Mariah Carey Sued Again: Did She Steal That Christmas Song?

Mariah Carey faces another lawsuit alleging she stole her defining Christmas pop hit “All I Want for Christmas Is You” from a decades-old country song bearing the same unique title. Songwriter Andy Stone, who performs as Vince Vance, filed a complaint in Los Angeles claiming his 1989 Yuletide release predates Carey’s blockbuster. It marks the second attempt by Stone to legally dispute the smash single’s origins through accusations of copyright infringement. The latest lawsuit demands $20 million in damages while spotlighting the legal gray areas around proving musical inspiration versus theft in court.

According to the suit, Stone’s band Vince Vance and the Valiants first put out their own Christmas number called “All I Want for Christmas Is You” five years before Carey dropped her juggernaut version in 1994. He asserts that his song scored radio play and chart placement during the 1990s as Carey’s meteorically rose in popularity. Stone argues the identical phrase structure combined with alleged compositional similarities suggest illegal sampling of elements that lifted his obscurer work.

The complaint additionally names Carey’s co-writer Walter Afanasieff and Sony Music, claiming the defendants had opportunity to access the previous song. It further states the two recordings share not just titles but a key melodic sequence and chord changes amounting to significant copying. Through attorneys, Stone contends any commonality stretching beyond generic lyrics enters infringement territory rarely protected by fair use exceptions. Hence the bold demand of $20 million in disputed royalties.

Interestingly, Stone initially filed a near-identical lawsuit last year but withdrew the claim only to revise and refile it in refined form weeks ago. The latest complaint makes substantially the same arguments while marshaling added evidence. It emphasizes the Billboard-charting history of Vince Vance and the Valiants to contend name recognition granting possible awareness of the group’s back catalogue by major industry players.

At question sits not merely potential financial malfeasance, but the legacy of one of modern music’s most lucrative and culturally permeating releases. Carey’s holiday staple has notably earned over $60 million in royalties since debuting in 1994. Adjusted for inflation, it remains the best selling U.S. Christmas single ever released. Such success and ubiquity fuels ongoing fascination and scrutiny over its inception.

Regardless, Stone maintains that this piece's melodic structure and intricate details amount to thievery that is disguised as a joyous diversion. Controversies about compositional uniqueness and access plausibility are crucial. However, with everything on the line, it seems certain that there would be a heated court battle as both sides try to establish their legitimacy about the other's invention claims. As Stone tries to establish partial ownership, the show will probably reignite conversations about Mariah's cultural Christmas monopoly.