The 20 Best Albums of 1982

Forty years ago, the biggest song in America was the soundtrack to a training montage in the third Rocky movie. Paul McCartney and Stevie Wonder teamed up for a well-meaning if overly simplistic and sentimental anti-racist duet. And Olivia Newton-John’s pop single “Physical” released at the end of 1981 became the best-selling single of 1982. But it was also the year a number of legends released some of their best albums—Michael Jackson, Bruce Springsteen and Prince. Grandmaster Flash and the Furious Five helped the emerging hip-hop scene gain broader attention. And dozens of artists bubbling under the surface pushed the post-punk, art-rock and New Wave sounds in new directions.
Here are the 20 best albums from 1982:
20. INXS: Shabooh ShoobahThe third album from INXS was their first to make a splash outside of Australia. Between the album opener “The One Thing” and closer “Don’t Change,” Shabooh Shoobah captured some of what had made the New Wave six-piece a must-see live act in their home country. The early ska influences are still present on songs like “Black and White,” but the interplay of guitars and synths on “The One Thing,” along with Kirk Penguilly’s sax on “Golden Playpen” and the arena chorus of “Old World New World” provided the blueprint for the many hits that would follow. And the sweeping “Don’t Change” would go down as one of the best songs Michael Hutchence, Garry Gary Beers, Penguilly and the three Farris Brothers would ever record. —Josh Jackson
19. X: Under The Big Black SunIn the early ’80s, no punk band extended an olive branch to the early generations of rock as well as L.A.’s X. On their first two albums Los Angeles and Wild Gift, main songwriters John Doe and Exene Cervenka wrote gnarled lovesick songs juxtaposed with a respect for classic pop songwriting and rockabilly pomp. On their third album Under The Big Black Sun the band re-teamed with producer Ray Manzarek of The Doors to strip away a fair share of the distortion and speed that hid elements of their songwriting in the past. While other punks in the scene would view the movement as a recalibration that dissolved everything that came before it, X tested their fans on how much they would be willing to go back. Guitarist Billy Zoom and Drummer D.J. Bonebrake dig and swing in equal measure on songs like “The Hungry Wolf,” “Motel Room in My Bed,” and the title track, but also showcased a tasteful and tender side to their playing on the doo-wop inspired ballad “Come Back to Me” and the Ruth Etting 1930’s radio hit “Dancing With Tears in My Eyes.” The album’s shining moment is its closer “The Have Nots” which called bullshit on Ronald Reagan’s idea that blue-collar Americans should deify the wealthy in the off-chance that one day they could be considered members of the same country club. Is dawn for the working class drawing nearer or is it already behind us? With Under the Big Black Sun, X capped off a trio of classic records with an album that incentivized the punks to view their place in rock and roll as part of a larger continuum rather than agents of chaos looking to tear the whole thing down from within. —Pat King
18. Lou Reed: The Blue MaskCommon threads aren’t easy to find in Lou Reed’s career—this is a point of pride for the man who hired Metallica to stinkbomb 2011 after a seven-year studio sabbatical. But humility underscores the lifelong egotist’s most beloved work, and The Blue Mask focuses on confessions and bareness, not to mention loveliness, which he certainly can’t take full credit for—Robert Quine’s skyscraping guitar and Fernando Saunders’ romantically deployed bass help conjure all the right moods, from languidly rhapsodizing about “Women” (“I think they’re great/ They’re a solace to a world in a terrible state”) to Oedipal raging in the grinding title tune (“I’ve made love to my mother/ Killed my father and my brother/ What am I to do?”). “Average Guy” is played for jest. —Dan Weiss
17. Elvis Costello & The Attractions: Imperial BedroomElvis Costello’s seventh album and sixth with The Attractions, Imperial Bedroom found the future Rock and Roll Hall of Famer following up the country thrust of Almost Blue by committing to stately Tin Pan Alley pop, a la Trust’s “Shot With His Own Gun.” He did so not with the help of his go-to producer Nick Lowe, whose “bash it out” approach was so key to Costello’s first five albums, but rather with Beatles engineer Geoff Emerick, who was more of a “tart it up” kind of guy. Imperial Bedroom is miles from the self-described “spiky and sour” sound of Costello’s pub-rock beginnings, its literary tales of troubled romance written on the piano and rendered with grand ambition. A 40-piece orchestra animates the Sgt. Pepper’s-esque “…And In Every Home,” while regal horns, Mellotron and organ play musical chairs with Costello’s chameleonic vocals on “Pidgin English.” Accordion and piano war for your attention amid “The Long Honeymoon”’s story of “a wife who’s wondering where her husband could be tonight”—conversely, there’s little to distract from Costello’s longing croon on the Chet Baker-inspired (and, later, -covered) torch song “Almost Blue.” The Imperial Bedroom era may have found Costello reeling from his meteoric rise (he was “disgusted, disenchanted, and occasionally in love,” he wrote in its liner notes), but the album itself is defined by a sense of sonic adventure one still can’t help but be swept up in. —Scott Russell
