Did Rob Thicke steal 'Blurred L' om Marv Gaye? - Joe Bent Mic Servic

Contents:

• ROB THICKE, PHARRELL WILLIAMS TO PAY $5 LN TO MARV GAYE TATE FOR 'BLURRED L'
• ROB THICKE'S SONG SOUNDS LIKE MARV GAYE. SO HE'S SUG GAYE'S FAY.
• PHARRELL AND ROB THICKE MT PAY MARV GAYE'S FAY $5 MILLN OVER 'BLURRED L': REPORTS
• MARV GAYE FAY CLAIMS ROB THICKE STOLE SONGS, HAS 'FIXATN' ON LATE SGER
• ROB THICKE, YOU’RE NO MARV GAYE
• MARV GAYE’S ESTATE SU ROB THICKE FOR ‘BLURRED L’ AND MORE
• ROB THICKE LAWSU: MARV GAYE’S FAY CLAIMS HE STOLE TWO SONGS
• PHARRELL WILLIAMS AND ROB THICKE TO PAY $7.4M TO MARV GAYE'S FAY OVER BLURRED L
• DID ROB THICKE STEAL ‘BLURRED L’ OM MARV GAYE? BY JOE BENT | FEB 1, 2014 | FM2, PLAGIARISM, REARCH, SONGWRG | 74 MENTS[ED: UPDATE 12 MARCH 2015]THE SE HAS NOW BEEN ROLVED, AND THE JURY FOUND THE GAY’ FAVOUR, SPE THE PYG NOT BEG EXACT AND THE MIL ELEMENTS DISSIAR, AS MY ORIGAL FEBARY 2014 POST (BELOW) ARGU. IN AN TERVIEW WH THE HOLLYWOOD REPORTER, RICHARD BCH, THE GAYE FAY LAWYER, SCRIB HOW THE THICKE SI’S HUBRIS AND NSISTENCY NTRIBUTED TO THE JURY VERDICT GOG AGAST THEM – BUT SISTS THAT THE SE WAS SUCCSFUL BEE OF THE CHARACTERISTICS OF THE MIC SELF. FOR THOSE WHO HAVE SAID THAT THIS SETS A DANGERO PRECENT FOR CREATORS (CLUDG ME – SEE THIS MTV NEWS TERVIEW), THIS MAY BE SO TERMS OF DISURAGG MIL HOMAGE ARRANGEMENTS. BUT (US) LEGAL TERMS, A JURY LG IS DIFFERENT OM A URT LG, SO EACH SE IS JUDGED ON S MERS AND ON THE SPECIFIC EVINCE PRENTED. THEREFORE THIS SETTLEMENT DO NOT REPRENT ‘SE LAW’ (AS ATTORNEY BRIAN D CAPLAN POTS OUT THE SAME MTV FEATURE) BUT HAS CERTALY MA SOME CREATORS RATHER UNCERTA ABOUT THEIR FUTURE SONGWRG AND PRODUCG PRACTIC… [JB][ORIGAL POST OM FEBARY 2014 FOLLOWS]THERE’S BEEN A LOT OF MEDIA TERT THE RECENTLY-ROLVED DISPUTE OVER THE ALLEGED SIARY BETWEEN ROB THICKE’S ‘BLURRED L’ (2013) AND MARV GAYE’S ‘GOT TO GIVE IT UP’ (1977). THE PRS RELEASE THAT STARTED  WAS WRTEN BY THE GAYE FAY’S REPRENTATIV KG AND BALLOW, SO THE SECTN I QUOTE BELOW IS OBVLY ACCATORY, AND THE ‘EVINCE’ C APPEARS TO BE BASED ON LAY LISTENER OPN:THE “BLURRED L” TR SHED TO FILE THEIR SE SOON AFTER THEIR SONG BEGAN ATTRACTG OVERWHELMG ATTENTN OM CRICS AND FANS ABOUT THE SUBSTANTIAL SIARI THAT SURPASS THE REALM OF CINCE TO “GOT TO GIVE UP.”  ON AUGT 8, 2013 ROB HOERBURGER THE NEW YORK TIM  WROTE “BUT WHAT I KEEP G BACK TO IS THE SONG’S CHOICE DNA… AND THAT BASS LE ME RIGHT OM MARV GAYE’S NO. 1 H OM THE SUMMER OF ’77, ‘GOT TO GIVE IT UP’.” IN THE AUGT 23, 2013 ISSUE OF ROLLG STONE MAGAZE, CONTRIBUTOR DAVID RZ WROTE, “WHEN I FIRST HEARD ROB THICKE’S ‘BLURRED L,’ MY REACTN WAS THE SAME AS LNS OF OTHER R&B FANS: HEY, THAT’S MARV GAYE’S “GOT TO GIVE IT UP.”  