Amy Winehouse | Lioness: Hidden Treasures
Album Review: Amy Winehouse | Lioness: Hidden Treasures
by Brent Faulkner
When British soul singer Amy Winehouse passed away in July 2011 at age 27, the world lost a talented musician way too soon. While many predicted Winehouse’s battle with demons would be her ultimate and perhaps untimely demise, the world was saddened that such a distinct, passionate, and soulful voice was gone so soon. Prior to her untimely death, Winehouse had been working slowly on a third effort, much of which was unfinished. 2011 compilation Lioness: Hidden Treasures includes a mix of old, new, and unreleased recordings. Like most posthumously released compilations, it has its truly great moments and it also has its less virtuous ones. For the most part, Winehouse shines and saddens listeners through the unrequited beauty and distinct classicism of her voice.
“Our Day Will Come” flips a classic doo-wop number and transforms it into a reggae-soul cut. While “Our Day Will Come” doesn’t dare rival the bombast of Back to Black opener “Rehab,” it is a solid performance, showing a younger, less ‘pained’ Winehouse. The nuances are exceptional throughout, particularly towards the end - a clear testament to Winehouse’s musicianship. Salaam Remi’s production helps to make “One Day Will Come” so effective. “Between the Cheats,” a “new” cut, isn’t too shabby, again nabbing Salaam Remi as producer. A vintage soul sound is cultivated here, with the cliché ostinato piano in full force. Winehouse’s vocals are a little less precise and less decipherable here, lacking the quality she showed on Back to Black. At times, Winehouse ‘commands’ while at other times she playfully tackles the number. That said, the background vocals are a strong suit and this cut is still catchy and distinct enough.
“Tears Dry (Original Version)” exhibits the lower register of Winehouse flawlessly. Winehouse commands here, even more so than “Between the Cheats,” using her full voice. Even better is a sound cover of “Will You Still Love Me Tomorrow,” arguably the best cut of the entire compilation. Here, Mark Ronson’s arrangement is perfect, much like his excellent production work on Back to Black. Vocally, Winehouse sounds at her peak, truly commanding the song and delivering musically contrived nuances and ad libs. Additionally, the vocal production is perfect. “Like Smoke,” featuring Nas follows to less avail. Nas is the ‘star’ here delivering his rap verses with much more urgency than Winehouse delivers her vocals. The main problem is that there is more vocal affections and nuance than melody; Nas’s verses are as clear and well crafted as always. “Like Smoke” feels more undercooked than some of the cuts that grace this compilation.
“Valerie (’68 Version)” is another well executed cover, bowing from Winehouse’s Back to Black sessions. The early Winehouse career cover of “The Girl From Ipanema” is absolutely stunning, showing off Winehouse’s consummate musicianship. Winehouse alters the melody of the latin-jazz classic liberally, but the results yield nothing but soulful magic. A Winehouse original, “Half Time” originated from Frank and lays well for the most part. Vocally, Winehouse again contributes some soulful nuances and ad libs without making “Half Time” the ‘elite’ of Lioness.
“Wake Up Alone (Original Version)” is quite alluring, showing Winehouse in a one-take setting delivering vocal magic. The reverb surrounding Winehouse’s vocals towards the end is a great touch. “Best Friends, Right” was recorded back in 2003 in a live setting. While it is not the best of the effort, it shows a younger Winehouse and certainly foreshadows her vocal potential prior to Back to Black. A reprise of “Body and Soul” with Tony Bennett (it’s featured on his Duets II album) makes one rethink the Winehouse’s vocal quality. Sure, she channels Etta James and Billie Holiday, but compared to other performances, Winehouse sounds more distant, restrained, and less polished here. Bennett clearly outshines here here, particularly notable on the harmonized parts. Closing “A Song For You” features one of the strongest arrangements of the effort (Salaam Remi), but perhaps Winehouse’s weakest, most vulnerable vocal performances. The pitch suffers here, particularly towards the end as Winehouse sounds her most ‘pained.’ The vulnerability exhibited here only saddens the listener and makes them shake their head in reflection.
Overall, Lioness: Hidden Treasures is a better compilation effort than most posthumously released efforts tend to be. That said, it is still ‘mixed-bag.’ At times Winehouse shines without vulnerability (“Will You Still Love Me Tomorrow”), while at other times the listener perceives the pain of her demons (closer “A Song For You”). Regardless, Lioness is a must-have for any Winehouse fan and serves as another reminder of what a dear voice was lost in 2011.
Brent Faulkner
The Urban Music Scene
Posted by Administration at 12/13/2011 9:42 AM 
Categories: International, Rhythm and Blues, Soul, Video
Tags: Rhythm And Blues Music Videos
Categories: International, Rhythm and Blues, Soul, Video
Tags: Rhythm And Blues Music Videos
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