I Only Want to Be in Your Record Collection

If it is possible to invent music that is actually forty years old, then Mark Ronson invented the Motown sound for a new generation by hooking up with Amy Winehouse, Lily Allen and the brass section from the Dap Kings. His sound launched a new genre of retro leaning British singers including ADELE, Duffy, and most recently The Like. Which makes listening to his latest album a bit jarring.

On Record Collection there is nary a horn on the album. Instead Ronson jumps ahead two decades to the eighties with a synthesizer heavy album and even recruits eighties refugees Boy George and Simon Le Bon to sing on the album. It takes a listen or two to Record Collection just to get adjusted to the new sound which doesn’t quite reinvent a genre much like his work with The Dap Kings did.

Unlike his previous album, Version, which relied heavily on reworking cover songs ranging from Ryan Adams to Britney Spears (featuring Ol' Dirty Bastard, no, seriously), Record Collection is made up entirely of new songs mostly written by Ronson collaborator Alex Greenwalk of Phantom Planet. But much like his previous album, the songs of Record Collection live and die by the guest vocalist.

The album starts off strong enough thanks to three guest raps from Q-Tip, Ghostface Killah, and Spank Rock. Q-Tip, dependable as ever, which makes you wonder how he doesn’t get more guest turns, gets the party started on the French electric Bang, Bang, Bang with hooks provide by New York duo MNDR. Ghostface Killah brings the energy Lose It (In the End), with Greenwald on the vocals, which sounds like an electronic version a song from a western movie. The trifecta ends with The Bike Song, a weird ode to two wheel transportation by Kyle Falconer which sounds like something that belongs on Yo Gabba Gabba! before Spank Rock rescued it with an old school rap.

After that, songs on Record Collection gets more precarious, D'Angelo crawls out of obscurity when he spent most of last decade to sound like Cee Lo Green on Glass Mountain Trust. Introducing the Business is a haunting tract buoyed by London Gay Men's Chorus and Newcomer Atlanta rapper Pill who is someone to look out for. But for most of the rest of the album you just wish Ronson would have stayed with the horns as his instrument of choice.

Song to Download – Lose It (In the End)

Record Collection gets a on my Terror Alert Scale.