THICKE AND PANY NOT ONLY PPED [SIC] GAYE’S DISTCT BASS LE, BUT THE FG FUNK OF THE WBELL ACCENTS. I WASN’T ENTIRELY SURPRISED, SCE SOME YEARS EARLIER THICKE’S ‘LOVE AFTER WAR’ WAS A VIRTUAL LIFT OF MARV’S ‘AFTER THE DANCE’ …”  A QUICK REVIEW OF THE TER REVEALS THE MENTS ARE FAR OM ALONE THIS RPECT.KG AND BALLOW PRS RELEASE, OCTOBER 2013 (SOURCE: RTERS)THE ALLEGATNS, THEN, WERE THAT THICKE (WH -WRERS PHARRELL WILLIAMS AND CLIFF HARRIS JR)COPIED THE BASS LE OF GAYE’S ‘GOT TO GIVE IT UP’.COPIED THE ‘FG FUNK’ OF THE WBELL ACCENTS.HERE’S A SPOTIFY PLAYLIST AND A YOUTUBE PARISON – LISTEN FOR YOURSELF. [SPOTIFY ID=”SPOTIFY:ER:JOEBENTBATH:PLAYLIST:5FGLQXSR6JJ8PLJHULP9MX” WIDTH=”300″ HEIGHT=”300″ /]——–HERE ARE THE FACTS:BLURRED L IS 120 BEATS PER MUTE.GOT TO GIVE IT UP IS  122 BEATS PER MUTE.BOTH SONGS FEATURE A SYNPATED WBELL PART AND AN ELECTRIC PIANO (GAYE’S BASSLE IS ACTUALLY PLAYED ON A 1976 RMI HARMONIC SYNTHISER).THE VOL MELODI AND LYRICS OF THE SONGS ARE VERY OBVLY DIFFERENT OM ONE ANOTHER.THE SONGS HAVE DIFFERENT CHORD PATTERNS OM EACH OTHER.THE RERDGS ARE DIFFERENT KEYS; ‘BLURRED L’ IS G; ‘GOT TO GIVE IT UP’ IS A.THE TWO BASSL ARE TRANSCRIBED BELOW. I’VE TRANSPOSED ‘BLURRED L’ TO THE SAME KEY AS ‘GOT TO GIVE IT UP’ HERE FOR EASE OF PARISON, AND NOTATED THEM A MOR (NO SHARPS OR FLATS) PARTLY FOR SIMPLICY AND PARTLY BEE BOTH BASSL ARE BUILT ON NOT OF THE HOME KEY’S MOR PENTATONIC SLE. THIS ‘NORMALISATN’ IS TEND TO HIGHLIGHT ANY SIARI THAT MIGHT OTHERWISE BE DISGUISED BY TRANSCRIBG ‘BLURRED L’ THE ORIGAL KEY – THAT IS, I’M GIVG GAYE’S SI THE BT POSSIBLE CHANCE OF PROVG THEIR ASSERTN THAT THE BASSLE HAS BEEN PIED. GOT TO GIVE IT UP (MARV GAYE) – TRANSCRIBED OM BAR 5 [0:14]. THIS BASSLE EMPLOYS SUBSTANTIAL RHYTHMIC VARIATNS THROUGHOUT THE SONG. BLURRED L (ROB THICKE). THIS 8-BAR BASS LE IS LOOPED THROUGHOUT THE SONG.WHEN PARED NOTE FOR NOTE LIKE THIS, THE DISSIARY IS OBV. THE BASSL E DIFFERENT NOT, RHYTHMS AND PHRASG OM EACH OTHER. THEY’RE EVEN TAKEN OM DIFFERENT MIL SL. THICKE’S BASS NOT ARE ALL TAKEN OM THE MIXOLYDIAN MO; THE GAYE BASSLE IS BASED AROUND THE PENTATONIC MOR SLE.NOW LET’S LOOK AT THAT WBELL. GAYE THE FOLLOWG WBELL RIFF, WHICH PLAYS PRETTY NSISTENTLY THROUGH THE TRACK. GOT TO GIVE IT UP (MARV GAYE) – 2-BAR WBELL LOOP.THICKE’S SONG HAS MORE WBELL. I’VE NOTATED BOTH PARTS BELOW. THE UPPER ONE (PANNED RIGHT THE MIX) PLAYS A SPECIFIC PATTERN, WH A DIFFERENT RHYTHM OM THE GAYE SONG; THE LOWER ONE (PANNED LEFT) PLAYS AN OFF-BEAT, LIKE A REGGAE ‘SKANK GUAR’ GROOVE. THE LOWER ONE DROPS AND OUT PERDILLY DURG THE TRACK. BLURRED L (ROB THICKE) – 2-BAR WBELL LOOP. COWBELL 1 VARI THIS PATTERN SLIGHTLY ON BEAT 4 AT TIM.THICKE’S WBELLS (ACTUALLY A WBELL AND ANOTHER PERCSN STMENT THAT SOUNDS TO ME MORE LIKE AN ELECTRONIC CLAVE) SYNPATE ON THE 16TH NOT (A SEMIQUAVER GROOVE); GAYE’S SONG IS VERY CLEARLY AN 8 GROOVE. THE ONLY SIARY IS THAT EACH RIFF PLAYS THE FIRST THREE 8TH NOT (QUAVERS) OF THE BAR.———–SO, THOSE ARE THE FACTS, AT LEAST REGARDG POSNAL NOTE CHOIC. NOW LET’S GET BACK TO THE FIRST ACCATN THE PRS RELEASE:THICKE AND PANY NOT ONLY [PIED] GAYE’S DISTCT BASS LE…IF THIS IS TE, AND THICKE’S TEAM  ACTUALLY ‘PIED THE BASS LE’, THEN THEY  CHANGED MOST OF THE PCH, MOVED LOTS OF NOT AROUND, AND LETED SOME NOT. OR PUT ANOTHER WAY, THEY WROTE AN ORIGAL BASSLE.