He also recorded several solo albums, the most notable example of which was Slaughter on 10th Avenue, which reached #9 on the UK Albums Chart. Ronson played with various bands after his time with Bowie. He was named the 64th greatest guitarist of all time by Rolling Stone.
Michael Ronson was born in Beverley Road, Hull, East Riding of Yorkshire, in 1946, then moved to Greatfield, Hull. As a child he was trained classically to play piano, recorder, violin, and (later) the harmonium. He initially wanted to be a cellist, but moved to guitar upon discovering the music of Duane Eddy, whose sound on the bass notes of his guitar sounded to Ronson similar to that of the cello.[3] He joined his first band, The Mariners, in November 1963, when he was just 17. His stage debut with The Mariners was in support of the Keith Herd Band at Brough Village Hall, a gig for which the band traveled 35 miles and got paid 10 shillings (50p). While Ronson was working with The Mariners, another local Hull group – The Crestas – recruited him on the advice of The Mariners' bassist John Griffiths. With Ronson on board the Crestas gained a solid reputation, making regular appearances at local halls: Mondays at the Halfway House in Hull, Thursdays at the Ferryboat Hotel, Fridays at the Regal Ballroom in Beverley, and Sundays at the Duke of Cumberland in North Ferriby.
In 1965, Ronson left The Crestas to try his luck in London. He took a part time job as a mechanic, and before long, he teamed up with a band called The Voice, replacing Miller Anderson. Soon afterward, Crestas' drummer Dave Bradfield made the trip down to London when the Voice's drummer left. After playing just a few dates with the group, Ronson and Bradfield returned from a weekend in Hull to find their gear piled at their flat and a note explaining that the rest of the group had gone to The Bahamas. Ronson stayed in London and teamed up briefly with a soul band called The Wanted, before eventually returning to Hull.
In 1966, Ronson joined Hull's top local band, The Rats, joining singer Benny Marshall, bassist Geoff Appleby, and drummer Jim Simpson (who was subsequently replaced by Clive Taylor and then John Cambridge). The group played the local circuit, and made a few unsuccessful trips to London and Paris.
In 1967 The Rats recorded the one-off psychedelic track, "The Rise And Fall Of Bernie Gripplestone" at Fairview Studios in Hull, and can be heard on the 2008 release Front Room Masters – Fairview Studios 1966–1973.[5] 1968 saw the band change their name briefly to Treacle and book another recording session at Fairview Studios in 1969, before reverting to their original name. Around this time, Ronson was recommended by Rick Kemp to play guitar on Michael Chapman's Fully Qualified Survivor album.[4]
When John Cambridge left The Rats to join his former Hullaballoos bandmate Mick Wayne in Junior's Eyes, he was replaced by Mick "Woody" Woodmansey. In November 1969, the band recorded a final session at Fairview, taping "Telephone Blues" and "Early in Spring".
In March 1970, during the recording sessions for Elton John's album Tumbleweed Connection, Ronson played guitar on the track "Madman Across the Water". This song however was not included in the original release. The recording featuring Ronson was released on the 1992 compilation album, Rare Masters, and the 1995 reissue of Tumbleweed Connection.
Early in 1970, Cambridge came back to Hull in search of Ronson, intent upon recruiting him for a new David Bowie backing band called The Hype. He found Ronson marking out a rugby pitch, one of his duties as a Parks Department gardener for Hull City Council. Having failed in his earlier attempts in London, Ronson was reluctant, but eventually agreed to accompany Cambridge to a meeting with Bowie. Two days later, on 5 February, Ronson made his debut with Bowie on John Peel's national BBC Radio 1 show.
The Hype played their first gig at The Roundhouse on 22 February with a line-up that included Bowie, Ronson, Cambridge, and producer/bassist Tony Visconti. The group dressed up in superhero costumes, with Bowie as Rainbowman, Visconti as Hypeman, Ronson as Gangsterman, and Cambridge as Cowboyman. Also on the bill that day were Bachdenkel, The Groundhogs and Caravan. The following day they performed at the Streatham Arms in London under the pseudonym of 'Harry The Butcher'. They also performed on 28 February at the Basildon Arts Lab experimental music club at the Basildon Arts Centre in Essex, billed as 'David Bowie's New Electric Band'. Also on the bill were High Tide, Overson and Iron Butterfly. Strawbs were due to perform but were replaced by Bowie's New Electric Band. John Cambridge departed on 30 March, again replaced by Woody Woodmansey. In April 1970, Ronson, Woodmansey, and Visconti commenced recording Bowie's The Man Who Sold The World album.
