Back To Black Deep Dive: Amy Winehouse’s Masterpiece | 50 For 50

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[SPEAKER_02]: Mike, when we first started this project, I didn't realize how some of these stories would affect me emotionally, as I was putting together the rundown.

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[SPEAKER_02]: And the one that we're going to talk about today, definitely put me in some sort of mood.

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[SPEAKER_02]: And we were talking about back in black, Amy Winehouse, two thousand.

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[SPEAKER_02]: That's black.

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[SPEAKER_02]: All right, that's not it, that's it.

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[SPEAKER_02]: Back to black.

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[SPEAKER_00]: what's back in black that's the AC DC album okay that's also who I think it's also who Dini album so you're not wrong for using that title

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[SPEAKER_02]: I guess technically if Amy was back in black she would have been I don't know what that would have been reference to it wouldn't have made much sense based on what back to black is About you know what we're not even gonna cut this we're gonna let this live because we make mistakes I make mistakes and it's probably a little funny to some people that all that's the wrong name.

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[SPEAKER_00]: That's the human part of this

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[SPEAKER_02]: So, uh, back to kind of what I was saying is that, uh, part of my research in talking about this album is, uh, watching the documentary that came out in the mid-2010s about her, which was

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[SPEAKER_02]: That was tough.

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[SPEAKER_02]: That was a tough watch.

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[SPEAKER_02]: Sad story all the way through the end.

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[SPEAKER_02]: And then also that documentary tackles a lot of the early things that she dealt with as a young child.

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[SPEAKER_02]: Great going through bulimia and her mom and telling literally telling her mom, like, yeah, this is kind of what I do.

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[SPEAKER_02]: It's kind of fun in her mom just thinking, like, oh, it's just a phase.

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[SPEAKER_02]: I'm not going to step in here wild.

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[SPEAKER_02]: And then the movie that came out a couple of years ago, which is not good, by the way.

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[SPEAKER_00]: way like a biopic.

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[SPEAKER_02]: It was a biopic that came out a couple years ago.

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[SPEAKER_02]: It is on one of the streaming platforms that I watched it on.

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[SPEAKER_02]: I don't remember that at all, but probably better off not not benoing existed better off not checking it out unnecessary for this project.

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[SPEAKER_02]: I just kind of wanted to see

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[SPEAKER_02]: after watching the documentary, what this movie was really about, and it exists to exist, and we'll talk about this later.

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[SPEAKER_02]: It didn't need to happen.

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[SPEAKER_02]: It was, you know, whatever reason you do, money or whatever, that's most, most biopic don't need to happen.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: Okay, let's go back and album.

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[SPEAKER_02]: Amy releases Frank.

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[SPEAKER_02]: Were you aware of this album because this album did not cross over into the US?

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[SPEAKER_00]: I don't think Frank was released in the U.S. until after back to black was released in the US.

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[SPEAKER_00]: So I was not familiar with Amy Winehouse at all.

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[SPEAKER_00]: You know, had to do a little bit of digging once I discovered and started to enjoy back to black.

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[SPEAKER_00]: And then was like, oh, she has a whole other album.

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[SPEAKER_00]: So yeah, had no clue beforehand.

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[SPEAKER_02]: So you were aware of Amy.

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[SPEAKER_02]: Would you have heard rehab, would you have seen something as far as it just in the press or maybe in a magazine or something here's how I remember it I was it was 2005.

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[SPEAKER_00]: I had sort of just started working where I still work 21 years later and.

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[SPEAKER_00]: There was a coworker.

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[SPEAKER_00]: who had gotten the import of the album.

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[SPEAKER_00]: It was like, yo, check this out and play it.

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[SPEAKER_00]: And I was completely blown away.

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[SPEAKER_00]: So I immediately kind of went out to look for it.

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[SPEAKER_00]: And there are office at that time, there was a Virgin Negastore, RIP Virgin Negastore.

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[SPEAKER_00]: And I was going to say,

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[SPEAKER_00]: I think I might have bought the import of the CD like that day.

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[SPEAKER_00]: I mean, if the day after, because, you know, we had no concept of when it was going to be released in the U.S. Or if it was going to be released in the U.S., I mean, it was like,

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[SPEAKER_00]: different time, which is weird because we're only talking 20 years ago.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: But, you know, there were plenty of albums that came out in the UK or other foreign territories that never got a release in the US.

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[SPEAKER_00]: So we didn't know what was going to happen with it.

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[SPEAKER_00]: But I was so, like I fell so in love with the album so fast that I just like, I'll, you know, pay $25 for an import CD this.

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[SPEAKER_02]: Explain to the people to our people, especially the young people.

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[SPEAKER_02]: What a CD import was.

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[SPEAKER_00]: I hope I assume and I assume and hope that everyone listening or watching knows what a CD is.

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[SPEAKER_00]: It wasn't for the fact that my entire CD collection is in boxes right now.

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[SPEAKER_00]: I would actually pull out a CD and show it to you.

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[SPEAKER_00]: But CDs were how most of us consumed music in the 90s and compacts and disc.

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[SPEAKER_00]: Yes.

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[SPEAKER_00]: Yeah.

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[SPEAKER_00]: And an import would have been something that was, you know, produced or released in another country, that, you know, certain record stories did really, really big business on imports because a lot of times there were albums and certainly singles that you that you couldn't find in the US like to.

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[SPEAKER_00]: It's a circle back to another discussion we had like if you wanted killing me softly by the Fuji's on a CD single, you had to buy the import and the import was probably not going to cost you much less than the actual full album.

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[SPEAKER_02]: Right.

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[SPEAKER_02]: Yeah, so if you went to tower records, they had a section specifically of import and yeah, it was kind of dig through there.

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[SPEAKER_02]: And in many cases, you could see like if you, you

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[SPEAKER_02]: like the Amy Winehouse example, like it's kind of like, oh, is this thing going to cross over into the US?

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[SPEAKER_02]: And if it does, you were able to buy the important here at first.

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[SPEAKER_02]: Correct.

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[SPEAKER_02]: All right.

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[SPEAKER_02]: So, you know, we'll come back to Frank and and and back to black and all that stuff, but

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[SPEAKER_02]: I just want to point this thing out.

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[SPEAKER_02]: So Amy Winehouse passes away and we're kind of going backwards here.

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[SPEAKER_02]: July 23rd, 2011, and she was 27 years old.

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[SPEAKER_02]: And here's how the mind can work sometimes because you know, I was very aware of like, I was listening to everything at this point in these these years of, you know, mid 2000s to early 2000s and 10s.

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[SPEAKER_02]: And my mind kind of was, as I was researching this, my mind was telling me that shouldn't pass away much along after the famous Grammys performance.

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[SPEAKER_02]: And when I went back and I was reading all of the stuff and watching the stuff, I was like, no, it was like more than three years later.

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[SPEAKER_02]: And I think it's because, you know, when artists die,

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[SPEAKER_02]: There's like this second life of posthumous albums and records, like two pock for instance.

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[SPEAKER_02]: Sure.

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[SPEAKER_02]: There's more two pock music post death than there was pre-death.

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[SPEAKER_02]: And there wasn't much with Amy when it came to that.

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[SPEAKER_02]: She there was an album.

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[SPEAKER_02]: I think in 2011-ish time frame, Ernt, no, 20.

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[SPEAKER_02]: It was after she had passed away, but I think Mark Oronson and Salam Remi put together some previous works that could have probably been on the third album if she had ever completed it.

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[SPEAKER_02]: But other than that, like you didn't hear anything about or so, in just in my mind's playing tricks on me, get a boy's style.

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[SPEAKER_02]: I was just like,

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[SPEAKER_02]: She must have died very soon after that, because nothing came out.

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[SPEAKER_02]: And no, that is not true.

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[SPEAKER_02]: That is true.

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[SPEAKER_02]: More than three years later, she passed away.

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[SPEAKER_02]: So yeah, that was, as I was doing this, I was like, man, what happened to my brain in those three years when she was kind of dealing with all of her demons and such?

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[SPEAKER_00]: I mean, I think the further you get from the time something happens to more things, jumbled together?

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[SPEAKER_02]: No, I'm sure of it.

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[SPEAKER_02]: And you know what I always blame.

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[SPEAKER_02]: I always blame having young kids because your focus is so much on their day to day that you recognize things that happen movies, music sports but like that same way that I would look at something when I was 13 or 14 where my own life was the only thing I cared about, like having young kids changes your brain when it comes to processing information for sure.

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[SPEAKER_02]: Okay, so the album of back to black, the album is born out of just frustration, addiction, her not being happy with her current situation, depression,

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[SPEAKER_02]: the abuse and exacerbated by this relationship that she had with the man who would become her husband, Blake Fielder Civil.

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[SPEAKER_02]: So Blake and Amy were together, but kind of Blake had left, I think he was in a relationship and then he went to Amy and then he maybe he went back.

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[SPEAKER_02]: So

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[SPEAKER_02]: like that is like the genesis of where she gets everything for her songwriting for back to black is like this loss of relationship and after back to black comes out like they do eventually get married and like he's the real focus of this album and and I was fine that interesting just and this will come down the line because we're going to do an episode

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[SPEAKER_02]: on Tupac Shakur for all eyes on me and I could tease this here, but I didn't interview with the author of the new Tupac biography Jeff Pearlman.

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[SPEAKER_02]: And as I was talking in the one thing he kept hitting on is like just think of how young this dude was when he was saying all of these very smart things and all these wild things like this man was

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[SPEAKER_02]: With Amy, she's creating these great art, but she's making decisions in the mind of someone who's like in their young to mid-20s.

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[SPEAKER_02]: And in some cases, you see the brilliance, but in other cases, you really see the downfall.

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[SPEAKER_02]: And so that's kind of like the theme for me of this album is this young person.

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[SPEAKER_02]: creating fantastic art and just being unable to get out of her own way and other parts of her life.

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[SPEAKER_00]: Yeah, no, totally.

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[SPEAKER_00]: I mean, the lyrical content to the album is all very, comes from a place of heartbreak and disappointment.

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[SPEAKER_00]: And, you know, for whatever reason, she was super, super in love with this cat.

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[SPEAKER_00]: And,

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[SPEAKER_00]: The fortunate thing I guess for us is that we got a great album out of it.

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[SPEAKER_00]: The unfortunate thing for her is that the combination of whatever happened with that relationship plus her addiction plus maybe not knowing what to do with the success that she had just kind of is what tore it all apart.

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[SPEAKER_02]: All right, let's dig in before we even talk with the Alba.

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[SPEAKER_02]: I just want to dig into a couple of what happened in 2006 in the world, in the world of music.

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[SPEAKER_02]: And so, you know, Mike, I'll read some of the stuff.

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[SPEAKER_02]: You can crack-wise whenever you want to crack-wise.

