The trend of superstar producers headlining ahead of their superstar artist peers has never been more embraced than in the case of Mark Ronson. His first two albums Here Comes the Fuzz (2003) and Version (2007) experienced polar receptions upon release, but seven years after he made his name as a quirky and original DJ in New York, he has cemented his position in the industry as one of the most influential and sought after producers. The release of Record Collection under the visor of Mark Ronson and the Business International signals a new stage for him; as he tries to show that he can stand on his own two feet without vocals by his superstar friends.

Released as the first single and taster way back in July 2010, opener 'Bang Bang Bang' sets the tone, as Ronson ditches the horns for a more synth-pop sound. It’s catchy and sounds off with a bigger and louder bubblegum boom on every listen. Veteran rapper Q-Tip is a perfect fit for a Mark Ronson song, but it’s Amanda Warner of electro-pop duo MNDR that surprisingly shines. Her delivery of the line ‘Je te plumerai la tête’ in the chorus is as gratingly infectious as it is teasingly playful and sexy.

There is a conscious effort on Record Collection to fuse the mainstream sound that brought Ronson so much success with Version with his own brand of alternative hip-hop that was initially so badly received on Here Comes the Fuzz. Wu-Tang Clan’s Ghostface Killah originally featured on his debut, and his contribution on ‘Lose it’ is another precious highlight of what turns into a laboured record.

Listen after listen, you’ll will it to work; because on paper it all looks great: Simon Le Bon of Duran Duran, Kyle Falconer of The View, Rose Elinor Dougall of The Pipettes and the talented D’Angelo are all mouth-watering contributors. Despite this, the album lacks the spontaneity and imagination that it deserves. Every song sounds too measured and too precise, which ultimately equates to flat and forgettable tunes, such as ‘The Bike Song’.

Record Collection will underwhelm fans that are still riding the soundwaves of his hit remixes. Unlike the mix and mingle of Version; this album feels much more consistent, and for better or for worse, it has a distinct and solid uniform feel to it.

Mark Ronson is likeable and completely unobjectionable, which makes it harder to suggest that his most successful songs are those featuring the bigger, popular and more successful stars. Former muses Amy Winehouse and Lily Allen lent their star statuses as much as they did their vocals, and it begs the question: exactly how many of these songs will still be on radio playlists six months from now? We think one, maybe two. Probably just the one, though.