photo: rama · cc by-sa 2.0 fr ↗Amy Winehouse grew up in North London steeped in her family's jazz records, and after training at the BRIT School emerged in 2003 with the jazz-leaning debut 'Frank.' Her 2006 masterpiece 'Back to Black' fused 1960s girl-group and soul arrangements with brutally candid, contemporary lyrics, making her a defining British voice of the decade before her death in 2011 at twenty-seven. Her beehived, tattooed retro-soul persona and unsparing songwriting reshaped 2000s pop and opened the door for a wave of confessional British singers who followed.
Winehouse frequently named Dinah Washington among her favorite jazz singers, and Washington's crisp diction and sharp, slightly acid emotional edge shaped Winehouse's own phrasing on her ballads.
listen forSet Washington's 'What a Diff'rence a Day Makes' beside Winehouse's 'Love Is a Losing Game' — both let a small voice sit right on top of a spare, unhurried backing, clipping and shading each syllable so the resignation reads as much in the phrasing as the words.
Winehouse cited Ray Charles as an early love and one of her formative influences, and his blend of gospel fervor with blues and swing informs the loose, blues-shouting side of her delivery.
listen forPlay Charles's swaggering, call-and-response 'Hit the Road Jack' before Winehouse's 'You Know I'm No Good' — both ride a strutting, horn-and-rhythm groove while the lead voice trades sly, conversational lines with the backing.
Winehouse often said that 1990s hip-hop groups like Salt-N-Pepa and TLC were as central to her upbringing as jazz, and that brash, sexually frank, streetwise attitude surfaces in her cheekier, rhythm-forward songs.
listen forCue Salt-N-Pepa's 'Push It' next to Winehouse's 'Fuck Me Pumps' — both are wisecracking, swaggering put-downs delivered over a stiff, danceable beat, with the vocalist playing narrator and heckler at once.