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1980s In Music

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1980s In Music

For music from a year in the 1980s, go to 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89

For a history of music in all times, see Timeline of musical events.
Popular music
Timeline of musical events
List of popular music genres

This article includes an overview of the major events and trends in popular music in the 1980s.

The 1980s saw the emergence of pop, dance music and new wave. As the term disco fell out of fashion in the decade's early years,[1] genres such as post-disco, Italo disco, Euro disco and dance-pop became more popular. Rock music continued to enjoy a wide audience. Sub-genres such as new wave,[2] soft rock,[3] and glam metal and shred guitar characterized by heavy distortion, pinch harmonics and whammy bar abuse became very popular.[4] Adult contemporary,[5] quiet storm,[6] and smooth jazz gained popularity.

The 1980s are commonly remembered for an increase in the use of digital recording, associated with the usage of synthesizers, with synthpop music and other electronic genres featuring non-traditional instruments increasing in popularity. Also during this decade, several major electronic genres were developed, including electro, techno, house, freestyle and Eurodance, rising in prominence during the 1990s and beyond. Throughout the decade, R&B, hip hop and urban genres were becoming commonplace, particularly in the inner-city areas of large, metropolitan cities; rap was especially successful in the latter part of the decade,[7] with the advent of the golden age of hip hop. These urban genres—particularly rap and hip hop—would continue their rise in popularity through the 1990s and 2000s.

A 2010 survey conducted by the digital broadcaster Music Choice, which polled over 11,000 European participants, revealed that the 1980s is the most favored tune decade of the last 50 years.[8]


  • North America 1
    • Pop 1.1
    • Rock 1.2
      • Hard rock and heavy/glam metal 1.2.1
      • Alternative rock 1.2.2
      • Soft rock 1.2.3
      • Other trends 1.2.4
    • Contemporary R&B 1.3
    • Hip hop 1.4
    • Electronic music 1.5
    • Country music 1.6
  • The UK and the rest of Europe 2
    • Rock 2.1
      • Post punk 2.1.1
      • New wave music 2.1.2
        • New Romantics
      • Post Modern 2.1.3
      • Heavy metal 2.1.4
    • Pop 2.2
      • Synth pop 2.2.1
  • Latin America 3
    • Pop 3.1
    • Rock 3.2
    • Salsa 3.3
    • Merengue 3.4
  • Australia and New Zealand 4
  • Asia 5
  • See also 6
  • References 7
  • Further reading 8

North America


Michael Jackson was the most successful Pop and R&B artist in history.
Madonna's music videos were a permanent fixture on MTV in the 1980s. She was also the most successful female singer of the decade

The 1980s saw the reinvention of Olivia Newton-John and others.

Prominent American urban pop acts of the 1980s include Tina Turner, Lionel Richie, Michael Jackson, Donna Summer, Whitney Houston and Deniece Williams. African American artists like Lionel Richie and Prince went on to become some of the decade's biggest pop stars, ruling MTV, with Prince becoming the second biggest male superstar after Michael Jackson. Their commercial albums included 1999, Purple Rain, and Sign "O" the Times by Prince and Lionel Richie, Can't Slow Down and Dancing on the Ceiling by Richie.

During the mid-1980s American pop singer Cyndi Lauper was considered the "Voice of the MTV Generation of 80s" and so different visual style that made the world for teens. With She's So Unusual and True Colors their first two albums were a critical and sales success, which released the classics hits of the 80s, "Girls Just Want to Have Fun", "Time After Time", "She Bop", "All Through the Night", "The Goonies 'R' Good Enough", "True Colors" and "Change of Heart".

American artists such as Whitney Houston, Michael Jackson, Madonna, Bruce Springsteen, Tina Turner, Bon Jovi, Cher, Hall & Oates, Prince and Janet Jackson ruled the charts throughout the decade and achieved tremendous success worldwide. Their fame and commercial success lasts up to date although Whitney Houston and Michael Jackson are deceased.


