Showing posts with label StephenDrus. Show all posts
Showing posts with label StephenDrus. Show all posts

Sunday, April 16, 2017

Sir Paul McCartney's career was celebrated by some of rock's biggest names as part of the 33rd annual Kennedy Center Honors. Macca was recognized alongside TV giant Oprah Winfrey, country legend Merle Haggard and others by President Obama at the event. McCartney was treated to a rendition of 'Hello, Goodbye' by No Doubt and a duet of 'Maybe I'm Amazed' by Foo Fighters front-man Dave Grohl and pop singer Norah Jones. Later, Aerosmith's Steven Tyler, who was asked to perform by McCartney, did a medley of songs from 'Abbey Road.' James Taylor and Mavis Staples closed out the show with 'Let It Be' and 'Hey Jude.'




Let It Be

When I find myself in times of trouble
Mother Mary comes to me
Speaking words of wisdom, let it be
And in my hour of darkness
She is standing right in front of me
Speaking words of wisdom, let it be
Oh, let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be
And when the broken hearted people
Living in the world agree
There will be an answer, let it be
For though they may be parted
There is still a chance that they will see
There will be an answer, let it be
Oh, let it be, let it be, let it be, let it be
And there will be an answer, let it be
Oh, let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be
Oh, let it be, let it be, let it be, let it be
Whisper words of wisdom, let it be
And when the night is cloudy
There…

Paul McCartney was a singer and multi-instrumentalist in The Beatles. Alongside John Lennon, he was half of one of the world's most successful songwriting teams in history.
Paul was one of the most innovative bass players that ever played bass, and half the stuff that's going on now is directly ripped off from his Beatles period. He was coy about his bass playing. He's an egomaniac about everything else, but his bass playing he was always a bit coy about. He is a great musician who plays the bass like few other people could play it.
John Lennon, 1980
All We Are Saying, David Sheff

The early years

James Paul McCartney was born in Liverpool's Walton Hospital on 18 June 1942. His father Jim worked in the cotton trade and played trumpet and piano in jazz and ragtime bands, and his mother Mary worked as a midwife.
Paul attended the Stockton Wood Road primary school, then went on to the Joseph Williams junior school before passing his 11 Plus in 1953 and gaining a place at the Liverpool Institute.
The following year, while travelling on a bus to the Institute, he met George Harrison, who was also a student there.
In 1955 the McCartneys moved to 20 Forthlin Road, a council house in the Allerton district of Liverpool. It cost them one pound and six shillings a week to live there. The house was bought by the National Trust in 1995, and today is a popular tourist destination. Back then, though, it was an unassuming terraced house built by the local authority in the 1920s.
On 31 October 1956, Mary McCartney died of an embolism following a mastectomy. She was a heavy smoker who had been suffering from breast cancer. The death shook the McCartney family, and later led to a bond between Paul and John Lennon, who lost his mother in 1958.
Jim McCartney was a keen musician who had been leader of Jim Mac's Jazz Band in the 1920s. There was an upright piano in the front room at 20 Forthlin Road, which Jim bought from Harry Epstein's NEMS store, which Beatles manager Brian Epstein would later take over.
Jim encouraged Paul and his brother Mike to be musical, and gave Paul a trumpet following the death of his mother. When skiffle became a national craze, however, Paul swapped the instrument for a £15 Framus Zenith acoustic guitar.
Being left-handed, Paul initially had trouble playing the instrument. He later learned to restring it, and wrote his first song, I Lost My Little Girl. He took music lessons for a while, but preferred instead to learn by ear. Paul also began playing piano, and wrote When I'm Sixty-Four while still living at Forthlin Road.
Paul McCartney met John Lennon at the Woolton fete on 6 July 1957, between performances by The Quarrymen. They became friends and began writing and performing songs together. McCartney later persuaded Lennon to allow George Harrison into the band as lead guitarist in 1958.

