I'm not sure but I think this song was played between commercial breaks on Dave Letterman last night (Wednesday). This song is getting around pretty fast!

SeventeenDayze said:

I'm not sure but I think this song was played between commercial breaks on Dave Letterman last night (Wednesday). This song is getting around pretty fast!

Really? That's awesome!


So who's gonna be watching SNL this Saturday?

phunkdaddy said:

vainandy said:

Simply decent. It's too stripped down. It needs some drums or something to give it some punch.

Okay. Enjoy your Pluto Mars.

That's alright honey. I've mixing this jam to perfection with some other stuff and it flows perfectly. Finally, a new jam by someone that doesn't flow with some Lawrence Welk records.

,

,

,

[Edited 11/22/14 6:50am]

Btw, Bruno played the drums on the song.

vainandy said:

vainandy said:

TONIGHT'S THE NIGHT!!!!

SNL LIVE STREAMS

• http://ufreetv.com/nbc.html
• http://www.stream2watch.m...ive-stream
• http://livetvcafe.net/vid...MHGS9U/NBC
• 
  
  
  
  
  Broadcast Times:
  
  

• Europe

UK: 4:30 AM
France/Germany/Poland: 5:30 AM
Ukraine/Greece/Turkey: 6:30 AM

• North America

PDT: 8:30 PM
MDT: 9:30 PM
CDT: 10:30 PM
EST: 11:30 PM

[Edited 11/22/14 18:34pm]

NaughtyKitty said:

[Edited 11/22/14 18:34pm]

So I bet you are on pins and needles waiting for SNL to come on tonight Enjoy the show!

SeventeenDayze said:

NaughtyKitty said:

[Edited 11/22/14 18:34pm]

So I bet you are on pins and needles waiting for SNL to come on tonight Enjoy the show!

Nah! I'm totally calm and nonchalant about it actually....

*pours another cup of coffee to calm nerves*

NaughtyKitty said:

SeventeenDayze said:

So I bet you are on pins and needles waiting for SNL to come on tonight Enjoy the show!

Nah! I'm totally calm and nonchalant about it actually....

*pours another cup of coffee to calm nerves*

I'm looking forward to the performances but I really don't want to suffer through all of those skits though. It was torture enough doing that earlier this month when Prince was on

HOTT HOTT performance on SNL!

See video here: http://www.gossipcop.com/...ance-2014/

Bruno Mars, Mark Ronson And Mystikal Performing “Feel Right” on SNL

http://vimeo.com/112607637

paisleypark4 said:

vainandy said:

That's alright honey. I've mixing this jam to perfection with some other stuff and it flows perfectly. Finally, a new jam by someone that doesn't flow with some Lawrence Welk records.

,

,

,

[Edited 11/22/14 6:50am]

Ive gotta hear what you did wirth it

Hey sexy, check my page. It's still in progress but I've done mixed in Roger and Zapp, Midnight Star, Nuance, etc. making my own remix of it. It's not the Bruno Mars song in the middle of a mix, it's snips of all those old jams mixed within his new song and I'm only halfway through the song. It's turning out to be more of a megamix than just a regular mix. I'm tellin' ya, when there's a new song that actually jams, it inspires my ass to get off. We need more jams like this because it's long overdue.

vainandy said:

paisleypark4 said:

vainandy said: Ive gotta hear what you did wirth it

Hey sexy, check my page. It's still in progress but I've done mixed in Roger and Zapp, Midnight Star, Nuance, etc. making my own remix of it. It's not the Bruno Mars song in the middle of a mix, it's snips of all those old jams mixed within his new song and I'm only halfway through the song. It's turning out to be more of a megamix than just a regular mix. I'm tellin' ya, when there's a new song that actually jams, it inspires my ass to get off. We need more jams like this because it's long overdue.

Wow that sounds GREAT Vainandy! Will we get a chance to hear it when it's finished?

