Is it possible that the ’80s represented the pinnacle of musical excellence? This intriguing question is posed on the back cover of our latest publication, 501 Essential Albums of the 80s (Motorbooks/Quarto Group), and while there are certainly arguments to support this notion, other decades could also make compelling cases for their own musical significance.

During the 1980s, the emergence of portable devices like the Sony Walkman and boom boxes, coupled with the rise of MTV, led to a cultural revolution where music infiltrated every aspect of life. This era saw a complete integration of music into our daily routines, from film soundtracks to sports arena playlists. The collective experience was profound, as diverse musical subcultures found common ground in a shared appreciation for essential tracks, resulting in unprecedented levels of popularity and influence across the music landscape.

To deepen this discussion, we must consider which year stands out as the apex of this (possibly) greatest decade.

With 1985 now celebrating its 40th anniversary, it’s gaining significant attention, and many argue it holds a unique prominence within the 1980s. This year was marked by iconic events such as “We Are the World” and Live Aid, which also included the inaugural Farm Aid concert, where artists like Sammy Hagar, Eddie Van Halen, Bob Dylan, and Tom Petty & the Heartbreakers united for a cause, setting the stage for monumental collaborations and performances.

January 1, 1985, saw the launch of VH-1, and just ten days later, the iconic Rock in Rio festival kicked off. This whirlwind year also witnessed the departure of David Lee Roth from Van Halen, the exit of Roger Waters from Pink Floyd, and Michael Jackson acquiring the Beatles’ publishing rights, alongside a notable clash between rock music and the Parents Music Resource Center (P.M.R.C.). Clearly, the headlines were as vibrant as the music.

Additionally, 1985 was a treasure trove of exceptional music, and our book features a compelling chapter dedicated to this year. From our extensive list of 501 genre-defining albums, we have curated a selection of ten of the most essential classic rock albums from 1985, crafted by a talented team of over two dozen contributors, many of whom will be familiar to readers of UCR.

Phil Collins
No Jacket Required
(Atlantic)
Released: February 18, 1985
Producers: Phil Collins, Hugh Padgham

By the time 1985 rolled around, Phil Collins was riding high after achieving Top 10 hits with his initial solo albums, Face Value and Hello, I Must Be Going?, along with the success of Abacab with Genesis. Refusing to rest on his laurels, Collins delivered what would become his most successful album, No Jacket Required, inspired by a personal anecdote about being turned away from a restaurant for inappropriate attire. This album not only features poignant ballads that touch on personal themes such as divorce and political angst, but it also showcases his decision to create more upbeat and danceable tracks.

Comprising ten tracks (or eleven with the CD bonus “We Said Hello Goodbye”), the seamless blend of well-crafted Adult Contemporary and pop sounds turned No Jacket Required into a remarkable hit-making machine. The album’s first two singles—”Sussudio,” a lively tune inspired by Prince about a schoolboy crush, and “One More Night,” a heartfelt ballad about lost love—both ascended to the No. 1 spot on Billboard’s Hot 100 chart. Following these were other hits like “Don’t Lose My Number,” characterized by melodramatic lyrics and Collins’ signature gated reverb drum sound, and “Take Me Home,” which features soaring lyrics that reflect the desperate pleas of a mental patient.

No Jacket Required garnered three Grammy Awards for Collins, including Album of the Year, and achieved global sales exceeding 25 million copies, solidifying its status as one of the best-selling albums in history. This extraordinary success propelled Collins from being merely a rock star to an international music icon, leading to numerous collaborations with various artists and performances at both Live Aid concerts in London and Philadelphia during the summer of 1985. – Jeff Corey

Dire Straits
Brothers in Arms
(Warner Bros.)
Released: May 17, 1985
Producers: Neil Dorfsman, Mark Knopfler

The historical significance of Dire Straits’ fifth album extends beyond its musical content. As one of the very first albums to be digitally recorded, Brothers in Arms emerged just as compact disc players were starting to gain widespread popularity. This album became the first million-selling CD, a title attributed to its pristine sound quality and the enhanced audio fidelity offered by the new format. CD buyers were also treated to expanded versions of the album’s tracks, allowing for an immersive listening experience across the nine beautifully crafted songs.