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[SPEAKER_02]: Maybe you want to crack-wise after this first one, which is January 14th, 20th,

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[SPEAKER_02]: uh... two thousand six m&m remarries x-wife kim after five years of separation and him he must have killed her like six or seven times in his songs right i didn't realize that they got remarried i must have known it right wow uh... the grammy's the forty-eighth annual grammy's February eight

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[SPEAKER_02]: uh... you two is the night's big winner with five awards including uh... album of the year for how to dismantle an atomic bomb uh... and right carry one three of her eight her first grandmise since nineteen ninety one um... kelly clerks in the first american i'll contest an ever two in a grammy in the two two thousand and six grammy awards uh... okay so

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[SPEAKER_02]: uh... let's see james blunt who put dot dot i was waiting for your response hit his single your beautiful becomes the first british artist to top the u.s. billboard hot one hundred charts and's elton john with candle in the wind nine hour earlier wow what a fact uh... that is a weird fact so

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[SPEAKER_02]: of all of the songs or like if like if this was a trivia question, how long would it have taken you to get to James Blunt and your beautiful to find that answer?

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[SPEAKER_00]: You know, my brain doesn't remember that James Bunt existed and I'm not going to front there was a point brief point in time when you're beautiful was first out and I was like, oh, like I like this song I remember going into a and I don't know what the name of the record story is now it was like a used record story and I found a copy his album on CD for like $2.99 and it had just come out.

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[SPEAKER_02]: Wow, that should have told you something.

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[SPEAKER_00]: No, I mean,

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[SPEAKER_00]: But I was like, oh, I caught a break here.

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[SPEAKER_00]: So I bought the album.

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[SPEAKER_00]: I don't even know if I ever, I might have listened to it, reviewed it on opinions and never listened to it again.

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[SPEAKER_00]: But yeah, it's, I mean, I think even he makes one of it now.

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[SPEAKER_00]: I mean, and he's, you know,

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[SPEAKER_00]: I think still performing, still touring, still doing stuff.

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[SPEAKER_00]: So good for Jane, you guys about to say something.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: Yeah.

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[SPEAKER_02]: April 5th, M&M files for divorce from white swim, less than three months after they were married for the second time.

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[SPEAKER_02]: So that's why you don't remember.

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[SPEAKER_02]: I guess that's, yeah.

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[SPEAKER_02]: Mary J. Blige, April 15th, B without you, ends its 15th week at number one on the US billboard R&B chart making it the most successful R&B song in history.

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[SPEAKER_02]: Did you know that fact?

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[SPEAKER_00]: I know that it was at number one for a really, really long time.

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[SPEAKER_00]: Good for Mary, man.

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[SPEAKER_00]: We'll have to talk about Mary's conversation later.

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[SPEAKER_00]: We'll talk about Mariah later.

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[SPEAKER_02]: uh... ice cubes first album in six years laugh now cry later is released on uh... lunch mob records the album debuted in the top five hundred forty four thousand copies in the first week and the only reason i mentioned this is because by two thousand and six i think most people if they didn't know his previous career just figured he was an actor by the actor don't by i mean by

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[SPEAKER_00]: very early in the 21st century, no one had any interest in ice cube as a rapper anymore.

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[SPEAKER_00]: Rice cube was the guy from Friday and whatever play was club and are we there yet or you know whatever.

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[SPEAKER_02]: Uh, June 19th, Taylor Swift released her first single, Tim McGraw at the age of 16.

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[SPEAKER_02]: There will be another Taylor reference in this podcast.

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[SPEAKER_00]: Little did we know what we were unleashing?

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[SPEAKER_02]: Yes.

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[SPEAKER_02]: Um, Backstreet Boys member Kevin Richardson leaves the group to pursue other interests.

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[SPEAKER_02]: What other interests would those have been in, uh, 2006, 2006?

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[SPEAKER_02]: He would come back six years later.

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[SPEAKER_00]: I thought that happened way before.

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[SPEAKER_00]: I thought that happened when the back three boys were still like popular, like at the height of their popularity.

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[SPEAKER_02]: But if you're Kevin Richardson, like, are you trying to go solo?

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[SPEAKER_02]: Are you going into acting?

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[SPEAKER_02]: Like, what are you trying to do at that?

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[SPEAKER_02]: Well, maybe he's just like, this is too much.

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[SPEAKER_02]: I need to raise a family.

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[SPEAKER_02]: I don't know.

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[SPEAKER_00]: What does it mean?

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[SPEAKER_00]: I mean, I'm assuming that he just kind of stepped back to like have kids, raise a family, like take care of his, you know, do some self care, whatever.

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[SPEAKER_00]: I don't recall hearing about him doing

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[SPEAKER_00]: anything creative during that period.

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[SPEAKER_00]: Or I mean at all, I mean Kevin Richardson's just like one of the backs that pull the oldest backstreet boy.

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[SPEAKER_00]: That's kind of all I know of them.

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[SPEAKER_02]: July 7th, Justin Timberlick releases sexy back, which goes to the top of the Billboard 100 for seven weeks.

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[SPEAKER_00]: fuck with Justin Timberlake.

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[SPEAKER_00]: You do.

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[SPEAKER_00]: Even though, you know, I'm sure there are people that will drag me for that and let them drag me.

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[SPEAKER_00]: But I enjoy Justin Timberlake.

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[SPEAKER_00]: I enjoyed sexy back.

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[SPEAKER_00]: I enjoyed that album.

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[SPEAKER_00]: So, I mean, first time I heard sexy back, I was like, this is weird.

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[SPEAKER_00]: But then the rest of the album or like two thirds of the rest of the album anyway.

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[SPEAKER_00]: I was like, oh, this is this is this is

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[SPEAKER_02]: September 3rd, Beyonce releases her second consecutive number one solo album, B-Day, selling 541,000 copies in its first week.

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[SPEAKER_02]: What do you remember about B-Day?

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[SPEAKER_00]: Not much.

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[SPEAKER_00]: I'm like, as you were talking, I'm trying to like think back, like, what was on that album?

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[SPEAKER_00]: That was the one with, like, upgrade you on it.

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[SPEAKER_00]: I'm assuming you have, like you have the information from the alarm was definitely on that album.

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[SPEAKER_00]: You know, I remember, I had a coworker choosing intern and she wrote a whole parody song of ring the alarm about cockroaches.

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[SPEAKER_00]: Uh, and that is the thing that I most remember about ring the alarm, um, but yeah, I mean, B day, you know, B day was also like a decent record.

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[SPEAKER_02]: Okay, so here's what I, I wanted to look this up because I wanted to make sure that I was 100% right about this irreplaceable is on this.

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[SPEAKER_00]: Oh, I mean, I love me, oh, yeah, to me, I, you know, I might have liked that song better of me, I would kept it from self.

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[SPEAKER_02]: It would have been an interesting song if he did that song for sure.

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[SPEAKER_02]: Right.

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[SPEAKER_02]: The other thing about this is a movie that is very near and dear to my heart from this time frame is Dream Girls.

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[SPEAKER_02]: And she has the listen song on this album.

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[SPEAKER_02]: I don't know if it's an extended version or the normal version of whatever, but wow, that is on the album as well.

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[SPEAKER_00]: That's great.

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[SPEAKER_00]: You know, we're talking about 2006 and I'm like, Oh, that was like yesterday, 20 years ago.

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[SPEAKER_00]: There's so much left for gotten.

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[SPEAKER_02]: that I still, I still can watch that movie whenever, you know, if I ever need to to see, like, you get an Eddie Murphy performance that is like off-screen.

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[SPEAKER_00]: Oscar nominated and, you know, can't forget about Jennifer Hudson, you know, winning the Oscar.

20:22.643 --> 20:29.715
[SPEAKER_00]: The first of her, uh, the first step in her, you got, yes, she was amazing.

20:29.881 --> 20:36.287
[SPEAKER_02]: Um, October 24th, Taylor Swift releases her debut self-titled album on the age of 16.

20:37.028 --> 20:41.311
[SPEAKER_02]: How many albums do you think it's sold during the first week?

20:41.331 --> 20:42.112
[SPEAKER_00]: Probably not many.

20:42.132 --> 20:42.973
[SPEAKER_00]: 50,000, 60,000.

20:42.993 --> 20:45.716
[SPEAKER_02]: 39,000.

20:47.537 --> 20:48.578
[SPEAKER_00]: Got to start somewhere.

20:48.738 --> 20:48.979
[SPEAKER_02]: Yeah.

20:50.960 --> 20:52.902
[SPEAKER_02]: Let's see, is there anything else?

20:52.922 --> 20:59.348
[SPEAKER_00]: Now it's 2026, Taylor Swift probably sells 39,000 records every hour.

20:59.530 --> 21:11.093
[SPEAKER_02]: 30 versions of the same album for all the for all the crazies, um I think that's I think that's about it that that's a good for the the history of of 2006.

21:11.273 --> 21:17.185
[SPEAKER_02]: Okay, so talk a little bit about the making of this album.

21:17.165 --> 21:18.907
[SPEAKER_02]: back to black.

21:19.548 --> 21:32.847
[SPEAKER_02]: So I found the just the origin story of how she recorded it is fascinating because it's recorded even though it's it debuts in the UK.

21:32.887 --> 21:36.672
[SPEAKER_02]: The entire album is recorded in the United States.

21:37.813 --> 21:46.345
[SPEAKER_02]: So you have the New York sessions with Mark Robinson and then you have the

21:46.898 --> 21:58.900
[SPEAKER_02]: And do you know where, uh, with studio in New York that they recorded, uh, these songs with Mark Ronson, I do not know.

21:58.960 --> 22:05.673
[SPEAKER_00]: I'm assuming it was either the hit factory or, uh, this is sad.

22:05.813 --> 22:07.877
[SPEAKER_00]: I hit back through your electric lady.

22:08.937 --> 22:09.958
[SPEAKER_02]: I'll give you a clue.

22:10.379 --> 22:10.659
[SPEAKER_02]: L.O.

22:10.679 --> 22:12.401
[SPEAKER_02]: Cooljay named this studio.

22:12.801 --> 22:14.263
[SPEAKER_02]: Did they recorded a chunking?

22:14.423 --> 22:16.365
[SPEAKER_02]: Chunking studios.

22:16.786 --> 22:21.851
[SPEAKER_02]: It's actually recorded at chunking studios and DAPTone records in New York.

22:22.292 --> 22:22.912
[SPEAKER_00]: That makes sense.

22:22.972 --> 22:32.182
[SPEAKER_00]: I mean, back to Black was really the album that put the whole Brooklyn soul scene on the map with the DAPT kings and also Sharon Jones resting piece to her.

22:33.023 --> 22:34.725
[SPEAKER_00]: But like that whole,

22:34.705 --> 22:42.053
[SPEAKER_00]: seen got a huge boost because of Mark Ronson, Amy White House, I mean, Mark Ronson got a boost because of Amy White House.

22:42.073 --> 22:43.554
[SPEAKER_00]: Oh yeah, was it for Black and Black?

22:43.574 --> 22:44.595
[SPEAKER_00]: We wouldn't have uptown funk.

22:45.637 --> 22:55.167
[SPEAKER_02]: Oh yeah, like there's a there's definitely a line from Amy White House to a lot of artists who give her credit.

22:55.407 --> 22:58.830
[SPEAKER_02]: One of them being one of the big artists in the world in Adel.

