Frank, Amy Winehouse’s 2004 debut, marked the arrival of a formidable, if somewhat tenacious new talent, an artist whose ability to absorb the influences of classic jazz, blues and R&B seems like second nature. Her sassy, seductive vocals draw from the imprints left over the past 50 years by groundbreaking forebears, from Eartha Kitt and Ella Fitzgerald to Macy Gray and Lauren Hill. Nevertheless, on Back To Black, Winehouse proves she’s more than a mere sponge soaking up her influences; it’s an album that asserts her edge and defiance, both personally and professionally. Indeed, Winehouse’s rebel streak has gained her a fair share of notoriety and her abusive behavior has often threatened to undermine her inherent ability. If it weren’t for that, the album’s unapologetic leadoff track, “Rehab,” might have been a better ode for Britney Spears. “You Know I’m No Good,” “Me & Mr. Jones” and the title track find her crooning and cajoling, the music buoyed by swaying, sinewy rhythms and a smoky cabaret sensibility. Imbued with an air of authenticity, it’s a sound that seems born of an earlier era. It’s not surprising to find the great songwriting duo Ashford and Simpson contributing to “Tears Dry On Their Own” considering the vintage feel that Winehouse seems to strive for. Attitude and aptitude makes for a searing combination and on Back To Black, Winehouse exudes each in equal measure.
~ Lee Zimmerman
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