For a long time now, a lot of music critics (and quite a few listeners along the way) have had a somewhat negative look at the music produced in the eighties. The reasons for that may lie in the fact that quite a few of the big hits of that time, singles or albums, did not stand the test of time. Flashy MTV videos possibly have a lot to answer for there.
Yet, at the same time, that turns out to be a tip of the musical iceberg produced during the eighties, and also one of the reasons so much of the music produced during the decade went on, or remains neglected or forgotten.
Of course, other reasons some of the music, particularly the albums, remains forgotten are more or less the same as in the 1960s and 1970s - big names dominating, changes in taste, record label neglect, poor distribution and promotion of independent releases, and quite a few others.
These forgotten 1970s albums are still brilliant
Nevertheless, quite a few releases below might have caught the ears of a few listeners out there, some got a cult(ish) status with both critics and selected audiences, but today seem to be forgotten or never really got out of the starting blocks.
Young Marble Giants - Colossal Youth (1980)
Today, even rock critics who loved this album and its detailed, spaced-out take on minimalism of this Welsh trio, for whom this was their only official studio release. Yet, those artists still taking a similar route today sound quite influenced by this seminal album.
The Feelies – Crazy Rhythms (1980)
Ok, this band still comes up with a release here and there, and still, the immense influence of Velvet Underground on their sound remains, but in the early eighties their take on the Velvets and immensely effective attempt to update it, was not only revelatory, but seems to have opened up a wider trend. Still sounds fresh and new today.
The Trash Can Sinatras - Cake (1980)
Acoustic emo before it was branded? Quite possibly, as this Scottish band acquired a cult status starting from this, their debut album. Intricate guitars, vocal harmonies, and excellent lyrics, but larger audiences still haven’t caught up, even with recent reissues.
Rickie Lee Jones – Pirates (1981)
When Jones cropped up on the scene at the turn of the decade, many new her more for her connection with Rom Waits, rather than her jazzy take on pop. Maintaining the high quality of music she came up on her self-titled debut, here she got a bit more introspective and musically varied, but the critics and the audience seemed to have undeservedly lost interest.
Rip Rig + Panic - God (1981)
Neneh Cherry has quite a large audience, but many among her fans don’t realize that she started out in this, truly avant-garde band that was able, particularly on this album to cover everything from rock to soul, avant-garde jazz, and yes, the kitchen sink, and sound coherent (and great) at the same time.
The dB’s – Stands for Decibels (1981)
For many, power pop was a sign of predictable and unchanging, and these North Carolina guys went on to disprove that notion from the beginning, showing that experimenting with the sounds created by the likes of Big Star, Badfinger, among others, can produce some great, ultimately listenable sounds.
Microdisney - Everybody Is Fantastic (1983)
This Irish band became cult favorites from the get-go with some incredible songwriting of Sean O’Hagan and intricate wordplay of lyricist/singer Cathal Coughlan. And while critics and selected listeners loved them, success never really came, even for their later efforts (separately) with Fatima Mansions or High Llamas.
The Replacements - Let It Be (1984)
Slowly switching from head-on hardcore to something that could be loosely labeled as budding indie rock, this is where Paul Westerberg and co. started to come up with some seriously great music without fully moving away from their reckless abandon. And this combination of great songwriting wrapped in a rough-edged foil works to this day.
The Long Ryders - Native Sons (1984)
All artists associated with L.A.’s Paisley Park movement are more often than not labeled as neo-psych. Sure, the Long Ryders, who were a part of that scene, loved their sixties, but their sound, particularly on this album, includes much more of the updated sixties music, leaning more towards something that these days is labeled as roots and Americana.
David Sylvian – Brilliant Trees (1984)
While still the lead singer of Japan, David Sylvian started showing inclinations to expand the then dominating sound of electro-pop. On this, his first solo effort, he not only experiments with other forms like jazz and funk but presents ideas that many so-called ambient artist will exploit for decades on.
Green On Red - Gas Food Lodging (1985)
Green On Red’s association with Paisley Underground was quite brief, as they quickly moved into the roots, alt-country, Americana territory, but looking at those from the perspective of indie rockers. It seems they paved the way, particularly with this album paved the way for the likes of Son Volt and Wilco.
David + David – Boomtown (1986)
Many rock critics at the time dismissed this album as mainstream, and yes, this could be labeled as such, but then, what is wrong with mainstream if it is made as good as this album by two Davids with different last names (Baerwald and Ricketts)? They never made another album as a duo. Baerwald went on solo, and Ricketts was practically never heard of afterwards.
Game Theory – The Big Shot Chronicles (1986)
Scott Miller and his Game Theory might have been critics’ darlings at the time, but that, sadly, never transferred into any tangible appreciation by a wider audience. Maybe it had something to do with that saying “too much of a good thing,” as Miller and his band never made an even average album, and this one was one of their best.
The Triffids - Born, Sandy, Devotional (1986)
Named after one of the 1950s classic dystopian novels, this Australian band that revolved around the late great singer songwriter David McComb created some hard to define music genre-wise, but one that could be easily labeled as great. This is certainly their best album, which often finds its way on the best of lists, but still doesn’t seem to register with wider audiences.
John Hiatt – Bring the Family (1987)
An artist’s artist that has more fans in Japan and the Netherlands, for example, than in his native U.S., for reasons not many can explain. Always with excellent songwriting and vocal delivery, even when he was supported by the likes of Ry Cooder and Nick Lowe, like on this album, Hiatt never got the true respect he deserved.
Robbie Robertson - Robbie Robertson (1987)
How do you follow being one of the songwriters (and vocalists) in The Band with a solo career? Not easy, for sure, possibly one of the reasons it took Robertson 11 years to come up with his first solo effort, and the one that comes up quite close to what he has done as part of the musical legends.
Dinosaur Jr.- Bug (1988)
J. Mascis and his Dinosaur Jr. were once labeled as part of the slackers, something that certainly doesn’t coincide with his work ethic; the man is still touring for god’s sake! Here, on one of his band’s first efforts, he decidedly sets the scene for the tougher side of indie rock, grunge in particular, with “Freak Scene” becoming his trademark
Giant Sand - The Love Songs (1988)
Over the decades, with Giant Sand, solo or in other band configurations, Howe Gelb has produced such a wide range of high-quality music that his cult fan base seems to keep expanding, but never reaching that mark called wider acceptance. This album is where his music already reaches full maturity as an indie great.
Prefab Sprout - From Langley Park To Memphis (1988)
After high praise (and solid sales) of Paddy McAloon’s Prefab Sprout’s previous album that at the time went under two titles (Steve McQueen and Two Wheels Good), critics practically lambasted this album, and for no good reason, labeling it “too commercial,” as it was neither - by its music quality or by the sales for that matter.
The Blue Nile - Hats (1989)
Ambient music has taken many shapes and forms over the decades, expanding from its originally instrumental-only beginnings. Bringing in vocal elements in the best possible way could easily be credited to this Scottish trio, whose music could never be slapped with average or boring tags, reaching a real high with this, their second album.