30 years on, is it time to say goodbye to the 'Now That's What I Call Music!' compilations?

How do the long-running CD compilations fit into a music industry dominated by streaming music, downloads and digital platforms?

I have never been an avid listener of top 40 chart music, especially in 1983 when I was a young idealistic and politically motivated anarcho-punk. I had a British government to overthrow and the likes of Phil Collins, Paul Young, Madonna, Culture Club, and Michael Jackson were never going to be the ideal soundtrack to my revolution or inspire me politically to stand up and fight back against the system. So really, chart music in the 1980s pretty much slipped past me almost unnoticed apart from two particular events in 1983 that, it could be argued, changed the face of popular music for better and/or for worse.

The first was in March of 1983 and was the digital music ‘revolution’ of the early eighties; the Compact Disc, or better referred to as the CD, went on sale for the first time  in the UK. This was heralded as the ultimate in high fidelity digital reproduction and listening and, unlike the vinyl record, was scratch proof, tea, coffee and child proof and almost ‘indestructible’ – none of which, for those who foolishly believed the marketing spiel, turned out to be true.

The second event was in the December of that same year. With the retail run up to Christmas approaching and an opportunity to set cash registers ringing into meltdown, Richard Branson, owner and CEO of Virgin Records, entrepreneur and never one to miss an opportunity to make money, took it upon himself, along with backing from EMI, to ‘grace’ us with the first ever ‘Now That’s What I Call Music!’ compilation album. The idea of a chart music compilation album was not new, even by 1983 standards. Pickwick Records had successfully created and sold a series of records in the 1970s entitled ‘Top of the Pops’ which contained anonymous cover versions of recent and current chart hit singles of the time. Although they did not contain the original artists the recordings were intended to replicate the sound of the original hits as closely as possible. Other companies such as K-Tel, Music For Pleasure and Stereo Gold Award soon followed suit with their own versions of the pop chart compilation album format.

So when Branson and EMI executives released the first Now album, which did contain the original artists and recordings, many of who (unsurprisingly) were signed to Virgin Records and EMI, it was an immediate success amongst a particular section of the record buying public. Fast forward to May 2013 and the Now ‘brand’ released its 30th Anniversary compilation that featured some of the biggest hits that have featured over the previous 84 (yes! 84!) volumes of their compilation album format. Now 84 has become this year’s fastest selling album and the Now series has sold over 85 million copies in the UK alone. I say Now ‘brand’ because what began as a western popular music compilation album has become the biggest and best-selling popular music compilation series of all time. Even across the globe with regional variations on the theme of collecting all the big tunes in those particular regions. It has also branched out into merchandise, board games, synchronisation deals with Disney, Nintendo (Wii) and covering every possible permutation of music including Now Disco, Now Reggae, Now Classical, Now Xmas, Now Chill……  and my personal favourite Now Please Stop Releasing These Compilations! (not an actual Now release). The list is endless.

The brand has also taken the digital landscape head on and embraced the new realms of digital music platforms with a Now Spotify Channel, Now You Tube Channel and a Now iPhone app. In a new era where people have switched from CD to MP3 and digital downloads, where purchasing single tunes from albums is commonplace and economically sensible, you would think that there is no place for a compilation CD anymore? But no!  Just when you thought that this wounded animal was in its death throes it just plain refuses to die! It turns out that sales of compilation albums are on the increase as they’re cheaper than buying tracks individually. According to Jeff Moskow, Head of A&R for Now, only 15 per cent of Now’ssales are digital which means 85 per cent still come from traditional CD sales. Soundscan, which is one of the most widely used music sales tracking systems, show that digital sales in 2011 were larger than physical sales for the first time, however CDs still sell well in large chain stores and supermarkets – perhaps where Now’s target audiences regularly congregate. In its early days Now’s target audience was predominantly female until hip-hop started entering the compilations mix and now the gender split is pretty equal. What the Now brand has done is recognise the popularity of particular genres or trends in popular music (culture) amongst audiences and featured those songs and artists on their compilations. As Moskow says “electronic dance music is one of the biggest genres, and it’s growing, so that sound is reflected in our brand and songs.” “We’re not critiquing music, just curating it,” says Moskow, who has personally selected the songs on every album since Now 3. “We really don’t care what it sounds like.”

