Cover versions are dangerous things. It takes an extremely talented band or artist to pull what is essentially a re-hash of a song off successfully - and even if they are somewhat triumphant, there'll always be maligners complaining that 'the original was better'. And it's true, too; it's rare that you hear a band doing something different with a song, and almost unheard of that it should surpass the prototype. Which, all in all, makes Mark Ronson's second album, Version, quite a meritable achievement - not least because he's reworked songs by two bands that have possibly the most militant fans in existence (The Smiths and Radiohead). The New York-based, London-born DJ/artist/producer/record label boss's first album, Here Comes the Fuzz, was an assortment of sample-heavy funk tracks, which - apart from spawning the ubiquitous 'Ooh Wee' single - was largely overlooked. He's taken a different approach with his sophomore effort, however, reworking eleven well-known indie tracks with guest vocalists, as well as incorporating three short solo compositions of his own. Instrumental opener, Coldplay's God Put a Smile Upon Your Face outdoes Chris Martin's overstated vocals by using understated horns in its place, and consequently transforms the song into a hip-shaking, Go! Team-do-Northern-Soul jive. Lily Allen's star turn sees the brash, one-dimensional lad-rock of Kaiser Chiefs staple Oh My God become a slinky, colourful summer funk number; Amy Winehouse takes on The Zutons' Valerie with gusto, her sleazy soul drawl altering the original's basic stomp marvellously, while Kenna's soulful pop take on Ryan Adams's melancholic alt-country classic Amy render it almost unrecognisable. The most controversial portrayal here, however, is not necessarily the best; Ronson and Daniel Merriweather's admirable attempt at revamping The Smiths' Stop Me If You Think You've Heard This One Before lacks the wry wit and subtle vocal intonations of Morrissey's rendition, and is ultimately a hollow endeavour. Not so for Alex Greenwald's (of Californian rockers Phantom Planet) whack at Radiohead's Just, though; one of the album's standout tracks, its chorus of horns replace the tension of Jonny Greenwood's guitar effectively and cannily. He doesn't get it right every time, but when Mark Ronson is on target, it's pretty damned irresistible.
