There may be OTHER essential albums from that amazing decade, but these 50 are absolutely essential to any well-rounded music collection. I only selected ONE album per artist. These are not in any type of order... and my personal opinion, of course. i would love to know what other albums should be added to this list... but if someone were to ask me what 50 albums I need to buy to get the best of the best from the 80's, this is the list I would give.




LOVESEXY - Prince
Which Prince album is the most essential? His quilt-work masterpiece "Sign o' The Times"? The minimalist funk pop of "1999"? The smoldering guitar and r&b of "Purple Rain"? Those are all essential, to be sure. But it was the undervalued "LOVESEXY" that Prince pulled out his trump card. "LOVESEXY" is funky, lighthearted at times and deadly serious at others, cunningly crafted, and sometimes bewildering and frustrating. What it is not is ever boring. "Anna Stesia" ranks among Prince's finest compositions. The production, in particular the vocal arrangements, are nothing short of astonishing. Nothing else sounds like "LOVESEXY" - nothing did at the time, and nothing has since. It falls in a netherworld of pop, funk, soul, r&b and mythic spirituality that no other artist could even begin to touch. In a legendary career, "LOVESEXY" is the crowning moment.

DISINTEGRATION - The Cure
Robert Smith and his ever-revolving band provided the soundtrack to teen angst for millions during the 80's. Sullen, serious teens, huddled in their bedrooms with dark thoughts and even darker music. "DISINTEGRATION" is the perfect soundtrack to a troubled heart. Sweeping and vast in scope, the album pulls you in and keeps you there. The music sounds like the cover - dark greens, organic, subtle currents moving about... The troubled psychadelia of "Fascination Street"... the obsessive "Lullaby".. The anguish of "Prayers for Rain" and "Disintegration".. the longing and heartbreak of "Homesick" and "Last Dance"... the poignant regret of "Pictures of You".. The Cure has always been undervalued because of Robert Smith's somewhat cartoonish appearance, but he has few peers for sheer songwriting brilliance.

SWEET DREAMS (ARE MADE OF THIS) - Eurythmics
This is the essence of New Wave.. stripped down, laid bare synths. Quirky, dark and atmospheric. Annie's gorgeous vocals sometimes floating like a ghost ("Jennifer", "This City Never Sleeps") and sometimes shouting out at full range ("This is the House", "Love is a Stranger"). "SWEET DREAMS" is an album full of neurotic obsessive tales of lost love and regret.. chilling and exciting at the same time.

LET IT BE - The Replacements
Raw and unrefined, with simply dead-on songwriting by Paul Westerberg - "LET IT BE" is the Replacements finest moment. It's messy and irreverent at times, and also unapologetically nostalgic (check out the note-perfect, very respectful, cover of Kiss's "Black Diamond"). A great rock album for nights too late with too much alcohol and too many cigarettes.

SO - Peter Gabriel
Peter Gabriel has never matched "SO" artistically or commercially. His world music obsession melded perfectly into dense, beautiful, pop music. The world music touches don't overwhelm the music, but instead compliments it. "In Your Eyes" is a landmark recording. "Mercy Street" is poetic and gorgeous, all shades of white and black and gray.. it just sways out of the speakers. "Don't Give Up" is now a standard. Every track is killer, and as an album is stands up as among the finest recorded during the 80's.

THRILLER - Michael Jackson
Too bad MJ has become such an alien freak show. "THRILLER" showed what raw talent the man has, er, had. "Billie Jean" is the centerpiece... a funky shuffle rhythm that starts calmly and then builds to a frenetic climax, with a vocal arrangement that is pure genius. "Beat It" was a ballsy, seamless meld of funky pop and jagged rock guitar. There's the sly funk of "Wanna Be Startin' Something" and "PYT", and the lovely r&b pop of "Human Nature" and "The Lady in My Life". The only weak moment is "The Girl is Mine", a gimmicky duet with Paul McCartney that flaws an otherwise exceptional record.