22:59.031 --> 23:01.253
[SPEAKER_02]: Like Adel literally says,

23:01.435 --> 23:29.063
[SPEAKER_00]: 90% of her career is owed to listening to Frank like similarly I remember being at being at work and you know it's funny on the sidetrack for a minute on the on that note podcast which our guy going to work for a bunch of times Sean stocking the voice in the recent episode he was talking I think to Tony Rich and I'm saving that one I can't wait for that one

23:29.482 --> 23:43.160
[SPEAKER_00]: Yeah, and they're talking about being in, you know, going through the offices of like record companies and everybody would be playing music and you get to discover stuff and hear stuff and that's how I found out about Adele again.

23:43.220 --> 23:57.058
[SPEAKER_00]: It was a situation where her first album was released in the UK and then a few months later it was released in the US.

23:57.477 --> 24:02.784
[SPEAKER_00]: was playing that an import of that first to Dell album and I just walked over and I was like, yo, what is this?

24:03.745 --> 24:12.016
[SPEAKER_00]: And, you know, that whole wave of a British female singers like a kicked off with anyone else.

24:12.457 --> 24:18.625
[SPEAKER_00]: So, you know, I mean, you know, it's kind of safe to say a Dell is kind of like the

24:19.499 --> 24:22.305
[SPEAKER_00]: the sanitized for your protection version of Amy Winehouse.

24:22.325 --> 24:23.348
[SPEAKER_02]: Yes, for sure.

24:23.368 --> 24:26.054
[SPEAKER_00]: Would you, would you, would you rate it, Amy Winehouse?

24:26.074 --> 24:34.993
[SPEAKER_02]: Well, and also somebody who maybe was better built to handle insane success just on the mentally, right?

24:35.595 --> 24:36.597
[SPEAKER_02]: Right.

24:36.577 --> 24:37.619
[SPEAKER_02]: All right.

24:37.679 --> 24:43.768
[SPEAKER_02]: Well, that's I will mention Adele later because I have a question for you about that.

24:44.689 --> 24:45.150
[SPEAKER_02]: All right.

24:45.230 --> 24:57.087
[SPEAKER_02]: Well, also come back to Ronson and Remy because I'm interested in which songs you like better, but I'll group them together for you and another question as we go down the line here.

24:57.648 --> 24:57.888
[SPEAKER_02]: Okay.

24:57.948 --> 25:03.276
[SPEAKER_02]: So the UK release of this album October 27 2006.

25:03.712 --> 25:17.449
[SPEAKER_02]: Amy said, uh, that she wanted, uh, ronson to record her to sound like the 60s girl groups she loved the Shangri-La's and the Ronettes.

25:18.490 --> 25:26.320
[SPEAKER_02]: And I think the Ronettes, uh, kind of like that beehive hairdo was also, um, that's where that came from as well.

25:26.400 --> 25:27.121
[SPEAKER_02]: Yeah.

25:27.141 --> 25:27.441
[SPEAKER_02]: Yeah.

25:27.421 --> 25:31.987
[SPEAKER_02]: So the album debut is at number three on the UK albums chart.

25:32.587 --> 25:36.252
[SPEAKER_02]: It didn't actually hit number one until the following January.

25:36.332 --> 25:48.427
[SPEAKER_02]: So a little bit of a slow burn and rehab kind of becomes a giant hit and that helps with the sales and it doesn't release into the United States until March 13th, 2007.

25:48.708 --> 25:52.112
[SPEAKER_02]: So like six months, almost six months later.

25:52.092 --> 25:54.676
[SPEAKER_02]: And the delay actually five months.

25:55.056 --> 26:00.164
[SPEAKER_02]: The delay was so that A, she could get US visa.

26:01.005 --> 26:12.261
[SPEAKER_02]: And B, she could use that visa to go on shows that would matter still at this time, like the tonight show and David Letterman, so that

26:12.342 --> 26:15.848
[SPEAKER_02]: you know, she could be on broadcast television that people actually watched.

26:16.008 --> 26:24.061
[SPEAKER_02]: What would that be today like what like if you were to run the same playbook like is there like a show that someone would go on today?

26:24.261 --> 26:28.849
[SPEAKER_02]: Would you go on like a hot ones or something on YouTube?

26:28.869 --> 26:30.592
[SPEAKER_02]: Like what what is that for today?

26:30.632 --> 26:32.835
[SPEAKER_00]: I mean, I get to hit mainstream America.

26:32.936 --> 26:36.882
[SPEAKER_00]: I mean, everything is so fragmented now.

26:37.537 --> 26:42.264
[SPEAKER_00]: They were still, you know, I mean, obviously late night TV for now anyway still exists.

26:42.364 --> 26:55.123
[SPEAKER_00]: So, you know, if you go on Kimmel or you go on Jimmy Fallon, like that's probably one of your best ways to get any sort of audience in bulk other than that, you're doing podcasts.

26:55.424 --> 26:56.886
[SPEAKER_00]: You know, it's like like hot ones.

26:57.326 --> 27:13.604
[SPEAKER_00]: Yeah, but hot ones isn't going to give like, uh, a new artist or developing artist like that kind of stage like hot ones is for pretty big stars whereas the late night talk shows will still book you if you're, they'll book you if you're buzzing but haven't like blown up or SNL.

27:14.685 --> 27:20.571
[SPEAKER_00]: SNL might be kind of one of the biggest like conduits to reach a really large audience now.

27:21.175 --> 27:32.485
[SPEAKER_02]: Here's what we should do everyone knows no everyone should subscribe to this channel Blow us up and then we'll just bring on all the all the new acts on this channel.

27:32.505 --> 27:34.787
[SPEAKER_02]: They can talk on music Now I'm down with that.

27:34.887 --> 27:43.775
[SPEAKER_00]: I mean we could be a redically going as hell because I think everybody darker than cardboard left that show Except Keenan He's gonna be there forever.

27:44.055 --> 27:46.777
[SPEAKER_00]: Yeah, Keenan's gonna be there until we're all dead.

27:46.797 --> 27:47.398
[SPEAKER_00]: Oh, man.

27:47.578 --> 27:48.079
[SPEAKER_02]: Yeah.

27:48.259 --> 27:49.680
[SPEAKER_02]: What what's up with that

27:50.487 --> 27:51.348
[SPEAKER_02]: Yeah, because you're an assassin.

27:51.649 --> 27:51.869
[SPEAKER_02]: Exactly.

27:51.909 --> 27:52.531
[SPEAKER_02]: Worked up with that.

27:53.652 --> 27:56.417
[SPEAKER_02]: Exactly.

27:56.437 --> 27:56.778
[SPEAKER_02]: Good one.

27:58.321 --> 27:58.741
[SPEAKER_02]: Good one.

27:58.761 --> 27:59.082
[SPEAKER_02]: Yeah.

27:59.242 --> 28:03.269
[SPEAKER_02]: Yeah, I don't know if it's, you know, that show in of itself.

28:05.032 --> 28:06.855
[SPEAKER_02]: Like when you blow up, you kind of leave.

28:07.777 --> 28:14.689
[SPEAKER_02]: And now, today, because there's this political climate that they like to satire,

28:16.137 --> 28:36.340
[SPEAKER_02]: you kind of bring in all these old these old people who aren't on the show week to week back to do certain characters and I wonder if that kind of stalls some of the growth from the newbies and they're just like this is not worth it like every time I want to do something they're just going to bring Tina Fey back to do it so I don't even have the chance I wonder how much of that is that.

28:36.488 --> 28:42.875
[SPEAKER_00]: maybe it's also so much easier for a comedian to like blow up in a different way now.

28:43.856 --> 28:46.059
[SPEAKER_00]: You can start your own podcast.

28:46.079 --> 28:47.701
[SPEAKER_00]: You can do all those other stuff.

28:47.721 --> 28:55.710
[SPEAKER_00]: You can take your success and build on that a lot more quickly than you were able to back in the day when, you know, you were pretty much just waiting to get like a sitcom deal or something like that.

28:56.811 --> 28:58.733
[SPEAKER_02]: So yeah, and

28:58.848 --> 29:03.516
[SPEAKER_02]: And that's no shout, that's no shot at Tina Fey, because Tina Fey is amazing and great.

29:03.536 --> 29:05.360
[SPEAKER_02]: You're a good person, I thought of.

29:05.760 --> 29:18.604
[SPEAKER_02]: All right, so the interesting thing is when you first, I'm assuming that I would have had the CD, I think.

29:18.624 --> 29:21.088
[SPEAKER_02]: What I've had the CD or what I've downloaded from iTunes.

29:21.128 --> 29:23.252
[SPEAKER_02]: I'm trying to think about how I would have,

29:23.418 --> 29:24.420
[SPEAKER_02]: bought this album.

29:25.301 --> 29:33.435
[SPEAKER_02]: Because what I remember is I remember on the version that I bought, there was a version of you know I'm no good with Ghostface.

29:33.675 --> 29:34.737
[SPEAKER_02]: Ghostface.

29:34.757 --> 29:34.857
[SPEAKER_02]: Yeah.

29:34.877 --> 29:39.465
[SPEAKER_02]: But if you go to Apple music today, that version does not exist.

29:40.767 --> 29:41.268
[SPEAKER_02]: Really.

29:41.409 --> 29:46.076
[SPEAKER_02]: I think the Ghostface song is out there on, you know, there on different versions of it.

29:46.116 --> 29:48.801
[SPEAKER_02]: But like if you just were like, oh, I want to look up

29:49.102 --> 29:50.203
[SPEAKER_02]: uh, back to black.

29:51.064 --> 29:58.891
[SPEAKER_02]: The version that I see on Apple Music has a song called Addicted, which was on the UK release, but was not on the US release.

29:58.911 --> 30:02.414
[SPEAKER_02]: It was actually scrapped in favor of the ghost of the track.

30:02.434 --> 30:02.674
[SPEAKER_02]: Yeah.

30:02.935 --> 30:03.515
[SPEAKER_00]: Interesting.

30:03.895 --> 30:06.978
[SPEAKER_00]: I mean, my CD copy definitely has the ghost face remix on it.

30:07.419 --> 30:08.500
[SPEAKER_00]: My vinyl copy.

30:08.580 --> 30:11.182
[SPEAKER_00]: I think has the ghost face remix on it.

30:12.523 --> 30:13.905
[SPEAKER_02]: I just listen to the violin.

30:13.925 --> 30:14.205
[SPEAKER_02]: You know what?

30:14.345 --> 30:15.326
[SPEAKER_02]: It's minus right here.

30:15.346 --> 30:16.527
[SPEAKER_02]: Let me pull it up.

30:23.088 --> 30:24.089
[SPEAKER_02]: You'll can see that.

30:24.109 --> 30:24.589
[SPEAKER_01]: Oh, look at that.

30:24.609 --> 30:25.130
[SPEAKER_02]: Not lion.

30:29.014 --> 30:29.474
[SPEAKER_02]: You know what?

30:29.794 --> 30:38.522
[SPEAKER_02]: On the vinyl that I have, there are only 10 tracks and the ghost face song is on here.

30:38.703 --> 30:39.944
[SPEAKER_02]: And not addicted.

30:40.124 --> 30:40.404
[SPEAKER_02]: Yes.

30:41.745 --> 30:49.012
[SPEAKER_02]: So it would be, yeah, it would be the last track on site too.

30:49.453 --> 30:49.973
[SPEAKER_02]: So yeah.

30:50.476 --> 31:02.474
[SPEAKER_02]: I don't know why the current Apple music version is different, but I know Amy really wanted addicted to be on the US version, and she was kind of bummed that they replaced it on the US version.

