By Switch Soundz
By William Earl
2007-03-13
Amy Winehouse
Back to Black (Republic)
Release date March 13
The British music scene notoriously introduces artists who drip cool upon their release and then disappear. Soul singer Amy Winehouse is ambitiously positioning herself to be an exception to the rule. After a Mercury Music Prize nomination for her 2003 debut “Frank,” Winehouse disappeared from the scene to gain new inspiration and hone her craft. “Back To Black,” her latest release, has been gobbled up by NME and the like, and, with any luck, will properly translate its mass appeal to the States.
Sounding like a polished Macy Gray, Winehouse specializes in smoky, uptempo club bangers which mix 60’s girl group ethos with hip-hop beats. Winehouse, never afraid to show off her bad-girl tattoos and cleavage, is reminiscent in attitude to a foul-mouthed Beyoncé. First single “Rehab” is an old-school, horn-fused jam which could fit in Destiny’s Child’s “independent woman” repertoire; yet instead of fighting men, Winehouse battles handlers who attempt to curb her alcohol fetish.
Although Winehouse’s music throws back to classic soul, The Chantels this is not. As Motown became chic once more after Christina Aguilera’s massive 2006 release “Back to Basics,” her work was more copy than interpretation. Conversely, Winehouse is able to mix her vocal prowess with a hip-hop influence, creating a totally fresh, and strangely logical, sound. But urban sounds do not drown out the album’s vision. Winehouse’s band infuses dabbles of jazz, funk and even samba, which matches the patchwork style of the artist’s themes.
Lyrically, “Black” examines imperfect people living day-to-day. Few role models emerge among the serial cheaters (“You Know I’m No Good”) and disrespectful lovers (“Me and Mr. Jones”). Yet her flawed characters always experience the most growth, as the title track explores post-relationship optimism and “Wake Up Alone” analyzes the grief process, often with a wicked sense of humor: “When I catch myself (crying) I do a 180 / I stay up / Clean the house / (At) least I’m not drinking.”
Bored with Norah Jones? Try Winehouse for a funky, soulful blues romp with attitude to spare. And judging by advance hype issued via scores of music journals, as well as a career-defining cameo on a recent Ghostface Killah cut, Americans are sure to treat her well.
Bill Earl grew up in Cumberland but is currently rockin’ out at New York’s Ithaca College, and he is psyched to be writing for The Maine Switch. E-mail him at williamjearl@gmail.com
Sounding like a polished Macy Gray, Winehouse specializes in smoky, uptempo club bangers which mix 60’s girl group ethos with hip-hop beats. Winehouse, never afraid to show off her bad-girl tattoos and cleavage, is reminiscent in attitude to a foul-mouthed Beyoncé. First single “Rehab” is an old-school, horn-fused jam which could fit in Destiny’s Child’s “independent woman” repertoire; yet instead of fighting men, Winehouse battles handlers who attempt to curb her alcohol fetish.
Although Winehouse’s music throws back to classic soul, The Chantels this is not. As Motown became chic once more after Christina Aguilera’s massive 2006 release “Back to Basics,” her work was more copy than interpretation. Conversely, Winehouse is able to mix her vocal prowess with a hip-hop influence, creating a totally fresh, and strangely logical, sound. But urban sounds do not drown out the album’s vision. Winehouse’s band infuses dabbles of jazz, funk and even samba, which matches the patchwork style of the artist’s themes.
Lyrically, “Black” examines imperfect people living day-to-day. Few role models emerge among the serial cheaters (“You Know I’m No Good”) and disrespectful lovers (“Me and Mr. Jones”). Yet her flawed characters always experience the most growth, as the title track explores post-relationship optimism and “Wake Up Alone” analyzes the grief process, often with a wicked sense of humor: “When I catch myself (crying) I do a 180 / I stay up / Clean the house / (At) least I’m not drinking.”
Bored with Norah Jones? Try Winehouse for a funky, soulful blues romp with attitude to spare. And judging by advance hype issued via scores of music journals, as well as a career-defining cameo on a recent Ghostface Killah cut, Americans are sure to treat her well.
Bill Earl grew up in Cumberland but is currently rockin’ out at New York’s Ithaca College, and he is psyched to be writing for The Maine Switch. E-mail him at williamjearl@gmail.com