Tag: Nik Kershaw

Now That’s What I Call Music 6 – Re-election day

Christmas 1985 would see NOW reclaim its crown, in some style. Not only did NOW 6 indicate a return to form, but they also had the trump card of the Now Christmas Album. I’ll discuss the Christmas album (and its various incarnations) elsewhere, but it was a cunning one-two, releasing both within a fortnight of each other, that Hits just didn’t see coming. Released the same day as Hits 3, NOW 6 won out. It had a stronger line-up, better design, and the now all-important brand loyalty. What better way is there is to make people feel all warm and fuzzy about your brand than selling them a lovely, festive collection of classic Christmas hits?

Despite being released earlier, The Christmas Album didn’t hit the top until the week before Christmas, being kept off by NOW 6, but also by another pretender to the throne: Telstar’s Greatest Hits of 1985. Telstar had been set up a few years previously, and specialised in compilation albums, usually accompanied by a heavy TV marketing campaign. The Greatest Hits of… series would continue into the 90s, but were never a serious threat to NOW as with only one release a year, most of the tracks would have already featured on either of the competing series’ offerings, and those that were exclusive to the album would rarely warrant an additional purchase. 1985’s release did feature Paul Hardcastle’s 19, a rare number one which neither NOW or Hits had included; however it also featured several songs from 1984 including Everything She Wants, Ghostbusters and Do They Know It’s Christmas. It managed a solitary week at number one before the big boys moved back in, NOW 6 and NOW The Christmas Album racking up 6 consecutive weeks between them.

Speaking of number 1’s, NOW 6 manages to include four, the most since NOW 2, whereas Hits 3 managed only two, one of which, Frankie, had already appeared on NOW 5. (The other was Jennifer Rush’s The Power of Love. Hits 3 also featured Huey Lewis and The News’ The Power of Love, but not Frankie Goes to Hollywood’s The Power of Love. 1985 was a confusing year for pop fans.) Things like that don’t go unnoticed. At least not by people like me.

With the pig now sent to the slaughterhouse, a new team brought a more sophisticated look to the album. For this, and the next 10 releases, NOW’s look and feel would be more commonly seen on contemporary cigarette ads than the brash, strutting, look of the Hits series. The NOW! Logo would find itself in various strange locations and scenarios, but never appear out of place. Here it appears as a label inside a leather jacket (this may not be immediately apparent, but the TV ad makes it explicit). It’s a nice idea, and very understated compared to its predecessors. No more Max Headroom-a-like, eye-straining, gut-wrenching, lasers and stripes and whatnot. Simple, clean, efficient. Much like the content, which, after an astonishingly good start, stumbles a bit, before regaining its composure to throw up a few pleasant surprises. As the tagline on the back exclaims: Feel the quality.

You really can’t argue with side one, at least until the final two tracks. Kicking off with Queen’s One Vision, through Nik Kershaw’s first flop single (but also probably his best), the Maria McKee-penned A Good Heart, the absolutely stunning There Must be An Angel (for me, the best song on a NOW album so far) and Simple Minds perennial Alive and Kicking, it’s about as good a start as a NOW Album has ever had. The final two tracks hint at the mood change to come (Empty Rooms and Lavender both being examples of the overwrought balladry far too popular with rock acts of the time; too well-made to be labelled as ‘soft rock’ they don’t particularly warrant multiple listens unless you’ve got a bottle of whiskey and some paracetamol to hand). The Bryan Adams and Tina Turner collaboration which straddles the gap between the good and the dreary, manages to be both at the same time, featuring a cracking opening riff which dissolves into a deathly dull, well, Bryan Adams song, which just happens to have Tina Turner on it. She pops up again on side two, singing about her thunderdomes.

Dreariness continues on side two where Phil Collins, Cliff Richard and Elton John battle it out for the prize of most insipid ballad ever on a NOW album, while Kate Bush valiantly delivers Running Up That Hill amid the gloom. Level 42 seems a welcome respite in the midst of this, and Something About You stands up pretty well.

Side three is a very odd assortment. Whilst it features two number ones (If I Was, and UB40, in collaboration with Chrissie Hynde on I Got You Babe), it’s also possibly, the worst charting side of tracks so far. Of the rest, only one made the top ten. The fact that that one track is Arcadia’s none-more-80s Election Day probably has more to with the fact that they were a side project for Duran Duran than for the fact that it’s a good song. It’s not. It’s stupid, nonsensical, pretentious claptrap which, to make matters worse, features an uncredited cameo from Grace Jones. But, dammit, it’s got something I can’t put my finger on.

Eighties, by day we run, by night we dance! — **Eighties; by day we run, by night we dance!**

Of the remaining 5 tracks, Lost Weekend was the only one to make the top 20; Uncle Sam and Cities in Dust both stalled at 21, The Communards rather lovely, and under-valued, You Are My World only hit 30 (though their time would come soon enough), and the Fine Young Cannibals make history as Blue is he first single to feature on a NOW Album not to make the top 40. The anti-Tory declamation is no Ghost Town, but it’s a pretty good tune, to be fair, and puzzling that it did so poorly after the top ten success of Johnny Come Home (this may be explained by it appearing, in a different version, on the b-side of that single). The inclusion of Lloyd Cole and a rare appearance for Siouxsie suggests the compilers were still keen to get some exposure for less mainstream acts, but it always feels more like tokenism than because the artists warrant inclusion on the basis on chart performance.

Incidentally, going back to UB40, as on NOW 1, they make two appearances, with the dreary, repetitive Don’t Break My Heart fitting in right at home on side two. And is just me, or does Ali Campbell sound just like Jim Davidson doing his horrible Chalky voice on I Got You Babe?

