Mark Ronson Interview

If the time groovy, funky beats from the radio boom, you can barely sit still and moves away rather teetering, it probably is “Uptown Funk,” the first single from Mark Ronson ‘new album “Uptown Special”,

The Grammy and Brit Award winner who has worked with pop stars such as Robbie Williams, Adele, Duran Duran and especially Amy Winehouse, this time Bruno Mars took the mic and scores his first No. 1 hit, not only in the UK, meanwhile, is the song even Billboard No. 1. “Uptown Funk” is the perfect start for an album that reminds transition in the best manner of bands like Earth Wind And Fire and Sugar Hill. But It sounds old school but none pathway is one of the most progressive albums Ronson has produced. For the cool, sexy R ‘n B and funk vibes to Ronsen brought alongside Bruno Mars musicians such as Stevie Wonder, Mystikal, Kevin Parker of Tame Impala Bowie guitarist Carlos Alomar or in the studio.

We meet the super – producer in his Berlin hotel room to talk to him about ” Uptown Special” , his first album since 2010. The door opens and the first few lines from the song ” Uptown Funk ” become a reality in the person of Mark Ronson : “Got Chucks on with Saint Laurent / Got kiss myself I’m so pretty / I ‘m too hot (hot damn ) ” . As if he can write the lines on his own body . In fact, he is wearing skull – pineapple -up sneakers Saint Laurent and yes, it is pretty and hot . With a seemingly innate style and incredible permeability he sits chewing toothpicks before me in the chair . When I remarked “Oh , Those are the famous toothpicks ” he offers me a smile . However, as is a mystery to me how one can thus also look nearly as cool as he is, I reject with thanks. After even his phone is supplied with power , ready to go.

How does it feel for you having been number 1?

It’s madness! I never thought that I will have a number 1. It means everything and nothing to me. I’m just not good at making me lean back and just once to enjoy a bit of success. For one, I do think again about the next project. On the other hand, it is also related with how things work. You are asked again from all sides just for five minutes and number 1 will: “Oh, do you think the writing you next week too,” That’s absurd, you have no time to perceive the perfect moment. Especially since it is the greatest thing that ever happened to me. I never thought that I can do it. It’s crazy, because I’ve never been as a producer in the UK on 1, not even with Amy Winehouse. “Rehab,” “Valerie”, “Stop Me”, “Locked Out of Heaven”, all songs were maximum at number 2. So I’ve probably also more likely to feel it happening to a friend and not myself. I have at least 100 reasons why I did not deserve. Sometimes I think clearly the song number 1 but only because Bruno sings. So I am functioning unfortunately, I’m not good at taking things as they are and to rejoice about. I always questioning. I wish I’d better get back.

That’s interesting, because actually you think, you’re accustomed to success.

Well, for me, things get rather sporadic. My last album “Record Collection” despite the song “Bang Bang Bang” and “Somebody To Love Me” – not particularly strike – which I personally like a lot. This gave me the feeling that I’m logged out. There were more my buddies producer, who got the call to produce the next cool track. I have the new album made with the thought that I have to show everyone that I no longer have on the screen. In the studio, but I was nevertheless clear that I have to make the best album I have ever made. Simply the interest to wake again, because so many no longer even counting on me and plates are now bought not so easy. If you now making a record, you have to give people the feeling that there is a good reason to buy the whole album, not just three favorite songs. Bands such as Arcade Fire make the -man absolutely gorgeous has always felt that whole album is a concept that works correctly only in the whole. I wanted with “Uptown Special” make just a good, coherent album, I’m not the type.

Was it difficult to catch Bruno Mars for the recordings? I heard he was on tour and you’re even flew behind him.

As we have begun Bruno on drums, Jeff Bhasker My Co-Producer on keyboards and I on guitar, we sat in the first session in Bruno’s’ Studio. We have written the first part and it felt great. We had a pretty good groove. Often when you are sitting together again to make the song finished, you can not get back that feeling, that magic that had been originally. This song has felt like a very safe bet at the beginning, comes to a halt at once and you can not get around it. Very strange. We were all slow a bit annoyed because we just could not go on from the point where we left off. We felt that somehow we did not come back to the original magic. Bruno then went on tour and we were in different places repeatedly met to work on. He came over to me when he was in London and I flew to LA. For a few days Bruno came to Memphis to record, where I worked with Jeff on the album. Eventually Bruno came with this bass line (hums “dubduudub dubduudub”) and suddenly the connection to the whole song there. There is a radio song and the difference between funk, disco and R ‘n B is that radio has no chorus, the chorus is rather an instrument. The bass line was the breakthrough for the song.

Is it true that you are upset sheer stress during shooting up?

Yes, it was just insane amount of pressure. I had put most of my album finished and we were just about ready to produce “Uptown Funk”. I knew this song will make the difference whether I sell or whether people really interested in just 5 pieces of the album. It was a very crazy night in the studio. When I was about ready to merge the guitar, suddenly the monitor for the computer exploded and caught fire. We therefore had to use the analog capture device, so that everything takes forever. You have to take a perfect time to import, because you can no longer improve afterwards. I had about 50 times played the guitar. Jeff has driven me over and over again, “Do it again, it gets even better.” The next day we went out to lunch. I still did not have the perfect take. Jeff and I tried us not to let the stress, he suddenly asked me, “Hey Dude, is with you all right, what about your face?” I looked in a mirror and was totally pale. At that moment, I had to throw up and fainted. This one and a half years of work on the plate and the pressure to get the song finished broke into at the moment about me. Two days later we went but again, I flew to Toronto and took up the guitar and the bass with Bruno. Suddenly everything was easy, almost by itself.

