1980 년대 음악 - 1980s in music

1980 년대 1 년 동안의 음악을 보려면 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89

이 기사에는 1980 년대 대중 음악 의 주요 사건과 트렌드에 대한 개요가 포함되어 있습니다.

1980 년대에는 댄스 음악뉴 웨이브 가 등장했습니다 . 디스코 가 10 년 초에 유행에서 벗어남에 따라 [1] 포스트 디스코 , 이탈로 디스코 , 유로 디스코댄스 팝같은 장르 가 더 유명해졌습니다. 록 음악 은 계속해서 많은 청중을 즐겼습니다. [2] 소프트 록 , [3] 글램 메탈 , 스 래시 메탈 , 헤비 디스토션이 특징 슈 레드 기타 , 핀치 하모닉 및 whammy 바 남용이 인기를 끌었습니다. [4] 현대 성인 , [5] 조용한 폭풍 , [6] 그리고 부드러운 재즈 가 인기를 얻었습니다. 1980 년대 후반에 글램 메탈 은 미국과 전 세계에서 가장 크고 상업적으로 성공적인 음악 브랜드가되었습니다. [7]

1980 년대는 일반적으로 신디사이저 의 사용과 관련된 디지털 녹음 의 사용이 증가한 것으로 기억되며 , 신스 팝 음악 및 비 전통 악기를 특징으로하는 기타 전자 장르의 인기가 증가했습니다. 또한이 10 년 동안 일렉트로닉 , 테크노 , 하우스 , 프리 스타일 , 유로 댄스 등 몇 가지 주요 전자 장르가 개발 되어 1990 년대 와 그 이후 에 두각을 나타 냈습니다 . 10 년 동안 R & B , 힙합도시장르는 특히 대도시의 도심 지역에서 보편화되었습니다. 랩은 특히 힙합황금기 의 도래와 함께 [8] 10 년 후반에 성공적이었다 . 이러한 도시 장르, 특히 랩과 힙합은 1990 년대와 2000 년대 까지 계속해서 인기를 올릴 것 입니다.

11,000 명 이상의 유럽 참가자를 대상으로 설문 조사를 실시한 디지털 방송사 Music Choice 가 2010 년에 실시한 설문 조사에 따르면 1980 년대는 지난 50 년 동안 가장 인기있는 음악 10 년이었습니다. [9]

주목할만한 예술가로는 마이클 잭슨 , 마돈나 , 조지 마이클 ( Wham! ), 프린스 , 휘트니 휴스턴 , 경찰 등이 있습니다.

경제학

1980 년대 음악 산업의 변화를 반영한 Robert Christgau는 나중에 Christgau의 Record Guide : The '80s (1990)에 다음과 같이 썼습니다 .

The Cure 1985의 "Close to Me"는 밴드 최고의 노래에 대한 강력한 경쟁자입니다.

80 년대 국제의 시간보다도했다 기업화 하나로서, 주요 다른 유럽과 일본의 미디어 거물에 포기 후. 1990 년까지 미국의 6 대 음반사 중 단 2 개만이 미국에 본사를두고 있었으며, Bizzers는 전 세계적으로 잠재 고객 / 시장 에서 사고하면서 현지에서 활동했습니다 (독일, 호주, 베네수엘라, 인도네시아에서 판매 할 것인가? 이제 해적을 침몰 시켰습니다 . 소련?) 및 예술가 / 공급자 ( 세계 음악 은 지리 경제 시대가 도래 한 개념이었습니다). 격렬한 시작 후 독립 레이블농장 팀의 지위를 받아 들여 빅스와의 살인으로 이어질 수 있습니다. 교차 홍보 물 담뱃대가 규칙이되었습니다.사운드 트랙 앨범 , 스폰서 투어, 골든 올디 광고, 티셔츠 프랜차이즈, 노래 광고유료 프로그램 및 상품 페티쉬 로서의 비디오 . 기록 경영진은보다 적은 연출가가되었다 arbitragers 물리적 특성 작은 의미하거나 그들에게 아무런 권리의 추상적 인 번들 추측. 은 더 이상 단순한 음악이 아닙니다. 그것은 자본 그 자체의 한 형태 지적 재산 으로 인식되었습니다 . [10]

음악 녹음 판매 인증 으로 측정 된 상업 스타덤 은 음악가의 중요성을 나타내는 예술성을 대체했다고 Christgau는 말합니다. "예술이 지적 재산 일 때, 이미지와 아우라는 정확히 그것이 무엇이든간에 미적 실체를 포함한다"고 그는 설명했다. "예술은 수도 인 경우, 매출은 미적 품질 -와 인터페이스 스릴러 ' 경험의 일부의 번호입니다." [10]

북아메리카

마돈나[1] 뮤직 비디오는 1980 년대 MTV영구적 인 고정물 이되었으며 그 이후로 그녀는 역대 가장 성공적인 여성 뮤지션이되었습니다. [11]

1980 년대에는 Prince 의 세계적인 슈퍼 스타 Michael Jackson 이 재창조되고이 기간 동안 가장 성공적인 뮤지션이었던 MadonnaWhitney Houston 이 전국적으로 등장 했습니다.

마이클 잭슨역사상 가장 성공적인 R & B 아티스트였습니다.

Prince 와 함께 Michael Jackson MTV 에서“ Beat It ”및“ Billie Jean함께 자신의 뮤직 비디오를 헤비 로테이션에 올린 최초의 아프리카 계 미국인 아티스트였습니다 . ( Donna Summer 는 1983 년에 " She Works Hard for the Money "와 " Unconditional Love " 와 함께 아프리카 계 미국인 여성 아티스트의 첫 두 비디오를 배치 했습니다. Jackson 's Thriller (1982)는 역대 베스트셀러 앨범입니다 . 10 년 동안 2500 만 부를 판매했습니다. 그의 다른 앨범 인 1987 's Bad빌보드 에 5 개의 넘버원 싱글을 보유한 역사상 첫 번째 앨범이되는 영광을 안았습니다.핫 100 . 그에 수반되는 월드 투어 역시 1980 년대 솔로 아티스트의 가장 높은 수익을 올린 투어이자 당시 가장 높은 수익을 올린 투어로 역사를 만들었습니다. 10 년 동안 가장 많이 팔린 아티스트 인 것 외에도 Jackson은 10 년 동안 다른 어떤 활동보다 많은 9 개의 1 위 싱글을 보유했으며 1980 년대 1 위 (27 주)에서 가장 오랜 시간을 보냈습니다. 그는“10 년의 예술가”와“세기의 예술가”를 포함하여 수많은 상을 수상했으며 1980 년대의 가장 큰 스타였다. [12]

