The 20 Best Albums of 1980

Posted by Nolan Dalla on Oct 21, 2026 in Blog | 0 comments

Here’s my seventh music retrospective on the best albums released–by year. My previous “Best Albums” lists covered 1976, 1977, 1975, 1978, 1974, 1979 (in that order). See more on my website (www.nolandalla.com) or go back on Facebook to see those lists.

Summation:

1980 was an astounding year across the musical spectrum. That remarkable year marked a peak crescendo of clashing styles, wild fashions, changing musical tastes, and even outright hostility between genres and their most faithful listeners. Some might even say it was a music war. Recall, Disco Demolition Night had exploded in Chicago during the previous summer, and 1980 became the year of a mass national fallout — as radio stations across the country abandoned disco formats, and record companies unfairly tagged disco as toxic. In the U.K., musical tastes evolved even faster, and became more outlandish, even shocking.

Storm clouds were on the horizon. Remember, the best-selling artist of the year, Christopher Cross (more on him later). Pop music was about to be rocked by a seismic shift into New Wave and other variations, as well as the birth of MTV the following year (1981). Music television and videos would quickly steamroll over the global creative and business landscape and would change everything. So, doing this retrospective on how many great rock albums were released that year was, for me, a surprise. I was a senior in high school at this time and remember wearing out the iconic albums on this list. I also despised disco back then (how wrong I was!). Some may call this the last really great year for traditional rock, which was the era of the backlash against all things 1970s.

You decide. Here we go….

—– Albums that Didn’t Make the Cut —–

“Hi Infidelity” …. REO Speedwagon
– This album sold a staggering 10 million copies, rocketed to #1 and stayed there for weeks, spawning six hit singles that charted. But I can’t stand REO Speedwagon–then or now. Mediocre schlock. Fans will insist it belongs in the top-10. It all depends on your tastes.

“Songs” ….. Vladimir Vysotsky
– Few Westerners know the name — Vladimir Vysotsky. Think Bob Dylan or John Lennon making music during the darkest days of the former Soviet Union. Yeah, hard to imagine but easy if you try (see what I did there?). Somehow, Vysotsky was so creative and energetic, he penned 600+ songs and was able to circumvent strict government censorship and even was published by the state-owned record company. This singer-songwriter, poet, and actor had an profound influence on Soviet culture. He was beloved for his unique singing style and clever lyrics, which often commented on personal struggles, social themes, and politics, incredibly, without getting banned or arrested. A deeply troubled man with chronic health problems, years of harassment by the Soviet government led to a premature death in 1980 at age 42. His death still remains a matter of speculation and controversy. His final album, “Songs” sold 2.5 million copies–an astonishing feat given the obstacles he faced, and no marketing whatsoever. He deserves mention, and remembrance.

“The Blues Brothers” ….. The Blues Brothers (Dan Akroyd, John Belushi, and guest all-stars)
– The famed SNL cast members and musical duo created alter egos as Chicago bluesmen, and somehow they pulled it off. Memorable movie comedy that year spawned a surprisingly catchy album with several R&B and soul icons including Ray Charles, Aretha Franklin, John Lee Hooker, Cab Calloway, and others. The Blues Brothers recorded their first album, “Briefcase Full of Blues,” two years earlier, which to the surprise of many, hit #1. This release is even better.

“Emotional Rescue” ….. Rolling Stones
– It pains me to leave this great album off the list, because these studio sessions were so abundantly fruitful, they not only spawned a new-waveish sound for the Stones and reached #1 in several countries, but many of the recordings carried over into their next album released the following year, “Tattoo You” (which I consider one of RS’s best five albums). Interestingly, while disco was on its way out, the title track as well as “She’s So Cold” and “Dance (Little Sister)” were very discoesque, reinforcing the prevalent racial bias in pop music (the Stones took/stole Black music and made it their own).

“Boy” …. U2
– Very different unpolished sound and raw take-no-prisoners energy infuses U2’s debut album, now regarded as groundbreaking. What worked in the studio here sparked the rock solid foundation for what was about to become the biggest band in the world over the next two decades. I’m not a fan of this album, but it merits inclusion here as an honorable mention.

—– More Worth Remembering (Good and Bad) —–

“Love Stinks” …. J. Geils Band (this album marked the group’s commercial peak, and we’re still listening to these songs decades later, in movies, commercials, etc.)

