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.
Life on Mars
Mick Ronson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
To the girl with the mousy hair
But her mummy is yelling "No"
And her daddy has told her to go
But her friend is nowhere to be seen
Now she walks through her sunken dream
To the seat with the clearest view
But the film is a saddening bore
For she's lived it ten times or more
She could spit in the eyes of fools
As they ask her to focus on
Sailors fighting in the dance hall
Oh man! Look at those cavemen go
It's the freakiest show
Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he'll ever know
He's in the best selling show
Is there life on Mars?
It's on America's tortured brow
That Mickey Mouse has grown up a cow
Now the workers have struck for fame
'Cause Lennon's on sale again
See the mice in their million hordes
From Ibiza to the Norfolk Broads
Rule Britannia is out of bounds
To my mother, my dog, and clowns
But the film is a saddening bore
'Cause I wrote it ten times or more
It's about to be writ again
As I ask you to focus on
Sailors fighting in the dance hall
Oh man! Look at those cavemen go
It's the freakiest show
Take a look at the Lawman
Beating up the wrong guy
Oh man! Wonder if he'll ever know
He's in the best selling show
Is there life on Mars?
The song "Life on Mars" by Mick Ronson tells the story of a girl with mousy hair who seeks refuge from her troubles in the world of cinema. Her parent's disapproval and a missing friend lead her to escape into a "sunken dream" that is projected onto the silver screen. However, the film ultimately proves a "saddening bore" as it fails to alleviate her problems or provide an escape. The lyrics suggest that the film can never compete with reality, as it is simply a re-telling of the girl's own life story.
The second half of the song takes a satirical turn, with Ronson's lyrics criticizing both British and American culture, particularly the commercialization of music and entertainment. He references Mickey Mouse and the Beatles as symbols of this commodification, and suggests that the British national anthem is no longer relevant to modern society. The chorus is repeated throughout the song, with the singer musing on the possibility of life on Mars, perhaps as a metaphor for the futility of trying to escape the problems of earthly existence.
Overall, "Life on Mars" is a poignant and introspective exploration of the power of cinema and the human search for meaning, as well as a biting critique of contemporary culture.
Line by Line Meaning
It's a God-awful small affair
The situation is unimportant and insignificant, like a small and unpleasant experience.
To the girl with the mousy hair
There is a young and unassuming girl with plain and nondescript features.
But her mummy is yelling "No"
Her mother disapproves of something she wants to do, and is shouting at her to stop.
And her daddy has told her to go
Her father has given her permission to leave, even though her mother disagrees.
But her friend is nowhere to be seen
The girl's friend is not with her, perhaps leaving her lonely or isolated.
Now she walks through her sunken dream
She is feeling down or depressed as she moves through her daily life.
To the seat with the clearest view
She is going to a place where she can get a clear perspective on things, perhaps to escape her problems for a while.
And she's hooked to the silver screen
She is engrossed in watching movies or television, perhaps as a way of escaping her reality.
But the film is a saddening bore
The movie she's watching is not interesting or enjoyable, and may even make her feel worse.
For she's lived it ten times or more
She has seen the movie many times before and is bored with it or it is not providing any novelty anymore.
She could spit in the eyes of fools
She feels superior to others who do not understand her or have a different perspective than hers.
As they ask her to focus on
Others are trying to get her attention or make her pay more attention to something they think is important.
Sailors fighting in the dance hall
There is commotion and chaos in the world around her, like sailors fighting in a noisy dance hall.
Oh man! Look at those cavemen go
The people around her seem primitive, like cavemen, and she is distancing herself from them and their behavior.
It's the freakiest show
The world she lives in is bizarre and strange, and she is finding it harder to connect with it.
Take a look at the Lawman
She is drawing attention to a character or figure in her universe, perhaps someone in authority.
Beating up the wrong guy
The authority figure is punishing someone who is innocent or undeserving of such treatment.
Oh man! Wonder if he'll ever know
There is concern or curiosity about whether the authority figure will ever realize his mistake or wrongdoing.
