During the 1980’s, music was
deeply influenced by the national recession. The amount of change that took
place would cause the music industry to change many strategies and concepts of
sound such as new forms of entertainment, fighting the pirating of music, as
well as the development of digital recording and compact discs. (Starr and
Waterman pgs. 450-451). Today, digital recording is the primary means for
which popular artists record their music (pg. 454). Further, devices like
digital samplers, digital sequencers, and drum machines allowed for artists to
record and produce their own music, exploring different sounds themselves. This
would allow for many musicians to become independent record producers as well
as to discover new talent for the music industry. In addition to the way we
record, the new technology would allow us to revolutionize the way in which we
would obtain music. The synthesizer, MIDI, and evolution of playing devices
like the Hammond B-3 organ were all being used in such settings (pg. 455).
The popularization of digital
recording would take the music industry by storm. Eurythmics very popular song
“Sweet Dreams (Are Made of This)”
features a “hypnotic” loop, or repeated instrumental pattern looping in
repetition (pg. 459). It is reminiscent of the disco sound but points
toward the evolution of the “new wave” sound. The use of this technology
allowed for audiences to feel a new style of music while relating to an older
generation. The Grammy-Winning “What’s
Love Got To Do With It?” by Tina Turner features synthesized strings in the
verses and a reggae-like groove with electric guitars and bass. This
gives the song almost a throwback sound, which wasn’t uncommon for the
time. Kenny Rogers’ “Lady” would also use similar qualities from
previous genres by featuring acoustic
instruments, and soft and sentimental qualities (pg. 458). Another
example would be Peter Gabriel’s “Sledgehammer”
which features a horn section to create a sound similar to that of the 1960’s
soul movement (pg. 462). Gabriel uses G-rated sexual metaphors throughout
the song paired with a music video that fitted the music very well, which was
put into heavy rotation by MTV (Music Television), further driving the success
of the song (pg. 463).
As evidenced in the success of
Michael Jackson’s Thriller, Paul Simon’s Graceland, and Bruce
Springsteen’s Born in the U.S.A., solo artists were thriving at this
time in both music and performances (both live and video). Jackson’s
state-of-the-art pop album Thriller, produced by Quincy Jones, bridged
the divides in popular music styles, featuring Paul McCartney’s (“The Girl Is
Mine”) and Eddie Van Halen’s (“Beat It”). These songs were just as
influential when they were originally performed, however provided a new twist
and opening up to a whole new audience. Springsteen’s E-Street Band used
throwback rock instrumentation such as saxophone to show the relationship
between R&B and his music. The album Born In The U.S.A. is
relatable, serving as “snapshots” for American working people of his generation
(pg. 469). Simon’s interest in music that isn’t indigenous to the United
States is manifested in his songs on Graceland (pg. 470). During
the 80’s other artists such as Madonna and Prince also received much
acclaim. They embraced the “whole” artist, from the musical stylings to
their appearance, stage presence, and persona. Granted, the same can be
said about Jackson, Springsteen, and Simon, Madonna and Prince were especially
showy. They would go above and beyond in both theatrics as well as performance.
They are highly skilled manipulators of mass media and have created multiple
alter egos as part of their image (pg. 476). Madonna’s “Like A Virgin” utilizes the
aforementioned new synthesizer technology while pushing her vocals to the
front. The song is very provocative, further exemplifying the need to
portray herself rather than just perform. This was not her first, nor last
controversial video, however it was one of the most discussed musical styling’s
and provocative songs to date. Prince’s
“When Doves Cry” shows off his mastery of musicianship. All of the
instrumentation on the recording is played by Prince, even the vocal harmonies.
This was a skill that could only be performed through the use of digital
recording and computers, a true original concept in American Vernacular music.
His universal skill is exemplified in the second section of the song, which
features many layers of synthesizer grooves, orchestral sounds, instrumental
solos, and a variety of vocal timbres (pg. 488).
By the end of the twentieth
century, it had become almost impossible to sustain a clear-cut dichotomy
between the center of American popular music and its margins (pg. 491).
Charts were dominated by artists of all different genres: adult contemporary,
country, R&B vocal groups, hard rock, heavy metal, punk-influenced
alternative rock, alternative singer-songwriters, hip hop, rap, and even film
soundtrack and scores. All of these new musical genres exemplify the
tensions and contradictions created when music is marketed to a mass audience
as a form or opposition to the popular mainstream (pg. 494). Take hip hop
for example, where artists like Run D.M.C. (Raising Hell) and The
Beastie Boys (License to Ill) attracted younger audiences with their
transgressive, rebellious sensibility (pg. 495 “Walk This Way” (written by Aerosmith)
syncs together Run D.M.C as well as the iconic rock group Aerosmith to create a
collaboration unlike any other between hip hop and rock. The music video was
the first hip hop video to be put into heavy rotation by MTV (pg. 496), further
expanding the market for hip hop as well as collaborations between genres.
By the 1990’s, almost every major
genre had sprouted an alternative sub-genre (pg. 511). Alternative rock
of the 80’s and 90’s saw a number of “indie” and “underground” styles bubble
up, popularized by groups like R.E.M., Sonic Youth, Dead Kennedys, and
Nirvana. “Holiday In Cambodia”
by Dead Kennedys exemplifies the sensibility of early 1980’s hardcore punk rock
(pg. 515). It features an extremely fast tempo of 208 BPM and is directed
at spoiled, suburban yuppies who the singer suggests should be forced into
labor in Cambodia (pg. 515). As heard in “Holiday In Cambodia,” punk,
hardcore, and underground music of this time often explored taboo topics like
drug use, depression, incest, suicide, and social/environmental issues. This
was typically done in terms of protest of government or in conjunction with
political views of the time. “Smells Like Teen Spirit” by Nirvana was the
first alternative rock single of the 1990’s to break into the top 10 (pg.
518). It is a combination of heavy metal instrumental textures and pop
songwriting techniques, including a guitar solo that is nearly note-for-note
identical to the verse vocal melody.
In the 1980’s, there stood a
strong female presence in the alternative music world. Artists like Queen
Latifa, Ani DiFranco, Lauryn Hil, and k.d. lang served as female ambassadors in
their respective male-dominated genres. Lauryn Hill’s “Doo Wop (That Thing)” offers a unique
contribution to the hip hop repertoire (pg. 524). It combines aspects of
1950’s R&B including a soulful vocal, four-part harmonies, and a horn
section while utilizing new technology like drum machines and a rap vocal style
in the verses (pg. 524). K.d. Lang’s “Nowhere to Stand” features an acoustic
guitar with lyrics that reference an abusive childhood, and further mentions
the hand-me-down mentality in that the narrator of the song cannot help but
repeat the same abuse on her child (pg. 526).
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