Yet, the technological accolades would mean little without strong songwriting to back them up. Beginning with their 1980 album Making Movies, Dire Straits transitioned to longer, more artful compositions, moving away from the concise, structured form seen in their debut single, “Sultans of Swing” from 1978. The tracks on their 1982 release, Love Over Gold, averaged around eight minutes each, with the most extended piece exceeding fourteen minutes. This evolution set the groundwork for Brothers in Arms, featuring expertly crafted and deliberately paced songs like “Your Latest Trick,” “Why Worry,” and the title track.

However, it was the album’s most unconventional track, “Money For Nothing,” that propelled it to chart-topping success, establishing Dire Straits as a dominant force in the music scene during the mid-‘80s. Featuring a collaborative vocal performance from Sting, a gritty guitar riff influenced by ZZ Top, and an award-winning computer-generated video that criticized pampered pop stars—highlighted by the iconic line, “That ain’t working, that’s the way you do it / Money for nothing and your chicks for free”—this No. 1 hit became a cultural phenomenon in 1985. However, the immense success took a toll on frontman Mark Knopfler, leading him to disband Dire Straits a decade later after one final album. – Michael Gallucci

Bob Dylan
Biograph
(Columbia)
Released: Autumn 1985
Producer: Jeff Rosen

Before the inception of The Bootleg Series, there was Biograph. Prior to that, Bob Dylan had released three Greatest Hits albums, but Biograph carved its own niche. Instead of a typical greatest hits compilation, it offers a comprehensive 53-track collection that spans Dylan’s illustrious career, packaged as a five-LP/three-cassette/three-CD box set featuring previously released tracks, studio outtakes, demos, unreleased songs, and live performances dating from 1962 to 1981.

Somewhat paradoxically—typical of Dylan—the set was not organized chronologically; instead, it presented songs grouped thematically, such as love songs and political anthems. This unique arrangement reflected Dylan’s enduring artistry, even as his critical reception fluctuated throughout the years.

The real allure of Biograph, however, lay in its rarities—18 previously unreleased tracks, some of which were known to hardcore fans but remained obscure to the general public. Notable highlights include “Caribbean Wind” and a powerful live rendition of “Groom Still Waiting at the Altar,” both emerging from the often-overlooked Shot of Love era. The collection also features standout tracks from the Rolling Thunder tour and sessions from the Blood on the Tracks album.

Beyond the music itself, Biograph excelled in presentation, notably with its accompanying booklet that included rare photographs and an insightful essay by Cameron Crowe. Perhaps most notably, the booklet included direct commentary from Dylan regarding many of the songs. The commercial success of Biograph—achieving platinum status—set a new standard for how archival material was presented, paving the way for countless box sets to follow and foreshadowing Dylan’s own extensive (and ongoing) Bootleg Series. – Daniel Durchholz

John Fogerty
Centerfield
(Warner Bros.)
Released: January 7, 1985
Producer: John Fogerty

With a vocal style reminiscent of Little Richard and guitar riffs that echo Chuck Berry, John Fogerty stands as one of the most formidable forces in rock ‘n’ roll. The hits he recorded with Creedence Clearwater Revival—with over a dozen tracks in the Top 15 of the Billboard Hot 100 between 1968 and 1972—remain timeless classics. After the dissolution of Creedence, Fogerty released two solo albums that went largely unnoticed. However, in 1985, he made a triumphant return with Centerfield.

With exuberance, he proclaimed, “Put me in, coach, I’m ready to play!” in the album’s title track, which draws references from Berry’s “Brown Eyed Handsome Man” and Ernest Thayer’s “Casey at the Bat.” The song opens with programmed drum beats that mimic the rhythmic clapping of a baseball crowd—one of several moments that showcase Fogerty’s ability to craft this entire album solo, without the aid of other musicians.

“The Old Man Down The Road” kicks off the album with a swamp rock hook reminiscent of CCR’s “Run Through The Jungle”—so much so that Fogerty faced legal action from Saul Zaentz, the then-owner of the Creedence publishing rights, which inspired the sharply critical tracks “Mr. Greed” and “Vanz Kant Danz” on Centerfield. (Zaentz ultimately lost the “Jungle” case in a landmark Supreme Court ruling that established new precedents for damages in copyright disputes.)

