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There is not one single history of rock music.
There are several. There is the history of the hits. Most books on rock music are histories of the hits. The charts decide, i.e. the masses decide.
Marx would have loved it, except there is a catch: the masses tend to buy what is publicized by the media, which is what corporations pay money to publicize. Marketing decides the charts. Invest a few million dollars on me and even I, regardless of my musical talent, will break into the charts, i.e. will become part of "that" history of  rock music. Most books on the subject are, in fact, books about the music industry. Very often, the profile of a musician is simply a list of her/his successes in the Billboard charts ("that album broke into the charts", "that album hit #5", "that album sold one million copies"). In other words, books on rock music tend to treat musicians like corporations or start-ups, judging them by their revenues, profits and marketing strategy. | | more... |
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Nowhere is the influence of electronic music on popular music greater than in the field of dance music.
Electronic dance music is basically all dance  music produced since the early 1980s, because all of the different styles have used electronic instruments. After all, there is no such thing as acoustic dance music of that era. | | more... |
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For the sake of clarity, I must state that I use this term here in reference to dance music produced in Italy in the late 70's and through mid 1980's by Italian composers and musicians.
In order to explore the roots of Italo Disco, we have to go back to the end of the seventies when Disco  music was at the height of its popularity. Italo Disco, or better said, Dance Music Made In Italy, following the exact meaning of words, drew inspiration from many existing sources. One of them was American Disco & Funk. | | more... |
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During the late '70s and early '80s, New Wave was a catch-all term for the music that directly followed punk rock; often, the term encompassed punk itself, as well.
In retrospect, it's became clear that the music that followed punk could be divided, more or less, into two categories - "post-punk" and "new wave". Where post-punk was arty, difficult and challenging, new wave was pop music, pure and simple. It retained the fresh vigor and irreverence of punk music, as well as  a fascination with electronics, style, and art. Therefore, there was a lot of stylistic diversity to new wave. It meant nervy power-pop of bands like XTC and Nick Lowe, but it also meant synth rockers like Gary Numan, or rock revivalists like Graham Parker and Rockpile. There were edgy new wave songwriters like Elvis Costello, pop bands like Squeeze, tough rock & rollers like the Pretenders, pop-reggae like the Police, mainstream rockers like the Cars and ska-revivalists like the Specials and Madness. | | more... |
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The word "reggae" was coined around 1960 in Jamaica to identify a "ragged" style of dance music, that still had its roots in New Orleans rhythm'n'blues.
However, reggae soon acquired the lament-like style of chanting and emphasized the syncopated beat. It also made explicit the relationship with the underworld of the "Rastafarians" (adepts of a millenary  African faith, revived Marcus Garvey who advocated a mass emigration back to Africa), both in the lyrics and in the appropriation of the African nyah-bingi drumming style (a style that mimicks the heartbeat with its pattern of "thump-thump, pause, thump-thump"). Compared with rock music, reggae music basically inverted the role of bass and guitar: the former was the lead, the latter beat the typical hiccupping pattern. The paradox of reggae , of course, is that this music "unique to Jamaica" is actually not Jamaican at all, having its foundations in the USA and Africa. | | more... |
| As electro's enormous influence gains recognition, a Mantronix revival cannot be far behind.
Aldo, Marin's still active Cutting label provided some extremely influential music in the mid-'80s, including "We Come To Rock" by the Imperial Brothers, Hashim's "Al Naayfish (The Soul)" (with the reverbed "it's time" vocoder slide engraved in everyone's mind), and Nitro Deluxe's "Let's Get Brutal".
The latter two monsters have recently been remixed to devastating effect through Network (UK) who, thankfully, included the original versions of these two groundbreaking tracks. | | more... |
| The gospel revival and doo-wop merged into the great season of soul music.
Soul music was enabled by the commercial boom of "race" music, that had led to the creation of channels and infrastructures run by black enterpreneurs for black artists. This class of black enterpreneurs hired and trained a generation of session musicians, producers and arrangers (not to mention songwriters) who were specifically meant to serve the needs of black music.
Soul music was also enabled by an unstoppable trend towards black and white integration, as more and more white folks accepted the idea that black culture was not evil or degrading, simply different (African instead of European). The sociopolitical inroads made by jazz also helped legitimize black pop music with the white masses. | | more... |
| The term "Hi-NRG" has been used to refer to two periods or styles of music: first in the 1970s as "Hi-NRG Disco," and later in the early 1980s as "Hi-NRG."
The initial usage was in 1977, as an attempt to describe the underground, faster and more electronic form of disco produced in the United States at this time. Specifically, when Donna Summer was interviewed about her successful single "I Feel Love," she said that "this song became a hit because it has a High Energy Vibe" (the interview still shows occasionally on VH1 UK each time they have a "Disco Special" night). After that interview, this electronic form of American Disco took the nickname "Hi-NRG Disco." In Europe, a similar music style (with less use of vocals) took the nickname "Space Disco." The DJ/Producer Patrick Cowley made some later and less disco-sounding American Hi-NRG productions popular, at the "The End Up" club in San Francisco, in 1982. Those productions didn't have a specific name at the time, but came to form the bridge between '70s Hi-NRG Disco and 80s Hi-NRG music. | | more... |
| Punk rock (often referred to simply as punk) is an anti-establishment rock music genre and movement that developed between 1974 and 1976 in the United Kingdom, United States and Australia. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock.
They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-government lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels. | | more... |
| Funk is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music.
