The Top Twenty Albums of 1984

In contrast to 1974, many music historians consider 1984 to be one of pop music's strongest years, with the Billboard Hot 100 year-end chart being lauded as the greatest of all time. I find it hard to argue with those claims when you look at the laundry list of great pop music released in that illustrious year. As someone who first fell in love with music through 80s pop, this list was nearly impossible to narrow down to merely twenty entries, but I have assembled the best of the best, the records that mean the most to me in this banner year. So let's turn back the clock to forty years ago and celebrate the artists and songs that had us all in their thrall!

#20 Ice Cream Castle - The Time (38 minutes, Minneapolis Funk/R&B)

Morris Day and The Time were, for better or worse, where Prince cast off the tracks and ideas that he thought were a bit too silly for his own albums. On this, the group's third LP, it is more evident than ever that Prince was positioning Morris as the clown prince of funk, delivering a record of over the top, clownish horniness. In the hands of a lesser performer, these tracks would fall awfully flat, but Morris Day, the gifted comic he is, elevates the sometimes limp material into high camp art. At their best The Time could lay down a scorching funk jam as good as Prince & The Revolution, and when they get the chance, they tear it up, delivering raucous party starting tracks where Morris vamps like a prime James Brown and guitarist Jesse Johnson lets loose. What lets the album down are the slow moments, where the silliness overwhelms Morris' endless charisma and halts the album's momentum. Slow spots and all, this album is arguably where Prince realized he created a monster: a true musical rival, silly or not. The peak of Morris Day, who would never come as close to the Purple crown ever again.

Essential Tracks: "Jungle Love" "The Bird" "My Drawers"

#19 Starchild - Teena Marie (45 minutes, R&B/Funk)

Teena Marie's sixth album features the blue-eyed soul songstress finally emerging from the immense shadows of her mentor Rick James and coming up with an album that plays to her incredible vocal strengths while also dabbling in shades of synth-pop, hip-hop, reggae, adult contemporary and gospel in addition to her typical spirited funk and breathtaking balladry. While on previous albums Teena typically stayed in her usual lane, this album is all over the place in the best possible way, sporting a heavy Prince influence, with Marie's desire to bend and fuse genre. All of this would come across muddled, if not for Teena's generational voice whose power, grace and unbelievable range gives each song an emotional depth most pop songs wouldn't be worthy of. While this may not be Lady T's most consistent project, it is perhaps her most ambitious and her most representative of her unique artistic vision. A forgotten classic.

Essential Tracks: "Lovergirl" "Jammin'" "Alibi" "My Dear Mr. Gaye"

#18 Heartbeat City - The Cars (38 minutes, Pop-Rock/New Wave)

If The Cars can be described in a single word it would be consistent. For nearly their entire career, they could be counted on to deliver some brilliantly catchy power-pop. This album doesn't let that standard down, with a set of songs which are jam-packed with hooks, blending punchy stacks of harmonies, very 80s synths and crunchy guitars to craft a unique hit-making alchemy. Perhaps, this is The Cars at their most overtly 80s, with the production from 80s rock luminary Mutt Lange giving the album a very "of its time" sound, however the songwriting is anything but. Rick Ocasek's knack for immediate riffs, catchy vocal melodies and quirky arrangements make the project feel timeless regardless of the production. Between Ocasek's very new wave-inflected performances on the upbeat numbers and Ben Orr's warm soulful tenor on the adult contemporary leaning ballads, this album is very much an example of a classic pop rock record. In terms of sheer craftsmanship in performances and songwriting, you can hardly ask for more. While their debut might be more iconic and chocked full of hits, this is perhaps The Cars at their most accomplished and slick.