With The Beatles

Paul McCartney, 1963
The Beatles, as they became, gradually grew in popularity after performing many times in and around Liverpool and Hamburg, Germany. After Stuart Sutcliffe left the band, McCartney reluctantly took over his role as bass guitarist. He later bought a left-handed 1962 Hofner bass, which became part of The Beatles' iconography during the 1960s.
After The Beatles signed to Parlophone in 1962 and began releasing records, the songwriting partnership of Lennon-McCartney became celebrated. As well as penning the bulk of the band's recorded output, they also wrote for artists including Cilla Black, Billy J Kramer and Peter and Gordon.
As they became a worldwide phenomenon The Beatles relocated from Liverpool to London, but Lennon, Harrison and Ringo Starr eventually moved away from the city. McCartney, however, remained in central London, enjoying the various artistic and cultural benefits of the capital. He lived for some years at 7 Cavendish Avenue in St John's Wood, near to EMI's Abbey Road Studios.
In the mid 1960s McCartney became interested in experimental music, and made tape loops and avant-garde recordings, both with The Beatles and alone. The first to take on a non-Beatles musical commitment, in 1966 McCartney wrote the score for the film The Family Way. It later won an Ivor Novello award for Best Instrumental Theme.
By this time The Beatles had long since tired of touring, having become unable to hear their own voices and instruments above the screams of the audience. McCartney reluctantly agreed to the other members' wishes to stop touring, which they did in August 1966.
When Brian Epstein died in 1967, McCartney made efforts to keep the group together. He effectively led the making of the Magical Mystery Tour film and album, and in 1969 tried to persuade the group to take to the stage once more. Lennon's response was: "I think you're mad."
However, they did play the celebrated rooftop gig on the top of Apple's offices, filmed as part of the Let It Be project. McCartney led the group through their final recorded album, Abbey Road, released prior to Let It Be in 1969.
Paul and Linda McCartney, 1969He was unhappy with Phil Spector's production on the Let It Be album. He also favoured Lee Eastman, father of Paul's wife Linda, when the group were looking for a new manager in 1969. Instead they appointed Allen Klein, a move bitterly contested by McCartney.
Although John Lennon left The Beatles in September 1969, McCartney persuaded him to keep it from the press. Instead, McCartney himself announced the band's break-up on 10 April 1970, during promotion for his first solo album McCartney. The Beatles' legal partnership was dissolved following a lawsuit filed by McCartney in December 1970.

The solo years

As with all the former members of The Beatles, McCartney's solo output was varied, yet also variable in quality - for every Band On The Run it seemed like there was a Frog Chorus. In August 1971 he formed Wings, and in 1977 released Mull Of Kintyre, which remained the UK's highest selling single until 1984. In the 1980s he collaborated with Elvis Costello, and in 1991 released his first classical work, the Liverpool Oratorio. Since then he has released a wide range of albums in a variety of styles, and has undertaken a number of world tours.
John Lennon and Paul McCartney, 1974John Lennon's death in December 1980 led to a media frenzy. Asked how he felt, McCartney was reported as describing it as "a drag". He was pilloried for the comments, and later expressed regret, saying he had been at a loss for words. He later revealed that he had cried all evening in reaction to the news.
McCartney retired from live performances for a time following the death of John Lennon in 1980, although in subsequent years he returned to the stage for a series of world tours. Wings disbanded in 1981, the same year that he, Ringo Starr and George Harrison sang together on the latter's All Those Years Ago, a tribute to Lennon.
From 1976 McCartney began playing Beatles songs again, after years of refusing to. In the 1990s he reunited with Harrison and Starr to work on the Anthology project, and added instrumentation and vocals to two Lennon demos, Free As A Bird and Real Love.
Today Paul McCartney holds the record of being the most successful musician and composer in pop music history.

Friday, April 7, 2017

Joan Baez Live at Woodstock-Joe Hill-Swing low sweet cheriot Vara broadc...



Joan Baez, Paul Robeson: Joe Hill

SONG Joe Hill

SONGWRITERS Alfred Hayes (words) and Earl Robinson (music)

PERFORMERS Joan Baez, Paul Robeson, others

APPEARS ON From Every Stage, Woodstock: Music From The Original Soundtrack and More (Baez); Live at Carnegie Hall (Robeson)

Although popularized by Joan Baez' performance in the 1970 film Woodstock, this labor ballad traces its pedigree back to a 1930 poem by the British writer Alfred Hayes called "I Dreamed I Saw Joe Hill Last Night." (Some accounts have Hayes writing the poem in 1925.) In 1936, Seattle composer Earl Robinson set the poem to music; since then, various artists have performed the song as an inspiration for organizing labor and other community movements. In addition to Baez, singers of Joe Hill include Paul Robeson, Pete Seeger and Phil Ochs. In 1958, Robeson performed what must have been the definitive version for an earlier generation at his Carnegie Hall concert. "Joe Hill" remains a staple of Baez' concerts to this day.