SYNCHRONICITY - The Police
The tension on this album is what drives it.. the band ultimately disintegrated, and this record is the soundtrack to that unraveling. "Every Breath You Take" is a dark hymn of obsession.. "Wrapped Around Your Finger", with its serpentine melody and keyboard riff and erudite lyrics, is that type of song that wouldn't have a prayer at Top 40 radio in the year 2004, but was a Top 10 hit back in 1983. Has anything as frankly confessional and despairing as "King of Pain" ever made the pop charts? Then there's the brilliant tale of suburban isolation, "Synchronicity II". Sting is so pretentious that it is almost charming, and somehow it works... Musically "SYNCHRONICITY" shows a tight band at the top of their game, giving lots of space when they need to (on the eerie "Tea in the Sahara"), and able to fill it up when necessary (like the frenzied keyboards on "Synchronicity I".) Sting's partners in crime each get a song, and they fit the mad tapestry of the album perfectly: the off-kilter, demented "Mother" and the breezy, slightly twisted "Miss Gradenko". "SYNCHRONICITY" is undoubtedly the darkest, most nightmarish record ever to become a massive smash hit apart, perhaps, from Pink Floyd's "THE WALL".

LIKE A PRAYER - Madonna
Purely perfect pop.. Madonna has never matched "LIKE A PRAYER" for its sheer pop exuberance. The title song is evocative and powerful, and its accompanying video was visually striking. "Express Yourself" is a dance-floor anthem, as it "Keep it Together". "Oh Father" and "Promise to Try" are heartfelt and filled with naked emotion. "Cherish" is a piece of throwaway pop, but Madonna more than makes up for it with the startlingly honest "Til Death to us Part", and the meandering psychadelia of her duet with Prince on "LoveSong". A great album that never sounds dated, and stands up with the great albums of the decade.

PEEPSHOW - Siouxsie and the Banshees
Siouxsie had been the presiding goth-queen for nearly a decade by the time this album, far and away the best she ever recorded, was released. "Peek-a-Boo" was a twisted carnival ride, with discordant accordions over a helter-skelter, edgy rhythm. Her voice never sounded better than on the lovely "Last Beat of My Heart". "Ornaments of Gold", "The Killing Jar" and "Carnival" are all top-caliber alternative pop, but the highest moment comes with "Scarecrow"... the last verse, with Siouxsie almost spitting out the lyrics above the driving beat, is electrifying.

LONDON CALLING - The Clash
The culmination of all of punk rock was "LONDON CALLING", the album that defines the genre. Full of venom and humor and surprisingly melodic hooks, the album sounds fresh today (thanks to the new remastered version). The title track is still the best.

MUSIC FOR THE MASSES - Depeche Mode
DM didn't hit their peak until the start of the 90's - the brilliant "VIOLATOR", but they were almost there on its predecessor "MUSIC FOR THE MASSES". DM gets disparaged a bit as lightweight pretenders, but even their detractors must admit that they were experts at dark, melancholy pop. "Never Let Me Down Again", with its dense wall of sound instrumentation, sounds like a train careening down a track, unstoppable. Sometimes DM can be irredeemably corny and dramatic, but it somehow works with Dave Gahan's full-throttle baritone and Martin Gore's more romantic and gushy vocals. Early DM is almost unlistenable because it sounds so dated, but they came into their own on "MUSIC FOR THE MASSES", and took it to the next level on "VIOLATOR".

FREEDOM - Neil Young
After spending much of the decade lost and meandering between genres, in the midst of a feud with his old record label, Neil Young ended the 80's with a late lucky strike: "FREEDOM" had all of Neils' styles wrapped into one. Perhaps his most ageless anthem, "Rockin In the Free World", was like a blast of fresh air into the stale late 80's music scene. Meandering and haunting story-songs like "Crime in the City" and "El Dorado" were vintage Neil. And then there are the delicate ballads, which rank among the loveliest of his career - especially "Hangin' on a Limb". Neil could blast fiery guitars on one track, and then shuffle into a quiet country whisper on the next - and sound totally convincing and sincere in either mode. FREEDOM remains one of the high water marks in a legendary career.

NOTHING'S SHOCKING - Jane's Addiction
Addled with decadence and drug references, "NOTHING'S SHOCKING" and it's equally brilliant follow-up "RITUAL DE LO HABITUAL" represented a peak of creative powers that Perry Farrell would never even hint at reaching again in his career. The threatening, solemn groove of "Ted, Just Admit It", with its frenzied metallic ending is still chill-inducing. "Jane Says" is a classic -regretful, sad but hopeful, unbelievably poignant. The band can rock out ("Pigs in Zen", "The Mountain Song") and meander through psychedelic, late-60's influenced ballads ("Summertime Rolls"). Nostalgic, but still utterly original, NOTHING'S SHOCKING is one of those rare rock albums that is still as badass today as when it was released.

