Ten years after Amy Winehouse’s breakthrough release, the singer’s powerfully self-critical point of view stands alone.
When Amy Winehouse’s Back to Black arrived in 2006, it was hailed for carving out a space in mainstream pop music for recreations of ’50s and ’60s soul. The past 10 years of Adele and Lana Del Rey, “Blurred Lines” and “Stay With Me,” Mark Ronson at the Super Bowl and Mark Ronson executive producing Lady Gaga’s latest album, testify to Winehouse’s influence—or at least testify to the fact that she presaged a shift in public tastes.
So it might be expected that a decade later, with the sound of Back to Black—the horns, the woodwinds, the wandering bass lines, the crackling analogue drum tones—once again familiar, the album might sound less vibrant than it once did. No, no, no. Back to Black remains a singular classic thanks less to the traditions it harkened back to than to Winehouse herself—her voice, yes, but also her crushingly honest point of view.