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Re: Фотографии Марка Ронсона

Добавлено: Чт янв 17, 2013 7:17 pm

Re: Фотографии Марка Ронсона

Добавлено: Сб янв 19, 2013 8:39 am

Re: Фотографии Марка Ронсона

Добавлено: Вт янв 22, 2013 7:03 am

Re: Фотографии Марка Ронсона

Добавлено: Сб фев 23, 2013 4:04 pm

Re: Пресса о Ронсоне

Добавлено: Пт июн 07, 2013 8:45 pm
Relaxing with Mark Ronson

by Jerry Nunn, Windy City Times

English DJ and prolific music producer Mark Ronson has been linked with some unforgettable acts over the years. Among them are Bruno Mars, Rufus Wainwright, and Duran Duran.
He also works with his own band called Mark Ronson and the Business mixing together A-list singers to help along the way.

His album Version included three top 10 hits; also, he a won a Brit Award for it. Amy Winehouse's "Valerie," which is on the record, contained a sound that was modern and retro at the same time, thanks to her vocals and his producing. They were a dream team that didn't even end with her death as he salvaged the last of her musical legacy with demos and the album Lioness: Hidden Treasures.

In a Chicago studio, Ronson talked about new music and musicians he has collaborated with in the past.

Windy City Times: Hi, Mark. You must work all the time. Tell me about this podcast you are about to make here in the studio.

Mark Ronson: I have this show on East Village Radio. It is an Internet station that I started doing about six years ago when I still lived in New York. When I moved to London about a year ago I stopped doing it. Part of the charm of doing East Village Radio is the storefront right in the middle of 2nd Avenue. I missed looking for two hours of great independent music every week.

I felt I was suffering a bit even with my DJ skills by not practicing. So I just started doing it again a couple of months ago. Most of the time I do it from London but sometimes I am busy and just look for anywhere to do it.

WCT: Sounds like a big commitment.

MR: It kind of is. It is only two hours a week and when you are living in London that is nothing but when you fly to Chicago for a gig then you have to find a recording studio. It is important to me and there are about 150,000 people listening every week. It is how I discover so many people that I end up collaborating with. I found MNDR who was on the last single from my album "Bang Bang Bang" because I was scouring the Internet for music and found her song and really liked it.

WCT: She told me about your wedding.

MR: That is funny. I was talking to her on the way over here. I haven't seen her in ages and she has moved to L.A.

There is a rapper called Chase N. Cashe who is up and coming, and the same thing happened with him a few weeks ago.

WCT: Do things happen organically for you like that?

MR: Always. It has always been that way. So much comes from DJing also. I met Lily Allen in a club one time after I was done with a DJ set.

In New York during a set is when Puffy and Jay-Z discovered who I was. It was not like someone put me on their records and I was producing albums all of a sudden. That is how I made my name. My reputation in New York is from DJing.

WCT: Have you been around celebrities your whole life?

MR: The stories people get from Googling me are these crazy exaggerations like my mother was breast-feeding me who passed me to David Bowie who then gave me to Elton John or I was sitting in Jimmy Page's car [and he] took me to school. It wasn't quite like that.

My mom liked to party and it was London in the mid-to-late '70s, so there were people around the house.

WCT: Did you admire artists like Duran Duran and Boy George?

MR: I moved to New York in 1983, so I was 6 years old when Duran Duran was at the peak in England. I was really drawn to their music. You always look back at music you listened to as a kid and think about the bubble gum stuff. But with Duran Duran, their stuff still holds up. As you get old you get a bit more analytical about it, like, "Why did I like them?" It's because they had a rhythm section where these white kids from Birmingham who idolized chic with Nile Rodgers. They had amazing synth stuff from Nick Rhodes. Simon LeBon had the most unique melodies. That is a great thing to aspire to in a band regardless of the genre.

When I met them four or five years ago and we talked about working together my first reaction was giddy excitement but I am a producer and my goal was to re-emphasize all the things that made them great in the beginning. Nothing against the Timbaland album they did, but the strong point of Duran Duran is not throwing up a beat and just having Simon sing on it. The strong point of Duran Duran is having John [Taylor]'s bass lines and Nick's synthesizers.

Boy George was a bit different because I wrote this song with Andrew Wyatt and my friend Alex Greenwald, who I work with a lot, and we wrote this song for my last record. I just had a feeling that Boy George needed to sing on the song. I knew George from his DJing in New York days. He was into the song and we did it. It was crazy I saw him two days ago. Have you seen him with the weight loss?

