Less is MOR

Broadcast 28th October 2016. (Click on this link then scroll down to find the words
Middle of the Road Music) 

A quick glance at the current album chart confirms that it’s brimming with credible new releases from proper artists: over here are Skepta, Nick Cave, Sia and Michael Kiwanuka, over there, some tasteful and classic re-releases from The Beatles, Springsteen, Bob Marley and Led Zeppelin.

But look closely again and in amongst the Adeles, and the Bastilles, there’s a slightly more motley bunch: A line up that resembles a 1980s end of pier show: Shakin’ Stephens, Rick Astley, The Carpenters, Dolly Parton, Barbara Streisand, Whitney Houston, Chris De Burgh and Petula Clarke. 

Yes, while our attention was on grime and David Bowie, someone opened the Green Door and let MOR in. What is going on?

MOR, or middle of the road, is the genre that in many ways dare not speak its name. It’s big on heartfelt ballads and singalong choruses but crucially it is guileless: this is music that is desperate to be your mate, it may hint at rock, it may give a nod towards roll, but if you’re looking for trouble then you’ve come to the wrong place.

The term was coined by American radio stations in the ‘60s to distinguish easy listening, show tunes and pre rock ‘n’ roll pop from rival formats in the burgeoning rock market. Back then if you were over 30 you were probably desperate to escape the explosion of noisy youth culture that The Beatles caused. It must have been a comfort to snuggle up to Engelburt Humpedinck, Des O’Connor or Herb Alpert.

Once the 70s kicked in, MOR dominated the charts giving us names like, Dawn, Peters and Lee, Gilbert O’ Sullivan, Paper Lace and, er Middle of The Road.

By the 80s, pop had been stripped down and polished up but that didn’t stop MOR kicking some serious, comfortably clad butt; who can forget Bucks Fizz? Renee and Renato? And of course The Goobay Dance Band?

In this context Shakin’ Stevens seems almost like Sonic Youth. But his decade long run of hits, encapsulates all that is good and bad in MOR: a comforting nod to the past while reminding you that your dead up to date.

So what’s Mr Stevens’ first new album in 9 years sound like? Well, in the words of the press release “This album has grown from Shaky’s realisation that, like most of us, he knew so very little about the background of his family”. Please, Shaky, don’t make a concept album! 

Relax, he's still refreshingly easy on the ear.

Rick Astley’s honeyed larynx was always a comfort even when you were being Rickrolled and now he’s named his first album in 11 years after his target demographic: 50.

And so the list goes on. Some of these MOR successes are of course Best Ofs – you’d hardly expect a new album from The Carpenters or Whitney Houston (although being dead never stopped Elvis fronting the Royal Philharmonic last year) but Dolly Parton? Petula Clarke? Barbra Streisand? The latter’s duets album even features a duet with MOR behemoth Anthony Newley. Also dead. 

So is there an MOR conspiracy? No, the answer is simple: it’s the power of the known and the power of limited choice. If I’m midway through my weekly shop and I find myself in the middle of the music and stationery aisle, I’m more likely to put Dolly in my trolley than someone I’ve not heard of. Plus the chances are, I’m on a last minute gift hunt – Shaky for Christmas, Barbra for Halloween. The supermarkets know this and because they’ve got less space for music than they have for actual cheese, they’ll stock artists who they already know too. Less is MOR.

And while no one is likely to fess up preferring MOR as their genre of choice, because of its comforting familiarity and nostalgic charm, like a Chris De Burgh record in Sue Ryder, MOR is always going to be there. Waiting for us.