1. “Yeah 3x” = “I’m Not Alone”
THE HIT: Chris Brown’s thumping club anthem climbed its way to #7 on the Pop charts thanks to its bouncy electro-chord progression… the very same found in THE VICTIM: “I’m Not Alone” by Scottish Acceptable in the 80’s DJ Calvin Harris. When Harris noted the similarities on Twitter, he became the unwitting recipient of death threats from Chris Brown’s rabid throng of female fans. How dare he demand credit for his (admittedly less catchy) work!
2. “Fergalicious” = “Supersonic”
THE HIT: Fergie Ferg burst onto the solo scene with her chart-topping tribute to, well… herself. Undeniably catchy with its lush production and tongue twisting rap interludes, all it need was an unforgettable beat. Which came courtesy of THE VICTIM: 80’s Hip hop trio JJ Fad, long forgotten except for their one platinum track — “Supersonic”. Upon hearing “Fergalicious” the girls—likely broke—promptly sued the Duchess for copyright infringement and general class-less-ness.
3. “Boulevard of Broken Dreams” = “Wonderwall”
THE HIT: OK, so maybe calling either of these monster hits a “victim” might be a bit of a stretch, but nonetheless even mainstream pop powerhouses aren’t above ripping wholesale from one another (see: Lady Gaga). THE VICTIM: Perhaps the most vocal proponent of the apparent ‘lifting’ of the central guitar progression is none other than Oasis frontman Noel Gallagher. In an interview he railed against Green Day, demanding that they “have the decency to wait until I am dead [before stealing my songs].” Um, ego much?
4. “Already Gone” = “Halo”
THE HIT: “Already Gone” was a headliner for Kelly in more ways than one! First as a Billboard giant, and then again as a space filler for the gossip rags. The diva took producer Ryan Tedder to task for producing the same song twice, but did anyone else really care? THE VICTIM: “Halo” was never as important to a Single Ladies-era Beyonce as “Already Gone” was to Kelly, but as Tedder himself contended — both songs could share a home on the charts (and in our hearts).
5. “The Edge of Glory” = “Song for the Lonely”
THE HIT: Somewhere along the line, Lady Gaga must’ve gotten bored of being hailed as an innovative pop music performer. Maybe in between planning all those outrageous costumes and even more outrageous red carpet stunts, The Fame songstress forgot to, you know, write an album… THE VICTIM: Thus, we have “The Edge of Glory” — a blatant rip-off of Cher’s ear-gratingly awful “Song for the Lonely”. Hot on the heels of her Born This Way/Express Yourself controversy, you’d think Gaga would lay off the pop royalty for a while. Instead, she grows more and more defiant with each mounting accusation, raging “why would I try to put out a song and think I’m getting one over on everybody? That’s retarded.” Methinks the Lady doth protest too much!
6. “Price Tag” = “No One”
THE HIT: Jessie J’s sparkling debut is a bouyant toe-tapper, with its swinging beat and crowd-chanting chorus. Unfortunately, it’s also stolen. It may not be “all about the money” for Jessie J, but given the bank this track must be pulling, it can’t have hurt. THE VICTIM: Meanwhile, Alicia Keys comparatively morose ballad moves through the usual motions without any of the joy and verve of J’s. This is less theft than it is rescue! It’s all a moot point anyway, considering how much both songs sound like The BEP’s Where Is the Love?
7. “Someday” = “How You Remind Me”
THE HIT: You just can’t have a list of song rip-offs without mentioning Nickelback. They are the unquestioned kings of self-plagarism, releasing track after track of vaguely familiar guitar riffs and those same croaky shrieks about alcoholism and broken homes. THE VICTIM: Perhaps the most egregious pairing of their vast catalogue, “Someday” is such a bird-flipping, “F you” rehashing of the wildly successful “How You Remind Me” that you almost trick yourself into liking it. After all, if it was good the first time…
8. “See You Again” = “Sunglasses at Night”
THE HIT: Miley’s Hannah Montana-less poppy kids club jam is so relentlessly infectious, it defies anyone who listens to keep themselves from humming the chorus for eternity. THE VICTIM: On the other hand, Corey Hart’s bland 80’s synth sets the perfect tone for this ode to stalking boyfriends and date raping creepers everywhere. Why do so many songs from that decade sound vaguely sinister and evil? This one’s like Sweet Dreams without the intriguing vocal tics. Take heart, Corey Hart, Miley did you a solid by cutting your dour mumbling out of her millenial update.
LET’S HEAR YOUR SUGGESTIONS!! What others songs give you that sickly feeling of deja vu? If it’s an absolute earth-shaking revelation, it’ll be added to the list!