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Back to Black
Standard edition cover[a]
Studio album by
Amy Winehouse
Released27 October 2006 (2006-10-27)
Recorded2005–2006
Studio
Genre
Length34:56
LabelIsland
Producer
Amy Winehouse chronology
Frank
(2003) 		Back to Black
(2006) 		I Told You I Was Trouble: Live in London
(2007)
Alternative cover
Physical US and Japanese cover
Physical US and Japanese cover
Singles from Back to Black
  1. "Rehab"
    Released: 23 October 2006
  2. "You Know I'm No Good"
    Released: 8 January 2007
  3. "Back to Black"
    Released: 30 April 2007
  4. "Tears Dry on Their Own"
    Released: 13 August 2007
  5. "Love Is a Losing Game"
    Released: 10 December 2007

Back to Black is the second and final studio album by the English singer-songwriter Amy Winehouse, released on 27 October 2006 by Island Records. Winehouse predominantly based the album on her tumultuous relationship with Blake Fielder-Civil, who temporarily left her to pursue an ex-girlfriend. Their brief separation spurred Winehouse to create an album that explores themes of guilt, grief, infidelity, heartbreak and trauma in a relationship.

Influenced by the pop and soul music of 1960s girl groups, Winehouse collaborated with producers Salaam Remi and Mark Ronson, along with Sharon Jones' band The Dap-Kings, to assist her on capturing the sounds from that period while blending them with contemporary R&B and neo-soul music. Between 2005 and 2006, she recorded the album's songs with Remi at Instrumental Zoo Studios in Miami and then with Ronson and the Dap-Kings at Chung King Studios and Daptone Records in New York. Tom Elmhirst mixed the album at Metropolis Studios in London. The album was promoted with five singles: "Rehab", "You Know I'm No Good", "Back to Black", "Tears Dry on Their Own" and "Love Is a Losing Game".

Back to Black received widespread acclaim from music critics, who praised Winehouse's songwriting, emotive singing style, and Remi and Ronson's production. At the 2008 Grammy Awards, Back to Black won Best Pop Vocal Album and was also nominated for Album of the Year. At the same ceremony, Winehouse won four additional awards, tying her with five other artists as the second-most awarded female in a single ceremony. The album was also nominated at the 2007 Brit Awards for MasterCard British Album and was short-listed for the 2007 Mercury Prize, among other accolades.

With 20 million copies sold worldwide, Back to Black is one of the best-selling albums of all time and the UK's second best-selling album of the 21st century. It established Winehouse as a cultural icon, and is noted for its key role in the widespread popularity of British soul throughout the late 2000s. Back to Black is often featured in publication listings of the greatest albums of all time, including Rolling Stone's "500 Greatest Albums of All Time" and Apple Music's "100 Best Albums". In 2025, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Background

[edit]

After signing with Island Records in 2002,[1] Winehouse released her debut album, Frank, on 20 October 2003. She dedicated the album to her ex-boyfriend, Chris Taylor, as she gradually lost interest in him.[2][3] Produced mainly by Salaam Remi, many songs were influenced by jazz, and apart from two cover versions, every song was co-written by Winehouse. The album received positive reviews,[4][5] with compliments over the "cool, critical gaze" in its lyrics,[6] while her vocals drew comparisons to Sarah Vaughan,[7] Macy Gray and others.[6] The album reached number 13 on the UK Albums Chart at the time of its release, and has been certified triple Platinum by the British Phonographic Industry (BPI).[8][9] In 2004, Winehouse was nominated for British Female Solo Artist and British Urban Act at the Brit Awards,[10] while Frank made the shortlist for the Mercury Prize.[11] That same year, the album's first single, "Stronger Than Me", earned Winehouse and Remi an Ivor Novello Award for Best Contemporary Song.[12] In a 2004 interview with The Observer, Winehouse expressed dissatisfaction with the album, stating that "some things on [the] album [made her] go to a little place that's fucking bitter". She further notes that the marketing was "fucked", the promotion was "terrible", and everything was "a shambles".[13]

In 2005, Winehouse dated Blake Fielder-Civil, who was an assistant on music video sets. Around the same time, she rediscovered the 1960s music she loved as a girl, stating in a 2007 Rolling Stone interview: "When I fell in love with Blake, there was Sixties music around us a lot."[14] In 2005, the couple spent a lot of time in a local Camden bar, and during their time there, Winehouse would listen to blues, '60s girl groups, and Motown artists, explaining that "it was [her] local" and "spent a lot of time there [...] playing pool and listening to jukebox music."[14] The music heard in the bar appealed to Winehouse when she was writing songs for her second album.[14]

Around the same year, she went through a period of drinking, heavy drug use, and weight loss.[15] People who saw her during the end of that year and early 2006 reported a rebound that coincided with the writing of Back to Black.[15] Her family believes that the mid-2006 death of her grandmother, who was a stabilising influence, set her off into addiction.[15] Fielder-Civil then left Winehouse to revert to his previous girlfriend. During their break, she would write the bulk of the album on the state of her "relationship at the time with Blake [Fielder-Civil]" through themes of "grief, guilt, and heartache".[14] Winehouse dated musician Alex Clare briefly in 2006,[16] and would later return to and marry Fielder-Civil in the following year.[3][17]

Recording and production

[edit]

"She [Winehouse] was in Miami only for ten days for Back to Black. Her vocals were quick. She'd give a couple takes that were effortless and honest, and we'd [the Instrumental Zoo personnel] have it. People think of studio sessions as all-nighters, but we'd get there at 10 a.m. to set up; she'd come at noon. By 8 or 9 at night, we were done and we'd be back up in the morning getting it done in the daylight."

—Frank Socorro, sound engineer for Back to Black[18]

Most of the songs on Back to Black were solely written by Winehouse,[19] as her primary focus of the album's sound shifted more towards the style of the girl groups from the 1950s and 1960s. Winehouse worked with New York singer Sharon Jones's longtime band, the Dap-Kings, to back her up in the studio and on tour.[20] Her father, Mitch Winehouse, relates in his memoir, Amy, My Daughter, how fascinating watching her process was, especially with witnessing her perfectionism in the studio. She would also put out what she had sung on a CD and play it in his taxi outside to know how most people would hear her music.[21]

Mark Ronson (pictured above) was one of the main co-producers for the album.