Essential Tracks: "Drive" "You Might Think" "Magic" "Hello Again"

#17 Grace Under Pressure - Rush (39 minutes, Progressive Rock/New Wave)

Rush in the 80s were in rare form, a progressive rock band who flourished in the 70s adapting to the times admirably, creating what could easily be considered their best work. After three brilliant records which effortlessly fused prog rock structures with arena-rock riffs and flourishes of synth-pop and new wave rhythms, Rush's insane creative high was beginning to wear off, but this proved they had one final classic in them before they fully went the route of bland corporatized schlock rock. This record feels particularly influenced by The Police, with the rhythm section of Geddy Lee's bass and Neil Peart's otherworldly drumming giving each beat a hint of reggae rubberiness while maintaining a driving forceful rock bent. While not a concept album in the traditional sense, this is an album singularly focused on the impact of the Cold War, with various songs detailing paranoia and nuclear dread delivered by Geddy's roaring vocals. This is one of Rush's most cohesive albums, with each track adding to the icy aesthetic. The title couldn't be more apt, under so much pressure, both in terms of world politics and a changing music scene, Rush delivers an album that gracefully toes the line between past and present, creating another gem among their catalog full of classics.

Essential Tracks: "Distant Early Warning" "Red Sector A" "The Enemy Within" "Red Lenses"

#16 Big Bam Boom - Hall & Oates (40 minutes, Pop-Rock)

At this point in their careers, Hall & Oates had become ubiquitous with the sound of American pop music. They were the reigning kings of Billboard for good reason. They had a string of albums and singles that were sharp, memorable and absolutely infectious to the core. Nobody was hitting more home runs than Daryl and John, and this album shows them on top of the world and loving it. This album is proudly a blockbuster affair, complete with dated, cheesy over the top 80s production values, but behind the synth noise and obnoxious cover art, these are some of the most punchy songs the duo ever came up with. There is a distinctly new wave edge to many of their compositions, a nervy energy and heavy synth pads, which mix surprisingly well with their soulful harmonies and brassy leads from both Hall's dizzyingly pretty tenor and Oates' soft, earthy baritone (with the latter leading some of the album's best material). While their previous three albums can't quite be beat, this is an excellent capper to a truly amazing run of pop brilliance. Hall & Oates end their glory period with a real bang!

Essential Tracks: "Out of Touch" "Method of Modern Love" "Possession Obsession" "Some Things Are Better Left Unsaid"

#15 Like a Virgin - Madonna (38 minutes, Dance-Pop)

Madonna's sophomore album sees her both doubling down on the post-disco dance-pop of her ebullient, flashy debut record, while also branching out, to not just become reigning queen of the dance floor but of pop music all together. The production budget has obvious gone up now that Madonna was a proven hot commodity, so with assistance from Nile Rodgers, she is gifted a diverse set of quirky, sultry pop gems where she effortlessly plays with how much sexuality can be tastefully crammed into your average pop song. The dance tracks steal the show, allowing her to groove effortlessly over electro-pop synths, but also she proves her knack with a soft, plush romantic ballad of which there are a few, and while the balance is somewhat off in the back half, the diversity makes it a better album overall. While her debut was a great dance record, this one feels like the first fully "Madonna" album, where her personality came to the forefront. This is the exact moment she made America fall in love, and dammit she would never let go. The crowning of a grand diva.

Essential Tracks: "Dress You Up" "Like a Virgin" "Material Girl" "Love Don't Live Here Anymore" "Angel"

#14 Run-D.M.C. - Run-D.M.C. (39 minutes, East Coast Hip-Hop/Rap Rock)

There were rap albums before Run-DMC's electrifying debut record, but this was in many ways the birth of the genre's first of many great imperial phases. Hip hop was still in its infancy here, with many of the genre's biggest names being singles-focused artists and party DJs, but with this platter the trio of Reverend Run, DMC and Jam Master Jay cemented themselves as the first rock stars of their respective genre. They delivered a fiery, innovative record full of quotable bars and sparse, yet punchy beats. The two MCs had their twin flame approach from the get-go, expertly ping-ponging lines back and forth and asserting their unique personalities, and for this single album, Run seemed to be the stronger MC. While Jay's beats were primitive, usually relying on a single loop and some expert scratching, they provided a sparse groove over which the rappers were able to steal the show time and again. This is different from much of their more famous work as it mostly eschews the arena rock style beats Rick Rubin would bring to the forefront, but as debuts go, Run-DMC came out of the gates as a blazing creative force, intent on becoming hip-hop's first homegrown legends. Pure ambition and talent on display here.

