4 Albums That Prove That 1981 Was the Pinnacle of the Arena Rock Era

The arena rockers were definitely enjoying a halcyon period in the late 70s and early 80s. Many of those bands had been scuffling, at least commercially, for a long stretch. But they hit their stride at the turn of the decade. In particular, 1981 proved to be a particularly fruitful year in the annals of arena rock. These four beloved albums were a big part of the reason why.

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‘Escape’ by Journey

Journey had been making moves towards a commercial explosion for several years leading into the making of Escape. Adding Steve Perry as a dedicated lead singer in ’77 started the process. When Jonathan Cain took over on keyboards, he brought his pop smarts from his days with The Babys with him, further strengthening the band’s radio chops. Escape brought it all to the table, including Neal Schon’s potent lead guitar work. “Don’t Stop Believin’” now stands as the eternal track from the album. But back in the day, it had to muscle for space with the ultra-successful ballads “Who’s Crying Now” and “Open Arms”. The formula eluded them for a while. But Journey milked it for all it was worth once they found it.

‘4’ by Foreigner

As a contrast to Journey, Foreigner was knocking out hits with regularity on their first three albums. Yet the band’s musical leader, Mick Jones, decided their approach needed shaking up for 4. Out went two keyboard players, replaced in part by special guest Thomas Dolby a few years before “She Blinded Me With Science”. Mutt Lange brought his radio-friendly production techniques to the party as well. The R&B-leaning “Urgent” just jumps out of the speakers, with Lou Gramm wailing for all he’s worth. “Juke Box Hero” served as the self-mythologizing crowd-pleaser. And “Waiting For A Girl Like You” simmered to a perfect temperature as the first of several highly successful slow songs from these guys.

‘Paradise Theatre’ by Styx

Styx liked to dress up their albums in loose conceptual trappings. But the quintet always understood the need for killer singles that didn’t need any context to break through and affect the audience. And they boasted two absolute standouts on Paradise Theatre. Guitarist Tommy Shaw offered the itchy intensity of “Too Much Time On My Hands”. And keyboardist Dennis DeYoung came through with perhaps his most moving ballad in “The Best Of Times”. Dig deeper into this album, and you’ll come up with many more highlights, including the scene-setting “Rockin’ The Paradise” and the cautionary tale “Snowblind”. An undeniable peak in their imposing catalog.

‘Abacab’ by Genesis

If you’re looking for the best of post-Peter Gabriel Genesis, Abacab would have to be right up there with its self-titled follow-up from 1983 in a close showdown. These albums are when the trio managed to seamlessly combine their pop ambitions with some of the musically adventurous stuff that they once championed. They indulge the former side on the horn-heavy, bittersweet “No Reply At All”. And get into their old song suite ways on the propulsive title track. Just to show their versatility a little bit more, they come through with the New Wave moves of “Keep It Dark” and the icy balladry of “Man On The Corner” for good measure.

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