Even just using a picture of Jim Davidson for witty illustrative purposes made me sick a little in my mouth, so here's a kitten instead. — **Even just using a picture of Jim Davidson for witty illustrative purposes made me sick a little in my mouth, so here’s a kitten instead.**

The ghettoised dance side finds itself closing out the album this time, instead of the more usual maudlin closing numbers, and things start off with Paul Hardcastle’s ridiculous For the Money. This was one of the tunes that I had no recollection of until I heard it again, and suddenly it all came flooding back. A truly ‘of its day’ affair, it combines sub-Herbie Hancock synth twiddling with Laurence Olivier talking about ‘money being the root of all evil’, while Bob Hoskins tries to convince another cock-er-nee geezah (Hardcastle himself!) to pull a blag with him, with the persuasive line “Just fink abaht the moneee!” and “it’s the life o’ luxury!” over and over and over again. It’s a bit like an 80s version of Sexy Beast, with Hoskins in the Ben Kingsley role, but slightly less frightening, particularly with his clichéd “just don’t mess it up or the only place you’ll be gahn is dahn the Scrubs!”. All this, plus two badly accented bit part actors pretending to be 1920’s Chicago gangsters (one of whom turned out to be Hollywood bit part actor Ed O’Ross; he dies in nearly every 80s action movie), and some swooning backing singers making the whole thing sound more like one of the song parodies from Alexei Sayle’s Stuff. Though it’s worth it for the sound of Lord Larry having his voice scratched.

Jan Hammer’s Miami Vice Theme is the perfect antidote to all that nonsense, being a brilliant example of how electronic music (still sniffed at in most quarters even in 1985) can be evocative, exciting and somehow timeless too. Three things that most certainly DON’T apply to Maria Vidal’s Body Rock, a shameless rip-off of Madonna’s Borderline (though also oddly sounding like Open Your Heart, six months before its release), or Baltimora’s horrible Tarzan Boy.

The long-forgotten Mai Tai make a return with another nice, fun, dance track. Heart and Soul is another of those songs that you know you’ve heard countless times before but can never remember its title or who it’s by. It seems odd they only had the two hits (this and History, which featured on NOW 5), as they were certainly no worse than some comparable acts who achieved more success at the time. Like Cameo. Now I like Word Up as much as the next person, but there’s something extremely icky about Single Life. From the opening, which is EXACTLY the same as Word Up, this tells the story of some guy, who you know has a penthouse apartment with black chrome shelves, metal chairs and a Playboy bunny quilt cover. Hearing the giant codpiece singing about the single life just creeps me out, and like the aural equivalent of rohypnol, it’s liable to send you to sleep and when you wake up you’ll feel utterly violated.

This brings us disgustingly onto Mated, a second duet betweenJaki Graham and David Grant. Even as a ten-year old, this title seemed wrong, just a bit too animalistic for what sounds like a sickly, sweet love song about finding your soul-mate. It’s not my cup of tea at all, and hearing them croon “We are mated” at each other just turns my stomach. I’d argue it’s one of the least romantic romantic songs ever, and a disappointing end to the album.

An interesting design choice was taken on the inside this time, in a rare case of NOW taking a nod from Hits. On the gatefold, the blurbs are now accompanied by album covers rather than the standard star photos, at least in most cases. Level 42 miss out, presumably, because the artwork for World Machine wasn’t ready, though the album is mentioned, but poor old Mai tai’s album had been out since June, and since it only got to number 91 they probably could have done with having it plugged better than it is here!

The rear cover also, teasingly, says “You’ve heard the record, now buy the book”… The book? Now That’s What I Call Music Mastermind, a quiz book compiled by Ashley Abram himself, was available at the time for “a steal at £2.99”. A scurry round the interwebs finds there only appears to be two copies left in existence, both going for over £60! I did find a picture of the cover though, which in a rare case of branding inconsistency, still features the pig. It also looks incredibly cheap compared to the albums.

So, NOW was back on top. For the next couple of years, an uneasy cold war between the two compilation behemoths would see them only releasing one album each during the year (Hits at Easter, NOW in the summer) with both going head-to-head at Christmas. It was their biggest, most lucrative, time of the year so neither was willing to yield that, and there was always the possibility that a strong line-up could see Hits go back on top. In a years’ time they would get the chance, but until then NOW had seven months to prepare its next chart attack.

NOW THAT’S WHAT I CALL MUSIC 6

Release date

25th November 1985

Biggest tracks

One Vision – Queen

Alive and Kicking – Simple Minds

There Must be An Angel (Playing with my Heart) – Eurythmics

Lost gems

When a Heart Beats – Nik Kershaw

You Are My World – The Communards

Forgotten tracks

Blue – Fine Young Cannibals

She’s So Beautiful – Cliff Richard

Just For Money – Paul Hardcastle

Single Life – Cameo

What’s missing

Money for Nothing – Dire Straits

White Wedding – Billy Idol

Dancing in the Street – David Bowie and Mick Jagger

(A case could also be made for West End Girls, by The Pet Shop Boys, as it does appear on the accompanying video, but to be fair to the compilers, it only charted at number the week that NOW 6 was released, and, as a first single, there was no indication of what a huge hit it would be, except for the fact that it was brilliant.)

