But I was doing all the tracks, and then we'd work out the horn arrangements together. I had started to work with him a little bit because I was making these demos of cover versions I did for my second album, Version. I had started to use Dave Guy, the trumpet player, an incredible musician. On getting the retro-soul band The Dap-Kings to play on Winehouse's album At that point, I was meeting with anybody who might want to work on music, because you never know where chemistry is going to come, or your break, or whatever it is. To be honest, it wasn't like I was some big shot. this incredible voice, so I said, "Yeah, I'll meet her." this young Jewish girl from North London - and I'm the same thing, from a Jewish family in North London. Her first record had come out, and I just remember really liking this one song off it called "In My Bed" and being a little bit enamored. Mark Ronson, talking about creating 'Uptown Funk' "We went out for lunch and I sort of - I guess the pressure of this song and the guitar part - I fainted in the restaurant." Maybe it was just psychological, getting out of home, whatever it was. And, luckily, I went to Toronto two days later, because that's where Bruno happened to be on tour. And let's just say I redecorated the walls in the bathroom of this nice restaurant and had to be carried out. And while we were doing the guitars, I had done 50, 60 takes of it, and I couldn't get a part that I liked.Īnd we went out for lunch, and I sort of - I guess the pressure of this song and the guitar part - I fainted in the restaurant. Bruno had done this great vocal, Jeff had all these great synth parts. One of the last things to happen was to get my guitar part, and I guess just the pressure of knowing that I still had to come up with something, to basically my end of the deal.
On how stressful it was to come up with his guitar part for the song You've got to make sure you've got all that ear candy in it to get it through the gate. Also, when you're doing something that doesn't sound like anything else on the radio at the time, you almost need to like, iron-clad it, to make sure it gets through. certainly anyone I've ever worked with, if not this current generation of pop artists. And then, yeah, like, along the way you fine-tune it because you're thinking, "We need to turn this into a song."īruno, I think, is probably one of the greatest hook writers of. He was playing drums and Jeff Bhasker, who co-produced the record - that's who's on synths - and I was playing bass, and I think that that spirit, or at least the raucousness, of maybe that is in there. I think that where it came from and the initial birth of it - it did come out of a jam at Bruno's studio.
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