31:03.897 --> 31:17.277
[SPEAKER_02]: And you mentioned imports because the album was released in the UK first, it became a massive import item at record stores, a meba, maybe that was the one you were thinking of.

31:18.590 --> 31:43.500
[SPEAKER_00]: for what you were saying you don't remember what what record story you would have uh oh no you were you might have been talking about the Adele one we you don't remember what record story you you were you were at or something no I and I I mean is definitely in New York which means and me but would not have been been it um virg virgin yeah it was virgin that I bought the

31:44.898 --> 31:58.377
[SPEAKER_02]: And American, music celebrities like Jay-Z and Questlove and DJs were playing the UK import months before it was available, which created that cool factor for the album upon release.

31:58.598 --> 32:06.068
[SPEAKER_02]: So people knew about her before it came out because there was a buzz that that was created with that importance.

32:06.088 --> 32:06.950
[SPEAKER_00]: It's definitely bubbling.

32:08.151 --> 32:12.137
[SPEAKER_02]: All right, so rehab, the song rehab, everyone knows that, everyone knows the hook,

32:12.944 --> 32:27.325
[SPEAKER_02]: When I hear the story of the hook and even when I hear the song, it still makes me sad, man, because she said, the way that they created the hook.

32:27.845 --> 32:34.313
[SPEAKER_02]: is Amy was talking to Mark Ronson about her family, trying to make her go to rehab.

32:34.953 --> 32:37.917
[SPEAKER_02]: And she used the line in talking to Mark Ronson.

32:37.977 --> 32:41.241
[SPEAKER_02]: They tried to make, we go to rehab and I was like, no, no, no.

32:41.962 --> 32:45.386
[SPEAKER_02]: And Ronson stopped her and said, that's catchy.

32:45.566 --> 32:47.688
[SPEAKER_02]: We should try to make that into a song.

32:48.649 --> 32:50.311
[SPEAKER_02]: Maybe she should say, get your ass in the rehab.

32:50.612 --> 32:51.793
[SPEAKER_02]: Right.

32:51.773 --> 33:05.464
[SPEAKER_02]: That's, and now, of course, looking back, I'm sure he thinks that as well, but man, you know, that like that whole story of this song, and then a so Jay-Z is also on a rehab remix.

33:05.505 --> 33:08.331
[SPEAKER_02]: And I was listening to that, and he heard that in a while.

33:08.311 --> 33:22.422
[SPEAKER_02]: and all of Jay-Z's punchlines are about like 12 steps and rehab and like, you know, trippin on drugs and I was like, oh my god, I'm like, I don't know, this tough tough, but she was

33:23.330 --> 33:34.603
[SPEAKER_02]: kind of parading herself in a way with this song in a very catchy way, and because, you know, like, like, when you were talking about a del, that's not something a del would have done.

33:34.683 --> 33:38.847
[SPEAKER_02]: A del would not have put her stuff out there like that, but that's what separated the two.

33:39.067 --> 33:46.035
[SPEAKER_02]: And, you know, to Amy, maybe that's what people are like, oh, man, she's talking about her stuff right on the song, like, she's not hiding from anything.

33:47.617 --> 33:51.261
[SPEAKER_02]: So wild, just wild.

33:51.832 --> 33:55.516
[SPEAKER_02]: There's an interesting thing about her pops.

33:55.697 --> 33:57.879
[SPEAKER_02]: Did what do you know about Amy's pops?

33:59.741 --> 34:01.423
[SPEAKER_00]: I've read things in the past.

34:01.483 --> 34:06.009
[SPEAKER_00]: I remember literally nothing about it at this point.

34:06.529 --> 34:16.641
[SPEAKER_02]: So he's away from her life in her early years and then he kind of comes back into her life and he becomes kind of her,

34:17.836 --> 34:29.533
[SPEAKER_02]: what would you say he's like he's the person that she looks up to you know she will she has her grandmother but her grandmother passes away and her grandmother was a musician I believe as well

34:29.817 --> 34:42.011
[SPEAKER_02]: And but the dad because he had been gone and then he came back like she was like trying to keep him I'm assuming and that's why she held on so hard, which is which is human and very understandable.

34:42.772 --> 34:49.499
[SPEAKER_02]: But he was like the guy who was the ear like she was making music say, okay, what do you think?

34:49.519 --> 34:51.502
[SPEAKER_02]: Because I think he was like a taxi driver or something.

34:52.082 --> 34:52.703
[SPEAKER_02]: So.

34:52.683 --> 34:59.929
[SPEAKER_02]: So, she would make the song, everyone would say, okay, we're done, and she would go, no, put the song CD.

34:59.989 --> 35:03.813
[SPEAKER_02]: I need to take it to my dad, and he needs to drive around his taxi.

35:03.833 --> 35:17.124
[SPEAKER_02]: And if we hear it in the taxi, overall the noisy things going on in the street, and we could hear it really well, then I know that if it could sound good in a taxi and traffic that it would sound good anywhere.

35:17.144 --> 35:22.369
[SPEAKER_02]: And that's how she kind of would put the exclamation point

35:23.311 --> 35:30.070
[SPEAKER_02]: We'll talk a little bit more about the dad, because there's some funky stuff about dad, come on.

35:30.852 --> 35:38.333
[SPEAKER_02]: All right, so we like to do this segment, which I like to call the Grammys Redux.

35:39.393 --> 35:45.803
[SPEAKER_02]: So Amy, now this is the 2008 Grammys, because it's based on the US release in the US release in 2007.

35:45.863 --> 35:52.994
[SPEAKER_02]: So she wins three of the top four general field categories.

35:53.014 --> 35:55.778
[SPEAKER_02]: She wins record of the year for rehab.

35:56.599 --> 35:57.721
[SPEAKER_02]: Now here's the competition.

35:58.082 --> 36:00.606
[SPEAKER_02]: The aforementioned Beyonce Irreplaceable.

36:01.367 --> 36:08.117
[SPEAKER_02]: Food Fighters, the Pretender, Jay-Z and Irriana and Jay-Z,

36:08.097 --> 36:10.301
[SPEAKER_02]: what goes around comes around.

36:11.183 --> 36:12.185
[SPEAKER_02]: Did they get this one right?

36:12.686 --> 36:18.757
[SPEAKER_00]: Yeah, rehab is the best to me rehab rehab is my favorite record of those five for sure.

36:18.958 --> 36:20.260
[SPEAKER_00]: No, they're all good songs.

36:21.302 --> 36:26.432
[SPEAKER_00]: Well, it was Rihanna, Timberlake, firefighters, and Beyonce.

36:27.414 --> 36:28.536
[SPEAKER_00]: I mean,

36:28.651 --> 36:35.362
[SPEAKER_00]: Again, I'm not super crazy about your replaceable and that might also just be because that song got run into the ground.

36:36.123 --> 36:41.492
[SPEAKER_00]: Oh yeah, but, you know, to me, rehab is is is to me rehab is the best song.

36:42.835 --> 36:43.115
[SPEAKER_02]: Okay.

36:45.098 --> 36:50.507
[SPEAKER_02]: Song of the year, Amy Winehouse song writer, she's the soul writer of this song.

36:51.729 --> 36:55.215
[SPEAKER_02]: The she wins for rehab again, the competition.

36:55.533 --> 37:19.566
[SPEAKER_02]: uh... carry underwood before he cheats songwriters josh here in criss-tomkins plain white teas hey there delilah songwriter tom higginsson uh... cornbelly ray like a star she was the writer of that song and uh... reanna's umbrella songwriters jazzy cuck herald terrius dreamnash and christopher steward

37:19.765 --> 37:23.151
[SPEAKER_00]: Okay, I mean, that's a songwriting award.

37:23.351 --> 37:25.475
[SPEAKER_00]: Brihad is probably the best written song.

37:26.376 --> 37:30.684
[SPEAKER_00]: I don't even think there's really any competition there.

37:31.004 --> 37:32.847
[SPEAKER_02]: Yeah, I think it's, I think they got it right, too.

37:33.689 --> 37:34.951
[SPEAKER_02]: Yeah, all right, best new artist.

37:35.091 --> 37:36.053
[SPEAKER_02]: This is where Taylor Swift comes back into play.

37:36.073 --> 37:44.828
[SPEAKER_02]: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha

37:45.145 --> 37:48.050
[SPEAKER_02]: Lidisi, is it Lidisi or Lidisi?

37:48.591 --> 37:50.093
[SPEAKER_02]: Lidisi, Lidisi.

37:50.494 --> 37:51.215
[SPEAKER_02]: Yeah.

37:51.235 --> 37:53.319
[SPEAKER_02]: Paramore and Taylor Swift.

37:55.222 --> 37:57.766
[SPEAKER_00]: I mean, I am a huge paramore fan like Paramore.

37:57.786 --> 38:01.973
[SPEAKER_00]: But, you know, I'm not, I run hot and cold on Taylor.

38:02.755 --> 38:05.760
[SPEAKER_00]: I, again, I think they got it right.

38:06.701 --> 38:07.643
[SPEAKER_00]: Like in terms of

38:10.357 --> 38:12.179
[SPEAKER_00]: I can't even like reverse justify that.

38:12.479 --> 38:24.971
[SPEAKER_00]: Like there's no way that based on either their debut records or the careers they've had up to this point, there's no way that anyone else to me is not like the best of the bunch.

38:26.112 --> 38:29.675
[SPEAKER_00]: The one that she did lose though, album of out here, yeah.

38:31.076 --> 38:37.242
[SPEAKER_02]: So the nominees were obviously, anyone else, Kanye West's graduation,

38:37.846 --> 38:50.630
[SPEAKER_02]: Food Fighters, Echo Silence, Patience and Grace, Vince Gill, these days, and the winner, Herbie Hancock, River, the Joni Letters.

38:56.220 --> 38:57.222
[SPEAKER_00]: What do I want to say here?

38:59.125 --> 39:13.289
[SPEAKER_00]: There is a long history of Grammy Awards being won by people where like the folks that vote are like, hey, you've done all this great work throughout your career.

39:14.030 --> 39:20.020
[SPEAKER_00]: We're going to award you for this particular piece of work, even though it's not the most deserving.

39:22.413 --> 39:24.717
[SPEAKER_00]: And I feel like that's what happened with Herbie Hancock.

39:24.998 --> 39:30.067
[SPEAKER_00]: I mean, I have, I have familiarity with all of those albums except for been skill.

39:32.592 --> 39:35.637
[SPEAKER_02]: That one seems like they're just like, we need to country album in this series.

39:35.657 --> 39:44.113
[SPEAKER_00]: Yeah, seriously, yeah, the, that award was pretty much in Amy Winehouse, Kanye West Conversation.

39:45.135 --> 39:46.277
[SPEAKER_00]: And,

39:47.557 --> 39:56.740
[SPEAKER_00]: even if I put my biases against Kanye to the side, I still think back to blacks a better record.

39:57.125 --> 40:06.276
[SPEAKER_02]: You could talk me into kind of his first two albums possibly being close to back to black, but not that third album.

40:06.596 --> 40:09.780
[SPEAKER_02]: The third album's good, but yeah, regulations are very, very good record.

