10 Guilty Pleasure Albums You Should Know Are Secretly Amazing

Contrary to popular belief, these records don't suck.

Photo by Fath on Unsplash

The term “guilty pleasure” first appeared in the New York Times in 1860, when it was used to describe a brothel. Since then, it’s reared its ugly head again and again in pop culture, describing various artistic endeavors that, if you have any sense, you’re not supposed to like.

However, as Salvador Dali once said, “It is good taste, and good taste alone, that possesses the power to sterilize and is always the first handicap to any creative functioning.” Sonic pleasures should never riddle you with guilt, no matter how low-brow popular opinion deems them to be.

As a record collector and audiophile, I try not to fall into this hive-minded trap. Despite being maligned by critics or consumers for being tacky, half-baked, or, oddly enough, massive commercial success stories, some guilty pleasures sound incredible and are (secretly) amazing.

Here are 10 “guilty pleasure” albums I’m deeming worthy of your time and money. Each possesses a certain charm and quality that makes them great—in some cases nearly 40 years on.

"Riptide" by Robert Palmer

I know a lot of folks who swear by Robert Palmer’s pre-MTV output from the 1970s. It’s less sleek and polished, arguably even a bit avant-garde in spots. But, beginning with his eponymous release with The Power Station, Palmer embraced his dad-rock sensibilities and reaped a massive commercial windfall.

Riptide is, for my money, the catchiest and most energetic album in the singer’s oeuvre, full of gated drums, trembling synths, and incredibly sexy vocals. Tracks like “Hyperdrive” and “I Didn’t Mean to Turn You On” are pure 80s pop with seriously pristine production. And, let’s be honest: if you haven’t already Googled or hummed the words to “Addicted to Love” yet, I’ll save you a click or two.

"Slippery When Wet" by Bon Jovi

Yes, they haven’t made good music in a hot minute. Yes, they’re often lumped into the same “love to hate” category as Nickelback. But, if you strip away the cultural baggage and judge this LP strictly for its music, there are some exceptional moments sprinkled throughout.

Even if you dislike the band, you probably know the words to the hits: “Wanted Dead or Alive,” “You Give Love a Bad Name,” and everyone’s favorite I’m-going-to-butcher-this-in-30-seconds karaoke song, “Livin’ on a Prayer.” Those are great, but the power ballad “Never Can Say Goodbye” may be its best (and gleefully cheesiest) song.

After selling over 28 million records, how bad is it really?

"Astro Lounge" by Smash Mouth

Honestly, it’s too bad Smash Mouth is known primarily for one song, especially if you’ve ever heard Astro Lounge in its entirety. Combining elements of pop, rock, and ska, this record captures the upbeat, more carefree vibes that 90s kids remember fondly. Say what you will about this era of pop music, but the melodies and hooks on here are unbelievably infectious.

Besides that one song, “All Star,” you have the bounciness of a cut like “Diggin’ Your Scene,” the vaguely Elvis Costello-esque “Come On, Come On,” and the other major single, “Then the Morning Comes.” With tight instrumentation and crisp production, audiophiles will surely have an appreciation for the craftsmanship here.

"Business as Usual" by Men at Work

If there’s a poster child for unjustly forgotten 80s pop-rock, it’s likely Men at Work’s Business as Usual. It topped the Billboard 200 back in the day, in addition to spawning two massive hits in “Down Under” (which introduced me to the concept of a Vegemite sandwich) and “Who Can It Be Now?” Still, this record’s mostly relegated to one-hit wonder-dom.

A crime, I say. There’s so much to love here. From the eerie opening of “I Can See It In Your Eyes” to the syncopated beat of “People Just Love to Play With Words,” you can hear echoes of trends that would influence dozens of successful artists before the decade ended. Colin Hay’s vocals are also damn near irresistible.

"Christopher Cross" by Christopher Cross

Yacht rock, anyone?