NOTORIOUS - Duran Duran
Why has it always been fashionable to bash Duran Duran? Nobody in the 80's created smarter, edgier, more melodic pop than Duran Duran. Informed in equal doses by Bowie and Chic, with a flair for big stadium-rock melodies, Duran Duran recorded a host of solid albums and unforgettable singles. They reached their peak commercially earlier in the 80's with unforgettable singles like "The Reflex" and "Hungry Like the Wolf", but their artistic triumph was the undervalued "NOTORIOUS". Edgier and more sophisticated, "NOTORIOUS" added an increased element of Prince-like funk into their glam-rock-pop formula. I am still impressed by their arrangements, like the slinky "Skin Trade", the motoric driving synth-rock of "Vertigo", the pure melodic bliss of the title track. Duran Duran were victims of their own success - nobody that popular could POSSIBLY have any artistic merit. A true shame.

THE DREAMING - Kate Bush
Perhaps "HOUNDS OF LOVE" should have been the choice... maybe more memorable, classic songs, and larger in scope. And yet... there is something about "THE DREAMING". It's the soundtrack to someone's deepest nightmares. It's convoluted, messy and bewildering... and yet, after repeated listenings it makes perfect sense. Lyrically it's astounding. Story-songs like "There Goes a Tenner" and "Houdini", along with mythic epics like "Get Out of My House" and "Sat In Your Lap". Best of all is "Pull Out the Pin", a stunning piece about the will to survive.. "THE DREAMING" takes no prisoners, and is as close to a pure artistic vision as one can get on a "pop" album. Kate is the true original.

PRIVATE DANCER - Tina Turner
Like a phoenix from the ashes, Tina stormed back and claimed her rightful place atop the pop world with the stellar "PRIVATE DANCER". She took on Al Green's classic "Let's Stay Together" and absolutely OWNED it. Her vocal prowess and sheer presence was able to make a pop trifle like "What's Love Got To Do With It" and turn it into a classic anthem. She could do new wave-flavored rock ("Better Be Good to Me", "I Might Have Been Queen"), or sultry ballads ("Private Dancer"). The only week point is the vapid rocker "Steel Claw", which should have been replaced by one of the albums B-sides - a stirring cover of the Animals "When I was Young".

NUMBER OF THE BEAST - Iron Maiden
For all of their Spinal Tap indulgences, Iron Maiden released a string of great records in the 80's and 90's. Bruce Dickinson's air-raid siren vocals are capable of driving directly into the brain like a ice pick. Iron Maiden's melodies are always strong, and their musicianship always superb and a bit over-the-top - all of which made them pure metal bliss. "NUMBER OF THE BEAST" contains several Maiden classics, like the hooker saga "22 Acacia Avenue", and the nightmarish title track. Best of the bunch may be the gallows drama "Hallowed Be Thy Name", or the slow, sinister "Children of the Damned". Then there's the classic "Run to the Hills", with its power-driving drums and signature guitar riff. Great stuff... best when played at maximum volume.

DOCUMENT - REM
REM have tried to hold onto the days when they released low-key, indie rock albums, but in the wake of their success that really disappeared after "DOCUMENT", their breakthrough album and arguably the best of their career (with "AUTOMATIC FOR THE PEOPLE" also making a strong case for that title.). "DOCUMENT" at its heart is a great, stripped-down rock album, with strong melodies and great lyrics, like "Finest Worksong" and "Welcome to the Occupation". Then of course there are the pair of alternative rock titans, "The One I Love" and "It's the End of the World as we Know It". This is the album that propelled REM into a larger audience and a larger consciousness, where they have remained ever since.

MOVING PICTURES - Rush
Their fans insist that Rush is the best band, like, EVER, and their critics think they are the worst kind of 70's excess, progressive trash. Suffice it to say, you either "get" Rush or you don't. They make no apologies for who they are, nor should they. The truth is RUSH ROCKS. "MOVING PICTURES" was the bridge between their prog-rock heyday in the 70's, to their more synthesizer-influenced power-rock 80's material. "Tom Sawyer" is the ultimate track to blast in the car stereo, or play air guitar to in front of the mirror. "Limelight" and "Red Barchetta" are Rush standards, still being played in concert today. Then there is "Vital Signs", which is a direct preview of the direction they would take on classic albums like "SIGNALS" and "GRACE UNDER PRESSURE". If you want to start with one album to get a sense of what Rush is all about, "MOVING PICTURES" is the one. Geddy Lee's distinct vocals and the bands absolutely unparalleled musicianship shine through on every track (especially the anthemic instrumental "YYZ".). Buy it, like, today.

