If Damian Gandia experienced to rank his a few favored installments of the Now Which is What I Contact New music! franchise, it’d go: Now 10, Now 64, Now 57.
With Now 10, it is largely a nostalgia factor. Even though the 14-calendar year-aged from New Jersey wasn’t born but when it was introduced in 2002, the tenth installment of the prolonged-working pop hits compilation — which commences with Britney Spears’ “Overprotected” and finishes with Nickelback’s “How You Remind Me” — nevertheless provides again recollections of songs he listened to as a child. With Now 64, which highlighted Luis Fonsi’s “Despacito” and Billie Eilish’s “Ocean Eyes,” Gandia credits the “top-notch” sequencing: “I do not even consider there is a single dilemma with Now 64.” As for Now 57, Gandia says it’s “essential” because of the way it captures what he sees as a second when pop songs was at its peak, showcasing Justin Bieber’s “Sorry,” Ariana Grande’s “Focus,” and Selena Gomez’s “Same Aged Love” (while there are some noteworthy omissions, he states, like Drake’s “Hotline Bling”).
Now That’s What I Call Songs! was started by Virgin Records in the U.K. in 1983 15 years later, it crossed the Atlantic for an inaugural American version that involved the Spice Girls’ “Say You’ll Be There,” Hanson’s “MMMBop,” and Aqua’s “Barbie Woman.” All through the early 2000s, Now routinely topped the U.S. charts.
Many years later, even as album sales have cratered, Now That is What I Get in touch with New music! has held on to a passionate fanbase, albeit a smaller just one. Each Now 77, the most latest installment, and Now 73 debuted on the Rolling Stone Major 200 Albums Chart, at Figures 159 and 104, respectively. And if the RS 200 were being based purely on physical product sales, Now albums would often debut close to the prime, with as quite a few as 10,000 copies bought in a 7 days even in lean a long time. In the earlier 5 several years, only two Now albums have missed the best 10 by profits through their debut months.
Enthusiasts like Gandia — a self-proclaimed Now critic who posts evaluations to YouTube less than the identify Trevortni Desserped, and an avid collector of Now CDs — offer an eager and earnest solution to the question: “Who listens to Now anymore?” He claims that even with limitless playlists accessible on streaming providers, Now gives a little something exclusive in the way it delivers every thing collectively. “As dumb as it seems, it’s kind of altered my existence,” Ganda says. “It supplied me with a different structure for listening to new music. It is a phenomenon that warrants to be regarded.”
Now main operating officer Jerry Cohen says the franchise has a “very faithful group of followers,” but it is tough to sketch a normal member, considering that the series attracts a wide demographic. There are Gen Z young ones like Gandia, people today who grew up with the franchise in the late Nineties, and more mature listeners, far too.
“Sometimes it’s a false impression [that] they had been extremely everyday shoppers that are obtaining Now for the reason that they never know what they want to listen to,” Cohen stated. “It’s often quite, pretty much the opposite of that.”
In fact, Gandia is far from a informal purchaser. He’s a eager observer of new music charts, which he utilizes to try to forecast what the future Now tracklist will be. (He’s rather excellent at it, too.) In his critique of Now 77, he took situation with what he saw as obvious omissions, like “Do It” by Chloe and Halle, “Franchise” by Travis Scott that includes M.I.A. and Youthful Thug, and “Lemonade” by Internet Funds, that includes Don Toliver, Gunna, and Nav. (He considers the inclusion of 24KGoldn and “Mood” on that compilation “the laziest choice” for a hip-hop song.)
Even so, Gandia admires the sequencing of Now 77 — his beloved factor of the collection all round. “That’s what I come across wonderful about it,” he says.
The smooth sequencing choices that Gandia admires so substantially are something that Jeff Moskow, Now‘s head of A&R and curation due to the fact 2000, spends a ton of time laboring in excess of. Moskow likens Now to “musical Switzerland”: The sequence is “a mirror of preferred lifestyle, not a choose of common culture…. What’s suitable is irrespective of whether it is a strike or not.”
In the age of streaming, when there are lots of approaches to outline a hit, one particular of the most important troubles is mixing it all alongside one another into just one cohesive set. Moskow DJed at clubs when he was youthful, and he attempts to deliver that very same experience, of having people on a musical journey, to Now.
In certain, he pays a large amount of awareness to the house among tracks. He will discussion with his engineer in excess of a mere quarter of a next, recalling one particular changeover the place he was attempting to build a “literally seamless mixing impact from track to track.”
“We went back again and forth for a few times,” he claims.