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.
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| List of popular music genres |
This article includes an overview of the major events and trends in popular music in the 1980s.
In the First World, this decade saw the emergence of pop and dance music. As the term disco fell out of fashion by the early part of the decade,[1] genres such as post-disco, Italo disco, Euro disco and dance-pop in general became popular in the 1980s. Rock music was also very popular throughout the decade, especially New Wave,[2] soft rock,[3] and glam metal.[4] On addition, adult contemporary,[5] quiet storm,[6] and smooth jazz music remained popular genres and radio formats. Furthermore, the 1980s are commonly associated with the usage of synthesizers, thus, synthpop music and other electronic genres became popular; as a matter of fact, several major electronic genres were born during the 1980s, such as electro, techno, house, freestyle and Eurodance, despite many of them rose to prominence later on in the 1990s. Throughout the decade, R&B, hip hop and urban music in general were also popular; rap music, nonetheless, was especially successful in the latter part of the decade, with the advent of the golden age of hip hop; urban music would continue its height of popularity through the 1990s and up to the late 2000s.
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The 1980s saw the reinvention of Michael Jackson and the emergence of Madonna, who arguably were the most powerful musicians during the time. Their videos became a permanent fixture on MTV and gained a worldwide mass audience. Michael Jackson's Thriller album from 1982 is the best-selling album of all time, it is cited as selling as many as 110 million copies worldwide. Being the biggest selling artist of that decade he was indisputably the biggest star of the 1980s.[7]
By 1980, the disco production of the 1970s, largely dependent on orchestras, is replaced by a lighter synthpop production, which is replaced by dance music. In the second half of the 1980s teen pop has its first wave. Bands and artists include New Kids on the Block, Debbie Gibson, Tiffany, Tommy Page, New Edition, Stacey Q, The Bangles, Madonna, Olivia Newton-John and others.
Prominent American Urban pop acts of the 1980s include Tina Turner, Lionel Richie, Michael Jackson, Whitney Houston and Deniece Williams.
During the mid-1980s American pop singer Cyndi Lauper became the first female singer to have four top-five singles released from one album, when her album She's So Unusual spawned the Top 5 hits "Girls Just Wanna Have Fun", "She Bop", "All Through the Night" and number-one single "Time After Time". The album earned Lauper two Grammy Awards in 1985, including Best New Artist.
American artists such as Whitney Houston, Michael Jackson, Bruce Springsteen, Tina Turner, Bon Jovi, Prince and Janet Jackson ruled the charts throughout the decade and achieved tremendous success worldwide. Their fame and commercial success lasts up to date.
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.[8]
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.[9] 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.[10]
Early American alternative bands such as R.E.M., 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.[9]
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.[11] 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.[9]
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). These sounds were in turn followed by the advent of Boston's the Pixies and Los Angeles' Jane's Addiction.[9]
The top mainstream 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.
Beginning in 1983 and peaking in success in 1986-1989, the decade saw the resurgence of hard rock music and the emergence of its pop metal subgenre. Bands such as Queen, Def Leppard, Mötley Crüe, Bon Jovi, Quiet Riot, 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 which were popular into the early 1980s, with hair metal taking their place later.
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 Judas Priest and Dio were also widely popular North American 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, while other styles like death metal and black metal remaining subcultural phenomena.
The decade also saw the emergence of a string of guitar virtuosi, influenced by guitarists such as Jimi Hendrix and Eddie Van Halen ; Joe Satriani, Steve Vai 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.
Both Hard rock and Heavy metal were extremely popular live genres and bands toured extensively around the globe.
By the late 1970s and early 1980s the original wave of singer-songwriters had largely been absorbed into a more general pop or soft rock format, but some new artists in the singer-songwriter tradition (including Michael Jackson, Bruce Springsteen, Tom Petty, Mark Heard, Lucinda Williams, Patti Smith, Kate Bush, Rickie Lee Jones, Stevie Nicks, Cheryl Wheeler and Warren Zevon) continued to emerge, and in other cases rock and even punk rock artists such as Peter Case, Paul Collins and Paul Westerberg transitioned to careers as solo singer-songwriters.
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.