마돈나 는 10 년 동안 가장 성공적인 여성 예술가였습니다. 그녀의 세 번째 스튜디오 릴리스 인 True Blue 는 1980 년대 베스트셀러 여성 앨범 이되었습니다 . 10 년 동안의 다른 마돈나 앨범에는 역대 베스트셀러 앨범 중 하나 인 Like a VirginLike a Prayer ( "팝 음악이 예술에 가까워지면" 롤링 스톤이 말했다 ). 마돈나는 뮤직 비디오를 마케팅 도구로 만들었고이를 예술 형식으로 만든 최초의 사람 중 하나였습니다. " Like a Virgin ", " Papa Do n't Preach ", " La Isla Bonita "및 " Like a Prayer " 와 같이 그녀의 많은 노래가 전 세계 차트에서 1 위를 차지했습니다 .1989 년 앨범 , Madonna는 여러 잡지와상에서 10 년의 아티스트로 선정되었습니다. "나는 80 년대가 훌륭하다고 생각했다"고 그녀는 말했다. "그리고 보이 조지 가 나에게 동의 할 것이라고 확신 합니다." [13]

Whitney HoustonMadonnaBarbra Streisand에 이어 미국에서 10 년 동안 가장 많이 팔린 여성 예술가 중 한 명이었습니다 . 그녀의 시조 데뷔 스튜디오 앨범 은 당시 여성 아티스트의 베스트셀러 데뷔 앨범이었고, 그녀의 2 학년 앨범 인 Whitney빌보드 200 에서 1 위에 데뷔 한 첫 번째 여성 앨범 이었습니다. 그녀는 또한 Billboard Hot 100 에서 7 곡 연속 1 위를 차지한 최초이자 유일한 아티스트가되었습니다 .

Paula Abdul 은 1988 년에 큰 성공을 거두었습니다. 그녀의 데뷔 앨범 Forever Your Girl 으로 그녀는 데뷔 앨범에서 4 개의 넘버원 싱글을 보유한 최초의 여성이었습니다 ( The Jackson 5 만이 데뷔와 동일하게 수행했습니다). 그녀는 앨범에서 5 개의 탑 10 히트 곡을 기록했습니다.

1980 년에는 오케스트라에 크게 의존 하는 디스코 장르 가 더 가벼운 신스팝 프로덕션 으로 대체되어 댄스 음악의 원동력 이되었습니다 .

1980 년대 후반에, 십대 팝 을 포함한 밴드와 아티스트와 그것의 첫 번째 물결을 경험 엑스포 , 데비 깁슨 , 티파니 , 뉴 에디션 , 스테이시 Q , 팔찌 , 뉴 키즈 블록에 , 로라 브래니건 , 보이 조지 등이되고 십대 우상.

1980 년대 미국의 저명한 도시 팝 공연으로는 Tina Turner , Lionel Richie , Michael Jackson, Donna Summer, Whitney Houston, Diana Ross 등이 있습니다. Lionel RichiePrince같은 아프리카 계 미국인 예술가 는 10 년 동안 가장 큰 스타가되었습니다. 그들의 히트 앨범에는 1999 , Purple Rain , Sign "O"the Times by Prince and Lionel Richie , Ca n't Slow Down , Dancing on the Ceiling by Richie 등이 있습니다.

Prince는 미국과 전 세계에서 최고 차트를 기록한 아티스트 일뿐만 아니라 10 년 동안 가장 다작의 아티스트였습니다. 그는 Vanity 6 과 같은 아티스트를 담당 했으며, 댄스 차트 1 위인 "Nasty Girl"을 썼습니다. Morris Day and the Time, 그는 상위 20 대 "정글 사랑"을 썼습니다. Sheila E. , 그는 상위 10 곡 " The Glamorous Life "와 11 번 " A Love Bizarre " 를 썼습니다 . 그리고 Wendy & LisaApollonia 6 . 그는 Chaka Khan을 위해 " I Feel for You "를 썼고 , 최고의 R & B 곡으로 그래 미상을 수상했습니다. " 설탕 벽 "; 그리고 " U Got The Look" 으로 듀엣을했을뿐만 아니라 , 그는 The Bangles의 2 위 팝 히트 곡인 " Manic Monday " 를 썼습니다 . 그의 음악을 커버 한 아티스트로는 Tom Jones가 포함 되었으며 , 그는 자신의 노래 " Kiss "를 10 년 만에 두 번째로 상위 40 위 안에 들었습니다. Melissa Morgan1986 년 에 " Do Me, Baby " 의 표지를 R & B 차트의 정상에 올렸습니다 . 1980 년대에 Prince를 다룬 다른 유명한 아티스트로는 The Pointer SistersCyndi Lauper가 있습니다. [14] 그는 또한 노래 " Purple Rain "으로 아카데미 상을 수상했습니다 . 1989 년 아일랜드 가수 Sinead O '그의 노래 " Nothing Compares 2 U "의 리메이크를 녹음했는데 ,이 노래는 다음 10 년 동안 전 세계적으로 가장 큰 노래가 될 것입니다. Prince는 Hot 100 Chart에서 4 개의 1 위 싱글과 14 개의 Top 10 히트를 기록했습니다.

Lionel Richie는 Diana Ross 와 팀을 이루어 빌보드 차트에서 9 주 동안 1 위를 차지한 10 년 동안 가장 큰 히트 곡인 " Endless Love "를 녹음 했습니다. " All Night Long "과 " Hello "와 같은 Richie의 다른 노래 도 차트 1 위를 차지했으며 총 5 개의 1 위 히트 곡과 13 개의 톱 10 싱글을 기록했습니다. Diana Ross1980 년에 " Upside Down "을 1 위에 올렸습니다. 그녀는 10 년 동안 2 개의 1 위 싱글과 8 개의 상위 10 개 안타를 기록했습니다. Tina Turner 는 " What 's Love Got to Do It "으로 차트 1 위를 차지했으며 총 6 개의 상위 10 개 싱글을 기록했습니다. 도나 서머 의 ""70 년대에 시작된 페미니스트 운동의 연속이었고, 열심히 일하고 공정한 대우를 받고자하는 사람들을위한 집회 외침이었습니다. 그녀는 10 년 동안 5 개의 탑 10 싱글을 갖게 될 것입니다.

Bruce SpringsteenBorn In the USA , AC / DCBack in Black , Def Leppard 's Hysteria , Bon Jovi 's Slippery When Wet 은 Billboard Top 200 차트에서 10 년간 가장 많이 판매 된 앨범 중 일부였습니다.

