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(Credits: Jace & Afsoon)
If the 1970s pioneered the whimsical beige hues of a distant, poorly nurtured hangover, the 1980s were its flamboyant cousin that emerged from the depths of turmoil. Throughout this decade, artists across the board fought to be heard, offering the promise of joy and fulfilment when everything else seemed frayed at the edges. In other words, the ’80s called for unapologetic individualistic celebration and unity.
The ’80s present one of the most contextually dense eras of all time, not just regarding the sudden explosion of talent on display at every turn but also the responses many had to several political developments at the time. Of course, many at the time emerged in direct defiance of distinctive societal taboos relating to racism and homophobia, using their music and platform as a tool to hoist their flag of rebellion against a system intent on bringing them down.
Others opted for a more unsuspecting approach, leaning into darkness and paranoia in artistic and poetic ways. This signalled the beginnings of a new wave of sonic expression that centred on spotlighting the troubles of the mind in whatever ambiguous manner they presented themselves. While some prioritised accessibility in new, fresher ways, others toyed with experimentalism, bringing the sounds of the outside world into a place that beckoned safety, no matter how artificial that notion had become.
Still, many of these rhythms became popular because they achieved the one thing mass audiences are always after, especially during trying times: escapism. Despite the underlying political or societal message of some of the decade’s best-selling artists, these musical endeavours supercharged commercialism with an almost feverish intent, searching for and hitting the goalposts of broader appeal.
Who was the best-selling solo artist of the 1980s?
There may be endless discussions regarding extraordinary talent in the 1980s, but the forerunner—the best-selling artist—probably surprises nobody, especially considering how one record in particular, Thriller, still holds the crown as the best-selling record of all time. But Michael Jackson didn’t just smash records with the one release; he also dominated almost every aspect of culture, from fashion to art, becoming the figurehead of an entire movement that evoked the kind of hype that surpassed Beatlemania.
Behind Jackson was someone who achieved a similar feat with pop-induced sparkly rhythms filled with the promise and hope of a better tomorrow: Madonna. With four albums released across the decade, Madonna had an inexplicable versatility that meant she could pull off almost anything and do it with commercial viability, the kind that also incorporated immense layering that drew people in style-first before the potential for endless interpretation kept them coming back for more.
Another who collected large sums during the same era was Phil Collins, whose albums Face Value, No Jacket Required, and …But Seriously established him as a competitive solo artist in an era that brutally left most scrambling by the wayside. And while he may not have reached the same level Jackson or Madonna did, at least not in terms of deep-seated cultural impact, his sounds offered a different take on mainstream favourability with sounds that blended varying types of unexpected influences.
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