MADONNA did it. Moby did it. Now even Elvis Presley and Kid Rock are doing it, too.
Musicians used to balk at licensing their songs for commercials – for fear of being scorned as sellouts.But artists, frustrated with sagging sales and limited airtime, are now happily accepting advertisers’ calls.
“The ethics have changed, it’s subtle, but you’re less likely to hear bands say ‘No way,’ the way REM did a few years ago when Microsoft wanted to use ‘It’s the End of the World As We Know It (And I Feel Fine)’,” says Greg Milner, associate editor of Spin.
Kid Rock made his debut last week in a commercial for Coors Original, which features his song “Forever.”
He’s hoping the move will reignite his 2001 album “Cocky,” whose sales have not lived up to expectations.
“If it helps you sell records,” says Milner, defending Kid Rock’s decision, “why not be in an actual commercial rather than making a video, which is, for all intents and purposes, a commercial?”
Getting into the ad game is a surefire strategy for new artists eager to find an audience – and for established artists anxious to boost sales.
Disappointed by the lack of radio play his “Desert Rose” single (off the album “Brand New Day”) was receiving, Sting struck a deal with Jaguar to feature the song in commercials for the luxury car in early 2000.
Before the spot aired, “Brand New Day” was in the low 70s of Billboard’s Hot 100. Within 10 days of the ad’s debut, sales skyrocketed – and the album climbed into the Top 20.
A commercial also worked magic for Wiseguys, whose “Start the Commotion,” promoted Mitsubishi Eclipse Spyder 2001.
Although the album was released in 1999, the song did not break into the Billboard Top 40 until after the ad aired on March 19, 2001.
And while some groaned when isn’t-she-wealthy-enough Madonna licensed “Ray of Light” to Microsoft to plug their new Windows XP last year, the furor over artist sellout has died down.
Moby is often credited as the one who made the trend easier to swallow. Every song from his 1999 album “Play” has been licensed, to a total of 100 advertisers.
“Moby’s attitude was always that it was just a way for as many people as possible to hear his music,” says Spin’s Milner.
“He’s been able to turn the tables on those who say that doing so would cheapen their art. Instead, he’s saying that it’s actually making his art stronger because more people can hear his music.”
Artists reap an estimated $500,000 to $1 million to license their songs for commercials – but even more appealing is the exposure.
No one had heard of Dirty Vegas, the British rhythmic dance band – until their single “Days Go By” was featured in a Mitsubishi 2003 Eclipse commercial, which first aired on March 11.
As a result, the album’s release date was pushed up – it wasn’t even available yet in the U.S. – and the disc catapulted to the No. 1 position on Billboard’s Top Electronic Album chart.
“Mitsubishi is a lesser known, edgier company, so we pick music that reflects that,” says Vincent Picardi, senior vice president at advertising firm Deutsch LA.
The remix of Elvis’ 1968 “A Little Less Conversation” began life on a Nike commercial which aired in Europe during the World Cup. Dutch DJ JXL’s version went on to become a No. 1 hit here after topping the singles charts in the U.K. and Asia.
“In a time when you don’t see music videos on MTV as much as you used to, commercials can be seen as filling that niche,” says Milner. “I think you’re going to see more new songs in commercials before they hit MTV or the radio.”
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ADDING UP THE NUMBERS
Here’s how some songs climbed the Billboard charts after they were featured on commercials:
ARTIST: Basement Jaxx
SONG: “Where’s Your Head At?”
PRODUCT: Pringles
BEFORE AD: No. 52
AFTER AD: No. 3
*
ARTIST: Wiseguys
SONG: “Start the Commotion”
PRODUCT: Mitsubishi Eclipse Spyder 2001
BEFORE AD: No. 63
AFTER AD: No. 31
*
ARTIST: Sting
SONG: “Desert Rose”
PRODUCT: Jaguar S-Type
BEFORE AD: Not on charts
AFTER AD: No. 17