1980 년대 중반 미국의 팝 가수 Cyndi Lauper[ 누가? ] " 80 년대 MTV 세대의 목소리 "와 너무나 다른 비주얼 스타일이 십대들을위한 세상을 만들었습니다. 그녀의 첫 번째 두 앨범 인 She 's So Unusual (1984)과 True Colors (1986)는 비판적으로 그리고 상업적으로 성공하여 " Girls Just Want to Have Fun ", " Time After Time ", " She Bop ", " All Through the Night "," The Goonies 'R'Good Enough "," True Colors "및"

몇몇 영국 예술가들은 1980 년대에 팝으로 성공적으로 전환했으며 David Bowie , Phil Collins , John Lennon , Billy Ocean , Sheena EastonPaul McCartney같은 큰 상업적 성공을 거두었습니다 . 1980 년대 초에는 많은 영국 팝 밴드가 미국 차트를 장악했습니다. 그들 중 많은 사람들이 MTV에 지속적으로 노출되어 인기를 얻었습니다 .이 밴드에는 The Human League , Culture Club , Duran DuranWham! . 네 명 사이에는 " Do n't You Want Me ", " 와 같은 히트 곡으로 9 개의 미국 1 위를 기록했습니다.Karma Chameleon "," The Reflex "및" Wake Me Up Before You Go-Go "10 년 후반에 Rick Astley , 솔로 아티스트 인 George Michael , Terence Trent D' Arby , Fine Young Cannibals 모두 차트에서 성공을 거두었습니다. .

1980 년대 초, Olivia Newton-John , Men at Work , Air SupplyAC / DC같은 호주 아티스트들은 모두 차트에서 성공을 거두었으며 10 년 후 INXS 가 히트를 기록했습니다. Olivia Newton-John 의 히트 곡인 Physical 은 10 주 동안 Hot 100에 올랐으며 미국에서 10 년 동안 가장 큰 히트를 기록했습니다. 그녀는 80 년대에 6 개의 상위 10 개 싱글을 보유 할 것입니다.

Michael Jackson , Madonna , Bruce Springsteen , Kool & the Gang , The Pointer Sisters , Billy Joel , Hall & Oates , Prince , Kenny RogersJohn Mellencamp (당시 John Cougar로 알려짐) 와 같은 미국 예술가 는 지난 10 년간 차트를 지배했습니다. 우리. [15] 프린스, 마돈나, 잭슨, 조엘, 스프링스틴과 함께 U2 , 다이어 스트레이츠 , 필 콜린스 , 경찰 , , 롤링 스톤즈Eurythmics 는 전 세계적으로 엄청난 성공을 거두었습니다. [16]

1980 년대에는 록 음악이 더 정확하게 정의되어 여러 하위 장르로 나뉘 었습니다.

하드 록 및 헤비 / 글램 메탈

2003 년 메탈리카 콘서트

1983 년에 시작되어 1986-1990 년에 성공을 거둔 10 년 동안 하드 록 음악 의 부활 글램 메탈 하위 장르 가 등장했습니다 . AC / DC , Queen , Def Leppard , Kiss , Mötley Crüe , Bon Jovi , Quiet Riot , Scorpions , Europe , Ratt , Twisted Sister , Poison , Dokken , Whitesnake , Cinderella 와 같은 밴드 were among the most popular acts of the decade. The 1980s saw the emergence of wildly popular hard rock band Guns N' Roses and the successful comebacks of Aerosmith and Alice Cooper in the late 1980s. The success of hard rock act Van Halen spanned throughout the entire decade, first with singer David Lee Roth and later with Sammy Hagar. Queen, which had expanded its music to experimental and crossover genres in the early 1980s, returned to guitar-driven hard rock with The Miracle in 1989. Additionally, a few women managed to achieve stardom in the 1980s hard rock scene: Pat Benatar and Ann and Nancy Wilson of Heart, who had been around since the mid 1970s, are prime examples of female success in hard rock, and so are both ex-Runaways Joan Jett and Lita Ford.

Duff McKagan and Slash of Guns N' Roses

The arena rock trend of the 1970s continued in the 1980s with bands like Styx, Rush, Journey, Foreigner, REO Speedwagon, ZZ Top, and Aerosmith.

Traditionally associated (and often confused) with hard rock, heavy metal was also extremely popular throughout the decade, with Ozzy Osbourne achieving success during his solo career; bands like Iron Maiden, Judas Priest and Dio were also widely popular British acts. Speed metal pioneer Motörhead maintained its popularity through the releases of several albums. Underground scenes produced an array of more extreme, aggressive Metal subgenres: thrash metal broke into the mainstream with bands such as Metallica, Slayer, Exodus, Anthrax, and Megadeth. By the late 1980s, Metallica would achieve mainstream success and would become one of the best-selling music artists of all time. Other styles like death metal and black metal would remain a subcultural phenomena.

The decade also saw the emergence of a string of guitar virtuosi: Eddie Van Halen, George Lynch, Joe Satriani, Steve Vai, Randy Rhoads, Jason Becker and Yngwie Malmsteen achieved international recognition for their skills. While considerably less numerous, bass guitar virtuosi also gained momentum in the 1980s: Geddy Lee (of Rush), Billy Sheehan (of David Lee Roth and Mr. Big fame), Cliff Burton (of Metallica) and alternative/funk metal bassist Les Claypool (of Primus fame) became famous during that period. Iron Maiden founder and bassist Steve Harris has also been praised numerous times for his galloping style of bass playing.

Both hard rock and heavy metal were extremely popular live genres and bands toured extensively around the globe.

Alternative rock

One of the first alternative rock bands, R.E.M. relied on college radio airplay, constant touring, and a grassroots fanbase to break into the musical mainstream.

By 1984, a majority of groups signed to independent record labels were mining from a variety of rock and particularly 1960s rock influences. This represented a sharp break from the futuristic, hyper-rational post-punk years.[17]

Throughout the 1980s, alternative rock was mainly an underground phenomenon. While on occasion a song would become a commercial hit or albums would receive critical praise in mainstream publications like Rolling Stone, alternative rock in the 1980s was primarily relegated to independent record labels, fanzines and college radio stations. Alternative bands built underground followings by touring constantly and regularly releasing low-budget albums. In the case of the United States, new bands would form in the wake of previous bands, which created an extensive underground circuit in America, filled with different scenes in various parts of the country.[18] Although American alternative artists of the 1980s never generated spectacular album sales, they exerted a considerable influence on later alternative musicians and laid the groundwork for their success.[19]

The Bangles performing at The House of Blues in Cleveland.

Early American alternative bands such as R.E.M., The Hits, The Feelies, and Violent Femmes combined punk influences with folk music and mainstream music influences. R.E.M. was the most immediately successful; its debut album, Murmur (1983), entered the Top 40 and spawned a number of jangle pop followers.[18] Alternative and indie pop movements sprang up in other parts of the world, from the Paisley Underground of Los Angeles (The Bangles, Rain Parade) to Scotland (Aztec Camera, Orange Juice), Australia (The Church, The Triffids), and New Zealand's Dunedin sound (The Clean, The Chills).

American indie record labels SST Records, Twin/Tone Records, Touch and Go Records, and Dischord Records presided over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock that were emerging.[20] Minnesota bands Hüsker Dü and The Replacements were indicative of this shift. Both started as punk rock bands, but soon diversified their sounds and became more melodic.[18]

Three men performing on stage, one plays guitar, another sings into a microphone and the other plays bass.
Nine Inch Nails in tour.

