Up until around 1970, jingles really were, uh, "jingles." Cute little ditties that were intentional earworms. Ask your grandmother to complete these lines: “You’ll wonder where the yellow went, when . . .” Or, “Mr. Clean gets rid of . . .” Then a change occurred. The goal became to make commercial music appealing in the same way popular music was. Barry Manilow is still remembered for the “You deserve a break today” stuff he did for McDonald’s. It was fun for us to do new arrangements of that for some seasonal and special promotions for them. He also did iconic music for Dr. Pepper, Band-Aid, Nationwide ("is on your side") and a lot of others. And anybody who saw the finale of Mad Men was reminded of “Buy The World A Coke” that some guys at McCann-Erickson did in 1971.
So, TRCPG did a lot of these pop music style jingles in the 70s. I wrote, arranged, produced, engineered, sang, played keyboards, and/or played trumpet on I’ll bet a hundred or more, for regional and a few national advertisers. These were the forerunners of what we now call "native ads". There were some good things about this. First, it helped pay the bills in the studio, when most of the pop and rock work was local groups doing demos as cheaply as they could. It helped a stable of singers and studio players make ends meet and gain increasing familiarity with the studio environment. And, as we tried to make these jingles sound as good as possible, we learned a lot about everything from mic placement to stereo/mono compatibility.
Later, as advertisers realized that they could license actual pop songs for their commercials, original jingle work fell off, and TRCPG turned to film sound and music for trade shows, stuff that's now called production music. I thought the work we did for McDonald's, Eli Lilly and Hampton Inn was particularly good. You can listen to some of this stuff on the Streams page of the web site.