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Amy Winehouse
Back To Black
67
High quality: Better than about 95% of other albums being released.
4.0
Pain has such an intriguing melody. In our weakest moments our humility makes us honest, and sincerity is key to great music. Amy Winehouse's autobiographical Back to Black is a candid confession of disappointing love, addiction, and regret that she weaves into an impressively coherent CD.

From the moment it opens, Back to Black captures your attention. It is at once both familiar and new. The tracks are deeply rooted in early doo wop, but Winehouse is a story teller, whose cheeky candor would offend the innocent propriety of past generations. Back to Black is an unapologetic insight into the life of a woman whose public persona makes her a favorite in UK's major tabloids.  Alcoholism, battles with anorexia and bulimia, and a devastating public break up inspire Winehouse’s sophomore musical effort. Back to Back delivers the refined talent that Frank (the first CD) promised.

Amy Winehouse partnered with Salaam Remi (Nas), and Mark Ronson (Christina Aguilera, Lily Allen) to create a sound that morphs between jazz, reggae, and Motown soul. Back to Black’s nearly seamless composition may be attributed to the two week recording period. Every song on this album is personal; like chapters of a book the story builds every four minutes.  The first track “Rehab” recounts Winehouse’s management agency’s unsuccessful attempt to get her to attend rehab in a classic call and response, where Winehouse belts, “they tried to make me go to rehab, I said no, no, no!” In “Me and Mr. Jones”, Winehouse, a self-professed Nas fan, laments after a friend made her miss a Nas concert. The title track is a contemporary tale of lost love and addiction sweetened by a Supremes sample. Ms. Winehouse ends the CD by chastising her roommate for allowing her boyfriend to smoke all of her weed in “Addicted”.  Winehouse’s edgy, occasionally obscene lyrics seem almost incongruent with the soulful tracks, but it is this new twist on the old that gives the CD such an appealing personality.  Heartache is timeless, and Winehouse’s story spans the gap between old school soul and hip hop.

The character of her voice flows smoothly between Etta James, Sarah Vaughn, and Lauryn Hill.  She sounds like all, and yet she sounds like none. I would imagine to different listeners she invokes different artists.  However, it is not her potential likeness to the greats that makes this cd worthy of heavy rotation.  The combination of heartfelt lyrics, humor, wit, and infectious tracks create a solid argument for voting Back to Black one of the best cds of 2006. Ms. Winehouse is unabashedly flawed, and it is her honesty that makes Back to Black brilliant.

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