In which Mark Ronson inexplicably makes it onto the sidebar…
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Nina Lea Oishi: In middle school I pretty much only listened to James Brown Live at the Apollo (I was a weird kid). That was the beginning of my deep sonic love affair with the Minister of the New New Super Heavy Funk, so boy did this get me excited. For all the talk about “Uptown Funk” being James Brown-esque, it doesn’t even come close to what “Feel Right” aspires to be, and it’s all because of Mystikal. Ronson and Mystikal don’t even pretend that they’re not trying to resurrect Soul Brother Number One — Mystikal calls himself “the Godfather,” later yells “I’m back” in a near-exact imitation of “Get Up Offa that Thing.” Ronson does his part in pulling back so that you can notice, if you didn’t already, Mystikal sounds just like James Brown. He’s got that James Brown rasp, that suave aggression, that confidence that Bruno Mars can only attempt to project. It comes off as a weird combination: a desire to usurp the throne, hidden behind a sheen of reverence. However, the uncanny vocal resemblance only goes so far, and the blatant embrace of imitation over all else brings the track down. That Ronson’s production feels a little lifeless and boring doesn’t help much either, especially when you consider that he’s trying to ape the funkadelic energy of Brown’s live backing band(s). If you’re going to replicate, not just pay tribute to, the Hardest Working Man in Show Business, it has to be great.
[6]
Thomas Inskeep: The best James Brown rip I’ve heard this side of Prince’s “Sexy MF,” and possibly even better, because Mystikal actually sounds pretty much just like JB, which I’m not sure how I never noticed before. Oh, actually, I do know how: because he’s never had a backing as musically sympathetic as the one Ronson provides. Remember, that’s what he does at his best: Winehouse, Mars, et al.
[9]
Alfred Soto: “Uptown Funk” was “Living in America” James Brown, this is “Mother Popcorn” Brown in its slinky riffs and horn chart. With Mystikal yabba dabba dooing in his declamatory manner, this turns into a strange idea of a party, like Cookie Monster leading a parade.
[7]
Patrick St. Michel: Mark Ronson has proved over and over he’s a master of replication. Now he’s found a fine way to spike it. Mystikal cast in the James Brown lead is a fit, but even better is how his brand of fiery works. Dude’s slapping kittens by the third line, and practically honking only a few lines later. It’s a hypnotic listen, and a nice change from the trailer-ready sound of Bruno Mars on “Uptown Funk.”
[7]
Will Adams: “Uptown Funk” was about as saturated as modern pop production could get on its own, so its saturation on the airwaves has made it doubly obvious as a hit. “Feel Right” is a subtler affair, reeling you in with the juxtaposition of Mystikal’s rasps with Ronson’s whipped butter funk until you’re joining the response of “Riiiight?” by the last chorus.
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Crystal Leww: I can appreciate what Mark Ronson is doing, letting really talented and compelling vocalists over his retro-productions. Mystikal is toned done and palatable for a wider audience on “Feel Right,” but wanting to feel good shouldn’t necessarily make you boring. Thankfully, he’s not; Mystikal flips and turns and growls and shouts. This won’t get as big as “Uptown Funk,” not anywhere near it, but I’m still cheered by the idea of this playing at a couple of backyard barbeques this summer.
[6]
Jonathan Bogart: So it turns out that “Hit Me” was more of an audition than the true comeback some of us took it for. The only thing Ronson adds is money: Mystikal is still one of the most ingenious and polyrhythmic rappers of all time, and he can prove that over any bed of funk, even a diamond-encrusted one like this. (He’s also a rapist and abuser. Luckily I’m not scoring his soul.)
[8]
Micha Cavaseno: I like to be proven wrong. Mystikal — a man who’s arguably the greatest MC ever to be signed to No Limit, yet with a record reasonably tainted by his mistakes — has been in creative limbo for an unforgivable amount of time. THANKS A LOT, BIRDMAN. We’ve heard the occasional glimpses on wax and in brief freestyle performances, in which his Tasmanian Devil strings of boasts and references sound like you’re being attacked by a very threatening television set that will channel surf until its heart beats no more. He’s even given us another (slightly better) James Brown song on his own, so I’m not too over-excited by this effort. The real pat on the back should go to Ronson for having the guts to ride with this as a single. Yes, Michael Tyler should spend every day recognizing that his crimes have been an unforgivable mistake, yet he is an exceptional talent and should at least be allowed to harness and demonstrate that. Really, it’s your choice to listen or not.
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Katherine St Asaph: Exactly what you expect from the billing Mark Ronson ft. Mystikal: sanitized funk, questionable in concept and personnel, somehow gratifying anyway.
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