“Perhaps the most difficult thing about loving and helping an addict, which most people who haven't been through it don't understand, is this: every day the cycle continues is your new worst day. When looked at from the outside it seems endless, the same thing over and over again; but when you're living it, it's like being a hamster on a wheel. Every day there's the chronic anxiety of waiting for news, the horrible rush when it turns out to be bad, the overwhelming sense of déjà vu - and the knowledge that, despite your best efforts, you'll probably be here again. Even so-called good days are not without their drawbacks. You enjoy them as much as you can, but in the back of your mind there's the lurking fear that tomorrow you could be back to square one again, or worse.”
“A lot of her songs were to do with Blake, which did not escape Mark’s attention. She told Mark that writing songs about him was cathartic and that ‘Back to Black’ summed up what had happened when their relationship had ended: Blake had gone back to his ex and Amy to black, or drinking and hard times. It was some of her most inspired writing because, for better or worse, she’d lived it. Mark and Amy inspired each other musically, each bringing out fresh ideas in the other. One day they decided to take a quick stroll around the neighbourhood because Amy wanted to buy Alex Clare a present. On the way back Amy began telling Mark about being with Blake, then not being with Blake and being with Alex instead. She told him about the time at my house after she’d been in hospital when everyone had been going on at her about her drinking. ‘You know they tried to make me go to rehab, and I told them, no, no, no.’ ‘That’s quite gimmicky,’ Mark replied. ‘It sounds hooky. You should go back to the studio and we should turn that into a song.’ Of course, Amy had written that line in one of her books ages ago. She’d told me before she was planning to write a song about what had happened that day, but that was the moment ‘Rehab’ came to life. Amy had also been working on a tune for the ‘hook’, but when she played it to Mark later that day it started out as a slow blues shuffle – it was like a twelve-bar blues progression. Mark suggested that she should think about doing a sixties girl-group sound, as she liked them so much. He also thought it would be fun to put in the Beatles-style E minor and A minor chords, which would give it a jangly feel. Amy was unaccustomed to this style – most of the songs she was writing were based around jazz chords – but it worked and that day she wrote ‘Rehab’ in just three hours. If you had sat Amy down with a pen and paper every day, she wouldn’t have written a song. But every now and then, something or someone turned the light on in her head and she wrote something brilliant. During that time it happened over and over again. The sessions in the studio became very intense and tiring, especially for Mark, who would sometimes work a double shift and then fall asleep. He would wake up with his head in Amy’s lap and she would be stroking his hair, as if he was a four-year-old. Mark was a few years older than Amy, but he told me he found her very motherly and kind.”
“I felt awful as I drove away to live with Melody in Barnet. I stayed with her for six months before I moved in with Jane. Looking back now, I was a coward for allowing the situation to go on for so long, but I wanted to keep everybody happy. Strangely, after I left I started seeing more of the kids than I had before. My friends thought that Amy didn’t seem much affected by the divorce, and when I asked her if she wanted to talk about it, she said, ‘You’re still my dad and Mum’s still my mum. What’s to talk about?”
“I’m putting you in that dumpster until you say you’re going to the meeting,’ he told her. Amy started to laugh because she thought Nick wouldn’t do it, but he picked her up, put her in the dumpster and closed the lid. ‘I’m not letting you out until you say you’re coming to the meeting.’ She was banging on the side of the dumpster and shouting her head off. But it was only after she’d agreed to go to the meeting that Nick let her out. She immediately screamed, ‘KIDNAP! RAPE!’ They were still arguing as they walked into the meeting. ‘Sorry we’re late,’ Nick said. Then Amy jumped in: ‘Yeah, that’s cos Nick just tried to rape me.”
“Apart from the sampler, though, I still hadn’t heard the songs that were on the short-list for Frank and Amy seemed a bit reticent about letting me listen to them. Maybe she thought lyrics like ‘the only time I hold your hand is to get the angle right’ might shock me or that I’d embarrass her. I teased her after I’d finally heard the song. ‘I want to ask you a question,’ I said. ‘That song “In My Bed” when you sing—’ ‘Dad! I don’t want to talk about it!”
“After Frank came out, Amy would begin a performance at a gig by walking onstage, clapping and chanting, ‘Class-A drugs are for mugs. Class-A drugs are for mugs …’ She’d get the whole audience to join in until they’d all be clapping and chanting as she launched into her first number. Although Amy was smoking cannabis, she had always been totally against class-A drugs. Blake Fielder-Civil changed that. Amy first met him early in 2005 at the Good Mixer pub in Camden. None of Amy’s friends that I’ve spoken to over the years can remember exactly what led to this meeting. But after that encounter she talked about him a lot. ‘When am I going to meet him, darling?’ I asked. Amy was evasive, which was probably, I learned later, because Blake was in a relationship. Amy knew about this, so initially you could say that Amy was ‘the other woman’. And although she knew that he was seeing someone else, it was only about a month after they’d met that she had his name tattooed over her left breast. It was clear that she loved him – that they loved each other – but it was also clear that Blake had his problems. It was a stormy relationship from the start. A few weeks after they’d met, Blake told Amy that he’d finished with the other girl, and Amy, who never did anything by halves, was now fully obsessed with him.”