[THICKE HAS PIED] THE FG FUNK OF THE WBELL ACCENTS.WHAT EXACTLY IS ‘THE FG FUNK’? MOST OF THE ACCENTS ‘BLURRED L’ DO NOT APPEAR ON THE SAME BEATS OF THE BAR AS THE GAYE SONG, WHICH BY ANY REASONABLE RHYTHMIC FN MAK THEM DIFFERENT ACCENTS. OR PUT ANOTHER WAY, THEY ARE AN ORIGAL POSNAL IA.SO IF THE NOTE-TO-NOTE MIL DISSIARI ARE SO OBV, WHY DID THIS PRS RELEASE BOTHER TO ACCE THICKE ET AL OF PLAGIARISM? CLEARLY GAYE’S FAY THOUGHT THEY HAD A SE. I THK THE REASON IS THAT THE TRACKS DO SOUND SIAR. INED, I DON’T DOUBT THICKE’S PRODUCTN TEAM LIBERATELY ED ‘GOT TO GIVE IT UP’ AS A STYLE TEMPLATE TO CREATE THE SOUND AND FEEL OF ‘BLURRED L’. THE STMENTATN AND TEMPOS ARE PRETTY MUCH THE SAME, AND THERE ARE MANY NOTABLE ARRANGEMENT CISNS THE GAYE SONG (FOR EXAMPLE, PLAYG THE BASSLE ON AN ELECTRIC PIANO) THAT OCCUR   ‘BLURRED L’. IN FACT, THICKE HIMSELF STATED PUBLICLY A GQ TERVIEW THAT HIS TEAM WROTE ‘BLURRED L’ G ‘GOT TO GIVE IT UP’ AS SPIRATN:PHARRELL AND I WERE THE STUD AND I TOLD HIM THAT ONE OF MY FAVORE SONGS OF ALL TIME WAS MARV GAYE’S “GOT TO GIVE IT UP.” I WAS LIKE, “DAMN, WE SHOULD MAKE SOMETHG LIKE THAT, SOMETHG WH THAT GROOVE.” THEN HE STARTED PLAYG A LTLE SOMETHG AND WE LERALLY WROTE THE SONG ABOUT A HALF HOUR AND RERD . THE WHOLE THG WAS DONE A UPLE HOURS…ROB THICKE TERVIEW, 7TH MAY 2013 (TERVIEWED BY STELS PHILI FOR GQ MAGAZE). THE RMI HARMONIC SYNTHISER, ON WHICH MARV GAYE PLAYED THE BASSLE FOR ‘GOT TO GIVE IT UP.’SO HOW DID THIS SUATN GET SO OUT OF HAND WHEN WAS CLEAR OM THE START THAT THE POSNS E DIFFERENT NOT AND RHYTHMS OM EACH OTHER? I THK THE ANSWER LI THE FACT THAT THERE IS A DIFFERENCE BETWEEN THE NCEPT OF THE SONG AND THE SOUND RERDG OF THE SONG. LISTENERS HEAR THE SONG AND THE SOUND RERDG SIMULTANEOLY, BUT MIC DTRY ADM REQUIR THE SONG AND THE SOUND RERDG TO BE TREATED SEPARATELY (BEE THEY ARE SEPARATE PYRIGHTS). THE GAYE AND THICKE RERDGS SOUND VERY SIAR TO EACH OTHER, BUT THEY E DIFFERENT NOT, SO WOULD BE DIFFICULT TO MAKE A SE THAT THE POSN HAS BEEN PLAGIARISED. AND OF URSE, BLURRED L DO NOT SAMPLE ANY OF THE D OM GAYE’S 1977 SOUND RERDG.SO TO MAKE A SUCCSFUL ACCATN OF PYRIGHT GEMENT, GAYE’S SI WOULD HAVE HAD TO ARGUE THAT THE PRODUCTN ‘FEEL’ (OR AS THE KG AND BALLOW PRS RELEASE PUTS , ‘CHOICE DNA’) OF ‘GOT TO GIVE IT UP’ ULD ATTRACT PYRIGHT. ANY LEGAL ACTN WOULD PROBABLY HAVE REQUIRED THE URT (WH THE HELP OF MILOGISTS) TO FE EXACTLY HOW THIS ‘CHOICE DNA’ MANIFTED SELF THE RERDG, ORR TO DISCS SIARI. THE ACT OF PUTTG AN ELECTRIC PIANO TOGETHER WH A WBELL AND A 120BPM DIS BEAT WOULD NEED TO HAVE BEEN JUDGED A CREATIVE ACT SELF, MAKG STMENTATN AND POSSIBLY EVEN GENRE TO PROTECTABLE INTELLECTUAL PROPERTY. WHICH WOULD HAVE HAD MASSIVE IMPLITNS FOR FUTURE CREATORS OF MIC.I’M OFF NOW. MY DELOREAN IS HEADG TO 1885, WHICH IS WHEN I VENTED THE SNARE DM BACKBEAT.74 COMMENTS
• MARV GAYE'S FAY WS 'BLURRED L' APPEAL; PHARRELL, ROB THICKE MT PAY
• 'BLURRED L' CASE: ROB THICKE, PHARRELL WILLIAMS MT PAY MARV GAYE'S FAY MILLNS
• ‘BLURRED L’ INGED ON MARV GAYE COPYRIGHT, JURY RUL

