So, this is interesting. Not so much the details of the suit as what it means for modern track-and-hook songwriting.nnThe song was, of course, produced by track-and-hook artists, Max Martin and Dr Luke with song-writing credits for one of the famous hook-writers, Sarah Hudson.nnIn track-and-hook, a background track can be filled with lyrics/melody from multiple hook writers. Often tracks and hooks are sufficiently small that they cannot be copyrighted. Including the fact that track and hook writers only get paid if their part is used, which encourages them to send the same track or hook to multiple producers. Tracks/hooks are tested using focus groups by producers to make hits.nnThat’s why many pop-songs sound the same: they literally contain the same track/hook parts.nnDid Dark Horse copy Joyful Noise? Maybe? Or they may have used the same track. I cannot see anything liking Flame to the song machine group of people, but it is possible there is a connection.nnRegardless of whether there is a connection, perhaps this will have influence on the track-and-hook writing style? If you can get hit with a copyright lawsuit for sharing a basic building block, does the method become too dangerous? Probably not.

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