40:09.860 --> 40:14.486
[SPEAKER_02]: He's already, he's not the hungry young artist anymore.

40:14.526 --> 40:17.409
[SPEAKER_02]: He's like the very successful dude and you can't tell nothing.

40:17.770 --> 40:19.532
[SPEAKER_02]: That's the version on your own.

40:19.552 --> 40:20.293
[SPEAKER_02]: That album, yes.

40:20.313 --> 40:22.896
[SPEAKER_02]: Yes, all right.

40:23.922 --> 40:25.263
[SPEAKER_02]: the sales.

40:26.425 --> 40:30.809
[SPEAKER_02]: The album has sold over 20 million copies globally.

40:32.511 --> 40:41.000
[SPEAKER_02]: In the UK, it's sold four million copies, making the second best selling album, the 21st century in the UK trailing only, Adele's 21.

40:41.160 --> 40:46.125
[SPEAKER_02]: And it is currently the 12th best selling album in UK history.

40:46.606 --> 40:53.693
[SPEAKER_02]: Wow.

40:53.673 --> 41:01.553
[SPEAKER_02]: Um, and it never went to number one in the US on the Billboard 200.

41:01.593 --> 41:11.277
[SPEAKER_02]: It got to number two after this Grammy's night that she had, and it's a Grammy's night in which she did not even.

41:11.257 --> 41:15.382
[SPEAKER_02]: She was not even allowed in the US to perform, right?

41:15.402 --> 41:20.789
[SPEAKER_02]: She could not get a visa because of some of the problems that she was going through, right?

41:20.809 --> 41:23.493
[SPEAKER_02]: And she had to perform from London.

41:24.074 --> 41:26.817
[SPEAKER_02]: It was like four o'clock in the morning or something like that.

41:27.598 --> 41:32.465
[SPEAKER_02]: And she was at a little club and they did the rehab song.

41:32.645 --> 41:37.832
[SPEAKER_02]: And that's how, if you hadn't seen Amy, that's how you were introduced to Amy, right?

41:37.852 --> 41:38.833
[SPEAKER_02]: That's wild.

41:38.813 --> 41:44.601
[SPEAKER_00]: Yeah, I mean, you know, her issues were already starting to like overshadow the music even at that point.

41:45.402 --> 41:57.700
[SPEAKER_00]: I remember one of the awards that she won, it was the presenter was Natalie Cole and Natalie Cole said something in the press about how.

41:57.815 --> 42:09.851
[SPEAKER_00]: You know, as an ex-addict, it felt really like we're to have someone be rewarded for basically being a drug out of the mess.

42:09.871 --> 42:15.499
[SPEAKER_00]: She was a little critical of all the adulation that Amy Winehouse got for the Grammys.

42:15.539 --> 42:21.286
[SPEAKER_00]: But you know, I mean, look, realistically speaking, like the Grammys ain't here to award you based on your personal choices.

42:21.366 --> 42:21.647
[SPEAKER_00]: Right.

42:24.691 --> 42:26.353
[SPEAKER_00]: Right.

42:26.333 --> 42:27.837
[SPEAKER_00]: quality music all the time.

42:28.438 --> 42:37.600
[SPEAKER_00]: But, you know, the idea should be to award the music regardless of what is happening with the person that's making it.

42:37.840 --> 42:42.030
[SPEAKER_00]: The grant awards literally are separate the art from the artist.

42:42.010 --> 42:43.852
[SPEAKER_02]: should be, should be a merit thing.

42:44.353 --> 42:44.513
[SPEAKER_00]: Right.

42:45.194 --> 42:45.414
[SPEAKER_00]: Right.

42:45.875 --> 42:53.404
[SPEAKER_00]: So, you know, I understood what she was trying to say, but I don't think what she said really held any water there.

42:54.746 --> 42:58.891
[SPEAKER_02]: So rehab was the only single in the US to go top 10.

42:58.951 --> 43:00.413
[SPEAKER_02]: It peaked at number nine.

43:01.374 --> 43:03.978
[SPEAKER_02]: You know, I'm no good would get to 77.

43:05.560 --> 43:08.203
[SPEAKER_02]: But in the UK,

43:08.183 --> 43:14.739
[SPEAKER_02]: all of the singles that were released were at least in the top 50.

43:15.240 --> 43:25.686
[SPEAKER_02]: Love is a losing game originally peaked at 46 in the UK but then when she passed away it jumped back up to 33.

43:26.003 --> 43:27.086
[SPEAKER_02]: Uh, so okay.

43:27.106 --> 43:41.700
[SPEAKER_02]: So this is the part of the story that I was most interested in because I did not know a lot about and it is what happens after the Grammys from that three year period from the post Grammys until she passes away.

43:41.680 --> 44:01.798
[SPEAKER_02]: I know she's dealing with a lot of her addiction, and she's dealing with the fallout of marriage and all of that stuff, but musically, there's, you know, there's some interesting things that I would have assumed were happening, but we're really not happening, like she's not recording a ton during this period of time.

44:01.778 --> 44:14.075
[SPEAKER_02]: So in May of 2007, she marries Blake Fielder Civil in Miami, they eventually divorced in 2009, so a couple of years there.

44:15.978 --> 44:30.739
[SPEAKER_02]: She becomes a fixture in London's Camden Town and her struggles with addiction becomes increasingly public leading to canceled tours and hospitalizations for exhaustion

44:30.719 --> 44:45.792
[SPEAKER_02]: And she's out there performing when she's kind of messed up and her very loyal fan base is seeing her kind of break down in front of them, which had to be just crazy if you're a fan of an artist to see that.

44:46.750 --> 44:47.371
[SPEAKER_00]: Yeah, man.

44:47.391 --> 45:00.396
[SPEAKER_00]: I mean, it's as we're talking and as we're leading up to this, I was thinking about how all of the, you know, she'd go out on stage and, you know, this is the beginning of camera phones and all that stuff.

45:00.456 --> 45:09.113
[SPEAKER_00]: So all of this stuff is very accessible via the internet and it's just like tragic and it felt like.

45:12.485 --> 45:16.535
[SPEAKER_00]: you know, we know the internet is not the world's greatest place now.

45:16.956 --> 45:19.061
[SPEAKER_00]: We know you shouldn't live in comment sections.

45:19.121 --> 45:22.770
[SPEAKER_00]: We know that those things bring up like really bad parts of humanity.

45:23.572 --> 45:29.346
[SPEAKER_00]: But back then, it wasn't as commonplace to see people just get like,

45:31.587 --> 45:41.518
[SPEAKER_00]: crapped on and it felt like, you know, whether it was like the music press, people commenting, like everybody just kind of had the knives out for Amy Winehouse.

45:42.339 --> 45:47.124
[SPEAKER_00]: And, you know, the British tabloid press in particular has always been super cool.

45:47.405 --> 45:48.165
[SPEAKER_00]: Yeah.

45:48.526 --> 45:55.013
[SPEAKER_00]: And it just felt like, you know, they were, you know, not to say that,

45:55.634 --> 46:04.345
[SPEAKER_00]: Amy herself is not ultimately responsible for the issues that she had, but it felt like there were people coming from all sides of it that were just kind of like taking the knife and twisting it.

46:05.810 --> 46:13.781
[SPEAKER_02]: So here's where the documentary, the really good documentary, talks a little bit about her in her recovery attempt.

46:13.801 --> 46:18.527
[SPEAKER_02]: So in 2009, she goes away to the island of St. Lucia.

46:19.629 --> 46:33.488
[SPEAKER_02]: And this was a period where she was kind of using it for peace to be away from drugs, and to be writing, and to try and find a healthier environment away from the tabloids like you were suggesting.

46:34.632 --> 46:38.817
[SPEAKER_02]: Alcohol was seemingly around at this point.

46:39.358 --> 46:42.121
[SPEAKER_02]: And when I was mentioning her dad, I want to bring him back in.

46:42.542 --> 46:43.403
[SPEAKER_02]: And this is an ad hoc.

46:45.185 --> 46:48.309
[SPEAKER_02]: He decides to come to the island.

46:49.630 --> 46:53.655
[SPEAKER_02]: And he's also filming a reality TV show at this point.

46:54.336 --> 47:01.905
[SPEAKER_02]: So she's trying to get away from a lot of this noise and he's coming to this island with cameras at the same time.

47:07.032 --> 47:09.255
[SPEAKER_00]: They don't give you a license to parent.

47:09.275 --> 47:09.516
[SPEAKER_02]: Yeah.

47:10.217 --> 47:10.777
[SPEAKER_00]: Right.

47:10.797 --> 47:12.260
[SPEAKER_00]: Sometimes I'm like, maybe they should.

47:14.363 --> 47:19.570
[SPEAKER_02]: So I mentioned the denied US visa for the Grammys.

47:20.692 --> 47:31.808
[SPEAKER_02]: Supposedly, this stems from, there was an arrest with her and Blake in Norway because they had marijuana on them.

47:32.412 --> 47:42.945
[SPEAKER_02]: And then they paid the fine and under U.S. immigration law, paying the fine is basically saying that you were guilty of what you did.

47:43.987 --> 47:47.471
[SPEAKER_02]: And so there was also going back to tabloids.

47:47.571 --> 47:57.784
[SPEAKER_02]: There was a video in January of her the son published a video of Amy using some sort of illegal substance in her own home.

47:57.824 --> 48:00.327
[SPEAKER_02]: So the camera had to go in her house.

48:00.307 --> 48:02.610
[SPEAKER_02]: to publish what she was doing in her home.

48:03.571 --> 48:19.989
[SPEAKER_02]: And then, so this video led to an investigation, and it kind of like intent like the embassies concerns, they were already having concerns about whether or not Amy should get a visa, this thing gets published.

48:20.910 --> 48:22.332
[SPEAKER_02]: So actually,

48:22.767 --> 48:30.023
[SPEAKER_02]: they overturned the MC overturned the decision grants the visa two days before the Grammys.

48:30.785 --> 48:33.491
[SPEAKER_02]: And so they just figured like it's going to be too hard to get there.

48:33.511 --> 48:36.017
[SPEAKER_02]: I think also Amy was

48:36.453 --> 48:41.082
[SPEAKER_02]: In some sort of care at this point and so I think you didn't want to change that.

48:41.122 --> 48:55.689
[SPEAKER_02]: She's often she's going to be at the Grammys and be all on stage and with this crowd and everything so they're like, no, we'll do the thing that that we're going to do, which is we will film it from London or we'll shoot it broadcast it from London and we'll we'll do it that way.

48:55.790 --> 48:58.174
[SPEAKER_02]: So that like.

48:58.930 --> 49:01.596
[SPEAKER_02]: This woman was whatever she was doing in her house.

49:02.097 --> 49:05.806
[SPEAKER_02]: People had like the rights to shoot their camera inside of her house and publish.

49:06.367 --> 49:10.577
[SPEAKER_00]: That is insane.

49:12.110 --> 49:32.473
[SPEAKER_00]: This is why I would never want to be famous because you don't like your life isn't your own anymore and all of these just like sneaky people are just going to crawl out of the woodwork and, you know, destroy your humanity just for the purpose of making it dollar and that person who got that video for that story.

49:32.513 --> 49:35.316
[SPEAKER_02]: I'm sure made a ton of money for getting that.