Essential Tracks: "Sucker MCs" "Rock Box" "It's Like That" "Jam Master Jay"

#13 The Unforgettable Fire - U2 (42 minutes, Post-Punk/Art-Rock)

U2's fourth album is a transitional piece, but remarkable in its own right for being a masterpiece of atmospheric production. This record sees the band collaborating for the first time with renowned producer Brian Eno who gives the group a refined, hazy art-rock sound which channels their earlier angular post-punk sound into something plush while still retaining edge through Bono's keening, powerhouse vocals and The Edge's phased out riffs. This record sees the group releasing some of their most sonically ambitious work, delivering a fully back-masked song, but by no means is there a lack of anthemic arena-rock U2 either, with the singles delivering powerful and uplifting hooks and riffs. Here Bono writes primarily about the band's first experiences touring in America, wrestling with US history in a profoundly meaningful way, penning gorgeous odes to MLK and Elvis. The blend of soft ambient textures and stark, chilly post punk makes this one of the band's most compelling albums, while it may not have the standouts of their more cinematic bookending albums, it remains one of the group's best efforts. A subtle mid-career classic.

Essential Tracks: "Pride (In the Name of Love)" "Bad" "A Sort of Homecoming" "The Unforgettable Fire"

#12 Hatful of Hollow - The Smiths (56 minutes, Jangle-Pop/Indie Rock)

The Smiths' not quite sophomore album is still one of their greatest platters, due to how much impressively brilliant material the fledging group was churning out at breakneck pace. This record is a compilation of sorts, bringing together an assortment of b-sides, singles and a few live-in-studio takes on tracks from their beautifully melancholic debut album. While the rerecordings show off a less polished side of the group, the real attraction is the singles which allow the band, in particular songwriters Morrissey and Johnny Marr to show off their immaculate craft, delivering ear-worm after ear-worm, with more hooks than any average three minute song should sport. While their debut leaned on their inherent sadness and its crystalline beauty, this record shows off the diverse approaches of Morrissey in his lyrics, penning some of his most upbeat, comic tracks with the melancholy blending with witty, sardonic self-deprecating humor. Marr's guitar work also improves, with him delivering brilliant jangle-pop confections on the uptempo rockers and also allowing the band to breathe with a handful of somber, aching acoustic ballads. This project is disjointed and a bit all over the place, like any decent compilation, but song for song, it stacks up with just about any Smiths project. No sophomore slump, and a clear sign The Smiths were the leaders of the new wave of indie rockers.

Essential Tracks: "How Soon Is Now?" "Heaven Knows I'm Miserable Now" "This Night Has Opened My Eyes" "William, It Was Really Nothing" "Please, Please, Please Let Me Get What I Want" "Girl Afraid"

#11 Make It Big - Wham! (38 minutes, Pop/Soul)

Making a perfect pop album is incredibly hard to do, making one at only 21 is nearly unthinkable, yet George Michael accomplished that task handily with this, the second album from bubblegum-pop duo Wham! In terms of Michael's artistry, he has grown immensely since their campy, occasionally amateurish debut with both his voice growing into such a rich, soulful instrument that is the highlight of every song but also his songwriting and producing chops, penning all but one song and showing off his mastery of writing big, sugary hooks in multiple genres. His command of the pop song is incredible, with his craftsmanship paralleling Motown in his knack for brassy, soulful songs that are impossible to forget, which fits his voice and his penchant for horns and bouncy bass lines. Michael stretches himself here, not only delivering delightfully fun sugar-pop songs but also soulful, jazzy ballads and lush synth-pop showing his versatility as a writer and performer. While George would spread his wings and become even more creative as a solo artist, this remains a truly remarkable work from a young genius, just beginning to flower. Also Andrew Ridgeley was there too.