“Panorama” ….. The Cars (not quite up to the level of the group’s marvelous first two albums, which were perhaps impossible to equal, but still delivers that “Cars” grove sound)

“Voices” …. Hall and Oates (two Philly street guys with angelic voices release a retro-sounding album sparking 4 hit songs–excellent blend of R&B magic, yet looking very modern into a new decade. Nobody else was doing this at the time, and this would spurn a wave of copycats.)

“Argybargy” …. Squeeze (now regarded as a New Wave classic, has grown in stature over the years–to be perfectly candid, I haven’t listened to this in many years and will go back and re-visit sometime.)
“Glass Houses” …. Billy Joel (I love most of Billy Joel’s timeless melodies, but really dislike this album. It was a smash success, of course, and triggered his first #1 hit, “It’s Still Rock n’ Roll to Me,” even though that wasn’t rock n’ roll, at all. Man, I dislike that song. Who among us didn’t order this album from the Columbia *10 albums for 10 cents* special offer?)

“Saved” …. Bob Dylan (the second of the icon’s “Christian trilogy.” It’s horrible. Aside from Dylan suddenly preaching religion to us after rejecting the counterculture that made him a transcendent pop figure, the music simply isn’t interesting, nor inspiring. Most of us could appreciate a gospel sound juxtaposed with Dylan’s quirky voice and musicality, but he almost goes out of his way to make this NOT sound like a gospel album. The result is an embarrassing and confusing mess of a man lost. It’s on many WORST albums of all time lists.)
_________

Now the top 20:

(20) “Remain in Light” …. Talking Heads
– This groundbreaking album so way-ahead-of-its time must be in here somewhere. I can see it as an honorable mention, or maybe as high as #7 or #8. Let’s compromise and stick it at the edge of the top-20, which many will argue is too low. So many influences and unique sounds are colliding on this disc, the most memorable release being the wickedly funny and catchy cultural parody, “Once in a Lifetime.”

(19) “Arc of a Diver” …. Steve Winwood
– This album stands as a virtuoso and a one-man showcase. It’s a master work of creativity. Known for his earlier hits and universally-respected for his prodigal output with bands — Traffic, Blind Faith, and the Spencer David Group (which he joined at age 14!) — many years later Winwood wrote, produced, mixed, and played every instrument on this album which he recorded at his home studio. Such self-indulgence has derailed other overconfident songwriters, but Winwood completed and released this impressive collection of synthesizer-jazz-rock tracks which alternate between power walls of sound and softer tender melodies.

(18) “Crimes of Passion” ….. Pat Benatar
– This was Pat Benatar’s hard-driving second rock album, showing that a pretty face with a raspy voice could be sexy and yet still write catchy lyrics and belt out lead vocals with the very best male rocker counterparts. She would parlay the success of this album and dominated rock stage arenas. The success of this sophomore LP paved the path of opportunity for multiple female recording artists who followed. First, it was “let’s find the next Linda Ronstandt.” Then, it became let’s find the next Pat Benatar.” Her chart-topper, “Hit Me With Your Best Shot” became Benatar’s theme song, along with “Treat Me Right.” She won a Grammy for this album, and collected a golden stature for three consecutive years, a rarity in pop music.

(17) “Double Fantasy” …. John Lennon / Yoko Ono
– Released just weeks before his murder, “Double Fantasy” was John Lennon’s doo-wop infused comeback album following a deliberate five-year musical and media hiatus after a frantic decade of living under the world’s brightest spotlight. Ultimately, it become his final farewell. Each of the Lennon tracks is radio-friendly, and deeply introspective, and this collectively ranks as his best solo work since his debut, “Imagine.” Unfortunately, Lennon’s songs alternate across both sides of the disjoined album with wife-collaborator Yoko Ono, whose equal number of contributions were annoyingly layered in between. While Ono’s “avant garde” (experimental?) vocals aren’t nearly as torturous as might be expected across this vinyl, Lennon’s decision to saddle down much of the album with her work significantly detracts from its ranking. Lennon had more than enough material to release what should have been arguably one of the best albums of the year (several session outtakes were released later). Had he done so, this album would easily rank in the top-10.

(16) “Blizzard of Ozz” …. Ozzy Osbourne
– This was Ozzy’s first solo album after splitting from Black Sabbath. It’s universally recognized as a landmark release, ranking on many lists as one of the best metal classics and guitar-heavy masterpieces (thanks to Randy Rhodes, who died a few years later) in history. While Sabbath was big, this album made Ozzy an international star, which would shine on for the next 40 years. The album also became memorable for sparking a heated legal battle, as the Ozzy and CBS Records were sued because one teenage fan committed suicide (re; “Suicide Solution”). Ozzy appeared in court, testified, and won an important case in defense of artistic expression (the corporation wanted to settle out of court, but Ozzy refused). This isn’t among my favorite hard rock albums, but it’s impact and importance cannot be overstated.

