Not quite. The musicologist called by the plaintiffs never claimed anything was exact. She found "8 elements" (broadly defined) that were substantially similar between the two songs. This was stuff like, at one point in both songs, the vocal melody follows the same musical shape for a similar duration. Doesn't use the…

I hope this does come off mean, because it's not intended, but do you know what is meant by "melody"? The parts that are being sung in the two songs really couldn't be much more different, and those are the parts that the copyright Gaye's estate holds apply to, so there's no infringement according to the law.

I'd actually be surprised if it wasn't just straight-up overturned on appeal. This is a stretch, by even the most lenient standards.

"Modern multitracking"?

Billy in 4C!

I was at that show. That chick spilled her drink on me while y'all were making out. Disgraceful.

"Yes, Hornberger!" is one of my favorite moments from the show.

I frantically typed UB40 about 4 or 5 times in different variations before I gave up on that one.

I legitimately love "What It Takes". It features some of the best/weirdest noises Stevie T ever made, a really great outro, and, pretty advanced for a pop song, a key change into the chorus.

Ewww come on. Don't you get a *little* squicked out when he's singing about everyone's "points"?

I have a Cool Story about this, actually.

BTW, I'm pretty sure that's not RHCP, but instead the original "Love Rollercoaster" by Ohio Players. Credit where Credit is due!

And the accents can be traced back with some surprising accuracy. There are some weird Appalachian language features that are basically just copied from scots.

Guitar World also interviewed Silverchair around the time Tomorrow came out, and they revealed the totally awesome fact that their previous band name was "Short Elvis".

But they still never missed the chance to talk about Yngwie at every opportunity! That was a weird time. Interviews with Korn right next to Deep Purple tabs. Such a confused publication.

True story time: I was briefly in a band called "Artifice" in jr. high. I say briefly because I quit immediately when they revealed their grand plans to play "Year 2000" in the style of Limp Bizkit for the school talent show.

I don't think that's quite it. It's more, he takes some very, very specific events and attempts to poeticize them with weird turns of phrase. The problem is twofold: one, the events are too specific for the listener to know what the fuck he's referring to, and two, his ear for poetry is pure shite.

I can do you one better:

Allow me to draw your attention to the chorus:

So it's basically "Young Man and the Beach"?