Track listing

Side One
One Vision	Queen
When A Heart Beats	Nik Kershaw
A Good Heart	Feargal Sharkey
There Must Be An Angel (Playing With My Heart)	Eurythmics
Alive And Kicking	Simple Minds
It’s Only Love (Live)	Tina Turner With Bryan Adams
Empty Rooms	Gary Moore
Lavender	Marillion

Side Two
Nikita	Elton John
Running Up That Hill (A Deal With God)	Kate Bush
Something About You	Level 42
We Don’t Need Another Hero (Thunderdome)	Tina Turner
Don’t Break My Heart	UB40
Separate Lives	Phil Collins & Marilyn Martin
She’s So Beautiful	Cliff Richard

Side Three
Election Day	Arcadia
I Got You Babe	UB40 Featuring Chrissie Hynde
Blue	Fine Young Cannibals
If I Was	Midge Ure
Cities In Dust	Siouxsie & The Banshees
Uncle Sam	Madness
Lost Weekend	Lloyd Cole & The Commotions
You Are My World	The Communards

Side Four
Just For Money	Paul Hardcastle
Miami Vice Theme	Jan Hammer
Body Rock	Maria Vidal
Tarzan Boy (Original Version)	Baltimora
Body And Soul	Mai Tai
Single Life	Cameo
Mated	David Grant & Jaki Graham

Video version

The video version contained five tracks not featured on the main album (marked with *)

Queen – One Vision

Fergal Sharkey – A Good Heart

Kate Bush – Running Up that Hill (A Deal With God)

UB40 featuring Chrissie Hynde – I Got You Babe

Madness – Uncle Sam

Marillion – Lavender

Bryan Adams & Tina Turner – It’s Only Love

Pet Shop Boys – West End Girls*

Thompson Twins – King for a Day*

Simple Minds – Alive and Kicking

Depeche Mode – It’s Called A Heart*

David Grant And Jaki Graham – Mated

Gary Moore – Empty Rooms

The Cult – Revolution*

Baltimora – Tarzan Boy

Ian Dury – Profoundly In Love With Pandora*

Cliff Richard – She’s So Beautiful

UB40 – Don’t Break My Heart

Arcadia – Election Day

March 31, 2013

Now That’s What I Call Music 4 – Hello, is it twee you’re looking for?

Whilst NOW 3 may have given us the wonderful NOW! balls logo, it also gave us another, less welcome taste of 80s design: wacky, wavy neon lines. So 80s, so Max Headroom, so The Roxy, so ‘bank advert trying to ensnare teenagers paper round money when they should be spending it on compilations of top chart hits’. That rather ghastly theme continues on the cover design of NOW 4, and no doubt onto the bed linen of many teenagers who bought the thing. NOW 4 adopts a slightly less obvious, but more vomit inducing, green background, over its predecessors’ standard black background. Sadly, vomit-inducing is the order of the day for 1984’s NOW! swansong, released just in time for the Christmas, last minute panic present buying market.

From Boy George’s local chicken shop promotional outfit on the cover and the first stirrings of Arthur Baker’s utterly dreadful “Special Dance Mix” of Paul ‘Macca’ McCartney’s No More Lovely Nights, you get the distinct feeling this is not going to be a particularly comfortable ride. And to make matters worse, the only number one on offer here is Lionel Ritchie’s plasticine head singing the turgid Hello. Incidentally, Lionel, no, it most certainly not you that we were looking for.

Most of the good stuff on show here are songs that are usually remembered for their 80s kitsch value, rather than an inherent ‘greatness’. A good example of this is displayed early on side one with the appearances of Together in Electric Dreams and Never Ending Story, two theme songs from mildly successful films (even if Electric Dreams is now long forgotten, that whole boy-meets-computer rom-com sub-genre never did catch on). To be fair, Electric Dreams is a much better song than Limahl’s last hit, and deserves more credit. Both Phil Oakley and Giorgio Morodor are too talented to be dismissed, it’s just unfortunate that so much of their art is based around 80s synthesisers, an area which doesn’t travel well.

Staying with the synthesisers, Oakey’s former cohorts Heaven 17 (born from an early incarnation of Human League) also appear with the now forgotten Sunset Now. The Thompson Twins make their ubiquitous appearance with Doctor, Doctor, a song released a whopping ten months before NOW 4, and before the band’s track that had appeared on NOW 3. The Twins current release, Sister of Mercy, appears to have been snagged by the incoming Hits Album, so NOW! must have figured an old Thompson Twins track was better than none at all (tellingly, a glimpse of the video appears in the TV advert, but the song doesn’t).

This raises the question of what impact The Hits Album was going to have on NOW!, particularly this edition. I’ll cover Hits in more detail in another post, but in short the creation of the rival series would see the end of NOW! being able to feature artists from the CBS and WEA labels, two of the biggest labels in the world, and home to such legends as Michael Jackson, Madonna, Prince, Wham and soon George Michael. It seems almost a massive two fingers to Hits that Jacko appears here, his only NOW! showing, with a track recorded over a decade earlier. Part of a series of ‘lost tracks’ found in a dusty vault at his old label, Motown, some bright spark decided to dust them off, remix them to sound more 80s and release the album in the wake of the phenomenal success of Jacko’s Thriller album. The album did OK, but hardly matched its big brother, probably as the public started to smell a rat that this wasn’t an official release. The single Farewell My Summer Love is a lyrically suspect tale of meeting a girl who’s on summer holiday and maybe meeting her again next year when school is through, or some such nonsense. Compared to Thriller or Billie Jean, this is pretty ropey stuff, but somehow scraped into the top 10. NOW! were obviously not going to turn down the opportunity to have the world’s biggest artist appear, no matter how crap the material, as it was the only chance they were going to get.