He's in the best selling show
The authority figure's behavior is popular or well-received, even though it is incorrect or unjust.
Is there life on Mars?
There is a fundamental question about whether there is life or meaning beyond what we see or experience in our daily lives.
It's on America's tortured brow
There is a sense of suffering or strain in America, a concept symbolized by the face or brow.
That Mickey Mouse has grown up a cow
Even something that was once innocent and pure, like Mickey Mouse, has become corrupted or impure, like a cow.
Now the workers have struck for fame
The masses are rebelling or striking for recognition and status, as fame becomes more important than labor or work.
'Cause Lennon's on sale again
The rebellious movement is being fueled by the commodification and commercialization of figures like John Lennon.
See the mice in their million hordes
There are countless masses of people, shown symbolically as mice, striving for more or better things in life.
From Ibiza to the Norfolk Broads
The masses are present everywhere in society, from luxurious and glamorous places like Ibiza to quieter and more rural locales like the Norfolk Broads.
Rule Britannia is out of bounds
Traditional British values and expectations hold less sway now than they once did, with new values and ideas taking their place.
To my mother, my dog, and clowns
Even simple or innocent objects of affection or entertainment like a mother, a dog, or clowns are becoming outdated or irrelevant.
But the film is a saddening bore
The movie she's watching is still not enjoyable, even after she's tried to escape into it once before.
'Cause I wrote it ten times or more
The fact that the movie is not bringing her comfort is even more disheartening because she has written it herself, meaning she has tried to create a false sense of happiness and escape.
It's about to be writ again
There is a sense of futility or hopelessness, as even though she tries to recreate the same story or experience, she knows it won't bring lasting happiness or fulfillment.
As I ask you to focus on
The focus now turns to us, as the artist invites us to consider our own lives and experiences, and what we are really seeking.
Sailors fighting in the dance hall
The chaos and confusion in our own lives is just as real as the fighting sailors, even if it looks more ordinary on the surface.
Oh man! Look at those cavemen go
We can become just like the primitive cavemen, acting on impulse or instinct rather than intellect and reason.
It's the freakiest show
Our own lives can be just as weird and strange as the show the singer has been watching, even if we don't realize it at first.
Take a look at the Lawman
We may be looking to authority figures or leaders to guide us, but they can be fallible and flawed like anyone else.
Beating up the wrong guy
The authority figures and leaders we look to may be punishing the wrong people or pursuing misguided policies and agendas.
Oh man! Wonder if he'll ever know
We may hold doubt or skepticism about whether these leaders will ever recognize their own flaws and missteps.
He's in the best selling show
Even the most flawed and questionable authority figures or leaders can be popular and successful at times, speaking to a deeper issue of the nature of public opinion and values.
Is there life on Mars?
The question remains: is there more to our existence and experience than what we see on the surface of things? And if so, what is it, and how can we find it?
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: David Bowie
Lyrics Licensed & Provided by LyricFind
The Thin White Duke
I miss you, Mick! 😢
teckertime
Brilliant!
RoqDawg
Great to listen to after Curiosity landed on Mars, well I guess anytime for Ronson fans.
Mike M
thanks, wish i would have waited untill i got the hang of the movie maker program. maybe i'll re do it. Mick's the man !
Steven Haywood
Not bad at all. Nice to have a Mick Ronson alternative to the great Bowie song from Hunky Dory.
sttgaegoaktd
Zander Seymour
Ok, apparantly Alice Cooper heard this..then wrote Only women bleed.
steve wilkins
Who wrote this version?
Leps262
Roscoe West
William Ham
roscoes real is Bob Barnes who wrote half the lyrics I composed all the music and rest of lyrics written on road when we yellow payges touring I'm. Bill Ham guitar player from ft worth tx Roscoe shouldn't have done that
Steven Haywood
Thank you sir for the information and thanks to yourself and Roscoe West - Bob Barnes for writing this rather good song indeed.
😛cttgaegoaktd 😛