Go Compare advert helps net £10m for UK songwriters
PRS for Music today revealed the most played music in advertising across television and radio for 2012.
The organisation represents songwriters, composers and music publishers, tracking music used online, in broadcast, in businesses and performed live so creators can make a living from music royalties.
Advertising revenue is a vital source of income for many songwriters and composers. In 2012 radio advertising accounted for £1.9m in broadcast royalties with television commercials netting £8m for PRS for Music members. Of all music played on UK commercial television stations, approximately one minute of every ten is used solely in adverts.
Music's role in TV adverts has always been significant, and under-rated, but it's never been more beneficial for songwriters to land that deal. The exposure and reach they can gain by getting a song in a commercial is a huge benefit to the artist, as it allows them to cut through the many thousands of acts that the modern audience has access to. The licence fee and royalties that are generated by the campaign can change a songwriter’s career.
The infamous ‘Go Compare’ advert was played most throughout 2012, followed swiftly by its competitor ‘Confused.com’ using the Village People’s iconic Y.M.C.A. song - which was a UK Number 1 chart hit when first released in 1978.
Mercury Prize winner, Speech Debelle co-wrote the music used in the Sky commercial, the fourth most performed ad in 2012. Spinnin’ was written by Speech Debelle (aka Corynne Elliot) along with luminary songwriting team, Pat Marks, Dwayne Richards and Michael Lindsay. Lindsay, who pioneered the massive folktronica scene with his band Tunng is an accomplished composer for television and film, working on the ITV re-brand and soundtracking commercials for O2, T-mobile, Littlewoods, Samsung and Honda.
Writing with Mike was a great experience. I love working with people that are from a different musical genre to me so we can bend and wave the sound we're creating. I'm going to Iceland this spring to work with Mike again. It couldn't happen without a supportive and active sync team; Dean, Adrian, Claire and everyone at Ninja\Big Dada\JIM have been excellent. Sync is an essential source of income for me so I can keep writing and producing music that makes people listen, and PRS for Music helps make that happen.
Top 20 Songs In TV And Radio Commercials 2012
|Position||Work Title||Writer||Advert||Performed by|
|1||Over There||George M. Cohan||Go Compare||N/A|
|2||Y.M.C.A||Edward Willis, Jacques Morali, Henri Belolo||Confused.com||N/A|
|3||Eliza's Aria||Elena Kats-Chernin||Lloyd's TSB||Elena Kats-Chernin (Wild Swans ballet)|
|4||Spinnin'||Mike Lindsay, Corynne Elliott, Pat Marks, Jason Richards||Sky||Speech Debelle|
|5||Primavera||Ludovico Einaudi||Santander||Ludovico Einaudi|
|6||The Universal||Damon Albarn, Graham Coxon, JAMES Steven James, David Rowntree||British Gas||Blur|
|7||Shine||Gary Barlow, Paul Donald, Paul Robson, Jason Orange, Mark Owen||Morrisons||Take That|
|8||Here Come The Girls||Allen Toussaint||Boots||Sugababes|
|9||Rescue Me||Carl Smith, Raynard Miner||British Gas||Fontella Bass|
|10||Have Love Will Travel||Richard Berry||LV Insurance||The Sonics|
|11||Young Folks||Peter Moren, John Eriksson, Bjorn Yttling||Homebase||Peter, Bjorn and John|
|12||Bring Me Sunshine||Sylvia Dee, Arthur Kent||Coca-Cola||Willie Nelson|
|13||Busy||Olly MUrs, Martin Brammer, Adam Argyle||Marks & Spencer||Olly Murs|
|14||Our House||Graham Nash||B & Q||Amber State (cover of Crosby Stills & Nash)|
|15||Give a Little Love||Damian Katkhuda||Asda||The Mostar Diving Club|
|16||The Snow Prelude No 3 in C Major||Ludovico Einaudi||Nationwide||Ludovico Einaudi|
|17||Welcome Home||Benjamin P Cooper||Nikon||Radical Face|
|18||It's A Good Day||Dave Barbour, Peggy Lee||Garnier||Peggy Lee|
|19||Barcarolle||Jacques Offenbach, Jack Byfield||Barclays||Arr: Keith J Blainville|
|20||Ain't No Mountain High Enough||Nickolas Ashford, Valerie Simpson||DHL||Created by Paul Epworth ft. Vula Malinga|
1 Revenue generated from ‘sync’ deals for advertisements is a vital source of income for many songwriters. Advertising agencies can pay fees to secure the music they need to make their advert work. In addition to these initial sync fees, songwriters and publishers get paid royalties by PRS for Music every time the advert is broadcast on TV or radio and last year these totalled £10m.
Notes to Editors
PRS for Music is able to track music usage by licensing broadcasters and using reporting technology to collect set lists and song data.
Synchronisation or ‘sync’ teams are responsible for placing music in adverts, films and television dramas.
About PRS for Music
PRS for Music represents the rights of songwriters, composers and music publishers in the UK and around the world. As a membership organisation it works to ensure that creators are paid whenever their musical compositions and songs are streamed, downloaded, broadcast, performed and played in public. In 2019, 18.8 trillion performances of music were reported to PRS for Music with £810.8m collected on behalf of its members, making it one of the world’s leading music collective management organisations.
PRS for Music’s public performance licensing is carried out on PRS for Music’s behalf by PPL PRS Ltd, the joint venture between PPL and PRS for Music.