A Look At 10 Beatles Songs Used In Commercials

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There is nothing more jarring for a rock and roll fan than to sit down in front of the television and witness a commercial using a song that, in many ways, feels sacred. Songs we’ve grown up with, songs that have become intertwined with our most cherished memories, are deeply personal. The last thing we want is to hear them being used to sell sneakers or luxury cars. For contemporary artists who no longer have the same avenues to make money from selling music, it is more understandable when their songs appear in advertisements. The music industry’s shift to digital streaming has changed the landscape dramatically, leaving fewer options for artists to monetize their work.

However, when bands from the 1960s, ’70s, and even the ’80s licensed their songs for commercials, it often left fans feeling betrayed. Many devoted followers saw it as a compromise of artistic integrity, a sentiment that was especially strong for artists like The Beatles, whose music holds a special place in the hearts of millions. It is important to note, though, that in many cases, these artists did not have control over their songs being used in advertisements. The Beatles, in particular, faced this challenge due to the early sale of their publishing rights, which left them with limited say over how their songs were utilized. The 1987 Nike commercial featuring “Revolution” is a prime example; the song’s use sparked a massive backlash from fans who believed it sullied John Lennon’s legacy. The controversy was compounded by the fact that Michael Jackson, who had purchased the rights to The Beatles’ catalog, approved the sale without input from the band members themselves.

This article takes a look at 10 commercials that have used Beatles songs, highlighting the mixed reactions from fans and the complex history behind these decisions. The list is presented in alphabetical order because, as music fans, it’s hard to rank commercials that, for the most part, we would rather not see at all—unless, of course, it’s for a charitable cause, like Katy Perry’s 2021 cover of “All You Need Is Love” for Gap, which raised funds for Baby2Baby. Nonetheless, these videos may surprise you if you haven’t seen them before.

# 10 – All Together Now

“All Together Now,” a song that captures the playful spirit of The Beatles, has found a unique second life beyond its original release. Originally featured on the Yellow Submarine soundtrack, the song was recorded on May 12, 1967, at EMI Studios in London, with Paul McCartney leading the charge in both writing and performance. Produced by the legendary George Martin, this cheerful, sing-along number wasn’t initially intended as a major single. Instead, it was meant to serve as a lighthearted addition to the animated film’s soundtrack. However, its infectious melody and easy-to-remember lyrics quickly made it a fan favorite.

The track, with its simple chorus of “All together now,” became a mantra of unity and togetherness, echoing through generations. It’s no surprise that in 2010, this song was chosen to underscore a moment of historical reflection and celebration in a Nike commercial featuring NBA superstar Kobe Bryant. Covering the song was OutKast’s Andre 3000, who brought a modern, funky twist to this Beatles classic, giving it a new flavor while retaining the original’s joyous simplicity. The ad, which traced the history of the NBA, used the track to emphasize themes of teamwork, collaboration, and shared triumph, aligning perfectly with the upbeat and inclusive message that “All Together Now” originally conveyed.

Much like the use of “Come Together” by Aerosmith in Nike’s “Revolution” ad in the late 1980s, Andre 3000’s version of “All Together Now” was a bold reinterpretation that bridged the gap between classic rock and contemporary culture. The cover version doesn’t stray far from The Beatles’ original in terms of structure, but it injects a fresh, rhythmic vitality that complements the ad’s visuals of players uniting on the court. In this way, the song’s history was extended, gaining new layers of meaning for a younger generation and reinforcing its place as a cultural touchstone.

# 9 – All You Need Is Love

When The Beatles released “All You Need Is Love” on July 7, 1967, the world was in the midst of social upheaval and change, and the song quickly became an anthem for peace and love. Written by John Lennon and produced by George Martin, the track was recorded at EMI Studios in London as part of a live television broadcast for the first-ever global satellite link, Our World. Featuring a distinct brass arrangement, a celebratory sing-along chorus, and a collection of friends and fellow musicians in the studio (including Mick Jagger and Keith Richards), the song perfectly captured the Summer of Love’s spirit. With its deceptively simple lyrics and infectious melody, “All You Need Is Love” climbed to the top of the charts in both the U.K. and the U.S., solidifying its place in the pantheon of classic rock songs with a social conscience.

