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100 Best Albums of the Eighties

From synth pop and rap to metal and funk, 100 best albums of the Eighties selected by the editors of Rolling Stone

First 10 entries here span the Clash's polyglot punk, Prince's crossover funkadelica, Afro-bop from Talking Heads and Paul Simon and hymns of innocence and experience by U2 and Tracy Chapman.

This has been the first rock & roll decade without revolution, or true revolutionaries, to call its own. The Fifties witnessed nothing less than the birth of the music. The Sixties were rocked by Beatlemania, Motown, Phil Spector, psychedelia and Bob Dylan. The Seventies gave rise to David Bowie, Bruce Springsteen, heavy metal, punk and New Wave.

In comparison, the Eighties have been the decade of, among other things, synth pop, Michael Jackson, the compact disc, Sixties reunion tours, the Beastie Boys and a lot more heavy metal. But if the past 10 years haven’t exactly been the stuff of revolution, they have been a critical time of re-assessment and reconstruction. Musicians and audiences alike have struggled to come to terms with rock’s parameters and possibilities, its emotional resonance and often dormant social consciousness.

The following survey of the 100 best albums of the Eighties, as selected by the editors of Rolling Stone, shows that the music and the values it stands for have been richer for the struggle. Punks got older and more articulate in their frustration and rage, while many veteran artists responded to that movement’s challenge with their most vital work in years. And rap transformed the face — and voice — of popular music.

The first 10 entries here span the Clash’s polyglot punk, Prince’s crossover funkadelica, Afro-bop from Talking Heads and Paul Simon and hymns of innocence and experience by U2 and Tracy Chapman. Further down the list, old-timers like Dylan, the Stones and Lou Reed hit new highs; Public Enemy and Run-D.M.C. kicked out some serious streetwise jams; Metallica and Guns N’ Roses established new hard-rock beachheads; and Hüsker Dü, Sonic Youth and the Replacements offered definitive statements of postpunk angst. The embarrassment of riches on this list is all the more remarkable, since arthritic radio programming, corporate sponsorship and outbursts of racism and sexism in rap and metal have complicated rock’s present and raised fears for its future.

Best-of lists such as this one are by nature subjective. But rock in the Eighties was like that — lively, varied, contentious and, to some degree, inconclusive. Looking at the best rock has had to offer in the Eighties, it’s clear that there’s plenty of life left in the old beast yet. The next revolution may be just around the corner.

This feature was originally published in the November 16, 1989 issue of Rolling Stone.

35

Metallica, ‘Kill ‘Em All’

With their 1983 debut, Kill 'Em All, Metallica rose up from the heavy-metal underground to establish a vital new subgenre, known as speed metal or thrash metal. As pioneered by Metallica, it was a hybrid of punk and metal, distinguished by lightning speed, manic rhythm changes and a thoughtful if outraged approach to lyrics about suicide, religion, war and nuclear holocaust.

At a time when most young metal bands still slavishly imitated aging or absent gods like Ozzy Osbourne and Led Zeppelin, such songs as "Whiplash," "Hit the Lights" and "Seek and Destroy" were refreshing and revelatory. The no-sellout attitude of the band — singer-guitarist James Hetfield, lead guitarist Kirk Hammett, bassist Cliff Burton and drummer Lars Ulrich — inspired metal fans seeking new thrills and heroes.

Kill 'Em All, originally released on Megaforce and later reissued on Elektra, was the product of what the band calls "riff tapes." Riffs that emerged during practice or jam sessions were committed to tape. Then Ulrich and Hetfield constructed songs from the best riffs. "You start at the top and figure what vibe the song has," Ulrich told Rolling Stone last year. "The general tempo, where you want to take it all. Get an opening. And at one point soon after the opening, you enter into the Mighty Main Riff."

Hetfield's lyrics, by comparison, were the result of "drinking and thinking, seeing what's going on around me." He tackled weighty subjects like spiritual isolation ("No Remorse") and bloody apocalypse ("The Four Horsemen"). The title of the album certainly captures the adversarial tone of the record, although not as graphically as the name the band originally proposed: Metal up Your Ass.

At the time, Metallica had temporarily relocated from California to New York City, where, according to Hammett, they lived on bologna sandwiches and Schlitz Malt Liquor while rehearsing and recording. "When we started out, it seemed like all the odds were against us," says Hammett. "The sound we had was so different, other people didn't know what to do with us." When Megaforce told the band that distributors wouldn't go for an album called Metal up Your Ass, Hammett says, "we were so pissed off that one day Cliff just went, 'Aw, why don't we just kill 'em all?' And we went, 'Yeah, that's it!'"

Metallica Photos: Three Decades of Metal Mayhem

Video: On The Road to the Rock Hall: Metallica

34

The Rolling Stones, ‘Tattoo You’

"Tattoo You wasn't really an eighties album," says Mick Jagger, and in a sense he's right. The decision to launch a Rolling Stones tour in 1981 left the band with little time to write new songs and prompted what Keith Richards calls "a frantic search through the can" to come up with material for an album — a search that produced some ironic results.

"The album came out and everybody said, 'It's the freshest-sounding Stones album in years,'" says Richards, laughing. "We all had a good chuckle."

"Oh, that made me really laugh," Jagger says in agreement. "But now all can be revealed. I was actually rather scared at times. I thought, 'They're bound to notice. The critics can't not notice that this is from here and that's from there.'"

As it turns out, the band reached back nearly a decade for material. The ballads "Waiting on a Friend" and "Tops" were begun in Jamaica in 1972 during work on Goats Head Soup. "Worried About You" and "Slave" dated back to some 1975 rehearsals in Holland for Black and Blue. Early versions of "Start Me Up" were worked up during the Some Girls sessions in 1978. Finally, "Neighbors," "Heaven," "No Use in Crying," "Little T&A," "Hang Fire" and "Black Limousine" were initially recorded during the 1979 sessions for Emotional Rescue.

Of course, the varied origins of the songs on Tattoo You do not detract from the album's power and thematic richness. As Richards points out, having a stockpile of worthwhile material is "one of the advantages of being around for a while." Both Jagger and Richards estimate that forty or more takes exist of "Start Me Up" — one of the Stones' best singles — all but one of which treat the song as a reggae number. "We'd obviously gotten pissed off with reggae," says Richards with a laugh. "We just hit it that one time — rock & roll — and there it was lying there, like a little gem."

In addition to unearthing a single that would burn Tattoo You into the memory of their fans, the Stones pushed the boundaries of their music by bringing in jazz saxophonist Sonny Rollins to play on three tracks of the album. "Instead of having all these rock players, I thought we'd go a bit more off the wall and ask him to do some solos," says Jagger. "You can't beat using the best people." In addition, Jagger credits Bob Clearmountain, who mixed the record, for the cohesiveness of Tattoo You. "He did a great job of making it all a rather more homogeneous sound," Jagger says. "It sounds crisp, like it was recorded only yesterday."

For Jagger, Tattoo You provided a valuable lesson in the uses of the past. "It just shows what you can do," he says. "Just bring the tracks out, and start doing vocals and the odd guitar bit and saxophones, and then, hey, you've got an album. And it does actually hold up quite well."

Rolling Stone's Original 1981 Review

Photos: Mick Jagger