Record Collection is an apt description of the new Mark Ronson album, with appearances coming thick and fast from hip-hop luminaries Ghostface Killah and Q-Tip, to 80′s pop masters Simon Le Bon and Boy George. Having done away with the horns, this is supposedly a representation of Ronson’s own record collection.

Opening track and lead single ‘Bang Bang Bang’ almost literally kicks the album off with a bang; the fast and strong synth chords lay over a fast beat ready for MNDR and Q-Tip to sing and rap over respectively. The track rolls faster and faster right up to it’s sudden stop.

Mark Ronson’s first foray onto the mic is unfortuantely the annoying chorus to ‘Lose It (In The End)’. The biggest shame of this is that on either side of the subsequent chorus’s are some fantastic lines from Ghostface Killah, who last worked with Ronson on 2003′s ‘Ooh Wee’.

The second single to be taken from the album is ‘The Bike Song’ featuring Kyle Falconer and Spank Rock and is the lowest point of the record. Spank Rock, who is a hugely talented artist, is pushed to the background (apart from a brief, 25 second bridge) while Kyle Falconer, of The View, takes centre stage in a tale about… riding a bike around town. The silly lyrics are not what makes this track bad however, it’s the monotony of it. The song plods along as Falconers drowsy singing tells of his plans to go for a cycle.

The monotony of ‘The Bike Song’ is complimented by the four minute synth instrumental ‘Circuit Breaker’ and various other minute long instrumentals that sound like imagined songs Ronson either didn’t finish or couldn’t find someone to sing on.

Guest vocalists are an integral part to Mark Ronson’s success and Rose Elinor Dougall is by far the best vocalist on the record. Her hauntingly British voice lift each of the three songs she sings on giving the album some of it’s highlights, especially album closer ‘The Night Last Night’.

Using so many vocalists worked on his previous record Version as the use of horns throughout gave the album it’s sound and consistency. With Ronson jumping from slow soul ballads with Boy George, to b-boy beats and and 80′s synths on every other track, the use of so many vocalists gives the album a disjointed feeling, like a badly compiled mixtape.

The problem with looking through another persons record collection is that you will inevitably find some records that suit you and one’s that don’t. Listening to Mark Ronson’s Record Collection gives you a similar feeling.