During the sessions for The Man Who Sold The World, the trio of Ronson, Visconti, and Woodmansey – still under The Hype moniker – signed to Vertigo Records. The group recruited Benny Marshall from The Rats as vocalist, and entered the studio to record an album. By the time a single appeared, The Hype had been renamed Ronno. "4th Hour of My Sleep" was released on Vertigo to an indifferent reception in January 1971. The song was written by Tucker Zimmerman. The B-side was a Ronson/Marshall composition called "Powers of Darkness". The Ronno album was never completed.
Bowie's backing ensemble, which now included Trevor Bolder who had replaced Visconti on bass guitar and keyboardist Rick Wakeman, were used in the recording of Hunky Dory. The departure of Visconti also meant that Ronson, with Bowie, took over the arrangements, whilst Ken Scott co-produced with Bowie. Hunky Dory was perhaps their most collaborative album, which the sleeve notes acknowledged.
It was this band, minus Wakeman, that became known as The Spiders From Mars from the title of the next Bowie album. Again, Ronson was a key part of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, providing string arrangements and various instrumentation, as well as playing lead guitar. Ronson and Bowie achieved some notoriety over the concerts promoting this album, when Bowie would simulate fellatio on Ronson's guitar as he played. Ronson's guitar and arranging during the Spiders from Mars era provided much of the underpinning for later punk rock musicians. In 1972 Ronson provided a strings-and-brass arrangement for the song "Sea Diver" on the Bowie-produced All The Young Dudes album for Mott The Hoople, and co-produced Lou Reed's album Transformer with Bowie, playing lead guitar and piano on the song "Perfect Day". Again with Bowie, he re-recorded and produced the track "The Man Who Sold The World" for Lulu, released as a single in the UK, and played on a few tracks on the Dana Gillespie album Weren't Born a Man.
Ronson appeared on the 1972 country rock album Bustin' Out by Pure Prairie League, where he undertook string ensemble arrangements and contributed guitar and vocals on several tracks most notably "Angel #9" which reappeared on his solo LP "Play Don't Worry."
His guitar work was next heard on Bowie's Aladdin Sane and 1973's covers album Pin Ups. However, he was absent from the subsequent Diamond Dogs album.
Bowie said in a 1994 interview that "Mick was the perfect foil for the Ziggy character. He was very much a salt-of-the-earth type, the blunt northerner with a defiantly masculine personality, so that what you got was the old-fashioned Yin and Yang thing. As a rock duo, I thought we were every bit as good as Mick and Keith or Axl and Slash. Ziggy and Mick were the personification of that rock n roll dualism."
After leaving Bowie's entourage after the "Farewell Concert" in 1973, Ronson released three solo albums. His solo debut Slaughter on 10th Avenue, featured a version of Elvis Presley's, "Love Me Tender", as well as Ronson's most famous solo track, "Only After Dark". In addition, his sister, Margaret (Maggi) Ronson, provided the backing vocals for the set. Between this and the 1975 follow-up, Ronson had a short-lived stint with Mott the Hoople.He then became a long-time collaborator with Mott's former leader Ian Hunter, commencing with the album Ian Hunter(UK #21) and featuring the UK Singles Chart #14 hit "Once Bitten, Twice Shy", including a spell touring as the Hunter Ronson Band. In 1980, the live album Welcome to the Club was released, including a couple of Ronson contributions, although it also contained a few studio-based tracks – one of which was a Hunter/Ronson composition.
In 1974, Ronson secured the #2 spot from a reader's poll in Creem magazine as the best guitarist that year (with Jimmy Page taking first place, and Eric Clapton in third place after Ronson.
Ronson contributed guitar to the title track of the 1976 David Cassidy release Getting It in the Street.
Roger Daltrey employed Ronson's guitar on his 1977 solo release One of the Boys.
In 1979 Ronson and Hunter produced and played on the Ellen Foley debut album, Night Out, with "We Belong To The Night" and the hit single "What's a Matter Baby."
In 1982, Ronson worked with John Mellencamp on his American Fool album, and in particular the song "Jack & Diane". Both "Jack & Diane" and American Fool topped their respective US Billboard charts.
In 1990, Ronson again collaborated with Hunter on the album Yui Orta, this time getting joint credit, as "Hunter/Ronson". In 1993, he again appeared on a Bowie album, Black Tie White Noise, playing on the track "I Feel Free", originally recorded by Cream. Ronson and Bowie had already covered this track live twenty years earlier, whilst touring as Ziggy Stardust and the Spiders from Mars.
