Blurred Lines chords



You can learn how to play Blurred Lines by Robin Thicke/T.I./Pharell Williams!

Controversial Blurred Lines was released in 2013 by Robin Thicke, Pharell Williams, and T.I.

The controversy was twofold. First, the lyrics were criticized for promoting rape culture as the world was becoming more and more woke. Secondly, Marvin Gaye’s children claimed Robin had stolen the song from their father’s Got To Give It Up.

In the charts, Blurred Lines claimed the top spot in 25 countries, including the U.K and U.S where it stayed for twelve weeks.

The video featured three supermodels dancing with Robin and Pharell. A topless version was removed from YouTube after being seen to breach the platform’s terms of service, further adding to the controversy around the song.

The entire campaign around Blurred Lines seemingly followed the idea that no publicity can be bad publicity.


Blurred Lines chords and lyrics


| G |
Everybody get up. 
| G | G | G | G |
Oh. Everybody get up (hey, hey, hey).
| D | D | D | (D C B A) |
Hey, hey, hey (uh). Hey, hey, hey (ha-ha) (woo). Turn me up.

| G | G |
If you can’t hear, what I’m trying to say (hey girl, come here)
| G | G |
If you can’t read from the same page (hey).
| D | D |
Maybe I’m going deaf (hey, hey, hey). Maybe I’m going blind (hey, hey, hey).
| D | (D C B A) |
Maybe I’m out of my, mind (hey, hey, hey).

| G | G |
Okay, now he was close. Tried to domesticate you.
| G | G |
But you’re an animal, Baby, it’s in your nature (meow).
| D | D |
Just let me liberate you (hey, hey, hey). You don’t need no takers (hey, hey, hey).
| D | (D C B A) |
That man is not your maker (hey, hey, hey), and that’s why I’m gon’ take a.

| G | G | G | G |
Good girl. I know you want it (hey), I know you want it. I know you want it.
| D | D |
You’re a good girl (hey, hey). Can’t let it get past me (oh yeah).
| D | (D C B A) |
You’re far from plastic (alright). Talkin’ ’bout getting blasted.

| G | G |
I hate these blurred lines. I know you want it (hey).
| G | G |
I know you want it (oh-oh-oh-oh, yeah-yeah) I know you want it.
| D | D |
But you’re a good girl (ah, hey). The way you grab me.
| D | (D C B A) |
Must wanna get nasty (ah, hey, hey). Go ahead, get at me (everybody get up)

| G | G |
What do they make dreams for, when you got them jeans on? (Why?).
| G | N.C |
What do we need steam for? You the hottest bitch in this place!
| D | D |
I feel so lucky (hey, hey, hey), you wanna hug me (hey, hey, hey).
| D | (D C B A) |
What rhymes with hug me? (Hey, hey, hey). Hey (everybody get up).

| G | G |
Okay, now he was close. Tried to domesticate you.
| G | G |
But you’re an animal, Baby it’s in your nature (uh-huh).
| D | D |
Just let me liberate you (hey, hey, hey) (uh-huh). You don’t need no takers (hey, hey, hey) (uh-huh).
| D | (D C B A) |
That man is not your maker (hey, hey, hey) (uh-huh). And that’s why I’m gon’ take a

| G | G |
good girl, I know you want it.
| G | G |
I know you want it (hey). I know you want it.
| D | D |
You’re a good girl, can’t let it get past me (hey, hey). 
| D | N.C |
You’re far from plastic (oh). Talkin’ ’bout getting blasted (everybody get up).

| G | G |
I hate these blurred lines (hate them lines) I know you want it (I hate them lines).
| G | G |
I know you want it (I hate them lines). I know you want it. But you’re a. 
| D | D |
Good girl (good girl). The way you grab me (hustle gang, homie). 
| D | (D C B A) |
Must wanna get nasty (let go) (I say Rob). Go ahead, get at me (let me holla at ’em real quick).