In 2005, Winehouse returned to Miami (as she went there previously to produce her debut album) to record five songs at Salaam Remi's Instrumental Zoo Studios: "Tears Dry on Their Own", "Some Unholy War", "Me & Mr Jones", "Just Friends", and "Addicted". The recording process of Remi's album portion was "intimate", consisting of Winehouse singing while on guitar and Remi adding the other instruments played mostly by himself (chiefly played the piano and the main/bass guitars on the album), or by instrumentalist Vincent Henry (primarily played the saxophone, the flute, and the clarinet).[18][19] Winehouse and producer Mark Ronson both shared a publishing company, which encouraged a meeting between the two. They conversed in March 2006 in Ronson's New York studio that he used to have. They worked on six tracks together: "Rehab", "Back to Black", "You Know I'm No Good", "Love Is a Losing Game", "Wake Up Alone", and "He Can Only Hold Her".[3][19][22] Ronson said in a 2010 interview with The Guardian that he liked working with Winehouse because she was blunt when she did not like his work.[23] She in turn thought that when they first met, he was a sound engineer and that she was expecting an "older man with a beard".[24]

Ronson wrote "Back to Black" the night after he met Winehouse, explaining in a 2010 Mojo interview:

I just thought, 'Let's talk about music, see what she likes.' She said she liked to go out to bars and clubs and play snooker with her boyfriend and listen to the Shangri-Las. So she played me some of those records ... I told her that I had nothing to play her right now but if she [lets] me work on something overnight she could come back tomorrow. So I came up with this little piano riff, which became the verse chords to 'Back to Black.' Behind it I just put a kick drum and a tambourine and tons of reverb.[22]

Mark Ronson later recalled the Back to Black recording sessions in a 2015 The FADER interview:

Amy was so serious about her words. Working on "Back to Black", when she first sang the chorus, she said, We only said goodbye in words/ I died a hundred times. My producer instinct went off and I said, "Hey, sorry, it's got to rhyme. That's weird. Can you fix that?" And she just looked at me like I was crazy, like, "Why would I fix that? That's what came out." They're some of the most unlikely lyrics you could ever imagine on a massive pop single.[25]

Winehouse's father later recalled the formulation of "Rehab" in his memoir:

One day [Ronson and Winehouse] decided to take a quick stroll around the neighborhood because Amy wanted to buy [her then-boyfriend] Alex Clare a present ... on the way back Amy began telling Mark about being with Blake [Fielder-Civil, her ex], 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.'[22]

The majority of the songs produced by Ronson were completed at Daptone Records—along with the instrumental help of The Dap-Kings—in Brooklyn, New York.[19][26][27] Three of the horn players from the group played a baritone saxophone, a tenor saxophone, and a trumpet. Ronson recorded the trio to create the "'60s-sounding metallics" on the album. The drums, piano, guitar, and bass were all done together in one room, with the drums being recorded with one microphone. There was also much spill between the instruments.[28] Additional production of the album was located at Chung King[27] and Allido Studios[29][30][31] in New York City, and at Metropolis Records in London.[19] In the Allido studio, Ronson used synthesisers and vintage keyboards to display the sound landscape for the album, including the Wurlitzer electric piano.[19][32] In May of that year, Winehouse's demo tracks such as "You Know I'm No Good" and "Rehab" appeared on Mark Ronson's New York radio show on East Village Radio. These were some of the first new songs played on the radio after the release of "Pumps" and both were slated to appear on her second album. The 11-track album, completed in five months,[21] was produced entirely by Remi and Ronson, with the production credits being split between them.

Post-production

[edit]

Tom Elmhirst, who mixed the single "You Know I'm No Good", was enlisted to help with the mixing of the album at Metropolis Records. He first received Ronson's original mix, which he described as being "radical in terms of panning, kind of Beatlesque". He continued, "The drums, for instance, were all panned to one side". He attempted to mix "Love Is a Losing Game" in the same manner he did with "Rehab", but felt it was not right to do so. Elmhirst mixed "Rehab", but when he first received the multitrack of the song, many tracks remained unused. Therefore, Ronson went to London to record strings, brass and percussion in one of Metropolis' tracking rooms.[26][33] After these instruments were added, the song had garnered a "retro, '60s soul, R&B" feel to it. Elmhirst added a contemporary sound to the song as well, while Ronson wanted to keep the mix sparse and not overproduced.[33] The album was mastered by Stuart Hawkes at Metropolis.[34]

Music and lyrics

[edit]

Composition and sound

[edit]
The album is noted to resemble Phil Spector's Wall of Sound.[35]

Back to Black has been cited to have musical stylings of contemporary R&B,[33] neo soul,[36] reggae,[37] classic R&B,[38] and 1960s "pop and soul".[39][40] According to AllMusic's John Bush, Back to Black finds Winehouse "deserting jazz and wholly embracing contemporary R&B".[41] David Mead of Paste also viewed it as a departure from Frank and said that it sets her singing to Salaam Remi and Mark Ronson's "synthetic Motown-style backdrop".[42] Meanwhile, Ann Powers from NPR Music characterised Back to Black as "a full embrace of classic rhythm and blues."[38] Music journalist Chuck Eddy credits Ronson and Remi's production for resembling Phil Spector's Wall of Sound technique and surrounding Winehouse with brass and string sections, harp, and the Wurlitzer.[35] PopMatters writer Christian John Wikane said that its "sensibilities of 1960s pop and soul" are contradicted by Winehouse's "blunt" lyrics and felt that "this particular marriage of words and music mirrors the bittersweet dichotomy that sometimes frames real relationships".[39] The staff of The A.V. Club emphasized on "the record's status as the pinnacle of the Brit neo-soul wave it ushered in".[36]

Songs 1–6

[edit]

The album's first song and single, "Rehab", is an upbeat,[43] contemporary,[33] and autobiographical song about Winehouse's past refusal to attend an alcohol rehabilitation centre after a conversation she had with her father, Mitch Winehouse. Previously, her management team prodded her to go to one. The song also contains "spring reverbs" on the lead vocals and drums to obtain a "retro feel", live "handclaps", timpanis, bells, and "slight vintage effects" on the piano and bass.[33] Winehouse mentions "Ray" and "Mr. Hathaway", in reference to Ray Charles and Donny Hathaway. However, for some time during live performances, she replaced "Ray" with "Blake", referring to her ex-husband, Blake Fielder-Civil, who served time in prison for charges relating to grievous bodily harm.[44]