SHE'S SO UNUSUAL - Cyndi Lauper
Now, that girl can SING. Despite her cartoonish, and utterly, essentially, 80's persona, at heart Cyndi was a pop belter with a voice and distinct personality that today's pop tarts would KILL for. And under all of the bright colors, "SHE'S SO UNUSUAL" is a top-notch pop album. The driving rock of "Money Change's Everything" is a perfect intro. I defy anyone to put "She Bop" or "Girls Just Want to Have Fun" on the stereo and then not bop along - impossible. This is pop at its smartest and most memorable. Cyndi's forte may be her gorgeous ballads, like the classics "Time After Time" and "All Through the Night". Quirky and fun, yet serious and touching when it needs to be, "SHE'S SO UNUSUAL" launched a great career for a great artist.

KICK - INXS
"KICK" represented the culmination of all that INXS was and all they tried to be - funky and lithe rock, with a bit of Mick Jagger thrown in. At best when it's stripped down, like on "Need You Tonight", which was an unforgettable single - it grabs hold immediately and doesn't let go. "Devil Inside" and "New Sensation" are just as perfect - the simple, edgy guitar riffs over funky, electronic beats.... a recipe that melded at exactly the right time for INXS. They would surpass themselves in the 90's with the undervalued "WELCOME TO WHEREVER YOU ARE", but for sheer 80's pop bliss, it's tough to kick "KICK".

THE JOSHUA TREE - U2
Yes, it's self-absorbed and a bit, say, overdramatic. But that is U2. Bono wears his passions on his sleeve and lets them come out in his music, and its so honest and pure that it works. Lacking even a little bit of the irony that made "ACHTUNG BABY" such a masterpiece, "THE JOSHUA TREE" was all pure emotion and catharsis. "With or Without You" with its slow, smoldering, pulsing beginning and it's throat-wrenching climax may be one of the best 2 or 3 singles of the decade.
Listening to "Bullet the Blue Sky" is like watching a fundamentalist preacher give his all in a sermon - you may not understand every moment, but you can't help but be moved by his conviction. Bono can whisper like on "Running to Stand Still", or shout his anthems like "Where the Streets Have No Name" and "One Tree Hill". As preachy and serious as it is, "THE JOSHUA TREE" is still a remarkable achievement. Nobody can doubt that it is TRUE to what Bono and the boys were feeling, and it came through loud and clear in the music.

DARE - Human League
Somehow, the combination of Phil Oakey's deadpan vocals and the off-key warbles of his female sidekicks over a backdrop of early 80's synthesized blips, blops and bleeps... somehow, it works. It's unique and charming in it's imperfection. "Don't You Want Me" is a lesson on how to make a #1 hit with 3 people who simply cannot sing, with a few syths, in your own bedroom. "DARE" is the album that launched a whole army of wannabe’s and couldn'tbes... but "DARE" remains the original. Raw... unrefined.... goofy and self-conscious.... serious and trite at the same time... "DARE" is very OF its time. It remains perhaps the quintessential New Wave album.

SONIC TEMPLE - The Cult
Somewhere along the way, The Cult decided it wanted to be an arena-rock metal band. Leaving behind it's goth/new wave roots (from brilliant early-era albums like "LOVE" and "DREAMTIME"), The Cult first found their metal mojo on the thrilling, psychedelic rock of "ELECTRIC", before getting bigger and better with producer Bob Rock on "SONIC TEMPLE". They could have fallen flat on their face, and they probably would have it the material had been weaker - but they hit a home run. "FIRE WOMAN" is still a great song to blast at full volume while driving along the highway - and, of course, perfect for singing at the top of your lungs. The Cult hits all areas of mystic, late 60's inspired rock, with a love for both The Doors and Black Sabbath evident is motoric rockers like "Sun King" and "Sweet Soul Sister". A little derivative? Of course. Yet, nobody can deny that "SONIC TEMPLE" rocks hard.

FEEL - Human Drama
The debut album for Johnny Indovina and his brilliant band Human Drama, it got lost in major-label limbo, with no promotion and no hope for success - a pure shame. Human Drama released a string of very strong albums, staring with "FEEL" that, had they received ANY attention, would have placed them among the decades' alt-rock titans. Johnny Indovina's passionate and confessional lyrics over alternating blazing electric and more delicate acoustic guitars are truly profound. His voice had the ability to pulse quietly and intimately, and then to howl at full power on tracks like "There Is Only You" and "I Could Be a Killer". "FEEL", and the entire Human Drama story, is a lesson in how there are many great bands toiling in obscurity, while the corporate giants at Clear Channel force feed music fans the same tired product, in search of the latest fad.