Setting aside legal controversies, Centerfield is a treasure trove of exceptional songwriting, often tinged with bittersweet reflections. The track “Big Train (From Memphis)” evokes memories of Elvis Presley, capturing the sentiment of something lost, as he states, “is gone gone gone.” In “I Saw It On T.V.,” the aging narrator recalls the politicians who “took my only son from me,” echoing the feelings of a generation. With double-platinum sales, Centerfield reinstated Fogerty to his rightful place atop the Billboard 200 chart. – Thom Duffy

Heart
Heart
(Capitol)
Released: June 21, 1985
Producer: Ron Nevison

“Some people told us we might have hits if we did these songs,” Ann Wilson revealed, reflecting on Heart’s eighth studio album. “We hadn’t had hits for a while, so we listened to them.” Following a period of commercial struggles and a label change, the dynamic duo of Ann and her sister Nancy Wilson resonated with polished tunes from outside songwriters, resulting in four Top 10 singles, including “These Dreams” and “Never,” along with a No. 1 album and five-times platinum sales. This strategic decision likely saved Heart from the brink of obscurity. – Gary Graff

John Mellencamp
Scarecrow
(Riva/Mercury)
Released: July 31, 1985
Producers: John Mellencamp, George Green

The evolution—there’s no better term for it—that John (then) Cougar Mellencamp commenced with American Fool in 1982 and continued with the following year’s Uh-Huh found its next chapter in this, his eighth studio album. While he still enjoyed “R.O.C.K. in the U.S.A.,” most of the album’s eleven tracks—this one included—explored deeper themes, such as “Rain on the Scarecrow,” which pays homage to the struggles of American family farmers, the poignant character study in “Small Town,” the socio-political commentary in “The Face of the Nation,” and the introspective journey encapsulated in “Minutes to Memories.”

The penultimate track, titled “You’ve Got to Stand for Somethin’,” signifies Mellencamp’s personal growth and commitment to his convictions, albeit with some reluctance to embrace that responsibility.

Reflecting on his past, Mellencamp noted, “Up until this year, I was just a guy in a band in a bar. I didn’t want to go beyond that,” indicating the desire to avoid direct comparisons to Bruce Springsteen as he began touring in support of Scarecrow. “Then I realized, ‘What’s wrong with two people putting their best foot forward?'”

Writing a “terrible” screenplay put him in a different mindset, leading to characters and narrators that were more fleshed out than those in songs like “Jack & Diane” and “Pink Houses.”

With guest appearances from Rickie Lee Jones and Ry Cooder, Mellencamp expanded his musical horizons, encouraging his band members to explore a range of mostly ’60s garage rock tunes, broadening their artistic perspectives. Scarecrow revealed that Mellencamp had matured from an American fool into a thoughtful, resonant heartland troubadour, while still knowing how to rock when the moment called for it. – GG

Robert Palmer
Riptide
(Island)
Released: November 1985
Producer: Bernard Edwards

The depth of the late Robert Palmer’s artistic genius is best appreciated in hindsight, and for those who haven’t yet explored his discography, delving into it is certainly worthwhile. Throughout his career, Palmer navigated various genres while sporting an impressive wardrobe, cultivating a loyal following. His brief collaboration with The Power Station, alongside Duran Duran’s Andy and John Taylor, propelled him closer to stardom, although he ultimately chose to focus on his solo ventures.

This led to his eighth studio album, Riptide, featuring the breakout single “Addicted to Love.” This infectious anthem, performed with musicians from The Power Station and Chaka Khan’s band, solidified Palmer’s signature sound and became an earworm that still resonates today—though the iconic music video, featuring Palmer performing alongside five identically styled models, is often what people remember most. The video received heavy rotation on MTV, embedding its striking imagery into the cultural consciousness while propelling the song to No. 1 on the Billboard Hot 100.

Palmer enjoyed further success with his cover of Cherrelle’s “I Didn’t Mean to Turn You On,” which replicated the formula of “Addicted to Love” and achieved similar success. “I rarely get asked about my music,” Palmer noted in a 2002 interview with the U.K.’s Guardian. “I do get asked about the ‘Addicted To Love’ video and my suits on a daily basis.”

Beyond these two colossal hits, Riptide boasts additional gems, including “Discipline of Love,” “Hyperactive,” and the title track. The double-platinum success of the album, along with the viral videos, may have overshadowed some of Palmer’s earlier masterpieces—such as the 1980 album Clues—but it ensured his place in musical history. – Helene Dunbar

Simple Minds
Once Upon a Time
(A&M)
Released: October 21, 1985
Producers: Jimmy Iovine, Bob Clearmountain

Scotland’s Simple Minds experienced tremendous success in the U.K. and Europe with six impactful albums, but it was the chart-topping hit “Don’t You (Forget About Me)” from the cult classic film The Breakfast Club that catapulted the band into American mainstream culture and paved the way for their most successful album.