Still, despite losing a couple of their more reliable fillers, NOW! still had a couple of aces up its sleeve: EMI still had Duran Duran, the biggest band in the world, who were two singles away from splitting up, and Virgin had the unstoppable Culture Club, here showcasing the song that Boy George described as a ‘stupid’ and that probably killed his career. Oops. Despite reaching number 2, The War Song would be Culture Club’s last big hit until their late 90s reunion. (And to add insult to injury, it was kept off the top by Stevie Wonder’s I Just Called To Say I Love You and seems to have been the inspiration for the ITV Schools music which would appear later in the decade.)

Speaking of stupid songs, there’s a fair few on show here: there’s Elton John’s deeply annoying Passengers, the Eurythmics over-produced, and near unlistenable mess Sexcrime (1984) and Julian Lennon’s irritating Too late for Goodbyes, yet another example of the trend for horrible white boy reggae pop fusion which blighted the charts for far too long during the decade. Culture Club and maybe (maybe!) The Police were the only acts who ever managed to pull it off successfully.

At least side three looks like it might rock things up a bit. Queen appear for the third album in succession, and are backed up by The Quo, Big Country and the first appearance from a little Irish band who were pulling up trees in America, U2. It would not be their last. Yes, it might all be a bit stonewashed jeans and white t-shirt (or leather vest in U2’s case) but the guitar-fest is a bit of respite from the endless bleeps and bloops of the first two sides. It’s short-lived.

808 — **“Without you I’m nothing”, said the Now albums of the 80s**

Fergal Sharkey’s silly Listen to Your Father bridges the gap between axe-wielding and a return to the 808s, with OMD’s ludicrous Tesla Girls. But before the album disappears into the vacuum of nothingness that is Nik Kershaw’s dreary Human Racing there is a treat, supplied by the lovely Kim Wilde. Not a massive hit, The Second Time is a bit of a corker, and not a little bit rude. Or rather, suggestive. It’s pretty bloody obvious what Ms Wilde is singing about, and most blokes at the time would find it hard to resist a line like “Look in the mirrors and see the heat of something new, Why don’t we do it, just do it once again”. Oh my. I think it’s better than Kids in America.

The first track on Side Four is interesting for two reasons. Firstly, Ray Parker Jr’s Ghostbusters not only appears here, but was also on The Hits Album. Arista, the label concerned (and also home to The Thompson Twins), were not tied to any of the major’s responsible for the compilation albums, so were technically free to license their tracks to whomever they saw fit. The fact that Ghostbusters appears on both would suggest a desire from both camps to have one of the biggest hits of the year on their records (though surprisingly, it never made number one, stuck for three weeks behind that immovable object that was the bloody Stevie Wonder song. The second notable fact is that the track is incorrectly credited. The title is listed as Ghostbusters (Searchin’ For the Spirit). Oh, thinks I, maybe that is in fact the full title of the track. Bracketed suffixes are often left off song titles for space, or simply because they are pretentious toss and are best forgotten. In this case however neither is true; Searchin’ for the Spirit is in fact the subtitle given to an extended version of the track which featured on an alternative single release (http://www.youtube.com/watch?v=sWMEncznDvI). But not here. This is your common or garden single and radio version, identical, bar fading out a few seconds later, to the version on The Hits Album. Was this a deliberate attempt to deceive purchasers into thinking the version on NOW 4 was a different one to that on The Hits Album? Was the incorrect version used on the album, and the extended version was meant to be included? Or was it just a mix up over the title? We will probably never know. And you probably don’t really care.

Side Four then sort of drifts away. Jump remains a fun, feel-good song, we get the first of many appearances for the slap bass of Level 42, Rockwell’s attempt to be both Ray Parker Jr and Michael Jackson at the same time on Somebody’s Watching Me, and Malcolm McClaren’s Madam Butterfly is a great musical experiment (of a kind which would become ubiquitous in the charts towards the end of the century) once he stops wittering on over the first minute. The final track by Eugene Wilde is a now forgotten piece of fluff of the “ooh baby, let’s go have sex” variety, the inspiration here being Sexual Healing, but looking forward to people like R Kelly and Keith Sweat. Take away the 80s production and this could have been released at anytime in the past 30 years.

It’s a disappointingly bland finish to an album which has an air of going through the motions about it. With Hits already in the shops consumers weighed up the pros and cons, and went with Hits. NOW 4 is the only album in the series not to reach number 1, and it’s easy to see why. There’s one serious problem with NOW 4, and that’s, ironically, a lack of hits. Take away Ghostbusters, Jump and Hello, and this is a very dull, uninspiring collection. Brian Glover does his best in the advert but you suspect even he thinks this is all a bit thin.

Historically, NOW 4 is important for one reason (and without it, it would probably have been forgotten altogether) being the first of the series to be released on CD. It wasn’t a conventional CD release however, containing just 15 tracks, and being a mix of tracks from the three albums released in 1984. (The cassette version makes reference to The Best of Now 1984 Compact Disc, but the record makes no reference to the CD at all.) The experiment must have been far from a success as it wasn’t attempted again until Now 8, two years later. The CD itself is considered a rare collector’s item now. At the time of writing one copy is on eBay for over £300, with 19 bids, and rising…

Now that NOW! wasn’t the only game in town, and its compilation crown had been toppled, it seemed a serious re-think was in order, and it be a long nine months before NOW! would return.

