1980s in Latin music

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1970s . 1980s in Latin music . 1990s
For Latin music from a year between 1986 and 1989, go to 86 | 87 | 88 | 89

This article includes an overview of the major events and trends in Latin music in the 1980s, namely in Ibero-America (including Spain and Portugal). This includes recordings, festivals, award ceremonies, births and deaths of Latin music artists, and the rise and fall of various subgenres in Latin music from 1980 to 1989.

Charts

Overview

The 1980s saw the major record labels such as

Menudo.[2]

Latin pop

Mexican singer José José was named "Top Latin Pop Artist" by Billboard for three consecutive years (1986–1988) for having sold the most Latin pop albums in the United States.[3]
"Ay Amor" by Mexican singer Ana Gabriel (right) was the best-performing Latin song of 1988. It also spent 14 weeks on top of the Billboard Hot Latin Tracks chart.[3]

The

telenovelas from the country also led to several actors to become successful singers such as Carlos Mata and Guillermo Dávila. Theme songs from telenovelas also became popular on radio airwaves in Venezuela.[6] Female balada singers that became topped the Latin music charts includes Ana Gabriel, Daniela Romo, Rocío Dúrcal, Gloria Estefan, and Marisela. Notably, several baladas were Spanish-language covers of songs originally performed in Italian. Notable Spanish-language covers of Italian songs include "La maldita primavera" by Yuri, "Toda la Vida" by Emmanuel and Franco, "Yo No Te Pido la Luna" by Daniela Romo, and "Tan Enamorados" by Ricardo Montaner.[7]

Aside from the baladas, several Latin pop artists and bands performed variety of Spanish-language pop and dance music targeted to the younger audience. These include Yuri, Marisela,

Que Te Pasa" became the longest-running chart of the 1980s, spending 16 weeks on top of the Billboard Hot Latin Tracks chart.[9] Juan Gabriel and Rocío Dúrcal collaborated with Chuck Anderson to incorporate mariachi arrangements on their ballads.[2] Child pop singers such as Pablito Ruiz, Luis Miguel, Pedrito Fernández, and Lucerito had a prepubescent following.[10] The Miami Sound Machine, whose vocals were led by Gloria Estefan, gained international fame in 1985 with their crossover hit song "Conga". The song blends both pop music and Latin music from the Caribbean.[11]

Regional Mexican

Los Bukis, (former lead singer and songwriter Marco Antonio Solís pictured) had the best-selling Regional Mexican albums in the United States for consecutive years (1986–1988).[3]
La Mafia (lead singer Oscar De La Rosa pictured) was one of the leading Tejano bands that helped pushed the genre's popularity beyond Texas in the 1980s.

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.[5] 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.[12] Norteño band Los Tigres del Norte continued their success from the 1970s with their corridos involving social commentary such as "Jaula de oro" ("The Golden Cage") which tells of a Mexican man who crosses the Mexico-United States border illegally and raises a family in the United States who denies their Mexican heritage while the man longs to return to his country.[13] Its parent album reached number one on the Regional Mexican charts in the United States. Similarly, Mexican singer-songwriter Joan Sebastian incorporated sounds of rancheras and ballads on his songs and was dubbed "El Rey del Jaripeo" ("The King of Mexican Rodeo").[14]

RIAA
for shipping over two million copies in the United States.

Tropical/salsa

Puerto Rican singer Eddie Santiago, considered to be one of the salsa romántica pioneers had the bestselling Tropical Albums in the United States for three consecutive years (1987–1989). His cover of "Lluvia" was also the highest-peaking salsa song in the 1980s on the Billboard Hot Latin Tracks chart.
Dominican Republic bandleader Wilfrido Vargas was credited for bringing merengue music to a younger audience and helped expand the genre's popularity outside of its native country.

