Guitar Riff Similarities: The Rolling Stones and Michael Jackson’s Black and Blue

There has never been a public acknowledgment from the Rolling Stones about the similarity between the guitar riff in Michael Jackson’s Black and Blue and their own riffs. While Black and Blue has a more traditional rock sound, some guitar riffs can be quite similar, much like a chord progression might have commonalities across different songs. This article delves into the nuances of music copyright and riff similarities, offering a broader perspective on the matter.

Common Chord Progressions and Riff Similarities

Honest to goodness, there are numerous songs that share similarities with the riff in Black and Blue. Some have compared it to George Harrison’s “It’s All Too Much” or John Lennon’s “Woman”. However, the resemblance to the Rolling Stones’ Soul Survivor is minimal, certainly not enough for a plagiarism case. In music, the I-VI-V chord progression mentioned in the article is an extremely common one and cannot be copyrighted, as chord progressions are not subject to copyright regulations.

Attitude Toward Riff Similarities Among Musicians

The Rolling Stones, being rooted in a blues background, have no interest in pursuing legal action for even minor melodic similarities. Keith and Mick, the band’s founders, have always maintained that legal battles over a guitar riff are not worth their time and energy. In the case of Neil Young’s Borrowed Tune, which is almost an entire song lift from the Stones, Neil Young acknowledged the source in the song's title and lyrics, and the Stones saw no need to sue. This example reflects the band's casual approach to such matters.

Historical Precedents and Legal Actions

The question of legal action in music has been addressed with Bitter Sweet Symphony. This time, the lawsuit was initiated by Allan Klein, a former manager who owned the rights to the song. While the band didn’t actively pursue the case, they didn’t receive any portion of the profits. This situation highlights the complex nature of legal and financial dynamics in the music industry.

Curiosity and Legal Rights

Many music enthusiasts appreciate the subtle similarities in riffs, which can serve as a form of appreciation for the genre and the musicians who created them. However, producers and artists themselves are often more casual about such similarities. For instance, the Rolling Stones have exhibited no interest in pursuing legal action regarding the riff in Black and Blue, despite the clear similarities. This attitude is a reflection of the band's disregard for minor legal matters, as documented with other cases like Neil Young’s Borrowed Tune.

Further Considerations on Riff Similarities

The article also briefly touches on the case of BTO’s You Ain’t Seen Nothing Yet, which some consider to be an identical riff to the Velvet Underground’s Sweet Jane. While the possibility cannot be completely ruled out, it is generally seen as a stretch, and the Rolling Stones have never shown interest in pursuing legal action for such similarities. This further emphasizes the casual attitude of established musicians toward minor riff similarities.

Conclusion

In conclusion, while the similarities between certain guitar riffs can be striking, the attitude of established artists like the Rolling Stones toward such matters is often one of casual acceptance. This article aims to clarify the nuances of music copyright and riff similarities, providing insight into the complex and often overlooked world of music law.