I was asked me to list my favorite Roadrunner releases by year. I have decided to limit this list to bands that Roadrunner signed directly, hence, there are no bands listed for the years 1980 – 1982, as most of what Roadrunner released back then was licensed product from labels like Combat, Metal Blade, Neat and Megaforce, and bands like Metallica, Slayer, Megadeth, Anthrax, S.O.D., Venom and Possessed. Classic bands and records for sure – but not pure Roadrunner artists as are the ones included in my list, most of whom were signed by myself. I was told to just pick one record per year but for many years, that proved to be an impossible task, so in those cases, two or more are listed. Hope you enjoy.
Monte Connor
Senior VP A&R
(December 2004)
2004
Machine Head came home to roost in 2004, delivering their best work since 1997’s killer “The Burning Red”. This album contains everything we loved about “Burn My Eyes” – a wall-of-guitar mix, jaw-dropping riffs, killer vocals and those same lengthy, simmer-to-boil songs that still sound great 20 listens later. But this album also sounds way more modern and fresh – as modern as any metal record of 2004, in fact. And Robert Flynn has matured greatly as a lyricist over the years, writing some of the deepest lyrics around – passionate, introspective and most importantly, meaningful. Comeback of the year.
The pressure was on these guys to follow up their monster debut, especially as new singer Howard Jones had yet to make his album debut with the band. And boy did they deliver. A current classic. A future classic. Once again, a Roadrunner band sets the bar that all others must follow.
While many of you probably don’t yet know this band, this is a record that demands to be heard. It’s the kind of record you don’t tire of, one that gets better with listen. The hooks are not immediate, but that’s what makes it so rewarding when you are on your fourth or fifth listen and that light bulb finally goes off and the greatness is not only apparent, but slaps you in the head. This is not typical metal but more a cross between metal and screamo, though even that description does not really do them justice as 36 sound like no other band, largely due to Brock Lindow’s awesome (at times billy goat-like) vocals.
While I hesitated to include a compilation in this list, this is quite simply the best, most thorough metal compilation I have ever heard. The first volume was great, but this one crushes it and believe it or not, only contains 5 or 6 repeat bands from the first volume. This record has it all from nu metal to metalcore to black metal, from the stuff you hear on the radio to the stuff you will never hear on the radio in a million years. If there was a 2-disc metal compilation that summed up the genre in the last 10 years, this is it.
2003
After a lackluster debut, Chimaira surprised the metal world in 2003 with this storming, brutal metal masterpiece. Talk about a band with their backs to the wall who put their heads to the grind, worked their asses off and emerged as true victors with a new lease on life and scraps of metal still hanging from their teeth. This band knows what they want and nothing stands in their way.
2002
The sound of metal screaming into the future. The most exciting record in metal in quite a few years, and one that would launch a genre of copycats. Once again, Roadrunner was right on the cutting edge and beat everyone else to the punch.
Slipknot firing on all 9 cylinders before an ecstatic horde of Maggots in London touring in support of “Iowa” – the heaviest, most uncompromising record to ever come out. All the classics are here. Everything about this DVD is perfect, from the super clear mix, to the uncaged energy coming from every festering pore of the stage to the cutting edge technology used to film and author the DVD. As far as music DVDs go, this was just about the most elaborate DVD of its time and is still today used as a measuring stick by which all other music DVDs are judged. Must be seen and heard to be believed!
2001
Nickelback – “Silver Side Up”
This is the biggest selling record in the history of Roadrunner, due largely to it containing the most played song of 2001 – the timeless smash “How You Remind Me”. This record was a real victory for Roadrunner. We had been trying to break a non-metal band since the late 80’s. Nickelback were not the first straight-up rock band signed to Roadrunner – they were just the first one to succeed, and we have not looked back since. This record opened the doors for more rock at Roadrunner and at the same time made us realize how important it was to never forget our metal roots and brand. If there was one record that changed the face of Roadrunner and had a massive impact, this was the one. It proved Roadrunner was more than just metal.
Ill Nino - “Revolution/Revolucion”
Ill Nino took the Cavalera blueprint and added their own twists and touches to produce one of the best metal albums of 2001. They pushed the limits of the day’s brutal downtuned (nu) metal riffology, adding Flamenco flavored guitar work, pulsing Caribbean-flavored rhythms and Spanglish lyrics. “Revolution…” showed this Latin mob at the height of their prowess and hunger.
2000
Spineshank – “The Height Of Callousness”
Sometimes bands experience that magical moment where all the planets align and the magic happens. This record is the perfect example of that. I think a lot of its magic and charm has to do with Scott Humphrey’s mix which is the perfect head on collision of electronics and metal. It’s a very violent sounding mix and one that exudes pure energy from start to finish. I get a rush every time I hear it – still.
