1990s in Latin music

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For Latin music from a year in the 1990s, go to 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 | 98 | 99
1980s . 1990s in Latin music . 2000s
Selena was named Top Latin Artist of the 1990s by Billboard.[1]

This article includes an overview of trends in Latin music in the 1990s, namely in Ibero-America (including Spain and Portugal). This includes the rise and fall of various subgenres in Latin music from 1990 to 1999.

Overview

According to the Recording Industry Association of America (RIAA), Latin music sales grew by almost 25% from 1996 to $490 million in 1997 ($909.818 million in 2022). There were 44.1 million Latin albums shipped in the United States. According to the RIAA, the increase in Latin music during this period is due to major record companies forming joint ventures with specialty indie labels familiar with the market, an increase of Latin artists on major labels providing them greater exposure, as well as an increase in radio stations playing Latin music which provided an expansion in Latin music awareness.[2]

Latin pop

The success of Luis Miguel's Romance (1991) led to a renewed mainstream interest in the bolero genre in the Latin pop field.
Ricky Martin's "Livin' la Vida Loca" kickstarted the "Latin Pop Explosion" of the late 1990s.

Like the previous two decades, Latin pop was mainly dominated by

pop ballad tunes,[4] released Romance, a collection of bolero covers, in 1991. The album's popularity led to a renewed interested in the genre in the Latin pop field.[5]

Baladas were not the only popular form of Latin pop music in the 1990s. Martin, despite the positive reactions of his first two ballad-laden albums, his 1991 self-titled album and Me Amaras (1993), experimented with the sounds of the Spanish-speaking Caribbean for his third studio album A Medio Vivir (1995), despite the reluctance of his record label Sony Discos.[6] The album spawned the hit single, "María", which made the artist's popularity expand outside of Latin America, particularly in Europe. The song captured the attention of FIFA, who requested Martin to record the theme for the 1998 World Cup. This led to the single "La Copa de la Vida".[7] Ricky Martin's performance of the song at the 41st Annual Grammy Awards on February 24, 1999, was said to be a "game-changer for Latin music worldwide" according to Billboard's Leila Cobo.[8] The popularity of Martin's performance was followed by the release of his song, "Livin' la Vida Loca", became an international success, and was credited with for the starting "Latin Pop Explosion" in 1999.[9]

Other artists who became famous in the mid-1990s with the rhythmic take of Latin pop included Mexican singer

crossed over to the Latin music field by recording Spanish-language versions hits of their songs.[12]

Latin rock/alternative and rock en español

Maná became the first commercially successful rock en español to cross-over the pop field due to Latin rock rhythms.
Colombian singer Shakira became the first successful female rock en español artist to achieve popularity in Latin America.

Mexican rock in the 1990s was a period of growth with several Mexican bands such Café Tacuba, El Gran Silencio, and Plastilina Mosh fusing rock music other genres such as punk and alternative as well as other Latin rhythms. According to Janet Sturman's book, The SAGE International Encyclopedia of Music and Culture (2019): "The decade resulted in such a wide variety of styles that it became complicated to categorize all of them just as rock".[13] Maná became one of the most well-known Latin rock band internationally due to their "prosaic but remarkably popular strain of Latin-influenced rock music".[14]

Elsewhere, particularly in South America, rock en español remained popular in Argentina.

CAPIF.[15][16] Colombian rock en español bands tended to sell more outside of their native country. When Shakira released Pies Descalzos in 1995, she became the first rockera in the country to achieve success within and outside Colombia.[17] Shakira was dubbed the "Latina Alanis Morissette" in the 1990s.[18]

Guatemala's

Illya Kuryaki, King Changó, and Los Amigos Invisibles.[20]

Regional Mexican

Grupo Limite (former lead singer Alicia Villarreal
pictured) continued the popularity of the grupera genre.

On January 10, 1990,

atomic bomb" by 1994.[24] While Tejano singer Emilio Navaira decided on a crossover into American country music, preparations began for Selena's crossover into American pop music.[35] The singer was fatally wounded after a confrontation with a former associate of her fan club, and boutiques.[36] Selena's unfinished crossover album, Dreaming of You (1995), became the first mostly-Spanish album to debut and peak at number one on the US Billboard 200 chart.[37] Tejano music suffered and its popularity waned following Selena's death, and record labels began abandoning their Tejano artists.[38]

By the mid-1990s, Tejano music was replaced by

Muy Dentro de Mi Corazon (1996), respectively.[42]

Elsewhere in Mexico, the

Grupo Bronco, and Los Mier dominated the grupera genre in the 1990s.[43]

Tropical/salsa

Marc Anthony represented a new generation of younger salsa acts in the 1990s and would eventually the best-selling tropical/salsa artist of all-time
Ry Cooder's collaboration with Buena Vista Social Club on their 1997 self-titled brought traditional Cuban music to an international audience.