By the late 1980s, the American alternative scene was dominated by styles ranging from quirky alternative pop (They Might Be Giants and Camper Van Beethoven), to noise rock (Big Black, Swans) to industrial rock (Ministry, Nine Inch Nails) and to early Grunge (Mudhoney, Nirvana). These sounds were in turn followed by the advent of Boston's the Pixies and Los Angeles' Jane's Addiction.[18]

American alternative rock bands of the 1980s included Hüsker Dü, The Replacements, Minutemen, R.E.M., Dinosaur Jr., Pixies, and Sonic Youth which were popular long before the Grunge movement of the early 1990s.

New singers and songwriters included Michael Jackson, Bruce Springsteen, Tom Petty, Mark Heard, Lucinda Williams, Patti Smith, Rickie Lee Jones, Terence Trent D'Arby, Stevie Nicks, Suzanne Vega, Cheryl Wheeler and Warren Zevon. Rock and even punk rock artists such as Peter Case, Phil Collins and Paul Westerberg transitioned to careers as solo singers.

In the late 1980s, the term was applied to a group of predominantly female U.S. artists, beginning with Suzanne Vega whose first album sold unexpectedly well, followed by the likes of Tracy Chapman, Nanci Griffith, k.d. lang and Tori Amos, who found success first in the United Kingdom, then in her home market.

Other trends

George Thorogood and Jim Suhler performing.

Various older rock bands made a comeback. Bands originating from the early to mid-1960s such as The Beach Boys and The Kinks had hits with "Kokomo", "Come Dancing" and "Do It Again". Bands with popularity in the mid-1970s such as the Steve Miller Band and Steely Dan also had hits with "Abracadabra" and "Hey Nineteen". Singer and songwriter Bruce Springsteen released his blockbuster album Born In The USA, which produced a record-tying 7 hit singles. Stevie Ray Vaughan and George Thorogood sparked a revival of Atomic blues and Blues rock. Massively successful hard rock band Led Zeppelin disbanded after drummer John Bonham's 1980 death, while contemporaries AC/DC continued to have success after the death of former frontman Bon Scott. Country rock saw a decline after Lynyrd Skynyrd's 1977 plane crash and 1980 disbanding of the genre's most successful band, the Eagles. The Grateful Dead had their biggest hit in band history with "Touch of Grey". The Who managed to provide the hit songs "You Better You Bet" and "Eminence Front" before burning out after the death of their drummer Keith Moon.

Hardcore punk flourished throughout the early to mid-1980s, with bands leading the genre such as Black Flag, Bad Brains, Minor Threat, Suicidal Tendencies, D.O.A., and Dead Kennedys amongst others. It began to wane in the latter half of the decade, with the New York hardcore scene dominating the genre. However, it experiences a jumpstart in the late 1980s with emerging bands such as Operation Ivy and Green Day that would define not just the so-called "East Bay" sound but impact the next decade's punk and alternative sound. Some of which is still around today.

The 1980s proved a difficult time for many 1960s-70s veterans, many of them unable or unwilling to adapt to current trends. Music icons such as Bob Dylan, Neil Young, and The Rolling Stones released albums that were often poor quality and critically panned as they attempted to grapple with the changing times. MTV in particular was a problem for many artists, as it put a premium on youthfulness, good looks, and showmanship. Artists who became strongly associated with disco music also fell from grace and were often banned from radio play.

Contemporary R&B

Contemporary R&B originated in the 1980s, when musicians started adding disco-like beats, high-tech production, and elements of hip hop, soul and funk to rhythm and blues, making it more danceable and modern.[21] The top mainstream R&B artists of 1980s included Michael Jackson, Prince, Jermaine Jackson, James Ingram, The S.O.S. Band, Stevie Wonder, Kool & the Gang, Jeffrey Osborne, Smokey Robinson, Rick James, Diana Ross, Lionel Richie, Earth, Wind & Fire, New Edition, Evelyn King, Marvin Gaye, The Jets, DeBarge, Midnight Star, Club Nouveau, Stephanie Mills, Jody Watley, Rockwell, Rene and Angela, and Freddie Jackson.[22]

In the mid-1980s, many of the recordings by artists Luther Vandross, Freddie Jackson, Sade, Anita Baker, Teddy Pendergrass, Peabo Bryson and others became widely heard on the new quiet storm radio format.[22] The term had originated with Smokey Robinson's 1975 album A Quiet Storm. Quiet storm has been described as "R&B's answer to soft rock and adult contemporary—while it was primarily intended for black audiences, quiet storm had the same understated dynamics, relaxed tempos and rhythms, and romantic sentiment."[23]

Tina Turner made a huge comeback during the mid-1980s, while Donna Summer, Diana Ross, The Pointer Sisters and Irene Cara had success on the pop charts first half of the decade. Whitney Houston, Janet Jackson and Jody Watley had it in the second half of the decade. Irene Cara's Flashdance... What a Feeling was the number one song worldwide in 1983, and for the decade of the 80s.[24] Richard J. Ripani wrote that Janet Jackson's third studio album Control (1986) was "important to the development of R&B for several reasons", as she and her producers, Jimmy Jam and Terry Lewis, "crafted a new sound that fuses the rhythmic elements of funk and disco, along with heavy doses of synthesizers, percussion, sound effects, and a rap music sensibility."[22] Ripani wrote that "the success of Control led to the incorporation of stylistic traits of rap over the next few years, and Janet Jackson was to continue to be one of the leaders in that development."[22] That same year, Teddy Riley began producing R&B recordings that included hip hop influences. This combination of R&B style and hip hop rhythms was termed new jack swing, and was applied to artists such as Bobby Brown, Keith Sweat, Guy, Today, Wreckx-n-Effect, Big Daddy Kane, Kool Moe Dee, Heavy D & the Boyz, Tammy Lucas, Nayobe, Abstrac, Deja, Starpoint, and Bell Biv DeVoe.[25]

Michael Jackson remained a prominent figure in the genre in the late 1980s, following the release of his album Bad (1987) which sold 6 million copies in the US in the 80s, and went on to sell more than 30 million copies worldwide.[26] Janet Jackson's 1989 album Janet Jackson's Rhythm Nation 1814 continued the development of contemporary R&B into the 1990s, as the album's title track "Rhythm Nation" made "use of elements from across the R&B spectrum, including use of a sample loop, triplet swing, rapped vocal parts and blues notes."[22] The release of Janet Jackson's Rhythm Nation 1814 became the only album in history to produce number one hits on the Billboard Charts Hot 100 in three separate calendar years—"Miss You Much" in 1989, "Escapade" and "Black Cat" in 1990, and "Love Will Never Do (Without You)" in 1991—and the only album in the history of the Hot 100 to have seven top 5 hit singles.

Hip hop

Beastie Boys in concert, 1992

Encompassing graffiti art, break dancing, rap music, and fashion, hip-hop became the dominant cultural movement of the African American communities in the 1980s. The Hip hop musical genre had a strong influence on pop music in the late 1980s which continues to the present day.