Teaming up with American producers Jimmy Iovine and Bob Clearmountain, the band enhanced their already anthemic sound, infusing it with more guitar-driven energy and amplifying frontman Jim Kerr’s emotive vocals. The outcome was an album that radiated raw energy and solid structure, a marked evolution from their previous releases. Once Upon a Time ascended to No. 10 on the Billboard 200 and topped the U.K. albums chart. The track “Alive and Kicking” garnered extensive radio airplay, with its uplifting melody and a coda featuring backup vocalist Robin Clark’s gospel-inspired harmonies. The spiritually resonant “Sanctify Yourself,” influenced by Sly & the Family Stone, and “All the Things She Said,” inspired by quotes from Polish political prisoners, further showcased their artistic depth. – JC

Sting
Dream of the Blue Turtles
(A&M)
Released: June 1, 1985
Producers: Sting, Pete Smith

The hiatus of The Police following the release of their album Synchronicity was initially considered temporary. However, the massive success of Sting’s solo debut, Dream of the Blue Turtles—released on the two-year anniversary of Synchronicity and including a revamped version of “Shadows in the Rain”—effectively squashed any hopes for a reunion.

Collaborating with a band of emerging jazz talents, including Branford Marsalis on saxophone and future Rolling Stone Darryl Jones on bass, Sting revisited his pre-Police influences while also expressing his admiration for composer Kurt Weill in the vampire-themed track “Moon Over Bourbon Street.” Additionally, he tackled pressing socio-political issues such as Cold War tensions in “Russians,” the struggle of British coal miners in “We Work the Black Seam,” and broader topics like war, child exploitation, and drug addiction in “Children’s Crusade.” He balanced the darker tones of his previous hit “Every Breath You Take” with the upbeat first single, “If You Love Somebody Set Them Free,” which peaked at No. 3 on Billboard’s Hot 100 chart, making it his highest-charting solo single. Three additional singles also made their way into the Top 20, and the album itself reached No. 2 on the Billboard Top 200, marking the beginning of Sting’s impressive streak of seven consecutive Top 10 solo studio albums.

Notably, he subtly referenced “Every Breath…” in the feel-good calypso tune “Love is the Seventh Wave,” infusing its reverential lyrics with the playful line, “every cake you bake, every leg you break.” The instrumental brilliance of Marsalis and keyboardist Kenny Kirkland lent a cool-jazz/funk groove to tracks like “Consider Me Gone,” while Turtles emerged as an album of pure quality, compelling any thoughts of a Police reunion to remain on ice for over two decades. – Lynne Margolis

Tears For Fears
Songs From the Big Chair
(Mercury)
Released: February 25, 1985
Producer: Chris Hughes

Roland Orzabal and Curt Smith, collectively known as Tears for Fears, channeled their childhood traumas into their debut album The Hurting, which served as a therapeutic release, allowing them to create the more upbeat and accessible Songs From the Big Chair. While the first album was deeply introspective and heavily reliant on synthesizers, their sophomore effort featured intentionally joyful, guitar-driven tracks, though the thematic undertones often reflected societal issues, such as the Cold War, with songs like “Everybody Wants to Rule the World.”

This album achieved No. 1 status on U.S. charts, as did its follow-up single, the intensely personal “Shout.” Drawing from Jungian psychology, “Shout” encourages catharsis through vocal expression, featuring the anthemic mantra “Shout, shout, let it all out / these are the things I can do without,” and proclaiming, “If I could change your mind / I’d really like to break your heart.” The song was refreshingly candid, while the album as a whole radiated a powerful and explosive sound, showcasing the emotional depth of an otherwise cerebral band.

Song From the Big Chair is relentless in its catchy hooks and infectious rhythms, compelling listeners to sing along—nowhere is this more evident than in the unapologetically romantic track “Head Over Heels,” which became a third Top 5 hit from the album. The sonic magic unleashed by Tears For Fears on this album continues to resonate, with Stylus magazine noting over two decades later that “Even today, when all rock musicians seem to be able to do is be emotional and honest, the brutality and power of Songs From the Big Chair’s catharsis is still quite shocking.” – HD