Hard rock and heavy/glam metal

Metallica in concert, 2003

Beginning in 1983 and peaking in success in 1986-1991, the decade saw the resurgence of hard rock music and the emergence of its glam metal subgenre. Bands such as Queen, U2, Def Leppard, Mötley Crüe, Bon Jovi, Quiet Riot, Scorpions, Europe, Ratt, Twisted Sister, Poison, Whitesnake, and Cinderella 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, who had been around since the late 1970s, is a prime example of female success in hard rock, and so are both ex-Runaways Joan Jett and Lita Ford.

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, Anthrax, and Megadeth, with other styles like death metal and black metal remaining subcultural phenomena.

The decade also saw the emergence of a string of guitar virtuosi: Joe Satriani, Steve Vai, Randy Rhoads and Yngwie Malmsteen achieved international recognition for their skills. While considerably less numerous, bass guitar virtuosi also gained momentum in the 1980s: 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 popular 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.[12]

Throughout the 1980s, alternative rock was mainly an underground phenomena. 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.[13] 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.[14]

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.[13] 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.[15] Minnesota bands Hüsker Dü and The Replacements were indicative of this shift. Both started out as punk rock bands, but soon diversified their sounds and became more melodic.[13]

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 (Sonic Youth, Big Black) 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.[13]

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

Soft rock

New singers and songwriters included Michael Jackson, Bruce Springsteen, Tom Petty, Mark Heard, Lucinda Williams, Patti Smith, Kate Bush, Rickie Lee Jones, Stevie Nicks, Cheryl Wheeler and Warren Zevon. Rock and even punk rock artists such as Peter Case, Paul 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

Various older rock bands made a comeback. Bands originating from the early to mid-1960s such as 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 the 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, amongst others. It began to wane, however, in the latter half of the decade, with the New York hardcore scene dominating the genre.

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.[16] The top mainstream R&B artists of 1980s included Michael Jackson, Prince, Jermaine Jackson, The Whispers, The S.O.S. Band, Stevie Wonder, Kool & the Gang, Yarbrough and Peoples, Smokey Robinson, Rick James, Diana Ross, Lionel Richie, Earth, Wind & Fire, Dazz Band, Evelyn King, Marvin Gaye, Mtume, DeBarge, Midnight Star, and Freddie Jackson.[17]

In the mid-1980s, many of the recordings by artists Luther Vandross, Freddie Jackson, Sade, Anita Baker, Teddy Pendergrass, Peabo Bryson and others became known as quiet storm.[17] 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."[18]

Tina Turner made a comeback during the second half of the 1980s, while Whitney Houston and Janet Jackson broke into the pop music charts with a series of hits. Richard J. Ripani wrote that Janet Jackson's third studio album Control (1986) was "important to the development of R&B for a number of 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."[17] 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."[17] 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, MC Hammer, Boyz ll Men, Guy, Jodeci, and Bell Biv DeVoe.

Michael Jackson remained a prominent figure in the genre in the late 1980s, following the release of his album Bad (1987) which sold more than 30 million copies worldwide.[19] 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."[17] 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 still 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 Doug E. Fresh,[20] 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),[21] 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".[22]

Popular hip hop artists of the 1980s include Run D.M.C., Beastie Boys, NWA, LL Cool J, Public Enemy, Eric B. & Rakim, Big Daddy Kane, Boogie Down Productions, and Ice-T, among others.

Electronic music

In the 1980s, dance music records made using only electronic instruments became increasingly popular, largely influenced from 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, USA in the early 1980s.[23] 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.[24][25][26][27] 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

Kenny Rogers, 2004

As the 1980s dawned, 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-styled 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 Travis Tritt had their first big hits.

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 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. 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 albums and 13 number one hits, and having many successful tours. 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.

The UK and the rest of Europe


Post punk

Bono singing during a U2 concert, August 1983

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.[28]

The second generation of British post-punk bands that broke through in the early 1980s, including The Smiths, The Cure, The Fall, The Pop Group, The Mekons, Echo and the Bunnymen and Teardrop Explodes, tended to move away from dark sonic landscapes.[28]

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, and it helped define the sound and repertoire of The Police, one of the biggest bands of the 1980s globally. Even though The Police had their roots in post punk, their eventual success 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, with their music transforming along the way into their own brand and style of music - Sting's songwriting and voice becoming legendary, along with drummer Stewart Copeland and his widely respected, complex drumming skills and Andy Summer's masterful guitar interspersing with Sting and Stewart - helping them gain an informal but widely accepted recognition as the "Biggest Band in The World" during their 1983-1984 Synchronicity Tour, garnering them a nomination for 5 grammy awards and taking 3 at the 1984 Grammy Awards.

