Musical Musings… Save Me, Glory Days

My original post title went through a few quick revisions.  This one almost made the cut (but was cut for being questionable):

Glory Trains

Anymaxweinberg, here we meet again.  It’s another liberal borrowing claim, this time against Pat Monahan and his cronies.

Tell me what you think about the opening of Train’s latest (probable) hit, Save Me, San Francisco:

It sounds like the softer guitar version of the opening to Bruce Springsteen’s Glory Days (starts at 38 second mark):

Okay, so maybe the first two noted are transcribed, or one guitar strum is skipped, but bounce back and forth between the songs.  Ignore the drum beats and listen to the guitar.

I’m calling it.  Are you?


Speaking of the glory days saving me, why don’t they use effects like the ones in these old songs anymore?

  • The opening chimes from Hall & Oates’ I Can’t Go For That:
  • The drumbeat breakdown in New Edition’s If It Isn’t Love (starts at 2:49 minute mark):

Awesome Battle… M.C. Esher And Zach Braff Vs. Dream House!

Being a man of few words (especially when I’m behind on posts), I’m going to let these two posters go toe-to-toe with the works they were liberally borrowed from inspired by.

  • Dream House

Analysis: cool perspective illusion, not your typical "floating head" poster

  • M.C. Esher

Analysis: cool perspective illusion, not your typical "stairs that go to nowhere" drawing

  • Dream House

Analysis: strange, unsettling effect, terrible dresses & wallpaper

  • Zach Braff

Analysis: strange, unsettling effect, terrible wallpaper... nice shirt

Musical Musings… Theory Of A Social Deadman Distortion

Here’s a definition for ya folks:

lib•er•al bor•row•ing /ˈlib(ə)rəl ˈbärō-iNG/
1. The act by which an “artist” uses another artist’s work as a part of their own (usually musicians)
2. Stealing

I’ve written about this subject for more than several occasions, and it still intrigues me how often it occurs.  What’s great about this latest discovery is it might restore some of my street cred, since usually the findings are about Katy Perry, Pink, or Avril Lavigne.

Is it just me, or does Theory of a Deadman’s Lowlife sound a shit-ton like Social Distortion’s Ball and Chain (at least it’s verses)?  Is it an homage?  Do they claim it’s a sequel?  Or is it liberal borrowing in full effect?

Drunken Recollection… Alcohol + Confusion = Alconfusion

It seems like a lot of Drunken Recollections are about mix-ups, so why not create a term for it:


This post is about a pair of moments of alconfusion… one on my behalf, one on behalf of another.

  • My Alconfusion

While in Kentucky for the derby, I was at the bar and somebody was talking about Rachel Nichols and her possible hook-ups with most of the NFL or NBA or whatever… that’s neither here nor there.  They were talking about the sportscaster from ESPN:

Rachel Nichols, daughter of director Mike Nichols and her mother

I thought they were talking about this Rachel Nichols:

Except she's not normally green...

Hopefully this will help:

Yo Joe, indeed.

So my alconfusion was me thinking they were speaking ill of actress Rachel Nichols when they weren’t.  They were just speaking ill of the sportscaster I don’t find attractive know.

  • Another’s Alconfusion

I was going to write about Lupe Fiasco’s The Show Goes On a while back because it liberally borrows from Modest Mouse’s Float On, but the song’s creators acknowledged that at the time of release, so I didn’t.  But I get to write about it today.

While this tune played at the bar, a friend asked who performed this Float On rip-off.  I answered correctly, but what she thought I said cracked me up.

I replied:

Lupe Fiasco

She heard:

Beefy Asshole

Musical Musings… More Liberal Borrowing To Report

My job is getting easier and lazier easier.  Since officially declaring my mission to be the champion of originality, I thought:

To illustrate how musical acts steal, er, liberally borrow from others, is there no better way than for me to liberally borrow previously produced mash-ups to illustrate my point?

This was stumbled upon one night while driving to the bar with friends.  The Alan Parsons Project’s Eye in the Sky came on the radio – somehow – and we noticed a striking similarity to Lady Antebellum’s Need You Now.  Here’s the work of another:

As for this one, I read about it on the TripleDoubleU, but I’d be a very sad panda if I didn’t include any mention of how Justin Bieber’s Love Me liberally borrowed the chorus from The Cardigans’ Lovefool:

Fortunately (for him), my arch-enemy Dr. Luke had nothing to do with either of these songs… Although DJ Frank E (what is it with all these tools and their stupid names) produced Bieber’s tune, and he once worked with Dr. Luke to produce Flo Rida’s highly original Right Round (which also introduced the world to Ke$ha)…  Hmmm…

I'll get you next time, Dr. Luke... Next time!

(Original songs after the jump) Read More

Coinkydink Or Coinkydonk? Running Beats (The Hanna-Barbera Way)

"Beans are indeed the musical fruit. Where's the nearest restroom?"

My quest to expose copycats in Hollywood is reaching a fever pitch.  We’ve always known that these types of practices went on, but I feel like I’m becoming a champion for originality, even in the slightest of degrees.

And my attack is not always just against the producers of the recycled entertainment, sometimes the hungry audience is of equal blame.  But what should I expect from a public that lives off fast food.

Probably unclear diatribe over.  But for some examples of my past battles, you can check here, here, here, here, here, here, and here.  (There are probably more that I can’t recall at this moment.)

I recently wrote about producer Dr. Luke, and guess what?  I’m/he’s at it again.  This time, I believe he’s ripped off his own previous writing partner, Max Martin.

Max Martin and Pink co-wrote the song, Fuckin’ Perfect, which was released December 14, 2010.  Y’know… just in fuckin’ time for Christmas.

Dr. Luke and Brit pop-star, Jessie J, co-wrote the song, Price Tag, which was released January 25, 2011.  Y’know… one month after– forget it.

Listen to Pink’s chorus at about the 0:48 minute mark:

Now listen to Jessie J’s chorus at about the 1:01 minute mark:

For rhythmic comparison, Fuckin’ Perfect lyrics:

Pretty pretty please, don’t you ever ever feel
Like you’re less than f*ckin’ perfect
Pretty pretty please, if you ever ever feel like you’re nothing
You’re f*ckin’ perfect to me!

And Price Tag’s lyrics:

It’s not about the money, money, money
We don’t need your money, money, money
We just wanna make the world dance,
Forget about the Price Tag

AM I CRAZY?!?  It’s the same, right?

So rather than go on with this rigmarole, I’ve decided to think of this new style of music as a 70’s animation cheat.  The technique is referred to as the wraparound background, and it was quite often deployed in the old Hanna-Barbera cartoons.

Here it is on display in Scooby-Doo.  Watch the two hallways loop while Scooby and Shaggy flee:

Ladies and gentlemen… your modern music!