Don't bore us, get to the chorus.
That's a greatest hits album by Swedish pop rock duo Roxette, but is also seems to be the mantra for modern day pop music - which has dramatically cut its intros compared to 1980s power ballads.
A new study from Ohio State University looked at the evolution of top 10 chart-topping hits from 1986 to 2015 and found some stark changes - big hair and fashion aside.
The intros to songs, which used to average around 20 seconds in the mid-80s, are now only around five seconds long.
Song tempos are also getting faster, with an average increase of 8 percent; song titles aren't as long either, with a trend toward using just one word.
Study author Hubert Léveillé Gauvin, a music theory doctoral student, puts that down to shorter attention spans and the need for musicians to grab fickle listeners' attention in the age of streaming.
"It's survival of the fittest: Songs that manage to grab and sustain listeners' attention get played and others get skipped. There's always another song," Mr Léveillé Gauvin says.
"If people can skip so easily and at no cost, you have to do something to grab their attention."
He says the difference between mid-'80s songs and today's songs is "insane" - a 78 percent cut - but "makes sense".
"The voice is one of the most attention-grabbing things there is in music."
In one example, he compared Starship's 1987 mid-tempo song 'Nothing's Gonna Stop Us Now' to Maroon 5's 2015 hit 'Sugar'.
It takes 22 seconds for the first lyrics to be heard, and takes more than a minute to get to the 'hook' or chorus.
Compare that to Maroon 5 who take the listener on an up-tempo ride to the hook within 40 seconds.
Mr Léveillé Gauvin also says it's changed the way artists sell themselves and compose their songs.
He says rather than looking to get direct income on music streaming services, they're looking to get their fans to go to concerts or buy merchandise.
They're no longer looking to make "cultural products", but rather using their songs as advertisements.
"We're operating in an 'attention economy,' and attention is scarce and valuable.
In a second study, Mr Léveillé Gauvin looked at whether artists' most popular hits on Spotify were more likely to fit the 'attention-grabbing" theory than their least popular songs.
He found no evidence of that.
The study was published in Musicae Scientiae.
Newshub.