49:35.296 --> 49:36.398
[SPEAKER_02]: Right.

49:36.438 --> 49:45.813
[SPEAKER_02]: Okay, so the idea of music that she possibly was making, there were sessions for a third album, both Ronson and Remy.

49:48.578 --> 49:53.406
[SPEAKER_02]: There she had some plans to work with Questlove.

49:53.622 --> 49:57.608
[SPEAKER_02]: Um, she actually did complete some tracks.

49:57.648 --> 50:00.572
[SPEAKER_02]: There's a track with Nause called like smoke.

50:01.333 --> 50:01.473
[SPEAKER_02]: Mm-hmm.

50:01.493 --> 50:05.739
[SPEAKER_02]: There's a track called between the cheats that were fully finished.

50:07.742 --> 50:18.297
[SPEAKER_02]: There's a story that the CEO of the label, like, had a bunch of unfinished demos and just destroyed them because he'd never wanted them to come out unfinished.

50:19.627 --> 50:20.568
[SPEAKER_02]: That's interesting.

50:20.588 --> 50:21.370
[SPEAKER_02]: That's honorable.

50:21.810 --> 50:22.091
[SPEAKER_02]: Yeah.

50:23.172 --> 50:27.959
[SPEAKER_02]: Um, so anything posthumous, uh, that had come out.

50:27.979 --> 50:46.967
[SPEAKER_02]: So obviously, everyone remembers the, uh, jazz duet with her and Tony Tony Bennett A and he came out like right before she passed away and Tony, I Tony Bennett has said he, he was like, you know, she was so nervous, but she was such a natural born jazz singer.

50:47.318 --> 51:13.579
[SPEAKER_02]: uh... she did a uh... a song called it's my party on a quinty jones tribute album and then there's a problem that comes out uh... right after she passes called uh... lioness hidden treasure pictures which i never really listen to until recently it's actually really really good it's it's good i mean they just kind of picked in shows a bunch of stuff from like different periods just a lot of covers uh... but it's a solid record

51:13.559 --> 51:16.885
[SPEAKER_02]: There's a different version of Valerie on there.

51:16.945 --> 51:21.934
[SPEAKER_02]: There's a slow down version of Tears Dry on there.

51:21.994 --> 51:24.258
[SPEAKER_02]: There's the nod song that I mentioned on there.

51:24.298 --> 51:26.381
[SPEAKER_02]: So there's some really good stuff on there.

51:26.782 --> 51:38.402
[SPEAKER_02]: Obviously, it's not what the third album would have been because they only had a few things to work with, but I commend them because a lot of times those posh-mas albums are just, you know,

51:39.007 --> 51:44.495
[SPEAKER_02]: like, again, going back to the two box stuff like, yeah, like, uh, maybe he would have done this.

51:44.916 --> 52:00.238
[SPEAKER_00]: I'm not sure he probably not, probably not sure he would have asked M&M to produce a song on his, you know, that kind of, I'm just thinking back to like that first Michael album that came out after he passed away where it was ultimately revealed that some of those songs.

52:01.282 --> 52:06.129
[SPEAKER_00]: that they say Mike is singing on, you're probably don't have like singing on them.

52:06.149 --> 52:07.491
[SPEAKER_02]: And why would they do that?

52:07.511 --> 52:08.833
[SPEAKER_02]: That doesn't make any sense to me.

52:09.534 --> 52:09.914
[SPEAKER_02]: Who knows?

52:11.236 --> 52:11.817
[SPEAKER_02]: Who knows?

52:11.977 --> 52:23.754
[SPEAKER_02]: That story is wild to have a sound alike on the album when you have the dude, like you have all of his vocals that you could possibly want to use.

52:24.355 --> 52:24.936
[SPEAKER_02]: Right.

52:24.956 --> 52:27.039
[SPEAKER_02]: So, didn't make any sense.

52:27.059 --> 52:27.400
[SPEAKER_02]: All right.

52:27.660 --> 52:29.803
[SPEAKER_02]: Now, here's some questions that I have for you.

52:30.172 --> 52:40.893
[SPEAKER_02]: you've listened to Frank, also, obviously, the reason why we're recording back to Black, which album do you like better?

52:42.816 --> 52:43.858
[SPEAKER_00]: Back to Black, no question.

52:43.878 --> 52:45.061
[SPEAKER_00]: I mean, Frank is a good album.

52:45.081 --> 52:51.994
[SPEAKER_00]: Like I legit remember reviewing Frank for opinions and giving it five stars.

52:52.750 --> 53:01.714
[SPEAKER_00]: it's not an album I go back to a lot and I should probably fix that like it it's a good piece of music

53:02.605 --> 53:10.137
[SPEAKER_00]: back to black just hits hit different I mean back to black is one of my favorite albums of all time and Frank is just a very good album.

53:10.618 --> 53:16.027
[SPEAKER_02]: You know who reps for Frank over back to black is uh our old friend Almar.

53:17.008 --> 53:28.647
[SPEAKER_02]: Oh wow really yeah he like he he was when when back to black came out if I'm remembering this time from correctly he was the one who was telling me about Frank.

53:29.757 --> 53:33.863
[SPEAKER_02]: And he was in, he was in on from very early in a, in Amy's career.

53:34.284 --> 53:36.848
[SPEAKER_00]: Yeah, Almar's like a hardcore R&B head.

53:36.968 --> 53:38.030
[SPEAKER_00]: Yeah, totally.

53:39.532 --> 53:40.313
[SPEAKER_00]: Big up, Almar.

53:41.034 --> 53:41.635
[SPEAKER_02]: Yeah, Almar.

53:41.976 --> 53:48.546
[SPEAKER_02]: Yeah, add another, another person who saw a clip of us doing this podcast to my buddy doing.

53:49.187 --> 53:50.449
[SPEAKER_02]: And he was like,

53:50.648 --> 53:54.652
[SPEAKER_02]: Y'all are the youngest soon to be 50 year olds that I think I've ever seen.

53:54.812 --> 53:56.014
[SPEAKER_02]: So shout out to Doon.

53:56.094 --> 53:57.355
[SPEAKER_02]: We love, I love that dude.

53:57.415 --> 53:59.177
[SPEAKER_00]: I mean, keep the compliments coming.

54:01.019 --> 54:01.340
[SPEAKER_02]: Okay.

54:01.380 --> 54:04.263
[SPEAKER_02]: What is your favorite song on back to black?

54:10.249 --> 54:13.232
[SPEAKER_00]: They're so many great songs.

54:13.953 --> 54:18.478
[SPEAKER_00]: I don't know if I could choose one.

54:23.048 --> 54:35.720
[SPEAKER_00]: Love is a losing gay maybe like and literally my I had five other songs in my head before I decided on love is a losing gay That's that's one of my favorites.

54:36.621 --> 54:51.115
[SPEAKER_02]: I really love tears dry on their own I love Love me and Mr. Jones Let's see if I was to say one

54:52.107 --> 54:55.734
[SPEAKER_02]: I think it's gonna be tears dry on their own for me.

54:56.676 --> 54:57.077
[SPEAKER_00]: Did you?

54:57.137 --> 55:01.406
[SPEAKER_00]: This might just be my brain doing some weird stuff.

55:01.927 --> 55:05.374
[SPEAKER_00]: There's a version of tears dry on their own with her and silo.

55:06.046 --> 55:06.787
[SPEAKER_00]: Oh, no way.

55:07.267 --> 55:08.308
[SPEAKER_00]: Yep.

55:08.328 --> 55:11.832
[SPEAKER_00]: I might have to go on YouTube after we finish talking and see if I can dig that up.

55:11.852 --> 55:13.914
[SPEAKER_00]: But there is a version with them both singing on it.

55:14.154 --> 55:15.596
[SPEAKER_00]: Oh, he's singing and not rhyming.

55:15.956 --> 55:16.597
[SPEAKER_00]: Yeah, he's singing.

55:17.178 --> 55:17.818
[SPEAKER_02]: Interesting.

55:18.279 --> 55:20.821
[SPEAKER_02]: Yeah.

55:21.923 --> 55:22.223
[SPEAKER_02]: OK.

55:22.904 --> 55:33.775
[SPEAKER_02]: So now, favorite Amy Whitehouse track that is not on one of these two albums.

55:37.653 --> 55:55.543
[SPEAKER_00]: I think it's online S, there's a song called Our Day Will Come, which was originally released in the 60s by this group called Ruby in the Romantics, and it was when I heard Amy's version of it, it was the first time I'd heard it.

55:55.523 --> 56:03.851
[SPEAKER_00]: And since then, I've heard like a million other versions of, you know, on Warwick version, there's a version by this jazz singer called Little Jimmy Scott that's really good.

56:04.171 --> 56:07.475
[SPEAKER_00]: There's a version by Franky Valley, like there's a whole bunch of different versions of it.

56:07.995 --> 56:19.046
[SPEAKER_00]: But the first version I heard before even the original was Amy Winehouse, and that is probably my favorite track of hers that is not on Frank or backs black.

56:19.667 --> 56:23.050
[SPEAKER_00]: What about anything that she's guessed it on?

56:23.890 --> 56:30.770
[SPEAKER_00]: I mean, Valerie, I would have to say, um, I mean, it's not like she was doing hooks on wrap records or anything like that.

56:31.231 --> 56:32.635
[SPEAKER_00]: Oh, there is, um,

56:34.066 --> 56:39.572
[SPEAKER_00]: cherry wine, which is on that month, which is on life is life is good, is on life is good.

56:40.152 --> 56:40.412
[SPEAKER_00]: Okay.

56:40.773 --> 56:42.695
[SPEAKER_00]: I couldn't remember which Nazal knows on.

56:43.035 --> 56:52.605
[SPEAKER_02]: So it's a very interesting in this song because I was like, when did when would they have met up to record it or were they using something that Amy recorded for a different thing?

56:52.985 --> 56:54.327
[SPEAKER_00]: I think it might have been that.

56:54.387 --> 57:02.655
[SPEAKER_00]: I mean, Salam and Naz have a long relationship, right?

57:02.635 --> 57:09.945
[SPEAKER_00]: And if I remember correctly, Naz and Amy Winehouse shared a birthday, September 14th.

57:10.685 --> 57:20.114
[SPEAKER_00]: So they had a connection, and I'm not sure exactly how Cherry Wine came to be, but it sounds natural.

57:20.694 --> 57:26.680
[SPEAKER_00]: But I do think that it was like an ain't a hook that Amy had done that they just kind of pulled out and used for this one.

57:27.520 --> 57:28.361
[SPEAKER_02]: I did look this up.

57:29.222 --> 57:32.785
[SPEAKER_02]: Oh, now, this is the internet.

57:33.486 --> 57:39.291
[SPEAKER_02]: But what I could find was that in 2008,

57:39.440 --> 57:56.344
[SPEAKER_02]: Salam had orchestrated them meeting at a studio and they recorded the like smoke collab there and they also recorded the parts that would become cherry wine.

57:56.745 --> 57:57.566
[SPEAKER_02]: Okay.

57:57.586 --> 58:05.818
[SPEAKER_02]: So Amy specifically wrote and recorded the cherry wine chorus with the intention of nausea using it.