Had the “Royal” Studio in Memphis and other well-known studios in which you have taken a special influence on your music?

Yes , absolutely . We were able to bring together all stakeholders . It is cut off from the ” normal” life and can focus , the emphasis is only on one thing, the music. We were not distracted to go to clubs or at parties. The Studio “Royal” in which we have taken is an incredibly magical place that we could feel everything . We had been traveling in the south , to search for singers for the album, because it was my first time in this studio. I immediately thought : this is it! Here we must take . It is not a fancy studio , as falls partly been the plaster of the wall. Musicians like Al Green have already incorporated herein and you just feel the energy in the room , it feels incredibly creative and inspiring.

How much you influenced your work as a DJ in producing your plates? Do you watch the hang of how people react to the music?

Yes I think so. However, I would never play a song that is not done in a club for testing. I do not play my songs, watch as they arrive at the people and then change it around. It makes a good DJ to get a feel for what people want to dance and how they move to the music. You have to know how to generate the right rhythm. This helps in producing total. Sometimes I stand by me but also self-defeating. I am then too much on the search for the perfect beat. Sometimes you just have to let the song be like it is, and not to think too much about it. I remember how we have taken with Amy the song “Love Is A Losing Game”. This is such a wonderful song and I was always looking for the perfect beat, just one little guitar was missing. Sometimes you just have time off the disco ball in your head, to find exactly what is

When I heard “Uptown Funk” for the first time, she totally reminds me of your radio broadcasts “Authentic Shit”, you made some time in the East Village Radio.

Yes exactly!

The track has the same kind of vibe, so a bit retro sound à la Earth Wind And Fire and chic. What inspired you?

In each track I put me first go there and experiment without knowing where are we heading. In “Uptown Special” I made almost a year around, without that I knew exactly what I’m doing an album. Then one begins to write on, and at the same time arise things where you have the feeling, it’s in a good direction. I never had the intention to do something retro moderate. However, there are so many sounds from the past which I like very much and I filter then. This of course affects the type and white as I make music. I want to make music that like like the kids today. I’m trying to fill the gap. Sometimes I wish that there are more of these old groovy tunes that a truly infectious. Clearly this has an influence. At the end of the day I wanted a good, intelligent make

I think it is you very well. So I could not sit still , when I heard the album.

That’s cool , thank you! I’m glad it’s so come over.

What I find even more interesting , as it has come to the cooperation with writer Michael Chabon . How could you convince him for the album to make the texts and how you worked together? He’s probably not used to write lyrics .

I knew from his latest book ” Telegraph ” that he is a big music enthusiast . It’s about two guys who run a second-hand jazz record shop in Oakland. By the way he writes and how he deals with language, I had the feeling that it could work. I was more than a year at a book signing of his book before . When he signed my book , he told me that he finds a few of my songs really good. So I thought , I’ll send him an email to see if he is interested in collaborating . I told him I want good , soulful pop write with clever lyrics . Why always need good articles only a privilege of indie music be ? He liked the idea immediately and began directly to me to send a few text proposals . I started trying to implement the musical . It was a bit bumpy start but we still both had the feeling that it is worth a try together .
So you only you had the lyrics and then you wrote the music for it ?

Only for a few songs . For most pieces , I first sent him the music. Either Jeff sang vocals with a fantasy text on it or we only had the guitar. So Chabon knew exactly how many words he needed. When he came to us to Venice to the studio , the cooperation was much more intense. It was great , he could immediately take our input and was getting better and better at writing. It was almost as if we have the world’s best super computer in our room , you feed him with music and he spits out the lyrics from . We had quite songs to rewrite three , four times what was frustrating of course . One can not say exactly why something does not feel right sometimes . Most of the time it ran great and it was a great experience for all of us ..

You said once in a TED talk that you try by sampling, introduce yourself in the music that means something to you. Have you ever had the feeling that you could be here doing something wrong or there are songs that you would never touch because they are sacred to you?

I sample now not so much. I’ve talked about why Sampling – even exists especially in hip hop. I was often with rappers in the studio. If you are playing a beat before them, then they are to immediately make it into something quite hot, so in style: “Oh, this bass is great, let me what rap over it.” She immediately take the sense of music. This has nothing to do with the music to “steal” in order to make money. I think that it is now a part of our culture that no longer have anything to yourself. Everything is freely available for download. The result is that we simply can take what we like and can add something. Thus, you have the chance to give rise to something new. When I first all the songs have been covered in the “Version”, it was determined fans were totally at annoyed because they believe songs from bands like the Smiths can not touch you. Sure, you can make many mistakes. But in the end you have to trust yourself and see what it comes out.

Can you tell me conclude by giving a tip on what to consider when you start as a DJ ? My girlfriend wants to hang with me , I’ve never done . What do you advise me?

In my view, the choice of songs is the most important thing . You can be the most experienced DJ in the world and play the most horrible songs. You will not get far . The playlist is the alpha and omega and how you build up the evening with them. Game not the greatest song at the very beginning . You have to warm up first time and start slowly the crowd . I’m sure you get the point well , you know what you’re doing.

Super . Thank you for your tip and the interview! Good luck with your plate .

You and much success in placing you! That is . I am sure ..

Interview: Kate Rock

MARKMEETS have been online since 2004, and provide the latest UK Entertainment News, celeb interviews, info on film premieres, competitions, movie news, celeb photos, music videos and all things celebrity.

“Leading The Way In Entertainment”. – MarkMeets