LONDON (Reuters) - Like father, like daughter. British singer Amy Winehouse’s taxi-driving father Mitch has launched his own musical career with a jazz album made up mainly of cover versions but also four original tracks.
And the silver-haired London cabbie, who has appeared in the media commenting on his daughter’s troubled personal life, believes he may learn enough to pass on some tips.
“I mean, if I became a huge success I’d have a retinue of hangers-on and I’d be able to order people around and I’d show Amy how to really be a diva,” he told Reuters at a recent event to launch his debut album “Rush of Love.”
“You know, I’d really show her how to do it. I mean my dressing room that they’ve got for me here today is like a broom closet and there’s no Jack Daniels or champagne in there. I think it’s an absolute disgrace. I’ll show Amy how to do it big time,” he joked.
Winehouse senior admitted that his daughter’s fame had helped him start up in the business.
“As far as I‘m concerned, there was no other way into the industry for me, because, you know, I wasn’t even a singer when I was younger. May be I‘m giving a big up to the geriatrics of the world. Never too late.”
He also said he would not have been able to go ahead with his record if Amy, famed for her beehive hairstyle and husky singing voice, was still struggling to keep her personal life together.
She won five Grammy awards in 2008, and her album “Back to Black” has sold over 10 million copies. But she has had a series of brushes with the law and has battled drug addiction, which has overshadowed her recording success.
“Amy and I had been speaking about it for about five or six years and the timing wasn’t right,” Mitch said.
“She wasn’t particularly well and now she’s much better. You know, I couldn’t have done this album if she was ill. I wouldn’t have able to put my heart and soul into it.”
According to Mitch Winehouse’s website, Rush of Love is “no album of the usual Rat Pack standards -- it is jazz, swing, crooning, if you like, but not pop.”
Writing by Mike Collett-White, editing by Paul Casciato