"You Know I'm No Good" is an uptempo[45] song about Winehouse cheating on a "good man that loves her", and therefore cheating herself out of a healthy relationship. The lyrics also entail Winehouse as being "helpless" while trying to understand and resist her own self-destructive compulsions.[46]

In the jazz and reggae-influenced "Me and Mr Jones" song, Winehouse sings about accepting that she never made it to a Slick Rick concert, but yet refuses to skip a Nas show as they were both close friends (Nas' last name is Jones).[47] The song's title plays off the 1972 "Me and Mrs. Jones" by Billy Paul. In a 2011 XXL interview, Nas recollects: "I don't really remember if Salaam, who was really close to her [Winehouse], who introduced us, if he told me about it ["Mr Jones" being based on Nas] or not [...] But, I heard a lot about it before I even heard the song."[22] Winehouse cursed about the relationship between her and Nas in the song's first chorus ("What kind of fuckery is this?" / "You made me miss the Slick Rick gig") and in later ones as well. In a Genius commentary, Island Records president Darcus Beese added that the original track was titled "Fuckery" from both Remi and Winehouse. He then continues, "I remember saying to Amy and Salaam, "You can't call this song 'Fuckery' [...] Salaam was more of the grown up of the two but Amy was like, 'Well, why can't I?' [...] That's why I always say, you have to give everything you're thinking and give people something that's exciting."[48]

The fourth song on the album, "Just Friends", is about "[a woman] trying to pull away from an illicit affair", with lyrics indicating, "The guilt will kill you if she don't first". It is a "ska-soul" song[49] with a "pulsing reggae groove" throughout the track.[37] Jon Pareles of The New York Times elaborates that Winehouse makes songs such as "Just Friends" into "games of tone and phrasing [...] withholding a line and then breezing through it, stretching out a note over [her backing band]'s steady beat".[50]

The title track "Back to Black" explores elements of old-school soul music.[51] The song's sound and beat have been described as similar to vintage girl groups from the 1960s.[52][53] Its production was noted for its Wall of Sound.[52][54] Winehouse expresses feelings of hurt and bitterness for a boyfriend who has left her; however, throughout the lyrics she "remains strong", exemplified in the opening lines, "He left no time to regret, Kept his dick wet, With his same old safe bet, Me and my head high, And my tears dry, Get on without my guy".[55] The song was inspired by her relationship with Fielder-Civil, who had left Winehouse for an ex-girlfriend. The breakup left her going to "black", which to the listener may appear to refer to drinking and depression. "Black" has sometimes been considered a reference to heroin, but this is inaccurate as Winehouse's heroin use did not begin until after her marriage to Blake Fielder-Civil (mid 2007), as confirmed in the Asif Kapadia documentary. The song's lyrical content consists of a sad goodbye to a relationship with the lyrics being frank.[53][56] John Murphy of musicOMH compared the song's introduction to the Martha and the Vandellas song "Jimmy Mack", adding that it continues to a "much darker place".[51]

"Love Is a Losing Game" is a sentimental ballad that invokes Winehouse's chosen metaphor as a pastime that could be "addictive and destructive". Alexis Petridis of The Guardian further explains, "Over a solitary electric guitar and subtle drums, [Winehouse's] voice takes centre stage to [set] out her resigned viewpoint that, as with gambling, you can only love for so long before ending up the loser".[57]

Songs 7–11

[edit]
"Tears Dry on Their Own"
The main chord progression of the song's chorus samples Marvin Gaye and Tammi Terrell's 1967 song "Ain't No Mountain High Enough".[49]
Problems playing this file? See media help.

The song "Tears Dry on Their Own" samples the main chord progression from Marvin Gaye and Tammi Terrell's 1967 song "Ain't No Mountain High Enough".[49] Remi stated that he thought the album needed something "up-tempo" and suggested to Winehouse that she procure a "slower, sadder conception" of the song.[58] Laura Barton of The Guardian explicated the track as Winehouse giving herself a stern "talking-to" with lyrics such as, "I cannot play myself again, I should be my own best friend" and "Not fuck myself in the head with stupid men".[59]

The HelloBeautiful staff views "Wake Up Alone", written by Winehouse and Paul O'Duffy, as another sentimental ballad that "chronicles [the] time right after a breakup [and] when you're trying not to think of the person by keeping busy." They add, "[B]ut when night time comes, so do [the] thoughts of said person."[60] Winehouse spent a month in O'Duffy's North London studio working on tracks of the album, and "Wake Up Alone" was the first song recorded during the sessions and the only tune that made it onto the album. A "one-take" demo of the song recorded in March 2006 by O'Duffy later appeared on Winehouse's posthumous album, Lioness: Hidden Treasures.[61]

Nick Shymansky, Winehouse's first manager, revealed that the inspiration of "Some Unholy War", a mid-tempo soul song,[62] came into fruition after Winehouse heard a radio broadcast on the War in Afghanistan. As she heard the term "holy war", a war being primarily caused or justified by differences in religion, Winehouse immediately thought of an idea to spin the religious conflict into her own personal issues with Fielder-Civil. The idea is further bolstered with the song's opening lines, "If my man was fighting some unholy war, I would be behind him". Usually in live performances, she would start with the slower version of the song before proceeding into a more uptempo version.[63]

"He Can Only Hold Her" interpolates "(My Girl) She's a Fox" by brothers Robert and Richard Poindexter. Joshua Klein of Pitchfork describes Winehouse in the song as "an objective observer, [and] able to see her personal issues for what they are". The chorus goes, "So he tries to pacify her, 'cause what's inside her never dies".[64] Klein assumes that from "this new vantage [,] Winehouse has moved on".[65] John Harrison, the original demo producer of "He Can Only Hold Her", explained at a BIMM London masterclass that he was "introduced to '(My Girl) She's a Fox' by his sister". He then played the song for Winehouse and, when she expressed interest, made a backing track for her. Harrison was not originally given a writing credit on Back to Black, so he sued Winehouse for copyright infringement. They had a settlement over the song, and eventually, his name was added to the track. The initial Back to Black liner notes only said: "Original demo produced by P*Nut [John Harrison's nickname]."[66][67]

