A couple of days ago, I awoke to a text from an old friend reminding me that it was the 40th anniversary of our high school graduation. Despite repeated attempts to change the math, I gave in and agreed that he was correct.

I’m not a “remember when” kind of person. I covered all I care to remember in my book. No need to dwell there. Still, 1985 was a watershed year for me, musically. That was the year nearly everything changed.

The year can literally be cut in half. For the first six months of ‘85, I was very much into whatever was on the radio. The DJ told me what was cool and I went along without question.

In July, I was introduced to Robert Fripp and King Crimson while away at Army training. I returned home and literally tossed out two-thirds of my record collection (which was not small). I didn’t need those records anymore. I had found a new path. A better path. The popular stuff (most of it, anyway) had lost its meaning.

Just for fun, I Googled the biggest albums of 1985.^ Turns out more than a couple still resonate with me. I narrowed the 15 or 16 albums I enjoyed from the list and narrowed it down to ten.

So, here they are. Ten albums that resonate from 1985. They are presented in no particular order.

DIRE STRAITS, Brothers in Arms. If you had access to MTV, there was no escaping “Money for Nothing.” I knew a little about Dire Straits thanks to “Sultans of Swing.” But this was next level. The album’s title track continues to move me to near tears every time I hear it. Mark Knopfler was an amazing player before I took up guitar, and even more so since I started playing. This album isn’t going anywhere, even if it only comes off my shelf once or twice a year.

STING, The Dream of the Blue Turtles. I was already a big fan of The Police, but I was a little leery of Sting’s first solo album. After all, how could he possibly improve on The Police? Well, this was and is a remarkable album. Jazz had yet to completely get its hooks into me, so it took me another year to fully grasp how brilliant his backing band was. By the time the live Bring On the Night was released, I understood. I don’t play this one often, either. But I do love it so.

RUSH, Power Windows. Thanks to tunes like “Tom Sawyer” and “The Spirit of Radio,” I was already digging Rush. In fact, one of my first concerts took place in ‘84 behind their Grace Under Pressure album. I found this album equally compelling. I didn’t have the disdain for the band using synthesizers like many around me did. As far as I was concerned, this is just who Rush was. No big deal. I still like this record, and had no objection to hearing them play tunes from Power Windows in concert toward the end of their run.

MORAZ AND BRUFORD, Flags. The King Crimson Renaissance, as I like to call it, sent me down the rabbit hole of finding music from the members of the eighties lineup. Bill Bruford had the first big impact on me, so the guys at my record store were quick to show me this album. While I like Music for Piano and Drums (released two years earlier) better, this album still hits home. “The Drum Also Waltzes” is worth the price of admission. But it didn’t take long to appreciate and deeply respect the keyboard skills of Patrick Moraz. This one still comes off my shelf every now and then.

JEAN-LUC PONTY, Fables. Thanks to my dad, I’d already been a Jean-Luc Ponty fan for six or seven years. This album was just one of those “new album, new purchase” kind of deals. By this stage, Ponty had embraced the use of more synthesizers and drum machines. Not what I preferred, but still solid music. It may not get the personal airtime his ‘75-‘82 “Atlantic Years” albums do, but I have no problem playing this one every now and then.

MILES DAVIS, You’re Under Arrest. My obsession with Miles Davis was still a year away, but a buddy of mine learned about this album during his first semester in college, and brought it home to share with me during the winter break. I had no idea how much vitriol Miles was receiving for playing pop songs “Human Nature” and “Time After Time.” Miles said he was creating new standards. Detractors said he was selling out. I found the album listenable, and still do. But I would’ve been just fine without the pop songs.

WYNTON MARSALIS, Black Codes (from the Underground). Thanks once again to Dad, I learned about this record in ‘85. But I didn’t really hear it until the following year, when “straight ahead” jazz began to make more sense. Wynton’s tone was (and remains) powerful. Some found his technique a bit too clinical for their tastes. I had no issue with it. Dude was talented, and that’s all I cared about. There’s something about the fire behind this album that makes it fun to pull off the shelf a couple of times a year. Wynton was still coming into his own, and this record has a “hungry” feel to it.

R.E.M, Fables of the Reconstruction. Admittedly, I was late to this one. R.E.M. hooked me with Document, and I went backwards from there. This remains a terrific record, if only because I love hearing my “college rock” bands just before they came above ground and everyone got to know about them. They, too, still sound hungry. This was music made for that 1,500 capacity club all the hip music fans flocked to. I wish I could’ve been there for it.

PRINCE, Around the World in a Day. I was still three years from my true Prince fandom, but there was no escaping “Pop Life” and “Raspberry Beret.” Still, in true Ced fashion, I liked (and now love) the deep cuts “Tambourine” and “America.” They truly brought the funk, and they remain the reason this album finds its way off the shelf. I didn’t know Prince was a genius then, but I do now!

PHIL COLLINS, No Jacket Required. Of all the artists represented here, my biggest fandom was reserved for Phil Collins. I remember hanging out with my friends while wearing a button-down dress shirt with the sleeves rolled up, a shoestring-thin tie (usually pink), and a pair of sweatbands. In hindsight, I should’ve kept a pair of drumsticks in my back pocket! (Never mind the fact that I didn’t play.) I was a Genesis fan first, but we were entering the two or three year period where Phil was everywhere! I loved this album then, but I find it just a bit hokey in places now. It hasn’t aged quite as well as Phil’s first two solo albums, even if there are a couple of good songs on it. Nevertheless, I can’t help but grin a little when I think of myself during those days. Come to think of it, I’d still like to be a drummer.

I’m sure I’m not the only 1985 graduate of high school or college. Tell me about your favorites from that year in the comments!

As an added bonus, here’s Haken performing their song, “1985.” It’s appropriately titled.

https://youtu.be/LMQoJDWGBVs?si=qevGkFquGkwXAS8v

^ — Okay, the fusion and prog albums don’t make the Google list. But they were plenty big to me.

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