The song's unlikely subject was born Joel Emmanuel Hagglund in Sweden sometime between 1879 and 1882. Hagglun emigrated to the United States in 1902 and began traveling the American west as a migrant laborer. Somewhere along the line, Hagglund became known as Joseph Hillstrom, a name perhaps inevitably shortened to Joe Hill. Hill joined the Industrial Workers of the World (IWW, also known as the "Wobblies") in 1910, gaining prominence as an organizer and writer of labor songs.

In early 1914, Hill arrived in Park City, Utah, having found work there as a silver miner. Shortly after Hill's arrival in Park City, masked robbers murdered a Salt Lake City butcher and his son in the family shop. During the robbery, the butcher returned fire and wounded one of the robbers. Shortly after, Hill appeared in at local doctor's office with a bullet wound. Although he denied robbing the butcher -- and rudimentary forensic evidence supported his claim -- Hill was nonetheless arrested and tried for murder. Hill's efforts to keep the IWW out of his trial failed, and it is thought today that his membership in the radical labor organization was the key factor in the guilty verdict brought against him. A Utah firing squad executed Hill on November 19, 1915. (Complete Wikipedia article here.)

Shortly before his death, Hill sent the following message to IWW leader Bill Haywood:
Goodbye Bill. I die like a true blue rebel. Don't waste any time in mourning. Organize... Could you arrange to have my body hauled to the state line to be buried? I don't want to be found dead in Utah.
"Joe Hill" has been performed around the world in over a dozen languages. Of the two versions presented here, Baez' version shows "Joe Hill" in its folk roots and -- through Robeson's more classically oriented rendition -- the extent to which the song has been adapted. Earl Robinson had this to say about "Joe Hill":
"Joe Hill" was written in Camp Unity in the summer of 1936 in New York State, for a campfire program celebrating him and his songs, "Casey Jones," "Pie in the Sky" and others. Before the end of that summer we were hearing of performances in a New Orleans Labor Council, a San Francisco picket line, and it was taken to Spain by the members of the Abraham Lincoln Brigade to help in the fight against Franco. It has travelled around the world since like a folk song, been translated into twelve or fifteen languages. Joan Baez' singing of the song at Woodstock brought it to popular attention, but I still get asked the question, "Did you write 'Joe Hill'?" [More here and here.]

LYRICS
I dreamed I saw Joe Hill last night,
alive as you and me.
Says I "But Joe, you're ten years dead"
"I never died" said he,
"I never died" said he.

"The Copper Bosses killed you Joe,
they shot you Joe" says I.
"Takes more than guns to kill a man"
Says Joe "I didn't die"
Says Joe "I didn't die"

"In Salt Lake City, Joe," says I,
Him standing by my bed,
"They framed you on a murder charge,"
Says Joe, "But I ain't dead,"
Says Joe, "But I ain't dead."

And standing there as big as life
and smiling with his eyes.
Says Joe "What they can never kill
went on to organize,
went on to organize"

From San Diego up to Maine,
in every mine and mill,
Where working men defend their rights,
it's there you find Joe Hill,
it's there you find Joe Hill!

I dreamed I saw Joe Hill last night,
alive as you and me.
Says I "But Joe, you're ten years dead"
"I never died" said he,
"I never died" said he.


Joan Baez Performs Thrilling 'Swing Low, Sweet Chariot' at Rock Hall of Fame


Baez also revisited songs from The Band, Woody Guthrie with Mary Chapin Carpenter, Indigo Girls


Joan Baez played with Mary Chapin Carpenter and the Indigo Girls at the Rock and Roll Hall of Fame induction ceremony. Kevin Mazur/WireImage/Getty


Joan Baez delivered spare, captivating versions of three songs from her repertoire on Friday night at the Rock and Roll Hall of Fame induction ceremony at Brooklyn's Barclays Center.

