Back to Black [Canada]

Editorial Reviews

All Music Guide - John Bush
The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance. Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz ...
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Editorial Reviews

All Music Guide - John Bush
The story of Back to Black is one in which celebrity and the potential of commercial success threaten to ruin Amy Winehouse, since the same insouciance and playfulness that made her sound so special when she debuted could easily have been whitewashed right out of existence for this breakout record. That fact may help to explain why fans were so scared by press allegations that Winehouse had deliberately lost weight in order to present a slimmer appearance. Although Back to Black does see her deserting jazz and wholly embracing contemporary R&B, all the best parts of her musical character emerge intact, and actually, are all the better for the transformation from jazz vocalist to soul siren. With producer Salaam Remi returning from Frank, plus the welcome addition of Mark Ronson fresh off successes producing for Christina Aguilera and Robbie Williams, Back to Black has a similar sound to Frank but much more flair and spark to it. Winehouse was inspired by girl group soul of the '60s, and fortunately Ronson and Remi are two of the most facile and organic R&B producers active. They certainly know how to evoke the era too; Remi's "Tears Dry on Their Own" is a sparkling homage to the Motown chestnut "Ain't No Mountain High Enough," and Ronson summons a host of Brill Building touchstones on his tracks. As before, Winehouse writes all of the songs from her experiences, most of which involve the occasionally riotous and often bittersweet vagaries of love. Also in similar fashion to Frank, her eye for details and her way of relating them are delightful. She states her case against "Rehab" on the knockout first single with some great lines: "They tried to make me go to rehab I won't go, I'd rather be at home with Ray" Charles, that is. As often as not, though, the songs on Back to Black are universal, songs that anyone, even Joss Stone, could take to the top of the charts, such as "Love Is a Losing Game" or the title song "We only said good bye with words, I died a hundred times/You go back to her, and I go back to black". [The 2007 Canadian edition pares the track list down to ten songs, omitting the bonus remix.]
Entertainment Weekly - Will Hermes
[Grade: A-] All told, it's a near-perfect set that declares not just the arrival of a fully formed talent, but possibly the first major salvo of a new British Invasion.
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Product Details

  • Release Date: 12/19/2006
  • Label: Universal Import
  • UPC: 602517142114
  • Catalog Number: 1714211

Album Credits

Performance Credits
Amy Winehouse Primary Artist, Guitar, Background Vocals
Vincent Henry Clarinet, Flute, Guitar, Piano, Celeste, Bass Clarinet, Saxophone, Alto Saxophone, Baritone Saxophone, Tenor Saxophone
Bruce Purse Trumpet, Flugelhorn, Bass Trumpet
Peter G. Hanson Violin
Mark Berrow Violin
Dave Bishop Baritone Saxophone
Liz Edwards Violin
John Heley Cello
Andrew MacKintosh Alto Saxophone
Anthony Pleeth Cello
Johnathan Rees Violin
Salaam Remi Bass, Guitar, Piano, Drums, Upright Bass
Frank Ricotti Percussion
Steve Sidwell Trumpet, Harp
Jamie Talbot Tenor Saxophone
Kate Wilkinson Viola
Helen Tunstall Harp
Sam Koppelman Percussion
Boguslaw Kostecki Violin
Bruce White Viola
Victor Axelrod Piano, Hand Clapping, Hand Clapping, Wurlitzer
Cochemea Gastelum Baritone Saxophone
Chris Elliott Conductor
Everton Nelson Violin
Perry Mason Violin, Leader
Rachel Bolt Viola
Chris Davies Alto Saxophone
Warren Zielinski Violin
Neal Sugarman Tenor Saxophone
Vaughan Merrick Hand Clapping, Hand Clapping
Mark Ronson Tambourine, Hand Clapping, Hand Clapping, Finger Snapping
Nick Movshon Bass Guitar
Tom Pigott Smith Violin
Binky Griptite Guitar
Homer Steinweiss Drums
Jon Thorne Viola
Joely Koos Cello
Christopher Tombling Violin
Technical Credits
Nick Ashford Composer
Paul O'Duffy Composer
Salaam Remi Producer
Valerie Simpson Composer
Richard Poindexter Composer
Robert Poindexter Composer
Chris Elliott Orchestration, Orchestral Arrangements
Dominic Morley Engineer
Perry Mason Orchestra Leader
Derek Pacuk Engineer
Vaughan Merrick Engineer
Mark Ronson Arranger, Composer, Producer, Engineer
Gabriel Roth Arranger, Engineer
Amy Winehouse Composer
Matt Paul Engineer
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