Essential Tracks: "Careless Whisper" "Everything She Wants" "Freedom" "Wake Me Up Before You Go-Go"

#10 Born in the U.S.A. - Bruce Springsteen (46 minutes, Heartland Rock)

Sometimes a genre is hard to define, but other times it can be distilled into one single artist, or in this case, one singular album. When the words "Heartland Rock" are mentioned, the first thing that should come to mind is this record, with its subversive, patriotic iconography and massively anthemic rock choruses. Others like Tom Petty and John Cougar Mellencamp may have tried for the throne, but when it came to Heartland rock, nobody delivered like Springsteen, with this becoming by far his most successful album due to how utterly loaded with hits it is. The Boss crafts one of his punchiest sets, delivering sleek pop-rock chart-busters, somber folk songs akin to his last release, "Nebraska" and brassy, angry stadium rock screeds. Every song here packs a wallop with the production giving Springsteen a loudness and commanding attitude he never quite managed before. This is big screen Springsteen, for the MTV generation, and while it may lack the intensely passionate earnestness of his earlier work with The E Street Band, it is hard to fault a collection as stacked as this one. It may not be for everyone, but it nonetheless is a generational piece of art.

Essential Tracks: "Dancing in the Dark" "My Hometown" "Cover Me" "No Surrender" "I'm On Fire" "Glory Days"

#9 Reckoning - R.E.M. (38 minutes, Post-Punk/Jangle-Pop)

R.E.M.'s sophomore album is an elevation of everything brilliant about their swampy, mystique driven jangle-pop they pioneering on Murmur, but with the added bonus of even sharper hooks along with their typical warm, dreamy melodies. Michael Stipe's vocals are slightly more decipherable this time around, and while that loses some of the debut's odd charm, it means his impressionistic, sometimes absurd lyrics come to the fore along with his and Mike Mills' enchanting harmonies. Peter Buck's guitar work hits a career peak here, with every riff winding and jangling with immense energy and texture, his instrumental work is truly the star of this album more than any other. While the group still specializes in bouncy jangle-rock numbers, they also begin to experiment with softer atmospheric ballads and even a barstool country number, all to great success. While this might lack the spellbinding wonderment of their debut album, this is R.E.M. at their early best, delivering a set of songs that no other band could seek to replicate.

Essential Tracks: "Harborcoat" "(Don't Go Back to) Rockville" "So. Central Rain (I'm Sorry)" "7 Chinese Bros." "Pretty Persuasion"

#8 Let It Be - The Replacements (33 minutes, Punk/Garage Rock/Power Pop)

The Replacements are a band who always sound like they're on the verge of falling apart, but that in itself is key to their ramshackle charms. They are the world's greatest garage band, some burned out teenagers turned accidental geniuses. Nowhere in their catalog is that raw, unpolished talent more evident than here, on their third studio album. After their first two albums mainly specificalized in snotty teenage punk, here lead singer and songwriter Paul Westerberg is allowed to show off his immeasurable talent at writing songs with an unmatched intimacy and earnestness. This is Westerberg's coming out party as a songwriter, with this set helping him assert himself as one of the greatest talents to come out of the American alternative scene in the 80s, with his songwriting and raw, earnest vocals reeking of that teenage awkwardness but in the most profoundly human way. The mix of raw emotion, uncut punk aggression and hints of absurd humor makes this an archetypal coming of age album, with the group processing their own adolescence in ways that still resonate to this day. While the punk thrashers are still plentiful, many of the album's best moments are the warm jangle-pop numbers or the mid-tempo ballads where Westerberg's pleading voice really shines. Musically the group has grown as well, leaning into their knack for singalong melodies while retaining their gritty, earnestly sloppy guitar work, but the album belongs to Westerberg more than any other in their catalog. This is his clearest articulation of what The Mats were all about in a brisk, potent half hour.

Essential Tracks: "I Will Dare" "Androgynous" "Sixteen Blue" "Unsatisfied" "Answering Machine"

#7 1984 - Van Halen (33 minutes, Hard Rock/Glam Metal)

Van Halen's sixth and final album of their imperial era is both a brilliant send-off for their first and best front-man, the erratic and wildly charismatic David Lee Roth as well as their most focused studio album, delivering a punchy platter of anthemic arena rock, but with some of their most indelible hooks. Eddie Van Halen is a star as always, delivering both scorching, virtuosic solos and earth-shaking riffs, but more than any other VH effort this feels like a full band showcase, with Roth's goofy camera-hogging persona delivering some of his best vocals, while also letting the group's incredibly unappreciated rhythm section shine through solos and their relentless groove. In many ways, this is the platonic ideal of an 80s heavy arena rock album, it's got bite and punch while still benefitting from the polish of that era of production, sporting their most memorable songwriting, and blending crunchy guitar with the best synths on any Van Halen album by a mile. There's even a ballad that ranks among the album's best work. Van Halen would soon downgrade due to countless ego clashes, but on this album it's not hard to see why for a brief time no rock band could even come close to touching their brilliant alchemy.