Christopher Cross’s self-titled debut is another “guilty pleasure” all audiophiles should own. Released in 1979, it became a huge success, earning Cross five Grammy Awards, including Album of the Year. Its breezy earnestness may not be in vogue anymore, but that doesn’t mean it’s not effective.

A smooth blend of soft rock, adult contemporary, and blue-eyed soul, the album features lush arrangements that surround Cross’s soothing vocals with impeccably produced backdrops. The initial build-up on “Ride Like the Wind” may be one of my favorite 70s music moments.

"Oops!... I Did It Again" by Britney Spears

Okay, now we’re getting into serious “guilty” territory. Pop music that caters to teenage girls and young women is often a punching bag for most serious music fans, and yet, when I was a DJ, you’d be shocked how many straight men would choose a Britney song as their moment to heat up the dancefloor.

Of all the chart-topping offerings Ms. Spears has delighted fans with over the years, Oops is arguably her most polished production-wise. The Max Martin-constructed songs are catchy, confident, and full of attitude. “Stronger” is so good you forget Britney sounds like she’s singing through a walkie-talkie, and she turns a well-known Rolling Stones track into a sexy romp.

"Spiceworld" by the Spice Girls

Oh, you thought that was the girliest record on this list? Think again!

For those who don’t remember, Spiceworld was the follow-up to the “Wannabe”-led Spice and, in almost every way, tops the original from a quality perspective. There’s the Latin-infused “Spice Up Your Life,” the catchy-as-all-hell “Stop,” and the absolutely gorgeous-sounding “Viva Forever.”

All that said, the most impressive highlight is “Never Give Up on the Good Times,” which is the best pop song of the 90s (maybe of all time) that most people haven’t heard. Do yourself a favor and turn that one up as loud as your speakers or headphones will allow.

"*NSYNC" by *NSYNC

Before Justin Timberlake ripped Janet Jackson’s breastplate off on national TV and JC Chasez released one of the worst songs in human history, you had 1998’s *NSYNC, the first step in the boy band’s ascent to global superstardom.

What’s most striking about this album is how deftly the production switches from bass-heavy R&B cuts like “Tearin’ Up My Heart” to sentimental ballads, like “(God Must Have Spent) A Little More Time on You” and “Thinking of You (I Drive Myself Crazy).” They also cover Cross’s “Sailing” towards the end of the LP—it’s a guilty pleasure inside another guilty pleasure!

"Invisible Touch" by Genesis

In my experience, Genesis fans either hate (the wrong side of this argument) or love (guess which side I’m on?) Invisible Touch. Perhaps the farthest removed from their art-rock and prog-rock stylings of the 70s, it’s also their biggest commercial success, due at least in part to the fact there’s very little filler on this tracklist.

Do you love gated 80s drum sounds that get Phil Collins fans harder than the side of a glacier wall? There’s the one-two punch of the title track and “Tonight, Tonight, Tonight.” Enjoy a morose ballad played on an electric piano? May I suggest “In Too Deep.” Want to hear Collins and the boys try their hand at what would’ve been a great Hall & Oates track? Check out “Throwing it All Away.”

To this day, Invisible Touch sounds terrific. Accept no cheesy 80s substitutes.

"Cracked Rearview" by Hootie and the Blowfish

Let’s end on a warbling, country-rock masterpiece. Just the group’s name alone should tell you all you need to know about this record’s laid-back, soulful energy and easygoing nature. If nothing else, this is probably the most crowd-pleasing listen on this list of (allegedly) guilty pleasures.

"Only Wanna Be with You” is all snappy hi-hat and jangly guitar, making just enough room for Darius Rucker’s growling of the singalong chorus. The band do wistful and lovelorn better than most acts of their generation, with live staples like “Running From An Angel,” “Not Even the Trees,” and my personal favorite, “Hold My Hand” making catchy, potentially tissue-inducing hooks.

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What’s your favorite guilty pleasure album of all time? Sound off in the comments!