Now That's What I Call Music nostalgia thread | Page 205 | The Popjustice Forum

Now That's What I Call Music nostalgia thread

Discussion in 'Comeback corner' started by P Grandson, Oct 12, 2017.

  1. This is all really interesting and good to know. I’m guessing Depeche Mode fall in the category of “no 80s compilations”, it now looks like Mute is becoming more difficult to license with the lack of Yazoo on the Yearbooks.
     
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  2. A Yearbook: Legends would be one way of rounding out the series with the artists they've not thus far been able to get over the line for inclusion, though Madonna is in a league of her own and deserving of a Now That's What I Call Madonna, easily filling a four-disc / 80-track set with nothing but hits.
     
  3. I love when a Madonna song pops up on a compilation (Rhino or Universal). I think the guy who made the 2013 G-A-Y- album had to get Madonna to sign off on Hung Up appearing, and to do so he had to send her the full track listing and explain the concept of the album and that it was gonna be a continuous mix.

    Regarding artists saying no to certain themed compilations do you think Madonna says yes if it's an LGBT+ themed compilation then? Might also explain why Mariah, PSB, and Taylor Swift all said yes to NOW Pride.

    Honestly this whole discussion of licensing is so fascinating. I've always wanted to compile official compilations and workout the licensing issues so this is like crack to me.
     
  4. I dunno, but I think artists shouldn't be so precious about this stuff. Okay, so some cheap unheard-of compilation brand might be wise to steer clear of, and avoid association with it, but if it's a NOW...for godssake, these are national institutions.
     
  5. I agree. NOW certainly has a brand name that people know, trust, love and stay loyal too. Why wouldn't you want to get a song on a main NOW or even a decent spin-off? It's a nice simple piece of promotion for the artist, their song, and their album at the end of the day. Every artist should be up for debate for a placement on a NOW, no matter who they are.
     
  6. Mvnl

    Mvnl Staff Member

    I mean, I get it when it comes to new singles that are still supposed to sell albums. But would someone really not bother diving into Madonna's back catalogue 'because Vogue is already on Now Yearbook 1990'?
     
  7. I've done over 250 of them - though not worked on a full title myself for a few years - and I guess it is interesting, but with the turnaround time and release schedule I had, there ultimately wasn't much time to get to geeked out on the intricacies. I always seemed to have at least 8 projects on the go at different stages of development at any one time so it was a matter of keeping plates spinning and being coordinated more than anything else.
     
  8. A very major artist who hasn't appeared on a NOW album in a long while - their manager is the partner of an ex-colleague of mine, and I bumped into them at a wake (of all things) years ago of someone we all knew, and when we got to talking about my work, he said the reason they don't say yes to comps anymore was simply that "we don't need to". That's the mentality. I'm surprised Ed Sheeran is still saying yes.
     
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  9. Yep, Depeche Mode were another one in that category, definitely. Quite common with bands a) still recording reasonably popular output and b) regarded as still being "cool".
     
  10. Particularly in a day and age where the physical compilation (because mark my words, shrunken though it may be these days, the lion's share of compilation sales have always been in the physical format and still are) market is a) so small now anyway, that the volume of sales is unlikely to impact or cannibalise sales from the artists own catalogue in any meaningful way and b) a different market entirely to the method of consumption by which most music is monetised now, which is streaming.
     
  11. Plus of course, maybe the likes of PSB and Depeche Mode don't want to be reminded (or have the public reminded) of how good they used to be, and how (comparitively) shit they are now (scuse the pun).
     
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  12. You're saying the quiet bit out loud.
     
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  13. Re: Now Yearbook Extra 1984

    I have seen a couple of people complain about The Style Council's Shout To The Top being a (mostly) instrumental version.
    Anyone else have this issue?
    Sounds like the 7" mix to my ears.
     
  14. Your life is all kinds of interesting to me! I wanna say the manager of the artist is Adele. I think artists like Ed might consider it an honour to be on them still. I think a lot of Popstars in the UK see making a NOW quite an accomplishment - just like how a lot of acts felt the same way about being on Top of the Pops.
     
  15. Yeah, he's spun this so it looks like he had to deal with Madonna herself directly because it sounds impressive. For every compilation request in the whole world, ever, those details have to be supplied to everyone you're asking for music from, so that's not special treatment or demands or anything.

