'Blurred Lines'-'Growing Pains' Mashup Reminds That, Yes, Robin Thicke Is Jason Seaver's Son

Plus, hear the soul singer's disco-funk "Get in My Way"

Robin Thicke
Robin Thicke Photo by Rob Kim/Getty Images for Music Choice
Marc Hogan WRITTEN BY
Marc Hogan

Now that Robin Thicke is a chart-topping hitmaker, a wider audience is discovering what R&B listeners have long known: Yes, that guy with the soul-dripping voice is Alan Thicke from Growing Pains' son.

Blurred Lines is out July 30, and the younger Thicke keeps sharing morsels that suggest an ongoing shift from baby-making material a la "Sex Therapy" and "Lost Without You" toward lighthearted disco-funk more similar to his big, Pharrell-backed, Vampire Weekend-covered hit. Sure, he slowed it down some on the spartan "Go Stupid 4 U," and "The Good Life" is straight-up wedding first-dance romance, but the bass-burbling "Ooh La La" could be an Off the Wall-era Michael Jackson castoff, and Timbaland-produced "Take It Easy on Me" brings the Justin Timberlake you miss from FutureSex/LoveSounds back. The latest track to emerge from Blurred Lines, "Get in My Way," is from the latter, #edgier school, picking up the pace and powering forward through horn-emblazoned synth-funk and baseball metaphors ("I'll be batting one thousand"). As "I'm gonna make it no matter what you say" workout-inspiration songs go, it's a solid base hit, at the very least. Is Arthur Baker free for a remix?

Meanwhile, Chicago mash-up maestros the Hood Internet have capitaized on the Growing Pains-"Blurred Lines" connection by cleverly combining the '80s TV show's theme with Robin Thicke's big song (via A/V Club). It's exactly what you'd expect: The original, B.J. Thomas-sung ditty atop the Marvin Gaye-indebted groove of "Blurred Lines." Starting with the "gay porn parody" that wasn't really porn or parody, the Internet is poised to do to this song what it did with "Call Me Maybe" and so other meme-able tracks, but at least this incarnation makes sense. Mixed in during one of the Hood Internet's live sets, the 53-second track definitely ought to elicit a few gleeful shouts of recognition.

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