WCT: I have seen pictures.

MR: It's insane. He looks like a kid. He looks incredible, not that he didn't look great before—he has always had a beautiful face—but it is wild. He's working on his solo record.

WCT: When I interviewed him he was cooking raw food in his kitchen.

MR: He's such a smart guy with a quick wit and sometimes a sharp tongue. In England he has become almost a national treasure. I hope his record turns out really well and it could be a comeback for him. "Somebody to Love Me" was massive in Australia but not a super chart hit in England the thing is people always stop me in a bar to talk about that song with George.

WCT: Rufus Wainwright's Out of the Game, which you produced, was amazing.

MR: Thanks.

WCT: Did he come to you or did you go to him?

MR: We just started talking. I hate to keep using the term organic because it sounds like I am opening up a Whole Foods but it was when I was DJing and we started to talk. I was fan of his music but I didn't know it extensively. Between the operas and the Judy Garland album there is a pretty deep body of work. I fell in love with it though. I guess I am a bit of a dork, liner note devouring, fan of music history. I just saw a lineage of Laurel Canyon sounding records from the '70s. I heard Jackson Browne or Fleetwood Mac drums so that is how I wanted it to sound. We went in and cut the record and it was great spending an intense three weeks together. We became very close.

WCT: I saw him perform it live here in Chicago.

MR: I saw it in London.

WCT: Why haven't you worked with singer Paloma Faith yet?

MR: We have been friends for a while. After the success of working with Amy, my initial knee-jerk reaction was not to work on female singers in that vein or even slightly reminiscent of that sound because this is what people expect me to do. I didn't want to be pigeon-holed.

WCT: That makes sense.

MR: Amy Winehouse was pretty territorial. If I had gone and done the same thing, she would have been mad. That was her sound. I just helped her realize it. She had been listening to all these '60s girl groups and wanted to make a sound like that.

I do like Paloma a lot. We have been talking about collaborating on her next record. She's fucking cool, as a person. She's got game. That is what you want to work with someone that has a realized idea of who they are.

You can put a singer with the right writer and make hits but if I have to have a third person in the room it is hard for me to get excited about it.

WCT: I saw on Twitter the other day that you were looking for Brazilian music.

MR: I was playing in Brazil and looking for that. I knew the bossa nova classics but I was looking for a Brazilian DJs jam. I wanted the cool underground shit to play. I went to listen to all the things people sent back as suggestions in my hotel room. I ended up making a bossa nova version of "The Harlem Shake" that didn't go over too well!

WCT: Are you gearing a set toward Chicago?

MR: Thanks to people like Kanye and Big Sean there is plenty of Chicago in my set most of the time. I haven't played here since I was at Lollapalooza with my band—that was four years ago. I am not sure what the crowd will be like. I don't know if they like Version or if they are there for a trendy club on a Thursday night. I am keeping it a bit open to what I will do.

WCT: Will you be coming back with your band soon?

MR: I am working on that now. I know what the sound of the record is, though. I have spent the last few years working with Rufus and Bruno for other people's records so it has only been the past couple of months that I could work on my own stuff.

WCT: Who have you been spinning recently that you love?

MR: Chase N. Cashe, who I told you about earlier. There is a kid from England called Fryars who is great. The new James Blake song is the best thing I have heard in quite some time. It is my favorite thing I have heard this year so far.

There is so much good music—you have to dig for it!
http://www.windycitymediagroup.com/lgbt ... 43109.html

Re: Mark Ronson (Марк Ронсон)

Добавлено: Сб авг 31, 2013 11:26 am

Re: Mark Ronson (Марк Ронсон)

Добавлено: Пн окт 07, 2013 1:49 am

Re: Mark Ronson (Марк Ронсон)

Добавлено: Пн окт 21, 2013 11:41 am
Блин, нифига себе, какие люди...

Re: Mark Ronson (Марк Ронсон)

Добавлено: Пн окт 21, 2013 11:42 am

Re: Mark Ronson (Марк Ронсон)

Добавлено: Пн окт 21, 2013 10:41 pm
CrazyFan писал(а):Блин, нифига себе, какие люди...

Стыдно, но кто это? Как понимаю, маленький Марк с сестрой, а кто старший? Мик Джонс?