    Just because one or two of you might find it interesting, and not because I'm trying to be a contrary smart arse, here's what really would have happened:

    - Sony's licensing department (the label that released it) - sent a list of tracks they would like to license to Warner UK's licensing department, along with all the details of the release (price point, royalty rate, number of tracks, list of every other track being requested, a description of the project, marketing spend, expected sales). (I note that the release was a 'joint venture' between all three major labels - which basically means the three parties equally split the cost of manufacture and marketing on the project, in return for an equal split of the profits. Being a Warner joint venture would have facilitated the Madonna clearance as well, as they have more motivation to "push back" and persuade reluctant labels and artists (and again, when I say artists here, I mean their reps/managers)

    - Warner UK licensing staff get everyone in the UK office (this would be her local label head and also the local catalogue/Rhino department) who has to OK the request to OK it and then forward the request on to Warner US. In this particular instance, what seems to have happened (and I'm basing this on similar things happening to me) is that Warner US liked what they've seen (or thought it an important project for her to feature on and just for once, instead of denying the request outright, have decided to forward it to Madonna's management. Either they've gone back to Warner UK and told them they'll consider approving but they'll need the actual finalised track listing (not just the list of tracks being requested) because they know management will want it OR they sent it to management and management asked for it.

    - Warner UK go back to Sony UK, Sony UK go back to ol' mate compiler dude, ol' mate compiler dude sends the final track listing once he's able to do so back to Sony, Sony send to Warner UK, Warner UK send to Warner US, Warner US send to management and they say "This usage is approved. Please send three sample copies of finished product for our files." or something to that effect. This all filters back to Ol' Compiler Dude who gets the good news and loses his shit.

    Again, I don't want to be that guy who keeps saying it's bullshit but I'd bet my house and marriage Madonna never approved the inclusion herself - at best, she would have been forwarded the email chain after the fact as a courtesy FYI and perhaps even one of those sample copies management requested, which she *may* have glanced at in a mixture of bemusement and disdain at the tracklist ("Eurgh. Who is Olly Murs?") before tossing it aside and never thinking about it again.

    For what it's worth, I got Madonna approved four times that I can recall off the top of my head, there may be one of two more, and I never had to supply any more information that what was originally sent with the requests. Granted, three of them were NOW or NOW-type "hits"/first-usage compilations but I still remember having to go back and check that someone hadn't stuffed up and accidentally approved "This Used to Be My Playground" for a movie songs album. I couldn't believe my luck. They were so casual though, "Yeah, it's definitely approved." OK! I thought there'd at least be a "We know, we were shocked too!" or something but there wasn't.
     
  16. This Used To Be My Playground is a surprise. It must be one of the major selling points of the Something To Remember compilation because let’s face it nobody bought Barcelona Gold.
     
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  17. God, the Something To Remember comp was such a necessary, immediate purchase for me, as I hadn't been buying singles so there was a stack of things on there I needed. Playground chief among them, I still think it's a wonderful track.
     
  18. I’ll Remember is another essential non-album single featured on Something To Remember.
     
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  19. Now releasing a 7'' EP is a bit of an unexpected turn of events!

    "In the past 14 months, we’ve presented the first 5 ‘NOW – YEARBOOK’ releases that have, along with their ‘extras’, celebrated the diversity, creative brilliance and pop magic of the singles charts between 1980 and 1984.

    For Yearbook collectors and vinyl fans, we have created a very special 4-track 7” Single (the first ever from NOW!) that looks back to celebrate our first 2 Yearbook releases - 1983 and 1984.

    A one-run limited pressing – exclusively available at nowmusic.com, with two tracks from the first two Yearbooks on each side."


    Side A
    01 Temptation
    02 Long Hot Summer

    Side B
    01 Relax
    02 Apollo 9

    Looks cute as a button though, so basket filled accordingly! Perhaps they're trying to remind us they will return to the 80's ... one day!
     
  20. Can't wait for them to go back to the 80s so I can go back to moaning about them not releasing any 90s ones yet. I don't know why but I feel like 92, 94, and 99 would iconic Yearbooks
     
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