Back to Black

AMY WINEHOUSEBACK TO BLACK

Amy Winehouse’s sophomore album, Back to Black, is an exceptional piece of raunchy, modern throwback music. I say that with no breath to spare. If you’ve thought about buying this album, stop reading immediately and find your way to the dirtiest record store in town. I write this endorsement knowing that Winehouse is the new “it” thing, and I further endorse her album because, simply, it’s that good. Back to Black is your new stinky, funky, full-throated best friend.

And no, you don’t have to like soul music, British accents or female singers to like this album. None of those things are factors with Winehouse or her sound; you just simply have to love music in general, be it primeval rock, authentic blues, jazz, soul or even modern pop/rap/R&B. Back to Black is a nearly flawless soul album with the jazzy power and spirit of Etta James’ At Last. That said, Back to Black is also a very modern (yet timeless) recording. Thick backdrops that harken back to girl R&B groups of the 60s rumble and romp behind Winehouse’s almost-too-soulful-to-believe vocals, setting the stage perfectly for a vocalist able to soar in a way only possible when painfully meant right down to the last lacey, desperate syllable.

Back to Black’s breakout single, “Rehab,” while great for what it is (an attention-grabbing hit single), is easily the least representative track of Winehouse’s on the album. Just skimming through the song titles - “Wake Up Alone,” “Tears Dry On Their Own,”  “Love Is a Losing Game,” “You Know I’m No Good,” etc. - offers a better idea of the album’s soul-drenched sound. If you’ve somehow managed to avoid hearing “Rehab” or any of Back to Black’s other nine tracks, try daydreaming a scenario where Dusty Sprinfield fumbles into Memphis with famed producer Mark Ronson (and sometimes Salaam Remi) at her side.

Ronson’s uncharacteristically organic production features his trademark knack for popping drumbeats, as well as a nice hodgepodge of distinguishing Stax-era instrumentation. Full-blown horn sections, Rhodes pianos, organs, wurlitzers, slight orchestras and much more back Winehouse, who, in addition to her throwback vocals, helms many of the guitar duties. Ronson, too, takes to the tambourine when needed.

Highlighting standout tracks on a lean, powerhouse record like Back to Black is fools work. Front to back, top to bottom, round and round, Back to Black is solid, soulful, modern and perfectly executed. It also manages a widespread appeal, favoring old soul and rock fans just as easily as it does modern hip-hop and R&B connoisseurs. Frankly, it sounds classic. Instantly.

As far as modern soul music - or R&B, for those under age 30 - goes, Back to Black is as good as it gets. Winehouse’s second effort is, for its time, very fresh and inventive, crunching the old and the new together in such a seamless, sound-of-now way that, even if it wins every sticky, pointless Grammy award, is a must hear for all the Sonic Monkeys still roaming music store isles.

Oh, and one more thing: Aretha. (Excuse me for not wanting to be the first Back to Black reviewer not to acknowledge that the album wouldn’t have ever been made with out Mr. Franklin’s existence.) Now go grab your sugar, put on some Amy Winehouse and do what you’re gonna do.   9/10

Written by G. William Locke