Glassjaw – “Everything You Ever Wanted To Know About Silence…”
This record could have served as the blueprint for the entire screamo movement that was to become hugely popular a few years after it came out. For that reason, like many records on this list, it is both innovative and groundbreaking.
1999
Slipknot "Slipknot"
Every few years a metal record comes along that changes all the rules and changes the entire landscape for heavy music. In 1991, it was Pantera's 'Vulgar Display Of Power,' in 1994, it was Kornís self-titled debut, and then in 1999 came 'Slipknot,' an album that combined the best elements of death metal, speed metal and nu metal to create an ugliness that had never been heard or seen before. The vibe on this record is thoroughly frightening from start to finish. You will not find more passion or emotion anywhere. Out of every record I have ever been involved with, this is my proudest moment. The ultimate metal record of all time, period, end of story.
1998
Soulfly "Soulfly"
Max Cavalera sure had a lot to say back in 1997 and Ross Robinson was the man to coax every sweaty ounce of it out of him. This record is all over the place in a chaotic and psychotic way but it all holds together to form one of the most creative, dynamic and off-the-wall metal records you will ever hear. This album is every bit as solid as Maxís last with Sepultura (Roots) and continues many of the ideas first visited on that album.
Fear Factory "Obsolete"
A worthy follow up to 'Demanufacture,' though not quite as innovative. Itís basically Fear Factory doing what they do best while still on a creative terror. This time the production and mix is way richer and thicker, sounding as majestic and cinematic as the music it is married to. The song 'Cars' was a smash, giving the band their first radio hit and Gold record. And to this day, 'Edgecrusher' is one of the bandís most undeniable tracks and a staple of their live set.
1997
Coal Chamber "Coal Chamber"
Ah, the ever controversial Coal Chamber. The controversy started because Coal Chamber were the very first band after Korn to come out with that then-distinctive nu metal sound. As much as they were maligned back in the day, it is ironic that now, some 500 nu metal bands later, Coal Chamber has had the last laugh because history has been kind to the band and they are now regarded as real innovators of that sound. Some of the songs here are still timeless, like 'Loco,' 'Big Truck' 'Sway' and 'Oddity.' Simply put, this was the right record at the right time and it really struck a nerve with the kids in a huge way.
1996
Sepultura "Roots"
Sepultura were on a creative high here, bringing all sorts of new tribal and third world elements into their sound ñ something Max still does to this day with his new band Soulfly. The band took a big chance with this record, as it was vastly different from the more traditional metal heard on Chaos A.D. This one owed more to the ìnuî school with its fat, down-tuned Korn style riffs. Producer Ross Robinson was the perfect man to helm the sessions as he knows no rules and really got the bandís creative juices flowing. While it alienated some core Sep fans and got some bad reviews when it first came out, it has come to be regarded as a groundbreaking classic. It certainly kept the band relevant sounding for many years to come. Besides featuring the bands all-time classic song 'Roots Bloody Roots,' it has the most muscular and beefy mix ever to be found on a metal record, and even on an Andy Wallace record. The pummeling, bass-heavy (in a good way) mix just adds to the power of the material.
Type O Negative "October Rust"
This was a very different animal than Bloody Kisses with a less dry, more lush and layered sound. While it was a tougher listen, the rewards were equally as great and this is considered to be the bandís next best album after Bloody Kisses .
1995
Fear Factory – “Demanufacture”
Fear Factory never sounded better than on this landmark 1995 release. Not only did their songwriting take a huge jump up from their debut album, but Burton C. Bell greatly expanded his vocal range, utilizing a new found heavy voice that sounded tough as opposed to brutal, and it was the main factor in why the band were able to break out of the narrow confines of the death metal graveyard and gain exposure a whole new audience who were as enthralled with this album as I was.
Deicide – “Once Upon The Cross”
As great as their self-titled debut was, this one gives it a run for the money. It certainly is the best produced and best sounding Deicide record. I've often called this the most commercial death metal record ever recorded, and as preposterous as that sounds, it's true in that these are all short, perfectly arranged songs with no fat, smart arrangements and huge hooks all over the place.
1994
Machine Head – “Burn My Eyes”
When this album came it out, it was the quickest selling debut in Roadrunner history. I just played it the other day and it sounds as good today as it did in 1994. I'm aware that I keep saying that about many of the albums listed here, but that is always the true sign of a classic record – one that stands the test of time. What I particularly love about this record, besides Colin Richardson's amazing mix, is the way the songs are constructed and arranged. Lengthier than the average metal songs, Flynn and Co. use the extra time to write great intros to each song that really build in tension, so that by the time the first vocal kicks in, that in itself is a great payoff. There's very little fat on this record – every second is utilized and every note belongs. Simply immense.