His second and third solo albums were Play Don't Worry in 1975, and Heaven and Hull in 1994. The latter set was only partly completed at the time of Ronson's death, and was released posthumously. Artists involved with the album included John Mellencamp, Joe Elliott, Ian Hunter, David Bowie, Chrissie Hynde, and Martin Chambers.
Besides Bowie and Hunter, Ronson went on to work as a musician, songwriter and record producer with many other acts including Slaughter & The Dogs (who took their name from the Ronson album Slaughter on 10th Avenue), Morrissey, The Wildhearts, The Rich Kids, Elton John, John Mellencamp, T-Bone Burnett, Dalbello, Benny Mardones, Iron City Houserockers and the Italian band Moda. He did not restrict his influence behind the recording desk to just established acts. His production work appears on albums by more obscure artists, such as Payolas, Phil Rambow and Los Illegals and The Mundanes. Ronson produced The Visible Targets, a Seattle based group, on their 1983 five track EP, "Autistic Savant".
Ronson was also a member of Bob Dylan's "Rolling Thunder Revue" live band,[12] and can be seen both on and off-stage in the film of the tour.[17] He also made a connection with Roger McGuinn during this time, which led to his producing and contributing guitar and arrangements to McGuinn's 1976 solo album Cardiff Rose.
In 1982, he participated on lead guitar in a short lived band with Hilly Michaels on drums and Les Fradkin on bass guitar. One of their recordings from this group, Spare Change, appeared on the Fradkin's 2006 album, Goin' Back.
In 1987, Ronson made an appearance on a record by The Toll. Ronson played lead on the band's song, "Stand in Winter", from the album The Price of Progression.
In 1992 he produced Morrissey's album, Your Arsenal. The same year, Ronson's final high profile live performance was his appearance at The Freddie Mercury Tribute Concert. He played on "All the Young Dudes" with Bowie and Hunter; and "Heroes" with Bowie. Ronson's final recorded session was as a guest on the 1993 Wildhearts album Earth vs the Wildhearts, where he played the guitar solo on the song "My Baby is a Headfuck".
Ronson died of liver cancer on 29 April 1993 at the age of 46, survived by his wife Suzy, and his children Nicholas, Lisa (with wife, Suzi Ronson), and Joakim (with Carola Westerlund). Ronson was raised in The Church of Jesus Christ of Latter-day Saints. His funeral was held in a Mormon chapel in London on 6 May.
In his memory, the Mick Ronson Memorial Stage was constructed in Queens Gardens in his hometown of Hull. There is also a street named after him on Bilton Grange Estate, not far from where he lived.
Throughout his career with Bowie, Ronson used a 1968 Gibson Les Paul customised "Black Beauty". In the post-Bowie era, Ronson tended towards a blue, rosewood-board Fender Telecaster; he did not, however, limit himself to these two guitars. Ronson also used Marshall 200 amps (not to be confused with a Marshall Major) that he nicknamed "The Pig". Ronson also used a MKI Tone Bender for his signature sound during the Spiders from Mars era.
Growing Up and I'm Fine
Mick Ronson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Never saw a scene on the street before
Never got chose with the rest of the boys
So I must have needed something more
Always wound up in a cell for the night
Always had faith from the midnight fight
Always got caught by a squad car light
Kicking at a slot machine
Now, I got a little of Veronica, love
The way she is checking me out is enough
Somebody's messing my brain, growing pains
Ooh, I got a little of Veronica, love
The way she is checking me out is enough
I'm glad to say that she's mine, right down the line
Growing up and I'm fine
Didn't find luck and I ran out of prayer
Couldn't find much that I wanted to share
Looked for a key, but I found despair
Must have done something bad
Now I see through to the back of this town
Kind of wear love like a long lost crown
Now I take pride in the way I behave
Never seen stalking around
Now, I got a little of Veronica, love
The way she is checking me out is enough
Somebody's messing my brain, growing pains
Ooh, I got a little of Veronica, love
The way she is checking me out is enough
I'm glad to say that she's mine, right down the line
Growing up and I'm fine
Don't bug me 'cause he ain't your man
Smell trouble on the back of your hand
I won't fight, so just back down
Because you know I might change my mind
I can't tell you but you know what's wrong
You gotta know that's she's gone, gone, gone
I can tell you're not satisfied
I don't want to dent your pride
The lyrics to Mick Ronson's song Growing Up and I'm Fine tell the coming-of-age story of a young man who has not had an easy life. He has been in trouble with the law and struggled to find his place in the world. However, he has found love with a woman named Veronica, and this relationship has given him a new sense of pride and purpose.