RELATED

Joan Baez's Fighting Side: The Life and Times of a Secret Badass


The Sixties icon helped invent the idea of the protest singer – more than five decades later, she's still at it


Baez initially took the stage alone to perform a rendition of "Swing Low, Sweet Chariot," a traditional number that she also performed at Woodstock in 1969. "My voice is my greatest gift," Baez said during her induction speech, and the solo format allowed her to demonstrate that gift's extraordinary range.


She played a bare outline of melody on guitar, but the focus was entirely on her singing: she transformed single words like "home" and "chariot" into multi-note, virtuosic displays. She also adjusted the song's lyrics in the final line – "Coming for to carry me home" – to include President Trump, suggesting that even he was not beyond saving.





After "Swing Low, Sweet Chariot," Baez invited singer/songwriter Mary Chapin Carpenter and the Indigo Girls to join her onstage. Together, the quartet tackled "Deportee (Plane Wreck At Los Gatos)," a protest tune written by Woody Guthrie, and "The Night They Drove Old Dixie Down," one of the Band's most popular songs.


"Deportee" was a serene affair, full of dulcet strums and graceful singing from all four artists. Baez picked up the tempo during "The Night They Drove Old Dixie Down" and enjoyed slipping in front of the beat and waiting for it catch up. A few members of the crowd joined in during the song's famous, hummable chorus.


Baez initially expressed surprise when she found out about her Rock Hall induction. "I never considered myself to be a rock and roll artist," she explained in a statement. "But as part of the folk music boom which contributed to and influenced the rock revolution of the Sixties, I am proud that some of the songs I sang made their way into the rock lexicon. I very much appreciate this honor and acknowledgement by the Hall of Fame."


Early in her career, Baez recorded traditional songs like "House of the Rising Sun," which later became a major hit for The Animals, and "John Riley," which subsequently influenced the Byrds' rendition on 1966's Fifth Dimension. Baez also performed at Woodstock, one of rock's seminal events.


Even if her music leans more towards folk, longtime friend Bob Neuwirth suggested that Baez's spirit makes her a natural candidate for the Rock Hall. "Joan has that rock and roll attitude toward life and freedom and love," Neuwirth said recently. "She has a kind of bravery that could just kick down the doors."


Baez's Hall of Fame induction is the latest acknowledgement of her contributions to popular music. She earned a Lifetime Achievement Award from the Grammys in 2007.


She is currently at work on a new album produced by Joe Henry. "So many people have said to me, out of the blue, 'We need Joan Baez right now,'" Henry told Rolling Stone. "She's been fiercely standing where she is her whole life."





100 Movies Dance Scenes Mashup (Mark Ronson-Uptown Funk ft.Bruno Mars)-WTM



[Verse 1]
This hit, that ice cold
Michelle Pfeiffer, that white gold
This one, for them hood girls
Them good girls, straight masterpieces

Stylin', wilin'
Livin’ it up in the city

Got Chucks on with Saint Laurent
Gotta kiss myself I’m so pretty

[Pre-Chorus]
I’m too hot (hot damn)
Call the police and the fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn)

Say my name you know who I am
I’m too hot (hot damn)

And my band 'bout that money
Break it down

[Chorus]
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Cause Uptown funk gon’ give it to you
Cause Uptown funk gon’ give it to you
Cause Uptown funk gon’ give it to you

Saturday night and we in the spot
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!


[Verse 2]
Stop
Wait a minute

Fill my cup put some liquor in it
Take a sip, sign the check
Julio! Get the stretch!

Ride to Harlem, Hollywood, Jackson, Mississippi
If we show up, we gon’ show out
Smoother than a fresh jar of Skippy


[Pre-Chorus 2]
I’m too hot (hot damn)
Call the police and the fireman
I’m too hot (hot damn)
Make a dragon wanna retire man
I’m too hot (hot damn)

Bitch, say my name you know who I am!
I’m too hot (hot damn)

And my band 'bout that money
Break it down

[Chorus]
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Girls hit your hallelujah (Woo!)
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you
Cause Uptown Funk gon’ give it to you

Saturday night and we in the spot
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!


