Yahoo! Music Album Review

Released on 03/03/08
Label: A&M

Aimee Anne Duffy has on more than one occasion recently been prompted to point out that she and her collaborators began working on her debut album four years ago, so accusations of a calculated attempt to cash in on the success of "Back To Black" are not only insulting, but would also have required the working of a chronological miracle.

Still, comparisons with Amy Winehouse's second album are inevitable: neo-soul chanteuse Duffy also demonstrates precocious vocal chops, her alluringly husky tones suggesting a 55-year-old black divorcee from Memphis, rather than a 22-year-old white girl from north Wales; her songs are barely reconstructed homages to classic soul artists (Candi Staton, Tammi Tyrelle, Dionne Warwick et al); and their arrangements - heavy on the strings and cliff-top builds - are of the calculatedly vintage variety. If "Rockferry" is a contemporary record, then it's a million miles removed from the self-conscious modernism of Lily Allen, Kate Nash and the rest.

Stylistic references aside - Duffy's rasping, soul-pop holler is most reminiscent of Lulu, her eye make-up and bleaching tips are borrowed from Dusty - the singer's strongest alliance here is with former Suede guitarist Bernard Butler, who both co-wrote and produced four of the songs (including the knockout opening title track), played guitars, glockenspiel, piano and keyboards and is responsible for some of the string arrangements.

It's a strong and fruitful partnership, clearly, but not quite fruitful enough to stop the album from sagging occasionally. "Rockferry", with Butler's distinctive guitar curlicue and a lowering beginning which builds slowly to anguished, open-lunged belter of a vocal chorus is a clear standout - as its Number One position confirms - so too the sexily swinging, gospel-toned "Mercy", but the '70s Philly-styled "Hanging On Too Long" sounds as if it's simply marking time, mid-record, a feeling reinforced by the pastiche that is "Delayed Devotion".

It might be churlish to take issue with the lyrics of any album so unembarrassed by its retroism - content and form need to fit, after all - but Duffy's emotions seems to be borrowed from the classic soul handbook, too. It's hard not to wince slightly and check the date when she begs "Don't you be out all night long, leaving me all alone", on "Syrup & Honey" or, in wounded but defiant mode on "Warwick Avenue" wails, "You hurt me bad, but I won't shed a tear." Best perhaps to give Duffy the benefit of the doubt and claim that she's "in character" here. Maybe album number two will reveal a third dimension, but until then "Rockferry" works as a very promising calling card.

    by Sharon O'Connell