Fast forward to 2007, and this same peace anthem found itself at the center of controversy. Used in an advertising campaign for Luvs diapers with the lyrics modified to “All You Need Is Luvs,” the commercial was met with backlash from Beatles purists. Many fans felt that the song’s use in an ad for diapers undermined its historical significance and reduced it to a jingle. Unlike “Revolution,” which was controversially licensed for a Nike campaign in the late 1980s but at least retained its original spirit of rebellion and change, “All You Need Is Love” was reimagined in a way that seemed to some as cheapening The Beatles’ legacy. The incident highlighted a unique complication in Beatles’ lore: the publishing rights to their music, which, due to a series of transactions in the 1980s, are largely controlled by Sony and Michael Jackson’s estate. This arrangement has allowed for various uses of their songs, sometimes to the dismay of fans and the surviving Beatles themselves.

In 2021, another interpretation of “All You Need Is Love” found a more charitable angle when pop superstar Katy Perry covered the song for a Gap holiday campaign. Directed by Mark Romanek, the ad was a significant nod to Perry’s roots, as she had once worked in a Gap store in Santa Barbara, California. This time, the cover aimed to benefit the Baby2Baby foundation, with Gap and Spotify pledging to donate $1 for every stream of Perry’s version, up to $100,000, to the Los Angeles-based children’s charity. In contrast to the Luvs campaign, this rendition received a more positive reception, with fans appreciating the philanthropic twist on a beloved classic.

# 8 – Come Together

“Come Together,” originally recorded by The Beatles in July 1969 at Abbey Road Studios in London, is a song that epitomizes the band’s late-era creativity and eclecticism. Written primarily by John Lennon as a rallying cry for Timothy Leary’s short-lived gubernatorial campaign in California, it quickly transformed into something much more enigmatic and groove-heavy under the production genius of George Martin. With its swampy, laid-back blues riff, Paul’s liquid bass lines, and Lennon’s cryptic, almost stream-of-consciousness lyrics, “Come Together” became an instant hit, serving as the opening track on Abbey Road and reaching number one on the Billboard Hot 100 in the U.S.

In a 2023 campaign by Hard Rock International, the song was reimagined for a promotional spot titled “Come Together with Unity by Hard Rock.” Featuring a cover by contemporary artist Noah Kahan, the campaign brought together high-profile figures like Shakira, John Legend, and Lionel Messi, set against the backdrop of Hard Rock’s global venues. While the original track was a call for social unity during a tumultuous time, its new commercial incarnation aims to capture a different kind of coming together—this time, around the Hard Rock brand’s lifestyle offerings.

# 7 – Getting Better

Sgt. Pepper's Lonely Hearts Club Band (Remastered) (CD)

“Getting Better,” a buoyant track from The Beatles’ 1967 masterpiece Sgt. Pepper’s Lonely Hearts Club Band, found itself in an unexpected new light in 1999 when it was used in a commercial for Philips television sets. A soundalike group provided a close approximation of The Beatles’ distinctive harmonies and upbeat melodies for the ad, highlighting the song’s optimistic refrain, “It’s getting better all the time,” to reflect the evolving quality and clarity of Philips’ television technology. However, this wasn’t a decision the band members could control. At the time, Michael Jackson owned the publishing rights to most Beatles songs, including “Getting Better,” allowing their use in commercial endeavors without the direct consent of the surviving Beatles.

Recorded at Abbey Road Studios between March and April 1967, “Getting Better” exemplifies The Beatles’ creative synergy at its peak, with contributions from each member that make it a standout on one of rock’s most celebrated albums. Paul McCartney’s cheerful optimism is countered by John Lennon’s more cynical lyrics, creating a tension that is both dynamic and memorable. Produced by George Martin, the track features the distinctive chiming guitars of George Harrison and McCartney’s driving bass line, alongside Ringo Starr’s crisp drumming. The use of the song in the Philips commercial offered a curious dichotomy—taking a piece of music rooted in the Summer of Love’s ethos and repurposing it to sell modern technology.

The commercial’s use of a soundalike group rather than The Beatles’ original recording was a strategic move, given the complexities of music rights management at the time. By 1999, the ownership of The Beatles’ publishing rights was in the hands of Michael Jackson, who had purchased the ATV Music catalog in 1985. This ownership transfer meant that The Beatles had little to no say in how their songs were used in advertising campaigns. The Philips ad is an example of how the commercial world has leveraged the universal appeal of The Beatles’ music, even in contexts that might not align with the band’s original artistic intent.

