The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

In January 1973 at the height of the glam rock craze, two singles with instantly memorable but remarkably similar riffs were both enjoying chart success: The Sweet’s ‘Blockbuster!’ and David Bowie’s ‘The  Jean Genie’, each released by RCA records. Which came first? Were they both dreamt up independently? Did one copy off the other? Or did they both draw on influences from somewhere else?

In the folk world songs have always been adapted, evolved and passed on. In the rock world that sort of behaviour is more likely to get you involved in lengthy court cases and costly lawsuits. But in folk there has been over a century of legitimate and rigorous study looking into the often murky origins of traditional songs and tunes. A simple question therefore is: can the principles of studying folk in determining song origins also be applied to glam rock?

We start with the song ‘Blockbuster!’ recorded in 1972 and released in January 1973, written by The Sweet’s then songwriting team Mike Chapman and Nicky Chinn

The riff was remarkably similar to David Bowie’s ‘The Jean Genie’ recorded in October 1972, released in November 1972 and in the charts at the same time.

Both sides have always denied copying one another and given they were recorded and released around the same time it seems unlikely that either would have had time to secretly copy the other, then get it recorded and released, all within the confines of the same record company.

What is far more likely is that they were both influenced by the Yardbirds’ 1965 hit ‘I’m a Man’

This in turn is a cover of a 1955 original version of ‘I’m A Man’ by Bo Didley

Bo Didley’s song is itself influenced by a song Willie Dixon wrote for Muddy Waters ‘Hoochie Coochie Man’ recorded in 1954

The blues of Bo Didley, Muddy Waters et al can be traced back through the early electric blues of the 1940s to the acoustic blues of the 1920s, through the slave trade, plantations and back to African origins, where a number of the elements that would come to define key features of the blues could be traced back to.

But it’s worth specifically going back to that Bo Didley tune. The riff in ‘I’m a Man’ is significantly changed from that played by Muddy Waters in Dixon’s ‘I’m A Man’. Didley has adapted the tune as a simple repetitive four note riff repeated throughout the entire song, making it notably different.

So although it was influenced by an earlier blues song I think we can safely say that the riff that appears in ‘Blockbuster!’ and ‘Jean Genie’ first emerged in a Bo Didley song in 1955.

Another fascinating release from the 60s that could have played an influential role in the later 70s glam releases was Mickie Most’s 1964 version of Money Honey

Unlike earlier versions of Money Honey by Elvis and previously The Drifters, the Mickie Most version utilises that same Bo Didley riff. Most would go on to be a towering figure in glam rock as mentor and producer for Suzi Quatro and as RAK Records boss, home to the likes of Quatro and Mud. He knew Mike Chapman very well and could have helped plant some of the creative seeds for that Blockbuster riff, further strengthening those glam rock links back to blues history.

Some great background info and quotes here, too


11 thoughts on “The Sweet versus Bowie: the riff in Blockbuster and Jean Genie – origins and influences

  1. Firstly I confess I never heard the Sweet song. Perhaps a bigger hit in UK than US. Ballroom Blitz was much more popular here. As to that riff’s derivation, your analysis makes sense. Everything always goes back to the blues anyway. It’s such a basic, simple riff that one can suspect Muddy may well have heard it played acoustically, years prior in the South.

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  2. Thanks Jim. Yes Blockbuster was massive over here (the band’s only number 1 single) but I know only a few UK glam rock tunes worked their way into US popular culture, some of them via being played at big sporting events I believe!


  3. Thanks for the research. Seems most of the glam riffs were vintage based and Bowie is arguable the ‘serious artist’ in comparison w/ Sweet, but also more likely to have syphoned ideas from contemporaries. In those days, everyone was wary that Bowie’s highly calculated image was an amalgam absorption of his environment. I remember reading that his music was a ‘carefully contrived blend of Dylan, T-Rex and the Stones and very unoriginal'(!). Remember, Bowie painstakingly ‘followed’ before he ran ahead of everyone else…

    Liked by 1 person

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