Nailbomb – “Point Blank”
This was a one-off side project of Max Cavalera and Alex Newport (of Fudge Tunnel) whose intentions were "To make the fucking heaviest album ever," stated Max at the time. Nailbomb's sound combined hardcore, industrial and metal to push the envelope in every direction imaginable and create an album that was truly an uncomfortable listen. Containing classics like “Cockroaches,” “Wasting Away” and “Sum Of Your Achievements,” this release remains the noisiest, heaviest, brutally fucked-up two man pile-up of anger, hatred and noise-for-noise's sake you've ever heard.
1993
Type O Negative – “Bloody Kisses”
This is the album where the modern day Type O Negative was born, with Peter Steele shedding the hardcore influences that could still be heard on Slow, Deep And Hard and going fully goth. It was the first Roadrunner album to go Gold so it holds a special significance for me. It is filled with timeless songs - each and every one a glorious soundscape in both beauty and pain. It will go down as one of most artistic and deep records that this label, or any label, has ever released, and you can bet that 30 years from now, new kids will be discovering and enjoying it.
Sepultura – “Chaos A.D.”
This is the album where Sepultura really hit their stride, finally slowing things down to a mid-paced groove as opposed to the race-to-the-finish speed that dates their earlier works. Many fans feel this is where Sepultura peaked. It quickly surpassed Arise both in terms of sales and as the biggest release on Roadrunner to that date, and spawned some of the band's most revered classics, like “Refuse/Resist” and ‘Territory.”
Life Of Agony – “River Runs Red”
Tell me, whose got a voice like Keith Caputo? As I sit here and type these notes, it is making me realize just how groundbreaking and unique so many of our artists were. Like any true classic , this album still sounds great today with those distinctive vocals and heartfelt, personal lyrics. There was a real N.Y. scene back in the early 90s, with bands like Life Of Agony, Type O Negative, Biohazard, Madball and metalcore pioneers Vision Of Disorder – all on Roadrunner. I often joked back then that while the rest of the A&R guys were off in Seattle looking for the next big grunge band, I had my own Seattle in my backyard – Brooklyn, N.Y., motherfucker
1992
Biohazard – “Urban Discipline”
While Biohazard's tough guy image, explosive stage persona, hand gestures and lyrics about hard life and hard times in New York seem like a parody today, back in 1992, this album was the shit! It was a truly pioneering rap rock record, featuring dual lead vocalists and a guitarist, Bobby Hambel, whose patented spinning-in-place-while-pumping-out-the-riffs guitar move is still one of the coolest things I have ever seen on a stage.
Fear Factory – “Soul Of A New Machine”
This was a groundbreaking album in that prior to its release, no band of note had utilized the dual vocal approach of alternating between deep, guttural singing and melodic crooning. Today with Korn and hundreds of other bands using this vocal style (not to mention every metalcore band on the planet), it is commonplace, but back in 1992, it was pioneering and it gave this album the edge over the competition. Not to downplay the machine gun riffs and drums that interlocked in unison to give Fear Factory a colder, more precise, more technical, more machine-like sound than any bands before them.
1991
Type O Negative – “Slow, Deep And Hard”
This album was hardly a commercial success (it sold 13,000 copies in the U.S. back in the day, before the band exploded on their follow-up), but it remains once of the most artistic and brilliant works in our catalogue. The 12+ minute opus “Unsuccessfully Coping With The Natural Beauty Of Infidelity” (aka “I Know You're Fucking Someone Else”) musically and lyrically summed up the entire record, and Peter Steele proved it was OK for men to both have emotions and verbalize them (“I'm a man, but it still hurts….”). Essential.
Sepultura – “Arise”
When this album was released it became the biggest seller in Roadrunner history and firmly established both the band and Roadrunner Records. It is still hands down a speed/thrash metal record but you can hear the beginnings of the modern Sepultura sound that would bloom on Chaos A.D. in Max's more enunciated vocal delivery and his new less-is-more lyrical approach (due undoubtedly to his improvements in speaking English). Here, Max is really starting to shine as a powerful metal singer and band leader.
1990
Deicide – “Deicide”
For me, this is still the greatest pure death metal record of all time. It was the first time anyone had ever used the now commonplace “demon scream” - layering high-pitched, demonic shrieks over more traditional guttural vocals. If someone did that before vocalist Glen Benton, it's news to me. Yes, this album was Glen's moment and he was on fucking fire! I would even go as far as saying it contains the best death metal vocals of all time. I still get chills down my spine when I hear Glen belt out his lyrics. It was also the first record Roadrunner ever released that contained blast beats.
