80s 12 Woefully Underrated Albums From The '80s  

Sean Kelly
311 votes 85 voters 1.7k views 12 items

List Rules Vote up the most underrated albums.

Despite occasional jokes to the contrary, the '80s was a big decade for music. Sure, there were some questionable songs, artists, and musical trends, but the decade also saw a fair amount of criminally overlooked and underappreciated music across a variety of genres. Some formative yet underrated albums were released over the course of the decade, but some great albums were simply overshadowed by much more successful releases.

Whether it was groundbreaking hip-hop from De La Soul, lush and sophisticated synth-pop from Roxy Music, or intelligent new wave quirkiness from Squeeze, the '80s had some truly great musical high points that are too often overlooked.

Roxy Music - 'Avalon' ... is listed (or ranked) 1 on the list 12 Woefully Underrated Albums From The '80s
Photo:  Roxy Music/E.G. Records‎/‎Polydor /Amazon/Fair Use
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Roxy Music - 'Avalon' (1982)

The romantic and inventive Avalon was a genuine mainstream hit for Roxy Music, whose career prior to 1982 was closely linked to the glam rock and art rock movement spearheaded by David Bowie. When the British band emerged with Avalon, they displayed a mature, soundscape-heavy collection of uncharted musical territory.

One review called the album "a cohesive triumph, new wave's Mona Lisa, a decadent yet intimate soundscape that advanced the art of album production."

Avalon was critically praised at the time, but is often overlooked for just how ahead of its time it was in terms of production. The album arrived at a time when '80s production was still finding its way, and Avalon set the stage for what synth-pop became later in the decade.

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The Seeds of Love is listed (or ranked) 2 on the list 12 Woefully Underrated Albums From The '80s
Photo:  Tears For Fears/Fontana Records/Amazon/Fair Use

Following Tears for Fears' classic, mega-successful Songs From the Big Chair, expectations were high for the British duo's next release. Luckily, 1989's The Seeds of Love was a win - though it doesn't get nearly enough recognition compared to its predecessor and is often overshadowed by songs like "Everybody Wants to Rule the World."

The title track alone is indication that the album is another classic, but songs like "Swords and Knives" show the band's diverse abilities. Described by one reviewer as "just beauty all around," the album was the last to feature collaborations from Roland Orzabal and Curt Smith for several years.

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Bleach is listed (or ranked) 3 on the list 12 Woefully Underrated Albums From The '80s
Photo:  Nirvana/Reciprocal Recording/Amazon/Fair Use

Arguably the most overlooked album in Nirvana's unfortunately small catalog, Bleach was released in 1989 prior to their massive mainstream success. They recorded the entire album in producer Jack Endino's basement for only $600 and it did not sell well, despite being well-received by critics.

Part of the album's charm is that the production is less slick than their 1991 breakthrough, Nevermind, though songs like "About a Girl" became beloved parts of the band's legacy. Released by Sub Pop Records, the album undeniably showed where a band like Nirvana would go in just a few short years. 

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#80 on The Best Debut Albums of All Time, Ranked

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Lifes Rich Pageant is listed (or ranked) 4 on the list 12 Woefully Underrated Albums From The '80s
Photo:  R.E.M./I.R.S./Amazon/Fair Use

R.E.M.'s 1986 album Lifes Rich Pageant was moderately successful and contains a number of songs often overlooked among the best in their catalog. The album also marked a new direction for singer Michael Stipe's vocal delivery, which was much more present and upfront than on previous albums.

Lifes Rich Pageant paved the way for some of the band's overtly political work in the late '80s and '90s, thanks to songs like "Cuyahoga" and "Fall on Me," and found them going for a more energetic radio rock sound they continued to use up to the early '90s. 

Bassist Mike Mills said at the time:

We decided beforehand we wanted the album to rock. We wanted a really hard-driving record, but we also like to throw in a lot of things: pianos and organs and accordions and banjos and whatnot.

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