FAITH - George Michael
This album was everywhere and everyTHING at its peak... and there is a reason for that. "FAITH" has its share of unforgettable pop songs, from the funky and daring (at the time) "I Want Your Sex", to the stripped-down acoustic ditty title track, to the solemn, devotional r&b of "One More Try". Few vocalists have George Michael's smooth tenor, and his amazing range... "FAITH" is fun and serious, a great pop album from an underrated artist.

HEARTBEAT CITY - The Cars
One of the mainstays of New Wave hit their artistic and commercial zenith with the superb "HEARTBEAT CITY". The Cars sounded like nobody else, and although they have had many imitators since, nobody has matched their unique, driving, witty brand of rock. "You Might Think" and "Magic" are instantly recognizable smash hits from "HEARTBEAT CITY", but the highest honors go to the lean and mean "HELLO AGAIN" and the gorgeous ballad "DRIVE", with vocals by the late Benjamin Orr. The Cars released one more lackluster album after "HEARTBEAT CITY", for all intents and purposes this was their last hurrah.

THE FLAT EARTH - Thomas Dolby
Thomas Dolby hit it big with "She Blinded Me With Science", which must have been like a rope around his neck... he was never able to escape from that song. Which is a shame, because his 2nd album "THE FLAT EARTH" was an early 80's new wave masterpiece. He tried to recreate the pop success of "Science" with the creative, zany, "Hyperactive!", but American pop audiences were not impressed. The rest of "THE FLAT EARTH" is much more substantial. The slow moving and nostalgic "Screen Kiss"... the organic, quirky "The Flat Earth"... the solemn cover of an obscure 60's track, "I Scare Myself"... "THE FLAT EARTH" was no surprise to fans who had delved beyond "She Blinded Me with Science" on Dolby's also-excellent first album, "The Golden Age of Wireless", but for those that only wanted "Science" part 2, "THE FLAT EARTH" was a little too subtle. A shame.

REACH THE BEACH - The Fixx
With Jamie West-Oram's distinctive guitar and Rupert Hine's lean production, The Fixx was a mainstay of rock radio in the early 80's. Their best work was "REACH THE BEACH", a great mix of arena rock and more quirky, edgy new wave. "Saved by Zero" and the smash "One Thing Leads to Another" are high-lites, along w/ the minor hit "Sign of Fire" and the great title track, with its moody keyboard riff. A very interesting album, not quite taken as seriously as it should have been.

TRUE - Spandau Ballet
The rest of this album was unfortunately obscured by the massive success of the title track, and elegant and sophisticated pop ballad that stormed to the top of the charts. Too bad that so few noticed that the entire album is excellent - beautiful and intelligent pop, with a flair for the dramatic, and great melodies. "Gold", "Communication" and "Code of Love" are all great moments, but in reality there are no weak tracks. Spandau Ballet was never able to match this level of success either commercially or artistically, but at least they produced one magical album that is great from start to finish.

APPETITE FOR DESTRUCTION - Guns ' n Roses
There was nobody bigger or cooler than GNR when this album hit it's peak... and the album packs a punch. Sleazy, edgy, hard-rocking, destructive - all the things late 80's metal should be. "Sweet Child o' Mine" - unabashedly sentimental, yet with feverish guitar riffs and solos - is tremendous. "Welcome to the Jungle" is now a classic metal anthem, as is "Paradise City". GNR was never afraid to explore the seedier side of life in LA, like on "Rocket Queen" and "Mr. Brownstone". "Nighttrain" is pure, hard-driving, melodic metal bliss. Still sounds great some 15 years later....

OH MERCY - Bob Dylan
Mr. Zimmerman awoke from his slumber that lasted for most of the 80's (although, "INFIDELS" had its moments), and teamed up with legendary producer Daniel Lanois for his best work since "BLOOD ON THE TRACKS". "OH MERCY" is low-key, menacing, and thrilling... it's the template for Dylan's more recent successes, "LOVE AND THEFT" and "TIME OUT OF MIND". Classic tracks include "The Man in the Long Black Coat", "Ring them Bells", "Most of the Time", "Political World" and "Everything is Broken". Essential Dylan.

