Amy Winehouse, "Lioness: Hidden Treasures" (Universal Republic)
Although "Lioness: Hidden Treasures" serves as Amy Winehouse's post-mortem manuscript and a follow-up to 2007's "Back to Black," a multiplatinum, multi-Grammy winning manuscript that would conclude her brief career, it was not dictated as such: While she started on element for a third album, one had not been finished during a time of her genocide on Jul 23 from ethanol poisoning. And of a 13 songs on "Lioness," usually 4 were available in her post-"Back to Black" era: "Body & Soul," a Tony Bennett duet already enclosed on Bennett's possess "Duets II" this year; "Between a Cheats"; a Nas partnership "Like Smoke"; and "A Song for You."
Listening to those many new tunes, generally "A Song for You" â€" a reconstitute of a Donny Hathaway classical â€" we can hear because that loyal third manuscript never materialized. On a song, Winehouse's once strong, hazed and moist voice had mislaid some of a vitality, and while she showed flashes of spark, she stumbles her approach by her performances: It's distressing to hear such a noted decrease in only a few brief years.
Still, it's a present to hear anything from Winehouse in a arise of her black death, and this new gathering facilities loyal treasures available between 2002, a year before her entrance album, "Frank," and this year. Her delivery of "Will You Still Love Me Tomorrow," a reconstitute of a Shirelles' undying song, is stirring: Recorded in 2004 with a Dap Kings, it showcases Winehouse when she was during or nearby her peak. At one moment, she sounds vulnerable, singing carefully and tenderly; afterwards she releases a full energy of her voice, withdrawal a listener in awe. This strain alone creates a manuscript a must-get.
There are other treats as well. Remakes of "The Girl From Ipanema" and "Our Day Will Come" uncover Winehouse's witty side; "Halftime" recalls 1970s-era soul; and a somewhat downbeat, less-produced chronicle of a Mark Ronson-produced "Valerie" is even improved than a original.
There are also swap takes of her some-more renouned songs, including a stripped-down "Wake Up Alone," that gives Winehouse's voice and an concomitant guitar some-more room to shine, and "Tears Dry," that Winehouse creatively illusory as a ballad (the up-tempo version, "Tears Dry on Their Own," stays a improved version).
Listening to many of a manuscript will leave fans during initial deplorable over a detriment of good talent during such a immature age (she was 27 when she died). But a fun of carrying some-more Winehouse element to savor, generally given she had such a brief catalog, is a tension that remains.
CHECK THIS TRACK OUT: "Best Friends, Right," created only by Winehouse and constructed by visit co-operator Salaam Remi, is a good instance of because Winehouse was so endearing, with a devious humor: "You don't wish me in a prosaic when we come home during night, though we're best friends â€" right?"
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