This is a list of 1980s music albums that multiple music journalists, magazines, and professional music review websites have considered to be among the best of the 1980s and of all time, separated into the years of each album's release. The albums listed here are included on at least four separate "best/greatest of the 1980s/all time" lists from different professional publications (inclusive of all genres and nationalities) as chosen by their editorial staffs or by a sample size of an entire publication's audience, and/or hall of fame awards and historical preservation measures.
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 11, 1980 [1] | Pretenders | The Pretenders | Real Records | Accolades | ||
February 29, 1980 | Crazy Rhythms | The Feelies | Stiff | Heavily influenced the alternative rock genre by combining post-punk and jangle pop. [2] | Accolades | |
February 1980 [3] | Colossal Youth | Young Marble Giants | Post-punk | Rough Trade | ||
April 26, 1980 [8] | Los Angeles | X | Slash | Accolades | ||
May 23, 1980 | I Just Can't Stop It | The Beat | Regarded as one of the most imprtant albums of the "2-Tone and the Ska Resurrection" [9] | |||
May 30, 1980 [14] | Peter Gabriel III | Peter Gabriel | Accolades | |||
June 1980 | Underwater Moonlight | The Soft Boys | Armageddon | Influential on the development of the neo-psychedelia and college rock music genres and on a number of bands, especially R.E.M. [24] [25] |
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July 11, 1980 | Searching For The Young Soul Rebels | Dexys Midnight Runners | Accolades | |||
July 18, 1980 | Closer | Joy Division | Factory | Widely recognised as a seminal release of the post-punk era, released following the suicide of the band's lead singer and lyricist Ian Curtis. [29] | Accolades | |
July 18, 1980 | Crocodiles | Echo & The Bunnymen | Korova | Accolades | ||
July 25, 1980 [33] | Back In Black | AC/DC | Accolades | |||
September 2, 1980 | Fresh Fruit For Rotting Vegetables | Dead Kennedys | ||||
September 12, 1980 [38] | Scary Monsters (and Super Creeps) | David Bowie | RCA | Rankings | ||
October 8, 1980 | Remain In Light | Talking Heads | Sire | Attained widespread acclaim from critics for its sonic experimentation, rhythmic innovations, and merging of disparate genres into a cohesive whole. [39] [40] | Accolades and legacy | |
October 10, 1980 | Kilimanjaro | The Teardrop Explodes | Mercury [41] [42] |
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October 17, 1980 [46] | The River | Bruce Springsteen | Columbia | Rankings | ||
October 20, 1980 | Boy | U2 | Island | Accolades | ||
October 1980 [47] | Ace Of Spades | Motörhead | Bronze |
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November 3, 1980 [51] | In The Flat Field | Bauhaus | 4AD | Regarded as a key prototypical gothic music release. [52] |
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November 28, 1980 [55] | Sound Affects | The Jam | Polydor | Accolades | ||
December 12, 1980 | Sandinista! | The Clash | Triple album influential in the punk rock movement with its experimental sound and eclectic genres. [60] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 12, 1981 | Moving Pictures | Rush | Anthem | Accolades | ||
February 1981 | My Life In The Bush Of Ghosts | Brian Eno & David Byrne | Heavily influential on sample-oriented music. [70] | Reception and legacy | ||
May 11, 1981 | Computerwelt | Kraftwerk | Concept album themed around computer technology and its rise within society. Had a significant impact on the genres of hip-hop, electronic music, and has been sampled in many notable works. | Critical reception | ||
May 11, 1981 | Nightclubbing | Grace Jones | Island | Legacy | ||
May 29, 1981 | Heaven Up Here | Echo & The Bunnymen | Korova | Accolades | ||
June 19, 1981 | Juju | Siouxsie And The Banshees | Polydor |