"Addicted", a bonus track included on the expanded versions of Back to Black, pertains to Winehouse's experiences with marijuana. "I used to smoke a lot of weed", the singer told Rolling Stone in 2007. "I suppose if you have an addictive personality [,] then you go from one poison to the other."[68]

Release and promotion

[edit]
Winehouse performing at the Eurockéennes festival in France in 2007

Back to Black was released on 27 October 2006.[69] A deluxe edition of Back to Black was released in mainland Europe in November 2007 and in the United Kingdom on 3 December 2007. The reissue features the original studio album remastered as well as a bonus disc containing various B-sides and live tracks, including Winehouse's solo rendition of the single "Valerie" on BBC Radio 1's Live Lounge; the song was originally available in studio form on Ronson's Version album. Winehouse's debut DVD I Told You I Was Trouble: Live in London was released in the UK on 5 November and in the US on 13 November. It includes a live set recorded at London's Shepherd's Bush Empire and a 50-minute documentary chronicling the singer's career over the previous four years.[70]

The first single released from the album on 23 October 2006 was "Rehab". On 22 October 2006, based solely on download sales, it entered the UK Singles Chart at number 19,[71] and when the physical single was released the following week, it climbed to number seven.[72] Following a performance of "Rehab" at the 2007 MTV Movie Awards on 3 June 2007, the song rose to number 10 on the US Billboard Hot 100 for the week of 23 June,[73] peaking at number nine the following week.[74]

"You Know I'm No Good" was released on 8 January 2007 as the album's second single, reaching number 18 on the UK Singles Chart.[75] Back to Black was released in the United States in March 2007, with a remix of "You Know I'm No Good" featuring rap vocals by Ghostface Killah as its lead single. A third UK single, "Back to Black", was released on 30 April 2007. Having previously peaked at number 25 on the UK chart, the track climbed to number eight in late July 2011, following Winehouse's death.[75][76] Two further singles were released from the album: "Tears Dry on Their Own" was released on 13 August 2007, and peaked at number 16 in the UK, while "Love Is a Losing Game", released on 10 December 2007, reached number 33.[75]

Touring

[edit]
Winehouse performing with the Rolling Stones at the Isle of Wight Festival 2007

Winehouse promoted the release of Back to Black with headline performances in late 2006, including a Little Noise Sessions charity concert at the Union Chapel in Islington, London.[77] On 31 December 2006, Winehouse appeared on Jools Holland's Annual Hootenanny and performed a cover of Marvin Gaye's "I Heard It Through the Grapevine" along with Paul Weller and Holland's Rhythm and Blues Orchestra. She also performed Toots and the Maytals' "Monkey Man".[78][79] At his request, actor Bruce Willis introduced Winehouse before her performance of "Rehab" at the 2007 MTV Movie Awards in Universal City, California, on 3 June 2007.[80] During the summer of 2007, she performed at various festivals, including Glastonbury Festival,[81] Lollapalooza in Chicago,[82] Belgium's Rock Werchter, and Virgin Festival in Baltimore.[83]

In November 2007, the opening night of a 17-date tour was marred by booing and walkouts at the National Indoor Arena in Birmingham. A critic for the Birmingham Mail said it was "one of the saddest nights of my life [...] I saw a supremely talented artist reduced to tears, stumbling around the stage and, unforgivably, swearing at the audience."[84] Other concerts ended similarly, with, for example, fans at her Hammersmith Apollo performance saying that she "looked highly intoxicated throughout",[85] until she announced on 27 November 2007 that her performances and public appearances were cancelled for the remainder of the year, citing her doctor's advice to take a complete rest. A statement issued by concert promoter Live Nation blamed "the rigours involved in touring and the intense emotional strain that Amy has been under in recent weeks" for the decision.[86] Mitch Winehouse wrote about her nervousness before public performances in his 2012 book, Amy, My Daughter.[87]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic81/100[88]
Review scores
SourceRating
AllMusicStarStarStarStarStar[41]
The A.V. ClubA−[89]
Entertainment WeeklyA−[90]
The GuardianStarStarStarStar[91]
The IndependentStarStarStarStarStar[92]
The ObserverStarStarStarStar[93]
Pitchfork6.4/10[65]
QStarStarStarStar[94]
Rolling StoneStarStarStar[95]
The TimesStarStarStarStar[96]

Back to Black was widely acclaimed by critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 81, based on 26 reviews.[88] AllMusic writer John Bush lauded Winehouse's musical transition from her debut record: "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."[41] Dorian Lynskey of The Guardian called Back to Black "a 21st-century soul classic".[91] Sal Cinquemani of Slant Magazine said that Winehouse and her producers are "expert mood-setters or crafty reconstructionists".[97] The New Yorker's Sasha Frere-Jones praised Winehouse's "mush-mouthed approach [on the album]".[98] Nathan Rabin, writing in The A.V. Club, was impressed by "the incongruity between Winehouse's trifling lyrical concerns and Back To Black's wall-of-sound richness".[89] Entertainment Weekly's Will Hermes felt that her "smartass" lyrics "raise [the album] into the realm of true, of-the-minute originality".[90] Douglas Wolk, writing for Blender, said that the album "sounds fantastic—partly because the production nails sample-ready '60s soul right down to the drum sound [...] Winehouse is one hell of an impressive singer, especially when she's not copping other people's phrasing".[99]

Some reviewers were more critical of the album. In a mixed review, Rolling Stone's Christian Hoard stated: "The tunes don't always hold up. But the best ones are impossible to dislike."[95] Robert Christgau gave it an "honorable mention" in his consumer guide for MSN Music, citing "You Know I'm No Good" and "Rehab" as highlights and writing, "Pray her marriage lasts—she's observant, and it would broaden her perspective".[100] Pitchfork critic Joshua Klein criticised Winehouse's "defensive", subjective lyrics concerning relationships, but added that "Winehouse has been blessed by a brassy voice that can transform even mundane sentiments into powerful statements".[65]

Accolades

[edit]

