A review of the Mark Ronson album, previously mentioned in the post before this one.

Four years on from the anthology of covers with which Mark Ronson made his trumpet-laden name, Record Collection sees Ronson attempt to silence the criticism which has haunted him ever since with completely original material. Opening with the infectious “Bang Bang Bang”, it is clear that the formula of cherry-picked, distinctively voiced singers layered on top of a pulsating drum machine with a filling of synthesised funk hasn’t altered, yet Ronson still has a few tricks under his sleeve. “Somebody to Love” gives Boy George’s undeniably gorgeous voice the finest chance to shine its had since the eighties, while the eponymous “Record Collection” matches George’s peer Simon Le Bon with the slightly more contemporary Wiley – both tracks show the prowess of Ronson’s musical knowledge, and go some way in proving he isn’t a one trick pony – at least, artistically.

While Version went some way in displaying his love of all that is eclectic, it was still marked by what some would describe as an overuse of Ronson’s characteristic horn section – they pop up now and then on Record Collection’s tracks but most importantly they contribute to a much bigger landscape of vivid colour. While the possessor of the world’s most irritating transatlantic accent may never again reach the dizzying heights of “Valerie” in the charts, he can definitely sleep sound with the knowledge that in Record Collection Ronson has fashioned a cohesive, interesting, but most importantly, fun body of work. The criticism levied at Ronson in the past surrounding his fascination with producing pseudo-funk covers of pop and rock songs may have been a blessing in disguise – this album would have been sullied by even a single cover version. He’s challenged himself, and in doing so has created something to challenge the listener.