Amy Winehouse - Lioness (Hidden Treasures)

It doesn't take a lot to make me cry, but upon hearing the news of Amy Winehouse's death last year, I was sent into a fit of tears. The list of musicians who've had that effect on me only contains one other name (Michael Jackson). She was one of the first musicians that really tore me away from pop sensibilities and made me aware of (at least some of) the history of soul and blues music. In amongst all of the spite from the dark corners of the internet (fuelled by thoughtless posts like "this is hardly surprising" as though death should be measured by how jaw-dropping it is), there came some touching tributes, though, and the optimist in me says she'll be remembered as a fantastic talent.

The other side to the story, however, and it is a story, because her father keeps insisting on thrusting it into the tabloid-readership's faces, is that Lioness is a rushed, half-arsed cash scheme. There's a saddening lack of dignity displayed by Mitch Winehouse - but then, as the father of someone quite keen to teeter down to the pub and offer the paparazzi cups of tea, this might not be surprising. Perhaps then, the uncomfortability about this, her first (and last?) posthumous album, lies in the music itself.


It begins promisingly enough. Her cover of 'Our Day Will Come' slots right between classic hits of hers with a bittersweet optimism about the future, matching the musical stylings of previous stalwarts Just Friends or He Can Only Hold Her in a clear display of her influences and inspiration. The reggae tints courtesy of producer Salaam Remi are apparent on the first original track, 'Between the Cheats', a sturdy track but too nostalgic to make any exceptional impact. An early version of her hit single Tears Dry On Their Own then comes, and it's a notably darker and heartbroken version. Although nothing we haven't heard before, one can't help feeling as though this alternate reality is more convincing. Sadly, though, another reworking of the Carole King classic 'Will You Love Me Tomorrow' (following Winehouse's 2004 cover that appeared in the Bridget Jones movie) lacks any new perspective. The brass briefly enchanting, it's ultimately nothing new.

Nas then makes an appearance on 'Like Smoke', a cool and brooding track that seems as though it's in the early stages of a proper development. Another cover that noone really needed to get their hands on comes in 'Valerie ('68 version)' - a pretty standard and uninteresting offering. On the other hand, her rendition of 'The Girl From Ipanema' shows Winehouse channeling her Franker vocals, and, with its bossa nova sounds, its musical directions. Another original track, 'Half Time' places Winehouse in a club-singer frame, sounding more intimate and restrained, and the effect is charming. Things are stripped further bare on an original recording of 'Wake Up Alone', where her voice wrenches just about every listener's heart.

On 'Best Friends, Right?' we catch a glimpse of chipper Winehouse, and the production is at the album's strongest, throwing in all sorts of background twinkles and percussions. The famous Tony Bennett duet then plays out, and sadly the cover of 'Body and Soul' is all a little too Jools Holland indulgence to make any kind of exciting impact. Rainfall introduces her final cover, of Leon Russell's 'A Song For You' and it's all dramatic strings to bring down the curtains.


Of course, it was never going to be the album everyone wanted from Amy - but Mark Ronson and Salaam Remi have done a pretty decent job here. Although a little self-indulgent at times, and at others a shade too repetitive, there are enough fascinating glimpses and reminders of Winehouse's talents here to save Lioness from being a total cop-out. That said, I can't say it's made any lasting impression on my thoughts regarding her legacy, so it's a little bit of a disappointing conclusion to an enthralling, beautiful story. So long, Amy, and thanks for the memories.

Rating: 6/10
Highlights: Our Time Will Come, Half Time, Tears Dry,
Avoid: Will You Love Me Tomorrow, Valerie

Artwork Watch: Perfect photo, ghastly font. Quite symbolic - a true beauty being cheaply marketed.