Customer Reviews

Lioness: Hidden Treasures (International Version) [Explicit]

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"Lioness" consists of 12 previously unreleased archive recordings and alternate takes, compiled by long-time friends and producers including Salaam Remi and Mark Ronson, in the wake of her death this July, aged just 27.
In the wrong hands, this might have been a slapdash collection, but "Lioness" is presented with genuine tenderness and it never paints Winehouse as a tragic diva stereotype.
The focus, quite rightly, is her vocal talent - not just its soulful power but also its stylistic range. And while there's an obvious melancholy in hearing Winehouse's tones again, there's also dreamy warmth, demonstrated by the opening reggae version of "Our Day Will Come" (originally by 1960s group Ruby & The Romantics Our Day Will Come: Very Best of).
Some of these tracks predate Winehouse's 2003 debut album, "Frank": there's her jazzy teenage take on "The Girl From Ipanema" and the arguable stand-out, elegant original soul melody "Halftime" (dating back to 2002).
Her casual charm and command elevates the familiar covers, whether it's The Shirelles' "Will You Still Love Me Tomorrow?" or another reworking of The Zutons' "Valerie".
There are also curious collaborations: Like "Smoke" is infused with Nas's rap homage to his Camden 'homie', while Winehouse's final studio recording is "Body & Soul", a vintage jazz cut with 85 year old crooner Tony Bennett.
Essentially, the material on "Lioness" should have been a foundation, not a memorial, but it feels like a passionate affair.
The end notes are sweet, full of unmistakeable personality and resonance. A Haider

The Best Of The Shirelles
Tired of Hanging Around

Listening to this recording is such a bitter-sweet experience. Amy Winehouse had the voice and the musical talent to build a career for the ages. Unlike so many pop divas, her genius was built to last. She could have become an Ella Fitzgerald-like figure -- a towering icon. If only. If only the self-destructive part of her psyche could have been brought under control. You read the liner notes of this CD and you see the photos of the intrinsically lovely but deeply damaged person -- you see the signs of personal destructiveness on her body. And you sigh for what might have been.

I don't think this was Amy's best work. I didn't love all the arrangements. But it shouldn't have mattered. She should have had many years to do better and better, to nurture and grow that talent, to fulfill that huge potential.

What I do like about the choice of music is the way she was consciously placing herself as a link in the chain of a grand musical tradition. There are songs here from the 1930s, from the 1950s and 1960s -- and brand new compositions. There are really lovely moments. Even the failures are interesting. You can tell she thought about this music and engaged fully with it.

What a terrible pity.

Considering the impact of 2006's instant classic Back to Black I don't think many would have thought they'd still be waiting for a follow up in 2011. In the years between the two albums Amy became a drug user and by 2008 at age 24 was diagnosed with emphysema as a result of smoking crack cocaine, cannabis & tobacco. Images of Amy on drugs from 2008 onwards were grim. Weight drained with sunken cheeks she looked like a completely different person to the happy curvaceous Frank singer of 2003.

Amid stories of bar fights and substance abuse eventually reports of new music trickled through. In October 2009 Island Records co-president Darcus Beese claimed- `I've heard a couple of song demos that have absolutely floored me', while Amy stated in July 2010 that a new album similar in sound to BtB would be released by 2011. Throughout 2010 Universal had kept several London studios open around the clock incase Amy would want to record. However following her death most reports indicated studio sessions had been sporadic and the bulk of new material left behind consisted of demos. Amy's passing was not a surprise but it was a shock and ultimately disappointing as we'd never get a third album from this prodigal songstress as intended.

For the release of Lioness: Hidden Treasures Salem Remi, Mark Ronson & co have compiled a career spanning collection of material consisting of Frank/BtB demos, multiple covers and a couple of new tracks. In short this is not the mock up third album of all new material fans were hoping for, although it appears only two new songs were completed so perhaps this is as close as we're going to get. Being a shameless cash grab aimed at the Christmas market it is as you would expect a mixed offering, but more than anything this collection highlights the diversity of Amy's music both vocally and stylistically.

'Between the Cheats' (2008) a Doo-wop inspired number and one of the tracks most likely to have appeared on a third album is an undisputed highlight. It shuffles along in somber/soulful fashion with an awesome chorus you can't help but sing along to. You get the sense the vocals could have been a guide track as some of the lines seem slightly muffled. That aside BTC ranks alongside anything off BtB. 'Tears Dry' (2005) on paper looks like an needless addition but with a slowed tempo and original arrangement in lieu of the Gaye/Terrell sample it's effectively a completely different song and arguably better than the 'original' version.

