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Mark Ronson - Topic YouTube Channel Statistics
Mark Ronson didn’t mean to make a debut album that reinvented party-friendly hip hop. Nor a follow-up that became one of the defining albums of the second half of the Noughties. He never anticipated that three of the up and coming British singers he produced and wrote with in his scruffy New York studio – Lily Allen, Amy Winehouse and Adele – would become three of the biggest stars in the world. The Brit and three Grammys piled into his little fireplace in his apartment? Still can’t believe those either.
And for sure Ronson didn’t set out to make a third album that featured a kaleidoscope of talents, from Spank Rock to The Drums’ Jonathan Pierce to The View’s Kyle Falconer to Q Tip, Ghostface Killah, a Kaiser Chief, an ex-Pipette, Dave McCabe from The Zutons, Boy George and Simon Le Bon, the touring keyboard player from Yeah Yeah Yeahs and some funky cats from Brooklyn – a collective of talents yoked together by Ronson’s vivid, sparkling songwriting and production talents.
But that’s what he did with 2003’s Here Comes The Fuzz, then 2007’s Version, and now 2010's Record Collection: a 12 song album that will stand as the most exciting, entertaining hip pop album of the year.
It all happened by accident, and by enthusiasm. Back at the start of the millennium Mark Ronson was a London-born, New York-based writer, producer, DJ and hip hop head. Playing out in NYC clubs he became friends with Mos Def, MOP and Ghostface Killah. With their help he created Here Comes The Fuzz. Then small label BBE asked him if he was interested in contributing to a Radiohead covers album.
‘I was almost like a kid in the classroom when you throw your hand up before you know the answer – me! I’ll do that!’
Such was Ronson’s enthusiasm for Radiohead that he quickly roped in his friends Alex Greenwald, vocalist with California’s Phantom Planet, and Dave Guy, trumpet player from Brooklyn’s The Dap-Kings. They recorded a jump-up jazz version of The Bends’ track Just.
‘Then I remember I was in Singapore doing this f**king horrible DJ gig…’ With typical candour Ronson admits he was accepting many such bookings then – he had just started his label, Allido Records, and badly needed funds to enable him to keep developing artists/friends that he’d signed, including Daniel Merriweather. ‘And while I was out there I got a call from Zane Lowe in London. He said everyone at the Radio 1 playlist meeting had been talking about Just.’
A new record deal, with SONY/RCA, followed. Ronson had already recorded ‘eight or nine’ other cover versions – an indie-Anglophile as much as he was a beats man, he was simply a fan of The Smiths (Stop Me If You Think You’ve Heard This One Before), The Zutons (Valerie), Coldplay (God Put A Smile On My Face) and Kaiser Chiefs (Oh My God). He wanted to pay homage, and he wanted to have some of his vocalist friends (Winehouse, Allen, Merriweather) help him.
Gathered into the album Version, these songs became international hits, dancefloor smashes, radio staples and, once Ronson went on the road with some of the musicians and singers that he counted as amongst his best friends, live favourites. Version sold one million copies in the UK and Ronson won Best Male Solo Artist at the Brit Awards 2008, and three Grammy’s in the US including Producer of The Year.
After Version fever finally died down, Mark Ronson went back to New York. He kept producing other artists, including Devon’s The Rumble Strips and Los Angeles’ The Like. He also took the helm for Duran Duran’s 13th album.
And, in the middle of 2009, he began thinking about his fourth album. ‘At that point the idea of using disparate collaborators wasn’t there,’ he recalls. ‘All I knew is, my favourite drummer in the world is Homer Steinweiss from The Dap-Kings. My favourite guitar player is Tommy Brenneck. One of the most talented songwriters is Alex Greenwald. And Nick Movshon is a genius on bass. So let’s go into a studio together. There’s no mission statement; there’s nothing except we’re not gonna do what’s obvious. So, no covers. And we’re not gonna go wild with the horn arrangements.’
In July last year, Ronson and his musician friends went into Dunham studios in Brooklyn, home base of Steinweiss and Brenneck. Inspired by working with Duran Duran, notably synth innovator Nick Rhodes, he brought with him some of the vintage keyboards he’d found on eBay. And they began playing. He and the other musicians would try their hand at different instruments ‘to stop anyone getting too comfortable’.
‘We did that for two months, just playing, coming up with backing tracks we liked, until we had a little bit of a sound, something worth pursuing. Then I thought about bringing in some other writers to bring some melodies and lyrics.’
Dave McCabe, a friend since the Version version of “Valerieâ€, was the first to come over to New York. The Zutons’ frontman contribut
category
country
Not Specified
Registration Date
13-06-2013
videos
366
all-time income
$10K - $163K
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$27 - $446
subscribers
6,760
subscriber rank
#943,690
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33
views
40,844,588
view rank
#81,745
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111,597
1 day change
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+95,924
$23 - $383
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1 month change
-22
+3,032,085
$758 - $12K
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Mark Ronson - Topic YouTube Statistics Charts
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