ROB THICKE, PHARRELL WILLIAMS TO PAY $5 LN TO MARV GAYE TATE FOR 'BLURRED L'

Thicke ttifi that he had nothg to do wh wrg “Blurred L, ” claimg that he lied multiple terviews which he took cred for the song’s succs (and named Gaye as an fluence) out of reer jealoy. Rob Thicke, Pharrell Williams to pay $5 ln to Marv Gaye tate for 'Blurred L'The five-year legal battle has end wh a verdict favor of Mart Gaye's tate, who sued claimg "Blurred L" pied Gaye's "Got To Give It Up"Sger Pharrell Williams and sger Rob Thicke perform together Fayetteville, Arkansas, on June 6, Wilkg / Rters fileDec.

ROB THICKE'S SONG SOUNDS LIKE MARV GAYE. SO HE'S SUG GAYE'S FAY.

13, 2018, 8:24 PM UTCThe long drawn-out pyright battle over Rob Thicke’s 2013 song “Blurred L” has end after a judge orred Thicke and Pharrell Williams to pay almost $5 ln to Marv Gaye’s tate the se’s fal lg. 6 lg, a judge the Central District of California reaffirmed the March lg, clarg Thicke, Williams, and More Water From Nazareth Publishg mt pay Gaye’s tate $2.

Was cleared of any liabily March, a cisn upheld this last and fal Gaye tate was also reward half of the song’s nng royalti om after the urt’s origal judgment date, and tert of 0. In 2016, more than 200 micians, cludg Jennifer Hudson and Hans Zimmer, filed an amic brief support of Thicke and Williams appeal, claimg the verdict would be “very dangero” to the mic the Gaye fay first filed their lawsu, other high-profile artists like Lana Del Rey and Mark Ronson have been siarly KslenBen Kslen is a reporter for NBC News.

A judge has entered a nearly $5 ln judgment agast Rob Thicke and Pharrell Williams favor of Marv Gaye’s fay the long-nng lawsu volvg pyright gement surroundg Thicke and Williams’ song “Blurred L” and Gaye’s 1977 h “Got to Give It Up, ” Billboard reports.

PHARRELL AND ROB THICKE MT PAY MARV GAYE'S FAY $5 MILLN OVER 'BLURRED L': REPORTS

Addnally, The Gaye fay is entled to receive prejudgment tert on the damag award and rpective profs agast each of them, which totals to $9097. "Blurred L, " this year's song of the summer*, sounds a lot like Marv Gaye's "Got to Give It Up, " one of the songs of the summer of 1977. In fact, sounds so much like the Marv Gaye song that Rob Thicke and the other guys behd Blurred L have lnched a preemptive strike: They filed a lawsu agast Marv Gaye's fay.

MARV GAYE FAY CLAIMS ROB THICKE STOLE SONGS, HAS 'FIXATN' ON LATE SGER

" Members of Marv Gaye's fay have reportedly been askg for a sh settlement and threateng to sue, acrdg to the Hollywood Reporter, which broke the story. The first paragraph on the plat manag to both praise Gaye and brag about the succs of Blurred L (emphasis ours): Platiffs, who have the utmost rpect for and admiratn of Marv Gaye...