SKYLARKING - XTC
Great album that only got the attention it deserved when the B-Side to one of it's singles, "Dear God", took off unexpectedly, and got added to the album.. It fit in perfectly. "SKYLARKING" is XTC at its best... clever, acoustic-driven pop... Beatlesque with a darker edge..


TECHNIQUE - New Order
The best of a great catalogue. Still wondering why they sabotaged the album's success by choosing the offbeat "Fine Time" as first single... Some of the bands catchiest songs, "Round and Round" being foremost among them. "Love Less" is a song that should have been a Top 10 hit, but that could be said about many of the tracks on "TECHNIQUE".

STRANGEWAYS HERE WE COME - The Smiths
Really, any Smiths album could arguably be on this list, but I prefer their swansong, just because it was their last gasp before Moz started his string of excellent solo records... "STRANGEWAYS" seems and end of an era. And, of course, there is the great material: "Girlfriend in a Coma", "Stop Me if You Think That You've Heard This One Before", and of course "Paint a Vulgar Picture" which is about the most honest and dead-on truthful song ever written about the music industry. "Rush and a Push and This Land is Ours" features some of Moz's best vocals, and is just a great melody... its propels the album forward. Many may disagree, but I still think "STRANGEWAYS" was the Smiths' finest album.

BORN IN THE USA - Bruce Springsteen
"Dancing in the Dark" was about as un-Springsteen as you could get, but it was a great rocker, and a huge radio anthem in 1984. And that was only the first single. "BORN IN THE USA" is one of those timeless albums that defines a decade. "Glory Days"... "Cover Me".... "My Hometown".... the title track.... "I'm on Fire"... songs that everyone knows and has heard a zillion times because, damn it, they are so freaking GOOD. Bruce was finally able to translate his working-class story-songs into a massive mainstream audience, and he has since then been considered by many to be the top "rock star" in America. The Boss.

1984 - Van Halen
Those electric synth lines of "Jump" sent ripples of outrage and shock throughout Van Halen's die-hard fans, who thought they sold their souls for wider success... well, maybe they did, but in doing so they made a HELL of an album. "Panama" still has that same edge of excitement, and "Hot for Teacher" is still funny as hell. Eddie's guitar licks are great as always, but here the songwriting finally caught up to the musicianship. Who could resist "Jump"? Not many, which is why it reigned on the top of the charts for 5 weeks. A great rock album.

BLUE SKY MINING - Midnight Oil
I remember reading in the Rolling Stone magazine review for this album that it was going to do for Midnight Oil what "THE JOSHUA TREE" did for U2. Well, it never quite worked out that way, which is a shame because "BLUE SKY MINING" is as deeply felt and passionate as "THE JOSHUA TREE", but not quite with the same massive appeal. (OK, i admit to cheating - this album was released in Feb. 1990, but technically the 1990 was the 10th year of the 80's decade... so it sorta fits... ah hell, its staying on the list!!) There are plenty of rock anthems on this one, like "Forgotten Years", but the best moment is the spellbinding and haunting ballad "Bedlam Bridge".

UNDERCOVER - The Rolling Stones
iTunes described this album as follows, and I couldn't have said it better: "With its afro-cuban percussion and dub textures throughout, "UNDERCOVER" sounds like a soundtrack to a bloody Carribean coup d'etat." It's an edgy and exciting record. The Stones were absent for large chunks of the 80's, either in reality (when they were essentially split up, with Mick Jagger and the other members all working on solo projects), or in spirit (as when they released the painfully inept "DIRTY WORK"). Despite this, we got 3 classic albums during the decade: "Tatoo You" at the beginning, "Steel Wheels" at the end, and the best of the bunch, "UNDERCOVER" in 1983. "Undercover of the Night" is easily band's most triumphant moment during the 80's.

THE LION AND THE COBRA - Sinead O'Connor
Sinead burst onto the scene like a mythical siren... her voice was a startling wake up call. The passion that she brings to her music is rarely matched... "Jackie" is absolutely harrowing.. "Troy" is an epic, appropriately... but the best moment might be the powerful "Drink Before the War". Sinead went in a completely different direction with her next album, and never quite got back to the rebellious, righteous fire of her debut.