I am no longer that eighteen year old idealistic and politically motivated ‘anarcho-punk’, however I am still a fan of punk music, and always will be, and I still like to stick two fingers up to the ‘man’ and the ‘system’ in some sort of faux defiance whenever and wherever possible. Fortunately for me my favourite music form has not been tarnished with the Now brush-there is no ‘Now! That’s What I Call Anarcho-Punk …’ and let’s hope there never will be. As I said at the beginning of this blog post, two particular events happened in 1983 that, it could be argued, changed the face of popular music for better and/or for worse. You can decide for yourselves which one was for better or worse….. I know which one my money is on.

Matt Grimes is the Degree Leader for Music Industries at Birmingham City University.

Rethink Media Conference returns to Birmingham on 25 March 2014 and will provide inspiring insights, informed debate and potential solutions to the many challenges facing the fast evolving digital media sector.

Rethink Media is organised by Birmingham City University – a national leader in media education – and aims to support emerging media by showcasing new business models and the tools to improve content creation, maximise distribution and support audience engagement.

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The murder of fearless journalist Pavel Sheremet must be solved - but Ukraine needs more

Sheremet was blown up as he drove to host a morning radio programme

On 20th of July Kiev was shaken by the news of the assassination of the respected Belarusian journalist Pavel Sheremet. Outside the ex-Soviet republics he was hardly known. Yet the murder is one that the West should reflect on, as it could do much to aggravate the Ukrainian-Russian conflict. 

Sheremet was one of the most significant and high profile investigative journalists of his generation. His career as an archetypal  examiner of the post-Soviet regimes in Belarus, Ukraine and Russia bought him fame and notoriety in the region. From 1997 onwards Sheremet became a name for fearless and non-partisan interrogation, both in print and as also as TV presenter. He paid the price early on when he was incarcerated by the Belarus government, then stripped of his Belarusian nationality and deported. Such is the way of things in the region.

Taking up residence in Kiev, Sheremet became immersed in interrogating the political life of Ukraine. He wrote for the Ukrayinska Pravda publication and also helped to develop a journalism school. Under these auspices he was a participant of a congress, "The dialogue between Ukraine and Russia", in April 2014. He reported on beginnings of the Euromaidan uprising. He warned of the rise of the concept  of "Novorossia" and suggested that Ukraine needed to reset its current status and stand up to Russian pressure. After the Russian occupation of Crimea his blame for the Ukrainian government was ferocious. He alleged that that they "left their soldiers face to face the [Russian] aggressor and had given up the Crimean peninsula with no attempt to defend it." These, he said "are going to be the most disgraceful pages of Ukrainian history."

Sheremet was blown up at 7.45am on 20 July as he drove to host a morning radio programme.

Ukraine is a dangerous place for journalists. Fifty of them have been murdered since Ukraine achieved independence. However, this murder is different from the others. Firstly, both the Ukrainian President and the Interior minister immediately sought assistance from FBI and EU investigators. For once it seems that the Ukrainian government is serious about solving this crime. Secondly, this IED type assassination had all the trappings of a professional operation. To blow a car up in rush hour Kiev needs a surveillance team and sophisticated explosive expertise. 

Where to lay the blame? Pavel Sheremet had plenty of enemies, including those in power in Belarus, Russia and the militias in Ukraine (his last blog warned of a possible coup by the militias). But Ukraine needs assistance beyond investigators from the FBI and the EU. It needs more financial help to support credible investigative journalism.   

The murder of Pavel Sheremet was an attack on the already fragile Ukrainian civil society, a country on the doorstep of the EU. The fear is that the latest murder might well be the beginning of worse to come.

Mohammad Zahoor is the publisher of Ukrainian newspaper The Kyiv Post.