" The plat ntu: The basis of the Gaye fendants' claims is that "Blurred L" and "Got To Give It Up" "feel" or "sound" the same. UPDATE: A lawyer for the tate of Marv Gaye tells Rollg Stone that he will try to block all future sal of “Blurred L” until an agreement is reached.

Rob Thicke noticeably ripped off Marv Gaye‘s 1977 h “Got to Give It Up” when he wrote the smash h “Blurred L” wh Pharrell Williams and T.

ROB THICKE, YOU’RE NO MARV GAYE

The verdict puts to rt over a year’s worth of legal back and forth between Thicke and Gaye’s tate, which the latter sought $25 ln damag.

MARV GAYE’S ESTATE SU ROB THICKE FOR ‘BLURRED L’ AND MORE

The cisn, which hged on the fact that Gaye’s fay owned only elements of the sheet mic to “Got to Give It Up, ” me om eight jurors who listened to ttimony om milogists, as well as Thicke and Williams.

ROB THICKE LAWSU: MARV GAYE’S FAY CLAIMS HE STOLE TWO SONGS

“I’m really grateful, ” Janis Gaye, Marv’s former wife and the mother of Nona and Frankie and stepmother of Marv Gaye III, told the Tim.

Rpond to threats of legal actn by the Gaye tate and publisher Bridgeport Mic by preemptively sug them, along wh Funkalic, claimg “Blurred L” was “strikgly different” than “Got to Give It Up” and the latter group’s “Sexy Ways. “In realy, the Gaye fendants are claimg ownership of an entire genre, as opposed to a specific work, and Bridgeport is claimg the same work. The Gaye tate, which reprents the sger’s children Frankie and Nona, fired back two months later, claimg Thicke had pilfered not only “Got to Give It Up” but also Gaye’s “After the Dance” and “I Want You” on Thicke’s 2011 album Love After War.

PHARRELL WILLIAMS AND ROB THICKE TO PAY $7.4M TO MARV GAYE'S FAY OVER BLURRED L

The fay alleged at the time that the Canadian sger had a “Marv Gaye fixatn” and acced the publisher of Gaye’s songs, EMI, of not protectg the soul in’s talogue sce had fold to Sony ATV, which manag Thicke’s mic.

) They also ced terviews where Thicke said he’d stolen om Gaye, cludg tellg GQ that one of his favore songs was “Got to Give It Up” and that he told Williams that they should wre a song wh the same “groove.