NOW THAT’S WHAT I CALL MUSIC 4

Release date

26th November 1984

Biggest tracks

Hello – Lionel Ritchie

Ghostbusters – Ray Parker Jr

Jump – The Pointer Sisters

Lost gems

The Second Time – Kim Wilde (a truly bizarre video in which Ms Wilde battles an exploding hotel room, a multi-coloured Mummy, and some of the worst 80s fashion ever seen in a music video)

Sunset Now – Heaven 17

The stinker

No More Lonely Nights (Special Dance Mix) – Paul McCartney

Forgotten tracks

Warning Sign – Nick Heyward

Gotta Get You Home Tonight – Eugene Wilde

What’s missing

Wild Boys – Duran Duran

(possibly not ready for inclusion, the track was released two weeks before NOW 4, but seems in retrospect to be a massive omission)

Blue Jean – David Bowie

Track listing

Side One
No More Lonely Nights (Special Dance Mix)		Paul McCartney
Together In Electric Dreams		Philip Oakey & Giorgio Moroder
Why?		Bronski Beat
The Never Ending Story		Limahl
Warning Sign		Nick Heyward
Missing You		John Waite
Farewell My Summer Love		Michael Jackson
Hello		Lionel Richie

Side Two
The War Song		Culture Club
Passengers		Elton John
Too Late For Goodbyes		Julian Lennon
Shout To The Top		The Style Council
Doctor Doctor		The Thompson Twins
Sunset Now		Heaven 17
Respect Yourself		The Kane Gang
Private Dancer (Single Edit)		Tina Turner

Side Three
It’s A Hard Life		Queen
The Wanderer		Status Quo
East Of Eden		Big Country
Pride (In The Name Of Love)		U2
Listen To Your Father		Feargal Sharkey
Tesla Girls		Orchestral Manoeuvres In The Dark
The Second Time		Kim Wilde
Human Racing		Nik Kershaw

Side Four
Ghostbusters		Ray Parker Jr
If It Happens Again		UB40
Jump (For My Love)		The Pointer Sister
Hot Water		Level 42
Sexcrime (Nineteen Eighty-Four)		Eurythmics
Somebody’s Watching Me		Rockwell
Madam Butterfly (Un Bel Di Vedremo)		Malcolm McLaren
Gotta Get You Home Tonight		Eugene Wilde

CD Tracklisting

Duran Duran – The Reflex

Ray Parker Jr – Ghostbusters (Searchin for the Spirit)

Culture Club – The War Song

John Waite – Missing You

O.M.D. – Locomotion

UB40 – If It Happens Again

Tina Turner – What’s Love Got to Do with It

Bronski Beat – Why?

The Style Council – Shout to the Top!

Phil Colins – Against All Odds (Take a Look at Me Now)

Giorgio Moroder & Philip Oakey – Together in Electric Dreams

Julian Lennon – Too Late for Goodbyes

Status Quo – The Wanderer

Thompson Twins – Doctor! Doctor!

Queen – Radio Ga Ga

Video edition

The video version this time around did feature mainly tracks from the accompanying album. Only four tracks were not on NOW 4 (indicated with a *).

Meatloaf’s Modern Girl and The Thompson Twins’ Sister of Mercy did feature on The Hits Album, further muddying the waters over the various licensing deals that were needed to put these albums together.

Queen – It’s a Hard Life

Tina Turner – Private Dancer

Giorgio Moroder & Phil Oakey – Together in Electric Dreams

UB40 – If It Happens Again

Limahl – Never Ending Story

Culture Club – The War Song

Julian Lennon – Too Late for Goodbyes

Ray Parker Jnr. – Ghostbusters

Thompson Twins – Sister of Mercy*

John Waite – Missing You

Nik Kershaw – Human Racing

Meat Loaf – Modern Girl*

Kim Wilde – The Second Time

Malcolm McLaren – Madam Butterfly

Nick Heyward – Warning Sign

OMD – Tesla Girls

Iron Maiden – Aces High*

Fergal Sharkey – Listen to Your Father

Heaven 17 – Sunset Now

Depeche Mode – Blasphemous Rumours*

March 24, 2013

Now! That’s What I Call Music 3 – Can U Pig It?

NOW! continued its first full year in the summer of 1984, with the release of NOW 3. And it’s a porker! It’s the pig one! Compilations don’t get much pigger than this! It’s so big I may need a ham with this review.

Sorry, I’ll stop being silly now.

It’s just that the pig made his triumphant debut as a cover star, advert leading man (voiced, of course, by Brian Glover) and general ‘face’ of NOW! As we’ve already seen, the pig has an important role to play in the glorious history of NOW!, but it’s still a bit… odd. There’s no obvious connection between a walking bacon sandwich and pop music. Maybe someone at the design agency thought it was a nice way to honour the origins of the name (see here). Maybe someone over a lunchtime beer thought it was hilarious to put sunglasses on a pig. Google “pig sunglasses” and you’ll see a great number of the world’s population think it still is. For whatever reason, the pig was here, and for a while, he would remain. Though he would remain in the subconcious of a great many pop fans for a lot longer.

Definitely not odd is the first appearance of the ‘classic’ NOW! logo. I say classic in inverted commas deliberately because it’s really only classic for anyone who remembers the albums from 3 to 17 in the series. To be fair, 15 albums using the same logo not only shows tremendous faith in the brand, but also the ingenuity of the various designers who would work on the series.

After the legendary balls logo (and an almost suicidal rebrand at NOW 18, which we’ll come to in due course) NOW! has relied on the other classic design of bloody big blocky text in some abstract landscape. It works, otherwise they wouldn’t have continued with it for over 20 years. But back in the 80s, bright colours and lightning bolts were where it was at.

