Top 20 Best Alternative Rock Albums of the 80s

Essential Records

It was a strange decade. Terrible fashion, walls coming down, Reagan, “greed is good” – it is difficult to define these 10 years, especially in music. Hair metal, new wave, post-disco, rap all came into fashion with varying levels of credibility. It was also the nascent era of “indie” rock or later often termed “alternative”. It is difficult to list a definitive top 20 best alternative rock albums of the 80s, because as a genre alternative is tough to define.

What is alternative rock? Is it a band on an indie label that is only heard on stations “left of the dial”? Is it a new wave band with a synthesizer-heavy sound? Or is it a jangly pop band from Georgia whose lead singer’s lyrics are mumbled and indecipherable? Sure – let’s go with all of the above. But a lot of artists get put into this category that probably shouldn’t – Oasis is not alternative and never was.

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As a child of the 80s – I went to high school and college during the decade – my musical education started here. I like to think the very eclectic nature of that era helped broaden my musical tastes. But in the end I prefer bands heavy on guitars and light on flash. So while I think this list should be pretty uncontroversial, I will undoubtedly leave out a lot of deserving records.

There are literally hundreds of records that could be considered important or influential that came out during this time. However, I included ones that had at least some commercial impact, had acknowledged artistic importance, and limited to one album per band. These are not listed in any particular order, as I do not try to define one as more important than another. So here we go.

The Replacements – Tim (1985)

In the chaotic history of The Replacements, 1985 was a pivotal year. As their first major label record, expectations were high for Tim. Their prior release Let It Be, their final record for Twin Tone records, had garnered critical accolades the previous year. Although their live shows continued to typically be sloppy, drunken and inconsistent, their sound was moving on from the early days of bratty punk. Lead singer Paul Westerberg started showcasing more of the songwriting skills that featured a sensitive pop side.

Released by Sire Records in October of 1985, the album showed “The Mats” at their best. Loud rock blasts like “Bastards of Young” and “Left of the Dial” co-existed with a melancholy ballad like “Here Comes a Regular” – my favorite song of this band. Unlike previous records, there were no throwaways here – although a song like “Waitress In the Sky” still exhibited some of their snarky, snotty side. Despite critical acclaim, the record did not chart well, reaching only 183 on the Billboard Top 200.

The band followed up this (relative) success with Please to Meet Me in 1987. The musical blueprint was similar to Tim, and contained classic Replacements songs like “Alex Chilton”, “Can’t Hardly Wait”, “Skyway”, and “The Ledge”. It performed only slightly better than Tim, frustrating the band and the label. Followup albums Don’t Tell a Soul and All Shook Down, although also containing some of Paul Westerberg’s best songs, fared similarly. Heading into the 90’s, the band broke up.

The Replacements legacy goes far beyond commercial success. The bands they influenced are too numerous to mention. Their sometimes self-destructive tendencies and lack of acclaim in their own time does not diminish what they did accomplish – including this classic album.  For more detail on their complicated story, consider this excellent read, ‘Trouble Boys : The True Story of the Replacements‘.

Violent Femmes – Violent Femmes (1983)

If any band in the early 80s alternative scene was difficult to define, it was the Wisconsin band Violent Femmes. Formed when leader Gordon Gano was still in his teens, the band may be one of the few pop/rock bands to feature a xylophone. With obvious punk, pop, country, and rockabilly influences, they were a band with a sound all their own. Their debut album, released by Slash Records in the spring of 1983, threw all these ingredients into a pot and came out with a defining album of the era.

The album kicks off with what is still their calling card, a 2 minute 25 second stuttering ode to teenage angst “Blister in the Sun”. Along with songs like “Kiss Off” and “Gone Daddy Gone”, this was a big part of the soundtrack of my youth. It was difficult to go to any college party in the next 5 years without hearing “Blister in the Sun”. Although this was considered a cult classic, the album eventually went gold and remains one of the most distinctive records of the era.

Although the Femmes never quite matched the critical and commercial success on subsequent releases, the band has carried on (with some gaps) to this day. They released their 10th studio album Hotel Last Resort in 2019.

The Stone Roses – The Stone Roses (1989)

The term seen most to describe The Stone Roses debut album is “psychedelic”. Hailing from Manchester, England, the band featured rumbling bass lines mixed with slow building jangly, guitar swirls. Combined with Ian Brown’s cool, disaffected vocals resulted in a sound that was both trippy and classic rock. Released in May of 1989 on Silvertone Records, it original had little initial impact but eventually sold 4 million copies.

Critical and commercial success came slowly as the sound was not easy to initially define. Although considered an initiator of the UK drug driven rave culture, this was not really a dance record with the possible exception of the song “I Wanna Be Adored”. Band members have been quoted as not particularly liking the album, and there have been a wide range of opinions on the importance of the record, from one of the greatest British rock albums ever, to over-indulgent with pedestrian lyrics. It is difficult however to dispute it’s influence, as it is credited as an originator of the “Madchester” scene that included Happy Mondays, Inspiral Carpets and many others.

