After releasing one of, if not the biggest song of 2014 and 2015, going on to selling over 6.1 million copies and claiming a solid fourth place on YouTube’s most watched videos of all time, it looks like it may have all simply been too good to be true. Ever since the dynamic duo of Mark Ronson and Bruno Mars dropped funky throwback track Uptown Funk, the pair have been battling copyright infringements ever since, most notably with The Gap Band, who ended up being awarded a writing credit thanks to the obvious similarities with their track Oops Upside Your Head. Now though, it looks like the pair are set to face their most damaging lawsuit yet.
The pair stated that Uptown Funk was influenced by early 80s Minneapolis electro-funk and soul music, and it turns out one of these 80s Minneapolis groups Collage agree. They are claiming that the tune is an “obvious, strikingly and/or substantially similar copy” of their 1983 single Young Girls. This goes on the basis that “many of the main instrumental attributes and themes… are deliberately and clearly copied, including, but not limited to, the distinct funky specifically noted and timed consistent guitar riffs…virtually if not identical bass notes and sequence, rhythm, structure, crescendo of horns and synthesizers rendering the compositions almost indistinguishable if played over each other and strikingly similar if played in consecutively.”
With that being said, sonically as an everyday listener, the two tracks do definitely have fairly clear comparisons. However, the fact that the pair have been constantly bombarded with lawsuits for the past two years makes it clear that it’s increasingly harder to make tracks which clearly reference the old. Who knows, perhaps Bruno’s latest g-funk 24K Magic is next?
Take a listen to the two tracks below and let us know what you think!
https://www.youtube.com/watch?v=pfTr_fgQpvg
https://www.youtube.com/watch?v=OPf0YbXqDm0
Image: Singersroom
Words by Emma Jones and Amy Heycock
Super Bowl 50. What a time to be alive. For those of us who might not be watching for the football here is a list of the best moments that have nothing to do with the sport.
Lady Gaga and Star Spangled Banner
Before Coldplay and the gang took the stage at half time, Lady Gaga opened the Super Bowl with the Star Spangled Banner. Between her Oscars performance last year and this, Gaga seems to be on a mission to prove to everyone she actually has some pretty nice pipes and is a #serious singer, and she’s doing a really great job at it. However, she also did do a pretty threatening hand gesture at the end… Was she just threatening me? Fine, you’re the best Lady Gaga.
Coldplay opening for Beyoncé
The half time show was advertised as Coldplay performing with special guests, and began in true Coldplay style; Chris Martin singing the opening of Yellow whilst the crowd runs around him. He’s a man of the people! The first half of the performance was a medley of Coldplay classics – Viva La Vida, Paradise, and the screams of fans as they desperately try to keep their grip on front man Martin. Why they were putting so much energy when we all knew Beyoncé was coming out soon is beyond me though.
Beyoncé nearly falling over but recovering – like Beyoncé
There was a lot of hype around Beyoncé and Bruno Mars being guest performers this year. Mark Ronson on the decks and friends assisted Bruno in an all leather rendition of Uptown Funk. Beyoncé appeared as only Beyoncé could – amongst a army of dancers and flames. Then something crazy happened Beyoncé almost fell over though, you probably didn’t notice because she recovered like the queen she is.
Both Beyoncé and Bruno Mars eclipsing Coldplay
By the end, you’d be forgiven for totally forgetting that this was actually Coldplay’s show, until Chris Martin wedged himself between what could have been a dance off between the two actual stars. Sorry if you’re a Coldplay fan, but it seems that no one passed that memo onto Bey and Mars. The Coldplay lyric “I used to rule the world” has never sounded more fitting. The jury has made a decision Chris you are this year’s left shark.
Image via Tumblr
Honourable mention: Taraji P. Henson
Whilst it’s not actually apart of the half time show, the real MVP from this year’s Super Bowl has to be Empire actress Taraji Henson’s tweet where she may or may not have thought she was watching Maroon 5. Big ups to Coldplay for managing to get someone to like Maroon 5. Taraji deleted her tweet but it will always live on through the magic of screenshots.
If you still haven’t seen it yet, you can catch the full performance below.
Main image via Stereogum
The results are in, and the most watched video of 2015 goes to Uptown Funk by Mark Ronson and Bruno Mars, which has been viewed over one billion times. Obviously, garnering this amount of views is no simple feat. Ronson and Mars beat out many heavyweight artists, including but not limited to Maroon 5, Adele and Taylor Swift (yay), the latter of which had three singles in the top ten- this is truly a victory for all.