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August 31, 1981 | Fire Of Love | The Gun Club | Ruby | Considered the first album of its kind to combine punk rock with American roots music, helped to create punk blues. [78] [79] | ||
September 1981 | Deceit | This Heat | Rough Trade | Critical reception and legacy UNCUT: The 500 Greatest Albums of The 1980's: #454 [10] | ||
October 2, 1981 | Discipline | King Crimson | Significant influence on post-progressive rock. [85] | |||
October 16, 1981 [87] | Dare | The Human League | Virgin | Legacy | ||
October 2, 1981 [91] | Ghost In The Machine | The Police | A&M | Accolades | ||
November 6, 1981 | Architecture & Morality | Orchestral Manoeuvres in the Dark | Dindisc | Legacy | ||
November 1981 | Damaged | Black Flag | Hardcore punk [95] | SST | Regarded as one of the most influential punk rock records ever made for its intense depictions of rage, violence, and alienation. [96] [97] | Reception and legacy |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 20, 1983 | Pyromania | Def Leppard | Vertigo | Critical reception and legacy | ||
February 28, 1983 | War | U2 | Post-punk | Island | Legacy | |
February 1983 [158] | High Land, Hard Rain | Aztec Camera | Rough Trade | |||
March 23, 1983 | Eliminator | ZZ Top | Warner Bros. |
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April 12, 1983 | Murmur | R.E.M. | I.R.S. | Accolades | ||
April 13, 1983 | Violent Femmes | Violent Femmes | Slash | Reception | ||
May 2, 1983 | Power, Corruption & Lies | New Order | Factory | Critical reception | ||
June 1, 1983 | Speaking In Tongues | Talking Heads | Sire | |||
June 17, 1983 | Synchronicity | The Police | A&M | Accolades | ||
July 25, 1983 | Kill 'Em All | Metallica | Megaforce | Regarded as a groundbreaking album for the development of thrash metal. [191] | Reception | |
August 8, 1983 | Script Of The Bridge | The Chameleons | Statik | Regarded as influential on gothic music and Manchester bands. [192] |
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September 1, 1983 | Swordfishtrombones | Tom Waits | Experimental rock [196] | Island | Reception | |
October 14, 1983 | She's So Unusual | Cyndi Lauper | Portrait | Considered a pioneering achievement for a debut album by a female artist for achieving four top-five singles. [198] | Accolades | |
October 21, 1983 | Soul Mining | The The | Some Bizzare/Epic | Legacy and accolades | ||
November 5, 1983 | Clics Modernos | Charly García |
| Significant work in Argentine rock music. [200] | Accolades Al Borde's 250 Most Important Latin Rock Albums (2006): #3 [201] | |
November 10, 1983 | Rebel Yell | Billy Idol | Chrysalis |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 20, 1984 | The Smiths | The Smiths | Rough Trade | |||
April 9, 1984 | Reckoning | R.E.M. | I.R.S. | |||
May 4, 1984 | Ocean Rain | Echo & The Bunnymen | Korova |
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June 4, 1984 | Born In The U.S.A. | Bruce Springsteen | Columbia | Rankings | ||
June 25, 1984 | Purple Rain | Prince And The Revolution | Warner Bros. | Soundtrack album | Accolades | |
July 3, 1984 | Zen Arcade | Hüsker Dü | SST | Regarded as instrumental in the creation of the alternative rock genre, [223] [224] and considered by some to be one of the greatest rock albums of all time. [225] [226] [227] | Legacy | |
July 15, 1984 | Structures From Silence | Steve Roach | Fortuna | Regarded as one of the most important ambient albums of all time. [5] | ||
July 16, 1984 | Diamond Life | Sade | Epic | Credited as being influential to neo soul. [236] | Critical reception | |
July 1984 [237] | Double Nickels On The Dime | Minutemen | SST | Highly regarded for its fusion of punk rock, funk, country, spoken word and jazz, and references a variety of themes, from the Vietnam War and racism in America, to working-class experience and linguistics. [241] [242] | Legacy | |
September 1984 | Stop Making Sense | Talking Heads | Live album and soundtrack album to the concert film of the same name. | |||
