how the label's house band, the Dap-Kings, came to play on one of the most beloved albums of the 21st century -- Amy Winehouse's 2006 LP 'Back to Black.'
-- arrived at Ronson’s Mercer Street studio in downtown Manhattan with his own demo in hand. Sharon Jones & The Dap-Kings had just cut a cover of Stevie Wonder’s 1970 Motown hit “Signed, Sealed, Delivered, I’m Yours,” and when Guy pressed play on the track , Ronson was blown away. “It was just so much the real deal,” he later effused.
one of his favorite professional efforts. “I think that the production kind of fell on Mark to meet that with something as classy. That’s why producers come to people like us, because they’re like,Even though Amy Winehouse had already achieved a significant fanbase and sales in the U.K. -- and came from the same Camden soul scene that had long supported Desco and Daptone’s revivalist efforts -- few at the label thought much about the session after it was over.
too angst-ridden and self-involved. But Griptite, who had a close working relationship with the irreverent singer he described as a “little thing who loves to curse and shoot pool” appreciated how the album was “a flying f--k you” to pop trends; a mainstream culling of the same punk attitude that made Daptone so unique. “Amy was so 100 percent unapologetically herself. She was on that ‘zero f--ks given’ before that term was coined.
Winehouse was cool -- more identifiable for her youth, and, unfortunately, her whiteness. She also made relevant a sound many of her contemporaries would’ve previously considered to be music for their parents’ generation.
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