Now That's What I Call Compilations

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20180704

As Now That's What I Call Music turns 100, can compilation albums survive streaming?

Before November 1983, compilations were hit-and-miss affairs, with many relying on session musicians and uncredited singers to give fans copycat versions of the hits they'd heard on the radio. When Now That's What I Call Music launched, it was different. Not only did it have 30 of the year's best-selling songs - all by their original artists - the music was spread across two records, allowing the tracks to be heard in full, and in good quality. It was backed up by a national TV ad campaign, voiced by Tracey Ullman.

More than 2,000 artists and 120 million sales later, Now is one of the world's most successful music brands. But music - and the way we listen to music - has changed a lot over the last 35 years. With streaming services allowing us to create our own playlists, and with physical album sales in decline, has the role of the Various Artists record changed? When we can choose to listen to our favourite tracks from a choice of millions online, have hit-based compilations had their day? Or is there still a role for albums that have been carefully curated and programmed with the casual listener in mind?

Presented by Gary Davies, with contributions from Westlife's Markus Feehily, Nadine Coyle from Girls Aloud, Ali Campbell from UB40, Kylie, Heaven 17, Limahl, The Thompson Twins, Anne-Marie and Calum Scott, as well as compilation creators and compilers, music managers and journalists.

How Now That's What I Call Music became the number one name in compilation albums.

It kicked off with Phil Collins' cover of a Motown classic, grew so popular that it caused the album charts to split into two, and fought off threats from rival titles, downloads and streaming services to become one of the world's most successful music brands. This is the story of how Now That's What I Call Music changed compilation albums.

Before November 1983, compilations were hit-and-miss affairs, with many relying on session musicians and uncredited singers to give fans copycat versions of the hits they'd heard on the radio. When Now launched, it was different. Not only did it have 30 of the year's best-selling songs - all by their original artists - the music spread across two albums, allowing the tracks to be heard in full, in good quality. It was backed up by a national TV ad campaign, voiced by Tracey Ullman.

More than 2,000 artists and 120 million sales later, Now 100 is about to be released. But music - and the way we listen to music - has changed a lot over the last 35 years. With streaming services allowing us to create our own playlists, and with physical album sales in decline, has the role of the Various Artists record changed?

With contributions from Westlife's Mark Feehily, Nadine Coyle from Girls Aloud, Ali Campbell from UB40, Heaven 17, Limahl, The Thompson Twins, Anne-Marie and Calum Scott, as well compilation creators and compilers, music managers and journalists.

As Now That's What I Call Music turns 100, can compilation albums survive streaming?

Before November 1983, compilations were hit-and-miss affairs, with many relying on session musicians and uncredited singers to give fans copycat versions of the hits they'd heard on the radio. When Now That's What I Call Music launched, it was different. Not only did it have 30 of the year's best-selling songs - all by their original artists - the music was spread across two records, allowing the tracks to be heard in full, and in good quality. It was backed up by a national TV ad campaign, voiced by Tracey Ullman.

More than 2,000 artists and 120 million sales later, Now is one of the world's most successful music brands. But music - and the way we listen to music - has changed a lot over the last 35 years. With streaming services allowing us to create our own playlists, and with physical album sales in decline, has the role of the Various Artists record changed? When we can choose to listen to our favourite tracks from a choice of millions online, have hit-based compilations had their day? Or is there still a role for albums that have been carefully curated and programmed with the casual listener in mind?

Presented by Gary Davies, with contributions from Westlife's Markus Feehily, Nadine Coyle from Girls Aloud, Ali Campbell from UB40, Kylie, Heaven 17, Limahl, The Thompson Twins, Anne-Marie and Calum Scott, as well as compilation creators and compilers, music managers and journalists.

Before November 1983, compilations were hit-and-miss affairs, with many relying on session musicians and uncredited singers to give fans copycat versions of the hits they'd heard on the radio. When Now That's What I Call Music launched, it was different. Not only did it have 30 of the year's best-selling songs - all by their original artists - the music was spread across two records, allowing the tracks to be heard in full, and in good quality. It was backed up by a national TV ad campaign, voiced by Tracey Ullman.

More than 2,000 artists and 120 million sales later, Now is one of the world's most successful music brands. But music - and the way we listen to music - has changed a lot over the last 35 years. With streaming services allowing us to create our own playlists, and with physical album sales in decline, has the role of the Various Artists record changed? When we can choose to listen to our favourite tracks from a choice of millions online, have hit-based compilations had their day? Or is there still a role for albums that have been carefully curated and programmed with the casual listener in mind?

Presented by Gary Davies, with contributions from Westlife's Markus Feehily, Nadine Coyle from Girls Aloud, Ali Campbell from UB40, Kylie, Heaven 17, Limahl, The Thompson Twins, Anne-Marie and Calum Scott, as well as compilation creators and compilers, music managers and journalists.

How Now That's What I Call Music became the number one name in compilation albums.

It kicked off with Phil Collins' cover of a Motown classic, grew so popular that it caused the album charts to split into two, and fought off threats from rival titles, downloads and streaming services to become one of the world's most successful music brands. This is the story of how Now That's What I Call Music changed compilation albums.

Before November 1983, compilations were hit-and-miss affairs, with many relying on session musicians and uncredited singers to give fans copycat versions of the hits they'd heard on the radio. When Now launched, it was different. Not only did it have 30 of the year's best-selling songs - all by their original artists - the music spread across two albums, allowing the tracks to be heard in full, in good quality. It was backed up by a national TV ad campaign, voiced by Tracey Ullman.

More than 2,000 artists and 120 million sales later, Now 100 is about to be released. But music - and the way we listen to music - has changed a lot over the last 35 years. With streaming services allowing us to create our own playlists, and with physical album sales in decline, has the role of the Various Artists record changed?

With contributions from Westlife's Mark Feehily, Nadine Coyle from Girls Aloud, Ali Campbell from UB40, Heaven 17, Limahl, The Thompson Twins, Anne-Marie and Calum Scott, as well compilation creators and compilers, music managers and journalists.