Red, blue, green balls, Impact font (a design classic, if one that’s sadly overused) and a yellow lightning bolt. For my generation it’s as iconic as the Coke ribbon, the Nike swoosh or the Apple…er…apple. Within the design, ‘NOW’ remains the focus, with ‘Music’ secondary but still important. I think it’s clear, and the spines of the albums back this up, that at this point, the marketers were happy for us to approximate the unwieldy full title to the more compact ‘Now Music’. The public, of course, would soon have their own ideas in due course.

Released at the end of July, just as the school summer holidays kicked off, natch, NOW 3 would have an extra month of chart hits to plunder over its sadly disappointing predecessor. Although only containing 3 number ones, it’s a significantly stronger line-up, and don’t forget, had Two Tribes not dominated the top spot for an astonishing nine weeks (!), there could have been a few more chart toppers to choose from (though as many of the number two’s from the period later turned up on the first Hits Album later in the year, maybe the rival record companies were a bit more reluctant to license their hits to the NOW! boys, despite appearances here for some of those same labels’ hottest artists like Wham and Howard Jones).

Even given that, the track listing, at least for the first half is top drawer, and chock-a-block with winners, kicking off with the biggest players in town at the time, Duran Duran. Amazingly, in hindsight, The Reflex was only the Durans 2nd number one, and it would be their last too. Sales were no doubt helped by the fact the single version was massively re-worked from the version on their album, Seven and the Ragged Tiger, from which this was the third single. It is brilliant though. Also benefitting from new versions was Frankie Goes to Hollywood, with Two Tribes being released in about 4,675 different formats and remixes, which no doubt helped it squat in the top spot for so long (its predecessor, Relax, would later join it by returning up the charts to number two). The third number one, and along with the Durans and Frankie, vying for the title of chart kings at the time, was Wham’s Wake Me Up Before You Go-Go, kicking off Side Four. When you factor in seminal tracks from Queen, Bananarama, Nik Kershaw and Tina Turner, this is getting on for one of the strongest line-ups in the series. And Ashley Abram does a brilliant job compiling it too, keeping the mood up for the first half of each side, before slowly mellowing out towards the end. Look at the track listing at the end and you’ll see, only a master of his craft could get you seamlessly from The Reflex to Against All Odds before you’ve even noticed. This is textbook stuff, and this style would continue through the series.

Added to this is the fact that there’s no attempt at a themed side this time out. Everything is in the mix, but perfectly pieced together: who would have thought Sister Sledge would sit so comfortably between the synth noodlings of Nik Kershaw and OMD, or that The Weather Girls would be so cosy next to (whisper it) Gary Glitter. Or that the frankly bizarre (in NOW! terms) Dr Mabuse by Propaganda would be included at all.

Now, I have nothing against avant-garde German synth acts, but this is perhaps the strangest thing to ever appear on a NOW! album. Looked at from a modern perspective it makes little sense: the track had made the charts months before, so was not included in the anticipation of it being a breakout hit; it was not Propaganda’s biggest hit either, that honour falling to the much-more chart friendly Duel, which oddly didn’t make the cut for NOW 5 a year later .(If there was any justice it would have been a massive hit too, but their label, ZTT, were using their meagre promotional resources for the unexpected success of Frankie Goes to Hollywood.) Don’t get me wrong, I think it’s great that more esoteric stuff like this did make it onto the albums, and this is probably the best example of a decent tune that didn’t make the grade chart-wise, but was still considered worthy of inclusion. This must have been a personal choice for someone…

Also filed in the ‘Huh?’ category, and conveniently finishing off the final side, we find the aforementioned Mr Gadd, with the dreadful Dance Me Up, sounding like a poppier version of Public Image Limited (his only NOW! appearance beyond a sampled appearance on Doctorin’ the Tardis on NOW 12), some rather painful, Dutch white reggae courtesy of one hit wonders, The Art Company (real name, the slightly more unwieldy, VOF de Kunst, and yes I checked the spelling there). There’s a brief respite with one of Madness’ serious tracks (and therefore one of their least successful), their ode to London’s homeless, One Better Day, before finishing up with Japan lead man David Sylvian’s first solo single (in credit at least), Red Guitar. It’s a lovely, smoky, 80s jazz tune completely out of place with anything else on the album. And like Propaganda, it seems a slightly off-kilter inclusion.

In this respect NOW 3 does a much better job of balancing the massive chart hits with the slightly more left-field choices. It’s also probably the first album in the series to truly know its target market: kids and teenagers. Every self-respecting pop fan is going to welcome Duran Duran, Wham and Nik Kershaw into their record collection. The cooler kids will be happy to proclaim that they’ve also loved the post-Kraftwerk Kraut-Synth (I just made that up, but I think I might stick a copyright label on it) and the jazz stylings of former New Romantics.

Dad rock is kept to a bare minimum, the initial stirrings of rap get a look in, good and bad reggae pop up, and, interestingly, British music dominates. If there’s an over-riding feel it’s of Roland synths and those god-awful electronic drums. It is definitely a snapshot of a moment, but thankfully it was a pretty good moment. And the public agreed, keeping NOW 3 at number for a staggering 8 weeks, long after the summer holidays had given way autumn. This was a record that would never be topped by a NOW! album while they were still permitted on the regular chart (they would be turfed out to a ‘Compilation Top 20’ after NOW 13). They didn’t call it “The Pig One” for nothing…