Essential Tracks: "Hot for Teacher" "Jump" "Panama" "I'll Wait"

#6 Some Great Reward - Depeche Mode (40 minutes, Synth-Pop/Industrial)

Depeche Mode's fourth album was where the group truly went from being one of the countless synth-pop bands vying for attention in Britain to being the genre's primary innovators and critical darlings. This record takes all the sonic experimentation of their previous record Construction Time Again and uses those abrasive industrial textures to create a brilliant set of alarmingly catchy and creatively produced pop songs with a sense of bigness unlike anything else they'd yet produced. Martin Gore's songwriting hits new heights with this set, delivering powerhouse singalong hooks that perfectly compliment the clatteringly, noisy production which creates a claustrophobic sonic universe, but one that is utterly unlike anything else at the time. To counterbalance the heavy industrial pop, there are also a few gorgeous synth-driven dark-wave ballads which show off the group's mastery of haunting melody lines. Dave Gahan's vocals are one of the many instrumental textures on display here, with his rich, booming baritone feeling more authoritative than ever, pairing well with Gore's fragile tenor but this album is more than anything a masterpiece of found sounds and noise. One man's trash is another man's treasure, and here this band is able to spin noise into pure sonic gold. One of the greatest achievements of the new wave era, and Depeche Mode was just getting started.

Essential Tracks: "Blasphemous Rumors" "Somebody" "People Are People" "Master and Servant" "Lie to Me"

#5 Learning to Crawl - Pretenders (39 minutes, New Wave/Alternative Rock)

The third album from jangle-rockers The Pretenders is a rebirth for the group, with Chrissie Hynde picking up the pieces after guitarist and her main songwriting partner James Honeyman-Scott passed away. Bolstered by the new line up, Hynde shakes up the group's sound, transitioning away from their earlier punk-inflected indie rock and begins to embrace the jangle-forward guitar textures that make this album such a melancholy but upbeat listen. Chrissie's songwriting has never been better, writing a cohesive album full of punchy hooks, gritty riffs and gorgeous vocal melodies which suit her keening alto voice perfectly. The Pretenders play with genre more than ever before, melding their classic jangle-rock with elements of country, R&B, folk and even a bit of swinging reggae but every song sounds definitively like the band's unique identity. Rarely does a band undergo such a drastic line up change and emerge better than ever, but The Pretenders aren't just any band. With this project, Hynde and company asserted themselves as some of the best in the alt scene which was brimming with talent.

Essential Tracks: "Back on the Chain Gang" "My City Was Gone" "Middle of the Road" "Time the Avenger"

#4 Private Dancer - Tina Turner (44 minutes, Rock/R&B)

There are comeback albums, and then there is this, the queen of all super-star returns to form. A behemoth record where Tina Turner and her husky, smoky whirlwind of a voice asserts its dominance for an entirely new generation. This album is the ideal showcase for Tina's brilliantly powerful vocals, which are the dominant force on every song, with her intoning every syllable she sings with grit and soul, whether it be a radically reinterpreted cover or a fiery original song. This record can go toe to toe with any great 80s rock album, with Tina's belts making a meal of every genre from soul to synth-pop and best of all the crunchy arena rock anthems which fit her like a glove. This is the first record in her late-career renaissance that truly embraces Tina's commanding energy and presence. She sounds like the boss on here and the songs back that up, with her team writing songs about how much of a powerhouse woman she is. The album is a true tour-de-force, letting the queen herself reign supreme in a series of songs that let her bare her soul and return to the throne no one else could possibly fill. Nobody has ever been more of a rock star than Tina, and this album shows you exactly why.

