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“You Know I’m No Good” – Amy Winehouse
(Words/music: Amy Winehouse, available on Back to Black, Republic 2006)

As marvelous as “Rehab” is, it took “You Know I’m No Good” to have interest in hearing the rest of Back to Black.  Perhaps it’s residual feelings from the “single plus filler” era of albums in the late 1990s, or maybe it was the feeling that “Rehab” felt like a bolt of lightning and that a second strike wouldn’t be as electric.  Regardless, it took the slightly slower “You Know I’m No Good” to pique my interest in Amy Winehouse’s songs. 

Even if it seems easy now after watching Winehouse repeatedly trip over herself in the press, “Rehab” seems a little too cliché at this point.  Of course, that’s part of what makes it so compelling - it gave Winehouse a larger-than-life personality to counter her larger-than-life voice.  Still, I found myself drawn more to “You Know I’m No Good,” which still addresses her demons with far less caricature.  If the intensity in “Rehab” made it urgent, the laid back cool works almost as well here.  Mark Ronson’s production feels playful here and Winehouse follows his lead with odd similes and a reference to a Lesser Bond.  She practically coos out the title line near the end of the chorus too, making the “you know I’m trouble” practically sound like a come-on rather than a put-off.  Even if it’s essentially the same source material as “Rehab,” Winehouse manages to spin a different story out of the same yarn.  If nothing else, it gave me reason enough to look a little deeper.

More on Amy Winehouse: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: amy winehouse | mark ronson | 2006 | 2000s | republic records |
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“Build Me Up” – Rhymefest f/ Ol’ Dirty Bastard
(Words/music: Michael d’Abo/Tony Macaulay/Mark Ronson/Che Smith, available on Blue Collar, RCA 2006)

Somehow, it’s appropriate that the ODB’s final recording before passing would be a goofy hook based on a classic pop song.  Dirt’s legacy lies in his absurdity, and it’s this inherent ridiculousness that makes something this goofy work so well.  Even if he’s far more clever than this, “Build Me Up” more or less captures the ODB’s enduring legacy as a partly absurd, partly comedic presence.  To laugh at Russell Jones is only to acknowledge the tip of the iceberg – although, to be fair, he doesn’t exactly do himself favors by seeking out opportunities to show off his skill for wordplay.

That being said, it’s Rhymefest’s premise that makes this track a winner.  Our narrator has girl problems, so he writes a letter to the ODB – a decision of questionable logic that yields endless comedic results.  It also affords Rhymefest, who tries his best to milk the “blue collar” work ethic off of Kanye West’s coattails, the opportunity to cut loose and be ridiculous.  Sure, it yield’s some clunkers, but on a track where the hook is a pop song interpreted by a man who once asked to be called Big Baby Jesus, Rhymefest sounds downright clever.  In any case, it offers ‘Fest the chance to make a reference to When Harry Met Sally and air out his lady problems in as many creative ways as possible, knowing that the ODB will be there to out-ridiculous him nearly a minute later.  It’s a playful side that Rhymefest would later mute, outing himself as a proud homophobe on a later mixtape, but for one fleeting moment it felt like he was having fun at his own expense.  Even if he went back to taking himself (too?) seriously, “Build Me Up” makes it impossible to stay stoic when the ODB starts in on the hook.

More on Rhymefest: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: rhymefest | ol'dirty bastard | mark ronson | 2006 | 2000s | hip hop | when harry met sally | rca |
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“Valerie (f/ Amy Winehouse)” – Mark Ronson
(Words/music: The Zutons, available on Version, Columbia 2007)

I have little to no interest in Amy Winehouse’s story.  I’m a sucker for backstory, but Winehouse’s sounds like it would just make me angry.  That being said, I think she has a killer voice, and I understand why producer Mark Ronson would work with someone like her.  She possesses a unique voice that oozes personality, immediately attracting attention.  The Zutons’ “Valerie” seems like the perfect star vehicle for her.  Ronson surrounds her with his snappy, soulful production that allows Winehouse to assume the spotlight.  Where the Zutons performed it as a mid-tempo stomp, Ronson and Winehouse turn it into a romp, complete with horns and a lively beat.

My favorite part of the song, no matter how lively it sounds, is that neither Ronson’s production nor Winehouse’s vocals sound rushed.  Ronson stirs up a groove that moves without feeling like it rushes.  His drummer (or his drum machine – I honestly can’t tell, so a credit to him if he’s pulling a fast one on me) sits in that pocket slightly behind the beat.  It’s not dragging; instead, it makes the track feel settled rather than rushed.  It’s a testament to Ronson’s production style that he can make his track feel like it’s played by a well-rehearsed house band.  It might turn some people off, but it’s hard to argue against his abilities as a producer.  Additionally, Winehouse embellishes on the melody a fair amount, yet she never feels like she’s going all out.  Rather than sounding “phoned in,” Winehouse sounds relaxed and even fun as she’s singing the song.  When she does climb up into the higher parts of her register, it’s to serve the song rather than flaunt her vocal prowess.  For someone who comes across so tortured in the media, Winehouse feels like she’s having fun on this one, leading me to think what Back to Black might sound like once she (or rather, if she ever) settles her demons.  She has the potential to become this generation’s most powerful voice if she chooses to put her energy into music.

More on Mark Ronson: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: mark ronson | amy winehouse | the zutons | 2007 | 2000s | track analysis | columbia records |
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