Is there anything surprising about Amy Winehouse’s being awarded five Grammys this month? A cynic might say that her ability to stay alive is startling, but Winehouse’s worrying series of relapses and collapses could simply be a trick of the light. Actors and singers were misbehaving vigorously before the advent of radio; Winehouse may seem like such a dedicated tearaway because the lens recording her movements is wider than anything a sixties celebrity would have encountered, doesn’t switch off, and continually feeds a twenty-four-hour newsstand.
....Winehouse’s self-destructiveness isn’t a plausible explanation for her popularity, or her awards, no matter how easily it converts into press. With the producers Mark Ronson and Salaam Remi, she made a very popular album that looks firmly, and directly, backward. “Back to Black” is a deft and convincing pastiche of the girl groups of the sixties, the jazz singers of the forties, and a variety of rhythms from the seventies and the nineties. (The eighties get a pass.) It’s an entertaining, clever album that benefits from a strategy that makes everyone who isn’t Miles Davis look good: it’s only thirty-five minutes long (and closer to thirty without the bonus track). “Back to Black” is a modified sixties soul album, with one perfect single (the ubiquitous “Rehab,” which allows Winehouse to celebrate, make fun of, and justify her own substance abuse), sung and written by a twenty-four-year-old girl from Southgate, London, who says she has the musical taste of “an old Jewish man” and wears her hair in a vertical pile she refers to as “my hive.” - complete article
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