NaughtyKitty said:

See I could have just skipped all those skits altogether and just waited for you to post these videos

vainandy said:

phunkdaddy said:

vainandy said:

Hey sexy, check my page. It's still in progress but I've done mixed in Roger and Zapp, Midnight Star, Nuance, etc. making my own remix of it. It's not the Bruno Mars song in the middle of a mix, it's snips of all those old jams mixed within his new song and I'm only halfway through the song. It's turning out to be more of a megamix than just a regular mix. I'm tellin' ya, when there's a new song that actually jams, it inspires my ass to get off. We need more jams like this because it's long overdue.

Dude you wild as hell. I was trying to listen to your podcast but I couldn't get it to play. I was trying to listen to Head the Black Dick Mix. I said only Vainandy.

.

HAHAHAAA!!

SeventeenDayze said:

NaughtyKitty said:

See I could have just skipped all those skits altogether and just waited for you to post these videos

I wanted 2like these joints......but I don't get it.

Bored 2 tears.

From Sugarhill Gang to Trinidad James, a Look at the Influences of Mark Ronson & Bruno Mars' 'Uptown Funk'

By Sean Ross | November 24, 2014 10:01 AM EST

Part of the excitement of Mark Ronson's “Uptown Funk,” the just-released kickoff single from the DJ/producer’s Uptown Specialis catching the allusions to one early ’80s funk/R&B classic after another. Even on Ronson’s own Facebook page fans cite “Cameo horns, the Time [keyboards], and ‘Party Train’ [by the Gap Band] drums.”

There’s an irony here. Because “Uptown Funk” is effectively a new Bruno Mars single as well, it received instant airplay at top 40 radio, including the “world premiere” treatment from some iHeart Media stations. By comparison, many of the early ‘80s classics referenced 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 for three years, beginning in fall 1979.

A few R&B artists, most typically those with an established track record at top 40, still managed hits during those years, including Diana Ross, the Pointer Sisters, and Michael Jackson. So did acts who fit in with the soft pop that dominated top 40 at the time — Al Jarreau and James Ingram’s duets with Quincy Jones.

But many other developments in R&B music — the beginnings of rap, the return of disco to its R&B roots, the emergence of a second generation of funk artists, many of them influenced by new wave — happened mostly off of Top 40’s radar. Rick James' “Super Freak,” a song that plays on Adult Contemporary stations today, reached No. 19 on the Hot 100 largely on the strength of sales. On charts that measured pop airplay only, it was mired in the 30s. The crowning of Prince as one of the decade’s breakthrough artists in the music press was spurred by two albums (Dirty Mind and Controversy) that got no pop radio support. Even “1999” was resisted by top 40 radio and had to be reissued after Prince’s breakthrough with the more overtly rock-flavored “Little Red Corvette.”

The resistance to R&B crossovers finally broke down in 1982-83 as the result of a handful of records. Some were rock-flavored (Ray Parker Jr.'s “The Other Woman,” Prince's “Corvette,” Michael Jackson's “Beat It”). Some were just undeniable (Marvin Gaye's “Sexual Healing,” Jackson’s “Billie Jean”). Still, some of black music’s most exciting acts of the era were years into their hitmaking streaks before managing a crossover. Often, the biggest top 40 chart hit would turn out to be a less-enduring late career record. 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.”

"Uptown Funk" isn’t the only recent example of a pop hit referencing an ignored R&B hit from this era. Disclosure's “Latch” recalls the shuffle of “Searching” by Change, the Chic-like Italian dance act fronted here by a then-unknown Luther Vandross. “Latch” broke at pop radio by riding the coattails of EDM, then engineered a reverse crossover to R&B/Hip-Hop and Adult R&B. “Searching” reached No. 23 at R&B in 1980, but never managed any pop airplay.

————————————

Here’s a tour of the uptown funk of the early ‘80s with songs that listeners have heard alluded to in Ronson and Mars’ hit — some fleetingly, some more obviously.