NOW THAT’S WHAT I CALL MUSIC 3

Release date

23rd July 1984

Biggest tracks

The Reflex – Duran Duran

Two Tribes – Frankie Goes to Hollywood

Wake Me Up before You Go-Go – Wham

It’s Raining Men – The Weather Girls

Lost gems

Dr Mabuse – Propaganda

Red Guitar – David Sylvian

The stinker

Susanna – The Art Company

Forgotten tracks

Don’t Tell Me – Blancmange

Love Wars – Womack & Womack

Dance Me Up – Gary Glitter

What’s missing

The Lebanon – Human League

Absolute – Scritti Politti

Track listing

Side One
The Reflex	Duran Duran
I Won’t Let The Sun Go Down On Me	Nik Kershaw
Thinking Of You	Sister Sledge
Locomotion	Orchestral Manoeuvres In The Dark
Dancing With Tears In My Eyes	Ultravox
Pearl In The Shell	Howard Jones
Don’t Tell Me	Blancmange
Against All Odds (Take A Look At Me Now)	Phil Collins

Side Two
Two Tribes	Frankie Goes To Hollywood
White Lines (Don’t Do It) (Furious Five)	Grandmaster Flash & The Furious Five
Nelson Mandela	The Special AKA
Love Wars	Womack & Womack
You’re The Best Thing	The Style Council
One Love	Bob Marley & The Wailers
Smalltown Boy	Bronski Beat

Side Three
I Want To Break Free	Queen
Time After Time	Cyndi Lauper
Love Resurrection	Alison Moyet
Young At Heart	The Bluebells
Robert De Niro’s Waiting	Bananarama
Dr Mabuse	Propaganda
What’s Love Got To Do With It	Tina Turner
When You’re Young And In Love	The Flying Pickets

Side Four
Wake Me Up Before You Go Go	Wham
You Take Me Up	The Thompson Twins
It’s Raining Men	The Weather Girls
Dance Me Up	Gary Glitter
Susanna	The Art Company
One Better Day	Madness
Red Guitar	David Sylvian

Video edition

The video version featured just 8 tracks from the accompanying album, and 12 additional tracks (marked with *) none of which were even top 10 hits.

Orchestral Manoeuvres in the Dark – Locomotion

Simple Minds – Up On the Catwalk*

Thompson Twins – You Take Me Up

Madness – One Better Day

Farmers Boys – In the Country*

Helen Terry – Love Lies Lost*

Loose Ends – Emergency (Dial 999)*

Working Week – Venceremos*

Tina Turner – What’s Love Got to Do With It

Phil Collins – Against All Odds (Take a Look At Me Now)

Talk Talk – Dum Dum Girl*

Kajagoogoo – Turn Your Back on Me*

Gary Glitter – Dance Me Up

The Mighty Wah – Come Back*

I-Level – Our Song*

Limahl – Too Much Trouble*

The Flying Pickets – When You’re Young and In Love

Thomas Dolby – I Scare Myself*

Blue Nile – Tinseltown In The Rain*

David Sylvian – Red Guitar

March 20, 2013

Now! That’s What I Call Music II – More, more, more

Almost four months to the day since it had crashed its way through the charts and teenage bedrooms of the UK, NOW! would launch a second onslaught on the nation. And whilst at first glance it seems just like more of the same (including the first use of the ubiquitous phrase “Top Chart Hits”), if you dig deeper, things do seem a little bit stranger this time around.

Yes, there are the huge hits (Radio Ga Ga, Relax, Girls Just Want To Have Fun), but there’s also some things that have slipped through the cracks of time. As good a track as More, More, More is (and it’s not a cover of the Andrea True disco classic), I’d never heard of Carmel. Nor was I familiar with Julia & Company, Snowy White, Re-Flex or Matthew Wilder (though his track Break My Stride is fairly well-known).

So what’s happened here then? Has NOW! blown it already, and only on volume 2? Well, no. Of course not, otherwise I wouldn’t be planning to review all 80 odd albums in the series that has lasted for 30 years.

What happened was the inevitable result of a shorter window in which to choose tracks from. Whereas NOW! had had a whole year to pilfer from, NOW 2 had the unenviable task of replicating that massive track listing from just four months of hits, ranging from November 1983 (The Thompson Twins’ Hold Me Now) to March 1984 (Culture Club’s soon to be released It’s A Miracle, which it would have been if that had been as successful as their previous singles). A task as difficult as this required a professional, and so Richard Branson brought one in: Ashley Abram.

Now, Ashley Abram may sound like a runner-up on The X-Factor or Masterchef, but he is probably the most important person in the history of the entire NOW! series, being the compiler of the albums since NOW 2 all the way to NOW 81. He may not be the most recognisable name in pop, but thanks to him unsuspecting teenagers everywhere probably had their first taste of house music, heavy metal or garage. Not much is known about him, and trawling the net for info turns up more discrepancies than an MP’s account of an indiscretion. The most common story is that Branson brought in Abram’s Box Music, a professional music consultancy, to take the NOW! concept to the next level. Other sources say he was Ronco’s chief compiler in the 1970s, another says he was a record buyer for Woolworths, some say that Box Music was his company, others that he was simply an employee. It’s a minefield to be honest and unless I get to speak to him personally, I’m not going any deeper into the background. All I’ll say is, it’s Abram’s name on the back of the albums (at least from Now 4) as ‘Now Co-ordinator’, so he’s the man we thank.

Whoever made the decision to increase the frequency of releases, it made sound commercial sense, but it was bound to affect the quality. NOW! had been such a huge, unprecedented success, the desire to quickly cash-in is completely understandable, but looking at the track listing here, you have to wonder if three a year (one every four months) was the wisest decision. But then you realise that the releases tie in with the major school holidays (Easter, Summer and Christmas) and of course it makes perfect sense.

