The 1970s: The Unsung Foundation of 1980s Pop Music
The recent passing of Bonnie Tyler has highlighted how the 1980s sound and aesthetic have deeply resonated with the Argentine public, often overshadowing earlier and later musical periods. This phenomenon, where the visual image—characterized by heavily lacquered hair and excessive makeup—seems to have triumphed over the music itself, is exemplified by Tyler's association with 80s ballads like 'Total Eclipse of the Heart.' Interestingly, social media recently brought Tyler back into public discourse when it was noted that a common chant used by Argentine football fans to express dissatisfaction with their team's play borrows its melody from her 1978 hit, 'It's a Heartache.'
However, the article argues that the late 1970s were a crucial period of creative explosion and sonic innovation, laying the groundwork for the 1980s. Key developments such as the widespread use of synthesizers, drum machines, sequencers, samplers, and production techniques like gated reverb, along with the prominent use of the saxophone, all emerged or gained traction in the latter half of the 70s. The rise of shorter, more accessible songs and the global dominance of music videos further propelled artists like Michael Jackson, Tina Turner, and Bonnie Tyler into 80s icons, even if their careers began earlier. Songs from the 70s, including Donna Summer's 'I Feel Love' (1976), Kraftwerk's 'Europe Endless' (1977), and The Buggles' 'Video Killed the Radio Star' (1980), are presented as examples that foreshadowed the 80s sound. Furthermore, Peter Gabriel's 'Intruder' (1980) and Phil Collins' 'In the Air Tonight' (1981), both recorded in 1979 and featuring the innovative gated reverb, are cited as definitive early examples of the 80s sonic signature. The article concludes that when considering the influence of German krautrock and these pivotal 70s developments, the decade stands as the foundational 'Aleph' for subsequent rock and pop music, though much of this was less accessible in Argentina at the time.
The article posits that the 1970s, particularly its latter half, served as a crucial incubator for the sonic and aesthetic innovations that defined 1980s pop music. This perspective challenges the common perception of the 80s as a distinct, self-contained era, instead framing it as a culmination of trends that matured in the preceding decade. The analysis suggests that the widespread adoption of digital technologies and production techniques in the 70s, coupled with evolving media platforms like music television, created the conditions for the 80s sound to achieve mass appeal. Understanding this lineage is vital for appreciating the cyclical nature of musical evolution and the often-overlooked foundational contributions of earlier periods. It prompts a consideration of how current technological shifts might be shaping the music of future decades, and how popular memory may later simplify or reframe these developments.
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