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'Glee' is music to songwriters' ears

Pop classics have been getting a sales bump after being performed on the Fox series "Glee" Steve Perry cheers. But not everyone is enthusiastic.

April 27, 2010|By Scott Collins and Denise Martin, Los Angeles Times
  • From left, Lea Michele, Jenna Ushkowitz, Amber Riley, Heather Morris, Dianna Agron and Naya Rivera perform in "The Power of Madonna" episode of "Glee."
From left, Lea Michele, Jenna Ushkowitz, Amber Riley, Heather Morris,… (Michael Yarish / Fox )

Steve Perry was skeptical when the producers of a television pilot about a high school glee club sought permission to use his band's signature song in their show; the former frontman for the classic rock group Journey is protective of his legacy. "I want to be able to put these songs somewhere with good conscience that they're not going to be abused," Perry said in a recent interview. "I don't want to see that happen."

He needn't have worried. Perry overcame his doubts, agreed to license the song to the producers of " Glee," and a year later "Don't Stop Believin' " has reached a new generation of music fans.

As many younger viewers seem to be losing interest in the once invulnerable " American Idol," "Glee" looks poised to be pop's new tastemaker. Much like "Idol," "Glee" is helping alter the dynamic between music and television, showing ways that both media can help prop up each other in a world beset by multichannel and Internet competition.

Returning from a four-month hiatus earlier this month, the first-season comedy about nerdy glee club members hit a new ratings peak following "American Idol," with 13.6 million total viewers; it actually beat "Idol" among the key demographic of adults aged 18 to 34, according to the Nielsen Co.

It's music that drives the show, and the show in turn drives music sales. On Monday, the three cast albums were numbers 1, 7 and 10 on Apple's iTunes album chart and together have sold more than 1 million units, according to SoundScan. Sales of the cast's singles, which typically are released shortly after an episode airs, have logged online sales of 4.1 million. The show's covers also are sending the original recordings back up the charts. Perhaps most crucially, "Glee," like "Idol," is bridging the gap between classic rock favored by boomers and hip-hop popular with their kids.

Perry said he loves the "Glee" version of "Don't Stop Believin.'" "They really worked hard to make it their own," he said. What's more, "it's actually brought people's attention to go check out the original. … It's something I never thought I'd see in my lifetime."

"The travails of the music business are well documented, but the truth is, a good idea can cut through that," said Rob Stringer, the chairman of Sony Music Label Group, which releases the "Glee" cast music. "I think ‘Glee's' an example."

Creator Ryan Murphy claims to be guided by instinct — not to mention his own musical nostalgia — in picking songs that run the gamut — '70s balladeer Eric Carmen, R&B diva Jill Scott and show tunes from "Cabaret" and " Wicked."

"At the beginning, everyone kept asking if this was like ‘High School Musical' — no one says that anymore," Murphy said in an interview. "You would never think the Rolling Stones and Barbra Streisand would go together in an episode, but I love them both and there they are."

Songwriters' affection for the series is understandable, given the bump in sales that inevitably results for the tunes that Murphy and his team choose. But "Glee," which airs on Tuesday nights, also can deliver big boosts to songs that got away. After a September episode featured a cover of Jazmine Sullivan's "Bust Your Windows," a Latin-flavored vamp that peaked at No. 31 on Billboard's Hot 100 in 2008, sales of the original record shot up to 2,945 units the following week, up 231% from 891 the week before.

Classics have benefited as well. Murphy said that Neil Diamond was initially "very resistant to license" the rights to his 1969 hit "Sweet Caroline," now a pop standard. But after the song was featured in an October episode, sales more than tripled from 3,038 the week before to 10,160 the week after. Diamond wrote on Twitter that he "loved" the cover version.

It's an unlikely trajectory for a series that initially looked at best like a long shot. Murphy was best known for creating " Nip/Tuck," a dark comedy about plastic surgeons that wrapped its six-season run in March on cable outlet FX. For his next gig, Murphy, along with writing partners Ian Brennan and Brad Falchuk, wanted to try pitching a more family-friendly comedy. But the music for "Glee" posed some big problems: Rights to popular tunes tend to be expensive.

And scripted shows in which the characters break into song have a "pretty spotty track record" on television, said Gary Newman, chairman of 20th Century Fox Television, the studio that makes "Glee" as well as "The Simpsons" and ABC's new comedy "Modern Family." Previous musical bombs include "Viva Laughlin" and "Cop Rock."

Murphy assured nervous executives that the 14 songs heard in the pilot were merely a lure to get viewers hooked; the music would be trimmed back once the series got rolling.

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