VERSION
Mark Ronson
In stores July 10th (new release date)
Allido/RCA Records

VERSION tracklist:

1) God Put A Smile Upon Your Face” (featuring The Daptone Horns)
original by Coldplay

2) Oh My God (featuring Lily Allen)
original by The Kaiser Chiefs

3) Stop Me (featuring Daniel Merriweather)
original by The Smiths

4) Toxic (featuring Tiggers)
original by Britney Spears

5) Valerie (featuring Amy Winehouse)
original by The Zutons

6) Apply Some Pressure (featuring Paul Smith)
original by Maximo Park

7) Inversion

Pretty Green (featuring Santo Gold)
original by The Jam

9) Just (featuring Phantom Planet)
original by Radiohead

10) Amy (featuring Kenna)
original by Ryan Adams

11) The Only One I Know (featuring Robbie Williams)
original by The Charlatans

12) Diversion

13) L.S.F. (featuring Kasabian)
original by Kasabian

14) Outversion

VERSION
Mark Ronson
Allido/RCA
July 10th, 2007 (new release date)

“Mark Ronson is the man of the moment. Version is a blast, the sound of someone enjoying their success and throwing a party for all corners” – Q Magazine

It’s hard to imagine how Producer, DJ, Artist, and Allido label boss Mark Ronson found the time to bring this album to fruition. Somehow, in the midst of producing some of the most defining sounds of 2006 and 2007 (Lily Allen’s debut? Check. Sessions with Christina Aguilera? Check. Amy Winehouse’s stunning album with its hit song “Rehab”? Check.), Ronson was able to conceive, curate, create, record and compile Version – an album nothing short of perfect. Taking its impetus from a Radiohead cover (”Just”) he redefined in 2005 with Phantom Planet’s Alex Greenwald, a Stax-spirited version was picked up by club and radio Djs in the US and Britain almost by accident. Ronson was clearly bitten by the covers bug. Inspired by the masterwork albums of the 60’s by Quincy Jones and Herb Alpert embodying their musical favorites of their times as they heard them, Mark took to the studio with an army of friends and guest stars (although, he says, “the real guest stars are the songs themselves”) to re-explore some of his favorite modern classics.

Using his same Midas touch that turned Amy Winehouse and Lily Allen into pop gold, Ronson set about recording his album of covers which not only showcases his love of hip hop beats and British alternative rock, but also the soul, funk, psychedelia, pop and disco that his record collection spans. The result re-writes the rulebook on cover versions. The Smiths’ “Stop Me If You Think You’ve Heard This One Before” is reworked as a lush, soulful orchestral R&B track; Ryan Adam’s heartbreaking acoustic love song “Amy” is beautifully reinvented as Sgt. Pepper-era psychedelia; Coldplay’s “God Put A Smile On Your Face” manifests itself as New Orleans’ funk courtesy of The Dapking Horns, while Britney Spears’ “Toxic” is completely transformed by the soulful crooning of Tiggas. “Pretty Green” is a glorious reworking of The Jam’s classic tune, with vocals by up-and-coming dancehall singer Santo Gold, and it’s already on heavy rotation across the club circuit.

His two most recent family members and success stories also make crucial appearances, guesting on Kaiser Chief’s “Oh My God” (Lily Allen) and The Zutons “Valerie” (Amy Winehouse), both songs so ubiquitous in the UK that it took fairly large cojones to revisit them so soon after their own chart success. The fact that it works says much for Ronson’s artistic vision. Version is quite easily the most fun you’re likely to have this summer. What will he think of next?

AUDIO:
Mark Ronson – “Stop Me” Feat. Daniel Merriweather
(Original by The Smiths)
Windows
hi – http://release.sonybmg.com/content.select?pid=lsD-vX3s-GHUAfrqK1D5Mltag2jBCsYx&UserName=Unknown

Real
http://release.sonybmg.com/content.smil?pid=UsJXrvMD3YXLneLyx168nJ7QztLo2SyJ&UserName=Unknown

VIDEO:
Mark Ronson – “Stop Me” Feat. Daniel Merriweather
(Original by The Smiths)
http://www.factoryfilms.net/pop.php?file=MarcRonson_StopMe.mov

by Dwain Lucktung

Spark up a joint, have a drink to this album, and you’ll feel as cool as a T-Bird picking up a Pink Lady at some ’60s greasy burger joint. Punch that jukebox and roll to the sultry voice of Amy Winehouse.

2007’s Best Female at the Brit Awards has returned with her second album, Back to Black. Produced by Mark Ronson and Salaam Remi, the album is a fine, mature and honest follow-up to her 2003 platinum debut, Frank.

Here are 11 tracks of unforgiving, jazzy soul, with a refreshing hint of R&B and gospel-like tunes that illustrate the fact that Winehouse is our modern-day Supreme.

“Rehab” and “You Know I’m no Good” made the UK Top 20 chart in 2006 with easy bass beats and irritatingly catchy harmonies and lyrics. Both are as witty and complex as Winehouse herself. With “Rehab,” the alleged crazy alcoholic sings of her refusal to attend an alcoholic rehabilitation centre, while “You Know I’m no Good” (which features rapper Ghostface Killah) depicts Winehouse’s views on the trials and tribulations of love. (The track will be the lead single as Back to Black is scheduled for release stateside this month.)

Love is a major theme on the album, and the shameless honesty with which Winehouse speaks of it is recognizable as Back to Black’s defining characteristic.

Other tracks such as “Love Is A Losing Game” and “Tears Dry On Their Own” evoke relationship trauma, as the London-born girl expresses in the latter song with her lethargic vocal power: “I should just be my own best friend/Not fuck myself in the head with stupid men.”

The heartbreak continues with the slow and sensitive “Wake Up Alone.” Nonetheless, with its mellow, soothing sound and Southern soul-like back-up singers, this track sets your mind at a pace reminiscent of couples swaying at the last dance of an old-school prom.

But it’s not all a sappy romantic mush of heart-on-sleeve songs. Winehouse is better than that, with her harsh references to sex and frank approach to addiction problems that leave no rest for the imagination. This Camden lass is no-holds-barred with the opening lines of the title track: “He left no time to regret/Kept his dick wet/With his same old safe bet,” all to a funky piano setting the rhythm and Winehouse’s ever languid voice lifting one into a natural high.

Be aware this album is for those willing to embrace a cool and sexy reformation of Mo-town grooves and pure soul. If that already goes over your head, you might prefer using this record as a frisbee this summer.

Winehouse offers nothing more on Back to Black than her jazz roots and soul inspiration culminated with unapologetic emotion, epitomized by the finger-clicking, bouncing feel of “Tears Dry On Their Own,” which closes with: “He takes the day but I’m grown/And in your way/My deep shade/My tears dry.” This troubled and talented girl is all grown up. If you like it, listen up. If not hush up, move on. I doubt Winehouse gives a fuck either way.