Various older rock bands make a comeback. The Beach Boys have a hit with Kokomo. The Kinks have hits with Come Dancing and Do It Again. The Steve Miller Band have a hit with Abracadabra. Steely Dan have a hit with Hey Nineteen. Bruce Springsteen released his blockbuster album Born In The USA. Stevie Ray Vaughan and George Thorogood spark a revival of blues. Led Zeppelin disbanded after John Bonham's 1980 death. Country rock sees a decline after Lynyrd Skynyrd's 1977 plane crash.
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 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.[12] 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.[13]
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.[13] 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."[14]
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."[13] 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."[13] 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, 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.[15] 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."[13]
Encompassing graffiti art, break dancing, rap music, and fashion, hip-hop became the dominant cultural movement of the African American and Hispanic 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,[16] 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),[17] 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".[18]
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.
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.[19] 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.[20][21][22][23] 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.
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-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 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, and Reba McEntire had her first big hit in 1980; in addition, 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.
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. 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 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.
In December 1989 the American music magazine Billboard Magazine named Michael Jackson as the best Artist of the Decade for the 1980s. He joined the list with The Beatles, Elvis Presley, and Elton John, who have also been awarded with this prestigious honor in their respective decades.
Some of the most successful post punk bands in the 1970s, 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.[24]
The second generation of British post-punk bands that broke through in the early 1980s, including The Fall, The Pop Group, The Mekons, Echo and the Bunnymen and Teardrop Explodes, tended to move away from dark sonic landscapes.[24]
Arguably the most successful band to emerge from post-punk was Ireland's U2, who 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.[25]
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 other 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.[26]
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.[27][28] Several British acts signed to independent labels were able to outmarket and outsell American artists that were signed with major labels. Journalists labeled this phenomenon a "Second British Invasion".[28][29]
In the fall of 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.[28] They would be followed by bands like Duran Duran whose glossy videos would come to symbolize the power of MTV.[28] Dire Straits' "Money for Nothing" gently poked fun at MTV which had helped make them international rock stars.[30] 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.[28][31] 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.[28] 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.[32] 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.[28] 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.[28] 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.[33]
New Romanticism emerged as part of the New Wave music movement in London nightclubs 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.[34] By about 1983 the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers.
Gothic rock, often shortened to goth, developed out of the post punk scene in the later 1970s. It combines dark, often keyboard-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.[35] 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.[36]
In the 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. Many metal artists, including Def Leppard, benefited from the exposure they received on MTV and became the inspiration for American Glam Metal.[37] 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 USA; black metal and power metal, both developed in continental Europe, but influenced by the British band Venom; and doom, which was developed in the USA, but which soon were adopted by a number of bands from England, including Pagan Altar and Witchfinder General.[38]
Frankie goes to Hollywood's initially controversial dance pop gave then three consecutive number ones in 1984, until they faded away in the mid-1980s.[39] 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.[39]
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.
Synth pop 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.[40] 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 Alphaville, Soft Cell, Depeche Mode, New Order, The Human League, Thomas Dolby, Yazoo, Art of Noise, Heaven 17, OMD, Japan, Thompson Twins, Eurythmics, a-ha, Telex, Real Life, Camouflage, London Boys, Modern Talking, Bananarama, and others are bands of the Synthpop style.
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. Not too far behind was former Los Chicos' member Chayanne as he became a leading pop star by the end of the decade. 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. 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.
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. Soda Stereo was among the first bands to successfully tour across Latin America. Argentina developed also during the 80s a punk rock scene, despite popular anthypathhy towards British influnces after the Falklands War. 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 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. Until its dissolution in 1991 it remained one of the most popular rock bands in Chile together with Argentine Soda Stereo.
Other influential rock groups of the time include La Ley, Caifanes, Hombres G.
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 audiences with a new style characterized by romantic lyrics, an emphasis on the melody over rhythm, and use of percussion breaks and chord changes.[41] However, salsa lost popularity among many Latino youth, who were drawn to American rock in large numbers, while the popularization of Dominican merengue further sapped the audience among Latinos in both New York and Puerto Rico.[42] 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 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.[43]
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.
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).[44][45][46][47]
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.
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.