The band only released one other album before breaking up in 1996 – the harder edged, commercially and critically disappointing Second Coming. Personally, I liked this record as it featured guitarist John Squire’s heavier blues rock side. But it was a significant departure from their debut’s signature sound and did not resonate as well with the fans. The band members had successful careers following the breakup, and have reformed a few times over the years for short periods. In 2019 John Squire announced a final breakup of the band.

The Pixies – Doolittle (1989)

Very few bands have been as influential as the Pixies while still being mostly obscure to the majority of music fans. Nirvana may have still existed without the Pixies – but would they have sounded the same? While not a “grunge” band by any means, they certainly set the stage for the success of bands that came after them. They helped to pioneer the “loud-quiet” dynamic that bands like Smashing Pumpkins turned into more commercial success in the 90s.

With influences as disparate as folk and Hüsker Dü, the band’s eclectic sound never fully broke into the mainstream, although they were a college radio staple. The surreal lyrics written by lead singer Black Francis didn’t fit any genre either, and their sound was only really appreciated many years later. Their debut album in 1988, Surfer Rosa, was a raw blast of rock aggression mixed with pop melody. They followed that up in 1989 with the more refined, and slightly more accessible, Doolittle. The band’s first international release on Elektra Records was a critical and commercial success, with two charting singles “Here Comes Your Man” and “Monkey Gone to Heaven”.

While there may be some disagreement on whether Surfer Rosa or Doolittle is the band’s peak, the impact of both of these albums on the musical decade to follow is indisputable. Although they could both be in any best alternative rock albums of the 80s list, Doolittle is my choice here. The band’s mix of melody and bombast, coupled with dark lyrics on offbeat subject matter, was arguably the very definition of “alternative” rock for the next decade. The band released two more albums in 1990 and 1991. Both were moderately successful, but tensions in the band led to a breakup in 1993. They have since reformed (again) and released their 7th album Beneath the Eyrie.

The Smiths – The Queen Is Dead (1986)

The Smiths had a very brief career, releasing four studio albums between 1984 and 1987. Despite this, they are considered one of the most influential British pop/rock bands of the era. Released by Sire Records in the US, The Queen is Dead was considered by NME to be the greatest album of all time (controversially), and it has consistently ranked as one of the most consequential releases of the 80s, leading to the “Britpop” movement.

The combination of lead singer Morrissey’s histrionic and somewhat narcissistic vocals, along with guitarist Johnny Marr’s understated virtuosity, resulted in a sound that was both spare and bombastic. The anti-establishment lyrical message, while often being darkly humorous, resonated with many of the disaffected youth of the time. The Smiths were fairly commercially successful – The Queen is Dead reached number 70 on the Billboard Top 200 and was certified gold in 1990. The only single from the album was “Bigmouth Strikes Again”.

The band released one more album in 1987, the commercial and critical success Strangeways, Here We Come. However, the infamous “creative differences” between Johnny Marr and Morrissey led to Marr leaving the band and they broke up in 1989. Despite many rumors of a reunion over the years, the members have continually denied any wish for this to happen.

Hüsker Dü – Zen Arcade (1984)

This is another band whose career arc was short but had a large impact on music to follow. They released two albums and an EP on Reflex Records, before signing with SST in 1984 and releasing Zen Arcade as a double album. The record was an aggressive punk opera, with a hint of the more melodic structures to come later. It was a major success for an album on an independent label and is credited as being one of the key influences of punk rock and grunge bands that came along in the next decade.

Covering 23 songs, most of which didn’t break the 3 minute mark, it veers from slashing punk to hints of classic and pop rock, ending with a 14 minute instrumental. It is essentially a story album, following the trials of a young man who eventually finds it was his subconscious talking to him. Although the album wasn’t a big sales success, partly due to mismanagement by SST, it received many accolades upon release and in subsequent years as one of the best albums of the 80s.

After two more studio releases for SST, the band signed with Warner Brothers and released Candy Apple Grey in 1986. The band had evolved significantly by then, as band leaders Grant Hart (drums) and Bob Mould (guitar) mixed in more pop influences to the slower tempo songs. Although both this album and the next, Warehouse Songs and Stories, had only moderate commercial results, they were also critically acclaimed. Tensions between Mould and Hart led to their breakup in 1989. They both went on to successful solo careers. Hart passed in 2017 of liver cancer.

In the end, it is difficult to choose the “best” album from Hüsker Dü – they were all outstanding in their own way. Personally I most enjoy Candy Apple Grey for it’s more accessible approach, but from the standpoint of make a statement about the band’s style and intentions, Zen Arcade stands out.

Talking Heads – Stop Making Sense (1984)

For some artists, a live performance recording is a defining moment. So it was for Talking Heads, an eclectic New York group who formed in the 1970s but reached a peak in the early 80s. They released their fifth studio album Speaking In Tongues in 1983, which contained their biggest hit “Burning Down the House”. The following year they released Stop Making Sense, a live album accompanying the Jonathan Demme movie of their performance. It was an enormous success, showcasing their visual and musical versatility. It is personally my favorite concert movie of all time.