Re: Mark Ronson (Марк Ронсон)

Добавлено: Вт окт 22, 2013 12:03 am
Брайан Адамс

Mark Ronson (Марк Ронсон)

Добавлено: Пт янв 23, 2015 11:55 pm
How Mark Ronson’s No. 1 hit Uptown Funk got made — and why it caused him to vomit and faint

JANUARY 13, 2015

FOR a groove that sounds effortless, vomit-inducing effort created Mark Ronson’s global No. 1 anthem Uptown Funk.
“You definitely never want the funk to sound laboured,” Ronson admits, “but a lot of serious hard work went into that song.”
Uptown Funk started life as a keyboard riff Bruno Mars, who sings the track, would jam with his band at soundcheck while touring Unorthodox Jukebox, the 2012 album Ronson helped produce for Mars that went on to sell over six million copies.
Mars and his band had got the hook ‘Don’t believe me just watch’ from Trinidad James’ 2012 song All Gold Everything.
“They were doing this loose jam slightly inspired by that Trinidad James record,” Ronson says.
His ear sensing it was something special, Ronson got in a studio with Mars on drums, producer Jeff Bhasker (Kanye West, Lana Del Rey, Fun) on keyboards and himself on bass.
“We got the basic groove and the first verse that first night, the rest took a lot longer.”
Finishing Uptown Funk would become an ongoing saga, based around Mars’ tour schedule.
“We’re all perfectionists in our own way,” Ronson says. “We kept feeling the song could be better. Just when we thought we’d finished it someone would call someone else in the middle of the night and go ‘Man it ain’t it yet, it ain’t it’. OK, f---, so I’d have to chase the boy wonder (Mars) on tour and get him in a studio and try and finish it.”


Ronson, who has self-produced his material himself in the past, lost his lunch when pushed to breaking point by the man he got on board to better the record, Bhasker.
At one point Ronson counted doing 82 takes of a guitar part on Uptown Funk.
“I know that’s what a producer is supposed to do, I do it all the time, you build people’s confidences up to the point where they can do something they couldn’t do the day before. Jeff did that with the guitar take on this, I wouldn’t have been able to get it by myself. It took us a good 80 takes to get there. But the pressure of finishing the song, it got to me. I keeled over briefly.”
Ronson’s Uptown upchuck happened in a restaurant, taking a mental break from trying to perfect the Funk, when he “threw up and fainted” in a bathroom.
The cheeky vomit is long forgotten since the rapid, upward trajectory of Uptown Funk.
Within days of release in November it had hit No. 1 in Australia (“Australia is always the trailblazer”), was rush-released in the UK after being covered on the X Factor and last week became not only Ronson’s first No. 1 in America, but the first time he’s ever been in the US Top 100.
It broke records in the UK when it was streamed 2.49 million times in a single week, is already double platinum in Australia and has already 1.75 million copies in the US.
“I’ve had success before but the way this record is is on such another level it’s hard to comprehend or put it in perspective,” Ronson says. “It’s a million times whatever happened to my other songs. I spoke to Bruno last night, this is his sixth (American) No. 1 or something, I asked him if it still has that insane feeling and he said ‘Man, you don’t understand, for what we do, this is the hardest thing you could possibly achieve, America is such a mammoth country’.
“(Daft Punk’s) Get Lucky didn’t go to No. 1 in America. Get Lucky was the biggest song in the world. You just can’t control it if there’s some other song in front of you. Obviously it’s not the testament of how good a record is if it gets to No. 1 but it’s really wild. It’s why you make the song.
“You always hear stories about people saying ‘Oh we wrote that song in three minutes, we hated it but the label made us put it out and it went to No. 1’ and Uptown Funk is the total opposite of that. I made a song with some dudes I love and respect and this is the song that’s gone and done it.”