Back to Black was named one of the 10 best albums of 2006 and 2007 by several publications on their year-end albums lists, including Time (number one),[101] Entertainment Weekly (number two), Billboard (number three), The New York Times (number three), The Austin Chronicle (number four), Slant Magazine (number four), and Blender (number eight).[102] The album was placed at number 40 on Rolling Stone's list of The Top 50 Albums of 2007.[103] Entertainment Weekly critic Chris Willman named Back to Black the second best album of 2007, commenting that "Black will hold up as one of the great breakthrough CDs of our time." He adds, "In the end, the singer's real-life heartache over her incarcerated spouse proves what's obvious from the grooves: When this lady sings about love, she means every word."[104] Rolling Stone's list of the 100 Best Albums of the 2000s ranked the album number 20.[105]

At the 2007 Brit Awards, Winehouse won British Female Solo Artist, and Back to Black was nominated for MasterCard British Album.[106] In July 2007, the album was shortlisted for the 2007 Mercury Prize, but lost out to Klaxons' Myths of the Near Future.[107] This was the second time that Winehouse was nominated for the Mercury Prize; her debut album Frank was shortlisted in 2004.[11] Back to Black won numerous awards at the 50th Annual Grammy Awards on 10 February 2008, including Record of the Year and Song of the Year for "Rehab"; while the album received nominations for Album of the Year and Best Pop Vocal Album, winning the latter.[108][109] Winehouse herself, for the album, was presented the Grammy for Best New Artist,[108] while Ronson earned the 2008 Grammy Award for Producer of the Year, Non-Classical.[110]

Commercial performance

[edit]

Back to Black debuted at number three on the UK Albums Chart on 5 November 2006 with first-week sales of 43,021 copies.[111] The album reached number one for the first time during the week ending 20 January 2007, its 11th week on the chart, selling over 35,500 copies.[112] The following week, it remained at number one with nearly 48,000 copies sold.[113] Five weeks later, it returned for a third week atop the UK chart, selling 47,000 copies.[114] Back to Black was the best-selling album of 2007 in the UK, having sold 1.85 million copies.[115] The BPI certified the album 15-times Platinum on 28 March 2025,[116] denoting shipments of 4.5 million copies in the UK, making it the UK's second best-selling album of the 21st century so far,[117] as well as the joint 11th best-selling album in the UK of all time.[118]

Back to Black debuted at number seven on the Billboard 200 in the United States with first-week sales of 51,000 copies,[119] becoming the highest debut entry for an album by a British female solo artist at the time—a record that would be broken by Joss Stone's Introducing Joss Stone, which debuted at number two on the Billboard 200 the following week.[120][121] Following Winehouse's multiple wins at the 50th Annual Grammy Awards, the album jumped from number 24 to a new peak of number two on the Billboard 200 chart issue dated 1 March 2008 with sales of 115,000 copies.[122] The album was certified double-Platinum by the Recording Industry Association of America (RIAA) on 12 March 2008,[123] and has since sold nearly three million copies in the US.[124]

Back to Black topped the European Top 100 Albums chart for 13 non-consecutive weeks,[125] while reaching number one in several European countries such as Austria, Belgium, Germany, Greece, Ireland, and Switzerland.[126][127][128][129][130] The album was certified eight-times Platinum by the International Federation of the Phonographic Industry (IFPI) in late 2011, denoting sales of eight million copies across Europe.[131]

Following Winehouse's death on 23 July 2011,[132] sales of Back to Black drastically increased across the world. The album rose to number one on several iTunes charts worldwide.[133] On 24 July 2011, with fewer than seven hours sales after the announcement of her death counting towards the respective week's chart figures,[134] the album re-entered the UK Albums Chart at number 49 with 2,446 copies sold.[135] The following week, it soared back to number one,[76] marking the fourth time the album had reached the top of the chart. Back to Black held the top spot for two additional weeks.[136][137] On 26 July 2011, Billboard reported that the album had re-entered the Billboard 200 chart dated 6 August 2011 at number nine with sales of 37,000 copies,[138] although that week's chart only tracked the first 36 hours of sales after her death was announced.[139] The following week, it climbed to number seven with 38,000 copies sold after a full week's worth of sales.[140] In Canada, the album re-entered the Canadian Albums Chart at number 13 on sales of 2,500 copies.[141][142] It rose to number six the following week, selling an additional 5,000 copies.[143] In continental Europe, Back to Black returned to the number-one spot in Austria,[144] Croatia,[145] Germany,[146] the Netherlands,[147] Poland[148] and Switzerland,[149] while reaching number one for the first time in Italy.[150]

As of July 2015, Back to Black had sold 20 million copies worldwide.[151]

Impact and legacy

[edit]
Back to Black's success helped popularise the female British soul wave in the mid-late 2000s, paving the way for prominent artists such as Adele, Duffy, and Estelle.[152][153][154][155]

After the release of Back to Black, record companies sought out more experimental female artists. Other female artists signed to major labels included Adele, Duffy, V V Brown, Florence and the Machine, La Roux and Little Boots. In the years after Back to Black was released, Dan Cairns of The Sunday Times noted that there was a "notion [by A&R executives, radio playlisters and the public] that women are the driving commercial force in pop".[155] In March 2011, the New York Daily News ran an article attributing the continuing wave of British female artists that have been successful in the United States to Winehouse and her absence. Spin magazine music editor Charles Aaron was quoted as saying, "Amy Winehouse was the Nirvana moment for all these women [...] They can all be traced back to her in terms of attitude, musical styles or fashion." According to Keith Caulfield, chart manager for Billboard, "Because of Amy, or the lack thereof, the marketplace was able to get singers like Adele, Estelle and Duffy [...] Now those ladies have brought on the new ones, like Eliza Doolittle, Rumer and Ellie [Goulding]."[154] Linda Barnard of The Toronto Star finds Winehouse to be among "the British women who claimed chart-topping ownership [...] with powerful voices" and that her "impressive" five Grammy wins for Back to Black put her at the "pinnacle of pop music".[156]

In 2020, Rolling Stone ranked the album at number 33 on its list of The 500 Greatest Albums of All Time.[157] The album was also included in the book 1001 Albums You Must Hear Before You Die.[158] In a retrospective review by the same publication in 2010, Douglas Wolk gave the album four-and-a-half out of five stars and referred to it as "an unlikely marvel, a desperately sad and stirring record whose hooks and production (by Remi and Mark Ronson) are worthy of the soul hall-of-famers she namedrops—'Tears Dry on Their Own' is basically 'Ain't No Mountain High Enough' recast as self-recrimination".[159] In a 2019 poll of music writers conducted by The Guardian, Back to Black placed first in a ranking of the best albums of the 21st century,[160] and the same publication included the album on their 2025 list of defining events in popular culture of the 21st century.[161] Also in 2025, the album was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the National Recording Registry.[162][163][164]

Films

[edit]

In September 2018, a documentary film based on Back to Black, titled Amy Winehouse: Back to Black, was released.[165][166][167] It contains new interviews,[168] as well as archival footage.[169] It was made by Eagle Vision,[170][171] produced by Gil Cang,[172] and released on DVD on 2 November 2018.[173] The film features interviews by producers Mark Ronson and Salaam Remi, who worked half and half on the album, along with the Dap-Kings, Remi's music team, Ronettes singer Ronnie Spector, and close friends of Winehouse, including Nick Shymansky, Juliette Ashby, and Dionne Bromfield. The film is accompanied by An Intimate Evening in London, footage of a show Winehouse gave at Riverside Studios in London in 2008.