October 2, 1984 | Let It Be | The Replacements | Twin/Tone | Critical reception | ||
October 12, 1984 | Rattlesnakes | Lloyd Cole And The Commotions |
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November 12, 1984 | Hatful Of Hollow | The Smiths | Rough Trade | Compilation album | ||
November 12, 1984 [245] | Treasure | Cocteau Twins | 4AD | Regarded as one of the greatest dream pop records. [246] [247] | Legacy and accolades | |
1984 | Meat Puppets II | Meat Puppets | SST |
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1984 | E2-E4 | Manuel Göttsching | Inteam | Significant to the development of house, techno, and ambient techno music of the late 1980s and early 1990s. [252] [253] [254] |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 1985 | New Day Rising | Hüsker Dü | SST | Regarded as one of the first and most influential purely alternative rock albums. [258] | Aftermath and influence | |
February 11, 1985 | Meat Is Murder | The Smiths | Rough Trade |
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February 25, 1985 [262] | Songs From The Big Chair | Tears For Fears | Critical reception | |||
May 13, 1985 | Low-Life | New Order | Factory | |||
May 17, 1985 | Brothers In Arms | Dire Straits | Rock | Vertigo | Accolades | |
June 17, 1985 [269] | Misplaced Childhood | Marillion | Neo-prog | EMI | Regarded as a significant benchmark in the "neo-prog" movement. [270] | Accolades |
June 1985 | Steve McQueen | Prefab Sprout | Sophisti-pop [271] | Legacy | ||
June 1985 | Rites Of Spring | Rites Of Spring | Dischord | Often as regarded as the first emo album. [272] | Reception | |
August 5, 1985 | Rum Sodomy & The Lash | The Pogues | Stiff (UK & Europe) MCA (US & Canada) | Critical reception and accolades | ||
August 30, 1985 [274] | The Head On The Door | The Cure | Fiction |
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September 16, 1985 | Hounds Of Love | Kate Bush | EMI | Accolades | ||
September 18, 1985 | Tim | The Replacements | Sire | Reception | ||
September 23, 1985 [280] | This Nation's Saving Grace | The Fall | Beggars Banquet | Accolades | ||
September 30, 1985 | Rain Dogs | Tom Waits | Island | A loose concept album about "the urban dispossessed" of New York City. [282] Noted for its broad spectrum of musical styles and genres such as dirty blues, New Orleans funeral brass, and Kurt Weill operas. [283] | Reception | |
November 18, 1985 | Psychocandy | The Jesus And Mary Chain | Blanco y Negro | Considered a landmark recording due to its combined guitar feedback and noise with traditional pop melody and structure, influencing forthcoming shoegaze genre and alternative rock in general. [288] [289] | Reception and legacy |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 4, 1986 | Control | Janet Jackson | A&M | Regarded as a precursor to the new jack swing genre. [290] [291] | Accolades | |
February 17, 1986 | The Colour Of Spring | Talk Talk | EMI | |||
March 3, 1986 | Master Of Puppets | Metallica | Elektra | Widely considered to be one of the greatest and most influential metal albums of all time, and is credited with consolidating the American thrash metal scene. [296] [297] | Accolades and legacy | |
March 5, 1986 | Guitar Town | Steve Earle | MCA |
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May 15, 1986 | Raising Hell | Run-DMC | Profile | The first Platinum and multi-Platinum hip hop record, and one of the greatest and most important albums in the history of hip hop music and culture. [301] [302] | Accolades | |
May 19, 1986 | So | Peter Gabriel | Legacy | |||
May 1986 | EVOL | Sonic Youth | SST | |||
June 16, 1986 | The Queen Is Dead | The Smiths | Rough Trade | Critical reception | ||
June 1986 [307] | London 0 Hull 4 | The Housemartins | Go! Discs | |||
July 28, 1986 | Lifes Rich Pageant | R.E.M. | I.R.S. | |||
August 1, 1986 [314] | Crowded House | Crowded House | Capitol/EMI |