Obituary – “Cause Of Death”
Some prefer this to Obituary's debut. It's certainly more technical, with longer, better-written songs and some killer solos by James Murphy. Definitely a more mature record and one that would cement the Obies as the biggest death metal band in the world back in period 1990-1993.
1989
Sepultura – “Beneath The Remains”
1989 was the year when my first signings started releasing their debut albums and Sepultura were the second band I signed. I could lie and say I saw this incredible album in the band when I signed them. Truth be told, while I obviously saw a spark and the potential for something greater in the future, even I was surprised when they turned in this monster. Not only did Sepultura establish my A&R foothold at Roadrunner, they quickly replaced King Diamond as our flagship act and held that title for many years. Though this speed/thrash metal album has not aged as well as Reign In Blood , it surely gave it a run for the money back when it came out.
Obituary – “Slowly We Rot”
While Obituary were not the world's first death metal band, they were the first to feature a singer like John Tardy, whose inhuman, guttural growls were groundbreaking in that he didn't use actual lyrics – he just growled and barked away to the music, throwing in an occasional word here and there. I'm not kidding. Check out the record. It remains one of death metal's most primal slabs of death, doom and sludge and wins big points for its kinship to the legendary Celtic Frost.
Annihilator – “Alice In Hell”
Back in 1989, this album was big news, especially in Europe, where the kids freaked out over Jeff Waters' guitar heroics and the song “Alison Hell.” The band, still going today, has never topped it, although the second album Never Neverland was a very worthy follow-up. On a personal note, this album was already out and selling quite well before the May 1989 tag team release of the Sepultura and Obituary albums above, so Annihilator and this album hold special significance as my first real A&R success.
1988
King Diamond – “ Them ”
This, along with its follow-up Conspiracy , is the last of the great King Diamond albums. For me, it doesn't touch Abigail , but back in 1988 King Diamond was the coolest name in the underground and it was big news, handily outselling Abigail . The fans ate it up, the ticket sales went through the roof (the tour for this album featured King's most elaborate stage props yet), metalheads never looked at their grandmothers the same way again, and Gene Simmons got his panties in a wad (he threatened to sue, claiming King's make-up was too similar to his, fearing confusion among Kiss fans).
1987
King Diamond – “Abigail”
King Diamond peaked early in his career as a solo artist, but oh what a peak it was. An incredibly chilling, morbid, edge-of-your-seat concept album that sounds as cool and badass today as it did back in 1987. The level of musicianship is top notch throughout, especially in the guitar department, with the battling leads of Andy La Rocque and Michael Denner often grabbing the spotlight. The whole band sounds on fire and Roberto Falcao's reverb-drenched, 80's production suits the material perfectly. A must-have for any real metal fan. This was the first Roadrunner release to crack the Billboard Top 200 chart.
Carnivore – “Retaliation”
Prior to Peter Steele forming Type O Negative, he and his band Carnivore released perhaps the greatest hardcore/crossover album of all time. Filled with pent-up rage, hatred and lyrics that are so intense you can feel the spit hit your face as you listen, it was literally a seething powder keg waiting to explode. This has to be one of the most underrated albums Roadrunner has ever released and it still packs the same punch 18 years later.
1986
King Diamond – “Fatal Portrait”
King Diamond was the first act Roadrunner truly found success with and he was a cornerstone artist for us from 1983 right up through 1989. “Fatal Portrait” was his debut as a solo artist (following the break-up of Mercyful Fate), although one could strongly argue it was just as much a band effort. As thoroughly solid as this record was, it’s four thematically linked songs were just a taster of the majesty and grand storytelling that The King had in store for us on his forthcoming, full-blown conceptual works.
1985
Whiplash – “Power And Pain”
This album isn’t quite worthy of sitting in the company of the rest on this list, but it happens to be the best thing Roadrunner released in 1985, hence its inclusion. While it hasn’t quite stood the test of time, back then, it had thrash metal fans the world over enthralled with its razor-sharp, technical riffs. Whiplash, along with Carnivore, was the first band ever signed directly by the Roadrunner U.S. office. Sadly, bassist Tony Bono passed away a few years back.
1984
Some Fate fans prefer this to “Melissa” but for me, there is something much darker and more sinister about “Melissa” and that gives it a slight edge. Nevertheless, this one sonically sounds way better and contains some of Fate's most well known tracks. It proved that the first album was no fluke. It's also proved, sadly, to be the band's last album.
1983
Ten More Essential Albums
Killswitch Engage – “The End Of Heartache” 
36 Crazyfists – “A Snow-Capped Romance” 
Chimaira – “The Impossibility Of Reason” 
Killswitch Engage – “Alive Or Just Breathing” 
Slipknot – “Disasterpieces” DVD
Mercyful Fate – “Don't Break The Oath”