Funk de-emphasizes melody and harmony, and brings a strong rhythmic groove of electric bass and drums to the foreground. Unlike R&B and soul songs, which had many chord changes, funk songs are often based on an extended vamp on a single chord. | | more... |
| Disco is a genre of dance-oriented music of which the origins are hard to place at a single defining point. In what is considered a forerunner to disco style clubs in February 1970  New York City DJ David Mancuso opened The Loft, a members-only private dance club set in his own home. Most agree that the first disco songs were released in 1973, but some claim Manu Dibango's 1972 Soul Makossa to be the first disco record.
The first article about disco was written in September 1973 by Vince Aletti for Rolling Stone Magazine. In 1974 New York City's WPIX-FM premiered the first disco radio show.
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| Heavy metal (often referred to simply as metal) is a genre of rock music that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States.  With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, and emphatic beats. Allmusic states that "of all rock & roll's myriad forms, heavy metal is the most extreme in terms of volume, machismo, and theatricality." | | more... |
| The blues is a vocal and instrumental form of music based on the use of the blue notes. It emerged in African-American communities of the United States from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads.
The use of blue notes and the prominence of call-and-response patterns in the music and lyrics are indicative of African influence. The blues influenced later American and Western popular music, as it became the roots of jazz, rhythm and blues, and bluegrass. In the 1960s and 1970s, a hybrid form called blues rock developed from the combining of blues with various rock and roll forms. | | more... |
| Pop music is music charted by the number or sales, plays, etc., that the work receives. It is not a particular genre or style of music, but simply that which is the most popular for the tracked period of time.
Most commercial music of any genre is composed with deliberate intent to appeal to the majority of its contemporaries, but, unless extremely popular in its own genre, it must appeal to a wider audience to appear on the pop charts. | | more... |
| A remix is an alternative version of a song, different from the original version. A remixer uses audio mixing to compose an alternate master recording of a song, adding or subtracting elements, or simply changing the equalization, dynamics, pitch, tempo, playing time, or almost any other aspect of the various musical components.
Some remixes involve substantial changes to the arrangement of a recorded work, but many are subtle, such as creating a "vocal up" version of an album cut that emphasizes the lead singer's voice.
A song may be remixed to give a song that was not popular a second chance at radio and club play, or to alter a song to suit a specific music genre or radio format. Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing purposes. | | more... |
 | Welcome all music fans of the 80s RADIOmusic . . .
Feel free to enjoy our quality live radio programme, especially selected for every music taste.
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If you want our player on your page, just copy/paste the code below:
<EMBED id=mediaPlayer name=mediaPlayer src=http://www.80s-radiomusic.com/80s.m3u width=215 height=69 type=application/x-mplayer2 loop="true" showPositionControls="0" showstatusbar="1"<\EMBED>
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There is not one single history of rock music.
There are several. There is the history of the hits. Most books on rock music are histories of the hits. The charts decide, i.e. the masses decide.
Marx would have loved it, except there is a catch: the masses tend to buy what is publicized by the media, which is what corporations pay money to publicize. Marketing decides the charts. Invest a few million dollars on me and even I, regardless of my musical talent, will break into the charts, i.e. will become part of "that" history of rock music. Most books on the subject are, in fact, books about the music industry. Very often, the profile of a musician is simply a list of her/his successes in the Billboard charts ("that album broke into the charts", "that album hit #5", "that album sold one million copies"). In other words, books on rock music tend to treat musicians like corporations or start-ups, judging them by their revenues, profits and marketing strategy.
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| Should radio DJs talk in between songs? |
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| Sex Pistols, The Clash or Ramones? |
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| Which music era is too old for you? |
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Top 10 Songs
| A way to look at '80s music in a broader, more specific way is to break down the decade's events, albums and songs by year. This gives a much more complete picture of the artists and styles that were particularly popular, significant or simply highly listenable throughout the wide expanse of the decade.
Top 10 Songs of 1980
Top 10 Songs of 1981
Top 10 Songs of 1982
Top 10 Songs of 1983
Top 10 Songs of 1984
Top 10 Songs of 1985
Top 10 Songs of 1987
Top 10 Songs of 1986
Top 10 Songs of 1988
Top 10 Songs of 1989 | | more... |
| 80s Stories
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80s STORIES
80s music is still alive and well and in great demand. There are still many thousands of fans who love the 80's music and they listen to it often. The 80's music can be heard on many radio stations and also on the internet. There are many websites that allow members to listen to the music while they are online surfing the net, reading email, or working. There are also many sites where the music can be downloaded onto the computer, mp3 player, etc. CDs and videos of the 80's music can be purchased online or offline. There are many new 80's compilations which have been released recently so the fans can still enjoy it. Some fans may want to fill in the gaps of their collections and the compilations are a way of doing it. | | more... |
| AC / DC
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80s BAND
was formed in Sidney, Australia in 1973. There were two brothers who started the band. They were Angus and Malcolm Young. They were one of the bands who were pioneers of the heavy metal music. Led Zeplin, Deep Purple, and Black Sabbath were some of the others who played heavy metal music in that same time frame. The music was very hard for some to listen to but others really appreciated it. A lot of parents cringed when their kids began listening to this type of music and it was very hard on the ears when it was turned up loud. AC/DC released their first album, High Voltage, in 1975. Then in 1979 they recorded their very successful album, Highway To Hell.
The band had a few member change before the release of this album. The bass player Cliff Williams was replaced with Mark Evans in 1977. In 1980 the lead singer and co-songwriter, Bon Scott died and was later replaced with singer Brian Johnson. Later in 1980 their biggest selling album, Back In Black, was released.
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