[Bridge]
Before we leave
Lemme tell y’all a lil’ something
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up
I said Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up

Come on, dance
Jump on it

If you sexy then flaunt it
If you freaky then own it
Don’t brag about it, come show me
Come on, dance
Jump on it
If you sexy then flaunt it
Well it’s Saturday night and we in the spot


[Part-Chorus]
Don’t believe me, just watch (come on)
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Don’t believe me, just watch
Hey, hey, hey, oh!


[Outro]
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up, Uptown Funk you up
Uptown Funk you up, Uptown Funk you up (say whaa?!)
Uptown Funk you up







Uptown Funk" (stylised as "UpTown Funk!")is a song recorded by British record producer Mark Ronson and American singer and songwriter Bruno Mars, for Ronson's fourth studio album, Uptown Special (2015). RCA Records released the song as the album's lead single on 10 November 2014.Jeff Bhasker assisted the artists in co-writing and co-producing the track, with additional writing from Philip Lawrence. This is Mars' fourth collaboration with Ronson (following Mars' own songs "Locked Out of Heaven", "Moonshine", and "Gorilla") and sixth with Bhasker (after "Talking to the Moon", "Young Girls" and the three previously mentioned songs).

The song went through many different incarnations, and was worked on for months. Ronson and Mars recorded it at multiple different locations worldwide, ranging from recording studios to dressing rooms. American bands Sharon Jones & The Dap-Kings and Antibalas perform horn parts on the song, while the song's lyrics interpolate a line from rapper Trinidad James' song "All Gold Everything" (2012). Several music critics noted its similarity with popular music from the 1980s. The song features heavy inspiration from the Minneapolis sound of 1980s-era funk music, having a spirit akin to works by Prince as well as Morris Day and The Time. Copyright controversies arose after the song's release, with multiple lawsuits and amendments to its songwriting credits.

"Uptown Funk" spent 14 consecutive weeks at number one on the Billboard Hot 100 in the US, seven non-consecutive weeks at number one on the UK Singles Chart, and topped the charts in several other countries including Australia, Canada, France, Ireland and New Zealand. It became the second best-selling single of 2015 and one of the best-selling of all-time. The song won two Grammy Awards, including Record of the Year. Its music video stars Ronson, Mars, and Mars' backing band the Hooligans dancing in a city street, and accumulated 2.3 billion views on video sharing website YouTube as of April 2017, making it the fourth most viewed YouTube video of all time.

Background


Bruno Mars, seen here performing "Uptown Funk" at the Super Bowl 50 halftime show.

In 2012, Ronson produced songs for Bruno Mars' second studio album Unorthodox Jukebox, including the singles "Locked Out of Heaven" and "Gorilla". In June 2014, Ronson told Capital FM that he and Mars planned on working together again: "He's had a [sic] incredible run and it was great to be able to work on that record with him and hopefully we'll be making music for a while. [He puts on an] amazing live show."] Ronson and Uptown Special co-producer Jeff Bhasker would set up shop whenever and wherever they found time with Mars, eventually recording in Los Angeles, Toronto, London, Vancouver, Memphis and New York City. Mars wound up playing drums throughout the album, as well as co-writing "Uptown Funk". Part of the track was recorded at Cherry Beach Sound in Toronto.

On 9 October 2014, Mike Mullaney (Music Director/Assistant Program Director at CBS Radio/WBMX), listened to the song, which was sent to CBS Radio for testing, and called it "the greatest song of all time". He added "The Ronson/Bruno tune is like JamesBrown/RickJames/TheTime jamming w/ badass brass band", describing it as "Filthy, funky" and complementing Bruno's vocals, "Bruno simply wails"

In April 2015, it was revealed that a settlement had been reached with The Gap Band's publishing company, Minder Music, to add core group members Charlie Wilson, Robert Wilson, Ronnie Wilson, keyboardist Rudolph Taylor and producer Lonnie Simmons as co-writers, due to the song's similarities to "Oops Upside Your Head", and that they would receive a 17% songwriting credit.Minder Music filed a claim into YouTube's content management system, which prevented publishers from receiving their payment.