Zapp, "More Bounce To The Ounce" (1980) – In fall 1980, a lot was made of Tom Browne’s No. 1 R&B hit “Funkin’ For Jamaica (N.Y.)” failing to hit the Hot 100 at all. But “More Bounce to the Ounce” was nearly as scarce on pop radio, reaching No. 2 R&B and only No. 86 pop. Even after R&B was again welcome at top 40, Zapp somehow couldn’t shed the “too funky for pop” tag. Another classic, “Computer Love,” failed to chart pop altogether. Leader Roger Troutman had to wait until 1987 for a pop hit with the ballad “I Want To Be Your Man.” The exception was San Francisco where Troutman’s 1982 version of “I Heard It through the Grapevine” became a hit on top 40 KFRC. It’s no accident that Troutman received California love long before 2pac's “California Love” was built around his samples.

One Way, “Cutie Pie” (1982) – Evolving from Detroit’s Al Hudson & the Soul Partners, One Way charted nearly 30 R&B singles, but landed at pop only once when “Cutie Pie” peaked at No. 62, again with the help of KFRC. It’s too bad. In a genre filled with versatile ensembles, One Way was one of R&B’s most versatile outlets, managing, among other things, a James Brown homage, “Mr. Groove,” at a time when Brown was most absent from the R&B spotlight. Original lead singer Alicia Myers had her own stealth classic, “I Want To Thank You,” whose enduring appeal belies its own No. 37 R&B peak.

Gap Band, "I Don’t Believe You Wa...our Head)" (1980) – The Gap Band were former protégés of Leon Russell and veterans of several labels when they reeled off a string of funk hits, beginning in 1979. It would take three years before top 40 grudgingly acknowledged them with “Early In The Morning” (which others hear referenced in “Uptown Funk” as well) and the funk/rock “You Dropped A Bomb On Me.” This 1980 hit got its subtitle (which most people think is its name) from a Pittsburgh audience’s ad-libbed chant.

Earth, Wind & Fire, "Getaway" (1976) – EW&F were on an eighteen month hot streak that included “Shining Star,” “That’s The Way of the World,” “Sing A Song” and the live versions of “Reasons” and “Devotion.” “Getaway” went to No. 12 pop, but has long disappeared from the Oldies/Classic Hits format. That’s too bad because this song, an unlikely tribute to transcendental meditation, contains especially propulsive drumming and the sort of reverberating horn riff that powers “Uptown Funk.” Even on the heels of the pop-flavored ballad “After The Love Is Gone,” EW&F would face resistance when they came out with another album in fall 1980, during the worst of the disco backlash. They would manage one more pop hit a year later with “Let’s Groove.”

Sequence, “Funk You Up” (1979) – In the last few days of 1979, it was still possible to name every rap record that had been released on the heels of the phenomenal success of the Sugarhill Gang's “Rapper’s Delight.” Sugarhill, the label, waded back in with one of the first female raps (and the acknowledged first by a group) and its promise to “funk you right on up.” With “Rapper’s Delight” able to get no further than No. 36 pop, this got nowhere near pop radio. The group’s Angie Stone resurfaced in the ‘90s as the lead singer of Vertical Hold, and then with her own neo-soul hits.

Sugarhill Gang, "Apache" (1982) – The Incredible Bongo Band's version of Jorgen Ingmann’s 1961 instrumental hit is one of hip-hop’s break-beat backbones. The version that gave the Sugarhill Gang their last top 15 R&B hit often isn’t even mentioned in the same breath, typical of the grudging respect that the group often commands. Within a few months, other rap hits like “The Message” and “Planet Rock” would make the Sugarhill Gang sound quaint. But the song remained a wedding/party staple for years, as did Sir Mix-A-Lot’s derivation, “Jump On It.” And thanks to the current boom in old-schoo...p stations, I’d actually already heard “Apache” on the radio on the day that “Big Bank” Hank Jackson died, earlier this month.