SCOUNDREL DAYS - a-ha
In America, they are known for their pop smash "Take on Me", and little else.. but it was their 2nd album, "SCOUNDREL DAYS" that showed their artistic progression. Unfortunately, that did not translate to chart success in the US, despite a number of very strong tracks, including "The Swing of Things", "I've Been Losing You", "Manhattan Skyline" and the title song. Although the production sounds dated now, there is just something spine-tingling about the swoon of the vocals, especially on the dramatic "Manhattan Skyline". Worth seeking out.

RHYTHM NATION 1814 - Janet Jackson
A huge step forward from "CONTROL", Janet touched on all styles on her best album "RHYTHM NATION 1814". "Miss You Much" was a shrewd choice for first single... hot, danceable, and funky.. and there are a number of other classics, "Escapade", "Alright", "Black Cat", and "Love Will Never Do Without You". Jimmy Jam and Terry Lewis were able to make the most of her paper-thin voice, and make the songs work for her. If there was ever a career built on the triumph of record producers, it is Janet Jackson. But still, the songs and the direction were hers, and the album would not have worked for anyone else. For that she deserves credit.

DOUBLE FANTASY - John Lennon/Yoko Ono
As the 80's began, we lost the greatest there ever was or ever will be - John Lennon. "DOUBLE FANTASY" plays like a swan song, even though nobody knew that it would be. It is impossible to listen to the record without thinking of John's death, and part of the reason for that is that the album is SO GOOD, and it tantalizes us with what might have been had he lived. "Starting Over" is pure classic Lennon... "Woman" and "Watching the Wheels" are almost as good. Yoko's tracks are typically demented and adventurous, and they work well as the dark night counter point flip side to Lennon's more prosaic and straightforward compositions. This album was the end of something.

SCARY MONSTERS - David Bowie
Even while Bowie - one of the greatest of them all - was really losing the thread of his career in the 80's, he still was able to eek out some great moments: "Loving the Alien", "Time Will Crawl", "This is Not America" and "China Girl", for example. But after "SCARY MONSTERS", the 80's were mostly disappointing for Bowie. But he started the decade strong... an album that sounds like a sequel to the "Berlin trilogy", "SCARY MONSTERS" is loud, brash, all-over-the-place, and ultimately one of Bowie's best. "Ashes to Ashes" may be in the Top 5 of his career. "Fashion" was another huge one, but it's the more obscure tracks that make the album so good: "Screams Like a Baby" and "Because You're Young", in particular. A difficult album at first, it unravels a little more with each listen... it sounds like the soundtrack to a mad carnival.

TRACY CHAPMAN - Tracy Chapman
"Fast Car" was a mesmerizing debut single, and it was accompanied by an album that more than lived up to that singles' promise. "Talking 'bout a Revolution", "Baby Can I hold You" and "She's Got Her Ticket" were all just as good, and showed a remarkable songwriting talent that could bear her soul in her songs. Mostly story songs that tended to be about various social ills, Tracy's unique voice suiting the material perfectly. Although she has released quite a few very good albums, she has never been able to quite match the magic of her first album

ACTUALLY - Pet Shop Boys
The PSB were the smartest at the pop game.. they were usually dour, clever, and incredibly melodic... and all of those aspects came together on their 2nd album, "ACTUALLY". Although not up to par with their 90's masterpieces, "VERY", "BEHAVIOR" AND "BILINGUAL", "ACTUALLY" has all the parts: the wry pop of "It's a Sin" and "Rent", the forlorn "What Have I Done to Deserve this?", and the acerbic "Shopping" and "Hit Music". There was always an undercurrent of deep and profound sadness to the PSB's music that most casual listeners have always missed, but sometimes it is raw and bare for all to see - never more so on the bleak and breathtaking "It Couldn't Happen Here", a shocked reaction to the AIDS crisis. Then there's "One More Chance", about the foibles of random gay sex... ah, gotta love the PSB.

DOO-LITTLE - The Pixies
"Debaser" by itself would be sufficient for "DOO-LITTLE" to make this list.. but the rest of the album - jagged and going off in unexpected directions - is just as good. The Pixies were true originals, and they could be stubbornly straightforward when they wanted ("Here Comes Your Man"). They are like an earlier, nightmarish version of Barenaked Ladies - with alot of balls.

REMAIN IN LIGHT - Talking Heads
Brian Eno may be the greatest producer in rock history... and this album is one of the gold stars on his resume. Of course it helps to have one of the most original and idiosyncratic songwriters of the era in David Byrne... "REMAIN IN LIGHT" was a bridge from the 70's to the 80's. Only "Once in a Lifetime" was a hit... they did not sound like they were concerned with hit singles on this album.