Ronson, in an interview granted to Digital Spy, confessed that the song was to be entitled "Don't Believe me Just Watch".The earlier version of the song had "an inexplicable hard-rock breakdown and a chorus, in which Bruno Mars shouted, "Burn this motherfucker down!". They spent months working on the chorus until they came up the idea of not having one. The song almost didn't see the light of the day due to its early versions.
Composition and influences

"Uptown Funk" is in the key of D Dorian with a time signature of 4
4 and has a tempo of 115 beats per minute. "Uptown Funk" is also heavily influenced by the Minneapolis sound of the early 1980s, pioneered by Prince, The Time with Morris Day, and Jimmy Jam and Terry Lewis with a touch of boogie of The Gap Band, and Zapp and a slight modern EDM twist. According to Ronson in Rolling Stone, the song "animates a Minneapolis groove." According to Chris Molanphy of Slate, "Uptown Funk" is a "brazen return to the electro-funk of the early ’80s."

According to Billboard writer Sean Ross, the song is widely influenced by funk artists and their songs. This includes Zapp's "More Bounce to the Ounce", One Way's "Cutie Pie", The Gap Band's "I Don't Believe You Want to Get Up and Dance (Oops Up Side Your Head)" and "Early in the Morning", Earth, Wind & Fire's "Getaway", The Sequence's "Funk You Up", The Sugarhill Gang's "Apache", George Kranz's "Trommeltanz (Din Daa Daa)" and The Time's "Cool" and "Jungle Love". The only song specifically credited on "Uptown Funk" is Trinidad James' 2012 top 10 R&B and rap hit "All Gold Everything". However, many of the songs cited "were released during the worst period of a 'disco backlash' that effectively kept all types of black music, not just disco, off of top 40", while "Uptown Funk" received instant airplay at top 40 radio.

Charles Moniz, one of the several engineers of the song, said that he helped with the "doh" vocal bass line on the track. Philip Lawrence said they needed an opening bassline, however Lawrence couldn't play the bass. Moniz told him to sing it. "That became what stayed on the album", according to Moniz. The team had been stuck on the chorus for a while, came offstage after a show one night and proclaimed: "I got it". Some of the track progressive phases were done on "makeshift studios" set up by Moniz in dressing rooms.
Reception

Nick Murray of Rolling Stone was positive, giving the song a rating of 4 out of 5 stars, praising "some George Kranz scatting and a Nile Rodgers guitar riff." He also wrote that Mars, Ronson and The Hooligans "channel the days when brags weren't humble and disco wasn't retro." Brennan Carley of Spin Magazine noted that "Mars sounds a bit like Nelly on the track, sing-rapping his way through goofy lyrics ("Got Chucks on / With Saint Laurent / Gotta kiss myself / So pretty")", while comparing the bass line to something "taken straight from Prince's playbook." He added that "It's a definite step towards more classic funk for Ronson, who has a history of dabbling in heavy horn sections and walking guitar solos." He finished by saying "Mars' voice keeps things light and bubbly though, making 'Uptown Funk' the kind of song you'll be unable to escape on the radio in a matter of days." Lucas Villa of AXS called Ronson "eternally cool" and added that the producer's "latest foray into 'Funk' is definitely his freakiest, freshest and most fun release yet."

In a mixed review for the parent album Uptown Special, Jim Farber from the New York Daily News gave an overrall 3/5 rating and claimed that Ronson "just got lucky." He particularly criticized "Uptown Funk" for being a "lazy track", unlike the rest of the songs, which "obsess on the past, but most enliven it." Similarly, in Andy Kellman's Allmusic review for the album, he criticized the song as "aiming for early Time and landing closer to a second-tier trifle -- One Way's "Let's Talk," for instance".

In January 2015, "Uptown Funk" was ranked at number 23, tied with Meghan Trainor's "All About That Bass" on The Village Voice's annual year-end Pazz & Jop critics' poll. The same critics' poll ranked "Uptown Funk" at number eight the following year.[26] Later the same month, the song was voted into Triple J's Hottest 100 at number 6.[27]

Ronson won two Grammy Awards in February 2016, including Record Of The Year for "Uptown Funk."