The Sam Taylor-Johnson-directed biographical film Back to Black (2024), based on Winehouse's life, was named after the album. The movie delves into the creation and background of the album of the same name.[174]

Track listing

[edit]

All tracks are written by Amy Winehouse, except where noted.

No.TitleWriter(s)Producer(s)Length
1."Rehab" Mark Ronson3:34
2."You Know I'm No Good" Ronson4:17
3."Me & Mr. Jones" Salaam Remi2:33
4."Just Friends" Remi3:13
5."Back to Black"
  • Winehouse
  • Ronson
Ronson4:01
6."Love Is a Losing Game" Ronson2:35
7."Tears Dry on Their Own"
Remi3:06
8."Wake Up Alone"
Ronson3:42
9."Some Unholy War" Remi2:22
10."He Can Only Hold Her"
Ronson2:46
11."Addicted" Remi2:45
Total length:34:56
US edition[175][176]
No.TitleWriter(s)Producer(s)Length
10."He Can Only Hold Her" (has 31 seconds of silence at the end)
  • Winehouse
  • Richard Poindexter
  • Robert Poindexter
Ronson3:19
11."You Know I'm No Good" (remix, featuring Ghostface Killah) Ronson3:22
12."Rehab" (Hot Chip remix) (iTunes Store bonus track) 
  • Ronson
  • Hot Chip[a]
6:58
Total length:45:47
Japanese edition bonus tracks[177]
No.TitleWriter(s)Producer(s)Length
12."Close to the Front"
  • Howard
  • Simm
4:35
13."Hey Little Rich Girl" (featuring Zalon and Ade)Rod Byers 3:35
14."Monkey Man"Frederick Hibbert 2:56
15."Back to Black" (The Rumble Strips remix)
  • Winehouse
  • Ronson
  • Ronson
  • The Rumble Strips[a]
3:48
16."You Know I'm No Good" (remix, featuring Ghostface Killah) Ronson3:22
Total length:53:12
German limited edition bonus tracks[178]
No.TitleWriter(s)Length
11."Rehab" (live at Kalkscheune / Berlin) 3:37
12."Love Is a Losing Game" (live at Kalkscheune / Berlin) 2:45
13."Tears Dry on Their Own" (live at Kalkscheune / Berlin)
  • Winehouse
  • Ashford
  • Simpson
3:15
14."Take the Box" (live at Kalkscheune / Berlin)
  • Winehouse
  • Luke Smith
3:39
15."Valerie" (live at Kalkscheune / Berlin)
4:14
Total length:52:26
Deluxe edition bonus disc[179][180][181]
No.TitleWriter(s)Producer(s)Length
1."Valerie"
  • Payne
  • McCabe
  • Harding
  • Chowdhury
  • Pritchard
Ronson3:53
2."Cupid"Sam Cooke 3:49
3."Monkey Man"Hibbert 2:56
4."Some Unholy War" (down tempo) Remi3:17
5."Hey Little Rich Girl" (featuring Zalon and Ade)Byers 3:35
6."You're Wondering Now" (UK, Australian, and Japanese editions only)Clement Dodd 2:33
7."To Know Him Is to Love Him"Phil SpectorSam Gregory2:24
8."Love Is a Losing Game" (original demo) Ronson3:43
Total length:26:10
Best Buy exclusive deluxe edition bonus DVD[182]
No.TitleLength
1."International Electronic Press Kit"23:01
2."Intro / Back to Black" (live @ The Orange Lounge)2:40
3."Rehab" (live @ The Orange Lounge)3:30
4."You Know I'm No Good" (live @ The Orange Lounge)3:11
5."Love Is a Losing Game" (live @ The Orange Lounge)2:37
Total length:34:59
Dutch limited edition bonus disc: Live from Paradiso, Amsterdam, 8 February 2007[183]
No.TitleWriter(s)Length
1."Just Friends" 3:20
2."Back to Black"
  • Winehouse
  • Ronson
3:55
3."I Heard Love Is Blind" 3:13
4."Rehab" 3:33
5."You Know I'm No Good" 4:17
6."Love Is a Losing Game" 2:47
Total length:21:05

Notes

[edit]
  • ^[a] signifies a remixer
  • "Addicted" is only included on UK and Irish pressings of the standard album, while appearing as a bonus track on all deluxe editions of the album.

Sample credits

[edit]

Personnel

[edit]

Credits adapted from the liner notes of Back to Black.[19]

