the Dying, which would boast their only UK number one Bring Your Daughter… to the Slaughter (a track originally recorded by frontman Bruce Dickinson for the movie A Nightmare on Elm Street 5: The Dream Child).
Slayer once again proved they were one of the most intense bands on the metal scene with Seasons in the Abyss, whilst German thrash band Kreator released their fifth album, Coma of Souls. Elsewhere, UK goth group The Sisters of Mercy dispensed with synthesisers in favour of guitar for their third and final album, Vision Thing, which would include the singles More and Doctor Jeep. The Mission, who had been formed by former Sisters of Mercy veterans Wayne Hussey and Craig Adams, would release two albums throughout the year; the official record Carved in Sand in January and Grains of Sand, which comprised of the tracks left over from the sessions, in November. The latter would include the hit single Hands Across the Ocean.
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