Chart performance

The song is reported to earn $100,000 for the label and composers per week for streaming on Spotify aloneand has more than two billion completed views on YouTube.
Canada[edit]

On 29 November 2014, "Uptown Funk" debuted at number 63 on the Canadian Hot 100.[31] On the issue dated 10 January 2015, the song reached number one, a position it has held for fifteen consecutive weeks, becoming the second longest-running number-one single on the Canadian Hot 100, only behind The Black Eyed Peas' "I Gotta Feeling", which spent sixteen weeks at number one. On the issue dated 25 April 2015, after fifteen weeks at number one, it was replaced by Wiz Khalifa and Charlie Puth's "See You Again".

United States

On the Billboard Hot 100, the song debuted at number 65 on the week-ending 21 November 2014 due to digital downloads sold, making it Ronson's first entry on the Hot 100.During its second week, "Uptown Funk" sold 110,000 digital copies, becoming the Hot 100's top Digital Gainer of the week, and nearing Streaming Songs with a gain of 2.5 million US streams.The song rose to number 18 in its second week on the Hot 100. On its third week the song rose to number eight, after its first full seven-day tracking period after the premiere of the music video, with 4.4 million streams, digital sales of 167,000 copies and debuting at Radio Songs at number 46 (28 million audience).[48] At this point, the song became Ronson's first top 10 as an artist (and in his first visit with such a billing) and his third top 10 as a producer (Amy Winehouse's "Rehab" (No. 9, 2007) and Mars' "Locked Out of Heaven" (No. 1, 2012–13).[48] On its fourth week, the song reached number five. This marked Mars' eleventh top 5 on the Billboard Hot 100.On its fifth week, it reached a new peak of number 3, where it stayed for two weeks. The song claimed the Hot 100's three top Gainer awards (Digital, Streaming, Airplay), making it just the fifth title to sweep all three categories in the nearly three years of their side-by-side existence, and making Ronson the first male soloist to top Digital Songs with a debut chart entry (as a lead) since Sam Smith's "Stay with Me". The next week the song climbed to number two. The following week, "Uptown Funk" topped the Billboard Hot 100, becoming Ronson's first number-one single in the country and Mars' sixth. The song crowned the three major component songs charts (Digital Songs, Streaming Songs and Radio Songs) on the Billboard Hot 100. It also marked Ronson's first single to reach number one in radio songs; for Mars, it became his sixth, reaching fifth among acts with the most number-ones in that area.

The song became the first to crown the Hot 100 and its three main component charts for nine weeks (the previous record was held by Meghan Trainor's "All About That Bass", which did so for two weeks). By spending a seventh week at number one on the Billboard Hot 100, it became Mars' longest command at the top position (among his six number-ones). It also became one of the longest running singles in Billboard's Hot 100 history and also the longest-running number-one single of the 2010s decade, by topping the chart for 14 consecutive weeks, also becoming the joint second-longest number-one single in Billboard history. This surpassed the previous record set by Robin Thicke with his 2013 single "Blurred Lines", featuring Pharrell Williams and T.I., which reigned at number one for 12 weeks. After its fourteenth week, it was replaced by Wiz Khalifa and Charlie Puth's "See You Again". The song stayed in the top three of the Billboard Hot 100 for 21 weeks, a record previously owned by "Smooth" by Santana and Rob Thomas. On 5 June, "Uptown Funk" spent a 25th consecutive week inside the US top 5, equalling the all-time record set by LeAnn Rimes with "How Do I Live" in 1997 (this was surpassed on March 11, 2017 when "Closer by The Chainsmokers and Halsey ranked in the top five for a twenty-sixth nonconsecutive week). "Uptown Funk" spent 31 weeks in the top-10, with the run ending in the issue dated 11 July 2015, the longest-running top-10 single after aforementioned "How Do I Live" as well as "Closer." As of June 2015, "Uptown Funk" has sold 6.1 million copies in the United States.

Music video

The music video was released on 17 November 2014. It stars Mars, Ronson and the Hooligans walking around a city, wearing brightly colored suits and chains. On 19 November, it was released on Vevo and YouTube. It was directed by Bruno Mars and Cameron Duddy. In an interview with Ellen DeGeneres on the Ellen Show, Ronson and Mars stated that it had been filmed in many cities where Mars was touring. Parts were also filmed at 20th Century Fox Studio's "New York street" backlot in Los Angeles, California.The video has over 2.33 billion views on video sharing website YouTube as of April 2017, making it the fourth most viewed YouTube video of all time.