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August 25, 1986 | Graceland | Paul Simon | Warner Bros. | Incorporated South African styles such as isicathamiya and mbaqanga into rock and folk influences. | Accolades | |
September 25, 1986 | Peace Sells... But Who's Buying? | Megadeth | Thrash metal [321] [322] | Capitol | Regarded as having helped give prominence to extreme metal. [323] | Legacy |
October 7, 1986 | Reign In Blood | Slayer | Thrash metal | Regarded as among the greatest heavy metal records ever. [324] [325] | Legacy | |
October 27, 1986 | Skylarking | XTC | Significantly influential towards alternative pop. [326] | Retrospective reviews and legacy | ||
November 17, 1986 | Infected | The The |
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1986 | Horse Rotorvator | Coil |
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Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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March 9, 1987 [330] | The Joshua Tree | U2 | Rock | Island | Legacy | |
March 30, 1987 [331] [332] | Sign "O" The Times | Prince | Legacy | |||
June 1, 1987 | Sister | Sonic Youth | SST | Critical reception | ||
July 7, 1987 [333] | Paid In Full | Eric B. & Rakim | Golden age hip hop | Credited as a benchmark album of golden age hip hop. Rakim's rapping, which pioneered the use of internal rhymes in hip hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in hip hop production. [334] [335] [336] | Reception and influence | |
June 17, 1987 | Pleased To Meet Me | The Replacements | Sire | |||
July 21, 1987 | Appetite For Destruction | Guns N' Roses | Geffen | Appetite for Destruction | ||
August 3, 1987 | Hysteria | Def Leppard | Phonogram | Regarded as one of the best pop-metal albums ever recorded. [344] [345] | Critical reception | |
August 17, 1987 | Substance 1987 | New Order | Factory | Regarded as one of the greatest pop albums of all time, and greatly influential in dance and alternative dance genres. [347] | Release and reception | |
August 21, 1987 | Diesel And Dust | Midnight Oil | Alternative rock | Sprint / Columbia | ||
August 31, 1987 | Document | R.E.M. | I.R.S. | |||
August 31, 1987 | Bad | Michael Jackson | Epic | Accolades | ||
September 7, 1987 [355] | Actually | Pet Shop Boys | Parlophone | Critical reception | ||
September 28, 1987 | Strangeways, Here We Come | The Smiths | Rough Trade | |||
September 28, 1987 | Music For The Masses | Depeche Mode | Mute | Critical reception | ||
September 1987 | The Perfect Prescription | Spacemen 3 | Neo-psychedelia [360] | Concept album about "a vision of a drug trip from inception to its blasted conclusion, highs and lows fully intact." [361] | ||
October 5, 1987 [362] | The Lion And The Cobra | Sinéad O'Connor | ||||
October 19, 1987 [366] | Kick | INXS | Legacy | |||
October 19, 1987 [367] | Secrets Of The Beehive | David Sylvian | Virgin | |||
November 2, 1987 | Faith | George Michael | Accolades | |||
December 14, 1987 | You're Living All Over Me | Dinosaur Jr. | SST | Regarded as one of the greatest and most influential albums in alternative rock, and a influence on grunge music due to its drawling vocals paired with loud guitars and driving rhythms. [372] [373] | Legacy |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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February 2, 1988 | I'm Your Man | Leonard Cohen | Columbia | Critical reception | ||
March 21, 1988 [377] | Surfer Rosa | Pixies | 4AD | Accolades | ||
April 5, 1988 | Tracy Chapman | Tracy Chapman | Elektra | Helped to revive the singer-songwriter genre. [382] | Legacy | |
June 28, 1988 [383] | It Takes A Nation Of Millions To Hold Us Back | Public Enemy | Regarded as one of the greatest and most influential albums of all time for its densely aggressive sound influenced by free jazz, heavy funk, and musique concrète with lead rapper Chuck D's sociopolitical rhetoric, revolutionary attitudes, and dense vocabulary. [387] [388] [389] | Accolades | ||