58:06.490 --> 58:11.779
[SPEAKER_02]: And she's also supposedly playing guitar on the song.

58:13.228 --> 58:13.328
[UNKNOWN]: Okay.

58:13.865 --> 58:20.692
[SPEAKER_02]: So after she passes, I think it's the next year when life is good comes out.

58:21.573 --> 58:33.286
[SPEAKER_02]: And Nause thought like, should I or should I release this thing and then he thought it was a really great tribute to their friendships, so he decided to put it out.

58:34.507 --> 58:36.149
[SPEAKER_02]: Which I think it was the right thing.

58:36.169 --> 58:41.695
[SPEAKER_02]: Cause after she passes that song in of itself,

58:42.923 --> 58:51.091
[SPEAKER_02]: And it makes sense because if it's 2008, there's a life to, to her hook in that song.

58:51.131 --> 58:55.095
[SPEAKER_02]: She sounds like she's in good spirits in that hook.

58:55.155 --> 58:57.437
[SPEAKER_00]: So yeah, I prefer that to like smoke.

58:57.497 --> 59:01.221
[SPEAKER_00]: Like smoke, you can already kind of tell that there's a little bit of a decline happening there.

59:02.262 --> 59:02.562
[SPEAKER_02]: Okay.

59:02.582 --> 59:03.543
[SPEAKER_02]: So now let's go back.

59:03.663 --> 59:10.770
[SPEAKER_02]: The Mark Ronson tracks or the Selam tracks, now if we were to split this album,

59:10.902 --> 59:19.651
[SPEAKER_02]: into the ronson sessions and the, in the Remy sessions, you have rehab, you know, I'm no good back to Black.

59:19.691 --> 59:20.672
[SPEAKER_02]: Love is a losing game.

59:20.872 --> 59:25.617
[SPEAKER_02]: Wake up alone and he can only hold her from the ronson sessions.

59:26.317 --> 59:36.808
[SPEAKER_02]: And then you have me and Mr. Jones, just friends, tears dry on their own, someone holy war and addicted in the Remy sessions, which version do you prefer?

59:37.750 --> 59:48.586
[SPEAKER_00]: I mean, I'm riding with the ronson tracks, someone holy word to me is the one skippable song on back to black, and I mean, Selam Remi is dope.

59:48.606 --> 59:49.267
[SPEAKER_00]: Don't get me wrong.

59:50.108 --> 01:00:03.268
[SPEAKER_00]: And probably one of the most underrated producers in like modern music history, but ronson ronson sundom on this one, his tracks are really, really good.

01:00:03.603 --> 01:00:13.499
[SPEAKER_02]: I agree with you even though I like to your story on their own the best and me and Mr. Jones is tight too and that makes sense that's a that's a remedy track.

01:00:13.519 --> 01:00:14.281
[SPEAKER_02]: But I agree with you.

01:00:14.301 --> 01:00:15.202
[SPEAKER_02]: I think the Ronson track.

01:00:15.322 --> 01:00:21.353
[SPEAKER_00]: But speaking of again, NOS connections I forgot and Mr. the Mr. Jones in the title of this song is NOS is NOS.

01:00:21.793 --> 01:00:22.655
[SPEAKER_02]: Yep.

01:00:22.675 --> 01:00:28.885
[SPEAKER_02]: And I wish you would have been the inspiration to what kind of fuckery is this.

01:00:30.670 --> 01:00:33.575
[SPEAKER_00]: I still pop that line out every once in a while.

01:00:33.915 --> 01:00:35.297
[SPEAKER_00]: So Kudos to anyone else.

01:00:35.397 --> 01:00:37.461
[SPEAKER_00]: That's her signature line, right?

01:00:37.741 --> 01:00:37.962
[SPEAKER_00]: Yeah.

01:00:38.002 --> 01:00:39.424
[SPEAKER_00]: What kind of, yeah.

01:00:39.444 --> 01:00:40.405
[SPEAKER_02]: That's amazing.

01:00:40.806 --> 01:00:44.392
[SPEAKER_02]: Amazing piece of writing to open up a song with that line.

01:00:45.253 --> 01:00:45.373
[SPEAKER_02]: Yeah.

01:00:45.393 --> 01:00:47.717
[SPEAKER_02]: OK, so you mentioned skips.

01:00:47.866 --> 01:00:50.750
[SPEAKER_02]: Now, we created the no-skips rating.

01:00:50.830 --> 01:00:56.176
[SPEAKER_02]: So the one through 10, the higher the rating means that you don't skip any songs.

01:00:56.577 --> 01:01:00.582
[SPEAKER_02]: So what would you have the no-skips rating for this one?

01:01:01.283 --> 01:01:01.883
[SPEAKER_00]: Nine and a half.

01:01:02.745 --> 01:01:08.111
[SPEAKER_00]: I mean, again, like someone holy word, and if the album is playing, I'm not gonna like run over to the turntable.

01:01:08.131 --> 01:01:08.912
[SPEAKER_00]: Right.

01:01:09.193 --> 01:01:09.413
[SPEAKER_00]: Right.

01:01:10.174 --> 01:01:11.916
[SPEAKER_00]: But if I'm programming it,

01:01:12.284 --> 01:01:13.326
[SPEAKER_00]: I don't need to hear that song.

01:01:14.187 --> 01:01:31.454
[SPEAKER_02]: I agree with you, there's like two songs that I feel or maybe a little bit lesser than the others, but because this album is so lean, it's almost like, I don't need, like, you know, this is not a 18 track album where you're like, oh my gosh, I have to hear this song.

01:01:31.514 --> 01:01:35.661
[SPEAKER_02]: Like no, like, and even the songs themselves are short.

01:01:35.841 --> 01:01:36.221
[SPEAKER_00]: Yeah.

01:01:36.302 --> 01:01:39.186
[SPEAKER_00]: And the album should be, it shouldn't be, you know,

01:01:39.520 --> 01:01:48.231
[SPEAKER_00]: We don't need, just trying to think of like unnecessarily long albums, 10, 11 tracks is the way it should be.

01:01:50.153 --> 01:01:53.417
[SPEAKER_02]: And interludes, no interludes.

01:01:53.757 --> 01:01:55.619
[SPEAKER_00]: No interludes.

01:01:56.941 --> 01:01:57.261
[SPEAKER_02]: Okay.

01:01:58.823 --> 01:02:01.707
[SPEAKER_02]: The, you mentioned that this is one of your favorite albums of all time.

01:02:03.229 --> 01:02:04.971
[SPEAKER_02]: Where would it rank in the 2000s?

01:02:05.071 --> 01:02:06.793
[SPEAKER_02]: It's got to be way

01:02:09.153 --> 01:02:15.849
[SPEAKER_00]: I mean, for 2000s, it would probably be certainly being in my top 10, probably would be in my top five.

01:02:15.909 --> 01:02:23.567
[SPEAKER_00]: I can't, I can't off the top of my head think of an album that I like more.

01:02:23.952 --> 01:02:27.616
[SPEAKER_00]: Um, without going into the Kanye zone and I don't I don't want to do that.

01:02:28.597 --> 01:02:30.960
[SPEAKER_02]: Um, there's some outcast records.

01:02:31.220 --> 01:02:45.176
[SPEAKER_00]: I think, um, we've been like, I mean, there's only outcast only made two albums and or three in in the 2000s and speaker box below below and I don't want to blow anything up because we may talk about that somewhere down the line is to talk about long albums.

01:02:45.336 --> 01:02:45.556
[SPEAKER_00]: Yeah.

01:02:46.778 --> 01:02:52.204
[SPEAKER_00]: Like as much as I love certain songs on that album, I can't, um,

01:02:52.640 --> 01:03:11.948
[SPEAKER_00]: I can't take it in all in like one piece, yeah, where it's back to black again, it's like 10 songs 40 minutes like you can sit back, you know, and, you know, journal or like whatever and, you know, you could eat a meal in the time it takes to listen to that.

01:03:11.928 --> 01:03:13.050
[SPEAKER_02]: my research.

01:03:13.410 --> 01:03:17.696
[SPEAKER_02]: I like to listen to the albums in different ways.

01:03:17.957 --> 01:03:29.413
[SPEAKER_02]: Listen to them through my headphones when I'm working out or I listen to them while I'm at my desk and I'll play it through my apple

01:03:29.393 --> 01:03:59.299
[SPEAKER_02]: The thing the only thing that's bad about the short album is sometimes like I'll be listening and then I have to do something and I'm not quite paying attention to the album and then I'll come back and I'm like, okay, I finished what I was doing and then the thing is over and I'm going to restart it again.

01:03:59.819 --> 01:04:04.745
[SPEAKER_02]: Even if she doesn't pass away when she does, she's obviously very sick.

01:04:05.707 --> 01:04:09.952
[SPEAKER_02]: She's addicted to lots of different things.

01:04:10.573 --> 01:04:18.563
[SPEAKER_02]: I mentioned the bulimia aspect of this, which is not really mentioned as much though as a focal point of the documentary.

01:04:20.285 --> 01:04:29.337
[SPEAKER_02]: So there's things going on with her that even if she doesn't pass, she's going to be working through a lot of stuff to get right.

01:04:29.637 --> 01:04:32.020
[SPEAKER_02]: obviously hypothetical could never happen.

01:04:32.421 --> 01:04:35.725
[SPEAKER_02]: She passed away, but just thinking in that what if space?

01:04:36.987 --> 01:04:45.118
[SPEAKER_02]: The 2010s Adele Taylor Rihanna Beyonce.

01:04:46.960 --> 01:04:52.067
[SPEAKER_02]: A very well and healthy Amy.

01:04:52.435 --> 01:04:58.425
[SPEAKER_02]: is right there with all of them, and might be cleaning up on all of them.

01:04:59.266 --> 01:05:03.573
[SPEAKER_00]: She is certainly making qualitatively better records than all of them.

01:05:06.598 --> 01:05:10.665
[SPEAKER_00]: You know, out of all of those singers, they don't look through all talented.

01:05:10.705 --> 01:05:10.925
[SPEAKER_00]: Yes.

01:05:11.566 --> 01:05:18.898
[SPEAKER_00]: Hey, you know, I don't know if any of them other than Amy could like write a track,

01:05:20.228 --> 01:05:23.013
[SPEAKER_00]: play on it and sing it by ourselves.

01:05:24.615 --> 01:05:24.836
[SPEAKER_02]: Yes.

01:05:26.238 --> 01:05:31.707
[SPEAKER_00]: Um, and age, she just had, like, she had, like, her writing was clever.

01:05:31.727 --> 01:05:37.917
[SPEAKER_00]: Um, you know, she knew how to, uh, uh,

01:05:38.740 --> 01:05:46.990
[SPEAKER_00]: She knew how to write like a funny lyric, or like an emotionally impactful lyric, or whatever.

01:05:47.551 --> 01:05:52.777
[SPEAKER_00]: I think she just, she was just kind of heading shoulders above her comp, well, she didn't really have any competition at that time.

01:05:54.599 --> 01:05:59.665
[SPEAKER_00]: I strangely don't think Adele becomes as successful if Amy Winehouse had lived.

01:06:00.286 --> 01:06:01.327
[SPEAKER_00]: If that's her competition.

