I’ve never been Mark Ronson’s biggest fan. I am part of that select group that believe he ruined The Zuton’s Valerie and Kaiser Chief’s Oh My God with his over-production ‘skills’ and took all the glory for it. It made me smile to see Amy Winehouse’s recent comment about Mr Ronson, claiming he is ‘dead’ to her after taking the credit for her album for himself, the first time I’ve ever agreed with her. So I made sure I had a listen to his latest release, mainly to slate it. But I must say I was a little disappointed, finding myself even liking parts of it.
Under the guise of ‘Mark Ronson and the Business International’, Ronson’s third album ‘Record Collection’ once again sees him link up with a number of collaborators. Amongst these, Boy George and Duran Duran singer Simon Le Bon feature, alongside the likes of rappers Wiley, D’Angelo and Q-Tip. And the result is a slightly disjointed record that gets stuck deep in your head.
Lead single and first track ‘Bang Bang Bang’ is the perfect choice to introduce the album. Featuring an almost undeniable hook and happy 80’s synths, it is one of the highlights on the album. Follow-up single ‘The Bike Song’ fails to live up to its predecessor, with a simple but uncertain melody, but nonetheless you find yourself singing it an hour later.
Boy George’s contribution on ‘Somebody To Love Me’ makes it more than it would be without his passionate vocals, and Le Bon’s chorus on ‘Record Collection’ fit in well on a well-worked melody. The sinister ‘Introducing The Business’ sees the album takes a more R’n’B twist; with an inticing chanted chorus, rapper Pill’s forceful vocals and an atmospheric involvement from the London Gay Men’s Chorus.
Ronson himself actually takes to the microphone this time; supplying some skilful vocals to ‘Record Collection’ and the chorus of the record’s highlight ‘Lose It (In The End). His downbeat and wistful voice contrasts well to the powerful Ghostface Killah rapping, and coupled with a faster pace, make for the album’s best track.
But the highs are matched by the lows. ‘The Colour of Crumar’ is the best of four forgettable instrumentals, with ‘Circuit Breaker’ sounding like a poor GameBoy soundtrack on a loop. ‘Hey Boy’ has too much going on by the end of a tough few minutes of confused keyboard pop, and ‘Glass Mountain Trust’ isn’t saved by a good performance from rapper D’Angelo.
‘Record Collection’ is an apt name for this album. It is a collection of different artists singing on songs that have little link, the only similarity being the hybrid synth-rap-R’n’B style of the record. There is a very disjointed feel to parts of the album, and a few instantly forgettable songs thrown in. But I can’t loathe it as much as I hoped I would, there are four or five enjoyable moments where Ronson’s ability shines through. He has got rubbish hair though.
The blonde hair is terrible Mr Ronson, but the album is okay. Here's my favourite song, 'Lose It (In The End).'
NWR
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