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Amy Winehouse - Back to Black

 Il secondo disco della cantante londinese dall'esistenza controversa piena di rapporti interpersonali turbolenti e burrascosi e' caratterizzato da ammiccamenti Motown, controcanti di sax tenore squisitamente Stax e un’atmosfera retrò molto ben ricostruita dai produttori Mark Ronson e Salaam Remi su cui si adagia la splendida, scorbutica e scapigliata voce di Amy.

Back to Black e' album innovativo e geniale con un sound unico e con testi che sono un pugno allo stomaco per la loro crudezza e espressività. Trasuda sofferenza e disagio, amori finiti, abbandoni, lacrime che si asciugano da sole, un lui che va via e la lascia indietro nel buio.Insomma un album crudo e sofferto ma che colpisce per la raffinatezza dei suoni.

Aggiungeteci la lingua impertinente di Amy, una che non le manda mai a dire: prende di petto l’argomento tabù delle sue ben note inclinazioni alcoliche e ne ricava un singolo contagioso ed esilarante, capolavoro di ironia e introspezione, "Rehab" (Hanno cercato di farmi andare al centro di riabilitazione ma io ho detto no, no, no, recita la prima strofa del testo),oppure "Back to black" che non solo dà il titolo all'album, ma è anche il brano più bello, coinvolgente  dal punto di vista musicale, per l'arrangiamento ed il crescendo che accompagna il testo, che contiene qualche espressione volgare (Non si è fatto scrupoli / Ha provveduto a tenersi il cazzo bagnato / Come mi sono sempre aspettata / Io sono ubriaca fradicia / E le mie lacrime si sono prosciugate / Vado avanti senza il mio uomo...) ma proprio per questo arriva dritto allo stomaco: è la morte di un amore, il suo uomo se ne va ed Amy torna "in nero" (back to black), ovvero in lutto, tant'è che nel video della canzone si celebra il funerale del suo cuore.

Il disco è costruito miscelando e alternando soul pop di stampo detroitiano ("Back To Black", "Love Is A Losing Game" e la più debole "He Can Only Hold Her"), reggae ("Just Friends"), scampoli sonori e vocali degli anni ’50 ("Me & Mr Jones", "Wake Up Alone"), sfumature blues, funk e r&b di New Orleans (proprio il tormentone "Rehab") e pop anni ’60 ("Tears Dry On Their Own", scritto insieme al famoso duo Ashford & Simpson).

Un album meritatamente premiato da critica e pubblico.

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