Rickresource Rickenbacker Forum

The 1960s was a time of considerable creativity in the music business, the reason for which may be a good topic for another thread, that produced some great classics. These classics had great "hooks" or melody lines that made them an instant hit.

Some of these great classics were released more than once, however, sometimes becoming a bigger hit than the original. When by accident or design, some songs released during or after the late 1950s and 1960s sounded very close to the original. The bad news is they were released as a new song and credit for the lyrics or melody was not given.

One of the more classic, and famous, examples of a tune reincarnated was that of George Harrison's 1970 blockbuster hit "My Sweet Lord" which was highly similar to the Chiffons 1963 "He's So Fine." Both numbers went to number 1 in the US and My Sweet Lord reached top of the chart in the UK as well.

Harrison was certainly an accomplished song artist by 1970 having written a number of classics. I did not make the connection with "He's So Fine" even though I was familiar with both songs. Being objective, however, I can see the point being made by those who notice a similarity.

So how often have you started singing one song that immediately had you singing another song due a similarity between the two? What were these songs? In what way are they similiar, guitar riff, lyrics, harmony lines?

Let's hear all about those songs or parts thereof that borrowed a little too much from the original without crediting the composer or artist.

Interestingly Billy Preston released My Sweet Lord on a Album before Harrison released it as a single, no action was taken until Harrison had a massive hit with it. Had Georege Harrison not chosen to release it as as single nothing would have happened.

It seems Money might of had something to do with it. And wasn't it Phil Spectors Comp. that sued Harrison for plagiarism. Mr. Spector, who had ties with Let It Be and other Harrison projects,I believe also he was involved with most of those girl groups from the early 60's. "He's So Fine" The Chiffons. Like you Peter, I grew up listening to both and never caught on to the similarities, although if you sing just the line HSF or MSL you could say they do have a hook to them. I still think it was a money matter. I've been stretching my brain to come up with similar (plagiarised) songs and except for the obvious ones (Weird Al) and a few replies to country heart break songs, the only ones I know of are the early Beach Boys songs that were written from Chuck Berry songs. But Chuck was given credit and monetary compensation. I never did get the connection to "Come Together" and the Chuck Berry song that Apple settled out of court on.

I never made the connection, and thought George got a bad deal on that one. He certainly didn't have to rip someone off to have a hit with the song. I think it was unconscious.

If none of us saw the connection, doesn't that say something? IMO it was a spurious claim.

Speaking of Berry, Roy and Dale, how 'bout "Surfin' USA", which Brian wrote, knowing that Chuck Berry was the author of the original "Sweet Little Sixteen", and, being at the time completely unaware of royalty laws, has had to pay 50% to Mr. Berry ever since 1963?

Take different variations of A, E and D...and I, or anyone, can run through Cherry, Cherry, Words of Love, I Fought the Law, and end up on, Gloria, (or any of those songs in different combinations) without giving it much thought, other than tempo change and progression change. Sometimes intentionally, other times by accident. I'm sure they're a few more connected with those same three chords, where you could easily go into a totally different tune.

Take Basic C Am F G: 1st/Relative Minor/4th/5th in any Key, and you've got evey song from Sleep Walk to I'll Get You and a whole lot of songs thru the ages. It's impossible to escape influence and be totaly original. Still I love this kind of stuff.

Dale, that is what so neat about a lot of great, older tunes. The only distinquishing difference being the melody. The true work of any song.

I am also reminded of the similarity between Richie Valens 1958 "La Bamba" and the Isley Brothers 1962 "Twist and Shout." While Valens borrowed from the traditional, I always thought that "Twist and Shout" was too close for comfort to the Valens' number.

I always thought The Isley Brothers version of Twist and Shout was the original, covered by so many Merseybeat bands, it was on the debut albums of both The Beatles and The Searchers.

The original version however was released in 1961 by The Top Notes anybody ever heard it, I t did nothing chart wise either in UK or the States.

Interesting Roy. As far as I know, I have never heard the Top Notes' version.

My Sweet Lord and He's so fine's chord structures are almost identical, you can sing one song to the others music, but I never noticed it either, one is so poppy and the other was so serious. I also believe it was obviously money motivated. I saw her standing There and Can't you see That she's Mine are also interchangable.
Yeah, you can like Dale said play C, Am, F, and G and play a thousand songs, we even knew that 35 years ago.

You are right about the chord structure Bob, and the bass player could just play C for the entire number. LOL.

Don't know if I mentioned it before, but we used to play a medley on the ice of "Sweet Home Alabama" and "Werewolves of London"...they're the same song!

"I hope Lon Chaney will remember..."

Thanks for that Dane... we might just steal your idea!

Please do...you'll have a blast.

"Sweet Werewolves of London,
Lord I'm comin' home to you..."

(Tell the truth...)