"Honesty, heartbreak, love, desire, elation: These concepts are in a lot of music that I love, but there has never been anything I've tried on my own records," says DJ Row super producer Mark Ronson Apple Music about the origin of his upcoming fifth album. "When I dip into other people's worlds – whether it's Queens of the Stone Age or Gaga, anyone – that's when I'm going to work on deep s ** t, but my own records should only be either a mail collector or a dance floor. "But on a roster of rallet Ronson a typical star-studded collection, including Miley Cyrus, Lucky Li and Alicia Keys, for sessions in New York and Los Angeles as plumbed personal themes previous albums would have danced right past." That was the first time I actually could not hide me behind a concept, "he says." It was like, "No, no, you have to get into the music this time." "Look at the stories behind each track, then add the album to your library like that that you can hear everything when it is released on June 21
"Late Night Prelude"
"Just for my own health, when I start a plate, it must be a bit of a statement – something a little grand and shudder the rest of the record. David Campbell, the string organizer, came up with this beautiful, slightly Barry White Love Unlimited Orchestra-inspired event – a bit slowed and psychedelic. Then it goes straight into … "
" Late Night Feelings "(feat. Lykke Li)
" This was the first song we came up with that really felt as if it pointed the way to the post. I started working with this author called Ilsey Juber, which I met through Diplo. She came up with the first verse, this melodic idea. Then, when we thought who was going to sing this, she was like: "Well, Happiness would be perfect." She just slammed Happiness album So Sad So Sexy . In fact, happiness came up with that poem; I loved it for the album's name because, instead of calling it Club Heartbreak or some of the other things we throw around, it can be something that really keeps you up at night. It can be heartache, it can be bright, it can be love, it can be Brexit, it can be anything. "
" Find You Again "(feat Camila Cabello)
" Two years ago, when I worked with Kevin Parker and we did some DJ dates, we talked around with some ideas and he had this melodic the idea and these chords. When we really couldn't finish our stuff because he went back to Perth and started the Tame Impala record, I asked him, "Can I finish that song and use it for my record?" It is such a good idea that I will not waste it until I really have the perfect person whose voice is just going to cut through and it will be the right person to write the text Camila Cabello. She's such a big pop star, I just think sometimes like: "Oh, the people won't come with me." Then I sent her the track and she loved it. She came in and she wrote it. I was just really in awe of how serious she is taking things, each taking. Many pop music, people sing the choir once, and they only fly it over three times. "
" "Pieces of Us"
"King Princess, she's on [Ronson’s label Zelig] and she does pretty much everything. I jump in and give my two cents every now and then, but she is super independent. She has such special things as she does: music that is a bit of a mood, dreamy, ethereal, not always super aggressive with drums and pace. I wanted to preserve it; It's probably the longest I've ever expected to bring in the drum and bass event on a song. She continued to bring me songs because she is very clever and clever, she can write a good song in about seven minutes. I had to continue to be like an annoying dad: "It's not good enough, go back, take something else with me." Everything on this plate needed to drag on the heart strings just a little, you know? "
" Knock Knock Knock "/" Don't Let Me Be Lonely "/" When You Went Away "
" These are all YEBBA tunes. In the next two years when everyone discovers their things, it gets crazy. I loved the idea of giving YEBBA its own suite on the album: "Don't let me be lonely," which is perhaps the emotional core of the album, melted between these two interludes. And that tells a story: Knock Knock Knock & # 39; is the hookup song, a little flirtatious. So, don't let me be lonely is not this. Don't let me be lonely tonight. Because I can't forget you, it's almost like a Whitney / Tina Turner vibe. And then, the third part, "When you walked away," is pretty unfortunate, but I want to-be-quite-right. It's the whole relationship process: the hookup, the loneliness, and the healing in this three-song competition. "
" Truth "
" Dodgrs part was this very good rap, but it was unconventional where it fell on the beat. Sometimes my super pop brain was like: Well, I don't know. Do we need more things? What is the verse? & # 39; Diana Gordon just came in and she was like: & # 39; You're crazy. This sounds like a fake motion. Don't worry about what it is, it just feels good. & # 39; She came up with the tune for a part of the choir, which was great. And then Alicia Keys helped us finish it. "
" Nothing breaks like a heart "(feat. Miley Cyrus)
" Miley was someone I wanted to work with for all ages. And maybe four years I had sent ideas. Sometimes I would hear back, sometimes not. Ilsey had this little seed of this idea. I was like, "The perfect person for this would really be Miley. I mean, she writes about me 50 percent of the time, let's just try a Hail Mary." Miley came in and wrote the rest of the song. 19659004] "True Blue" (feat Angel Olsen)
"Angel Olsen: Her last album, I probably played it to death. I actually heard it through the wall of this Pilates class that I went to and I had to go next door Angel sent me this little voicemail, this melody, it was amazing, she sang in a body I believe in her house, and it sounded like there could be a little aria or some mermaid in the 30's. I just remember thinking, "Goddamn, if she lets me put a drumming behind this, this will be like ABBA on quaaludes or something." So she entered the studio and the first day I think she probably looked at me who, & # 39; who is this guy, this pop friend, some pretender? & # 39; as ABBA produced by Nick Lowe on quaaludes. "
" Why Hide "
" This was the last thing we got on the record. Diana Gordon has been part of this whole creative process and is this kind of lovely person. Her voice has just received this amazing, ethereal, intoxicating thing – so broken and powerful at the same time. It's kind of Aaliyah, Massive Attack, a kind of thing in between the two, kind of downtempo. "
" 2 AM "
" This is a kind of counterpart to "Late Night Feelings", another song of Happiness that we wrote when we were in [Rick Rubin’s Los Angeles studio] Shangri-La. "I'm not your lover, but we love you / why are you just calling me at 2am? I usually don't put ballads on my records – I'm a DJ who wants to hear a king ballad? But I want to hear ballads on records. I will never hear if it is oppressive fun from start to finish. It was good and felt like it belonged. "
" Spinning "
" There are probably many upbeat songs and things you can dance to, but heartache is really the prevailing theme, and I just thought it would be nice to have something that felt a little bit like the light at the end of the tunnel. Happiness sings at it – the end – and she brings back refraining from the opening song. YEBBA heard it, and she was quite moved, and she was like: & # 39; Let me sing something about this, & # 39; so she makes these beautiful choir harmonies as she did for the Chance Rapper. It is very nice that this last record goes out with Ilsey, Lykke and YEBBA on it, because they are such a large part of the record. "