It’s not surprising that the duo managed to make this feat, since it’s 2014 release Uptown Funk has been almost inescapable. Despite it being released last year, it seems that time has not been a boundary for the track- it’s also become the number one most downloaded song on iTunes this year, as well as Michelle Obama’s pick for her favourite song of the year.
Jeff Bhasker, a songwriter who helped produce the track spoke with LA weekly about the makings of a hit, stating that “we really studied the mechanisms of what makes a hit song, and one of our mentors, Steve Lindsey, really pounded that into us. The term “hit song” implies a successful song, but you can also think about it as, like, a song that hits you. To get your point across and to get people to understand a concept clearly within a three- to four-minute time frame takes songcraft, and making it very clear and interesting to listen to, almost like you’ve heard the song already.”
It’s unclear at this point whether this track’s popularity will ever slow down, it’s already lasted a year- let’s see how it fares in 2016.
[youtube https://www.youtube.com/watch?v=OPf0YbXqDm0&w=560&h=315]
In his 2004 single Modern Marvel, Mos Def pondered what he would say to Marvin Gaye if the Motown virtuoso had lived to see the immeasurable influence he had on hip hop, funk, soul and, indeed, the music industry as a whole. The impact of Gaye’s music was such that, even in 2015, his posthumous presence is felt as strongly as ever. Mark Ronson‘s fourth studio album, Uptown Special, is testament to this.
‘We’ll see y’all uptown,’ chirps Bruno Mars at the end of Feel Right, alluding to his imminent presence on the album’s bombastic lead single, Uptown Funk. Mars is not the only familiar name lending vocals to Uptown Special. New Orleans rapper Mystikal, Andrew Wyatt (of Swedish electropop outfit Miike Snow) and Tame Impala‘s Kevin Parker are among those adding depth, charisma and not insignificant talent to an album that sees Ronson return to the scene of his adolescence. Born in London, Ronson grew up amid the diverse musical influences of New York in the early ’90s. He made his name as a club DJ whose eclectic selections included funk, soul, hip hop and rock, all of which are integral elements of Uptown Special.
The album’s low-key intro (which features Stevie Wonder), contradictorily titled Uptown’s First Finale, belies the soaring peaks of Ronson’s latest record. The fuzzed out Summer’s Breaking is followed by the fierce and expletive-laden Feel Right, which, after the placidity of the first two tracks, is akin to Mystikal kicking your door down and exposing himself. But in a really funky way.
Uptown Funk needs no introduction, having rapidly elevated Ronson and Mars to the top of the charts. Or, more accurately, having ensured Mars remains at the top of the charts while encouraging YouTube’s vociferous and ill-informed music community to ask questions like:
Mercifully, the rest of Uptown Special avoids baffling people by featuring pop stars.
Where the album really works is in the collaborations with Kevin Parker, whose intricate guitar work and distinctive, ethereal vocals are woven beautifully into Ronson’s mixes. Daffodils expertly balances the clutch of funk and psychedelica before accelerating in the direction of gritty electronic rock. Leaving Los Feliz is the feel good song of my summer. It struts and swirls, glides and soars, all the while providing space for Parker to flourish, while never once feeling empty.
If Uptown Special were a dog, it would undoubtedly be a mutt; so diverse and disparate are its musical genetics. Indeed, Bruno Mars and Kevin Parker exist worlds apart. Somehow, though, Mark Ronson has reconciled their artistic differences and utilised their respective talents to produce an album that, while not always cohesive, illustrates the inimitable skill and ambition of a man who should be lauded as the finest producer of our generation. I hope Marvin Gaye would agree.
Here it is folks, my weekly round-up the best new tunes. Click below for an awesome playlist for your weekend! Lots of garagey guitar stuff this week, with a little soul, a little electronic, and one epic funk track for good measure!