The New York

Milly y los Vecinos, became the first notable female merengue singer. The group was formed by her husband Rafael Vasquez, who was also her manager.[21] Other notable merengue acts in the 1980s include Bonny Cepeda, Fernando Villalona, Juan Luis Guerra & 4.40 and Los Hijos del Rey. Vargas also formed the first all-female band Las Chicas del Can.[22] Juan Luis Guerra performed not only love songs, but also social commentary about the poverty in[23]
the Dominican Republic and those living abroad such as "Visa Para un Sueño" ("Visa For a Dream") and "Ojala Que Llueva Café" ("I Hope It Rains Coffee").

Although New York salsa faded in popularity, another form of salsa music gained attention in its place. This form of salsa, which was slower-placed and more focused on its romantic lyrics, was known as

Ven Devórame Otra Vez" by Lalo Rodríguez, a notable salsa erotica song, became a top ten hit on the Hot Latin Tracks chart.[28] Other famous salsa romantica singers include Frankie Ruiz, Luis Enrique, Willie Gonzalez, David Pabón, and José Alberto "El Canario".[29] In the early 1980s, Cuban musician and bandleader Roberto Torres had a major hit with his cover version of "Caballo Viejo". The song was performed as a charanga vallenata style, a combination of the Cuban charanga and the Colombian vallenato music.[30] It was later inducted into the Latin Grammy Hall of Fame
in 2007.

Rock en español

Soda Stereo's Signos was ranked on the list of "The 100 Greatest Albums of National Rock".[31].

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 1980s 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.
Menudo, Timbiriche, Flans
and others. Rock acts could not land any recording deals 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.

Folk/traditional

The Gipsy Kings popularized the flamenco genre outside of its native Spain.

Flamenco saw a resurgence in popularity thanks to the Gipsy Kings as well as Ketama and Pata Negra.[33]

Brazilian/Portuguese

The lambada dance crazy took over the international market thanks to Kaoma's song of the same name.[34]

