"40 Years of Sonic Bliss: Navigating the Musical Tapestry of Now That's What I Call Music!"
A cultural phenomenon akin to a Top of the Pops you could enjoy with a side of nostalgia, the Now That's What I Call Music! compilation series has been a sonic time capsule for four decades. From its inaugural release that brought Bonnie Tyler, Kajagoogoo, UB40, and the Rock Steady Crew together on the same vinyl stage, to its current status as a bellwether of mainstream music, the Now! series has shaped and reflected the ever-evolving landscape of pop culture.
Back in 1983, a groundbreaking collaboration between major labels EMI and Virgin Records on Richard Branson's boat birthed a series that would dwarf its rivals, providing access to an expansive array of hits. As Universal joined the party in 1986, Now! albums became veritable mirrors of contemporary musical tastes, capturing the essence of each era with precision.
With over 100 releases and an average of three albums per year, Now! is not just a compilation series; it's a musical journey through the rise and fall of iconic music movements. From the heyday of Stock, Aitken and Waterman to the cultural revolutions of Madchester and Britpop, and the chart-topping reigns of boy/girl bands, UK garage, EDM, and the X Factor era – Now! has witnessed it all.
For its fans, Now! is more than just a collection of songs; it's a catalog of life markers and generational rallying points. In this ode to musical nostalgia, 10 Independent writers delve into the Now! installments that punctuated their musical upbringings, reminiscing about the moments when these albums, quite literally, arrived at their doorsteps, marking the beginning of a sonic journey that would shape their musical landscapes.
"Blasts from the Past: Unveiling the Sonic Time Capsule of Now! 2 and Now! 8"
In the rhythmic realm of Now That's What I Call Music!, the tracklist is not just a compilation; it's a timebomb of musical nostalgia. Phil Collins, Heaven 17, Duran Duran, the eccentric Kajagoogoo, the ubiquitous Men at Work – each name is a chapter in the sonic story of the '80s. From Top of the Pops classics to New Romantic gems and peculiar off-cuts, Now! 2 curated a sonic landscape that was both eclectic and era-defining.
As the echoes of "Down Under" by Men at Work reverberated, a new era dawned with the introduction of double cassettes. NOW 2, with its superbly bulky yet Walkman-friendly format, marked a mini-epoch in the evolution of musical collections. Perhaps the reasons behind this evolution lay in the mysteries of Britannia's fate or the scarcity of Bat Out of Hell copies. Nevertheless, the era of double cassettes had arrived.
Reflecting on the legacy of Now! 1, it may be dismissed by some as pop pap. However, for one listener, it served as a gateway to Motown bliss. The discovery that Phil Collins' rendition of "You Can't Hurry Love" was a cover of the Supremes classic became a serendipitous twist, attributing Motown appreciation to an unexpected source.
Meanwhile, in the alternative-leaning universe of an Eighties teenager with a penchant for The Beatles, The Jam, Depeche Mode, and a longing for Pixies, the Now! series was seen as the devil's elevator muzak. Yet, within the walls of this musically diverse household, Now! compilations found a devoted collector in the author's brother. The seismic shift occurred in 1986 with the release of Now! 8, hailed as a cultural milestone.
Now! 8 showcased a musical tapestry that transcended chart pap, featuring electro-pop stalwarts like The Human League, Pet Shop Boys, and OMD alongside establishment icons delivering timeless hits. From Peter Gabriel's soulful "Don't Give Up" to pop goons redeeming themselves through It Bites' "Calling All the Heroes" and The Communards' "Don't Leave Me This Way," Now! 8 etched its mark as a pinnacle installment in the series, bridging the gap between diverse musical preferences and establishing itself as a symbol of cultural resonance.
"Cracks in the Cultural Barricade: Now! 8's Unprecedented Blend of Pop Diversity"
In the eclectic realm of Now That's What I Call Music!, where Nick Berry's "Every Loser Wins" shares sonic space with Cameo's "Word Up!", Now! 8 emerges as a groundbreaking installment that shattered cultural barriers. While the series had occasionally welcomed alternative acts like The Cure, The Smiths, OMD, and Siouxsie and the Banshees in earlier compilations, Now! 8 signaled a seismic shift.
Amidst the chart-toppers, The Housemartins made a gentle plea with "Think For a Minute," Billy Bragg bristled through "Greetings to the New Brunette," and Run-DMC and Aerosmith jointly obliterated the boundaries between rock and rap with the iconic "Walk This Way." Now! 8 became a melting pot of musical genres, seamlessly blending alternative sounds with mainstream hits.
This installment marked the first cracks in a cultural barricade that would soon crumble entirely, paving the way for Madchester, indie rock, and rave to dominate the soundscape of 1990's Now! 17. The shift was palpable, and the impact resonated beyond the confines of a compilation album.