(15) “I Am What I Am” …. George Jones
– Hard-drinkin’ firebrand country honky-tonk legend George Jones might appear out of place on this list. I insist he and this album belongs. It’s the best country album of the year, containing one of the most beloved classics in history, “He Stopped Loving Her Today.” Deeply troubled throughout his turbulent life, when he did show up, “No Show” Jones didn’t sing just his songs—-he lived them. Ten self-reflective and tender songs appear on this masterful collection. Unfortunately, the cover is plasted with an absurd photo of Jones decked out in a white disco suit (this was supposed to make him look more modern). They packaged “the Possum” as something he wasn’t, but then once he began strumming and singing simple lyrics about love and loss, millions could feel the pain.

(14) “Against the Wind” …. Bob Seger (and the Silver Bullet Band)
– This was Seger’s only number-one album over his long career. It spent six weeks atop the charts. Many critics graded this as Seger’s best album, which reveals a more mature sound and greater depth than his earlier releases, which were also very successful over the 1970s. Some critics accused Seger of too much repetition. Backed by the Muscle Shoals Rhythm Section, much of the album is inspirational and aspirational. Seger described his ambition on these recordings as trying to make a soundtrack for normal people and their lives. He succeeded, and the 3.7 million sales plus a Grammy for best rock performance is solid evidence.

(13) “Gaucho” …. Steely Dan
– Steely Dan has never been affixed to my musical wheelhouse. Nonetheless, their cutting edge sound, innovations, fusions of jazz and rock, and layered sophistication makes them widely admired. In the aftermath of the huge success of Aja (1977), this stands as one of the group’s most ambitious projects. However, production was fraught with troubles. Recording lasted more than a year, and included nearly 50 studio musicians, many of whom were hired then quickly discarded. Production costs sailed way over budget. The record company was furious with several missed deadlines. Creative differences within the group also splintered output and led to multiple musical dead ends. Yet despite all of this, the album worked. It was released, instantly became a hit, and sparked three hit singles, including “Hey Nineteen,” “Babylon Sisters,” and “Time Out of Mind.” The outtakes and bootlegs from these sessions attracted a near cult following, with many online discussions about those sessions taking place to this day.

(12) “The Jazz Singer” …. Neil Diamond
– When it comes to pop icons of the 70’s Neil Diamond is certainly one of a crowded list of nominees. “The Jazz Singer,” a soundtrack album to the movie, became a huge smash hit in spite of box office disappointment. Three songs broke into the top-10, including “Hello Again,” “Love on the Rocks,” and the retro-patriotic flag waver, “America.” Overall, this is an excellent musical encapsulation of the movie’s storyline which showcases a clash between old and new, native and foreign, religious and secular, father and son. Mirred by problems, changing directors, cast members who were replaced, the film (an awkward remake of the 1927 classic) was ripped apart by critics. But the album became one of Diamond’s most successful, and remains praiseworthy apart from the movie’s fate.

(11) “Trilogy: Past Present Future …. Frank Sinatra
– Most of the timeless Frank Sinatra canon was released long before long-play albums were popular, so it’s difficult to pick a particular collection, though anything from the Capital years (1954-59) merits consideration. This triple-album release stands as the most ambitious of a half century of recordings — a strange, brilliant, and bloated album packed with a whopping 26 new arrangements, though much of the familiar songbook standards had been previously recorded, including several covers. The result is an aged whiskey cask tucked away and forgotten in the cellar that you pull out only for special occasions, rather than the fresh bottle. And that’s just what we expect and revere from this artist, who delivers many surprises. What makes this a standout is the later 3 sides of the expansive collection, including several recordings don’t associate with Sinatra. Yes, this also includes some head-scratching camp-level parody-like misses. Yet, this unpredictability, a rare risk for Sinatra, combined with the pure volume of new material, makes this album one of the year’s most fascinating.