1980

Events

Notable singles

Album releases

Deaths

Births

1981

Events

Notable singles

Album releases

Deaths

Births

1982

Events

Notable singles

Album releases

Deaths

Births

1983

Events

Notable singles

Album releases

Deaths

Births

1984

Events

Notable singles

Album releases

Deaths

  • Pellin Rodriguez

Births

1985

Events

Notable singles

Album releases

Deaths

Births

1986

Main article: 1986 in Latin music

1987

Main article: 1987 in Latin music

1988

Main article: 1988 in Latin music

1989

Main article: 1989 in Latin music

References

General
  • Print editions of the Notitas Musicales magazine for the #1 songs in Mexico.
  • Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE.
    ISBN 84-8048-639-2
    .     (#1 songs in Spain)
  1. ISBN 9780819184306
    .
  2. ^
    ISSN 0006-2510
    . Retrieved 5 August 2019.
  3. ^
    ISSN 0006-2510
    .
  4. ^ Cobo, Leila (November 29, 2003). "The Prince's 40-Year Reign: A Billboard Q&A". Billboard. Vol. 115, no. 48. p. 28.
  5. ^
    ISBN 978-0-313-34396-4
    . Retrieved October 30, 2014.
  6. ^ González, Yarlis (30 July 2010). "Canciones de novelas". Revista Sala de Espera Venezuela (in Spanish). Retrieved 6 August 2019.
  7. ^ Ardilla, Uriel (24 May 2016). "8 canciones que no sabías que son italianas". Vibra (in Spanish). Retrieved 7 August 2019.
  8. ^ "Clásicos de los años ochenta". People en Español (in Spanish). 13 November 2009. Retrieved 6 August 2019.
  9. ^ Mendizabal, Amaya (4 October 2016). "Enrique Iglesias' 'Bailando' & More of the Longest-Leading No. 1s in 30 Years of the Hot Latin Songs Chart". Billboard. Prometheus Global Media. Retrieved 6 August 2019.
  10. ^ Canelo, Pedro (14 May 2009). "El último llanto de Roxanita Varga". El Comercio (in Spanish). Retrieved 6 August 2019.
  11. ISBN 9781512452761
    . Retrieved 6 August 2019.
  12. ^ Pineda, Ricardo (12 February 2014). "Melodía para dos: baladas, gruperos, corazones rotos y cubas 'pintaditas'". Vice (in Spanish). Retrieved 8 August 2019.
  13. ISBN 9781476627236
    . Retrieved 8 August 2019.
  14. ^ Moyer, Justin Wm. (14 July 2015). "Balladeer Joan Sebastian is dead at 64". Washington Post. Retrieved 8 August 2019.
  15. ISBN 9781585441884. - Read online, registration required
  16. ISBN 9780890968888
    .
  17. ISBN 9780313314995
    . Retrieved 8 August 2019.
  18. ^ Bush, John. "Fania All-Stars: Biography & History". AllMusic. Rovi. Retrieved 15 August 2019.
  19. ^ Rodriguez, Nelson (1 September 1998). "A look at contemporary Merengue. - Free Online Library". Latin Beat Magazine. thefreelibrary.com. Archived from the original on 1 May 2021. Retrieved 7 July 2019.
  20. ISBN 9781439900918
    . Merengue was also easier to dance to than the choreographically intricate salsa and thus was more accessible to New York's increasingly heterogeneous Latinos from Central and South America, who were less attached to Puerto Rican and Cuban clave-based rhythms.
  21. ^ Boidi, Carla (21 June 2001). "Hear Her Roar". Miami New Times. Retrieved 15 August 2019.
  22. ISBN 9781566394840
    .
  23. ISBN 9781134788521
    .
  24. ISBN 9780739114681
    . Retrieved 15 August 2019.
  25. ISBN 9780231148191
    . Retrieved 15 August 2019.
  26. ISBN 9781506353388
    .
  27. ^ "Salsa sensual, ¿original?". La Estrella de Panamá (in Spanish). 18 October 2013. Retrieved 15 August 2019.
  28. ISBN 9781858287614
    . Retrieved 15 August 2019.
  29. ISBN 9781135725419
    . Retrieved 15 August 2019.
  30. ISBN 9781457101410
    .
  31. ^ "Los 100 mejores discos del rock nacional". Rolling Stone Argentina (in Spanish). Publirevistas S. A. April 2007.
  32. ^ Adaime, Ivá. "Soda Stereo: Biography & History". AllMusic. Rovi. Retrieved 15 August 2019.
  33. ISBN 978-1-55553-838-5
    . Retrieved 8 February 2024.
  34. ISBN 978-1-56639-545-8
    .
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    ISSN 0006-2510
    . Retrieved 15 August 2019.
  36. ^ a b c d e f "Festival de la OTI". www.infolaso.com (in Spanish). Retrieved 15 August 2019.
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  38. ISSN 0008-7289
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  44. ISSN 0008-7289
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  45. ^ "Súbete a mi moto de Menudo: Historia y algunos datos sobre la canción que define al grupo | Series de Amazon Prime Video nnda NNLT | TVMAS". El Comercio. 6 October 2020.
  46. ^ "International Bestsellers". Cashbox. Vol. 44, no. 9. July 31, 1982. p. 26. Retrieved August 18, 2020.
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  50. ^ "San Bernardino Sun 29 February 1984 — California Digital Newspaper Collection". cdnc.ucr.edu. 29 February 1984. Retrieved 15 August 2019.
  51. ^ Hilburn, Robert (27 February 1985). "GRAMMY WINNERS". Los Angeles Times. Retrieved 15 August 2019.
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  57. ISSN 0008-7289
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Further reading

Zhito, Lee (26 January 1985). "¡Viva Latino!". Billboard. Vol. 97, no. 4. Nielsen Business Media. p. VL-5.

ISSN 0006-2510
. Retrieved 5 August 2019.

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