He’d also produced six tracks on Amy Winehouse’s breakout album, Back to Black-including the song for which she is most famous, “Rehab.”īut all this success had come at a cost to Ronson’s reputation, and Ronson knew it. He’d collaborated with stars like Robbie Williams and Lily Allen, and his second solo album, Version, a collection of mostly British-indie-rock covers-from the Smiths’ “Stop Me” to Radiohead’s “Just”-that Ronson had arranged to sound like “dirty James Brown by way of the RZA funk,” had reached No. Ronson has a mild demeanor, but when it comes to assessing his own work and others’ reactions to it, he describes himself as “on the cusp of insecure or paranoid.” Just a few months before the NME putdown, he was widely seen as one of the coolest record producers on the planet. And I’m like, ‘How did I get so uncool so quickly?’ ”
And then the sidebar is ‘Least Cool,’ and here’s my face, No. 2 coolest guy in music is my friend Jamie Reynolds from Klaxons. T hree years ago, Mark Ronson opened up the annual “Cool List” issue of the NME, the influential British music magazine, and saw that his friend Santi White had made the list.
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