It’s not the only track with he sings on, also lending his soft transatlantic tones to the album’s genius title track, a satirical swipe at the music industry and Ronson’s perceived lifestyle, written by Nick Hodgson of the Kaiser Chiefs, and which sees Ronson bemoaning “I drive ‘round cities in a chariot/I get preferential treatment at the Marriott”. But I wanted that song to sound like The RZA sampling a Turtles record and putting a breakbeat on it,’ says Ronson. ‘My vocals sound so small next to Ghostface – literally dwarfed when he comes in. Recorded at Dunham studios in Brooklyn and working with vintage keyboards Ronson bought on eBay, the album melds eighties indie to nineties hip hop beats and also sees someone rather special take to the mic… ‘Lose It (In The End)’ was co-written by Jonathan Pierce of The Drums and features rhymes from Ghostface Killah and vocals from Mark Ronson himself. Instead, Ronson is saying hello to Brooklyn b-boy sonics, swirling retro synthesized sounds and the kind of off-kilter pop sixth sense that it’s impossible not to move to. So it’s goodbye to the Dap Kings and their horn-y break downs and au revoir to the innovative cover versions. This time however, Ronson has made a point of ripping up the rule book that he had written so well. The follow up to 2007’s triple platinum ‘Version’ – which sold one million copies in the UK and saw Ronson score the Best Male Solo Artist gong at the Brit Awards – is every bit as impressive as it’s predecessor. ‘Record Collection’ is the third album headed up by the mid-Atlantic muso mastermind and, as usual, he’s bought a host of famous friends and former collaborators along for the ride. (PRESS RELEASE) Mark Ronson is back and this time more than ever, he means business – the Business Intl, in fact. In the meantime expect a cast of collaborators more star-studded than a Royal Variety Performance (including Ghostface Killah and Boy George), some breakbeats and a lot of noises that make you think it’s 1984 again. Make of that what you will – one can only speculate what instrument he will turn his attentions to next. Yep, he’s all about the keyboards this year so it looks like he’s poised to do for the eighties synthesiser what Versions did for the horns. Nick Rhodes, Spank Rock, Jamie Reynolds, Rose Elinor Dougall & Anthony Rossomando)ġ7.You must have heard the Q-Tip/ MNDR-featuring Bang, Bang, Bang by now so you’ll know that Ronseal has dumped his brass section. "Bang Bang Bang (Count and Sinden Remix)"ġ6. Rose Elinor Dougall & Theophilus London)ġ4. Also, this dude got D'Angelo and Boy George to come out the back shed! Cannot front on that. Maybe it's about growing up, maybe it's about getting stronger, but either way, jamming melodies. Which is not to say his prior works were not cohesive or adventurous, but Record Collection just feels more confident and fresh. But it also really shows how he's come into his own over the past couple years, each track seamlessly threaded to the other with his adventurousness. Like his prior producer albums, it's glossed up with his extensive range: hip-hop, Brit pop, video game electro, international spy music, new wave, etc. Simply put, Record Collection (out 9/28) is our favorite thing Mark Ronson has ever done, and that's not just cause it's packed with FADER faves like MNDR, Ghostface, Pill, Spank Rock, D'Angelo (!), Wiley and Theophilus.
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