The first verse describes the struggles the young man has faced in his life so far. He has been in trouble with the law and has felt like he needed more than what his life has offered him so far. The second verse describes how he has found love with Veronica and how this has changed his outlook on life. He now takes pride in the way he behaves and is no longer getting into trouble.
The chorus expresses the joy the young man feels in his relationship with Veronica. He is happy to be with her and is grateful for the way she makes him feel. The bridge of the song introduces a conflict with someone who is jealous of his relationship with Veronica. The young man tries to diffuse the situation and avoid a fight.
Overall, the song is a celebration of growth and the positive changes that can come from finding love and purpose in life.
Line by Line Meaning
Never got lost on this road before
I have always had direction and never felt lost in my life before
Never saw a scene on the street before
I have never witnessed anything on the streets that struck me as odd or unusual before
Never got chose with the rest of the boys, So I must have needed something more
I was never part of the masses or considered one of the guys, which made me feel like there was something missing in my life
Always wound up in a cell for the night
I often found myself arrested and locked up overnight
Always had faith from the midnight fight
Despite getting into trouble, I had confidence in myself and my fighting abilities to get myself out of physical fights
Always got caught by a squad car light
I was frequently caught by law enforcement while doing something wrong
Kicking at a slot machine
Engaging in reckless or destructive behavior, like kicking a slot machine, was something I often did in my youth
Now, I got a little of Veronica, love
I have found love with a woman named Veronica
The way she is checking me out is enough
The attention and attraction that Veronica shows towards me is all I need to feel confident and happy
Somebody's messing my brain, growing pains
I am struggling with inner turmoil and changes as I grow and mature
Ooh, I got a little of Veronica, love
The love and relationship I have with Veronica is fulfilling and makes me happy
I'm glad to say that she's mine, right down the line
I am proud to call Veronica my partner and I am committed to our relationship
Growing up and I'm fine
Despite challenges and inner turmoil, I am growing and maturing into a better version of myself
Didn't find luck and I ran out of prayer
I experienced some hardship and misfortune that left me feeling hopeless and without guidance
Couldn't find much that I wanted to share
I struggled to find shared interests or common ground with those around me
Looked for a key, but I found despair
I searched for answers, but instead found feelings of hopelessness and sadness
Must have done something bad
I felt guilty or ashamed of something I had done
Now I see through to the back of this town
I have gained a different perspective on my hometown and the environment around me
Kind of wear love like a long lost crown
I cherish and value my relationship with Veronica and treat it like a precious treasure
Now I take pride in the way I behave
I am confident in the choices and actions I make, and place value in acting with respect and dignity
Never seen stalking around
I no longer engage in reckless or destructive behavior and have matured past that phase of my life
Don't bug me 'cause he ain't your man
Do not bother me because I am not romantically interested in you
Smell trouble on the back of your hand
I sense that you are up to no good or have something devious planned
I won't fight, so just back down
I refuse to engage in physical confrontation or violence
Because you know I might change my mind
Although I currently am not fighting, I could potentially change my mind in the future
I can't tell you but you know what's wrong
I cannot bring myself to say it, but you know that something is not right between us
You gotta know that's she's gone, gone, gone
You need to accept that my relationship with Veronica is strong and she is not interested in anyone else
I can tell you're not satisfied
I perceive that you feel unfulfilled and unhappy in your own life
I don't want to dent your pride
I do not want to damage or hurt your feelings by revealing the truth, as I know it would cause you to feel more unhappy and insecure
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: David Bowie
Lyrics Licensed & Provided by LyricFind
@shrunkenheadache
R.I.P. Mick. What a guitarist.
@mikesabota2570
That whole album is pretty dang good turned up and cranked..Music Is Lethal!!
@kresocaren2762
greatest tune from this alb.....
@ikemachamer7904
Thank you.
@kresocaren2762
thank you man ......😺
@manuelcesarsalgadolopez2181
Mick un gran guitarra que acompaño a la banda de Bowie D.E.P. Ahora juntos en el mas alla
@26rickg
Great memories ......great song......definitely retained the Spiders From Mars sound on this one.....coulda been an outtake from Ziggy.....
@paolomarinelli2294
❤️❤️🙏🙏🌹🌹🌹
@mikedag1176
If my management told me not to compensate a man like Mick Ronson I would have had to instruct him/ her/ IT tol breakout the goddamn CHECKBOOK OR FUCK OFF.
@Rebel1972x
Terrible.