hard times befallin'the funk survivorsshe thinks i'm crazybut i'm just growin' old
― demonic mnevice (Jon Lewis), Thursday, 19 March 2015 17:21 (nine years ago) link
re this being a bruno or a mick ronson song, i should admit the song's profile is undoubtedly different in the UK, where Ronson's first Top 20 lead credit was over a decade ago and he's had four since. Meanwhile in the US, this remains his first and only Top 100. bruno's big in both countries, though.
― da croupier, Thursday, 19 March 2015 17:23 (nine years ago) link
lol MARK ronson, sorry.
― da croupier, Thursday, 19 March 2015 17:24 (nine years ago) link
crocodile rock otm
― example (crüt), Thursday, 19 March 2015 17:30 (nine years ago) link
Big Mark strikes again
― jaymc, Thursday, 19 March 2015 17:32 (nine years ago) link
Haha I thought I was making a very clever reference to a previous Ronson hit, but I guess the Smiths cover was "Stop Me If You Think You've Heard This One Before," not "Bigmouth Strikes Again."
― jaymc, Thursday, 19 March 2015 17:33 (nine years ago) link
I remember when funk was youngMe and Bruno had so much fun
― clemenza, Thursday, March 19, 2015 1:18 PM Bookmark Flag Post Permalink
clearly "me and bruno and the smeezingtons" or i guess "me and smeezy and the mark ronson"
― Doctor Casino, Thursday, 19 March 2015 17:45 (nine years ago) link
I love how k-pop this song is. It's all the edm.
― Frederik B, Thursday, 19 March 2015 22:35 (nine years ago) link
i hear no EDM or k-Pop in Uptown Funk?
― why dont u say something or like just die (dog latin), Thursday, 19 March 2015 22:44 (nine years ago) link
Ambitious, clocking in at 4:30.
― with HD lyrics (Eazy), Thursday, 19 March 2015 22:46 (nine years ago) link
It has a million hooks per minute and it mixes old school styles with new school dynamics. The drop into the horns are straight out of the skrillex-schoolbook. Or like Airplane by f(x).
― Frederik B, Thursday, 19 March 2015 23:41 (nine years ago) link
It's basically engineered to make middle-aged people dance and has enough hooks for the kids.
― raih dednelb (The Reverend), Friday, 20 March 2015 00:01 (nine years ago) link
Totally "Crocodile Rock". Crossed with "Groove Is In The Heart".
― Frederik B, Thursday, March 19, 2015 11:41 PM (Yesterday) Bookmark Flag Post Permalink
Is EDM's greatest success the fact that people now assume there was no such thing as a drop before 2007?
― Tim F, Friday, 20 March 2015 00:09 (nine years ago) link
Yes. By saying basically 'the drop is edm-like' I clearly stated that no other music uses drops. That is what my sentence means.
― Frederik B, Friday, 20 March 2015 00:12 (nine years ago) link
I was thinking "Let's Dance" crossed with "Nasty."
― with HD lyrics (Eazy), Friday, 20 March 2015 00:23 (nine years ago) link
But it also doesn't remotely resemble the way the drop typically works in EDM tunes.
― Tim F, Friday, 20 March 2015 00:30 (nine years ago) link
No, but it uses those sounds. The rising siren and the quickening of drums. Come on, you've heard that sound a million times these last few years, but not in a number one hit like this, I don't think.
― Frederik B, Friday, 20 March 2015 00:45 (nine years ago) link
I see the resemblance in the build-up, but the trumpet drop itself doesn't work in the same way because EDM (and brostep) both use the drop as the effective chorus and pinnacle of the tune.
Calvin Harris has perfected (or "perfected") this: see "We Found Love" or "Sweet Nothing", the way that the drop into the synths (whether instrumental or with vocals over the top) goes into an extended repeat-arpeggio for at least 8 bars. In EDM (and increasingly, pop generally), the structure could almost be extrapolated from filter-house, the chorus/drop being the section of the tune where the key riff snaps into clear focus.
Whereas in "Uptown Funk" the trumpet drop lasts for 4 bars and then you get the call and response between Bruno and the trumpets/drums before plunging back into the verse.
On computer screen, the above may seem like a trivial distinction ("four bars, eight bars, what's the difference?") but it totally changes the dynamic of the track.
Brostep and EDM are structured around the drop as the focal-point of the tune. In "Uptown Funk" that build-up to the drop and the drop itself are one (or arguably two) dynamic moment(s) amongst many, several of which are of equal prominence - the "i'm too hot / (hot damn)" call and responses in the first pre-chorus, the first "girls hit your hallelujah" which sounds like it's bringing in a breakdown before you realise it's actually presaging a build-up, the actual breakdown with the "Uptown Funk you up" section, etc.
It's that relative equality of peaktime moments that make the tune's use of dynamism (not surprisingly!) resemble Wild Cherry much more than EDM, notwithstanding the presence of a drum build-up into a drop.
― Tim F, Friday, 20 March 2015 01:37 (nine years ago) link
Has this thread made it this far without mentioning Kool and the Gang? Because I can't hear this without thinking hearing "Ladies Night," at least a bit.