But as a result of the increased frequency, NOW albums would rarely hit as hard as that first release. Already with NOW 2, the quality threshold has dropped considerably, and where the hits may hit even harder than they did before (Relax, still banned by Radio 1 at the time is the masterstroke here), there are far too many duffers. Side 2 would have been swiped off most kids record players after the first two tracks (Nena’s 99 Red Balloons and Cyndi Lauper), with its mix of mullets and tracks that were probably more popular with their parents, a theme continued later on with the inclusion of Slade, Paul McCartney and The Rolling Stones (in the first of only two appearances in the series) . The other casualty is the volume of number 1’s, dropping from the massive eleven chart toppers on NOW! to just four here (Only You, 99 Red Balloons, Relax, Pipes of Peace(!)).

Joe Fagin and Matthew Wilder aim to take Limahl's title for 'Most Ridiculous Hairstyle Ever Featured on a Now! Album' — **Joe Fagin and Matthew Wilder aim to take Limahl’s title for ‘Most Ridiculous Hairstyle Ever Featured on a Now! Album’**

Side Three would see the first attempt to theme a whole side (remember this was back in the day when the albums would have four sides, rather than two CDs, a CD still being as futuristic as a jetpack to the average Woolworths customer). These would generally be undertaken when a particular musical style dominates the charts for a certain period. I first became aware of it on NOW 11, where a whole side was devoted to the burgeoning House scene, and goes some way to making that album one of the best in the series. Here, Side Three is almost entirely devoted to post-New wave acts, an odd mix of alternative electro-pop, guitar bands and just general oddness of a kind that wouldn’t normally be seen bothering the charts which at the time were dominated by the likes of Duran Duran. But is that true? As is so often the case people like to misremember the past. Of the eight tracks on Side Three, five of them were top ten hits and Relax is still one of the biggest selling singles ever in the UK. The appearance of The Smiths is rather special though; they would never appear again, though Morrissey’s solo career was a good standby for the series, at least until he stopped having top ten hits at the end of the 80s.

No idea who’s doing the voice over here, so if anyone can enlighten me I’d be most grateful. I suspect she was a DJ on either Radio 1 or Capital, but it’s not a voice I recognise.

It does a great job of convincing you that you have to have it, reeling off the list of winners with great pride, and any self-respecting pop fan would have killed for this album at the time. Sadly, NOW 2 has not aged well, appearing to modern eyes exactly like the kind of cheap cash-in that NOW! itself would have to contend with in the months and years ahead. It was going to take something special to convince the record-buying public that this was more than a fly-by-night operation…

NOW THAT’S WHAT I CALL MUSIC II

Release date

26th March 1984

Biggest tracks

Relax – Frankie Goes to Hollywood

Radio Ga Ga – Queen

Lost gems

More, More, More – Carmel

Forgotten tracks

Bird of Paradise – Snowy White

Breaking Down (Sugar Samba) – Julia & Company

Politics of Dancing – Re-Flex

What’s missing

Doctor Doctor – The Thompson Twins (would later appear on NOW 4)

Holiday – Madonna

Track listing

Side One
Radio Ga Ga	Queen
Wouldn’t It Be Good	Nik Kershaw
Hold Me Now	The Thompson Twins
Get Out Of Your Lazy Bed	Matt Bianco
More, More, More	Carmel
Michael Caine	Madness
Only You	The Flying Pickets

Side Two
99 Red Balloons	Nena
Girls Just Wanna Have Fun	Cyndi Lauper
My Guy	Tracey Ullman
Break My Stride	Matthew Wilder
Breakin’ Down (Sugar Samba)	Julia & Company
That’s Livin’ Alright	Joe Fagin
I Gave You My Heart (Didn’t I)	Hot Chocolate
Bird Of Paradise	Snowy White

Side Three
Relax	Frankie Goes To Hollywood
Here Comes The Rain Again	Eurythmics
What Is Love?	Howard Jones
What Difference Does It Make	The Smiths
Feels Like Heaven	Fiction Factory
The Politics Of Dancing	Re-Flex
Hyperactive!	Thomas Dolby
Wishful Thinking	China Crisis

Side Four
Modern Love	David Bowie
It’s A Miracle	Culture Club
Undercover (Of The Night)	The Rolling Stones
Wonderland	Big Country
Run Runaway	Slade
New Moon On Monday	Duran Duran
Pipes Of Peace	Paul McCartney

Video edition

The video version is even more of a mixed bag than for NOW!

20 tracks, but only eleven of them are on the accompanying album. One track (Victims) is from NOW!, one that would appear on NOW 4 (Doctor, Doctor) and seven that never appeared on any NOW! album (Help, Marguerita Time, Let The Music Play, Birds Fly, Breaking Point, Cry and Be Free, The Lion’s Mouth).

Nik Kershaw – Wouldn’t It Be Good

Thompson Twins – Doctor, Doctor

Howard Jones – What is Love?

Duran Duran – New Moon on Monday

China Crisis – Wishful Thinking

Tina Turner – Help

Status Quo – Marguerita Time

Carmel – More, More, More

Shannon – Let the Music Play

Icicle Works – Birds Fly

Bourgie Bourgie – Breaking Point

Re-Flex – The Politics of Dancing

Thomas Dolby – Hyperactive

Matt Bianco – Get Out of Your Lazy Bed

Big Country – Wonderland

Marilyn – Cry and Be Free

Snowy White – Bird of Paradise

The Flying Pickets – Only You

Kajagoogoo – The Lion’s Mouth

Culture Club – Victims

March 15, 2013