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.[29]

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.[30]

New wave music

Dire Straits on stage, 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.[31][32] 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".[32][33]

In the fall of 1982, "Rolling Stone Magazine would release an England Swings issue.[32] 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.[36] 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.[32] 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.[32] 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.[37]

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.[38] By about 1983 the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers.

Post Modern

The Cure on stage, 2008

Post Modern music developed out of the post punk scene in the later 1970s, now commonly referred to as Gothic Rock, or Goth rock in short. It combines dark, often leopards-heavy music with introspective and depressing lyrics. Notable early gothic rock bands include Bauhaus (whose "Bela Lugosi's Dead" is often cited as the first goth record), Siouxsie and the Banshees (who may have coined the term), The Cure, The Sisters of Mercy, and Fields of the Nephilim.[39] 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.[40]

Heavy metal

In the, 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.[41] Many metal artists, including Def Leppard, benefited from the exposure they received on ATV and became the inspiration for American Glam Metal.[42] However, as the sub-genre fragmented, much of the creative impetus moved away from Britain to American and continental Europe (particularly Germany and Scandinavia), which produced most of the major new sub-genres 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 a number of bands from England, including Pagan Altar and Witchfinder General.[43]


Controversial dance pop band Frankie Goes to Hollywood in London, 1985

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 stealing the show.[46][47]

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.[48] Other British artists who achieved success in the pop charts in the 80s included Paul McCartney, Elton John, Culture Club, David Bowie, The Fixx, Joe Cocker, Rod Stewart, 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.

Synth pop

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, and others are bands of the synthpop style.

Latin America


The 1980s gives to the rise of teenage groups such as Menudo, Timbiriche, and Los Chicos, as well as child stars such as Luis Miguel. 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. 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.


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

Argentina, that 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 with the solo careers of Charly García, Luis Alberto Spinetta and the new star Fito Paez 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, that 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 of severe censorship. The progressive/folk rock band Los Jaivas made a latinamerican trademark album with Alturas de Macchu Picchu based on Pablo Neruda's homonimus 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 late 1980s new bands such as Maná, Los Tres and La Ley would start to set the trends for the next decade.

Brazil saw the emergence of BRock.


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 with producer Louie Ramirez. A wave of romantica singers, found wide audience among Latinos in both New York and Puerto Rico.[49] 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 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.[50]


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 Cocoband would reinvent merengue with a more comedic style.

Australia and New Zealand

Michael Hutchence singing during an INXS concert, early 1980s

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).[51][52][53][54]

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 front man after his departure in 1983, went on to form Crowded House in Australia 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 Australia and New Zealand...

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.


In the Japan,bands such as Shonen Knife, The Star Club, X Japan 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. The 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.

