Movies

20 forgotten fantastic albums from the 1980s you have likely never heard

BBG News

For decades, many music critics (as well as numerous listeners) have tended to view the music produced in the 1980s somewhat unfavorably. This negative perception might be due to the fact that several of the most popular songs and albums from that era didn’t age particularly well. The flashy MTV videos of the time may share some responsibility for this.

In addition, this style from the ’80s can be seen as just the tip of the iceberg when it comes to music from that era. Interestingly enough, it’s also one of the reasons why a significant amount of the music produced during that time has been overlooked or forgotten.

Indeed, many factors that contribute to some music, especially albums, being overlooked today are similar to those in the 1960s and 1970s. These include major artists overshadowing others, shifts in musical preference, lack of attention from record labels, and insufficient distribution and promotion for independent releases, among other factors.

These forgotten 1970s albums are still brilliant

Despite garnering attention from some listeners, as well as critical acclaim among certain circles, many of these releases appear to have slipped into obscurity or failed to gain momentum.

Young Marble Giants – Colossal Youth (1980)

Today, even the most discerning rock critics, who adored this album and its intricate, space-infused interpretation of minimalism from this Welsh trio – whose sole official studio release it was – continue to hold it in high regard. Artists following a similar path today often exhibit traces of influence from this groundbreaking album.

The Feelies – Crazy Rhythms (1980)

Indeed, this band continues to produce releases occasionally, and the profound impact of The Velvet Underground on their music is undeniable. However, in the 1980s, their interpretation of The Velvets was revolutionary, not only shedding new light but also seemingly sparking a broader movement. Their sound remains fresh and innovative even today.

The Trash Can Sinatras – Cake (1980)

Back in the day, when emo wasn’t mainstream yet, I stumbled upon this Scottish band that was already a hidden gem. Their debut album catapulted them into cult status among us dedicated fans. The intricate guitar work, harmonious vocals, and thought-provoking lyrics were just the beginning of their greatness. Despite recent reissues, they’re still not widely recognized by larger audiences.

Rickie Lee Jones – Pirates (1981)

At the start of the new decade, Jones emerged with a notable presence, primarily garnering attention due to her relationship with Rom Waits rather than her unique blend of jazz and pop. Remaining true to her musical roots, she presented a top-quality self-titled debut. However, on this follow-up album, she delved deeper into introspection and experimented musically. Regrettably, critics and the audience seemed to have inexplicably waned in interest.

Rip Rig + Panic – God (1981)

Neneh Cherry boasts a substantial fanbase, yet a significant portion of her followers may not be aware that she initially emerged as part of an exceptionally progressive band. This group was capable, particularly on one album, of seamlessly blending genres ranging from rock to soul, avant-garde jazz, and even elements reminiscent of a kitchen sink, all while maintaining consistency and delivering outstanding results.

The dB’s – Stands for Decibels (1981)

Many found power pop to be a symbol of predictability and sameness, but these musicians from North Carolina challenged this idea right from the start. They demonstrated that by tinkering with the melodies crafted by bands like Big Star and Badfinger, they could create captivating and enjoyable music.

Microdisney – Everybody Is Fantastic (1983)

From the very beginning, I found myself captivated by this Irish band and their exceptional songwriting, masterminded by Sean O’Hagan, along with the clever wordplay of lyricist and vocalist Cathal Coughlan. Though critics and a select few adored them, they never quite achieved the success they deserved, even in their later endeavors under the banners of Fatima Mansions or High Llamas.

The Replacements – Let It Be (1984)

Gradually transitioning from raw hardcore to a budding form of indie rock, Paul Westerberg and the group began producing exceptional music while still maintaining their carefree spirit. This blend of high-quality songwriting encased in a rugged exterior continues to resonate powerfully today.

The Long Ryders – Native Sons (1984)

Artists linked to L.A.’s Paisley Park movement are frequently categorized as neo-psych. However, while The Long Ryders embraced the 60’s era, their sound on this album incorporates a greater amount of modernized sixties music, veering more towards genres currently known as roots and Americana.

