In The Thicke of Things

I was pretty curious when I first heard about the continuing lawsuits that have been flying back and forth between Robin Thicke and his label and the children of Marvin Gaye.  The suits (I don't really know how many!) are because of Thicke's song "Blurred Lines".

I think what really might have sparked this whole fuss was when Thicke gave an interview in GQ Magazine where he said:

“Pharrell and I were in the studio and I told him that one of my favorite songs of all time was Marvin Gaye’s ‘Got to Give it Up.’ I was like, ‘Damn, we should make something like that, something with that groove.’ Then he started playing a little something and we literally wrote the song in about a half hour and recorded it.”

When the Gaye family started to make noises about the similarities between the two songs, Thicke actually threw the initial punch by suing the Gaye family FIRST, claiming that there were no similarities.  I can't say that I've ever heard of anyone doing that before.  It was supposedly to "protect" the song, which was was No.1 on Billboard for 12 weeks in 2013, and a huge hit for Thicke and his producers Pharrell Williams and Clifford Harris Jr. It was also up for, but didn't win, a Grammy for best song.

Since then, the accusations have been flying back and forth, with the Gaye family also accusing Thicke of copying Marvin Gaye's song "After The Dance" for his song "Love After War".  But instead of talking lawsuits for a moment, let's have a listen.

If you haven't already heard it, here is Thicke's song "Blurred Lines":

And now, here is Marvin Gaye's "Got To Give It Up":

The usual elements that are brought up in song copyright suits are melody and lyrics, which is why those are the parts that you submit when you are creating a documented copyright for a song.  You can't copyright a chord progression or a title, although occasionally they have come up as part of a suit.  In this case, the issue is the feel and/or beat, which is created by the percussion, drums and bass.  The chord progressions in each song (and the key, for that matter) are different.  The lyrics and melody (where there is one) are different.

So has there been an infringement?

For what it's worth, here's what I think.  They are an awful lot alike because of that groove. Whether, technically speaking, a similar groove will be enough to claim copyright infringement, I will leave that up to the courts.  I've read arguments on both sides, one claiming that Pharrell, who I admire a lot, likes to pay "homage" to those who influenced him and what harm is there in that?  But that groove is really, really similar.

I could almost write the whole thing off if I thought to myself that Thicke had subliminally come up with that groove because the song was 'way back in his memory somewhere.  But his interview says it all.  He liked the groove in that song and they (for the lack of a better word) copied it.  It was, in that respect, intentional.

What do you think?  Where do the lines get crossed?

IJ

Songs I Like - Happy

This song just does the job.  It makes me happy.  I think it reminds me of the vocals in those 70's R&B songs, the same way the vocals in Get Lucky do.  I'm a sucker for the 70's.

There is nothing pretentious about this song, the production is somewhat simple, there's no instrumental or middle-eight, it's just straight up, happy pop.

Instead of trying to pick it apart, if you haven't heard it, here you go:

Get happy :-)
IJ

And The Nominees Are...

I'm always curious about the songs that end up in movies.  Are they already in existence and just end up being a perfect fit for the movie, or are they written specifically for the movie?

My guess would be either or.  I'm sure a director might be drawn to a song before a movie is completed in some cases...and in others I would imagine there are some politics involved, where they have to use a particular artist, band or songwriter for their movie.

Let's understand first that "Best Song" is different from "Best Score".  The score is the music that is underneath the dialogue or helps to drive the emotion or drama of a movie in various scenes.

The very first Oscar for best song was awarded in 1934.  "The Continental" written by Con Conrad with lyrics by Herb Magidson was sung by Ginger Rogers in the movie "The Gay Divorcee".  Wow, that movie title would have a whole new context these days :-)

Here is a video clip from the movie:

Of course, the movie was a musical.  But these days, musicals aren't as common in film form unless they are filmed versions of Broadway musicals or Disney films.

The best song nominations are very often at the end of a movie, during the credits.  Which makes me wonder if a lot of people actually stay long enough to hear them.  Maybe the intention is to keep people in their seats during the credits, or to prevent you from turning the movie off, in the case of a DVD or streamed movie.   I wonder if that actually works?  There are certainly people who like to watch the credits, or who take that time to soak the movie in, but a lot of people don't bother.

This years nominations are all quite different.  "Let It Go", from the Disney movie "Frozen" is your typical Disney pop ballad, sung by Idina Menzel and written by Kristen Anderson-Lopez and her husband Robert Lopez, who have written songs for Disney before in the movies Finding Nemo and Winnie The Pooh.  In this case, of course, Disney commissioned the song specifically for the movie.  I was curious about it because I wrote a song with that very name about 20 years ago.  I guess without the context of the movie, it's hard to judge the song on its own merit, but it is not a stand out for me.  I can see, however, that it might appeal to the little girls that the movie is mainly targeting.

Another nominated song is "Ordinary Love" by U2 from the movie "Long Walk To Freedom".  This is Nelson Mandela's story, and although I didn't see the movie, I do know his story well.  When I listened to the song, I more or less expected to relate to the lyrics because of that, but I have to say I was confused by them to some degree.  I do like some of the imagery in lines like "The sea throws rock together, but time leaves us polished stones", but the chorus lines "we can't fall any further if we can't feel ordinary love" probably has some sort of mystical meaning to the writers, that go right over my head.   I just don't think the song is a stand out.

The movie "Juno" which came out in 2007 had a couple of songs in it by the Moldy Peaches.  I know there are Moldy Peaches fans out there because a couple of my guitar students requested one of the songs that was used in the movie "Anyone Else But You".  The group described themselves at the time as "anti-folk", "lo-fi" and "garage-rock".  For me, they were "sophomoric", but that's just a matter of personal preference, I guess :-).  This year, "The Moon Song" from the movie "Her", strikes me exactly the same way.  'Nuff said.

My favourite song on this year's list of nominees, is the song "Happy" from "Despicable Me 2" by Pharrell Williams.  Reflecting its title, of course, it's a very upbeat and catchy song.  It is, by no means, lyrically deep.  But then again, I was drawn to Daft Punk's "Get Lucky", so I don't have to hear deep lyrics to find happiness.

Online there is huge support for "Let It Go" and although that isn't necessarily a reflection of what the Academy is going to choose, I think it's a strong possibility that it will win.   There are, honestly, some years that I find the field of nominees lacking.  But then again, I suppose in some years there isn't a whole lot to choose from.

I'll be watching...

IJ