The 100 Best Albums of the 1980s
The 100 Best Albums of the 1980s


Madonna, True Blue

Sure, some of the production choices on True Blue sound chintzy and dated in comparison to those on Madonna’s other ’80s releases, but there’s no getting around the fact that five of the album’s nine tracks are among the strongest individual singles of her career. More importantly, though, True Blue was the album on which it became readily apparent that Madonna was more than just a flash-in-the-pan pop star. It’s when she began manipulating her image—and her audience—with a real sense of clarity and purpose and made sure she had quality songs to back up her calculation and world-dominating ambition. Keefe

The 100 Best Albums of the 1980s


Elvis Costello and the Attractions, Imperial Bedroom

Imperial Bedroom can be a challenging listen at times, but the hooks and melodies are so beguiling and infectious that it’s about as close to pop as Costello has ever gotten. There’s a myriad of sounds and styles coalescing wonderfully throughout, and the quirky songwriter punctuates each of his sonic detours with jaunty badinage and pert observations. The album boasts some absolutely astonishing wordplay, with even its most personal harangues arriving veiled in clever allegories and razor-sharp double entendres. Despite its lackluster commercial performance, then, Imperial Bedroom affirms Costello as a poet laureate for the counterculture and a restless musical genius all in the space of 50 topsy-turvy minutes. Jones

The 100 Best Albums of the 1980s


Echo & the Bunnymen, Ocean Rain

Black-velvet rock with a distinct romantic bent, Echo & the Bunnymen’s fourth and best album, Ocean Rain, flirts with ridiculous excess but remains sturdily in check, anchored by Ian McCulloch’s big, crooner-style voice. Never as silly as the gaudy goth luminaries that surrounded them, the band employs many of the same elements and flirts with similar deathly impulses, shaping a dreamy sound that utilizes a full orchestra to call up extravagant flourishes and explore pools of inky gloom, using tracks like “The Yo-Yo Man” to hint at dramatic excess without ever veering into outright theatricality. Cataldo

The 100 Best Albums of the 1980s


Bruce Springsteen, Nebraska

Strip the bombastic showmanship from Bruce Springsteen’s back-alley narratives, take away the E Street Band, and you get Nebraska, a fragmentary collection of four-track demos that ended up being viable all on its own. These embryonic shells place the lingering desperation that had always lied beneath the surface of his songs into sharp relief, from the killing spree of Charles Starkweather and Caril Ann Fugate on the title track to the last-ditch liaison of “Atlantic City.” Incorporating such far-flung influences as Suicide, whose desperate whoops Springteen emulates on the grim, haunting “Highway Patrolman,” it’s a desolate sonic landscape that’s leagues more progressive than anything he recorded before or after. Cataldo

The 100 Best Albums of the 1980s


Talk Talk, Spirit of Eden

Opener “The Rainbow,” a deconstructed blues song splayed out over seven minutes, sets the perfect tone for Talk Talk’s Spirit of Eden, the song’s blown-out harmonica wheezing over barebones soft-jazz backing. The album presents a series of similarly deliberate excursions, whose sustained focus on individual elements, like the harmonica and rudimentary blues arrangement of that opening song, twists and transforms them. Despite the initial air of chilled-out simplicity, each of these songs is actually a twitching patchwork of carefully blended elements, with twinkling piano crawls that blossom into sustained electronic explosions, all bracketed by a mystical, quasi-religious style of lyrical wordplay. Cataldo

The 100 Best Albums of the 1980s


Kate Bush, The Sensual World

It’s hard to pin down what makes Kate Bush’s music so completely infectious, but it probably has something to do with the reckless abandon with which she tackles what could otherwise be preposterous material. The topics on The Sensual World, ranging from a musical rendering of the epilogue of Ulysses to a love song directed at a computer program, are often wholeheartedly silly, and yet these songs never come off as anything less than totally and achingly believable. Blessed with one of music’s most wildly expressive voices, Bush takes each song further than she has to, resulting in an album that forms its own unique world. Cataldo

The 100 Best Albums of the 1980s


808 State, 90

If 90 was “Pacific 202” and 30 minutes of tape noise, it’d still be a stone-cold classic. But 808 State’s signature song (here a truncated six minutes of sax, synth, and roiling, rubbery bass), is just the most successful condensation of the diverse sonic tendencies explored on 90. Paced like an excellent DJ set from guys who’d spent enough time in the club to know, 90 doesn’t build so much as it ebbs and flows between the assertively groovy and the totally blissed out. A thrilling expansion of the possibilities for acid house and arguably the best LP ever produced in the style, 90 shows that even a transient fad can be an impetus for world-making. Cole

The 100 Best Albums of the 1980s


Prince, Dirty Mind

Prince, unlike George Michael, doesn’t feel the need to justify sex, that it’s natural, it’s good. He’s content to let his dick do the talking, without apology. But Prince isn’t simply shooting his dithering load on this 1980 breakthrough, he’s radically redefining sex, its expression and power. Just as the album’s production is a succulently bouncy and interwoven tapestry of funk, pop, and rock, the wily Prince fearlessly and mischievously indulges fantasy and ambiguously adopts countless roles and personas, addressing throughout both his anima and animus. He will daydream of fucking some honey in his daddy’s car, getting head from another on her wedding day, but he will also sneak in glistening moments of doe-eyed romanticism, even a startlingly metaphoric commentary on race and class. This is liquid love in its purest and most thought-provoking form. Gonzalez

The 100 Best Albums of the 1980s


R.E.M., Lifes Rich Pageant

In which the college (rock) kids graduate and head into the real world, ready to take over. And, in R.E.M.’s case, they came pretty close to doing just that. Lifes Rich Pageant stands as a nearly seamless transition between the band’s formative period and their commercial dominance. The ragged, frenetic energy of R.E.M.’s early work is captured on “Just a Touch” and “These Days,” while “Fall On Me” and their cover of the Clique’s “Superman” showcase a newfound emphasis on pop hooks. In striking that balance, Lifes Rich Pageant is a template for how the “alternative” music the band was largely responsible for originating would, less than a decade later, become the dominant narrative in the music industry. Keefe

The 100 Best Albums of the 1980s


The Smiths, The Smiths

There’s no reason why a mordant, sexually frustrated disciple of Oscar Wilde who loved punk but crooned like a malfunctioning Sinatra should’ve teamed up with a fabulously inventive guitarist whose influences were so diffuse that it could be hard to hear them at all and formed one of the greatest songwriting duos of the ’80s. On classics like “Hand in Glove” (which had Morrissey outing himself before anyone had even thought to speculate about this sexuality) and “This Charming Man,” Morrissey says a lot but always insinuates more. Though that’s not the case on “Suffer Little Children,” a ghoulish retelling of a real-life tragedy in which five children were sexually abused and murdered. Its unforgettable refrain finds Morrissey channeling the ghosts of Britpop’s sacred city: “Manchester, so much to answer for.” Cole