Musicians

[edit]
  • Amy Winehouse – vocals (all tracks); guitar (tracks 3, 4, 9, 11); background vocals (tracks 3, 7, 9, 11)
  • Nick Movshon – bass guitar (tracks 1, 2, 5, 6, 8, 10)
  • Homer Steinweiss – drums (tracks 1, 2, 5, 6, 8, 10)
  • Thomas Brenneck – guitar (tracks 1, 2, 5, 6, 8, 10)
  • Binky Griptite – guitar (tracks 1, 2, 5, 6, 8, 10)
  • Victor Axelrod – piano (tracks 1, 2, 5, 6, 8, 10); Wurlitzer, claps (tracks 1, 2)
  • Dave Guy – trumpet (tracks 1, 2, 10)
  • Neal Sugarman – tenor saxophone (tracks 1, 2, 10, 11)
  • Ian Hendrickson-Smith – baritone saxophone (tracks 1, 2)
  • Mark Ronson – claps (track 1); band arrangements (tracks 1, 2, 5, 6, 8); tambourine (track 5); snaps (track 10)
  • Vaughan Merrick – claps (tracks 1, 2, 5, 6, 8, 10)
  • Perry Montague-Mason – violin, orchestra leader (tracks 1, 5, 6)
  • Chris Tombling – violin (tracks 1, 5, 6)
  • Mark Berrow – violin (tracks 1, 5, 6)
  • Warren Zielinski – violin (tracks 1, 5, 6)
  • Liz Edwards – violin (tracks 1, 5, 6)
  • Boguslaw Kostecki – violin (tracks 1, 5, 6)
  • Peter Hanson – violin (tracks 1, 5, 6)
  • Jonathan Rees – violin (tracks 1, 5, 6)
  • Tom Pigott-Smith – violin (tracks 1, 5, 6)
  • Everton Nelson – violin (tracks 1, 5, 6)
  • Bruce White – viola (tracks 1, 5, 6)
  • Jon Thorne – viola (tracks 1, 5, 6)
  • Katie Wilkinson – viola (tracks 1, 5, 6)
  • Rachel Bolt – viola (tracks 1, 5, 6)
  • Anthony Pleeth – cello (tracks 1, 5, 6)
  • Joely Koos – cello (tracks 1, 5, 6)
  • John Heley – cello (tracks 1, 5, 6)
  • Helen Tunstall – harp (tracks 1, 6)
  • Steve Sidwell – trumpet (tracks 1, 6)
  • Richard Edwards – tenor trombone (tracks 1, 6)
  • Andy Mackintosh – alto saxophone (tracks 1, 5, 6)
  • Chris Davies – alto saxophone (tracks 1, 5, 6)
  • Jamie Talbot – tenor saxophone (tracks 1, 5, 6)
  • Mike Smith – tenor saxophone (tracks 1, 6)
  • Dave Bishop – baritone saxophone (tracks 1, 5, 6)
  • Frank Ricotti – percussion (tracks 1, 5, 6)
  • Gabriel Roth – band arrangements (tracks 1, 2, 5, 6, 8)
  • Chris Elliott – orchestra arrangements, orchestra conducting (tracks 1, 5, 6)
  • Isobel Griffiths – orchestra contractor (tracks 1, 5, 6)
  • Salaam Remi – upright bass (track 3); drums (tracks 3, 9, 11); piano (tracks 3, 7); bass (tracks 4, 7, 9, 11); guitar (tracks 7, 9)
  • Vincent Henry – baritone saxophone, tenor saxophone (tracks 3, 7); guitar (tracks 3, 4, 7, 9, 11); clarinet (tracks 4, 7); bass clarinet (track 4); alto saxophone, flute, piano, celeste (track 7); saxophone (track 11)
  • Bruce Purse – bass trumpet, flugelhorn (tracks 3, 4, 7, 11); trumpet (tracks 4, 7, 11)
  • Troy Auxilly-Wilson – drums (tracks 4, 7, 11); tambourine (track 7)
  • John Adams – Rhodes (tracks 4, 11); organ (tracks 4, 9, 11)
  • P*Nut – original demo production (track 10)
  • Sam Koppelman – percussion (track 10)
  • Cochemea Gastelum – baritone saxophone (track 10)
  • Zalon – background vocals (track 10)
  • Ade – background vocals (track 10)

Technical

[edit]
  • Mark Ronson – production (tracks 1, 2, 5, 6, 8, 10); recording (tracks 1, 2, 5, 6, 8)
  • Tom Elmhirst – mixing (tracks 1, 2, 5–8, 10)
  • Matt Paul – mixing assistance (tracks 1, 2, 5–8, 10); recording (track 10)
  • Salaam Remi – production (tracks 3, 4, 7, 9, 11)
  • Franklin Socorro – recording (tracks 3, 4, 7, 9, 11)
  • Gleyder "Gee" Disla – recording assistance (tracks 3, 4, 7, 9, 11)
  • Shomari "Sho" Dillon – recording assistance (tracks 3, 4, 7, 9, 11)
  • Gary "G Major" Noble – mixing (tracks 3, 4, 9, 11)
  • James Wisner – mixing assistance (tracks 3, 4, 9, 11)
  • Dom Morley – recording engineering assistance (tracks 1, 5, 6, 10); recording (track 10)
  • Vaughan Merrick – recording (tracks 1, 2, 5, 6, 8, 10)
  • Jesse Gladstone – recording assistance (tracks 1, 2, 5, 6, 8)
  • Mike Makowski – recording assistance (tracks 1, 2, 5, 6, 8)
  • Gabriel Roth – recording (track 10)
  • Derek Pacuk – recording (track 10)
  • Stuart Hawkes – mastering[f]

Artwork

[edit]
  • Mischa Richter – photography
  • Harry Benson – centre page photography
  • Alex Hutchinson – design

Charts

[edit]

Certifications and sales

[edit]
Certifications for Back to Black
Region Certification Certified units/sales
Argentina (CAPIF)[325] Gold 20,000^
Australia (ARIA)[326] 6× Platinum 420,000‡
Austria (IFPI Austria)[327] 7× Platinum 210,000*
Belgium (BRMA)[328] 3× Platinum 150,000*
Brazil (Pro-Música Brasil)[329] Diamond 250,000*
Canada (Music Canada)[330] Platinum 100,000^
Denmark (IFPI Danmark)[331] 8× Platinum 160,000‡
Finland (Musiikkituottajat)[332] Platinum 33,884[332]
France (SNEP)[334] 2× Platinum 1,140,000[333]
Germany (BVMI)[335] 6× Platinum 1,200,000^
Greece (IFPI Greece)[128] Platinum 15,000^
Hungary (MAHASZ)[336] Platinum 6,000^
Italy
sales in 2008 		— 100,000[337]
Italy (FIMI)[338]
sales since 2009 		4× Platinum 200,000‡
Japan (RIAJ)[339] Gold 100,000^
Netherlands (NVPI)[340] 5× Platinum 350,000^
New Zealand (RMNZ)[341] 6× Platinum 90,000‡
Norway (IFPI Norway)[342] Platinum 40,000*
Poland (ZPAV)[343] 2× Platinum 40,000*
Portugal (AFP)[344] 2× Platinum 40,000^
Portugal (AFP)[345]
re-release 		Gold 3,500‡
Russia (NFPF)[346] 2× Platinum 40,000*
Spain (PROMUSICAE)[347] 7× Platinum 560,000^
Sweden (GLF)[348] Platinum 40,000^
Switzerland (IFPI Switzerland)[349] 7× Platinum 210,000^
Turkey (Mü-Yap)[350] Gold 5,000*
United Kingdom (BPI)[116] 15× Platinum 4,500,000‡
United States (RIAA)[123] 2× Platinum 2,000,000 ‡ / 3,000,000[124]
Summaries
Europe (IFPI)[131] 8× Platinum 8,000,000*
Worldwide — 20,000,000[151]