| G | G |
One thing I ask of you, let me be the one you back that ass up to (come on!)
| G | G |
Go from Malibu to Paris, boo (yeah). Had a bitch, but she ain’t bad as you (uh-uh, ayy).
| D | D |
So, hit me up when you pass through (oh), I’ll give you something big enough to tear your ass in two.
| D | (D C B A) |
Swag on ’em even when you dress casual, I mean, it’s almost unbearable (hey, hey, hey) (everybody get up).

| G | G |
In a hundred years not dare would I. Pull a Pharcyde, let you pass me by.
| G | G |
Nothin’ like your last guy, he too square for you, he don’t smack that ass and pull your hair like that (you like it)
| D | D |
So I’m just watchin’ and waitin’, for you to salute the true big pimpin’.
| D | (D C B A) |
Not many women can refuse this pimpin’, I’m a nice guy, but don’t get it confused, get pimpin’ (hey!).

| N.C | N.C |
Shake your rump. Get down.
| N.C | N.C |
Get up. Do I like to get 
| D | D |
hurt, like it hurt. 
| D | (D C B A) |
What, you don’t like work? Hey (everybody get up).

| G | G |
Baby, can you breathe? I got this from Jamaica.
| G | G |
It always works for me, Dakota to Decatur (uh-huh).
| D | D |
No more pretending (hey, hey, hey) (uh-huh). ‘Cause now you’re winning (hey, hey, hey) (uh-huh)
| D | (D C B A) |
Here’s our beginning (hey, hey, hey) (uh-huh). I always wanted a

| G | G |
good girl (yeah, yeah).I know you want it (hey). 
| G | G |
I know you want it. I know you want it.
| D | D |
You’re a good girl, can’t let it get past me (oh, yeah).
| D | (D C B A) |
You’re far from plastic (alright). Talkin’ ’bout getting blasted.

| G | G |
I hate these blurred lines (everybody get up). I know you want it (hey).
| G | G |
I know you want it (oh-oh-oh-oh, yeah-yeah). I know you want it.
| D | D |
But you’re a good girl (ah, hey). The way you grab me.
| D | (D C B A) |
Must wanna get nasty (hey, hey, hey) Go ahead, get at me.

| G | G | G | G |
Everybody get up. Everybody get up.
| D | D | D | (D C B A) |
Hey, hey, hey. Hey, hey, hey. Hey, hey, hey


Blurred Lines chord progression

The chords for Blurred Lines are just G and D. The descending bass line, moving from D to G is C, B, and A. This tells us that D must be chord V as a C is the b7 of a D chord.

This makes the G chord I, and the D chord V.

As the chord progression is so sparse, the use of dynamics becomes more important.

Blurred Lines takes this to its extreme as it constantly breaks down to only drums and percussion, making the impact of the chords bigger when they actually appear.

To use a reference track, a term the industry likes to use, when writing a song is common. Got To Give It Up was clearly used to compose Blurred Lines, unfortunately for Robin and Pharrell, they didn’t go far enough to keep it a secret and had to pay a big chunk of their royalty check to the copyright holders of Marvin Gaye’s music.

To the average music consumer, it may seem like stealing but the fact is, most artists start with a known song, then bend it until they’ve got something to call their own.

Music history is packed with examples of this happening. For example, taking a famous chord progression and writing a new melody is something that even has a technical term, it’s called a contrafact.

When a song is used as an influence or just plainly stolen is perhaps a blurred line the songwriter must consider wisely when crossing.


The Professional Guitarist Song Book

As a guitarist, a repertoire is the greatest asset that you can acquire.

Learn these songs and you can progress from being a bedroom player to working with acoustic duos, Jazz trios, Indie/Rock/Party bands as well as large Soul/Motown ensembles.

Go to Song Book.


Copyright + Comments

Studying great songs is the best way for a musician to develop, we believe displaying chords and lyrics falls under “fair use in education”.

If you are the copyright holder and do not wish to be represented in this way, or want to comment on anything in these lessons, do reach out.

Go to Contact.