DID ROB THICKE STEAL ‘BLURRED L’ OM MARV GAYE? BY JOE BENT | FEB 1, 2014 | FM2, PLAGIARISM, REARCH, SONGWRG | 74 MENTS[ED: UPDATE 12 MARCH 2015]THE SE HAS NOW BEEN ROLVED, AND THE JURY FOUND THE GAY’ FAVOUR, SPE THE PYG NOT BEG EXACT AND THE MIL ELEMENTS DISSIAR, AS MY ORIGAL FEBARY 2014 POST (BELOW) ARGU. IN AN TERVIEW WH THE HOLLYWOOD REPORTER, RICHARD BCH, THE GAYE FAY LAWYER, SCRIB HOW THE THICKE SI’S HUBRIS AND NSISTENCY NTRIBUTED TO THE JURY VERDICT GOG AGAST THEM – BUT SISTS THAT THE SE WAS SUCCSFUL BEE OF THE CHARACTERISTICS OF THE MIC SELF. FOR THOSE WHO HAVE SAID THAT THIS SETS A DANGERO PRECENT FOR CREATORS (CLUDG ME – SEE THIS MTV NEWS TERVIEW), THIS MAY BE SO TERMS OF DISURAGG MIL HOMAGE ARRANGEMENTS. BUT (US) LEGAL TERMS, A JURY LG IS DIFFERENT OM A URT LG, SO EACH SE IS JUDGED ON S MERS AND ON THE SPECIFIC EVINCE PRENTED. THEREFORE THIS SETTLEMENT DO NOT REPRENT ‘SE LAW’ (AS ATTORNEY BRIAN D CAPLAN POTS OUT THE SAME MTV FEATURE) BUT HAS CERTALY MA SOME CREATORS RATHER UNCERTA ABOUT THEIR FUTURE SONGWRG AND PRODUCG PRACTIC… [JB][ORIGAL POST OM FEBARY 2014 FOLLOWS]THERE’S BEEN A LOT OF MEDIA TERT THE RECENTLY-ROLVED DISPUTE OVER THE ALLEGED SIARY BETWEEN ROB THICKE’S ‘BLURRED L’ (2013) AND MARV GAYE’S ‘GOT TO GIVE IT UP’ (1977). THE PRS RELEASE THAT STARTED  WAS WRTEN BY THE GAYE FAY’S REPRENTATIV KG AND BALLOW, SO THE SECTN I QUOTE BELOW IS OBVLY ACCATORY, AND THE ‘EVINCE’ C APPEARS TO BE BASED ON LAY LISTENER OPN:THE “BLURRED L” TR SHED TO FILE THEIR SE SOON AFTER THEIR SONG BEGAN ATTRACTG OVERWHELMG ATTENTN OM CRICS AND FANS ABOUT THE SUBSTANTIAL SIARI THAT SURPASS THE REALM OF CINCE TO “GOT TO GIVE UP.”  ON AUGT 8, 2013 ROB HOERBURGER THE NEW YORK TIM  WROTE “BUT WHAT I KEEP G BACK TO IS THE SONG’S CHOICE DNA… AND THAT BASS LE ME RIGHT OM MARV GAYE’S NO. 1 H OM THE SUMMER OF ’77, ‘GOT TO GIVE IT UP’.” IN THE AUGT 23, 2013 ISSUE OF ROLLG STONE MAGAZE, CONTRIBUTOR DAVID RZ WROTE, “WHEN I FIRST HEARD ROB THICKE’S ‘BLURRED L,’ MY REACTN WAS THE SAME AS LNS OF OTHER R&B FANS: HEY, THAT’S MARV GAYE’S “GOT TO GIVE IT UP.”  THICKE AND PANY NOT ONLY PPED [SIC] GAYE’S DISTCT BASS LE, BUT THE FG FUNK OF THE WBELL ACCENTS. I WASN’T ENTIRELY SURPRISED, SCE SOME YEARS EARLIER THICKE’S ‘LOVE AFTER WAR’ WAS A VIRTUAL LIFT OF MARV’S ‘AFTER THE DANCE’ …”  A QUICK REVIEW OF THE TER REVEALS THE MENTS ARE FAR OM ALONE THIS RPECT.KG AND BALLOW PRS RELEASE, OCTOBER 2013 (SOURCE: RTERS)THE ALLEGATNS, THEN, WERE THAT THICKE (WH -WRERS PHARRELL WILLIAMS AND CLIFF HARRIS JR)COPIED THE BASS LE OF GAYE’S ‘GOT TO GIVE IT UP’.COPIED THE ‘FG FUNK’ OF THE WBELL ACCENTS.HERE’S A SPOTIFY PLAYLIST AND A YOUTUBE PARISON – LISTEN FOR YOURSELF. [SPOTIFY ID=”SPOTIFY:ER:JOEBENTBATH:PLAYLIST:5FGLQXSR6JJ8PLJHULP9MX” WIDTH=”300″ HEIGHT=”300″ /]——–HERE ARE THE FACTS:BLURRED L IS 120 BEATS PER MUTE.GOT TO GIVE IT UP IS  122 BEATS PER MUTE.BOTH SONGS FEATURE A SYNPATED WBELL PART AND AN ELECTRIC PIANO (GAYE’S BASSLE IS ACTUALLY PLAYED ON A 1976 RMI HARMONIC SYNTHISER).THE VOL MELODI AND LYRICS OF THE SONGS ARE VERY OBVLY DIFFERENT OM ONE ANOTHER.THE SONGS HAVE DIFFERENT CHORD PATTERNS OM EACH OTHER.THE RERDGS ARE DIFFERENT KEYS; ‘BLURRED L’ IS G; ‘GOT TO GIVE IT UP’ IS A.THE TWO BASSL ARE TRANSCRIBED BELOW. I’VE TRANSPOSED ‘BLURRED L’ TO THE SAME KEY AS ‘GOT TO GIVE IT UP’ HERE FOR EASE OF PARISON, AND NOTATED THEM A MOR (NO SHARPS OR FLATS) PARTLY FOR SIMPLICY AND PARTLY BEE BOTH BASSL ARE BUILT ON NOT OF THE HOME KEY’S MOR PENTATONIC SLE. THIS ‘NORMALISATN’ IS TEND TO HIGHLIGHT ANY SIARI THAT MIGHT OTHERWISE BE DISGUISED BY TRANSCRIBG ‘BLURRED L’ THE ORIGAL KEY – THAT IS, I’M GIVG GAYE’S SI THE BT POSSIBLE CHANCE OF PROVG THEIR ASSERTN THAT THE BASSLE HAS BEEN PIED. GOT TO GIVE IT UP (MARV GAYE) – TRANSCRIBED OM BAR 5 [0:14]. THIS BASSLE EMPLOYS SUBSTANTIAL RHYTHMIC VARIATNS THROUGHOUT THE SONG. BLURRED L (ROB THICKE). THIS 8-BAR BASS LE IS LOOPED THROUGHOUT THE SONG.WHEN PARED NOTE FOR NOTE LIKE THIS, THE DISSIARY IS OBV. THE BASSL E DIFFERENT NOT, RHYTHMS AND PHRASG OM EACH OTHER. THEY’RE EVEN TAKEN OM DIFFERENT MIL SL. THICKE’S BASS NOT ARE ALL TAKEN OM