During the 1980s, the hip hop genre started embracing the creation of rhythm by using the human body, via the vocal percussion technique of beatboxing. Pioneers such as Africa Bambaataa, DJ Kool Herc, Melle Mel, Grandmaster Flash and the Furious Five, Whodini, Sugarhill Gang, Doug E. Fresh,[27] Biz Markie and Buffy from the Fat Boys made beats, rhythm, and musical sounds using their mouth, lips, tongue, voice, and other body parts. "Human Beatbox" artists would also sing or imitate turntablism scratching or other instrument sounds.

The 1980s also saw many artists make social statements through hip hop. In 1982, Melle Mel and Duke Bootee recorded "The Message" (officially credited to Grandmaster Flash and The Furious Five),[28] a song that foreshadowed the socially conscious statements of Run-DMC's "It's Like That" and Public Enemy's "Black Steel in the Hour of Chaos".[29]

Popular hip hop artists of the 1980s include Kurtis Blow, Run D.M.C., Beastie Boys, NWA, LL Cool J, Public Enemy, Eric B. & Rakim, Big Daddy Kane, Boogie Down Productions, Kid N Play, MC Lyte, EPMD, Salt N Pepa, and Ice-T, Schooly D, Slick Rick, Kool Moe Dee, Whodini, MC Hammer, among others.

Electronic music

In the 1980s, dance music records made using only electronic instruments became increasingly popular, largely influenced by the electronic music of Kraftwerk and 1970s disco music. Such music was originally born of and popularized via regional nightclub scenes in the 1980s, and became the predominant type of music played in discothèques as well as the rave scene.

House music is a style of electronic dance music which originated in Chicago, Illinois, the USA in the early 1980s.[30] House music was strongly influenced by elements of soul- and funk-infused varieties of disco. Club play from pioneering DJs like Ron Hardy and Lil Louis, local dance music record shops, and the popular Hot Mix 5 shows on radio station WBMX-FM helped popularize house music in Chicago and among visiting DJs & producers from Detroit. Trax Records and DJ International Records, local labels with wider distribution, helped popularize house music outside of Chicago. It eventually reached Europe before becoming infused in mainstream pop & dance music worldwide during the 1990s.

It has been widely cited that the initial blueprint for techno was developed during the mid-1980s in Detroit, Michigan, by Juan Atkins, Kevin Saunderson, Derrick May (the so-called "Belleville Three"), and Eddie Fowlkes, all of whom attended school together at Belleville High, near Detroit.[31][32][33][34] Though initially conceived as party music that was played on daily mixed radio programs and played at parties given by cliquish, Detroit high school clubs, it has grown to be a global phenomenon.

Country music

As the 1980s dawned, pop-influenced country music was the dominant style, through such acts as Kenny Rogers, Ronnie Milsap, T.G. Sheppard, Eddie Rabbitt, Crystal Gayle, Anne Murray and Dolly Parton. The 1980 movie Urban Cowboy, a romantic comedy starring John Travolta and Debra Winger, spawned a successful soundtrack album featuring pop-styled country songs, including "Lookin' for Love" by Johnny Lee, "The Devil Went Down to Georgia" by the Charlie Daniels Band, "Could I Have This Dance" by Murray and "Love the World Away" by Rogers. The songs, and the movie itself, resulted in an early 1980s boom in pop-style country music, and the era is sometimes known as the "Urban Cowboy Movement".

By the mid-1980s, country music audiences were beginning to tire of country-pop. Although some pop-country artists continued to record and release successful songs and albums, the genre, in general, was beginning to suffer. By 1985, a New York Times article declared country music "dead". However, by this time, several newcomers were working behind the scenes to reverse this perception.

The year 1986 brought forth several new artists who performed in traditional country styles, such as honky-tonk. This sparked the "new traditionalist" movement, or return to traditional country music. The most successful of these artists included Randy Travis, Dwight Yoakam, Ricky Van Shelton and Holly Dunn. Also, artists like Kathy Mattea and Keith Whitley, both of whom had been performing for a few years prior, had their first major hits during 1986; Mattea was more folk-styled, while Whitley was pure honky-tonk. But the new traditionalist movement had already taken hold as early as 1981 when newcomers such as Ricky Skaggs and George Strait had their first big hits. Reba McEntire had her first big hit in 1980 followed by 15 other number one hit singles during the decade. Also, songwriter–guitarist and Chet Atkins prodigy Steve Wariner also emerged as a popular act starting in the early 1980s. Another boom period for newcomers with new traditionalist styles was 1989, when artists such as Clint Black, Garth Brooks, Mary Chapin Carpenter, Lorrie Morgan and Travis Tritt had their first big hits. It was Whitley who was seen as being one of the torchbearers of the new traditionalist movement, thanks to his pure honky-tonk style in the vein of Lefty Frizzell and others, and his star power was set to rise into the 1990s; however, Whitley was a known heavy drinker, and it was alcohol poisoning that ended his life in May 1989, just weeks after a song about triumph over personal demons – "I'm No Stranger to the Rain"—became a huge country hit. In keeping with the neotraditionalist movement, Dolly Parton, Linda Ronstadt and Emmylou Harris teamed up to release 1987's Platinum-selling Trio album. Composed mostly of traditional songs set to acoustic arrangements, the album won a Grammy in 1988 for best country collaboration.

Vocal duos were also popular because of their harmonies, most notably The Bellamy Brothers and The Judds. Several of the Bellamy Brothers' songs included double-entendre' laden hooks, on songs such as "Do You Love as Good As You Look". The Judds, a mother-and-daughter duo, combined elements of contemporary pop and traditional country music on songs such as "Why Not Me" and "Grandpa (Tell Me 'Bout the Good Ol' Days)".

Country music groups and bands continued to rise in popularity during the 1980s. The most successful of the lot was Alabama, a Fort Payne-based band that blended traditional and pop-country sounds with southern rock. Their concerts regularly sold out, while their single releases regularly reached No. 1 on the Billboard Hot Country Songs chart. In 1989, Alabama was named the Artist of the Decade by the Academy of Country Music. By the end of the 1980s, the group had sold more than 24 million albums in the United States.

Ranking just behind Alabama in popularity, as far as groups were concerned, were The Oak Ridge Boys and The Statler Brothers, both four-part harmony groups with the gospel and country-pop stylings. The popularity of those three groups sparked a boom in new groups and bands, and by the end of the 1980s, fans were listening to such acts as Restless Heart and Exile, the latter which previously enjoyed success with the pop hit "Kiss You All Over".

Despite the prevailing pop-country sound, enduring acts from the 1970s and earlier continued to enjoy great success with fans. George Jones, one of the longest-running acts of the time, recorded several successful singles, including the critically acclaimed "He Stopped Loving Her Today". Conway Twitty continued to have a series of No. 1 hits, with 1986's "Desperado Love" becoming his 40th chart-topper on the Billboard Hot Country Singles chart, a record that stood for nearly 20 years. The movie Coal Miner's Daughter profiled the life of Loretta Lynn (with Sissy Spacek in the lead role), while Willie Nelson also had a series of acting credits. Dolly Parton had much success in the 1980s, with several leading movie roles, two No. 1 album and 13 number one hits, and having many successful tours; she also teamed up with Emmylou Harris and Linda Ronstadt in 1987 for the multi-platinum Trio album. Others who had been around for a while and continued to have great success were Eddy Arnold, Johnny Cash, Merle Haggard, Waylon Jennings, Ray Price, Hank Williams Jr. and Tammy Wynette.

