The Hong Kong pop music scene after the 1970s

Famous Hong Kong singers in the 1950s include Joe Junior, Irene Ryder and Teddy Robin. The main reason for the popularity of English songs is that these high-end entertainment venues are dominated by upper-class foreigners, and only a few Chinese have more social status and economic ability to afford such high-end consumption. Due to exposure to Western pop music, young people in the 1960s liked to form their own bands, mainly singing English songs. Famous bands include: Teddy Robin & The Playboys, Sam Hui & Lotus, Joe Chen & Menace, Loosers, Wenner Band Predecessor) to the later New Top Notes and Jade. The idol singers in the early 1970s still mainly composed English songs, such as Chen Meiling and Chen Qiuxia. The representative singers and songwriters of the first generation of Cantonese pop songs in Hong Kong, especially Gu Jiahui, Huang Zhan, Lai Xiaotian, Lu Guozhan, Zheng Guojiang, Feng Tianzhi, Zhong Dingyi, Bao Bida, Li Peter, etc., are these songwriters It opened up a new world for Cantonese pop songs in Hong Kong. Before that, the Hong Kong pop music scene was almost dominated by English songs and Mandarin songs. Hong Kong's first generation of Cantonese pop singers: Luo Wen, Zhen Ni, Wang Mingquan, Guan Zhengjie, Ye Zhentang, Yip Liyi, etc. In the mid-to-late 1970s--the early 1980s, they also became popular in Hong Kong by singing the theme songs of TV series. In 1974, Xu Guanjie released the album "Ghost Horse Twin Stars", which opened the prelude to Hong Kong's contemporary pop music scene. In 1976, the classic album "Half Catty Eight Liang" marked the formal formation of the Hong Kong Cantonese pop market. The Hong Kong music scene in the 1980s was the most glorious and colorful period in the history of Hong Kong music. From Xu Guanjie, Luo Wen, Lin Zixiang, Chen Baiqiang, Alan Tam, Leslie Cheung, Anita Mui, and Wang Jie to the rise of Beyond and Jacky Cheung. There are a large number of excellent singers. Hong Kong pop songs in the 1980s refer to many Japanese songs and Western music such as music and anger, blues, and folk songs. Because Japanese songs have a sense of the times, adapting songs has become a craze. Among them, songs such as "The Man Who Catches the Wind" and "The Wind Continues to Blow" are the representatives. In the 1990s, the Hong Kong music scene entered its peak period. First, there was Wang Jie leading the way, followed by Jacky Cheung, Andy Lau, Liming, Aaron Kwok, Faye Wong, Zheng Xiuwen and other powerful queen representatives. In the 1980s, he was the best singer-songwriter in the Hong Kong music scene. Lin Zixiang has everything a baritone should have, and it extends a lot in the treble area, attracting fans with his wide range and emotional performance. Alan Tam was one of the "Four Emperor Superstars" in the Hong Kong music scene in the 1980s. Together with Leslie Cheung and Anita Mui, they are known as "two kings and one queen" in history. Alan Tam is good at both romantic love songs and fast-paced songs, and has a wide range of genres. He is a comprehensive musician with strength and idol skills. Leslie Cheung made his debut in the Asian Song Contest and became famous in the music scene in 1983 with "The Wind Continues to Blow". In 1984, he established his position in the music world with "Monica". In 1987, with the album "Amour", he became the first Cantonese singer to enter the Korean music market, and the sales record holder of Chinese records in South Korea.