He's the world's most fashionable producer and the brains behind the retro-soul that spawned a million imitators. So why, wonders Fiona Sturges, is Mark Ronson so insecure?
Amy Winehouse may be reportedly peeved at Mark Ronson's taking too much credit for her success, and piggybacking his own solo career on that success, but she shouldn't worry overmuch about him stealing her vocal limelight: for as Record Collection brutally reveals, the über-producer of his era turns out to be an ünter-singer, his weedy vocals here failing to bring to life any song on which he takes the lead.
Producer and musician Mark Ronson said he was "confused" by an Amy Winehouse internet rant in which she accused him of cashing in on her success.
Mark Ronson has a gift for catchy collaborations. Ahead of a new album, which features stars young and old, Elisa Bray finds out what it's like to work with the industry's most in-demand producer
The Rumble Strips, a band whose name crops up rather too frequently on corporate-sponsored gig bills, are negligible landfill-indie also-rans, surely? Um, actually no.
As if we had not heard enough of Duffy's mega-hit last year, prepare for its second coming. Now "Mercy" has been covered to sound even more retro. Quite a feat, given how strongly the Welsh wonder channels the beehive glamour of Dusty Springfield and Lulu's wide-eyed exuberance.
The Mark Ronson protégé from Melbourne is best known for his vomitous Gnarls-meets-Moby version of The Smiths' "Stop Me". His debut album reprises the retro soul sound Ronson utilised with Amy Winehouse, and is destined to be almost as ubiquitous as Back to Black. The title is no accident: half the time Merriweather wants to change the world, the other half it's his love life – making this 50 per cent What's Goin' On, 50 per cent Let's Get It On. At its worst, you check the sleeve to make sure it isn't a Conchords parody.
In spite of his opening lines – "I'm part of the scene/ Suit jacket and jeans/ I've got the right LPs" – it's hard to see how Swift fits into the grand scheme of things.
Santogold is the nom-de-microphone of Philadelphia-born Santi White, who graduated from a posh Quaker-run school and an even posher Methodist university to get a job as an A&R person at Epic, and is best known to British audiences for her turn on Mark Ronson's 'Version'.
Despite the competing claims of such as Mark Ronson and Brian (Danger Mouse) Burton, T Bone Burnett may be the most interesting producer working in popular music at the moment. Equally comfortable helming award-winning soundtracks for Cold Mountain, O Brother, Where Art Thou? and Walk the Line, and reacquainting singers like Tony Bennett, Roy Orbison, Cassandra Wilson and kd lang with their roots, his manifold talents combined to powerful effect on last year's peerless Raising Sand collaboration between Robert Plant and Alison Krauss. But until 2006's The True False Identity, his packed diary left Burnett little time to pursue his own muse.
The troubled singer has so much going for her – but she's now in serious danger of exhausting all sympathy
We moved to New York when I was eight and there, if you didn't wear the cool sneakers, you'd get teased by the other kids. My mum would inevitably chose the cheapo brand, and we'd be ridiculed at school. I think she never wanted us to be conformist. I had a bleach-blond streak in my hair from the age of 11 to 13, and it had grown out by the time I was preparing for my bar mitzvah. My mum insisted I get the streak put back. She said: "You don't want to look boring, like everyone else."