Personal memories also weave into the tapestry of Now! history. In 1988, against the backdrop of Margaret Thatcher's record-breaking tenure, the withdrawal of the pound note, and the commencement of the Channel Tunnel project, a 13-year-old enthusiast boarded the top deck of a bus home from school armed with Now! 12 on a double cassette. Inspired by a fervent desire to "GET FIT," the teenager, clad in silver leg warmers and a shimmering jade green leotard, unfolded an inlay card featuring a Californian swimming pool. As the red boombox played the shifting electric pulses of Now! 12, star jumps synchronized with the compilation's beats, transforming an ordinary bus ride into a personal fitness journey set to the soundtrack of a musical revolution.
"Melodies and Memories: Now! 20's Eclectic Fitness Journey and Now! 29's Sonic Time Capsule"
In the kaleidoscopic universe of Now That's What I Call Music!, each installment is not just a compilation but a sonic time capsule that captures the essence of its era. Now! 12, with its Wet Wet Wet opener, became the soundtrack to an unconventional fitness routine for one enthusiast. Faffing around to avoid the opener, the listener embarked on a sweat-inducing journey set to the beats of Salt-N-Pepa's "Push It," the infectious "Theme" from S'Express, and the boastful raps of Derek B on "Bad Young Brother." In a burst of energy, high kicks synchronized with the giddy piano riffs of The Hothouse Flowers' "Don't Go," and even the spaniel ears of a perm bounced to Voice of the Beehive's "Don't Call Me Baby." The wind-tunnel riffs of Heart's "These Dreams" provided the perfect cooldown, a moment of tranquility after a vibrant workout session, before the realities of homework in English suburbia unfolded, guided by the melancholic tones of Morrissey's "Everyday is like Sunday."
Fast forward to the 1991 two-CD Now! 20, a masterpiece in genre-blending that showcased the series' ability to seamlessly fuse disparate musical styles. In a landscape dominated by grunge and the rise of rave culture, Now! 20 fearlessly embraced diversity. The techno brilliance of 2 Unlimited's "Get Ready for This" set the stage, inviting listeners to a musical rollercoaster. Enya's "Caribbean Blue" transported them to Middle Earth, while PM Dawn's "Set Adrift On Memory Bliss" concluded disc one with trippy hip-hop vibes. The playlist unfolded like a journey through sonic landscapes, featuring Moby's Twin Peaks-sampling "Go!" and U2's non-embarrassing phase with the proto-Radiohead sound of "The Fly."
Moving forward to Now! 29 in November 1994, the series continued to evolve, capturing the zeitgeist of the moment. Each track on the compilation was a snapshot of the diverse musical landscape of the time, a reminder that Now! had become more than just a collection of songs; it was a cultural mirror reflecting the ever-shifting tastes of its audience.
In the rich tapestry of the Now! series, from unconventional workout routines to eclectic genre mash-ups, each installment becomes a chapter in the musical journey of its listeners, leaving an indelible mark on the soundtrack of their lives.
"Discoveries and Discotheques: Now! 29 Unearths Hidden Talents and Creates Lifelong Memories"
For many, a Now! album isn't just a collection of songs; it's a journey of self-discovery, a portal to uncharted territories of personal revelation. Now! 29 became a pivotal moment for one individual, seated on a long-haul bus with hair neatly parted, lost in the grungy, anguished cadence of The Cranberries' "Zombie" through a chunky, bright yellow Walkman. The blissful solitude was shattered by a tap on the shoulder from an older kid behind, a jolting realization that not everyone appreciated the earnest attempt at a vocal duet with Dolores O'Riordan. As New Order's "True Faith," Whigfield's "Saturday Night," and Youssou N'Dour's "7 Seconds" followed suit, it dawned on the singer that perhaps the voice in their head was more forgiving than the one projected into the air. Now! 29, inadvertently, became the revealer of vocal truths – a blunt but humorous guide to the less melodious aspects of personal vocal stylings.
In another corner of musical self-discovery, the gift of the single cassette version of U2's epic "Hold Me, Thrill Me, Kiss Me, Kill Me" marked the beginning of a cherished journey. Paired with the coveted Body Shop's "white musk" lotion, the double-sided cassette was worn out in repeated listens. The birthday party soundtrack also featured Meat Loaf's romantic anthem "I'd Lie For You (and That's The Truth)," prompting wistful reminiscences of a missed dance opportunity at a bat mitzvah. Track two, Sheryl Crow's "All I Wanna Do," however, sparked true love and even inspired a concert attendance with a best friend donning matching silver latex trousers.