― Josh in Chicago, Friday, 20 March 2015 02:00 (nine years ago) link
Reaching back, but in what universe did "vintage electro R&B" not generate a bunch of major hits?
Plus go Tim.
― 2-chords, a farfisa organ and peons to the lord (contenderizer), Friday, 20 March 2015 02:07 (nine years ago) link
Yeah, I am a wedding DJ and I KNOW I will be playing "Uptown Funk" at all the weddings this summer. Requestors will be like, "Um, do you have that one funk song? With Bruno Mars?" I guarantee it. The summer before I played "Get Lucky" and "Treasure" and "Blurred Lines" at almost all of the weddings. It is definitely wedding material. As for vintage electro r&b, when exactly was there last a hit in the charts that had that sound?
― lowlytootle, Friday, 20 March 2015 02:21 (nine years ago) link
"Also, I don't think there's much of a song behind the signifiers."
Yeah, nope, there really isn't. At worst it is a mashing together of familiar sounds and tropes within electro r&b, and time won't to be too kind to it. Yes, the EDM build is the worst part.
― lowlytootle, Friday, 20 March 2015 02:24 (nine years ago) link
Wedding song was the first thing I thought of hearing this. Like "I Gotta Feeling" it's pretty epic in length for a pop song, it has an intro that gives people a chance to run out onto the dance floor, etc.
― with HD lyrics (Eazy), Friday, 20 March 2015 03:22 (nine years ago) link
As for vintage electro r&b, when exactly was there last a hit in the charts that had that sound?
― lowlytootle, Thursday, March 19, 2015 10:21 PM Bookmark Flag Post Permalink
Ages, but if you're talking about what I think you're talking about, I understood the point to be that the sound was, in its earlier incarnation, widely successful - not an obscurity that Mars is translating for the masses (re: the Nirvana comparison).
― Doctor Casino, Friday, 20 March 2015 04:11 (nine years ago) link
― with HD lyrics (Eazy), Friday, March 20, 2015 3:22 AM (1 hour ago) Bookmark Flag Post Permalink
"I Gotta Feeling" is actually a really helpful non-obvious point of comparison, not just for length but also the sense that it's not ime. I heard it at lunch and immediately thought of "Uptown Funk" structurally.
― Tim F, Friday, 20 March 2015 04:39 (nine years ago) link
Fixed:
"I Gotta Feeling" is actually a really helpful non-obvious point of comparison, not just for length but also the sense that it's not immediately apparent what is the key hook. I heard it at lunch and immediately thought of "Uptown Funk" structurally.
"Calvin Harris has perfected (or "perfected") this: see "We Found Love" or "Sweet Nothing", the way that the drop into the synths (whether instrumental or with vocals over the top) goes into an extended repeat-arpeggio for at least 8 bars. In EDM (and increasingly, pop generally), the structure could almost be extrapolated from filter-house, the chorus/drop being the section of the tune where the key riff snaps into clear focus."
i really love this paragraph
― soyrev, Friday, 20 March 2015 06:17 (nine years ago) link
"Also, I don't think there's much of a song behind the signifiers."Yeah, nope, there really isn't. At worst it is a mashing together of familiar sounds and tropes within electro r&b, and time won't to be too kind to it. Yes, the EDM build is the worst part.― lowlytootle, vendredi 20 mars 2015 03:24 (7 hours ago) Bookmark Flag Post Permalink
― lowlytootle, vendredi 20 mars 2015 03:24 (7 hours ago) Bookmark Flag Post Permalink
The few times I've tried to listen to it I couldn't even make it past what you guys call the "EDM part" !
Ages, but if you're talking about what I think you're talking about, I understood the point to be that the sound was, in its earlier incarnation, widely successful - not an obscurity that Mars is translating for the masses (re: the Nirvana comparison).― Doctor Casino, vendredi 20 mars 2015 05:11 (5 hours ago) Bookmark Flag Post Permalink
― Doctor Casino, vendredi 20 mars 2015 05:11 (5 hours ago) Bookmark Flag Post Permalink
agreed. besides the quality of each song, there's a difference between making it big with alternative/underground influences and making it by reviving a genre that was popular AND cool.
― AlXTC from Paris, Friday, 20 March 2015 09:49 (nine years ago) link
Because it sounds like Walk the Dinosaur by Was Not Was?
― X-101, Friday, 20 March 2015 11:20 (nine years ago) link
It makes people dance and it's a palette cleanser from previous hit singles that made people dance. Also Bruno Mars sort of inventing a dance move for it in the video. You have to do a dance move on your dance hit to seal the deal. It also sounds familiar. Also Bruno Mars is no stranger to the hit charts. It follows every rule on the manual by klf. Why would it surprise to anyone this is a number one hit?
― ✖✖✖ (Moka), Friday, 20 March 2015 11:31 (nine years ago) link
one of the key influences i'm hearing in this song is 'more bounce to the ounce'
― why dont u say something or like just die (dog latin), Friday, 20 March 2015 11:47 (nine years ago) link
Better this than what would probably be number one if not this. What's number two right now? (/easyjoke).