In addition to newcomer Whitley, top classic country and influential performers who died during the decade included Red Sovine, Whitey Ford, Marty Robbins, Merle Travis, Ernest Tubb, Wynn Stewart and Tex Williams. Although not directly associated with country music, Roy Orbison, a favourite of many country music fans and whose styles wound up being influential with many newcomers, died in 1988.

Europe

Rock

Post-punk

Sinéad O'Connor rose to fame in the late 1980s with her debut album The Lion and the Cobra.
The Police, regarded by Rolling Stone as “possibly the biggest band in the world”, November 1983.[35]

Some of the most successful post-punk bands at the beginning of the decade, such as Siouxsie and the Banshees and the Psychedelic Furs, also continued their success during the 1980s. Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively.[36]

The second generation of British post-punk bands that broke through in the early 1980s, including the Smiths, the Jesus and Mary Chain, the Cure, the Fall, the Pop Group, the Mekons, Echo and the Bunnymen and Teardrop Explodes, tended to move away from dark sonic landscapes.[36]

Even though the Police's first hit song "Roxanne" was written by Sting in 1978 (reaching number 12 in the UK Charts that year), the song continued to grow in popularity in the 1980s along with the band. Even though The Police had their roots in post-punk, their eventual success (four consecutive UK number one studio albums) and mega-stardom came from being able to pack the biggest stadium rock venues such as Wembley, the Oakland Coliseum and the Maracanã in Rio de Janeiro. Aside from U2, they are the only other band with post-punk origins to go on and achieve the kind of global success they did. Ireland's U2 incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.[37]

Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.[38]

New wave music

Dire Straits on stage, 1985
Controversial dance-pop band Frankie Goes to Hollywood in London, 1985

The arrival of MTV in 1981 would usher in new wave's most successful era. British artists, unlike many of their American counterparts, had learned how to use the music video early on.[39][40] Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labelled this phenomenon a "Second British Invasion".[40][41]

In autumn 1982, "I Ran (So Far Away)" by A Flock of Seagulls entered the Billboard Top Ten, arguably the first successful song that owed almost everything to video.[40] They would be followed by bands like Duran Duran whose glossy videos would come to symbolize the power of MTV.[40] Dire Straits' "Money for Nothing" gently poked fun at MTV which had helped make them international rock stars.[42] In 1983, 30% of the record sales were from British acts. 18 of the top 40 and 6 of the top 10 singles on July 18 were by British artists. Overall record sales would rise by 10% from 1982.[40][43] Newsweek magazine featured Annie Lennox and Boy George on the cover of one of its issues while Rolling Stone Magazine would release an England Swings issue.[40] In April 1984 40 of the top 100 singles were from British acts while 8 of the top 10 singles in a May 1985 survey were of British origin.[44] Veteran music journalist Simon Reynolds theorized that similar to the first British Invasion the use of black American influences by the British acts helped to spur success.[40] Commentators in the mainstream media credited MTV and the British acts with bringing colour and energy to back to pop music while rock journalists were generally hostile to the phenomenon because they felt it represented image over content.[40] MTV continued its heavy rotation of videos by new wave-oriented acts until 1987 when it changed to a heavy metal and rock dominated format.[45]

New Romantics
Duran Duran on stage, 2005

New Romanticism emerged as part of the new wave music movement in London's nightclub including Billy's and The Blitz Club towards the end of the 1970s. Influenced by David Bowie and Roxy Music, it developed glam rock fashions, gaining its name from the frilly fop shirts of early Romanticism. New Romantic music often made extensive use of synthesisers. Pioneers included Visage and Ultravox and among the commercially most successful acts associated with the movement were Adam and the Ants, Culture Club, Spandau Ballet and Duran Duran.[46] By about 1983, the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers. Other New Romantic artists included Classix Nouveaux, A Flock of Seagulls, Gary Numan, Japan, Landscape, Thompson Twins, Soft Cell, ABC, the Teardrop Explodes, Yazoo and Talk Talk.

Gothic rock

The Cure on stage, 2008

Gothic rock music developed out of the post-punk scene in the later 1970s. Notable early gothic rock bands include Bauhaus (whose "Bela Lugosi's Dead" is often cited as the first goth record), Siouxsie and the Banshees, The Cure, The Sisters of Mercy, and Fields of the Nephilim.[47] Gothic rock gave rise to a broader goth subculture that included clubs, various fashion trends and numerous publications that grew in popularity in the 1980s, gaining notoriety by being associated by several moral panics over suicide and Satanism.[48]

Heavy metal

In the early 1980s, the new wave of British heavy metal broke into the mainstream, as albums by Judas Priest, Iron Maiden, Saxon and Motörhead, reached the British top 10. In 1981, Motörhead became the first of this new breed of metal bands to top the UK charts with No Sleep 'til Hammersmith. After a string of UK top 10 albums, Whitesnake's 1987 self-titled album was their most commercially successful, with hits, "Here I Go Again" and "Is This Love", earning them a nomination for the Brit Award for Best British Group.[49] Many metal artists, including Def Leppard, benefited from the exposure they received on ATV and became the inspiration for American glam metal.[50] However, as the subgenre fragmented, much of the creative impetus shifted towards America and continental Europe (particularly Germany and Scandinavia), which produced most of the major new subgenres of metal, which were then taken up by British acts. These included thrash metal and death metal, both developed in the UK; black metal and power metal, both developed in continental Europe, but influenced by the British band Venom; and doom, which was developed in the US, but which soon were adopted by many bands from England, including Pagan Altar and Witchfinder General.[51]

Pop

David Bowie saw commercial success during the early 1980s

Phil Collins had three UK number-one singles in the 80s, seven US number-one singles, another with Genesis, and when his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more top 40 hits on the Billboard Hot 100 chart during the 1980s than any other artist.[52] His former Genesis colleague, Peter Gabriel, also had a very successful solo career, which included a US number-one single and three top ten UK hits (including a duet with Kate Bush). Genesis guitarist Mike Rutherford also enjoyed the several UK and US hits with his project Mike + The Mechanics, which included a US number-one single. David Bowie saw much greater commercial success in the 1980s than he had in the previous decade, scoring four UK number one singles, including "Let's Dance" which proved to be his biggest ever hit. He had a total of ten UK top ten hits during the decade, two in collaboration with other artists.