Comparing this usage to other Beatles songs employed in commercials, like “All You Need Is Love” for Luvs diapers or “Come Together” for Hard Rock’s Unity campaign, highlights a recurring theme: the tension between the songs’ cultural significance and their function as marketing tools. “Getting Better” retains its buoyant, hopeful spirit, yet its placement in a television commercial adds another layer to the song’s legacy, demonstrating how The Beatles’ music continues to find new relevance, even in the most unexpected places.

It’s only used as the tag at the end……blink and it will be gone

# 6 – Golden Slumbers

“Golden Slumbers,” one of the most emotive tracks from The Beatles’ swan song album, Abbey Road (1969), was brought back to life in a new context for the 2017 UK John Lewis Christmas commercial. The iconic British retailer tapped the alternative rock band Elbow to cover the song for their festive campaign, directed by Michel Gondry, a filmmaker known for his whimsical visual style and past collaborations with artists like Björk. The ad, titled “Moz The Monster,” tells the heartwarming story of a young boy who discovers an imaginary creature living under his bed, forming an unlikely friendship that captures the magic of childhood and the spirit of the holiday season.

Originally recorded by The Beatles at Abbey Road Studios in July 1969, “Golden Slumbers” was produced by George Martin and serves as the opening movement in the memorable medley that closes Abbey Road. Paul McCartney’s delicate piano playing, paired with his plaintive vocals, establishes a sense of both yearning and comfort, reflecting the lullaby-like quality of the song’s lyrics, inspired by the 17th-century poem by Thomas Dekker. The Beatles’ original rendition is enhanced by lush orchestration, with contributions from all four members: McCartney on piano and vocals, George Harrison on bass, Ringo Starr on drums, and a brief but striking appearance from John Lennon on backing vocals. For Elbow’s cover, frontman Guy Garvey captures the haunting poignancy of McCartney’s delivery, bringing a fresh yet faithful interpretation to a new audience through the commercial.

The decision to use “Golden Slumbers” for the 2017 campaign continued a tradition for John Lewis, a company known for using evocative music in its Christmas adverts. Elbow’s version of the song, chosen for its timeless, emotive quality, matched Gondry’s signature dreamlike visuals, which showcased the boy’s late-night adventures with Moz The Monster. The song’s themes of comfort and solace were amplified by its placement in the ad, inviting viewers to reminisce about the wonder of childhood, much in the way that McCartney’s original lyrics recall a simpler, more innocent time.

# 5 – Hello Goodbye

The Beatles’ “Hello Goodbye” has proven to be a song with surprising commercial versatility, finding new life in advertising campaigns over the years. Released as a single in November 1967 and produced by George Martin, “Hello Goodbye” quickly rose to the top of the charts worldwide, including hitting number one on both the UK Singles Chart and the Billboard Hot 100. Written primarily by Paul McCartney during the sessions for Magical Mystery Tour, the song features a playful melody and a lyrical theme of opposites that has made it a favorite for companies looking to engage audiences in fun, memorable ways.

Target was one of the first major brands to leverage the universal appeal of “Hello Goodbye,” using it in a series of commercials with the lyrics cheekily altered to “Hello, Good Buy.” In 2008, the Jonas Brothers recorded a version of the song for a Target commercial that aimed to attract a younger demographic during the holiday season. The band’s rendition retained the upbeat feel of the original but added a modern pop-rock sheen, reinforcing The Beatles’ relevance across different generations. The Target campaign cleverly played on the song’s lyrical dichotomy to convey a sense of both invitation and departure, aligning perfectly with the retail giant’s message of welcoming customers while offering them deals to “say goodbye” to high prices.

More recently, “Hello Goodbye” found a new audience through a cover by Los Angeles singer Boh Doran, used in a 2021 Super Bowl commercial for the resale company Mercari. This ad capitalized on the song’s easy-going rhythm and accessible lyrics to emphasize the theme of giving and letting go—core values of the online marketplace where users buy and sell items they no longer need. Doran’s version brought a fresh, contemporary feel to the song, capturing the essence of Mercari’s message about reusing and recycling in a friendly and upbeat way.

