10:24 AM PT – November 30, 2023
A new YouTube video titled ‘Does “These Are The Days” by Lauren Daigle rip off “Crazy” by Gnarls Barkley?’ is set to send shockwaves through the Christian music community, drawing attention to striking resemblances between the two tracks. Uploaded to the mysterious YouTube channel ‘So Look Here,’ the video, featuring an unidentified speaker, dissects the alleged similarities between Daigle’s latest hit and the iconic Gnarls Barkley track.
The video, the sole content on the ‘So Look Here’ channel thus far, unfolds a series of compelling points that challenge the originality of “These Are The Days” and questions the due credit extended to the creators of “Crazy.” The author notes a conspicuous resemblance after hearing the Daigle hit on the radio and expresses astonishment that the credits for “These Are The Days” make no mention of the minds behind “Crazy.”
“Crazy” was released by Gnarls Barkley (a musical collaboration between CeeLo Green and producer Danger Mouse) in 2006, and the song gained international acclaim for its unique blend of soul, funk, and alternative elements. Notably, “Crazy” topped charts worldwide and became the first single to reach number one in the UK based solely on digital downloads.
Lauren Daigle, the a Grammy-winning contemporary Christian music artist known for her powerful vocals and emotive lyrics, rose to fame with her debut album, “How Can It Be,” in 2015. Her impactful contributions to Christian music have earned her widespread recognition and accolades in the industry.
Daigle’s track, credited to Jason Ingram, Lauren Daigle, Mike Elizondo, and Natalie Hemby, will no-doubt raise eyebrows as it does seem to mirror Gnarls Barkley’s “Crazy,” written by CeeLo Green and Brian Joseph Burton (known professionally as Danger Mouse). The latter track famously samples “Last Men Standing” by the Reverberi Brothers, known for their work in the 1968 film “Jango, Prepare a Coffin.” The video contends that while “These Are The Days” differs ever-so-slightly in key and tempo, the proximity of these elements amplifies the perceived connection between the two tracks.
Drawing parallels to high-profile copyright infringement cases, such as the “Blurred Lines” lawsuit involving Robin Thicke and Pharrell against the Marvin Gaye family, and the Led Zeppelin “Stairway to Heaven” case, the video positions Daigle’s situation within a broader context of music composition ethics. The speaker emphasizes concerns about artistic integrity and proper crediting in the industry, echoing the ongoing debates surrounding musical inspiration versus infringement.
The video meticulously details similarities in lyrics, cadence, and structure between the two songs, particularly emphasizing repeating phrases and the structure of choruses. By nudging the key and tempo of “These Are The Days” to align with “Crazy,” the author demonstrates the minimal difference, further fueling speculation regarding the alleged musical parallels. As the music world eagerly awaits responses from both camps, this unexpected controversy surrounding “These Are The Days” adds another layer to the ongoing discourse about artistic influence and credit within the industry. Only time will tell how this revelation will impact the reputation of Lauren Daigle and whether it will escalate into a legal dispute reminiscent of previous high-profile cases that have shaped the landscape of copyright and artistic ownership in the music realm.
Reporting by Tim Schiavone