(10) “Freedom of Choice …. Devo
New wave synthesizer-heavy pop music wasn’t mainstream until Devo broke down barriers and instigated several imposters, few able to match the group’s kitschy modern science stage act, joyful facial gyrations, and surrealist humor with undertones of court jester truth. Art punk, synthetic, electronic — forget the labels. Just say Devo. Everybody knows the monster hit song from this album, “Whip It.” As with much great art and social commentary, debate lingers about the real meaning of the intentionally-ambiguous title. When a low-budget video was made of the group brandishing whips on a cartoonish ranch, audiences assumed the music and lyrics were sexual metaphors. Perhaps that’s the intrigue of a song that seemed the unlikeliest of mainstream hits. Much of this album consisting of 12 songs is quite similar to that non-sensical expressionism of the popular hit off the album, but don’t underestimate the other tracks, either. Devo’s strange look and original sound may not be for everyone, but everyone was surely talking about them back then.

(9) “Never for Ever” …. Kate Bush
– There’s so much to love and enjoy about Kate Bush and her music. She’s the British singer-songwriter who defies recording labels and shatters pigeonholing. “Never for Ever” was her third album, which became so hot inside the club scene UK as a cult classic that she catapulted to #1 on the national album charts, thus becoming the first female artist in history to reach that plateau as a solo release. Soon thereafter, Bush also topped charts throughout Europe. However, her label feared that popularity wouldn’t repeat in the U.S., so the American release of this album wasn’t until 1984. There are so many lyrical influences here, inspired by literature, movies, history — and the progressive art pop rhythms are rife with multi-layered instrumentation. This is a hidden gem for many who may not have heard it — ahead of its time and still sounds fresh to this day. Theatrics, dance, synthesizers, folk instruments — this is and album full of awe and wonder.

(8) “British Steel” …. Judas Priest
– This is revered and respected as one of the greatest metal albums of all-time. That said, what makes it a top-10 selection is the strength of every song on the album. It’s rare that any rock group would have playable material on both sides in every recording. This rarity is even more pronounced when we consider metal bands don’t typically produce mainstream hits.

(7) “Celebrate” …. Kool and the Gang
– I suspect the title song popped instantly into your head. Me, too. The title track stands as one of the most well-known party songs of all-time, played everywhere from birthday parties to sports world championships. But there’s far more to the story of this surprise hit of an R&B album by funk pioneers, Kool and the Gang. They were initially blasted by many funk purists for “selling out,” opting for a groovy dance-drive sound that was certain to stray loyalist fans away from their roots in boogie and swing music. Others cite KATG’s changes as adaptability as an unforeseen monster comeback album, following three straight flops and the near end of their recording contract. This album’s massive crossover success solidified KATG’s place among the nightclub and dance genre circuit, and guaranteed we’d be singing the chorus line half a century later.

(6) “Diana” …. Diana Ross
– For all her classic hit songs in the sixties with the Supremes and her widely-publicized solo diva-ness, this album may have been her most spectacular musical achievement. Initially, “Diana” included a much heavier disco vibe throughout. Once the disco backlash was underway, warned that releasing it *as is* might “ruin her career,” Ross and co-writers panicked and then re-mixed every song. Even the album’s B/W cover shot, showing a self-confident but plain-faced Ross wearing a pedestrian t-shirt clashed with her queenly image. She had recorded a throw-a-way song Motown executives hated, and she was about to discard it. Then, Gene Simmons (of Kiss, who she was dating at the time) heard it and persuaded Ross to stick with the song. That recording was “Upside Down,” which rocketed to #1. The album sparked four major hits, including “I’m Coming Out,” which as the title suggests became a mega-anthem for the gay movement. This brave album ultimately revealed a very different side of Ross, an artist who had matured, began following her own instincts, and accordingly became a cross-cultural and multi-generational hero.

(5) “Christopher Cross” (self-titled) …. Christopher Cross
– This was one of the most dominant soft rock albums in history. It won five Grammy Awards — including Album of the Year, Record of the Year, Song of the Year, and Best New Artist, with Cross becoming the first artist to win all the four major categories in the same year. Cross is a fascinating case study and yet also the epitome of victimization in the eternal commercial conflict between style and substance. Note: In the previous Part 1, I included a video link to Cross’s career story and some might say–his tragedy. But aside from all the drama and egregious injustice, the fact remains that this debut album is remarkably solid. Numerous hits are enhanced by Cross’s guitar work, which remains vastly under-appreciated (see his videos when he talks about the different sounds of guitars — fascinating!).