Boy George and his band Culture Club had great success in both the UK and US charts with major hits like "Do You Really Want To Hurt Me", "Time (Clock of the Heart)" and "Karma Chameleon". As well as Boy George having his own UK number one with his cover of Bread's "Everything I Own", he is considered a major icon of this era. Liverpool band Frankie Goes to Hollywood's initially controversial dance-pop gave them three consecutive UK number ones in 1984, until they faded away in the mid-1980s.[53] Dead or Alive, also from Liverpool, was another popular dance-pop band in the mid-1980s. It was fronted by lead singer Pete Burns. Probably the most successful British pop band of the era were the duo Wham! with an unusual mix of disco, soul, ballads and even rap, who had eleven top ten hits in the UK, six of them number ones, between 1982 and 1986.[53] George Michael released his debut solo album, Faith in 1987, and would go on to have seven UK number one singles. The 1985 concert Live Aid held at Wembley Stadium would see some of the biggest British artists of the era perform, with Queen widely regarded as stealing the show.[54][55]

Bonnie Tyler had major hits with "Total Eclipse of the Heart" and "Holding Out for a Hero", while Robert Palmer's had two iconic music videos for "Addicted to Love" and "Simply Irresistible". The Bee Gees 1987 single "You Win Again" reached number one, making them first group to score a UK #1 hit in each of three decades: the 1960s, '70s, and '80s.[56] Other British artists who achieved success in the pop charts in the 80s included Paul McCartney, Elton John, Culture Club, Kim Wilde, The Fixx, Joe Cocker, Rod Stewart, Kate Bush, Billy Idol, Paul Young, Elvis Costello, Simple Minds, Billy Ocean, Tears for Fears, UB40, Madness and Sade.

In 1988, Irish singer Enya achieved a breakthrough in her career with the album Watermark which sold over eleven million copies worldwide and helped launch Enya's successful career as a leading new-age, Celtic, World singer. Dutch band Tambourine received some notoriety in The Netherlands and Belgium toward the end of the decade.

Synthpop

A-ha in concert, 2005

Synthpop emerged from new wave, producing a form of pop music that followed electronic rock pioneers in the 1970s like Kraftwerk, Jean Michel Jarre, and Tangerine Dream, in which the synthesizer is the dominant musical instrument. The sounds of synthesizers came to dominate the pop music of the early 1980s as well as replacing disco in dance clubs in Europe.

Other successful synthpop artists of this era included Pet Shop Boys, Alphaville, Soft Cell, Depeche Mode, New Order, Gary Numan, The Human League, Thomas Dolby, Yazoo, Art of Noise, Heaven 17, A Flock of Seagulls, OMD, Japan, Thompson Twins, Visage, Ultravox, Kajagoogoo, Eurythmics, a-ha, Telex, Real Life, Erasure, Camouflage, London Boys, Modern Talking, Bananarama, Yellow Magic Orchestra.

Latin America

Pop

Lucia Mendez in 1980, she opened herself to a wider audience of the pop music genre. By way of introduction from Gabriel, Méndez would collaborate with Camilo Sesto, who was also a contributor to the theme song of the production Colorina.

The 1980s gave rise to the teenage groups Menudo, Timbiriche, and Los Chicos, as well as emerging teenage stars such as Luis Miguel, Sasha Sökol and Lucero.[57] By 1988, however, the aforementioned Luis Miguel would transform into an adult superstar at age 18 with the hit La Incondicional (1989). Not too far behind was former Los Chicos' member Chayanne as he became a leading pop star by the end of the decade, with his 1987 hit Fiesta en America. As young stars begin to rise in Latin music, veterans such as Julio Iglesias, José José, Juan Gabriel, and José Luis Rodríguez El Puma continue their dominance in Latin music. 1985 saw the worldwide breakthrough success of "Conga" by Gloria Estefan and Miami Sound Machine. Argentine-Venezuelan singer Ricardo Montaner joins those veterans with his 1988 hit Tan Enamorado. After the slow decline of Fania All-Stars, the new romantic genre of salsa Romantica would rise beginning in 1984. Younger salseros such as Frankie Ruiz, Luis Enrique, and Eddie Santiago would take advantage of this new genre rising salsa to new heights. Tejano Music starts to give little rise after Mazz crosses over to Mexico after their albums Una Noche Juntos and No Te Olvidare win Grammys.

In 1989, Juan Luis Guerra scores a major Merengue hit with Ojala que llueva cafe. In the 1980s, the regional music scene in both Mexico and the Mexican American community in the United States was dominated by grupera. This style of Mexican music combines cumbia, norteño, and rock music.[58] The lyrics are rooted with romantic themes including heartbroken songs. Several notable grupera ensembles include Los Caminantes, Los Yonic's, Los Bukis, and Los Temerarios.[59]

In 1985 Sheena Easton and Luis Miguel wins the Grammy Award for Best Mexican/Mexican-American Performance for "Me Gustas Tal Como Eres". Eugenia León, representing Mexico, wins the 14th Annual OTI Festival [es] with her song "El Fandango Aquí".[60] in 1986 Vikki Carr wins the Grammy Award for Best Mexican/Mexican-American Performance for Simplemente Mujer.

Rock

The Rock en Español movement began around the 1980s. Until the mid-80s the rock scene of most Spanish American countries was not connected, and it was rare for a rock band to gain acclaim and popularity outside its home country.

Argentina, which had the largest national rock scene and music industry, became the birthplace of several influential rock acts. Soda Stereo from Buenos Aires is often acclaimed as the most influential rock band of the 80s alongside the solo careers of Charly García, Luis Alberto Spinetta and the new star Fito Páez from Rosario. Soda Stereo was among the first bands to successfully tour across most of Latin America. Argentina developed also during the 80s a ska rock and punk rock scene. The punk movement, which was pioneered by Los Violadores, led to the rise of the Buenos Aires Hardcore around 1990.

In Chile, that was ruled by a military dictatorship all over the 80s, Nueva canción protest songs from the 60s and 70s maintained their popularity despite severe censorship. The progressive/folk-rock band Los Jaivas made a Latin American trademark album with Alturas de Macchu Picchu [sic] based on Pablo Neruda's homonymous poem. The rock band Los Prisioneros were successful in combining the protest song atmosphere of the 80s with newer trends in rock including punk, ska, new wave and techno. In the late 1980s, new bands such as Los Tres and La Ley would start to set the trends for the next decade.

In Brazil, even though the 1960s witnessed the phenomenon of Jovem Guarda and the 1970s saw the appearance of many prolific artists, like Raul Seixas, and bands like Os Mutantes, Brazilian rock's explosion began in 1981 with the first expressions of the Brazilian new wave, later renamed the New Jovem Guarda by the media. The alterations of the English new wave movement, with its surprising variety of styles, arrived in Brazil through groups and personalities such as Blitz, Camisa de Vênus, Barão Vermelho, Kid Abelha, Paralamas do Sucesso, Ritchie [pt], Lulu Santos, Rádio Táxi, Marina Lima, Engenheiros do Hawaii, RPM, Graffiti, Ultraje a Rigor, Legião Urbana, Ira!, Titãs, Capital Inicial, Nenhum de Nós, Biquini Cavadão, Lobão & Os Ronaldos, Léo Jaime, and inumerous others. In January 1985, the Rock in Rio festival took place in Rio de Janeiro, which brought together over one million people to the Cidade do Rock during the 10 days of the event, and is to this day the country's biggest and most influential festival.[61] It represents a milestone in freedom of expression, as in that same year the country saw the end of the dictatorship,[62][63] and it is also responsible for establishing Brazil as a venue for international artists - as, so far, foreign attractions had been rarities.[62][64]

Maldita Vecindad in concert.

