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Record Collection Import

4.4 out of 5 stars 19 customer reviews

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Audio CD, Import, September 28, 2010
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Editorial Reviews

2010 release from the Grammy Award-winner producer including the disparate talents of over 30 musicians and singers from both sides of the Atlantic, the Business Intl includes D'Angelo, Boy George, Simon Le Bon, Nick Rhodes, Alex Greenwald, Nick Hodgson (Kaiser Chiefs), Ghostface, MNDR, Dap Kings, Spank Rock, Andrew Wyatt (Mike Snow), Rose Eleanor Dougall, Wiley and MC Pill. Recorded primarily in Brooklyn, Record Collection consists entirely of original material, bringing together the songwriting skills of Nick Hodgson, Jonathan Pierce (The Drums), D'Angelo, Alex Greenwald and Cathy Dennis, to name just a few. As Ronson splits his time between London and New York the result is a transatlantic sound that incorporates his love of everything from Hip Hop, Disco, '80s Pop to French Electro and all points in between.
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Product Details

  • Audio CD (September 28, 2010)
  • Number of Discs: 1
  • Format: Import
  • Label: RCA
  • ASIN: B003LPUM5Y
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (19 customer reviews)
  • Amazon Best Sellers Rank: #51,869 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
Mark Ronson's new CD sees him largely eschewing the horn-rich retro Soul sound of his last CD "Version". The sound this time around is more electronic with a heavy Hip Hop influence, but still with a stellar armada of guests and all original songs, no covers.

Lead-off single "Bang bang bang" features a relaxed Q-Tip and MNDR, a jerky funky affair already a #6 hit in the UK. Boy George sings "I need somebody to be nice, see the boy I once was in my eyes" over a bouncy beat on "Somebody to love me" while an awol D'Angelo appears on "Glass mountain trust", a futuristic Funk joint that sounds very Gnarls Barkley.

"Introducing the business" is a sombre song with skittery beats featuring Pill and the haunting London Gay Men's Choir, while Simon Le Bon, Wiley (raps the intro) and Ronson himself (handles the verses) appear on the poppy title track, a sign of things to come on the upcoming Ronson-produced Duran Duran album perhaps.

Interspersed among the songs are 3 electronic instrumental interludes; "The colour of crumar", "Selector" and "Missing words", as well as the synth/Rock instrumental "Circuit breaker". Closing is my favourite, "The night last night" with the clear vocals of Rose Elinor Dougall juxtaposed with Alex Greenwald's haunting layered vocals set to skittery beats and cryptic lyrics about a dream.

"I wanna be in your record collection" and this should get him in.
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After success with his poppy Motown meets Camdentown sound on his own album "Version" as well as the even bigger hits that were Amy Winehouse's Back To Black and Lily Allen's Smile, Ronson could have just kept on coasting by on his signature horn section, GQ award-winning good looks, storied socialite status, and obvious charm, but the producer chose to turn a corner into unknown territory. This album is almost the equivalent of comedian Jerry Seinfeld throwing out all his old jokes in the documentary "Comedian"; it's a leap but it works, and much like the aforementioned documentary a lot of old and new faces are along for the ride. "Record Collection" reflects a Ronson who has clearly studied up (most notably with 80s legends Duran Duran) and is thus justified in geeking out with synthesizer rigs and cameos from artists like Boy George and Simon LeBon, whose records surely must have been some of the earliest in Ronson's own personal collection. In addition to those cameos, I really appreciate the way that Ronson gives a push to less-known artists like Kyle Falconer, MNDR, Andrew Wyatt, and Spankrock --inspiring us in the Google generation to do our own digital "crate digging" and find out more about these new voices. While the album lags in spots (most notably the seemingly pointless elevator music interstitials like "The Colour of Crumar" and "Selector"), it is still a solid pop records with a lot of gems that will maintain heavy rotation at my house (the afrobeat burner "Somebody to Love Me" featuring Andrew Wyatt and Boy George being the absolute stand out); with its blend of old and new into something fresh and now "Record Collection" gets my heartfelt stamp of approval. Get it!
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Format: Audio CD
Mark Ronson has been one of my favorite producers for the last few years, showing his immense range with his production for Wale, Daniel Merriweather and Amy Winehouse. This album has more of an electronic and new wave vibe than his previous album, without sounding too cliche. Ronson is one of the few producers that can get away with mixing a super pop song like "Lose It (In the End)" with Ghostface's hard delivery. "Introducing the Business" combines Pill's Georgia drawl with amazing production and atmospheric vocals from the the London Gay Men's Choir. D'angelo emerges out of the ether to drop a solid turn on "Glass Mountain Trust" (in which he sounds like Cee-lo/Bilal). In a time where people are afraid to make pure Pop music, Mark Ronson continues to shine. I can't wait to see what he has in store with his future collabs with D'angelo and Adele.
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Format: Audio CD
The albums and 45's in Mark Ronson's "Record Collection" must have been starting to gather dust around 1982 or so, because so many of these tracks come off as collages from too much of that time period's MTV watching. The likes of Simon LeBon of Duran Duran, Boy George of Culture Club, and D'Angelo all make appearances. Heck, the first time I heard "Bang Bang Bang" (the album's first song) I could have sworn Amanda Warner (aka MNDR) was Dale Bozzio of Missing Persons. There's also the usual pop-raps that that were common early in the genre. There's no gangstas in Ronson's world, but a come-on based on the ecological greatness of riding a bicycle is ("The Bike Song").

It makes "Record Collection" an endearing collage of styles without dropping into a sample happy garble. Ronson uses real instruments in place of most of the samples, which does give the album an old-school feel. Vocalists MNDR and Andrew Wyatt (along with Ronson himself) are dominant through the disc, with the cameos often blending in seamlessly among the regulars. For an album that is a collaborative stack of "singles," "Record Collection" works amazingly well. It's a testament to Ronson's eclectic taste in music and skills as a writer/producer that "Record Collection" holds toagther as well as it does.
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