# 4 – Revolution

The Beatles: 1967-1970 (The Blue Album) (2CD)

When Nike decided to use The Beatles’ “Revolution” in a 1987 advertising campaign, they unleashed a wave of controversy that reverberated across the worlds of music, advertising, and corporate ethics. “Revolution,” first released as the B-side to “Hey Jude” in 1968, was a song that encapsulated the counterculture spirit of the 1960s. Written by John Lennon and produced by George Martin, it was recorded at Abbey Road Studios in London, with Lennon’s fiery vocals, George Harrison’s distinctive guitar work, Paul McCartney’s driving bass, and Ringo Starr’s steady drumming. The song’s call for social change and its ambiguous stance on revolution made it an unconventional choice for an athletic brand looking to market running shoes.

The 1987 Nike commercial campaign, branded “Revolution in Motion,” featured ordinary joggers, gym-goers, and cyclists, aiming to align the transformative message of the song with the company’s own narrative of innovation in fitness. Nike paid $250,000 to Capitol Records for the performance rights to The Beatles’ version of the song and also had to get approval from Michael Jackson, who owned the publishing rights after acquiring them in 1985. The move was controversial, not only among Beatles fans, who felt that using “Revolution” in a sneaker ad was an affront to the song’s meaning and to John Lennon’s legacy, but also with the surviving members of The Beatles and Yoko Ono, representing Lennon’s estate, who brought a lawsuit against Nike.

While many decried the use of “Revolution” in a commercial, the ad campaign itself proved effective for Nike, expanding their market reach and highlighting their products as part of a broader “revolution” in personal fitness. The backlash, however, was intense and enduring. Nike’s decision to use a song so deeply ingrained in the counterculture and anti-establishment ethos of the 1960s to sell sneakers in the capitalist marketplace struck many as contradictory and distasteful. The lawsuit was eventually settled, but not before the campaign garnered a year’s worth of controversy and publicity. Despite the uproar, the move proved “revolutionary” in another sense: it opened the door to using iconic songs in commercials, a practice that has become commonplace today, although Beatles songs largely remain off-limits.

In the years since, “Revolution” remains a symbol of its time, one of The Beatles’ most politically charged tracks, and a reminder of the powerful ways music and commerce can collide. The Nike campaign may have ignited a “revolution” of its own in the advertising world, but it also underscored the enduring connection between music and its original context. Today, even with the broader acceptance of music in advertising, the legacy of “Revolution” in that Nike ad still resonates as a controversial moment when commerce clashed head-on with art.

# 3 – Something

In 1987, when Chrysler used The Beatles’ “Something” in a commercial for its cars, it marked a surprising moment in the relationship between rock music and advertising. Written by George Harrison and originally released on the iconic Abbey Road album in 1969, “Something” is widely regarded as one of the most beautiful love songs ever penned. It was the first Harrison composition to be issued as a single by The Beatles, sharing double A-side status with “Come Together.” Praised by both John Lennon and Paul McCartney as among Harrison’s finest works, “Something” has become an enduring classic covered by artists as diverse as Frank Sinatra and James Brown. Its use in a Chrysler ad was a significant departure from its original, deeply personal context.

The song was recorded at Abbey Road Studios in London between May and August of 1969, with George Harrison on lead vocals and lead guitar, Paul McCartney on bass, John Lennon on piano, and Ringo Starr on drums. Produced by George Martin, “Something” captured a more mature and sophisticated sound, blending Harrison’s tender lyrics with a lush orchestral arrangement. Harrison’s delicate guitar solo and the plaintive, searching quality of his voice gave the track a timeless appeal, making its deployment in a 1987 car commercial all the more controversial. To many, using such a deeply emotional song to sell cars seemed a questionable move, especially since the song’s rights were controlled by Michael Jackson, who had famously purchased the Beatles’ publishing rights in 1985.

The commercial featured a montage of stylish new Chrysler cars cruising through idyllic landscapes, while “Something” played softly in the background. The use of a Beatles song—especially one as universally loved as “Something”—to sell cars sparked a backlash among fans and critics who felt that the ad was a blatant commodification of a song that was meant to convey sincere emotion and romantic longing. The campaign, however, succeeded in drawing attention to Chrysler, and like the Nike campaign that used “Revolution,” it ignited a debate over the ethics of repurposing iconic music for commercial purposes.

# 2 – Taxman

The Beatles - Revolver: Special Edition Black Colored Exclusive VinylLP

“Taxman,” the caustic opening track of The Beatles’ 1966 album Revolver, took on a surprising second life in 2002 when it was featured in a series of commercials for H&R Block, the tax preparation service. Released shortly after George Harrison’s death in November 2001, the ads stirred a blend of amusement and discomfort among fans who saw the ironic use of this anti-tax anthem to sell tax services.

