Comments on: Flawed Form in “Rehab” by Amy Winehouse

By: PT

PT — Sun, 17 Oct 2010 15:44:20 +0000

Great points here. My two cents would be instead of really adding anything to alter the third CH slightly on the lyrical side, but as Chip said, leave the “no, no, no” in. Then go into an instrumental, strings-driven BR-part (something in the lines of the strings over “tonight the light of love….” in”Will you still love me tomorrow”, maybe) and back into the original CH. Then fade. Then again, maybe it’s the somewhat annoying nature of the arrangement that sets this song apart from just being an exercise in 60’s aesthetics…?

By: Sebastian

Sebastian — Tue, 15 Jul 2008 16:27:32 +0000

Is there a line between writing in a particular style (by using a standardized harmonic/rhythmic vocabulary) and lifting? And has Winehouse crossed such a line with Rehab? I would argue no (even though those mash-ups make a convincing argument to the contrary) since the style she’s imitating strikes me as particularly conventionalized. But my view might have to do with a lack of familiarity with the repertoire.

Impressive job sniffing out the tunes by the Shirelles and Shangri-las. And the mash-ups are great–way better than comparing two transcriptions.

By: trevordeclercq

trevordeclercq — Tue, 10 Jun 2008 13:40:26 +0000

Good point, Jon. It’s fun to speculate on where maybe those lines come from, tough….perhaps even unconsciously on Winehouse’s part. Of course, it’s only speculation.

By: jon

jon — Sat, 24 May 2008 03:08:05 +0000

Thanks for this. I really appreciate your incisive analysis. While I entirely agree with you on the influence of both the Shirelles and the Shangri-Las on Winehouse’s album, you’ll find that the title ‘Back to Black’ comes from the track of the same name on the album with the lines: ‘You go back to her/And I go back to black.’

By: trevordeclercq

trevordeclercq — Tue, 03 Jul 2007 22:49:35 +0000

Nice use of the word “pared,” Chipper. I just saw the word in print today and thought to myself, “Oh, so that’s how you spell that word!” And then you masterfully use the word in your excellent comment. Pare-fect!

I like the idea of leaving in the backing vocals for the third chorus despite having the lead taken out. That would add a nice little continuity.

By: chip

chip — Tue, 03 Jul 2007 15:40:09 +0000

I would mainly work on the choruses, because I think once you hear it the first time, you don’t need to really hear the full thing again. I would probably make the first half of the second chorus instrumental and just have amy come in on the 3rd and 4th line. Then on the third chorus, I agree, I would strip out the vocals (although I’d leave the “no, no, no” backing vocals, cause I bet that would sound bitchin’), maybe even pare it down to just a breakbeat at first and build up all the instrumental layers from there.

Also, I might make the 2nd half of the B section (the class / glass lines) instrumental at least once, probably the first time, to give it more impact…