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.

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On civil liberties, David Davis has become a complete hypocrite – and I'm not sure he even knows it

The Brexit minster's stance shows a man not overly burdened with self-awareness.

In 2005, David Davis ran for the Tory leadership. He was widely assumed to be the front-runner and, as frontrunners in Tory leadership campaigns have done so enthusiastically throughout modern history, he lost.

The reason I bring up this ancient history is because it gives me an excuse to remind you of this spectacularly ill-judged photoshoot:


“And you're sure this doesn't make me look a bit sexist?”
Image: Getty

Obviously it’s distressing to learn that, as recently as October 2005, an ostensibly serious politician could have thought that drawing attention to someone else’s boobs was a viable electoral strategy. (Going, one assumes, for that all important teenage boy vote.)

But what really strikes me about that photo is quite how pleased with himself Davis looks. Not only is he not thinking to himself, “Is it possible that this whole thing was a bad idea?” You get the distinct impression that he’s never had that thought in his life.

This impression is not dispelled by the interview he gave to the Telegraph‘s Alice Thompson and Rachel Sylvester three months earlier. (Hat tip to Tom Hamilton for bringing it to my attention.) It’s an amazing piece of work – I’ve read it twice, and I’m still not sure if the interviewers are in on the joke – so worth reading in its entirety. But to give you a flavour, here are some highlights:

He has a climbing wall in his barn and an ice-axe leaning against his desk. Next to a drinks tray in his office there is a picture of him jumping out of a helicopter. Although his nose has been broken five times, he still somehow manages to look debonair. (...)

To an aide, he shouts: “Call X - he’ll be at MI5,” then tells us: “You didn’t hear that. I know lots of spooks.” (...)

At 56, he comes – as he puts it – from “an older generation”. He did not change nappies, opting instead to teach his children to ski and scuba-dive to make them brave. (...)

“I make all the important decisions about World War Three, she makes the unimportant ones about where we’re going to live.”

And my personal favourite:

When he was demoted by IDS, he hit back, saying darkly: “If you’re hunting big game, you must make sure you kill with the first shot.”

All this, I think, tells us two things. One is that David Davis is not a man who is overly burdened with self-doubt. The other is that he probably should be once in a while, because bloody hell, he looks ridiculous, and it’s clear no one around him has the heart to tell him.

Which brings us to this week’s mess. On Monday, we learned that those EU citizens who choose to remain in Britain will need to apply for a listing on a new – this is in no way creepy – “settled status” register. The proposals, as reported the Guardian, “could entail an identity card backed up by entry on a Home Office central database or register”. As Brexit secretary, David Davis is the man tasked with negotiating and delivering this exciting new list of the foreign.

This is odd, because Davis has historically been a resolute opponent of this sort of nonsense. Back in June 2008, he resigned from the Tory front bench and forced a by-election in his Haltemprice & Howden constituency, in protest against the Labour government’s creeping authoritarianism.

Three months later, when Labour was pushing ID cards of its own, he warned that the party was creating a database state. Here’s the killer quote:

“It is typical of this government to kickstart their misguided and intrusive ID scheme with students and foreigners – those who have no choice but to accept the cards – and it marks the start of the introduction of compulsory ID cards for all by stealth.”

The David Davis of 2017 better hope that the David Davis of 2008 doesn’t find out what he’s up to, otherwise he’s really for it.

The Brexit secretary has denied, of course, that the government’s plan this week has anything in common with the Labour version he so despised. “It’s not an ID card,” he told the Commons. “What we are talking about here is documentation to prove you have got a right to a job, a right to residence, the rest of it.” To put it another way, this new scheme involves neither an ID card nor the rise of a database state. It’s simply a card, which proves your identity, as registered on a database. Maintained by the state.

Does he realise what he’s doing? Does the man who once quit the front bench to defend the principle of civil liberties not see that he’s now become what he hates the most? That if he continues with this policy – a seemingly inevitable result of the Brexit for which he so enthusiastically campaigned – then he’ll go down in history not as a campaigner for civil liberties, but as a bloody hypocrite?

I doubt he does, somehow. Remember that photoshoot; remember the interview. With any other politician, I’d assume a certain degree of inner turmoil must be underway. But Davis does not strike me as one who is overly prone to that, either.

Jonn Elledge edits the New Statesman's sister site CityMetric, and writes for the NS about subjects including politics, history and Daniel Hannan. You can find him on Twitter or Facebook.

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