16. Duran Duran: RioIf Duran Duran’s sophomore album had produced just one monster hit single, it probably would’ve still been considered a success, but Rio isn’t just a success—it’s the band’s greatest achievement, a double-platinum record that featured singles like “Rio,” “Hungry Like the Wolf,” “My Own Way” and the epic “Save a Prayer.” It also marks a turning point for the band as they finally were able to break through in the States, where New Romanticism had less appeal than in the UK. That subtle aesthetic shift from New Romanticism to synthpop—coupled with the band’s video success on MTV—made them a smash and helped usher in the Second British Invasion. —Bonnie Stiernberg
15. Donald Fagen: The NightflyWhen certain great songwriters reach their early 30s, they reassess and write about the particulars of their childhood with fresh eyes (see: Plastic Ono Band, Like a Prayer). Donald Fagen reached this point in 1982, when he released this slyly retro masterpiece of a solo debut. On tunes like the Cold War come-on “New Frontier” and the Caribbean-flavored “The Goodbye Look,” the Steely Dan frontman riffs on the themes of his suburban 1950s childhood through the eyes of a boy “of my general height, weight and build,” as he playfully put it in the liner notes. At first blush, The Nightfly’s meticulously slick jazz-pop sounds like the logical continuation of Steely Dan’s original run of LPs. But with Walter Becker out of the mix, the album has a warmer, more nostalgic glow. When Fagen sings the naïve refrain of “I.G.Y.” (“What a beautiful world this will be/What a glorious time to be free”), you almost believe him. —Zach Schonfeld
14. Grandmaster Flash & the Furious Five: The MessageSeven years before Chuck D declared that “rap music is the CNN of the ghetto” in 1989, Grandmaster Flash and his crew were serving up street-level portraits of life in the Bronx on The Message, their first full-length album. Pushing beyond the imperative to boast that characterized the lyrical style of a lot of early hip-hop MCs, Grandmaster Flash, Keef Cowboy, Melle Mel, Kid Creole, Scorpio and Rahiem set a new standard, balancing playful songs like album opener “She’s Fresh” with socially conscious sentiments on the title track, which took a hard look at poverty and the socioeconomic lure of crime in the inner city. The Message was a watershed for hip hop, demonstrating that a genre rooted in block-party entertainment could, in fact, deliver a potent message while also getting booties moving. —Eric R. Danton
13. Roxy Music: AvalonA sophisti-pop landmark, Roxy Music’s final effort was also their most successful—the English band’s only album ever to go platinum in the States. Jazzy and atmospheric, Avalon shares its title with a sacred island from Arthurian legend, which Bryan Ferry envisioned as the “ultimate romantic fantasy place.” Its 10 tracks, which run a brisk 37 minutes, are loosely organized around this concept, as if Roxy Music are grasping at an Eden that forever remains just beyond their reach. “You run through here with your words of sand / I can nearly understand,” Ferry croons amid the airy synth-funk of “The Main Thing”; his reverb-drenched voice parts reeds of bass, sax and piano on “While My Heart Is Still Beating” as he opines, “All of those people / Everywhere / Ever so needing / Where’s it all leading?” And on the band’s biggest hit and Avalon’s opener, the eternal “More Than This,” they yearn and savor in the same breath, finding their destination—their Avalon—in the journey itself: “More than this / You know there’s nothing / More than this.” A seamless work of carefully considered, economic lyricism and smooth, self-assured instrumentation, Avalon found Roxy Music sanding down their sound’s sharp edges and, in doing so, polishing a gem. —Scott Russell
12. The Cure: PornographyIt took teetering on the brink of insanity for Robert Smith to find his signature voice. The Cure’s third album, Pornography, was recorded during a blistering three-week sprint of drug use and studio excess, with Smith battling extreme depression. But that madness coalesced into the band’s first signature album, built on spidery rhythms (“One Hundred Years”), murky guitars (“The Hanging Garden”) and Smith’s magnetic warbling. The band made stratospheric songwriting leaps later in the decade, but they never again conjured atmospheres this unsettling. —Ryan Reed
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