Since Uptown Funk’s release, there’s been a near forensic attempt to figure out what influenced the song — with early ‘80s songs by the likes of Cameo, Prince and Prince’s mates The Time singled out, as well as The Gap Band, Earth Wind and Fire, Zapp, Sugarhill Gang and James Brown.
“It’s funny, everyone hears something different,” Ronson says. “We weren’t trying to ape any specific thing, there’s just a feel and an energy in it. All those groups, as a DJ I loved playing The Time and Jimmy Jam and Terry Lewis and Prince records and playing them in hip hop clubs. Those records might not have been straight up sampled in rap records but they’re very much the DNA of black electronic music. The Time and Roger Troutman and Zapp, we heard them a whole lot in our formative years. You can’t help hide those things that are your influence, but at the same time the goal is to do something new.”
Ronson’s a realist. Despite a CV that included producing Amy Winehouse’s Back To Black and work on early Lily Allen and Adele albums, he’d worried that his moment may had passed. Record Collection, the ‘80s influenced album he made as a reaction to his covers album Version, had only been a radio success in Australia. “Australia was easily the high point of the last tour,” Ronson admits.
“Coming to Future (Music Festival), having Bang Bang Bang, Somebody to Love Me and The Bike Song played on Triple J ... coming from England where shit was not really popping really saved our whole vibe of the whole tour.”
He’d produced the Bruno Mars album and collaborated with Paul McCartney on his album New.
However Ronson knew his fourth album, Uptown Special, was a test for his supportive US record label, rewarded for their patience, finally, with a No. 1 hit.
“I knew if I gave the head of my American record label another curiosity from across the pond he wouldn’t know what to do with it and I may as well just put it out myself on Mark Ronson Records online,” the producer says.
“I got excited working with Bruno and Jeff on the last record. I got an insight into writing those monster songs, Jeff had a big part in the Fun album and Bruno has this freak of nature thing for great hooks. So I thought ‘F--- it’. I feel like swinging for the fences a bit.”


He’s uncharacteristically chilled about how to follow up one of the biggest songs of recent years, an instant classic floor-filler for DJs like himself the world over.
“Uptown Funk is a monster of a song. I’m not going to lie and say there’s another song on the record that’s just as much of a smash. But that’s the thing, you have to open the door and then you can let people discover all the other things going on. I think this record has depth to it. There’s stuff that’s going to be great for young fans who’ve come to it for Bruno to hear Kevin (Parker from Tame Impala) or Stevie Wonder.”
That Future Music Festival tour in 2011 gave Ronson a few weeks to bond with Parker, whose band he’d loved from their first EP.
“When Kevin would come to London and play with Tame Impala we’d get together and talk about doing a side project or something. He’s one of the most talented dudes out there, hands down.
“I knew whatever way he wanted to be involved in a record would be great. When we were working in Memphis I emailed him and asked him to come down, he came and helped finish write Summer Breaking and Leaving Los Filaz. He had this incredible funk riff he was always playing me and asking if I wanted it for the album, which obviously I did, and that is what became Daffodils.”


Uptown Special is strange beast of a record, with rapper Mystikal on the James Brown-esque Feel Right (tipped to be the next single, after a heavy language edit) to Ronson reuniting with Miike Snow’s Andrew Wyatt on Cracks In the Pearl and three tracks sung by Parker.
The lyrics for the tracks (bar Uptown Special) were written by author Michael Chabon, while one singer, Keytone Starr, was discovered by visiting churches across America.
“On one level this album has heavy grooves like Uptown Funk and Feel Right, and on another level this record musically has some of the most left field and interesting things I’ve done. The thing was to push the songwriting. Even though Kevin from Tame Impala and Bruno are not on the same song, when I talk to those guys individually we’re all obsessed with the sound of drums. That’s the thread that always runs through my records, or one of them. Uptown Funk and Daffodils aren’t so different, it’s all music.”
For Ronson though, who has worked with some of the biggest names in music, there was one holy grail — Stevie Wonder, whose harmonica work bookends Uptown Special.
“I never go into a record with a checklist of people to work on it,’’ Ronson says. “But I wrote a song and it had this melody and I got fixated and I kept hearing Stevie Wonder’s harmonica on it. It was a fantasy pipedream but all I could do was ask.


“So I sent a letter to his manager with the track. I’m not that known in America but I get the feeling Stevie is a music fans so maybe he’d heard something I’d done. Four months later I got this email with the title ‘Stevie harmonica recording’.
“I couldn’t listen to it for about an hour because it was so overwhelming, the thought of hearing it and having it and having my favourite musician and songwriter and harmonica player and singer on my song.
“The fact he took the time out of his life to play this song for me. It’s really beautiful. I listened to it and it’s the most musically important thing that’s ever happened to me. It’s certainly the most humbling and flooring.”
Ronson isn’t sure how he could tour Uptown Special, but has upcoming production work for Action Bronson and co-scored the new Johnny Depp movie Mortdecai.
He has also returned to work with his favourite band of his youth, Duran Duran, after steering their return to form All You Need is Now four years ago.
Duran are working with Nile Rodgers for the first time since The Reflex, The Wild Boys and Notorious.
“The stuff we did with Nile was really exciting,” Ronson says. “One of the songs we worked on definitely has a Notorious vibe.”
http://www.news.com.au/entertainment/mu ... 7184495164