Now That's What I Call Music!

Now That's What I Call Music!
Name	Now That's What I Call Music!
Type	Compilation
Artist	Various artists
Released	1983
Genre	Pop, Rock, Dance
Label	Virgin, EMI, UMG

Now That's What I Call Music! is a long-running series of various-artists compilation albums that originated in the United Kingdom in 1983 and expanded into a multinational franchise. The series has connected chart-topping hits by artists such as Madonna, Michael Jackson, Prince, Adele, Ed Sheeran and The Beatles with large-scale retail distribution channels including HMV, Woolworths Group (United Kingdom), Amazon (company), and Digital download platforms. Over decades the franchise intersected with institutions like the British Phonographic Industry, the Official Charts Company, the Recording Industry Association of America, and broadcasters such as the BBC and MTV.

History

The compilation concept drew from earlier industry practices exemplified by labels like EMI Group, Virgin Records, Sony Music Entertainment, Warner Music Group and releases such as Hits (compilation series), Now That's What I Call Music! 2 (UK), and international series like Jive Records samplers. Conceived by executives at Virgin Records and EMI Group in association with retailers including HMV and distributors like PolyGram, the inaugural UK release featured tracks by David Bowie, Duran Duran, Eurythmics, Culture Club and Wham!. The format capitalised on promotional synergies with radio stations such as Capital FM and Radio 1 and television outlets including Top of the Pops and Channel 4.

Format and Release Structure

Each edition compiles contemporary singles drawn from labels like Island Records, Columbia Records, Atlantic Records, RCA Records, and Def Jam Recordings. Editions follow release cadences set by regional licensors, with numbered mainline releases, special editions (e.g., summer hits, Christmas compilations), and anniversary retrospectives. Distribution channels evolved from vinyl and cassette to compact disc, digital download, and streaming media services such as Spotify (service), Apple Music, YouTube Music, and Amazon Music. Licensing negotiations often involved rights holders including PRS for Music, ASCAP, BMI (music rights organization), and publishers like BMG Rights Management.

Regional Editions and International Expansion

The franchise expanded into markets including the United States, Canada, Australia, Ireland, Japan, Germany, Spain, Italy, Brazil, Mexico, South Africa, India, Philippines, and New Zealand. Regional editions adapted tracklists to local charts such as the Billboard Hot 100, the ARIA Charts, the Canadian Hot 100, and the Oricon chart, reflecting local stars like Shakira, Enrique Iglesias, Taylor Swift, Katy Perry, Rihanna, BTS (band), Coldplay, U2, Oasis, Nirvana, Pearl Jam, Ariana Grande, and Bruno Mars. Local marketing involved partnerships with broadcasters like MTV Networks, retailers such as JB Hi-Fi, and promotional tie-ins with events like the Glastonbury Festival and Coachella.

Chart Performance and Commercial Impact

Several editions achieved number-one positions on national album charts including the UK Albums Chart, the Billboard 200, the ARIA Albums Chart, and the Canadian Albums Chart. Sales milestones placed compilations on lists maintained by the British Phonographic Industry and the Recording Industry Association of America, competing with blockbuster studio albums from Michael Jackson's Thriller (album), Adele's 21 (Adele album), and Taylor Swift's 1989 (Taylor Swift album). The series influenced retail strategies at chains like HMV and Target Corporation, impacted catalogue revenue for labels including Universal Music Group, and featured in business analyses by outlets such as Billboard (magazine), The Guardian, The New York Times, and Financial Times.

Compilation Artwork and Packaging

Packaging evolved from illustrated sleeves and die-cut inserts to glossy photography, die-cut collectors' editions, and special-box sets. Cover art has occasionally referenced visual trends from movements like Pop art through imagery evocative of photographers and designers associated with Vogue (magazine), Rolling Stone, NME, and agencies such as Getty Images. Limited editions and retailer-exclusive bundles were promoted through partners including HMV, Sainsbury's, Tesco, Walmart, and Target Corporation, often featuring bonus discs or exclusive liner notes.

Criticism and Controversies

Critics and industry observers raised issues about licensing fairness involving major record labels and indie rights holders like 4AD and Domino Recording Company, royalty splits administered by PRS for Music and PPL (UK) and the playlisting choices that favour corporate partners. Some disputes involved track substitutions or omissions due to rights held by Sony Music Entertainment or territorial restrictions on catalogs like The Beatles's early recordings. The series also faced scrutiny from cultural commentators at outlets including Pitchfork, NME, and Rolling Stone over perceived homogenisation of pop and the commercialisation of compilation culture.

Legacy and Cultural Influence

The franchise shaped compilation practices alongside predecessors like Now That's What I Call Music! 2 (UK) and contemporaries such as Now That's What I Call Music! (U.S. series), influencing markets for various-artists releases including themed collections such as Now That's What I Call Christmas! and anniversary retrospectives. Its model informed digital playlist curation on Spotify (service) and editorial compilations maintained by Apple Music, while collectors and music historians at institutions like the British Library and universities such as University of Oxford and University of Cambridge study the series' role in popular music dissemination. The series remains a reference point in discussions involving artists from Elton John to Beyoncé, and in analyses by media scholars referencing outlets like BBC Radio 2, The Times, and The Independent.

Category:Compilation album series