THE MIXOLYDIAN MO; THE GAYE BASSLE IS BASED AROUND THE PENTATONIC MOR SLE.NOW LET’S LOOK AT THAT WBELL. GAYE THE FOLLOWG WBELL RIFF, WHICH PLAYS PRETTY NSISTENTLY THROUGH THE TRACK. GOT TO GIVE IT UP (MARV GAYE) – 2-BAR WBELL LOOP.THICKE’S SONG HAS MORE WBELL. I’VE NOTATED BOTH PARTS BELOW. THE UPPER ONE (PANNED RIGHT THE MIX) PLAYS A SPECIFIC PATTERN, WH A DIFFERENT RHYTHM OM THE GAYE SONG; THE LOWER ONE (PANNED LEFT) PLAYS AN OFF-BEAT, LIKE A REGGAE ‘SKANK GUAR’ GROOVE. THE LOWER ONE DROPS AND OUT PERDILLY DURG THE TRACK. BLURRED L (ROB THICKE) – 2-BAR WBELL LOOP. COWBELL 1 VARI THIS PATTERN SLIGHTLY ON BEAT 4 AT TIM.THICKE’S WBELLS (ACTUALLY A WBELL AND ANOTHER PERCSN STMENT THAT SOUNDS TO ME MORE LIKE AN ELECTRONIC CLAVE) SYNPATE ON THE 16TH NOT (A SEMIQUAVER GROOVE); GAYE’S SONG IS VERY CLEARLY AN 8 GROOVE. THE ONLY SIARY IS THAT EACH RIFF PLAYS THE FIRST THREE 8TH NOT (QUAVERS) OF THE BAR.———–SO, THOSE ARE THE FACTS, AT LEAST REGARDG POSNAL NOTE CHOIC. NOW LET’S GET BACK TO THE FIRST ACCATN THE PRS RELEASE:THICKE AND PANY NOT ONLY [PIED] GAYE’S DISTCT BASS LE…IF THIS IS TE, AND THICKE’S TEAM  ACTUALLY ‘PIED THE BASS LE’, THEN THEY  CHANGED MOST OF THE PCH, MOVED LOTS OF NOT AROUND, AND LETED SOME NOT. OR PUT ANOTHER WAY, THEY WROTE AN ORIGAL BASSLE.[THICKE HAS PIED] THE FG FUNK OF THE WBELL ACCENTS.WHAT EXACTLY IS ‘THE FG FUNK’? MOST OF THE ACCENTS ‘BLURRED L’ DO NOT APPEAR ON THE SAME BEATS OF THE BAR AS THE GAYE SONG, WHICH BY ANY REASONABLE RHYTHMIC FN MAK THEM DIFFERENT ACCENTS. OR PUT ANOTHER WAY, THEY ARE AN ORIGAL POSNAL IA.SO IF THE NOTE-TO-NOTE MIL DISSIARI ARE SO OBV, WHY DID THIS PRS RELEASE BOTHER TO ACCE THICKE ET AL OF PLAGIARISM? CLEARLY GAYE’S FAY THOUGHT THEY HAD A SE. I THK THE REASON IS THAT THE TRACKS DO SOUND SIAR. INED, I DON’T DOUBT THICKE’S PRODUCTN TEAM LIBERATELY ED ‘GOT TO GIVE IT UP’ AS A STYLE TEMPLATE TO CREATE THE SOUND AND FEEL OF ‘BLURRED L’. THE STMENTATN AND TEMPOS ARE PRETTY MUCH THE SAME, AND THERE ARE MANY NOTABLE ARRANGEMENT CISNS THE GAYE SONG (FOR EXAMPLE, PLAYG THE BASSLE ON AN ELECTRIC PIANO) THAT OCCUR   ‘BLURRED L’. IN FACT, THICKE HIMSELF STATED PUBLICLY A GQ TERVIEW THAT HIS TEAM WROTE ‘BLURRED L’ G ‘GOT TO GIVE IT UP’ AS SPIRATN:PHARRELL AND I WERE THE STUD AND I TOLD HIM THAT ONE OF MY FAVORE SONGS OF ALL TIME WAS MARV GAYE’S “GOT TO GIVE IT UP.” I WAS LIKE, “DAMN, WE SHOULD MAKE SOMETHG LIKE THAT, SOMETHG WH THAT GROOVE.” THEN HE STARTED PLAYG A LTLE SOMETHG AND WE LERALLY WROTE THE SONG ABOUT A HALF HOUR AND RERD . THE WHOLE THG WAS DONE A UPLE HOURS…ROB THICKE TERVIEW, 7TH MAY 2013 (TERVIEWED BY STELS PHILI FOR GQ MAGAZE). THE RMI HARMONIC SYNTHISER, ON WHICH MARV GAYE PLAYED THE BASSLE FOR ‘GOT TO GIVE IT UP.’SO HOW DID THIS SUATN GET SO OUT OF HAND WHEN WAS CLEAR OM THE START THAT THE POSNS E DIFFERENT NOT AND RHYTHMS OM EACH OTHER? I THK THE ANSWER LI THE FACT THAT THERE IS A DIFFERENCE BETWEEN THE NCEPT OF THE SONG AND THE SOUND RERDG OF THE SONG. LISTENERS HEAR THE SONG AND THE SOUND RERDG SIMULTANEOLY, BUT MIC DTRY ADM REQUIR THE SONG AND THE SOUND RERDG TO BE TREATED SEPARATELY (BEE THEY ARE SEPARATE PYRIGHTS). THE GAYE AND THICKE RERDGS SOUND VERY SIAR TO EACH OTHER, BUT THEY E DIFFERENT NOT, SO WOULD BE DIFFICULT TO MAKE A SE THAT THE POSN HAS BEEN PLAGIARISED. AND OF URSE, BLURRED L DO NOT SAMPLE ANY OF THE D OM GAYE’S 1977 SOUND RERDG.SO TO MAKE A SUCCSFUL ACCATN OF PYRIGHT GEMENT, GAYE’S SI WOULD HAVE HAD TO ARGUE THAT THE PRODUCTN ‘FEEL’ (OR AS THE KG AND BALLOW PRS RELEASE PUTS , ‘CHOICE DNA’) OF ‘GOT TO GIVE IT UP’ ULD ATTRACT PYRIGHT. ANY LEGAL ACTN WOULD PROBABLY HAVE REQUIRED THE URT (WH THE HELP OF MILOGISTS) TO FE EXACTLY HOW THIS ‘CHOICE DNA’ MANIFTED SELF THE RERDG, ORR TO DISCS SIARI. THE ACT OF PUTTG AN ELECTRIC PIANO TOGETHER WH A WBELL AND A 120BPM DIS BEAT WOULD NEED TO HAVE BEEN JUDGED A CREATIVE ACT SELF, MAKG STMENTATN AND POSSIBLY EVEN GENRE TO PROTECTABLE INTELLECTUAL PROPERTY. WHICH WOULD HAVE HAD MASSIVE IMPLITNS FOR FUTURE CREATORS OF MIC.I’M OFF NOW. MY DELOREAN IS HEADG TO 1885, WHICH IS WHEN I VENTED THE SNARE DM BACKBEAT.74 COMMENTS

