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Pop - Released November 10, 2014 | Columbia

Hi-Res Distinctions Grammy Awards
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Pop - Released January 12, 2015 | Columbia

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Pop/Rock - Released April 16, 2007 | Columbia

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Pop - Released June 21, 2019 | Columbia

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Pop music – a nebulous term at best – often boils down to one idea: love. From the moment it takes root, to unbridled passion, decay and strife, the topic has dominated the top 40 charts ever since the 60s. It should have been no surprise when Mark Ronson released a 13 track collab album, focalized on the theme of … divorce. Perhaps as a nod to his own fate, he says he was “exhausted with trying to make irrefutably ebullient music”. The DJ-become-mega-producer chose to work with nine different singers, amongst which Angel Olsen, Lykke Li, YEBBA, Alicia Keys and Miley Cyrus. With such a diverse casting, it’s slightly difficult to picture a coherent final product, despite Ronson’s best intentions, who declared “This is the first time, probably, people should be excited to hear the entire album”. His first record since Uptown Special (2015) certainly has a fistful of smash hits, and Late Night Feelings is one of them. Lykke Li’s vocals on the disco-lounge, 70s like single are playful and melancholic. The Swedish singer - mostly known in indie-pop circles – contemplates insomnia, desire and frustration: “: I ask myself a million questions in the dark / I lay in silence, but silence talks”. Post-breakup anxiety and the Anglo-American’s retro beats carry on to True Blue, with Angel Olsen. The indie rock star’s haunting voice is backed by a sultry beat and guitars so drenched in reverb you wonder if they were ever there in the first place, owing as much to Abba as to The Alarm; the track stands out as one of the most fleshed out as well as somber on the album. However, first place unequivocally belongs to Miley Cyrus, on Nothing Breaks Like A Heart. The superstar’s biggest hit since Wrecking Ball in 2013 combines country, dance beats and lo-fi violins in the best sad banger yet. Owing as much to contemporary pop music as to Dolly Parton, it is a masterful tale of the pain, resignation and indifference in the wake of a relationship. A few other songs, such as Knock Knock Knock feat. YEBBA or Find You Again Feat. Camila Cabelo are slightly off mark when it comes to production. The result is an inconsistent yet addictive album. © Alexis Renaudat/Qobuz
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Pop - Released November 29, 2018 | Columbia

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Pop - Released January 12, 2015 | Columbia

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Pop - Released April 13, 2015 | Columbia

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Electronic - Released August 29, 2003 | Elektra Records

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Pop - Released April 16, 2007 | RCA Records Label

You know that a producer has become a star in his own right when he's given a contract to put out an album under his own name -- but, really, if any producer deserved his own vanity project in 2007, it's Mark Ronson, the man behind much of the two best British pop albums in 2006, Lily Allen's Alright, Still and Amy Winehouse's Back to Black. Ronson, of course, had been a fixture in the N.Y.C. and London DJ scenes long before this, and had even released an album called Here Comes the Fuzz in 2003 that found him enlisting a cast of American hipsters -- everyone from Ghostface Killah and Mos Def to Rivers Cuomo, Jack White, and Saturday Night Live comedian Jimmy Fallon -- to front tracks he crafted. Ronson keeps that same blueprint for his second album, Version, but he sets his sights on the U.K., the country that finally turned him into a star thanks to those Allen and Winehouse productions, bringing in Lily and Amy and a parade of modern Brit stars to sing over his tracks. This time around, Ronson has ginned up the original concept with a better concept: to cover a bunch of contemporary British pop classics and modern hits, ranging from the Jam's "Pretty Green" to Maxïmo Park's "Apply Some Pressure." All of the tunes have been run through Ronson's grinder, turning them into splashy, clever, but not-quite-campy blends of old-school hip-hop, '60s soul (equal parts Motown and Stax), postmodern pop, and classic kitsch, so it sounds like a modern update on a late-'60s variety show. Since Ronson has a distinct musical viewpoint -- one that's heavy on style, of course; one that's designed for club play but emphasizes melody and feel over beats -- Version holds together as a proper album, but that's primarily because Ronson turns everything into a soundtrack for an absurd retro-fantasia of a Northern soul club, one where the Tamla beat never stops pounding even as it morphs into rolling hip-hop loops, one where the horns never stop blaring, one where the pop hooks are as prominent as the groove. Whether you're into club music or pop, it's easy to be seduced by Ronson's fantasy, and Version sure is fun as it plays the first time through, and several of his reinventions are giddy, devious delights, as when he finally injects some humor into Coldplay by turning "God Put a Smile Upon Your Face" into an instrumental fueled by the Daptone Horns, or doing a similar deed to Radiohead's "Just" (here sung by Phantom Planet), or how the Smiths' "Stop Me If You Think You've Heard This One Before" is turned into a soul medley with the Supremes' "You Keep Me Hangin' On" as sung by Daniel Merriweather. That latter track in particular is a neat trick, but it's like the bulk of Version in microcosm: the imagination and skill is dazzling at first but subsequent spins reveal it as more style than substance, particularly because Merriweather isn't a sensitive interpreter and his affectless delivery becomes grating upon repeated plays, turning this into a shallow display of production virtuosity. Too much of Version is like this -- great ideas shackled by bland vocalists -- to make it a lasting pleasure, but in the moment it's a great party record anchored by two brilliant moments: Lily Allen's take on the Kaiser Chiefs' "Oh My God" and Amy Winehouse's flat-out stupendous reworking of the Zutons' "Valerie," which turns it into a lost Motown classic. Not for nothing are these two highlights from the artists who made Mark Ronson a star -- not only do their aesthetics match his, but they're the only ones with enough charisma to overpower his showy tracks and make them into their own. © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released September 21, 2010 | Columbia

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Pop - Released June 21, 2019 | Columbia

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Pop - Released January 4, 2019 | Columbia

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Pop - Released October 18, 2019 | Columbia

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Pop - Released May 13, 2020 | Columbia

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Pop - Released June 22, 2007 | Columbia

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Pop - Released July 26, 2007 | Columbia

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Pop - Released September 27, 2019 | Columbia

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Pop - Released June 29, 2015 | Columbia

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Pop - Released May 10, 2019 | Columbia