See also


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  2. ^
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  4. ^
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  7. ^ Collins, Glenn (1988-08-29). "Rap Music, Brash And Swaggering, Enters Mainstream". The New York Times. 
  8. ^ Cheers, Hazel (2010). "80's Music is Top of the Pops". Daily Star (UK). 
  9. ^ Anderson, Kyle (July 20, 2009). "Michael Jackson's Thriller Set To Become Top-Selling Album Of All Time".  
  10. ^ List of best-selling albums
  11. ^ Like a Prayer (album)
  12. ^ Reynolds, p. 392-93.
  13. ^ a b c d Erlewine, Stephen Thomas. "American Alternative Rock/Post-Punk". Allmusic. Retrieved May 20, 2006.
  14. ^ Azerrad (2001), p. 3-5.
  15. ^ Reynolds, p. 390
  16. ^ Gazzah, Miriam (2008), Rhythms and Rhymes of Life: music and Identification Processes of Dutch-Moroccan Youth, Amsterdam University Press, p. 98,  
  17. ^ a b c d e Ripani, Richard J. (2006), The New Blue Music: Changes in Rhythm & Blues, 1950-1999, Univ. Press of Mississippi, pp. 130–155, 186–188,  
  18. ^ Bogdanov, Vladimir; Chris Woodstra, Stephen Thomas Erlewine (2003), The New Blue Music: Changes in Rhythm & Blues, 1950-1999, Hal Leonard, pp. xi, 114,  
  19. ^ Savage, Mark (2008-08-29). "Pop Superstars turn 50". BBC News. Archived from the original on 24 November 2008. Retrieved 2008-11-25. 
  20. ^ "Hip Hop Pioneer Doug E. Fresh & Soca Sensation Machel Montano To Host 26th Int’l Reggae & World Music Awards (IRAWMA)". Archived from the original on 12 May 2011. Retrieved 2011-04-14. 
  21. ^ Grandmaster Flash (2009-02-23). "Grandmaster Flash: Interview". Archived from the original on 14 May 2011. Retrieved 2011-04-14. 
  22. ^ Rose 1994, pp. 53–55.
  23. ^ Fikentscher, Kai (July–August 2000), "Youth’s sonic forces: The club DJ: a brief history of a cultural icon",  
  24. ^ Brewster 2006:340–359
  25. ^ Cosgrove 1988a.
  26. ^ Sicko 1999
  27. ^ Reynolds 1999:12–40
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  29. ^ F. W. Hoffmann and H. Ferstler, Encyclopedia of Recorded Sound, Volume 1 (New York, NY: CRC Press, 2nd edn., 2004), ISBN 0-415-93835-X, p. 1135.
  30. ^ D. Hesmondhaigh, "Indie: the institutional political and aesthetics of a popular music genre" in Cultural Studies, 13 (2002), p. 46.
  31. ^ St. James encyclopedia of Pop Culture
  32. ^ a b c d e f g h Rip It Up and Start Again Postpunk 1978-1984 by Simon Reynolds Pages 340,342-343
  33. ^ 1986 Knight Ridder news article
  34. ^ M. Haig, Brand Royalty: How the World's Top 100 Brands Thrive & Survive (Kogan Page Publishers, 2006), p. 54.
  35. ^ OUP, retrieved 2007-11-05
  36. ^ "UK acts disappear from US charts", BBC News, retrieved 01/07/09.
  37. ^ The Pop Life The New York Times June 15, 1988
  38. ^ Rimmer, Dave. New Romantics: The Look (2003), Omnibus Press, ISBN 0-7119-9396-3.
  39. ^ R. Shuker, Popular music: the key concepts (Routledge, 2005), p. 128.
  40. ^ L. M. E. Goodlad and M. Bibby, eds, Goth: Undead Subculture (Duke University Press, 2007).
  41. ^ Whitesnake BRITS Profile BRIT Awards Ltd
  42. ^ I. Christe Sound of the Beast: The Complete Headbanging History of Heavy Metal (London: HarperCollins, 2003), ISBN 0-380-81127-8, p. 79.
  43. ^ D. Weinstein, Heavy Metal: The Music and its Culture (Cambridge MA: Da Capo, 2000), ISBN 0-306-80970-2, p. 21.
  44. ^ Anderson, John (7 January 1990). "Pop Notes". Newsday. 
  45. ^ a b P. Gambaccini, T. Rice and J. Rice, British Hit Singles (6th edn., 1985), pp. 338-9.
  46. ^ "Queen win greatest live gig poll". BBC News. 9 November 2005
  47. ^ "Flashback: Queen Steal the Show at Live Aid". Rolling Stone. Retrieved 4 April 2013.
  48. ^ You Win Again Songfacts
  49. ^ Manuel, Popular Music of the Non-Western World, pg. 49
  50. ^ Steward, pgs. 493–497
  51. ^   Note: Used for Australian Singles and Albums charting until ARIA created their own charts in mid-1988.
  52. ^ "INXS discography". Australian Charts Portal. Retrieved 2008-11-16. 
  53. ^ "INXS > Charts & Awards > Billboard singles". Allmusic. Retrieved 2008-03-06. 
  54. ^ "Artist Chart History - INXS - Albums". Retrieved 2008-03-06. 

Further reading

  • Hill, Dave (1986). Designer Boys and Material Girls: Manufacturing the [19]80s Pop Dream. Poole, Eng.: Blandford Press. ISBN 0-7137-1857-9
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