After a five-year-long legal back-and-forth, a judge has termed that Pharrell Williams and Rob Thicke, the artists behd the 2013 mega h “Blurred L, ” mt pay the fay of the late Marv Gaye $5 ln, multiple outlets report. “No one n claim they own the style or the genre of Marv Gaye, ” attorney Howard Kg said at the time, acrdg to the Associated Prs. The fay ially claimed that Thicke's h plagiarized the soul in's 1977 track "Got to Give It Up" — and now, they're sistg that the sger stole om two of Gaye's Augt, the wrers of "Blurred L" — Thicke, Pharrell Williams and Clifford Harris, Jr.

MARV GAYE'S FAY WS 'BLURRED L' APPEAL; PHARRELL, ROB THICKE MT PAY

— preemptively sued Gaye's tate after plats (as well as the group Funkalic), claimg that "Blurred L" was "starkly different" om "Got to Give It Up.

'BLURRED L' CASE: ROB THICKE, PHARRELL WILLIAMS MT PAY MARV GAYE'S FAY MILLNS

" Now Gaye's fay have filed a untersu agast Thicke that claims he not only ripped off "Got to Give It Up" but that he also ged on the pyright to Gaye's song "After the Dance" for the tle track of his 2011 album "Love After War. " Legal papers also suggt that they're eyeg other songs Thicke's talog over the sger's alleged "Marv Gaye fixatn, " acrdg to The Hollywood Gaye llaborator David Rz: Rob Thicke, you're no Marv GayeIn their su, the Gay acce Thicke of wrg a siar chos, melody and more his song "Love After War, " wh regard to Gaye's "After the Dance. " They also acce Thicke of "cludg the siar bridge and intil lyrics om Marv Gaye's 'I Want You' (his) siarly-themed work, 'Make U Love Me.

‘BLURRED L’ INGED ON MARV GAYE COPYRIGHT, JURY RUL

'" They have not yet filed any claims over that song lawsu also go after Gaye's mic publisher, EMI April, which now operat unr the pany that manag Thicke's mic, Sony/ATV.