01:06:01.728 --> 01:06:02.048
[SPEAKER_02]: Yeah.

01:06:03.766 --> 01:06:11.138
[SPEAKER_02]: But her idea of the sound that she wanted for her stuff is most definitely a throwback sound.

01:06:11.158 --> 01:06:13.287
[SPEAKER_02]: It's like a throwback sound.

01:06:14.144 --> 01:06:18.448
[SPEAKER_02]: but also trying to sound like a version of today's music at the same time.

01:06:19.630 --> 01:06:36.507
[SPEAKER_02]: And we are going through this time period in hip-hop, a little bit before that, but it's starting to phase out, which is this idea of sampling and speeding up like these really old R&B and soul tunes.

01:06:37.327 --> 01:06:42.953
[SPEAKER_02]: And so I wonder, like how much,

01:06:43.625 --> 01:06:56.429
[SPEAKER_02]: influence, you know, because she's definitely hip-hop fan, nauseous was was her favorite artist, um, she's working with uh, Selam Remy who understands that that genre very well.

01:06:56.830 --> 01:07:00.216
[SPEAKER_02]: Like, there's just an interesting time period of like hip-hop.

01:07:00.196 --> 01:07:17.359
[SPEAKER_02]: You know, earlier a little bit earlier than Amy, but using this style of old school music and speeding it up and making it new and then her, she's even going further back in some in some ways and she's changing the culture and the style in which she's dressing and in such, but and then making it kind of new.

01:07:17.419 --> 01:07:23.487
[SPEAKER_02]: I always thought that that was kind of interesting and I don't even know if there's a point that I'm making, but just.

01:07:23.467 --> 01:07:32.965
[SPEAKER_02]: hip hop is going this way, Amy's going this way, you know, John Legend would come out with an album that we both really enjoy that is like a throwback soul album as well.

01:07:33.987 --> 01:07:36.572
[SPEAKER_02]: But that time frame, we think some of the same samples.

01:07:36.992 --> 01:07:39.417
[SPEAKER_02]: Yeah, on Amy's album too.

01:07:39.835 --> 01:07:42.579
[SPEAKER_02]: Yeah, so just an interesting time period.

01:07:42.599 --> 01:07:50.971
[SPEAKER_02]: And I don't know that music itself and what we hear today, we'll go back that way.

01:07:50.991 --> 01:07:57.060
[SPEAKER_02]: Like I don't really hear a lot of, you know, 60s R&B in music today as much.

01:07:57.881 --> 01:08:07.615
[SPEAKER_02]: And I don't even know if the people who are making music today would even think about going back because, um, I don't know if the algorithms would like it as much, you know,

01:08:07.595 --> 01:08:15.328
[SPEAKER_00]: Yeah, if you're making music for the algorithm, then, you know, creativity isn't necessarily in your corner.

01:08:16.551 --> 01:08:19.956
[SPEAKER_02]: What is the move though?

01:08:19.997 --> 01:08:30.615
[SPEAKER_02]: Like, if you want it to be an Amy Wine House of today, are you getting laughed off of the streets and you're like, come on, you can't do that today, or people going like, hey,

01:08:31.439 --> 01:08:58.425
[SPEAKER_02]: there is the space of throwback that is not really being paid attention to and yeah let's develop something that actually is the you know shows that you you have a history of what you're talking about here and what what you're trying to do like what what is that today I would even know I think there's a space particularly it seems like there's a lot of female British artists that are still kind of going for that throwback

01:08:58.405 --> 01:09:00.548
[SPEAKER_00]: You know, have like a little bit of a throwback vibe to them.

01:09:00.568 --> 01:09:03.252
[SPEAKER_00]: You look at like Ray or you look at Jesse Ware.

01:09:03.272 --> 01:09:04.774
[SPEAKER_00]: Oh, like Ray.

01:09:05.355 --> 01:09:05.655
[SPEAKER_00]: Yeah.

01:09:07.077 --> 01:09:10.922
[SPEAKER_00]: You know, there's still like that there's this artist named Olivia Dean.

01:09:12.184 --> 01:09:12.825
[SPEAKER_00]: There's.

01:09:12.845 --> 01:09:14.728
[SPEAKER_00]: So that still exists.

01:09:15.489 --> 01:09:22.478
[SPEAKER_00]: And I would imagine all of those artists when they were teenagers heard back to black and were like, Yo, this is crazy.

01:09:23.179 --> 01:09:27.906
[SPEAKER_02]: But can they actually, I mean, are they if I don't even know I'm asking you.

01:09:27.886 --> 01:09:32.832
[SPEAKER_02]: Are they popular or are they critically acclaimed?

01:09:33.293 --> 01:09:36.477
[SPEAKER_00]: I think a little of both, like, how popular can you even be at this point?

01:09:36.897 --> 01:09:43.085
[SPEAKER_00]: Um, you know, there is no real such thing as like a massive peel type artist anymore.

01:09:43.185 --> 01:09:48.392
[SPEAKER_00]: And, you know, look for all we just said about Amy, that album sold two million copies in the US, which isn't

01:09:48.372 --> 01:09:50.637
[SPEAKER_00]: super is not Taylor Swift numbers.

01:09:50.697 --> 01:09:51.760
[SPEAKER_00]: It's not Beyonce numbers.

01:09:52.642 --> 01:09:55.268
[SPEAKER_00]: It was moderately successful.

01:09:55.669 --> 01:09:56.692
[SPEAKER_00]: It's not even a Dell numbers.

01:09:56.972 --> 01:09:57.714
[SPEAKER_00]: Yeah.

01:09:58.516 --> 01:10:05.773
[SPEAKER_02]: So, you know, I think though, if she is healthy and she makes that third album,

01:10:05.973 --> 01:10:35.642
[SPEAKER_00]: that thing probably sells yeah one thing i was thinking you know uh i what i one thing i well a couple of things i was thinking sort of related conversations you and i've had in the past one there's some similarities to me between back to black and miseducation lore and hill that i never even really thought of before that's interesting like the relationship through line like uh you know the troubles that they had afterwards like so on so forth

01:10:35.858 --> 01:10:40.447
[SPEAKER_00]: The other part of that that I was seeing is I would have loved to have seen in any White House DeAngelo do it.

01:10:41.209 --> 01:10:41.770
[SPEAKER_00]: Oh, wow.

01:10:44.696 --> 01:10:51.470
[SPEAKER_02]: Huh, and it could have happened because we know that she was close to Questlove for Slush.

01:10:51.530 --> 01:10:52.011
[SPEAKER_02]: Yep.

01:10:52.649 --> 01:11:02.324
[SPEAKER_02]: So, wow, that is a great, that is a fantastic one if there, but, all right, that is all that we have for back to black here.

01:11:02.344 --> 01:11:07.812
[SPEAKER_02]: Not going to really do a top five, which we are putting up as separate things.

01:11:08.493 --> 01:11:10.776
[SPEAKER_02]: She's only got two albums.

01:11:10.816 --> 01:11:18.488
[SPEAKER_02]: Yeah, and there's not a ton of stuff to kind of like grab from, but the,

01:11:19.548 --> 01:11:43.952
[SPEAKER_02]: the podcast feeds are out there and the YouTube page is up 50 for 50.net is where you can find everything so if you're just like I don't know where to go like just go to 50 for 50.net because all the videos all the the podcasts as well as Mike's written reviews of the albums that we're going to talk that we're talking about.

01:11:43.932 --> 01:11:47.137
[SPEAKER_02]: all up there support that if you can.

01:11:47.157 --> 01:11:51.844
[SPEAKER_02]: And if you are on YouTube, definitely throw us a subscribe.

01:11:52.385 --> 01:12:04.062
[SPEAKER_02]: If you are on some of these podcast feeds, Apple podcast specifically, Spotify, I can see it too, but if you drop reviews, give us a five star review, we'll read it on air.

01:12:04.182 --> 01:12:06.185
[SPEAKER_02]: So we really appreciate that.

01:12:06.947 --> 01:12:10.031
[SPEAKER_02]: And this is, we're still very early in the game.

01:12:10.051 --> 01:12:12.555
[SPEAKER_02]: We have so many albums, so many albums, so many

01:12:12.535 --> 01:12:34.830
[SPEAKER_00]: and look even if you're like I've been going like I've been consuming a fair amount of YouTube lately you leave a comment on any one of our videos I will personally respond if it's a nice comment yeah no yeah that that that that is a hundred percent so I appreciate y'all this is uh this is a very important project uh for for me and Mike to to get through and now

01:12:34.810 --> 01:12:46.509
[SPEAKER_00]: And one thing that should really come out of this, you know, that I don't know that we've talked about yet, is like, you should listen to this record if you have not listened to it before, yes.

01:12:47.510 --> 01:12:52.178
[SPEAKER_02]: Yes, like every record, every album that we're talking about,

01:12:52.343 --> 01:13:16.056
[SPEAKER_02]: It is, there is a value to it not only to us but also to kind of like the history of music and the art form and the artist, and that's part of what we like doing is we like going down rabbit holes and we like looking up trivia and trying to find information like and today, you know, you might make a comment about the internet.

01:13:16.036 --> 01:13:18.700
[SPEAKER_02]: There are good things about the internet.

01:13:19.441 --> 01:13:25.991
[SPEAKER_02]: There are lots of bad things about the internet, but one of the things that I love about the internet is you will find nuggets of things.

01:13:26.091 --> 01:13:33.382
[SPEAKER_02]: If you can do the searches and, you know, I was just like, huh, cherry wine.

01:13:33.442 --> 01:13:35.165
[SPEAKER_02]: I wonder what was going on now.

01:13:35.846 --> 01:13:36.627
[SPEAKER_02]: I didn't...

01:13:37.248 --> 01:13:39.411
[SPEAKER_02]: double source the information or whatever.

01:13:39.492 --> 01:13:42.216
[SPEAKER_02]: So, you know, I wanted to state that fact before.

01:13:42.256 --> 01:13:44.059
[SPEAKER_02]: Like, you know, it's just people talking, right?

01:13:44.119 --> 01:13:45.461
[SPEAKER_02]: It's just people writing about stuff.

01:13:45.481 --> 01:13:46.623
[SPEAKER_02]: And so that's what we're using.

01:13:47.284 --> 01:13:52.392
[SPEAKER_02]: But yeah, so we're gonna find the nuggets and we're gonna find some fun trivia.

01:13:52.532 --> 01:13:57.260
[SPEAKER_02]: And you know, if I can surprise Mike with stuff, that that means like I'm digging deep.

01:13:57.280 --> 01:14:02.188
[SPEAKER_02]: I'm going deep down the rabbit hole because Mike has a lot of this knowledge just in his brain.

01:14:02.268 --> 01:14:04.892
[SPEAKER_02]: So it's what makes this show fun.

01:14:04.872 --> 01:14:06.639
[SPEAKER_02]: All right, we got another one done.

01:14:06.659 --> 01:14:08.767
[SPEAKER_02]: I appreciate all y'all for listening.

01:14:09.510 --> 01:14:10.916
[SPEAKER_02]: For Mike, I am WG.

01:14:11.137 --> 01:14:12.944
[SPEAKER_02]: We will see you when we see you piece.

01:14:13.868 --> 01:14:13.988
[UNKNOWN]: Peace.