As the Now! of 1995 unfolded, it became synonymous with the era of Britpop. Packed with anthems like Pulp's "Common People," Oasis's "Some Might Say," and Blur's "The Universal," it defined the musical landscape for a generation. For East Londoners restricted to listening to Blur, the Now! album became a musical emancipation. The eclectic mix extended to Coolio's "Gangsta's Paradise," a track whose lyrics were collectively owned by the millennial generation, culminating in a spirited rap performance at a 40th birthday party.
In the tapestry of musical memories, Now! 29 became a vessel for self-discovery, vocal revelations, missed dance-floor chances, and the anthems that defined an era. It's not just an album; it's a mirror reflecting the multifaceted journey of personal growth and the enduring soundtrack of cherished moments.
"Echoes of 1999: Now! 43 as a Musical Diary of Coming-of-Age"
The summer of 1999 is not just a distant memory but a living soundscape, encapsulated in the notes of Now! 43 for one individual. Felicity Shagwell's poster adorned the bedroom ceiling, Mel B briefly transformed into Mel G, and the formation of a soul found its rhythm in the eclectic tracks of this musical compilation. It's not merely a time capsule; it's a testament to the enduring connection with the sounds that shaped a younger self.
Blur's "Coffee & TV" remains a nostalgic trip, a video revisited for a friend who hadn't experienced its '90s charm. The bidding wars on eBay for a Semisonic vinyl record and the annual presence of Backstreet Boys in Spotify Wrapped speak of a musical landscape that's not just a relic but an ongoing journey.
The tracklist, featuring James, Gomez, and the somewhat forgotten pop group Precious, reflects a familiarity that goes beyond a mere reflection of the past. It becomes a mirror that raises questions about cultural stagnation or an unwillingness to let go. Yet, in this soundscape, there's a charm that resounds with the yearning to understand life, Baz Luhrmann's spoken-word wisdom in "Everybody's Free (To Wear Sunscreen)" offering earnest lessons that, even if not fully heeded, resonate with the essence of growing up.
At six years old, textures, people, sounds, and even the news became part of the conscious experience. Life lessons and musings on Martine McCutcheon's "Perfect Moment" coexisted with the pondering of the Vengaboys' genius after a few drinks. The year 1999 became a time of figuring things out, filled with naive assumptions that everything would fall into place eventually. In the backdrop of magazines that made one feel ugly and the internal debates about diary-keeping being too girly, Now! 43 emerged as an unintentional diary, capturing the mood of a very specific moment in life.
It wasn't about dates or specifics; it was the soundtrack of a boy trying to navigate the complexities of existence, unaware of the twists and turns that lay ahead. The echoes of that summer, embedded in Now! 43, continue to reverberate, offering a nostalgic embrace of a time when the earnestness of youth collided with the cacophony of '90s music.
"Melodies of Innocence: Now! 49 and Now! 51 as Time Capsules of Summers Past"
In the era before the intrusion of social media into our lives, summers felt infinite, and the innocence of youth shielded us from the world's harsh realities. Back then, without the constant digital barrage of news, my brothers and I reveled in a musical landscape that mirrored our carefree existence. S Club 7's perpetual motion, Robbie Williams' post-"Millennium" crooning of "Eternity," and Atomic Kitten nursing an "Eternal Flame" created a harmonious soundtrack to our days. Stereophonics encouraged everyone to "Have a Nice Day," and Geri Halliwell delivered the forecast: "It's Raining Men." Girl power echoed everywhere, from the Spice Girls and the Sugababes to global pop icons Madonna, Britney Spears, Destiny's Child, and Christina Aguilera.
This was an era untouched by the democratization of music through streaming. Playground conversations still revolved around the preference for rock or metal, pop or rap. While friends pegged me as a Spice Girls enthusiast, at home, I screamed along to the rebellious anthems of Wheatus' "Teenage Dirtbag" and blink-182's "The Rock Show." Now! 49 not only shaped my musical taste but also introduced me to the worlds of US hip-hop with Outkast's immortal "Ms Jackson" and UK garage through DJ Pied Piper's chart-topping "Do You Really Like It?". The eclectic mixtape was a testament to the diversity of musical influences, urging me to leave cynicism at the door when it comes to music.
In Australia, where the influence of Now! was somewhat less pronounced, Now! 51 made an indelible mark on the soundscape of 2002. The scarlet red cover of the CD resonates vividly, and within its tracks, the standout was "Bad Babysitter" by Princess Superstar. Despite its overtly sexual and mature themes, the infectious pop chorus became an anthem that, while perhaps inappropriate for a seven-year-old, embedded itself into memory, encapsulating the joyous and carefree spirit of youth.
Now! 49 and Now! 51 emerge not just as compilations of songs but as time capsules, encapsulating the essence of summers past and the innocence that defined our youthful musical explorations.