George Kranz, "Trommeltanz (Din Daa Daa)" (1983) – Before MTV helped break down the resistance to new wave, especially the quirkier version, it was often easier to find on R&B radio than at pop. Even after top 40 opened up to “Puttin’ On The Ritz,” “The Safety Dance” and other such goofiness, it was R&B only that found a place for this German import, at least until it was sampled in M/A/R/R/S' “Pump Up The Volume.” (“Trommeltanz” was particularly a hit in Detroit, always a hotbed of new wave/R&B cross-pollination.) Some of that probably had to do with being on an indie label, a barrier that was still a few years away from falling.

The Time, "Cool" (1981): – “Uptown Funk” recalls different Time songs to different people. It might be because Morris Day's call-and-response with the band became one of their signatures. It might also be because more people heard “Jungle Love,” after the band’s appearance in “Purple Rain” and the success of all things Prince related finally pushed them on to pop radio. Ironically, the band’s biggest chart hit, only R&B No. 1, and only gold single is the now forgotten 1990 reunion song, “Jerk-Out.”

Trinidad James, "All Gold Everything" (2012) – The only credited song on “Uptown Funk,” this top 10 R&B and rap hit gives “Uptown” its “if you don’t believe me, just watch” chant, and offers an irony of its own. Despite a boom in R&B crossovers at the beginning of the year, it’s as hard for a new Hip-Hop or R&B hit to make it to top 40 as it was 33 years ago. Heritage acts (Jay Z, Eminem) and retro-sounding hits (“Happy,” “All Of Me”) have the advantage. Even Jeremih's “Don't Tell 'Em,” the most contemporary sounding recent crossover, depended on an artist with two other previous pop hits (and a reference to Snap's dance-pop hit, “Rhythm Is A Dancer”).

http://www.billboard.com/...ce=twitter

Shawy89 said:

Straight min funk/Prince/The Time/Rick James kinda shit

You listened to this weak fabricated marketinging ploy bullshit and it reminded you of RICK JAMES?

SLICK RICK??

You canoot possibly be serious (or you are just a kid.)

Which tracks - SPECIFICALLY - in Rick's catalog did it remind you of? Standing on the Top? 17? Mary Jane? Mama's Eyes? Ghetto Life? Sweet and Sexy Thing? Maybe I am looking in the wrong part of Rick's catalog. Maybe I should slide over into the Mary Jane Girls part of it. Maybe this song reminded you of All Night Long, Boys, Candyman or Wlid and Crazy Love?

The problem with Bruno Mars is he/she/it/they whatever DOES NOT HAVE THE FUNK. This ENTIRE GENERATION <35 today does not have the funk. No matter how much some of these terminally unhip and unfunky acts might wish it were so, funk in FORM is not, was not, will not cannot ever be funk in CONTENT. As they say down in Texas, all hat and no cattle.

Furthermore Prince and the Time sound VERY LITTLE alike. And niether one sonds ANYTHING AT ALL like Rick James. Is it because they are all black acts that they somehow must be forced to occupy the same musical space? Because that's the only conclusion I can draw from your post.

Tacky.

[Edited 12/3/14 20:21pm]

"Music don't begin like no song. Forget all that bullshit you hear. Music can get to BE a song, but it starts with a CRY. That's all. The cry of a newborn baby or the sound of a hog being slaughtered, or a man when they put a knife to his balls. And that sound is EVERYWHERE. People spend their ENTIRE LIVES trying to drown out that sound."

James Baldwin

hardwork said:

Shawy89 said:

Straight min funk/Prince/The Time/Rick James kinda shit

You listened to this weak fabricated marketinging ploy bullshit and it reminded you of RICK JAMES?

SLICK RICK??

You canoot possibly be serious (or you are just a kid.)