MASTER OF PUPPETS - Metallica
Before they were concerned about Napster and selling out arena and various marketing ventures, Metallica just made down and dirty, no frills heavy metal with alot of angst and alot of passion... and "MASTER OF PUPPETS" was essential Metallica. The title track is, along with "ONE", their finest moment. The machine gun guitar riffs and brain numbing rhythm is perfect for getting out aggression and releasing energy... a catharsis that can be blasted whenever appropriate. Still sounds great some 18 years later - an epic and landmark album in heavy metal.

PRETTY HATE MACHINE - Nine Inch Nails
I've always worried about Trent.. he spends too much time in the studio. "THE FRAGILE" was just so perfect and.... scrubbed clean. Too antiseptic. "PRETTY HATE MACHINE" was much rawer, and somehow more real... And it was something new and different then, a harbinger of things to come in the 90's. Trent showed early on that he could translate his angst into powerful music, and tracks like "Head Like a Hole" and "Terrible Lie" spoke to millions of alienated people. The drum machine meets aggressive guitar strategy was copied with endless variations, but this album really helped pioneer the genre.

GangstaFam said:

Indeed. And, to be honest;

A few to add:

Closer - Joy Division
Perhaps the darkest most dangerous album ever recorded.

Paul's Boutique - Beastie Boys
When things got good.

Life's Too Good - Sugarcubes
The beginning of something truly magical.

Computer World - Kraftwerk
Their last great one.

Bleach - Nirvana
Rough, wild and unpolished. Hinted at things to come.

Remain In Light - Talking Heads


Tin Drum - Japan
Elegant swansong.

Stronger Than Pride - Sade
Not among her most highly regarded, but certianly a contender for her best. Her music became beautiful and heartfelt on this record. She left the pretense and pseudo sophistication behind. An underrated classic.

Daydream Nation - Sonic Youth
No comment.

Repeater - Fugazi
Dude...

Nina Hagen Band
Nina Hagen Band

Just to throw SOMETHING in that aint American/English/Icelandic

Public Enemy: It takes a nation of millions to hold us back

The Jesus and Mary Chain: Psychocandy

Bob Marley & The Wailers: Uprising

London Calling is from 1979!!

MartyMcFly said:

i know, but it was like the kick start to the next decade... i had to include it.

GangstaFam said:

all good choices that could (perhaps should) have been included,especially Closer (which I had originally, but decided that since I alread had New Order it violated the 1 album per artist policy), and Life's Too Good. I do have Remain in Light listed..

tommysoul said:

Psychocandy rocks!!!

JonSnow said:

JonSnow said:

It's actually about Vietnam. But yeah, same thing applies.

May i add Sweetheart by rainy davis!

This is the most slept on cd of that decade. pure 80's fun pop genius!

I don't agree with all of the album choices by the bands you selected. The Bands are pretty rounded.

I would include

Heart Heart...huge comeback album that had like 4 #1 hits

Erasure...The Innocents. Everyone loved them and A little respect

Culture Club - Colour By Numbers

I didn't see these coming!!!

Cloudbuster said:

Is that where your signature originates?

Great list, and you're a great writer.

Now I gotta go shopping.

VinaBlue said:

why thank you

superspaceboy said:

I agree on The Innocents... great album. I like Wild! just as much.. Colour by Numbers is a good album too, but I always viewed Culture Club as more of a singles band, than a band that had essential albums. Just my humble opinion, though

JonSnow said:

Duh! How did I miss that one?

Cloudbuster said:

It's about Vietnam in general, but I think in particular the message is the will to survive... just one thing in it... me or him. AND I LOVE LIFE!!!!.... pull out the pin. As in, the things one must do to survive... or, more exactly, the animal instinct to survive... but that's just my interpretation. brilliant song, nonetheless.

I would like to add Peter Gabriel's "SO"!

Hey, what about Oingo Boino? I don't have any of their cds, so I wouldn't know which one to recommend.

VinaBlue said:

I've never really listened to any of their stuff.

sinisterpentatonic said:

JonSnow said:

Like you say, brilliant song either way.

Cloudbuster said:

for some reason, alot of Kate fans don't really dig that song... i can never figure out why. I think it's among her best work.

JonSnow said:

Therefore they shouldn't consider themselves fans. It's a true work of genius as far as I'm concerned. Freakin' part-timers.

JonSnow said:

It is on the album by her that I like most...

GooeyTheHamster said:

My second fave.