David Sylvian – Brilliant Trees (1984)

As the frontman of Japan, David Sylvian began displaying a desire to broaden the popular sound of electro-pop at the time. In his debut solo album, he not only dabbled in other genres such as jazz and funk but also introduced concepts that ambient artists would later build upon for decades.

 Green On Red – Gas Food Lodging (1985)

Green On Red’s connection to the Paisley Underground scene was short-lived as they swiftly transitioned into realms of roots, alt-country, and Americana music. From an indie rocker’s point of view, it appears they blazed a trail, with this particular album serving as a precursor for bands such as Son Volt and Wilco.

David + David – Boomtown (1986)

In contrast to the rock critics who dismissed it as mainstream at the time, this album by the two Davids – Baerwald and Ricketts – can indeed be categorized as such. However, if something is popular, why should that be a negative? This duo crafted an album of exceptional quality, and even though they never collaborated again, Baerwald continued his solo career, while Ricketts faded into obscurity afterwards.

Game Theory – The Big Shot Chronicles (1986)

Scott Miller and his Game Theory were often praised by critics, but unfortunately, this acclaim didn’t translate into broader appreciation among the public. Perhaps it was because “too much of a good thing” applied in this case, as Miller and his band never produced an average album, and this one was particularly excellent.

The Triffids – Born, Sandy, Devotional (1986)

Hailing from a name inspired by a 1950s dystopian novel, this Australian band centered around the late talented singer-songwriter David McComb produced music that was tough to categorize genre-wise yet undeniably excellent. This album, consistently ranked among the best, remains relatively unknown to wider audiences.

John Hiatt – Bring the Family (1987)

A musician who is highly revered by other artists, yet has a larger fanbase in Japan and the Netherlands compared to his home country, the U.S., leaving many puzzled as to why. Known for his exceptional songwriting and vocal skills, even when collaborating with artists like Ry Cooder and Nick Lowe (as on this album), John Hiatt never received the recognition he truly deserved.

Robbie Robertson – Robbie Robertson (1987)

How does one embark on a solo career after being a songwriter (and vocalist) in The Band? It’s certainly not an easy task, which might explain why it took Robertson 11 years to release his first solo album. Remarkably, this new work bears a strong resemblance to what he has accomplished as part of the musical icons.

Dinosaur Jr.- Bug (1988)

Initially, J. Mascis and Dinosaur Jr. were categorized as part of the ‘slacker’ group, a label that contrasts sharply with his tireless work ethic; after all, he’s still actively touring! However, on one of their early projects, Mascis deliberately shaped the rougher edge of indie rock and grunge, making “Freak Scene” a signature tune for them.

Giant Sand – The Love Songs (1988)

Over several decades, through Giant Sand and various band setups, Howe Gelb has created a vast array of top-tier music that continues to grow his devoted fan base, yet hasn’t quite broken into mainstream acceptance. This album marks the pinnacle of his musical maturity within the independent music scene.

Prefab Sprout – From Langley Park To Memphis (1988)

Following the acclaim (and impressive sales) of Paddy McAloon’s Prefab Sprout’s prior album, which had two names at the time (Steve McQueen and Two Wheels Good), critics largely panned this album, seemingly without justification. They branded it “too commercial,” although neither its musical quality nor its sales supported this claim.

The Blue Nile – Hats  (1989)

Over time, ambient music has evolved into various styles and structures, starting as purely instrumental. This Scottish group, however, has skillfully incorporated vocal elements into their music, ensuring it’s never labeled as ordinary or dull. Their work really shines, particularly on their second album.

Read More

2025-07-13 13:00

Previous post Celebrity Who Dares Wins star ‘forced to exit early after suffering traumatic injury while training for gruelling Channel 4 show’
Next post Tree of Savior: NEO Guide: Tips to earn Rainbow Gems in the game