"Melodic Time Capsules: Now! 51 and Now! 70 as Soundtracks of Youthful Frustrations and Dance Chronicles"
In the tapestry of the 2000s, Now! 51 emerged as more than just a compilation; it became a companion to a prepubescent soul ensnared by parental controls and bedtime strictures. Britney Spears' "Overprotected" resonated deeply, mirroring the frustration of a faraway pop star navigating a sheltered existence. Looking back, the Now! 51 tracklist remains a regular on my Spotify, a testament to its formative impact on my musical taste. The pop-punk anthems of Sum 41's "In Too Deep" and Alien Ant Farm's "Movies" coexist with the irresistible grooves of Christina Milian's "AM to PM" and Ja Rule's "Always on Time," encapsulating the eclectic sounds of the early Noughties. And, of course, Enrique Iglesias' "Hero" stands as a timeless ballad that needs no further explanation.
Fast forward to 2008, and Now! 70 becomes a Christmas gift that transcends the ordinary. George Sampson's Britain's Got Talent victory, weekends immersed in Angus, Thongs and Perfect Snogging, and the allure of Photo Booth's aquarium filter all fade into the background when Now! 70 takes center stage. An eight-year-old's Christmas Day transforms into a private dance choreography session for every track on the album. Estelle and Kanye West's "American Boy" becomes a spectacle complete with Kanye-esque sunglasses and an oversized jacket borrowed from an older brother. Dizzee Rascal and Calvin Harris's "Dance Wiv Me" inspire a reenactment of the music video, complete with attempts at rapping Dizzee's swagger. Sam Sparro's "Black & Gold" sets the rhythm for a pop-and-lock routine, executed with utmost seriousness.
This private dance party extends beyond the confines of the bedroom when a neighbor shares a similar enthusiasm for Now! albums. Choreography meets camera angles as pink compact cameras capture earnest lip-syncing to Duffy's "Warwick Avenue." The result? Homemade music videos residing somewhere in the depths of YouTube, testaments to the exuberance and creativity sparked by the melodic offerings of Now! compilations.
Now! 51 and Now! 70 become more than just soundtracks; they evolve into time capsules, encapsulating the frustrations and dance chronicles of a youth shaped by the beats and rhythms of the early 2000s.
"Musical Icons Through the Ages: A Journey from Genesis to Britney Spears"
The evolution of music is a captivating odyssey, spanning decades and embracing diverse genres. From the iconic British rock group Genesis, featuring the likes of Peter Gabriel, Phil Collins, Tony Banks, Mike Rutherford, and Steve Hackett, to the groundbreaking presence of nineties rap megastars Salt-N-Pepa and the unparalleled legacy of U2's Bono gracing the Vincennes racetrack in 1993, these images represent the tapestry of musical history.
Supersonic days with Liam and Noel Gallagher of Oasis, the boy band charisma of The Backstreet Boys, and the magnetic stage presence of Britney Spears in 1999 illustrate the vibrant spectrum of musical expressions that captivated audiences worldwide. The electrifying performance of Estelle and Kanye West in 2009 further underscores the dynamic evolution of sound and style, transcending eras.
Embedded in these snapshots is not just the essence of individual artists but a collective narrative of cultural shifts, trends, and the ever-changing landscape of music. From the genesis of rock to the rhythmic beats of rap, from the anthems of boy bands to the pop princesses commanding the stage, each image encapsulates a chapter in the ongoing saga of musical exploration.
As we journey from the roots of Now That's What I Call Music! in 1983 to the eclectic collaborations of the modern era, these glimpses into musical history invite us to reflect on the impact of artists who have shaped our auditory experiences over the years. It's a celebration of the rich tapestry woven by the threads of melody, rhythm, and the timeless allure of artistic expression.
"In tracing the footsteps of musical icons through the decades, from the progressive rock legends Genesis to the rhythmic beats of nineties rap pioneers Run-DMC, the infectious energy of Salt-N-Pepa, and the anthemic presence of U2's Bono, we embark on a journey that transcends genres and encapsulates the essence of musical evolution. The supersonic days with Oasis, the boy band charisma of The Backstreet Boys, and the iconic performances of Britney Spears and Estelle with Kanye West serve as vibrant chapters in the ever-evolving story of music.
These snapshots are more than just visual moments; they are windows into the cultural shifts, trends, and transformative power of music. From the debut of Now That's What I Call Music! in 1983 to the present-day collaborations shaping the modern soundscape, the narrative is a testament to the enduring impact of artists who have become the architects of our auditory experiences.
As we bookmark these images of musical history, they not only invite reflection on the past but also spark anticipation for the melodies yet to come. The concluding note resonates with the celebration of a rich tapestry, woven by the threads of melody, rhythm, and the timeless allure of artistic expression, forever echoing in the hearts of music enthusiasts across the ages."