In Mexico, the Rock music scene at the time first saw a heavy lack of opportunity as musical acts could not make a solid living from playing alone. Other key factors were that of economic and political instability. Many consider this decade as the lost decade. The government would not allow racy themed content on television and the airwaves, music festivals were not allowed. The music that dominated Mexico and much of Latin America during this era were mostly teen flavored acts like Menudo, Timbiriche, Flans and others.

Rock acts could not land any recording deal because record label executives were much more interested in selling listeners a colourful, hip and trendy image to the general public ranging from youngsters to middle-aged adults.

With the strong impact of Argentine and Spanish rock bands by the mid-1980s, the local scene would begin to develop acts that would generate an identity of its own. Among these were bands like El Tri, Maldita Vecindad, Los Amantes de Lola and Caifanes.

Salsa

The salsa music had developed in the 1960s and '70s by Puerto Rican and Cuban immigrants to the New York City area but did not enter into mainstream popularity in Latin America until the late 1980s. The salsa music became together with cumbia the two most popular dance music but did not penetrate other countries outside the Caribbean as cumbia did.

The 1980s was a time of diversification, as popular salsa evolved into sweet and smooth salsa romantica, with lyrics dwelling on love and romance, and its more explicit cousin, salsa erotica. Salsa Romantica can be traced back to Noches Calientes, a 1984 album by singer José Alberto "El Canario" with producer Louie Ramirez. A wave of romantic singers found a wide audience among Latinos in both New York and Puerto Rico.[65] The 1980s also saw salsa expand to Mexico, Argentina, Peru, Europe and Japan, and diversify into many new styles.

In the 1980s some performers experimented with combining elements of salsa with hip hop music, while the producer and pianist Sergio George helped to revive salsa's commercial success. He created a sound based on prominent trombones and a rootsy, mambo-inspired style. He worked with the Japanese salsa band Orquesta de la Luz, and developed a studio orchestra that included Tito Nieves, Celia Cruz, José Alberto, La India, Tito Puente and Luis Enrique. The Colombian singer Joe Arroyo first rose to fame in the 1970s but became a renowned exponent of Colombian salsa in the 1980s. Arroyo worked for many years with the Colombian arranger Fruko and his band Los Tesos.[66]

Merengue

Merengue music would hit its golden years during the 1980s starting in the late 70s with acts such as Wilfrido Vargas, Johnny Ventura, and Fernando Villalona. Their orchestras would also churn future solo acts such as Eddy Herrera and Rubby Perez. By the end of the decade, La Coco Band would reinvent merengue with a more comedic style.

Australia and New Zealand

AC/DC performs

Australian rock band INXS achieved international success during the decade with a series of hit recordings, including the albums Listen Like Thieves (1985), Kick (1987), and the singles "Original Sin" (1984), "Need You Tonight" (1987), "Devil Inside" (1988) and "New Sensation" (1987).[67][68][69][70]

Michael Hutchence singing during an INXS concert, early 1980s

Kylie Minogue first single, "Locomotion" became a huge hit in Minogue's native Australia, spending seven weeks at number one on the Australian singles chart. The single eventually became the highest-selling Australian single of the decade. Throughout Europe and Asia the song also performed well on the music charts, reaching number one in Belgium, Finland, Ireland, Israel, Japan, and South Africa. The Australian rock band Men at Work achieved success in 1981 with the single "Down Under" topping Australian charts for two consecutive weeks.

In 1980, New Zealand rock band Split Enz released their album True Colours, which became an international success. Their single "I Got You", which was praised for its "Beatle-Esque" chorus, reached the top ten in New Zealand, Australia and Canada, reached number twelve in the United Kingdom, and even charted the United States. Split Enz also received significant exposure in the United States upon the release of MTV, which featured several Split Enz videos in the early days of its broadcast. However, after several line-up changes, which included the departure of prominent member Tim Finn, the band broke up in 1984 (another prominent New Zealand/Australian band, Mi-Sex, known for its hit single "Computer Games", disbanded the same year). Neil Finn, the younger brother of Tim Finn who had become Split Enz's de facto frontman after his departure in 1983, went on to form Crowded House in New Zealand in 1985. In 1986 Crowded House released their hugely successful self-titled debut album, which went to number one in Australia and number three in New Zealand, as well as reaching the top ten in Canada and top twenty in the United States. It spawned the song "Don't Dream It's Over", which hit number one in New Zealand and Canada, number two in the United States and number eight in Australia, and has since become a pop/rock anthem in Australasia. Crowded House's follow up album Temple of Low Men, released in 1988, did not achieve the same success as their debut, but was still popular in the band's homelands of New Zealand and Australia...

Back at home, New Zealand continued to have a small and vibrant music scene, and the Eighties saw the formation of many new bands, including The Swingers, Coconut Rough, The Crocodiles and Peking Man. Many of these bands were short-lived and did not see much success outside of New Zealand and Australia.

Asia

In Japan, bands such as Shonen Knife, Boredoms, The Star Club, X Japan, Dead End and The Stalin began in the Japanese rock bands and Visual kei emerged in the 1980s with bands such as X Japan, Buck Tick and D'erlanger. Japanese noise rock emerged in the 1980s with bands such as Melt-Banana, Zeni Geva and Guitar Wolf in the Japanese's indies scene.

City pop, an adult-oriented genre with western influences of disco, funk, soft rock, and R&B also became popular with the Japanese tech boom. Popular artists in the genre were Anri and Tatsuro Yamashita. Most songs were about love or living in the city. The genre was barely known outside of Japan. However, city pop has been getting increasingly popular in the west with Internet-borne microgenre vaporwave. On May 3, 2019, Light in the Attic, an independent record label, released Pacific Breeze: Japanese City Pop, AOR, and Boogie 1976-1986. It was a compilation album that showcased what city pop is and its style.

Japanese hardcore emerged with bands such as The Star Club and GISM and Japanese idol group Onyanko Club began as Idol group in the teen fans and youth fans.

Besides, Hong Kong saw a rapid growth in pop music, both in terms of variety and popularity. Big stars such as Leslie Cheung, Anita Mui, Danny Chan, Alan Tam and Beyond were icons of the decade. The 1980s is still regarded as the most successful period in Hong Kong music history.

See also

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Further reading

  • Hill, Dave (1986). Designer Boys and Material Girls: Manufacturing the 80s Pop Dream. Poole, Eng.: Blandford Press. ISBN 0-7137-1857-9