Which tracks - SPECIFICALLY - in Rick's catalog did it remind you of? Standing on the Top? 17? Mary Jane? Mama's Eyes? Ghetto Life? Sweet and Sexy Thing? Maybe I am looking in the wrong part of Rick's catalog. Maybe I should slide over into the Mary Jane Girls part of it. Maybe this song reminded you of All Night Long, Boys, Candyman or Wlid and Crazy Love?

The problem with Bruno Mars is he/she/it/they whatever DOES NOT HAVE THE FUNK. This ENTIRE GENERATION <35 today does not have the funk. No matter how much some of these terminally unhip and unfunky acts might wish it were so, funk in FORM is not, was not, will not cannot ever be funk in CONTENT. As they say down in Texas, all hat and no cattle.

Furthermore Prince and the Time sound VERY LITTLE alike. And niether one sonds ANYTHING AT ALL like Rick James. Is it because they are all black acts that they somehow must be forced to occupy the same musical space? Because that's the only conclusion I can draw from your post.

Tacky.

[Edited 12/3/14 20:21pm]

Uhm, what? Your rant is pretty funny and I don't think this song has the appeal of classic funk stuff either. It sounds like something people who haven't done too many funk cuts before would do. It's mostly a production number.

... but sure you should be aware that The Time's songs were all pretty much written by Prince? He played almost every instrument on the records and even sings on them. They're not stylistically that different from the material on Controversy or 1999 either, not to mention many of the non-album tracks from that period. For that matter, there are some big differences between Prince and Rick James, but surely, if you had to find something to compare their early-80s material to, you could still easily compare Prince's stuff with Rick's and Rick's with Prince's. They were lifting stuff from each other for years - stage mannerisms, songwriting ideas, lyrics, grooves... Rick even stole Prince's synths after the tour they did together, so that he could copy the presets Prince had on them!

So, of course there are plenty of similarities between the three names mentioned. It's not absurd to suggest so at all.

[Edited 12/4/14 0:19am]

hardwork said:

Shawy89 said:

Straight min funk/Prince/The Time/Rick James kinda shit

You listened to this weak fabricated marketinging ploy bullshit and it reminded you of RICK JAMES?

SLICK RICK??

You canoot possibly be serious (or you are just a kid.)

Which tracks - SPECIFICALLY - in Rick's catalog did it remind you of? Standing on the Top? 17? Mary Jane? Mama's Eyes? Ghetto Life? Sweet and Sexy Thing? Maybe I am looking in the wrong part of Rick's catalog. Maybe I should slide over into the Mary Jane Girls part of it. Maybe this song reminded you of All Night Long, Boys, Candyman or Wlid and Crazy Love?

The problem with Bruno Mars is he/she/it/they whatever DOES NOT HAVE THE FUNK. This ENTIRE GENERATION <35 today does not have the funk. No matter how much some of these terminally unhip and unfunky acts might wish it were so, funk in FORM is not, was not, will not cannot ever be funk in CONTENT. As they say down in Texas, all hat and no cattle.

Furthermore Prince and the Time sound VERY LITTLE alike. And niether one sonds ANYTHING AT ALL like Rick James. Is it because they are all black acts that they somehow must be forced to occupy the same musical space? Because that's the only conclusion I can draw from your post.

Tacky.

[Edited 12/3/14 20:21pm]

.

The musicians are tight. Bruno has a good voice and energy.

To me, it's the bland lyrics that could be better. If the lyrics were killer, I think this would be this would be pretty wicked.

.

So, as it stands, it's good for 2014. If this was coming out in a diff era though, it'd need a lil more substance.

In late news, I've decided that I rather like this song. Quite a lot, in fact.

An X-Factor contestant whose man-crushing thighs fortunes I've been following performed it the other night and it made me re-listen to the original.

Uptown Funk will be No.1 in UK chart this Sunday

...which is kind of strange for what appears to be a through the years collage of funk licks

The music industry - knows a shitload about how to sell records, and zilch about what makes it touch your soul.