Usage in media and remixes

The first of the two remixes was released on 12 February 2015 during Ronson's interview on Hot 97 featuring Mars and a new intro verse by rapper Action Bronson. Ronson also revealed that the final version included rapper Bodega Bamz. The second remix of the song featuring Mars and an intro verse by rapper Trinidad James. It was released by Billboard and uploaded on Bruno Mars' YouTube account on 13 March 2015. Fleur East covered the song the eleventh series of the The X Factor UK prior to the single's official release. East later included her live performance of the song on her debut album Love, Sax and Flashbacks.

Within the UK, a (somewhat humorous) claim has circulated that the song is based on the theme to The Really Wild Show, a BBC children's nature programme.

Copyright controversies and accusations

Copyright controversies about "Uptown Funk" have dogged Ronson and Mars, with The Gap Band's three core members being added on as songwriters as part of a mutually settled agreement given the inspiration given to the track by "Oops! Upside Your Head". Serbian pop artist Viktorija has also argued that "Uptown Funk" infringed on her track "Ulice Mracne Nisu Za Devojke". A third accusation was made by funk group Collage that released music in the early 1980s. The group sued Ronsons and Mars for alleged copyright infringement, claiming "Uptown Funk" and its own 1983 song "Young Girls" are "almost indistinguishable".

Track listing

Digital download
"Uptown Funk" (featuring Bruno Mars) – 4:30
CD single[72]
"Uptown Funk" (featuring Bruno Mars) – 4:30
"Feel Right" (featuring Mystikal) – 3:42
12" vinyl[73]A. "Uptown Funk" – 4:30B. "Uptown Funk" (BB Disco Dub Mix) Remixed by Benji B – 6:19
Remixes – EP
"Uptown Funk" (featuring Bruno Mars) – 4:30
"Uptown Funk" (featuring Bruno Mars) (Dave Audé Remix) – 3:57
"Uptown Funk" (featuring Bruno Mars) (Wideboys VIP Remix) – 3:16
"Uptown Funk" (featuring Bruno Mars) (Will Sparks Remix) – 4:37

Credits and personnel

Recording Recorded at: Cherry Beach Sound[74] in Toronto, Ontario; Royal Studios in Memphis, Tennessee, Daptone Records, Brooklyn, New York; Electric Lady Studios, New York; Zelig Sound, London, UK; Enormous Studios, Venice, California; mixed at Mixstar Studios in Virginia Beach, Virginia.

Horn Section Although several recorded horn sections were used during the recording process, it was noted in magazine Billboard in November 2014, that Ronson engaged Sharon Jones & The Dap-Kings and Antibalas horns for the final rendering of the track.The horn parts were recorded at Daptone Records in Brooklyn, New York in August 2014. Members of this horn section were reflected in the Saturday Night Live performance of "Uptown Funk" and have been reported in sources such as The New York Times,The Wall Street Journal,The Boston Globe,and more.

Antibalas Horn Section


Trumpet – David Guy, Michael Leonhart
Tenor Saxophone – Neal Sugarman
Trombone – Raymond James Mason
Baritone Saxophone – Ian Hendrickson-Smith


Personnel



Songwriting – Mark Ronson, Philip Lawrence, Jeff Bhasker, Bruno Mars
Production – Mark Ronson, Jeff Bhasker, Bruno Mars
Mixing – Serban Ghenea
Assisted – John Hanes
Engineering – Charles Moniz, Inaam Haq, Josh Blair, Mark Ronson, Wayne Gordon
Additional – Devin Nakao, Julius Youkilis, Ken Lewis, Matthew Stevens, Riccardo Damian, Boo Mitchell
Mastering – Tom Coyne
Programmer – Mark Ronson
Bass - Jamareo Artis
Drums – Bruno Mars
Linn Drums – Mark Ronson
Keyboards – Mark Ronson
Additional – Phredley Brown
Guitar – Mark Ronson
Vocals – Bruno Mars