August 8, 1988 [390] | Straight Outta Compton | N.W.A | Triggered the rap genre's movement toward hardcore, gangsta rap. [392] | Rankings | ||
August 23, 1988 | Nothing's Shocking | Jane's Addiction | Warner Bros. | Critical reception | ||
August 1988 | 16 Lovers Lane | The Go-Betweens |
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September 12, 1988 [397] | Spirit Of Eden | Talk Talk | Parlophone (EMI) | Credited with pioneering the post-rock genre. [402] | ||
September 19, 1988 | Tender Prey | Nick Cave & The Bad Seeds | Mute Records |
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October 17, 1988 [407] | Fisherman's Blues | The Waterboys | Folk rock |
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October 18, 1988 | Daydream Nation | Sonic Youth | Enigma | Double album. Significantly influential on the alternative and indie rock genres. [408] [409] | Reception and legacy | |
November 15, 1988 | The Trinity Session | Cowboy Junkies | Accolades | |||
November 21, 1988 | Isn't Anything | My Bloody Valentine | Creation | Regarded as a pioneering work of shoegazing. [414] [415] [416] | Reception |
Release Date | Album | Artist | Genre(s) | Label | Notes | Accolades |
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January 10, 1989 | New York | Lou Reed | Rock | Sire [417] | ||
January 30, 1989 | Technique | New Order | Factory | |||
February 6, 1989 | 3 Feet High And Rising | De La Soul | Tommy Boy | Described as "the first psychedelic hip-hop record" as well as the beginning of alternative hip hop, jazz rap, progressive hip hop, and the use of the hip hop skit. [423] [424] [425] | Retrospective opinion | |
March 21, 1989 | Like A Prayer | Madonna | Pop | Legacy | ||
April 17, 1989 | Doolittle | Pixies | Alternative rock | Praised for its "quiet/loud" dynamic that influenced the development of early-1990s grunge music. [426] [427] | Reception | |
April 24, 1989 [428] | Full Moon Fever | Tom Petty | Rock | MCA |
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May 2, 1989 | The Stone Roses | The Stone Roses | Silvertone / RCA (US) | Significant towards the development of the Madchester and baggy cultural scenes. [432] | Accolades | |
May 2, 1989 | Disintegration | The Cure | Fiction | Critical reception | ||
July 25, 1989 | Paul's Boutique | Beastie Boys | Capitol | Regarded as a landmark album of golden age hip hop and a seminal work in sample-based production. [440] | Accolades | |
September 1, 1989 | 13 Songs | Fugazi | Dischord | Regarded as one of the best albums of the post-hardcore genre. [441] | Accolades | |
September 12, 1989 | Floating Into The Night | Julee Cruise | Warner Bros. | Critical response FACT's The 100 Best Albums of the 1980s: #24 [5] | ||
October 16, 1989 | The Sensual World | Kate Bush | EMI |
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October 16, 1989 | Hats | The Blue Nile |
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October 20, 1989 | Pretty Hate Machine | Nine Inch Nails | TVT |
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October 23, 1989 [449] [450] | On Fire | Galaxie 500 | Rough Trade | Regarded as a benchmark album for the development of slowcore. |
The Queen Is Dead is the third studio album by the English rock band The Smiths, released on 16 June 1986, by Rough Trade Records. The album was produced by the band's singer, Morrissey, and their guitarist, Johnny Marr, working predominantly with engineer Stephen Street who engineered The Smiths' previous album, Meat Is Murder (1985). Marr wrote several songs while the Smiths toured Britain in early 1985, working out arrangements with bassist Andy Rourke and drummer Mike Joyce during soundchecks. The album title is taken from American writer Hubert Selby Jr.'s 1964 novel, Last Exit to Brooklyn. The cover art features the French actor Alain Delon in the 1964 film L'Insoumis.
