British actor Idris Elba records at Uptempo

Idris Elba the british actor known for his work in movies like "RocknRolla", "Obsessed", "28 weeks later and TV Series like "The Office" visited Uptempo to record a couple of commercials for the United Kingdom.

The Importance of Music Selection

So it appears music has come out from just lining the shells of corporate jingles to being the driver of commercial recognition and why shouldn’t it be? In Uptempo Music & Audio Post (our recording studio in Miami) , we have recently seen a trend in commercial production where song selection is becoming the instrumental elements of great brand commercials. One, reason for this shift in the industry could be attributed to Apple’s initial iPod campaign-simple in graphics but bold in music. It was their calling card, and as Apple’s success grew, so did other national advertisers attention to how it was creating its messages.

To date, Apple continues to travel down the same creative lines that thrust its brand back into national prominence-simple graphics driven by catchy melodies. Often times kick starting the career of the musical artists chosen by Apple, as iTunes sales go through the stratosphere when a new campaign is released. Now just because we’re music people it doesn’t mean we don’t love great special effects, humor and big visual productions in commercials as the next person. But you can’t deny the use and importance of song creation and selection in commercials these days. Often times, artists are sough out and held exclusively as their sound becomes synonymous with the brand. It’s the battle of brands finding the next big musical star before anyone else can. It even means scavenging artists who’s sound align themselves with your brand and making them a hit along with your brand, and not as much as, choosing songs from highly over-priced rights held by the top Billboard artists. So, to recap: big brands find unknown artists, little money is spent to obtain rights, music becomes definition of brand=huge success.

In fact, the formula has been so successful, international brands are seeking to such musical connections made for exclusively for them. Take a look at the new Gatorade Commercial http://bit.ly/dmG0ba in which, you think you are listening to a retro track that you’re grandpappy once listened to, transformed for and refurbished for a new commercial. Well actually, it was made just months ago as Gatorade sought out a company to produce the song from scratch for them. And it goes both ways, AT&T sought out Gene Wilder’s, “Pure Imagination” from Willy Wonka and the Chocolate Factory in it’s newest Imagination campaign http://bit.ly/clGmlf . Now, while both commercials dazzle with a carousel of visual images and effects it is the songs that resonate with consumers and really separate the commercials from the daily noise. What’s great is that all genres are using music as the universal connection to audiences. Even the hack em’ and shoot em’ Xbox title, Gears of War has built it’s brand on commercials that feature riveting and emotionally binding music titles. The first game trailer featured the song, “Mad World.” The newest trailer, “Ashes to Ashes” for Gears of War 3, http://bit.ly/8X8pqN features the weary and worn sound of "Heron Blue" by folk group Sun Kil Moon led by Mark Kozelek.

So, what does this mean for brands? It means that music selection is as important as ever. It means more time developing a sincere sound for your campaigns that evolve beyond the top 100. It means searching the internet for that next big star waiting to be discovered but currently under the radar. Or it means hiring a production company to start fresh. Give them the parameters of the campaign and allowing them to build an emotional musical connection for your audiences. It means building an integrated approach to your campaigns by releasing commercials then giving consumers the tools to access the details, find the song and even buy it. You can take it a step further; make it your on-hold or elevator music. Make it part of your culture and in return, it will turn audiences into advocates as they resonate at a deeper level with your brand then just being targeted with a message. Because music is one medium we can all relate to and escape with and we will. We will take it and run so fast you’ll never get it back. We’ll share it with friends and family, we’ll even make it our ringtone for strangers to hear. So, when that opportunity presents itself, make sure it is something we would willingly escape with.

Roselyn Sanchez recording with Uptempo

Puerto Rican actress and singer Roselyn Sanchez is seen in the picture after recording a personal project with Uptempo's Executive Producer Roger Dominguez.

The End of the One-Hit Wonder

You remember them right? The 80’s created them and the 90’s practically lived off of them. They lived for 2-4 weeks at a time and blew up the phone request lines. Every T-top Firebird blasted them from the comfort of their cassette player and non-one could resist their memorizing melodies. They were “One Hit Wonders.”

Of course, we can all recall our own personal favorites: “Whip It,” “Whoomp…There It Is,” or my personal favorite; Deee-Lite, “Grove is in the Heart.” Just saying. This is what defined musical generations, going out and buying an entire album for one hit song. And this is why one-hit-wonders became so definitive and emotionally reflective-that and mostly because the rest of the album was at best, tolerable. No one remembers the artists with 10 great songs to the same tune (no pun intended) of when they recall their fondest one-hitter. These are the songs we cringe when played at weddings, which ultimately gave the DJ the often recited, “quite possibly the worst DJ in the World” rep. But these are also the songs we look forward to when attending an 80’s throw back party or when cueing up the VHS to watch a Jean Claude Van Dam movie. I mean, who doesn’t love the VH1 remember when 80’s and 90’s shows?

However, have we seen the end of the one-hit wonder? With today’s technological innovations in music, it appears all artists are becoming one-hit wonders, one hit at a time. No longer are consumers forced to purchase an entire record for their one favorite song. They can easily long onto iTunes or Amazon and get that one song and then integrate it throughout their lives on every listening device they have. In fact, the music culture has shifted so greatly that artists are now being forced to create that one hit. Music companies and strategists pine over which song to release first, its order on the album and how to market it. Because they know, that one song, will make or break the artist and their entire album. You see, the music industry is becoming a lot like the movie industry. You have to have a strong opening weekend, or in our case, strong first single in order to have success. Because the path to millions lies in a strong opening in sales and high media buzz.

And with digital players and song purchasing networks, consumers are in control. They can build a custom library of one-hit after one-hit by an entourage of musical artists. And that’s perfectly ok. Consumers are no longer bound to record companies telling them which songs they can or cannot listen to. And in some cases, even artist don’t need record companies to tell them what to write and hwo to perform. Look at Justin Bieber, a Youtube star who built a following on his own terms and then had the record company coming to him to sign, like a star college quarterback with every pro team vying for his unique talent.

The music age, as we knew it in the 80’s 90’s, would be proud. Where at one time, one-hitters we considered cliché, they are now seen as a coveted and desired. And what’s funny is, the one-hit-wonder as we knew them will never has the same nostalgia they once held. Because one internet hit could turn into millions of downloads and sales on iTunes. It’s no longer a cliché way to listen to and like music but the normal way. So, as we say goodbye to the classic and fond “one-hit-wonders,” we welcome a new age to music as powered by the consumer. I wonder where we’ll take it next?