As we have seen with Michael Jackson's Michael and any one of Tupac's several posthumous releases, any music put out by a, well, 'expired' musician rarely hits even close to the heights of their best material. This is also the case with Amy Winehouse's Lioness: Hidden Treasures.

Amy Winehouse made a huge mark on popular music in just two studio albums. Her second, and what was to be final, album Back To Black will undoubtedly go down as one of the biggest records of the previous decade. Its release - and subsequent Grammy wins - was supposed to usher in the start of what was to be a potentially legendary music career, but now listening to it brings an uncomfortable air of finality to it. This was all there was going to be.

Lioness: Hidden Treasures doesn't come close to the resonance of Back To Black, or indeed Frank, but was anyone really expecting it to? By definition, songs sold to us as "rarities" usually fail to excite as much as album tracks do and - again - that's the case on this record. Where it is interesting, however, is the ghostly 'beyond the grave' feeling to some of the tracks. The excellent 'Wake Up Alone' contains the line "I stay up, playing out, at least I'm not drinking", which is this collection's 'Rehab', a sort unheeded cautionary tale to herself.

'Girl From Ipanema', a tune Winehouse should knock out of the park, is oddly understated and Nas's guest vocals on 'Like Smoke' stick out like a sore thumb, sitting uneasily beside Winehouse's, and that is the story of the album. Lioness: Hidden Treasures is too uneven to be compared favourably to any of Winehouse's best work. If most of these tracks, as cobbled together by her producer Salaam Remi, feel incomplete that is because, well, they were. While it's undeniably interesting to hear her voice sing new melodies, this is more of an epilogue than a brand new chapter.