Perhaps a more focused, poppy compilation is a sign of the times a signifier for a changing demographic. What a shame to see this variety has gone.
#UK NOW THATS WHAT I CALL MUSIC 100 SERIES#
The very first anthology in the series saw Tina Turner next to Men At Work and Madness, my first edition (65 if you fancy a look) had David Hasselhoff paired with the likes of Shakira and Paolo Nutuni. Where are the odd choices, the weird artists you hate at first then grow to like, or even the downright dreadful picks? Its all gone, replaced by a new shiny smooth Now… format. In this vain, the instrumentation of the songs blend well together and suit each other – but this is what you can find anywhere the personally catered cohesive music compilation. Hyundai Mercury Music Prize 2018: Getintothis Album Club fantasy shortlist Song structures are noticeably alike on this edition- as I presume a compilation of 90’s grunge or metal would be that is no criticism of pop song structures themselves but rather representative of the complete and utter lack of variety. Yet it is similarities the songs hold musically rather than the similarities of their audiences that differs from older editions of the format. I suppose it could be argued that every Now… is compilation of pop music for the songs to make it into any edition, they must be, by definition, popular music.
The primary disc, which I presumed encompassed the Now part of the format’s title, was, to my surprise, completely and entirely comprised of pop music. The centenary edition follows the usual two disc format, the latter disc a collection of fan-favourite tracks of years gone by – an understandable choice, featuring Phil Collins, Kylieand Bon Jovi amongst others. With Now… celebrating its 100 th edition in July, I decided to check back on the series and see if it has maintained the typical mixture of genres and artists in its modern editions.Ĭonsidering the increasing popularity of all the ridiculously specific online Apple or Spotify playlists, I though the variety characteristic of the Now… format would be pushed further as its ‘unique selling point’ or at least still hold its foundational values. Music taste and self-identity as a whole rely as much on what you like as what you don’t, and the variety of Now… certainly helped younger listeners, myself included, define themselves for perhaps one of the first times.
Unlike tailor-made compilations fabricated by music streaming series, often with a very specific focus – see Spotify’s overly attentively titled Country Coffeehouse or Deep Dark Indie, playlists, there will most likely be tracks that you don’t love. The array of genres, singers and bands allows for you choose what you do and don’t like.
Normally bought for you between the ages of seven and 11, that first Now… is forever ingrained your musical palate.įor many it is beginning of an individual, personal music taste. You always remember your first Now That’s What I Call Music. As the Now… compilation album series reaches its centenary, Getintothis’ Matthew Lear reflects on the brand’s ongoing appeal.