Last Splash is the second album by American alternative rock band the Breeders, released on August 30, 1993. Originally formed as a side project for Pixies bassist Kim Deal, the Breeders quickly became her primary recording outlet. Last Splash peaked at number 33 on the Billboard 200 albums chart, and by June 1994, the album had been certified platinum by the Recording Industry Association of America (RIAA) for shipments in excess of one million units.
The B-52's is the debut album by American new wave band the B-52's. The kitschy lyrics and mood, and the hook-laden harmonies helped establish a fanbase for the band, who went on to release several chart-topping singles. The album cover was designed by Tony Wright.
Paul's Boutique is the second studio album by the American hip hop group Beastie Boys, released on July 25, 1989, by Capitol Records. Produced by the Beastie Boys and the Dust Brothers, the album's composition makes extensive use of samples, drawn from a wide range of genres including funk, soul, rock, and jazz. It was recorded over two years at Matt Dike's apartment and the Record Plant in Los Angeles.
Power, Corruption & Lies is the second studio album by the English rock band New Order, released on 2 May 1983 by Factory Records. The album features more electronic tracks than their 1981 debut Movement, with heavier use of synthesisers. The album was met with widespread acclaim, and has been included in music industry lists of the greatest albums of the 1980s and of all time. The cover artwork was by Peter Saville, and in 2010 it was one of ten classic album covers from British artists commemorated on a UK postage stamp issued by the Royal Mail.
The Stone Roses is the debut studio album by English rock band the Stone Roses. It was recorded mostly at Battery Studios in London with producer John Leckie from June 1988 to February 1989 and released later that year on 2 May by Silvertone Records.
Murmur is the debut studio album by American alternative rock band R.E.M., released on April 12, 1983, by I.R.S. Records. The album was recorded at Reflection Studios in Charlotte, North Carolina, with musicians Don Dixon and Mitch Easter serving as producers. Murmur drew critical acclaim upon its release for its unusual sound, defined by lead singer Michael Stipe's cryptic lyrics, guitarist Peter Buck's jangly guitar style, and bass guitarist Mike Mills's melodic basslines. In 2003, the album was ranked number 197 in Rolling Stone magazine's list of the "500 Greatest Albums of All Time". It retained the position in the 2012 list and was raised to number 165 in the 2020 revision.
"Rock Lobster" is a song written by Fred Schneider and Ricky Wilson, two members of the B-52's. It was twice recorded and released as a single, first by DB Records as their debut release in April 1978, and again the following year for the band's self-titled debut album on Warner Bros. Records.
Psychocandy is the debut studio album by Scottish rock band the Jesus and Mary Chain. It was released in November 1985 on Blanco y Negro Records. The album is considered a landmark recording: its combination of guitar feedback and noise with traditional pop melody and structure proved influential on the forthcoming shoegaze genre and alternative rock in general.
Los Angeles is the debut studio album by American rock band X, released on April 26, 1980, by Slash Records. It was produced by ex-Doors keyboardist Ray Manzarek and includes a cover of the 1967 Doors song "Soul Kitchen".
Let It Be is the third studio album by American rock band the Replacements. It was released on October 2, 1984, by Twin/Tone Records. A post-punk album with coming-of-age themes, Let It Be was recorded by the band after they had grown tired of playing loud and fast exclusively as on their 1983 Hootenanny album; the group decided to write songs that were, according to vocalist Paul Westerberg, "a little more sincere."
"Bitter Sweet Symphony" is a song by the English rock band the Verve, released on 16 June 1997 by Hut Recordings and Virgin Records as the lead single from their third album, Urban Hymns. It was produced by Youth at Olympic Studios, London.
"Substitute" is a song by the English rock band the Who, written by Pete Townshend. Released in March 1966, the single reached number five in the UK and was later included on the compilation album Meaty Beaty Big and Bouncy in 1971. In 2006, Pitchfork ranked "Substitute" at number 91 on the "200 Greatest Songs of the 1960s".
"Once in a Lifetime" is a song by the American new wave band Talking Heads, produced and cowritten by Brian Eno. It was released in January 1981 through Sire Records as the lead single from the band's fourth studio album, Remain in Light (1980).