The

hip hop.[48] Anthony would later become the best-selling tropical/salsa artist of all time.[49] George further experimented with salsa and hip hip and formed Dark Latin Groove with frontman Huey Dunbar.[50]

The Dominican Republic merengue also continued rival salsa in popularity.[51] Wilfrido Vargas and Johnny Ventura were attributed to its success and began being accepted in Puerto Rico. However, due to the boycott of merengue orchestras by the Federation of Puerto Rican music in the island, several Puerto Rican merengue acts began to emerge.[52] These included Grupo Manía, Los Sabrosos del Merengue, and Limi-T 21.[53] Former Grupo Manía member Elvis Crespo's song "Suavemente" became an international success and pushed the genre's popularity outside of Latin America.[52] In the early-to-mid 1990s, Dominicans living in New York City fused the sounds of merengue and hip hop to create merenhouse. Proyecto Uno's "Tiburón" became the most well-known song in the merenrap field.[52] As with Puerto Rico, Venezuelan adopted their form of merengue called technomerengue. The trend started in the late 1980s and continued in the early 1990s with acts as Los Fantasmas del Cariba, Karolina, and Los Melodicos.[54]

Also from the Dominican Republic is bachata. This was generally regarded as lower-class music in the Dominican Republic and was ignored by the media. When Dominican Republic singer-songwriter Juan Luis Guerra released Bachata Rosa in 1990, led bachata to become a mainstream genre in the country.[55] After Bachata Rosa, many other Dominican Republic artists have been recognized as important to the growth of the genre in the 1990s including Luis Vargas, Antony Santos, Raulín Rodríguez, and Elvis Martínez.[56]

son and boleros and sold over a million copies in the United States alone.[7][57] Four years later, American musician Ry Cooder collaborated with Cuban musical group Buena Vista Social Club to release their self-titled album. Despite the lack of promotion on radio stations the musicians being elderly, and the music in Spanish,[57] the album found international success and sold over 12 million copies.[58]

In a similar vein to Miguel's Romance, in 1993 Colombian singer Carlos Vives released Clásicos de la Provincia, a collection of classic vallenatos. The record exposed the genre to a wider audience outside of its native country as Vives gave the tracks an updated take.[59] The cumbia villera developed in the slums of Argentina in the mid-1990s. Although cumbia always had a following in the country, utilized keyboards and electric drums with the lyrics emphasizing on drugs, crime, and provocative sexual content.[13]

Rap en español

Vico C (left) and El General (right) were early pioneers of Latin hip hop.

The success of

Afro-Latino community. Artists such as Vico C and El General experimented the sounds of hip hop with the sounds of Latin America. This would later give birth a new genre known as reggaeton which became prevalent in the 2000s.[60]

Brazilian/Portuguese

Daniela Mercury bought the axé music to a wider audience outside of the Afro-Brazilian circle
Só Pra Contrariar was one of the most successful bands of the 1990s in Brazil.

A new form of Afro-Brazilian music, known as

samba music known as pagode was also very commercially success in the country during the 1990s with bands such as Só Pra Contrariar.[62]

Best-selling records

Best-selling albums

In 1999,

Top Latin Albums chart. Below are the 10 best-selling albums of the decade from the record label according to Billboard.[63]

Rank Album Artist
1 Mi Tierra Gloria Estefan
2 Vuelve Ricky Martin
3 Suavemente Elvis Crespo
4 Me Estoy Enamorando Alejandro Fernández
5 Dónde Están los Ladrones? Shakira
6 Tango Julio Iglesias
7 Dance with Me: Music from the Motion Picture Various artists
8 Sentimientos Charlie Zaa
9 Píntame Elvis Crespo
10 Éxitos En Vivo La Mafia

Best-performing songs

In 1999, Sony Discos was named the most successful record label of the 1990s on the Hot Latin Songs chart. Below are the 10 best-performing songs of the decade from the record label according to Billboard.[63]

Rank Single Artist
1 "Si Tú Supieras" Alejandro Fernández
2 "Yo Nací Para Amarte" Alejandro Fernández
3 "Vuelve" Ricky Martin
4 "Dejaría Todo" Chayanne
5 "Es Demasiado Tarde" Ana Gabriel
6 "Livin' la Vida Loca" Ricky Martin
7 "No Sé Olvidar" Alejandro Fernández
8 "Vida" La Mafia
9 "En El Jardín" Alejandro Fernández featuring Gloria Estefan
10 "Cosas del Amor" Vikki Carr and Ana Gabriel

See also

References

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  9. ^ Summers, Joshua (June 17, 2022). "Ricky Martin Music: Get Into the Groove With the Puerto Rican Singer's Top Songs". Latin Post. Archived from the original on June 21, 2022. Retrieved June 21, 2022.
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  16. ^ "Ciudad rock en español" (in Spanish) (7–8). 1995: 30. ..y el más reciente El amor después del amor ( 92 ) , una de las discografías de mayor peso dentro del rock en español . {{cite journal}}: Cite journal requires |journal= (help)
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  18. ProQuest 279157689
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  19. ^ "Hispanic Link Weekly Report". 25 (1–35). 2007: 7. Arjona sings about political and social matters with pop - rock guitars laying the background {{cite journal}}: Cite journal requires |journal= (help)
  20. ISSN 0890-0795
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  21. ^ a b Burr 1999, p. 15.
  22. ^ Patoski 1996, p. 84.
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  46. ProQuest 368395873
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  50. ^ Bush, John. "DLG (Dark Latin Groove) | Biography & History". AllMusic. Archived from the original on May 1, 2021. Retrieved May 1, 2021.
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  53. ISBN 9789945851977
    . En la década de 1990 , la mejor época para el merengue en función de la difusión en Puerto Rico, acapararon la atención de los medios grupos puertorriqueños como : Los Sabrosos del merengue, Grupo Manía, Límite 21...
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Works cited
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