Igor Stravinsky, supposed quote- “Good composers borrow, great ones steal.”
I’ve noticed a lot of theft, inadvertent or knowing, in music. Sometimes it’s well disguised, other times blatantly stolen. Not to judge except in cases of outright plagiarism, it’s enlightening to discover the musical connections that lead one artist to borrow from another.
But the connections in the better pieces give a look through the proverbial keyhole to influences and chronology.
For example, Steely Dan’s ” Rikki Don’t Lose That Number “ is a great pop song that cribs its initial bassline DIRECTLY from Horace Silver’s “ Song For My Father “. As unabashed jazz fans themselves, I’m sure Donald Fagen and Walter Becker would’ve gladly acknowledged the reference.
On another occasion a few years later, Fagen and Becker were successfully sued by pianist Keith Jarrett, who noted the striking similarity between the intro of “ Gaucho” to his own tune “ As Long As You Know You’re Living Yours.”. Jarrett was ultimately awarded co- composer credit.
Sometimes it’s outright plagiarism - George Thoroughgood’s “Bad To The Bone” is a watered down “ I’m A Man” by Muddy Waters. Hey George , pay up.:)
“The Hucklebuck”, a hit for Chubby Checker, was a direct kype of Charlei Parker’s “Now’s The Time”. Well, at least the composer (Andy Gibson ) had good taste. He stole from the best.
Sometimes, it takes years to discern or figure out the source of something naggingly familiar. This happened to me, when I suddenly realized that the catchy bassline and groove to Rickie Lee Jones’s “YoungBlood” were a direct cop from soul diva Betty Wright’s 1972 hit “Secretary”. Again, with simple groove appropriation, usually no harm, no foul.
It’s when the MELODY is too close for comfort that legal escapades occur. Prime example- George Harrison was sued when his 1971 anthem “ My Sweet Lord ” bore an uncanny if unintended resemblance to “ He’s So Fine” by The Chiffons. I believe Harrison lost that lawsuit as well.Both great songs, but one definitely came first.
Sheryl Crow used guitar riffs from the Beatles ( “And I Love Her” ) ; David Bowie copped the funk groove for “Fame” directly from James Brown ( Payback and others). Red Hot Chili Peppers also nabbed a James Brown groove for their early look at age- inappropriate sex in “ Mommy, Where’s Daddy”.
Lesser talents steal cuz they lack original ideas or a lack of conscience- like Robin Thicke stealing luridly from Marvin Gaye’s “Got To Give It Up”. But most of the better cats at least craft the theft into something a bit different. Thicke just straight up STOLE.
One groove that got, um MISAPPROPRIATED is the Bo Diddley beat from 1955. “I Want Candy” by The Strangeloves and Buddy Holly’s “ Not Fade Away” are two primary examples, but this groove has been universally snatched by many. What about “ Willie and the Hand Jive” by Johnny Otis Show ?
Insidious thefts have occurred in other genres of music too. Sonny Rollins’s classic jazz calypso “St. Thomas” was, by Sonny’s own protestations, not written by him. It was originally “ Fire Down Dere” an obscure song by great jazz pianist Randy Weston.
”Solar” by Miles Davis… isn’t. Though a well worn jazz standard, the tune was actually composed by guitarist Chuck Wayne and titled “ Sonny” back in 1941. You can research it yourself.
Thelonious Monk and Kenny Clarke’s “ Epistrophy” was called “Fly Rite” originally, but the composers were never in dispute. But when “Riff Tide” by Coleman Hawkins is essentially identical to Thelonious Monk’s “ Hackensack”, who got there first, and who really created the tune ? Food for thought.
Sometimes, the reference is debatable: e.g, is Blondie’s “The Tide Is High” REALLY the basis for the Laverne and Shirley Theme ? Or vice versa ?? Does REM’s “Stand” owe a debt to “ La Bamba” by Ritchie Valens ?? And speaking of “La Bamba”, Van Morrison clearly built the groove of “Chick-a Boom” on Valens’ anthem,but at least he had the temerity and class to change it a bit.
ID’ing these borrowings, (intentional or not) can at least divulge some insight into the tastes of the copyists .
Sometimes songs morph over time. A great example is : “Cool Jerk” by The Capitols(1965) becomes “Fire” by Jimi Hendrix( ca. 1968), which 23 odd years later reanimates as the B52s’ “ Love Shack”. Yeah. Check it out. Hear it ?