- Pearls, Big Shot
Big beats and bluesy chords open this understated track. The light, punchy male & female vocals lie somewhere in between The Dandy Warhols and Arcade Fire. A deceptive slow burner, it’s subtle, simple, but so catchy and so damn smooth. An impressive new track for Remote Control’s new signees. - Sunbeam Sound Machine, Wandering, I
I love the sun-drenched shoegaze sentimentality of this track. Another crooner with rich guitars and jangly effects, this is a summer soundtrack waiting to happen. The chorus is so hypnotic with its mantra-like vocals. A beat track from the Melbourne man. - Moses Gunn Collective, Mary
Moses Gunn Collective’s new one Mary is one demanding, catchy as hell psych-blues track. Thisis the stuff that the ’70s was made of, but there isn’t an ounce of irony or nostalgia throughout. It’s punchy, it’s funky, I love it. So keen for more from the Brisbane band. - Hamilton, You’ve Got Me Wrong
Some people might think this is a kinda strange entry, but I really digit. It sounds like the kind of music played during some sort of demented circus act. Lovely lyrics and a gorgeous voice lead the way, with some quirky brass leading the backing music. The heavier chorus packs a punch, darkening up the carnival feel. Weird, and great. - Born Joy Dead ‘Hey Blood’
My first reaction was, WOAH. This is great. The first few moments remind me of Monster by Kanye, but as the track progresses, it grows into something so special. It swings, it rocks, it rolls. I love the wailing guitars and the syncopated rhythm SO much. The new project of former Hungry Kids of Hungary bassist Ben Dalton, I am excited about Born Joy Dead. - Total Giovanni, Human Animal
I wasn’t sure about this one at first but it really grew on me. A great blend of crunchy guitars and super spacey bleeps and bloops, this is cool. I particularly dig the FUNKY bass washed-over guitars (which remind me of Pink Floyd’s Learning To Fly), topped with distinctly Beck-esque vocals, this is probably what Talking Heads would sound like if they released something today. - Mont Oliver, White Sheets
I wrote about Mont Oliver last week too, but they’ve just released another new one ‘White Sheets’, and I love it, so i’m writing about it here as well. This one’s packed with hip hop elements, from the lagging beat, the gangsta-style string backing riffs and the tampered vocal licks. It all opens up into a soulful space, with sensual rhythms and a serious groove. Fuck yeah. - Late Night Hysterics, Limerick
Another slow-burner for today, I love the beautiful organ-style ambient opening. The vocals are light, nearly nasal but not, and packed with emotion and intimacy. The track picks up halfway through, gaining momentum with a swift rhythm and big chords, with a full synth build later on. A really interesting tune from the West Australian indie band. - Cosmo’s Midnight, Snare (ft. Wild Eyed Boy)
Cosmo’s Midnight are back, and they’ve got a gorgeous new track for you. Gentle and catchy, Snare is the thing of balmy sunsets and summer escapes. An intricate soundscape with gorgeous electronic and melodic layers, this gets me so excited for the forthcoming EP. - Chiefs & Nick Acquroff, Inside Out
Oh man, this is so smooth from the first moments. The vocals are rich, harmonised and demand your full attention. Combine that with the driving synth and the strong beat, the rhythm builds up and drops into a space that I don’t want to leave. I just want to listen to this track over and over again. I LOVE electronic with soul/R&B aspects, and this is exactly that. - Mark Ronson, Uptown Funk ft. Bruno Mars
You’ve probably heard this song by now. Our first glimpse into Mark Ronson’s star-studded new album, set to drop in January, this track is a MOTHER of a funk track. I don’t usually like Bruno Mars, but he exudes Michael Jackson in all the right ways on this one. Those brass sections? So good! - Bernaccia, Manifest (ft. Ellen Chetcuti)
Ominous whistles and brooding guitars lead this track, before seductive swing vocals lead the melody. I love how this track glides way under the radar, maintaining a mysterious feel throughout. Chetcuti’s unsweetened, husky vocals are the perfect complement to the main melody. Deep drums and a great fuzzed-up backing section, I’m digging this track from the Newcastle (UK) four-piece.
Man after my own heart, Mark Ronson has quashed any speculation as to what he’s been up to with the release of two undeniably funky tracks, featuring industry heavyweights on vocal duties for extra cred.
Recruiting Bruno Mars for Uptown Funk, and Tame Impala‘s Kevin Parker for Daffodils, Ronson has hit the ground running ahead of his expected album release in January. Upon listening to the tracks, there’s no denying the super-producer is onto something SERIOUSLY good here. Having truly embraced his love of America’s South, and spending some time in Memphis creating and recording, he’s now ready to show us what he’s got. After the huge commercial success of Mark Ronson & The Business Intl‘s 2010 release Record Collection (which also featured some pretty reputable collaborations; Boy George, Ghostface Killah, D’Angelo, MNDR), his 2015 release, Uptown Special is reaching critical levels of hype!
You can listen to the new tracks below, and join me in praying to every idol I can think of that he returns to Australian shores immediately.