Though Talking Heads were often described as one of the early “New Wave” bands, they were much more musically. With influences such as funk, rock and world styles, they melded all this into a unique style, with David Byne’s staccato, offbeat lyrics riding over the beat. Stop Making Sense demonstrates all these characteristics throughout, with extended versions in the movie showing the power of the nine member group.

The group released three more studio albums in the 80s before breaking up in 1991. All the members have gone on to have musical success, with Byrne in particular having a very notable solo career. In 2002 Talking Heads were inducted into the Rock and Roll Hall of Fame.

The Cure – The Head on the Door (1985)

The first incarnations of what became The Cure was formed in the early 1970s by leader and singer Robert Smith. The early sound was more of a minimalist pop punk, a more lightweight version of what was to come. As Smith gained more control of the sound, it evolved into a darker, more atmospheric sound and look. This “goth” genre associated The Cure with groups like Siouxsie and the Banshees and Joy Division, although they often displayed a more pop influenced sound.

Although they had experienced significant success with their first 4 albums in the 80s, the release of The Head on the Door in 1985 raised them to a new level of artistic and commercial success. It was their first album to have widespread appeal in the US, spawning two singles “In Between Days” and “Close to Me”. The album showcased Smith and the band’s ability to effectively straddle the dark, morose goth influences with a lighter poppy sound. Throughout their career they demonstrated an ability to both create cohesive albums while having a continuous flow of hit singles.

Although Smith is the only core member that has been in place throughout their history, the band has persevered through lineup changes to this day. Their awards and accolades are too numerous to mention, and the influence they had on the musical landscape of the 80s and 90s cannot be over-estimated. The Cure was inducted into the Rock and Roll Hall of Fame in 2019.

R.E.M. – Life’s Rich Pageant (1986)

Arguments could be made for several of R.E.M.s 1980’s releases as one of the best of the decade. But Life’s Rich Pageant stands out as a turning point from their earlier more folk, gothic southern influenced work to a more rock influenced more-accessible sound. Personally I really liked their early Murmer and Reckoning releases – singer Michael Stipe’s mumbled vocals and all. However, their commercial success in the following decades did not significantly change their ethos as a band. The continued as a socially conscious, musically ethical band until their breakup in 2011.

Up until the release of this album, the band from Athens, Georgia was primarily known as an alt-rock pioneer with a signature sound based on Peter Buck’s jangly, Byrds influenced style of minimalist guitar textures. With the improved sales success of this and following releases, their stature and influence only grew. The way they went about their business was an inspiration to many bands – unlike many bands their core never changed except for drummer Bill Berry’s departure in 1998. They were a successful singles band, with one of the first being “Fall on Me” from this album.

They released 15 studio albums in their almost 30 year career, and sold many millions of records. But besides their musical legacy, they will always be remembered for their integrity and ethical stances. In 2007 R.E.M was inducted into the Rock and Roll Hall of Fame.

Sonic Youth – Daydream Nation (1988)

Formed in New York in 1981 by founding members Thurston Moore (guitar), Lee Renaldo (guitar), and Kim Gordon (bass), Sonic Youth is credited with being a founding member of the avent-garde “noise rock” scene. Their early work was very experimental and though it met with critical acclaim (mostly), it wasn’t until they refined their signature discordant rock sound that the band had more success in the alternative genre.

Daydream Nation was their fifth studio album, released on Enigma records as a double disc record. It was highly acclaimed, making many lists of 1988’s best albums. The group’s musical themes of alternate tunings and dissonant textures created a unique musical landscape over which one of the members would “sing” – vocals prowess was not a critical element. The album did not chart in the US, but the single “Teen Age Riot” was popular on alternative radio.

Although the group would achieve more commercial success with followup major label releases in the early 90s, Daydream Nation may be considered the band’s artistic peak, at the very least a unique and important touchstone for the decade. They were a clear influence on the grunge era that came shortly after, although their complex guitar signatures were unique to their sound. The band disbanded in 2011, all the members moving on to new projects.

The Jesus and Mary Chain – Psycho Candy (1985)

My introduction to The Jesus and Mary Chain was their third album Automatic and the singles “Blues from a Gun” and “Head On”. But it was their debut album Psycho Candy that set the stage for a tidal shift in rock style in the following decade. The industrial style grinding guitars, heavy drum sound and nasal, deadpan vocals was a blueprint for other noise rock bands like Sonic Youth and My Bloody Valentine.

Founded by Scottish brothers Jim and William Reid, the early incarnations of the band leaned heavily on the influences of bands like the Stooges and Velvet Underground, a punk-tinged pop aesthetic. They became known for short chaotic live performances, back to the audience, often marred by violence. Despite this reputation, they released the album Psycho Candy on Blanco y Negro records in 1985 to mostly positive critical acclaim. Its feedback drenched textures over more conventional rock song structures resulted in concise concentrations of white noise and pop sensibility.

The album had three single releases, “Never Understand”, “You Trip Me Up”, and “Just Like Honey”. The album did well in the UK charts and cracked the US Top 200, reaching 188. This is another band who’s legacy outpaced it’s sales success. They are often credited as a progenitor of the “shoe-gazer” bands to follow, and their punky ethos put a stamp on the change in the musical landscape coming at the end of the decade.