(4) “III (Melt)” …. Peter Gabriel
– Who else remembers this oddly-titled, politically-driven protest album from one of the 80s most innovative artists? Sometimes called “Peter Gabriel 3,” many musicologists rank this among the most influential LPs of the era, noted for the hypnotic drumbeat and reverberation that came to characterize the unique “Gabriel sound.” The anti-war song “Games Without Frontiers” was a rare music-with-a-message hit, reminding us that rock could still be the spear of awareness and activism. Another song, “Biko,” about a murdered South African freedom fighter, sparked scandal. Studio execs, including Atlantic’s legendary Ahmet Ertegun hated it (“why would any American care about some guy in South Africa?”). Atlantic rejected the album and cancelled its pending release in the U.S.. It later found a new label (ultimately on Geffen, a new company). “III (Melt): did become both a critical and commercial success, praised by critics as pushing boundaries when most artists and recording companies played it safe. Even the bizarre cover, showing a half-distorted facial image of Gabriel, challenged norms. No one back then expected Gabriel, given his firm refusal to conform, would become one of MTV’s most popular artists just a few years later.

(3) “London Calling” …. The Clash
– With increasing frequency as this series continues, you’ll witness my ignorance and/or failure to appreciate some of these albums and their impact. Here’s one of the most highly-acclaimed classics ever, which frankly, I’ve never regarded as anything more than a curiosity. That’s not meant as criticism. It’s just hard for me to give it a grade. What’s not debatable is the near-consensus opinion — then and now — that this album ranks as an epic double album (released in 1979 in the U.K, and in 1980 in the U.S.). It’s remarkable that a punk and new wave-driven album containing 18 songs was such a massive hit (5 million copies sold), especially given it’s edgy rebellious genre. Some critics give this album a perfect score. It was selected as best album of the year, and even made multiple top-100 lists as one the greatest albums of all-time. I can’t argue with that overwhelming weight of convincing evidence, so I’ll defer to those experts. However, I do believe two albums should rank above it.

(2) “The River” …. Bruce Springsteen
I wasn’t a Springsteen fan until I heard “The River.” But I still feel inadequately unqualified to offer a fair assessment. Easy fanboy review: I just love the raw energy and rank this as a treasure trove of outstanding music. “The River” is a double-album, but still feels like lots of great outtakes were left inside the studio vault (I’ve since learned this album was recorded over an 18-month period and begat 50 songs). By this period, Springsteen as a recording artist and performer had developed an obsessive perfectionism about his music. He rehearsed songs until many bandmates were exhausted and technicians were ready to walk out. His objective was to become so proficient with every note and band member that the tireless work ethic and forced repetition carried over onstage into live performances. This dedication certainly contributed to Springsteen’s revered reputation as a stage performer, who frequently did 3+ hour shows (140 tour dates followed this album’s release, a physically and mentally draining schedule). That’s the same high energy that infests this album throughout. Twenty songs ultimately made the final cut, which became labeled as “heartland rock,” a new blending of sounds intertwined with traditional, country, bluegrass, and folk fused with familiar lyrics about love, life, home, family, and community. I can’t judge this among Springsteen’s other work (please feel free to offer an assessment). What matters is the inspiration this album provided to other artists. The album sold well in the U.S., but less so in the U.K. and elsewhere–perhaps due to the American heartland-heavy themes.

(1) “Back in Black” …. AC/DC
– The rarest album bears many gifts. It’s a snapshot of sound. An unstoppable force of energy. An evergreen stamp of distinction. And the very rarest leave a transformative legacy. None of this seemed remotely possible for the Australian hard-rock band AC/DC in February 1980 when it all seemed to be tragically over. Following the shocking death of lead-singer and frontman Bon Scott, the band seriously considered calling it quits. But instead, brothers Angus and Malcolm Young chose to continue. They burned through several aspiring replacements in try-outs and then auditioned a newcomer named Brian Johnson [Listen to his interview with Howard Stern sometime as to how he got this new gig that lasts to this day–it’s riveting]. Johnson had the impossible task of stepping behind the microphone and replacing the irreplaceable, ultimately shrieking out lyrics breathlessly that became anthems worldwide. Johnson couldn’t possibly become Scott, so he made his triumphant debut as–Brian Johnson. Only four months later as the follow up to the massively-successful “Highway to Hell,” on July 25, 1980, AC/DC released “Back in Black” — an unlikely album born from a devastating loss that became one of rock’s greatest declarations of survival. It spurred multiple iconic hard-rock masterpieces (Hell’s Bells, You Shook Me All Night Long, and the title track) and would sell 50 million albums, to date, which stands as the second best-selling album of all time.

This completes my “best” list for 1980. In my next write-up, I’ll review the year 1972.

Comments welcome!