Essential Tracks: "Private Dancer" "What's Love Got to Do with It" "Better Be Good to Me" "Let's Stay Together" "Show Some Respect"

#3 Diamond Life - Sade (44 minutes, Smooth Soul/Jazz-Pop)

Sade's first album is a work of aesthetic brilliance, its crystalline beauty and soft, breathy soul makes it a captivating listen from end to end. Of course, lead singer Sade Adu is the star here, with her sultry, smoky, smooth voice giving each song a depth of soul and character, uncannily enchanting you in each moment. The rest of the band is no slouch either, backing up Sade's vocal brilliance with plush, smoky jazz arrangements which feature punchy saxophone work and soft textures over which the band delivers tight grooves and sharp song structures. While most smooth jazz leaning material can feel rather aimless and unfocused, the compositions here are air-tight, still allowing for solos, but these are brilliant sophisti-pop songs first and foremost, with Sade casting her spell creating vivid portraits of unfaithful lovers, international playboys, down on their luck women and even subtle critiques of Thatcher-era politics. Sade would continue to evolve and define their sound, becoming unparalleled purveyors of the smooth, but on their debut, they knock it out of the park, blending jazz, pop, soul and more into a sultry, inviting musical cocktail. An album to enjoy with a mixed drink at dusk.

Essential Tracks: "Smooth Operator" "When Am I Going to Make a Living" "Your Love Is King" "Hang On to Your Love" "Why Can't We Live Together"

#2 The Smiths - The Smiths (45 minutes, Indie Rock/Post-Punk)

It is rare to find a band that is as absolutely sure of itself on their debut album as The Smiths, as nearly every element of the sound that would make them legends in the indie scene is already in place and functioning at full force. The songwriting ranks among the group's best work, with a mix of melancholy, hopeless romantic ballads, and upbeat jangle-rock songs which show off the band's incredible rhythm section with the bouncy bass lines of Andy Rourke constantly stealing the show. Johnny Marr's incredibly fluid guitar work characterizes so much of the album, delivering delicate motifs as well as jumpy, hook-forward riffs on the rockers, marking his definitive style. This album also sees Morrissey turn in some of his most poetic and melancholy lyrics, with the album feeling moody, tragic and romantic, wrestling with issues of queer romance before that was a mainstream concern, while still packing in moments of biting satire and comedy. While not every song is a smashing success, there is no miss on here either, with the band having pioneered an entirely new sound which would influence UK indie for decades to come. The Smiths never made a bad album, but this might be their most effortlessly beautiful project.

Essential Tracks: "This Charming Man" "What Difference Does It Make?" "Hand in Glove" "Reel Around the Fountain" "Still Ill"

#1 Purple Rain - Prince & The Revolution (43 minutes, Pop-Rock/Funk/R&B)

There was no question as to what album would reign supreme in 1984, as this is not only the best album released this year, it is my favorite album of all time, so I am therefore incapable of viewing in a remotely objective manner. This album is 43 minutes of pure, uncut genius from one of music's greatest minds, all funneled into what can easily be deemed the greatest pop album of all time. Prince is working alongside The Revolution at the peak of his compositional powers, delivering home runs in every possible avenues with scorching rock anthems with absolutely mind-boggling guitar heroics, heart-wrenching soulful ballads which let Prince show off his inhuman falsetto, sparkling anthemic pop choruses, grinding down and dirty sex jams and of course a heavy dose of infectious, synth-y funk slammers. Every single song features an utterly virtuosic performance, and is arranged to absolute perfection. These nine songs feel like a greatest hits album, in no universe can they all be from the same album, yet here they are. This finally solidified Prince as one of the foremost hitmakers of his time, and what better coming out party could you imagine than this spotless LP. The film to which this album was a companion is all about Prince (aka "The Kid") and his inevitable rise to glory, and this album sounds like exactly that. A genius reveling in the glory of finally making it.

Essential Tracks: "When Doves Cry" "Purple Rain" "Let's Go Crazy" "The Beautiful Ones" "I Would Die 4 U" "Baby I'm a Star" "Darling Nikki"

Thanks for taking this journey through 1984 with me. The Best of 1994 is soon to come!

Happy Listening!