"I'm Waiting for the Man" is a song by American rock band the Velvet Underground. Written by Lou Reed, it was first released on their 1967 debut album, The Velvet Underground & Nico. The lyrics describe a man's efforts to obtain heroin in Harlem.
"I Wanna Be Your Dog" is a song by American rock band the Stooges, released as the group's debut single from the band's 1969 self-titled debut album. The riff is composed of only three chords, is played continuously throughout the song. The 3-minute-and-9-second-long song, with its distortion-heavy guitar intro, single-note piano riff played by producer John Cale of the Velvet Underground, and steady, driving beat, gave the cutting edge of the early heavy metal and punk sound.
"Steppin' Out" is a song by English musician Joe Jackson, originally included on his 1982 album Night and Day. The song, inspired by Jackson's time in New York City, was his highest-charting single in America, where it peaked at number 6 on the Billboard Hot 100. It reached the same position in Jackson's native UK.
Tim is the fourth studio album by American alternative rock band The Replacements. It was released in September 1985 on Sire Records. It was their first major label release and also the last album made by the original line-up of the band: guitarist Bob Stinson was kicked out of the band towards the end of 1986.
Metal Box , like the Clash's triple album Sandinista ! (1980), is an attempt at post-punk fusion.
On their fourth album, the Clash combined their passion for global politics with an embrace of world music...turning Sandinista! into an experimental, triple-album behemoth that melded punk's urgency with reggae's bent...
Several tracks have almost as much in common with irrefutably bleak post-punk albums, such as New Order's Movement and the Cure's Pornography...
...Nebraska can seem like the photonegative: a solitary collection of lo-fi ballads and highway nightmares.
...1999 remains a high-water mark of nuclear new wave madness...
Not many artists could pull off such a variety of styles (funk, post-disco, rock, easy listening, ballads)...
the lustrous post-disco sound of Thriller seems an unlikely muse for Stump and his bandmates
With a domestic revenue of approximately $4.1 billion, the album restored the confidence of the industry in the post-disco era by straddling multiple genres, riding high on the fully matured voice of the young star, and optimising the synth pop sound. It was the first album to achieve such dizzying success through all the media available at the time: radio, records and music videos.
Her solo debut, She's So Unusual, stands as an all-time great art-pop collage.
...Echo constructed an album of gorgeous, emotionally shaded symphonic rock.
1984's Zen Arcade, while still predominantly a hardcore record, began exploring other sounds, including jazz, psychedelia, acoustic folk and pop -– all sounds Mould still explores today.
...Zen Arcade was one large step for the Minnesota trio and an even larger one for then-nascent indie rock.
The Replacements' third album marked...their arrival as the preeminent barstool philosophers of American college rock.
...II was very much on its own trip. Its outsider Americana took in Grateful Dead-style jamming...
...but on these strange industrial Americana tunes, his husky voice is less of an affectation.
The Boston band debuted in 1988 with "Surfer Rosa," introducing its unique form of quiet-to-loud art-punk and, over the course of a few years, hit the college airwaves with such songs as "Gigantic," "Monkey Gone to Heaven" and "Here Comes Your Man."
Gil Norton's production leans towards the harsh garage grunge of 'Surfer Rosa', although the songs retain the strong melodies of 'Doolittle'. In many ways, 'Bossanova' is the composite Pixies LP, the most positive elements of its two predecessors blended together to make one of the most intriguing and listenable albums of the year.
...the complex, pastoral post-rock of final two albums Spirit of Eden and Laughing Stock.
Directly inspired by Talk Talk's experimental rock seance Spirit of Eden...
The Sensual World amplifies Bush's penchant for writing delicately complex material while maintaining her progressive pop edge
The results aren't far off from the romantic synth-pop that ascended the charts in the '80s...
Dream pop is so often thought of as downcast and demure, but the blazing guitar solos on "Strange" or the screaming saxophone lines of "Decomposing Trees" make it clear that this is an album of propulsion and weight.