― Josh in Chicago, Friday, 20 March 2015 12:05 (nine years ago) link
I thought it sounded exactly like Oops Upside Your Head?
― groundless round (La Lechera), Friday, 20 March 2015 12:15 (nine years ago) link
Man, saying that this sound hasn't been in a number one hit before this was way off the mark, I was way wrong. It was late at night, I was tired. Yeah, it also sounds like Calvin Harris, or something like Starships - which I've also always thought of as EDM-like. The new thing, for me, is the way the retro seventies sound is accented by these pop-EDM signifiers, and I love that, and think it's very k-pop like. Saying it's more like Wild Cherry misses the point, imo.
American pop is often eiter tasteful or -less. This mix of things I don't often see.
― Frederik B, Friday, 20 March 2015 12:52 (nine years ago) link
they werent making songs like uptown funk in the 70s - this is the 80s after get lucky's 70s, like 1985 after daft punks 1978
― StillAdvance, Friday, 20 March 2015 13:08 (nine years ago) link
Eh, I think this and "Get Lucky," contemporary production flourishes aside, are straight up 1979/1980.
I find it awesome that this is peaking right after the "Blurred Lines" verdict, given how closely it approximates the "feel" of so many of the above.
― Josh in Chicago, Friday, 20 March 2015 13:13 (nine years ago) link
it peaked in the UK in the first half of january, now we're back to ellie goulding and sam smith for the rest of the year
― TracerHandVEVO (Tracer Hand), Friday, 20 March 2015 13:18 (nine years ago) link
Man, my kids always want me to switch the Sirius station to Venus, which I think bills itself as "rhythmic pop," and it is always Ellie Goulding, or Clavin Harris or Zedd and someone.
― Josh in Chicago, Friday, 20 March 2015 13:20 (nine years ago) link
I feel like this article is a pretty comprehensive list of various comparisons that this song gets in term of 80s funk songs:http://www.billboard.com/articles/6327615/sugarhill-gang-to-trinidad-james-influences-mark-ronson-bruno-mars-uptown
And yeah the first two things I thought of when I first heard this song were Roger's So Ruff So Tuff and George Kranz's Din Daa Daa.
― MarkoP, Friday, 20 March 2015 14:34 (nine years ago) link
Cool. That would make a fun party mix.
― Josh in Chicago, Friday, 20 March 2015 14:40 (nine years ago) link
yeah, they're lucky it doesn't sound like one specific song otherwise it would have been the end for them !
― AlXTC from Paris, Friday, 20 March 2015 14:46 (nine years ago) link
Ask most people to name a Midnight Star song and you'll likely get the No. 81 "No Parking (On The Dance Floor)" long before the No. 18 “Operator.”
uhhh wtf this is "Freak-A-Zoid" duh
― example (crüt), Friday, 20 March 2015 14:53 (nine years ago) link
Good history lesson in that Billboard piece regarding how many African-american acts did not get crossover pop airplay from late 70s through 1983 or so.
― curmudgeon, Friday, 20 March 2015 14:53 (nine years ago) link
yeah, nice article and pretty good party mix indeed !
― AlXTC from Paris, Friday, 20 March 2015 14:59 (nine years ago) link
That billboard article is great and furthers the point that this song must have been made reading 'the manual' for a number one hit.
The groove is one way and zapp, the chorus gap band and trinidad and elements from those other songs mentioned here and there. Only instead of going for top hits from the past they dug a little more but the point the manual makes when making a pop hit and not worrying about writing it yourself stands.
― ✖✖✖ (Moka), Friday, 20 March 2015 17:58 (nine years ago) link
I blame MTV.
― Mr. Snrub, Friday, 20 March 2015 20:45 (nine years ago) link
But the first two years of what they're calling a disco backlash happened before MTV even existed and MTV wasn't widely available until about 1983, at which point they did play some of those crossover hits the article mentions ("Little Red Corvette," "Beat It"...) Not that they couldn't have done better (a lot better) vis a vis black music. There was also at the time MTV's rival "Night Tracks" on TBS that was equally available - though not 24/7 - which did play black music.
― Josefa, Friday, 20 March 2015 21:37 (nine years ago) link
You should copyright the "How to explain the popularity of _________?" wording in the thread title. I've got a whole bunch of them.
― clemenza, Saturday, 21 March 2015 00:31 (nine years ago) link
"It’s a penance by America for not making an irresistible style the pop success it deserved to be the first time around."
this slate quote is crazy! it sounds like half the hit pop songs of the 80's! it sounds exactly like the 80's. like eerily so. in the 80's video they would have had a dog in sunglasses and at the end of the video the dog would drive away with the model in the sports car and everyone in the video would look at the car driving away and go WHUUUHHH????
― scott seward, Saturday, 21 March 2015 00:48 (nine years ago) link
he'd have a point re the modest chart placings of zapp, gap band etc if people didn't also think this sounded like "living in america" and "walk the dinosaur"
― da croupier, Saturday, 21 March 2015 00:51 (nine years ago) link