Celebrity DJ, Mark Ronson popularized hardcore hip-hop sounds in ritzy New York nightclubs and uncharted territories such as the Hamptons.  Building a glitzy reputation and a network within different musical genres, it’s only appropriate that Sylvia Rhone, Elektra Records’ CEO, would tell him “Here’s a half a mil, make some hits of your own.”  Gathering a diverse collection of talent, Mark Ronson moves from behind the turntables and brings Here Comes The Fuzz.
 Those unfamiliar with Ronson will be impressed with his level of involvement.  Not content to merely produce the tracks, he shows his musical dexterity playing many of the instruments used in concocting the musical backdrops. 

His own Allido Records artist, Saigon, makes one of the strongest showings on the album with “Diduntdidunt”.  A spry bassline gives this track a jazzy feel contrasting Saigon’s aggressive chastising of the “type nigga to get knocked out and say you was drunk.”  The Cuban-flavored “Tomorrow” meshes Devi Nova’s sweet spanglish vocals perfectly with Q-Tip, who sounds like he recovered from his “Amplified” identity crisis.  Ronson’s heavy rock influence is evident on tracks such Mos Def & M.O.P.’s “On The Run”, which uses hard sampled guitars to drive the mood and sound.

His ambitions to incorporate rock with hip-hop do get the best of him at times though.  The album’s title track is overdramatic and lacks chemistry between Nikka Costa and Freeway.  The other miss “Bout To Get Ugly” starts off innocently enough with humorous narratives from Rhymefest, but quickly digresses on an elongated rock tangent that gives the track a very disheveled feel.

Here Comes The Fuzz plays like Ronson’s DJ sets showing an awareness and appreciation of all the different genres of music.  Integrating all this into an album and Ronson’s enjoyable production makes this a worthwhile listening experience.