Music

Some food for thought.

We all know how Kate Bush’s 1985 hit “Running Up That Hill (A Deal With God)” exploded/had a resurgence after it featured on the fourth season of the Netflix series “Stranger Things”.

On top of it reaching number one on the ARIA Charts, I also think that has seen a resurgence of throwbacks being played on our radio stations, as I’ve also been hearing plenty of U2 and Phil Collins hits namely on WSFM and smoothfm in the past two years. In addition Nova has also been inserting (needless, IMO) throwbacks into their playlists too, while 2DAY FM also plays more 90s (and some 80s) hits more often than not.

“Stranger Things” also saw the emergence of the musician DJO, whose massive hit “End of Beginning” has become a commercial success worldwide.

WS and Smooth have always played Phil Collins and U2.

But yes, I’m surprised 2Day are still playing some 80s.

I think it’s also the more recent covers of older hits, like Fleetwood Mac’s “Dreams” and Chris Norman and Suzi Quatro’s “Stumblin In” that are helping young people to discover older music and that’s helping them to stay on radio longer.

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Also not to mention the David Guetta/Bebe Rexha remake of “I’m Good (Blue)” which topped the charts in over twenty countries in the final third of 2022, giving the original melody by Eiffel 65 a new lease on life.

Mr Brightside also consistently appeared on the ARIA Singles chart throughout 2022-23, despite the song being released in 2003.

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Always great to see Spotify and iTunes continuing to add older, rarer music to their platforms.

I see that NZ band Koo De Tah, who was a one hit wonder back in 1986 with ‘Too Young For Promises’ is now available on both…

I did start to wonder if that would ever see the light of day again.

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Olivia Rodrigo has announced a pair of shows in each of Melbourne and Sydney as part of her ongoing GUTS World Tour for this upcoming October.

https://twitter.com/oliviarodrigo/status/1788613953947566146

Unfortunately for Brisbane, that’s now the third major act they’ve missed out on this year, after Taylor Swift and Coldplay.

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Not actually a remake. It’s an interpolation, which means using a melody - or portions of a melody (often with modified lyrics) - from a previously recorded song but re-recording the melody instead of directly sampling it.

Here’s another one at the top of the charts at the moment.

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The Miseducation of Lauryn Hill is the No.1 album.

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I wonder how Apple came up with that list? eg. based on streams/downloads only or something else? The article didn’t say.

I know very little about Lauryn Hill, and for her to be #1, I find that to be just a tad odd.

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I believe it was compiled by Apple Music radio DJs and other experts although I’ve not seen a definitive list.

The Lauryn Hill album is/was huge at the time and it’s very very good. But I’m not sure it left a lasting impression outside of the US.

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There are some good albums on the list, more “modern” music than what I probably would have expected. I’m always interested in music (be it albums or songs) that much later rate well better than their charts closer to their release and No. 1 here is a really good example of that - its never really been a chart-topper but it clearly resonates with musos given the likes of the panel established to produce the list:

Apple Music’s 100 Best Albums list was voted on by a committee of experts at the streaming platform as well as artists including Morris, Pharrell, J Balvin, Charli XCX, Mark Hoppus, Honey Dijon and Nia Archives, plus various songwriters, producers and industry professionals.

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Not one Mariah Carey album?

No Celine. Or Whitney?

Joke.

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Along with its subsidiary, Ticketmaster, Live Nation puts on concerts, sells tickets and owns venues, serving multiple roles that the Department of Justice said had turned it into a “gatekeeper” for the industry.

It owns more than 250 venues in the US and manages about 60% of concert promotions at major venues nationwide, according to the lawsuit, which was brought by the federal government’s Department of Justice, as well as 30 states.

The company also controls approximately 80% of all major entertainment ticket sales via Ticketmaster, the lawsuit said.

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