I must be getting old

Love Uptown Funk and Bruno Mars!

novabrkr said:

hardwork said:

You listened to this weak fabricated marketinging ploy bullshit and it reminded you of RICK JAMES?

SLICK RICK??

You canoot possibly be serious (or you are just a kid.)

Which tracks - SPECIFICALLY - in Rick's catalog did it remind you of? Standing on the Top? 17? Mary Jane? Mama's Eyes? Ghetto Life? Sweet and Sexy Thing? Maybe I am looking in the wrong part of Rick's catalog. Maybe I should slide over into the Mary Jane Girls part of it. Maybe this song reminded you of All Night Long, Boys, Candyman or Wlid and Crazy Love?

The problem with Bruno Mars is he/she/it/they whatever DOES NOT HAVE THE FUNK. This ENTIRE GENERATION <35 today does not have the funk. No matter how much some of these terminally unhip and unfunky acts might wish it were so, funk in FORM is not, was not, will not cannot ever be funk in CONTENT. As they say down in Texas, all hat and no cattle.

Furthermore Prince and the Time sound VERY LITTLE alike. And niether one sonds ANYTHING AT ALL like Rick James. Is it because they are all black acts that they somehow must be forced to occupy the same musical space? Because that's the only conclusion I can draw from your post.

Tacky.

[Edited 12/3/14 20:21pm]

Uhm, what? Your rant is pretty funny and I don't think this song has the appeal of classic funk stuff either. It sounds like something people who haven't done too many funk cuts before would do. It's mostly a production number.

... but sure you should be aware that The Time's songs were all pretty much written by Prince? He played almost every instrument on the records and even sings on them. They're not stylistically that different from the material on Controversy or 1999 either, not to mention many of the non-album tracks from that period. For that matter, there are some big differences between Prince and Rick James, but surely, if you had to find something to compare their early-80s material to, you could still easily compare Prince's stuff with Rick's and Rick's with Prince's. They were lifting stuff from each other for years - stage mannerisms, songwriting ideas, lyrics, grooves... Rick even stole Prince's synths after the tour they did together, so that he could copy the presets Prince had on them!

So, of course there are plenty of similarities between the three names mentioned. It's not absurd to suggest so at all.

[Edited 12/4/14 0:19am]

Sorry, but anyone that is hardcore into Prince should know that the Time was an entirely different side of Prince's musical vision, one he deliberately shut away and distanced himself from publicly (to a point, anyway.) The Time was invented SPECIFICALLY by Prince becuase they DIDN'T sound or look LIKE Prince. Prince was absolutely positively determined NOT to be pigeonhold as an R&B act relegated to the black music department. He did every single thing and then some in his power to be sure that that did not happen. Having said that, that did not in any way mean Prince did not both HEAR and LOVE traditional R&B music presented in a traditional polished R&B showman type of way. The Time was his outlet for that particular side of his creativity. To compare the Time records sonically to ANYTHING on 1999 is absurd. The Time wasn't doing ANYTHING remotely close to "Automatic" "Something In the Water Doesn't Compute" "All the Ciritics Love You In New York" or "Lady Cab Driver" That is CLASSIC PRINCE in FULL EFFECT. It was new wave, it was spiritual, it was political punk, it was funk, it was apocalyptic, it was messianic it was just fucking PURPLE GENIUS which defied categorization. Most of all it was something NEW. The Time certainly DID NOT defy categorization in any way and they were doing something OLD. The Time was doing straight ahead party-time R&B of the type which had found both regional and national success in America in different incarnations since the late 1940s. It was at times done VERY WELL by the Time- and of course the band was full of bad motherfuckers who could play their asses off - but nobody would call the Time GENIUS - at any rate certainly not when Prince is lurking in the background. Prince was walking around shirtless in trenchcoats and women's panties and women's heels singing songs about fucking his sister- his own particular take on punk rock style and attitude. There wasn't SHIT punk rock about the Time.

The horns are totally a Stone Cty Band line - I tihnk Give it to me Baby slowed down a bit.