Written primarily by George Harrison and recorded at Abbey Road Studios in London in April 1966, “Taxman” is famously known as The Beatles’ first foray into social and political commentary. It was produced by George Martin and featured Harrison on lead guitar and vocals, Paul McCartney on bass and backing vocals (as well as playing a striking lead guitar solo), John Lennon on backing vocals, and Ringo Starr on drums and cowbell. The song’s sharp, funk-inspired bassline and tight, crisp rhythm carried its biting lyrics, which lambasted the high rates of taxation in the United Kingdom at the time. “Taxman” reflected Harrison’s growing frustration with the British government’s steep tax policies that took a significant cut from the band’s earnings. Lines like “There’s one for you, nineteen for me” illustrate his sarcastic disdain for the system, making its use in a tax ad all the more unexpected.

The H&R Block commercial aired soon after Harrison’s passing, featuring a cover of “Taxman” that was true to the original’s gritty and acerbic tone. The campaign aimed to promote the tax preparation firm’s services by leveraging the song’s association with tax woes, but it sparked a backlash from fans and commentators who found the timing and context to be in poor taste. Just as with Nike’s use of “Revolution” and Chrysler’s use of “Something,” the advertisement generated a debate about the ethics of employing Beatles songs—particularly one with such a pointed social message—in a commercial setting.

The backlash was heightened by the fact that “Taxman” was so directly critical of government taxation, making its use in an advertisement for a tax preparation company seem particularly paradoxical. However, H&R Block defended the use of the song, noting that the campaign was not intended to offend but rather to capitalize on the song’s familiarity and thematic relevance. Ultimately, the controversy surrounding the “Taxman” commercial serves as another example of how The Beatles’ music—despite its timeless appeal—can still stir strong reactions when it is employed in ways that diverge from its original artistic intent.

# 1 – We Can Work It Out

Closing our list of Beatles songs used in commercials, “We Can Work It Out” found its way into a Hewlett-Packard campaign in the United Kingdom, albeit through a cover performed by a soundalike group. The decision to use this iconic track for a tech company’s marketing push is yet another example of how The Beatles’ timeless music continues to find new life in the commercial landscape, decades after its initial release.

Originally released as a double A-side single with “Day Tripper” in December 1965, “We Can Work It Out” quickly became a major hit, reaching number one on both the UK Singles Chart and the US Billboard Hot 100. The song was recorded at Abbey Road Studios in London over two days in October 1965, under the production of George Martin. Written primarily by Paul McCartney, with lyrical contributions from John Lennon, “We Can Work It Out” is a perfect blend of McCartney’s melodic optimism and Lennon’s more cynical realism. McCartney’s hopeful verses—urging reconciliation and compromise—are counterbalanced by Lennon’s more introspective and fatalistic middle-eight section, “Life is very short, and there’s no time for fussing and fighting, my friend.” Musically, the track’s use of a harmonium, played by Lennon, adds an unusual texture that distinguishes it from other pop songs of the era.

For Hewlett-Packard, the choice to use “We Can Work It Out”—even in a re-recorded form—was clearly designed to evoke a sense of collaboration and problem-solving, key themes for a tech company looking to promote its products and services. The campaign, featuring the cover version, sought to harness the Beatles’ message of overcoming differences and finding solutions together, likely aiming to parallel HP’s own goals of innovation and partnership. However, the use of a soundalike group instead of the original recording underscores the complex issues surrounding the licensing of Beatles songs for commercial purposes. Much like the earlier example of Phillips using a soundalike version of “Getting Better” in their 1999 television ads, the decision reflects the ongoing challenges of securing the rights to the original tracks, which are closely guarded by various stakeholders.

Despite the workaround approach, the commercial managed to tap into the song’s enduring appeal. “We Can Work It Out” stands as one of The Beatles’ most universally beloved songs, a plea for unity and understanding that has resonated across generations. Unlike the controversy that surrounded Nike’s use of “Revolution” or H&R Block’s controversial timing with “Taxman,” the Hewlett-Packard campaign quietly leveraged “We Can Work It Out” in a way that was less contentious but still effective in drawing on the song’s spirit of resolution. The ad demonstrated once again how The Beatles’ music—whether performed by the band themselves or through a faithful cover—continues to serve as a potent cultural touchstone, connecting with audiences even when repurposed for commercial use.