Other highlights include new song 'Like Smoke' (2008) which finds Amy swapping verses with her favourite rapper Nas, Frank era leftover 'Best Friends, Right?' & 1930's Jazz standard 'Body and Soul' recorded in March of this year with another of her musical heros- Tony Bennet (originally appearing on his Duets II album). On the flip side demos of BtB tracks we've all heard a million times such as 'Wake Up Alone' & 'Valerie' are unessesary and feel like they're included to make up the numbers while Mark Ronson's posthumously added production to tracks such as 'Will You Still Love Me Tomorrow' feels forced and ham-fisted.

The final song is a cover of the Leon Russell classic 'A Song For You' made famous by Donny Hathaway. Recorded by Salem Remi in 2009 at Amy's home while she was reportedly under the influence of heroin. This is not Amy at her best but the performances' failings actually add an extra layer of emotion that elevate this to become one of her most powerful songs, and it's inclusion while somewhat controversial paints the full picture of who she was within the scope of her music by showing her at her best And worst. To conclude If you're a fan this is an essential purchase full of rarities and gems which occasionally rival Frank & BtB.

The qualities of a vocal genius don't always become clear when she's singing classic material. Often as not, her abilities to both personalize and transcend a lifeless song with a stellar performance reveal the character behind the singer. Both Billie Holiday and Otis Redding excelled no matter what they were recording, whether it was a timeless standard or a studio throwaway.
This collection of Amy Winehouse material, released to coincide with the first Christmas season after her death in July 2011, does not contain a strong set of material.
Besides the covers, which are well chosen, originals "Between the Cheats" and "Best Friends, Right?" and "Half Time" should not have survived the cut if Winehouse had been around to wield her veto power.
But if the songwriting isn't strong enough to make listeners confuse this with a "Back to Black" follow-up, the productions and performances are up to her high caliber.
Salaam Remi and Mark Ronson handled virtually all of the production work, while these performances by Winehouse are just as strong as she showed on "Frank" and "Back to Black".
Thanks to the work of Remi and Ronson, the album is also strikingly uniform: only the songwriting and prevalence of covers or "original versions" reveal that this is a posthumous collection.
Ronson's production on "Will You Still Love Me Tomorrow?" is towering, although he injects a little more drama into his chart than the song can support, while a skittering version of "The Girl from Ipanema" (nearly drum'n'bass at points) nearly reinvents a tired classic.
The recordings stretch from the beginning of her professional career to close to the end, but Winehouse is virtually always in strong voice.
Only on her Tony Bennett duet, "Body and Soul", does she veer into self-parody. J.Bush

Our Day Will Come: Very Best of
The Shirelles - 25 All-Time Greatest Hits
A Donny Hathaway Collection
These Songs For You, Live! (US Release)
Tired of Hanging Around

UPDATE. The album debuts at # 5 of The Billboard 200 Chart and # 1 of The Billboard R&B/Hip-Hop Albums chart. The album is # 1 of the UK Albums Chart, # 5 of the Canadian Albums Chart, # 3 of The German Chart and # 3 of the Digital Albums. Issue Date: December 24, 2011.

I was an Amy Winehouse fan long before many heard about her and long before her struggles garnered her more press than her talent. I am conflicted about this release. On the one hand I am thrilled to own it. She is forever silent now. Her awesome talent forever suspended in time as it was. On the other, there are a few disappointments and while it pains me to write this, it's a fair comment. Had she not died I doubt some of this would ever have been released. Still, there are a couple of magnificent tracks that make me stand still. On the whole, I'd rather have this in my collection than not. Even the tracks that are not up to her brilliance are far better than a lot of the drivel out there today. Amy, I hope you are at peace.

Recently bought this CD there are a few songs on it that are good but I wouldn't recommend you buy it unless like me you are a fan of Amy's work.

I was delightfully surprised by this album...still the AW we know and loved, but with her voice a little more bare and with less studio production. I'm pleased with my purchase, not your average B-side album.

I like this CD very much. It is such a great mix and it shows how versatile she was. Such a waste of this great talent.....

This is a fantastic compilation that showcases Amy's true talents as a singer. I put this on my Christmas list and have been listening to it daily since I got it. With its tender bluesy notes, Lioness is a work of art. I hope there'll be more hidden works to follow this achievement.

this album is amazing..i can enjoy my days off, and relax to this cd on the weekends!!!!! The tone of the album is really mellow and tranquil.. She will definitely be missed :-) R.I.P. Amy Winehouse