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Release history

[edit]
Release history for Back to Black
Region Date Edition Label Ref.
Ireland 27 October 2006 Standard Island [351]
United Kingdom 30 October 2006 [352]
Poland 20 November 2006 Universal [353]
Germany 21 November 2006 [354]
Canada 12 December 2006 [355]
France 28 January 2007 [334]
Italy 2 February 2007 [356]
Australia 24 February 2007 [357]
United States 13 March 2007 Universal Republic [176]
Germany 15 June 2007 Limited Universal [178]
Netherlands 13 July 2007 [183]
Japan 5 September 2007 Standard [358]
Canada 13 November 2007 Deluxe [359]
Australia 17 November 2007 [179]
Ireland 23 November 2007 Island [360]
Germany 30 November 2007 Universal [180]
United Kingdom 3 December 2007 Island [361]
Japan 6 February 2008 Universal [358]
Italy 29 February 2008 [362]

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Back to Black

View on Grokipedia
from Grokipedia
Back to Black is the second and final studio album by English singer and songwriter , released on 27 October 2006 by . The album was primarily produced by and , blending 1960s girl-group influences, R&B, , and elements with deeply personal lyrics exploring themes of tumultuous relationships, , and heartbreak. It features 11 tracks, including the hit singles "Rehab", "You Know I'm No Good", "Back to Black", "Tears Dry on Their Own", and "Love Is a Losing Game", the latter of which earned an Ivor Novello Award for Best Contemporary Song. Back to Black achieved widespread commercial success, topping the UK Albums Chart for six non-consecutive weeks and reaching number two on the US Billboard 200, where it was certified double platinum by the RIAA; globally, it has sold over 20 million copies as of 2024. At the 50th Annual Grammy Awards in 2008, Winehouse won five awards related to the album and its singles, including Best Pop Vocal Album for Back to Black, Best New Artist, Record of the Year and Song of the Year for "Rehab", and Best Female Pop Vocal Performance for the same track. Hailed for its raw emotional depth and retro stylistic revival, Back to Black is widely considered a modern classic that propelled Winehouse to international stardom and influenced a resurgence of soul-inspired pop in the late 2000s; its legacy continued with the 2024 biopic film of the same name, leading to renewed chart success and certifications such as 15× platinum in the UK as of March 2025.

Background and conception

Amy Winehouse's early career

Amy Winehouse's musical journey started in her teenage years in , where her Ashkenazi Jewish family background played a key role in fostering her passion for and . Born in Southgate to a secular Jewish household—her father, a taxi driver and aspiring singer, often performed standards at home—she was exposed early to influences like and music, shaping her eclectic style that blended these genres with R&B and hip-hop. She left the in her mid-teens after getting a and due to academic issues; although often reported as an expulsion for , this has been denied by the school. A demo tape shared by schoolmate Tyler James caught the attention of manager Nick Shymansky in 2000, leading to her signing with in 2002 at age 19. Her debut album, Frank, released on October 20, 2003, through , captured this raw fusion of jazz-inflected soul and personal storytelling, earning widespread critical praise for its authenticity and vocal depth. The album entered the at No. 60 before climbing to a peak of No. 13, marking modest commercial success at the time, and later achieving in the UK. It received a nomination for the 2004 and two BRIT Award nominations, while the lead single "" won the Award for Best Contemporary Song in 2004, establishing Winehouse as a promising talent in British . In the years following Frank's release, Winehouse grappled with personal turmoil, including volatile relationships and escalating issues, which began intensifying after she met Blake Fielder-Civil in 2005 at a bar. These struggles, compounded by the pressures of rising fame, marked a period of emotional and artistic introspection that would later inform her evolution toward the retro soul sounds of her next project.

Personal influences and album concept

The breakup with Blake Fielder-Civil in 2005 served as the central emotional catalyst for Back to Black, infusing the with raw themes of heartbreak, , and that mirrored Winehouse's personal turmoil. After meeting Fielder-Civil earlier that year in a Camden pub, their intense romance ended abruptly when he returned to an ex-girlfriend, leaving Winehouse devastated and channeling her grief into songwriting that captured the despair of lost love and self-destructive impulses. This personal upheaval transformed the into an autobiographical exorcism, as Winehouse later described her process: "If I haven’t done it, I just can’t put it into a song. It has to be autobiographical." Seeking to evolve beyond the jazz-oriented sound of her 2003 debut Frank, Winehouse deliberately shifted toward the dramatic, harmony-rich aesthetics of 1960s girl groups and soul, drawing inspiration from acts like and to craft a more direct and emotionally visceral style. She expressed boredom with intricate jazz chord progressions, stating in a 2006 press biography, "I was bored of complicated chord structures and needed something more direct. I’d been listening to a lot of girl groups from the 50s and 60s." This retro pivot allowed her to blend vintage pop melodies with candid explorations of love's darker sides, including and emotional wreckage, creating a record that felt both nostalgic and intimately modern. In interviews, Winehouse articulated her vision for a "retro" album rooted in her lived experiences, aiming to produce music that resonated through unfiltered honesty about relationships that "almost ended me." To realize this, she began early songwriting demos and collaborations in late 2005, working closely with producer to preserve the immediacy of her post-breakup emotions through raw, acoustic sessions that laid the foundation for the album's sound. These initial efforts emphasized capturing unpolished vulnerability, setting the stage for the fuller production to come while prioritizing thematic depth over technical polish.

Recording and production

Primary sessions

The primary recording sessions for Back to Black were divided between producer Salaam Remi in Miami and Mark Ronson in New York, spanning from late 2005 to mid-2006. With Remi, Winehouse worked in his South Miami home studio, a modest setup featuring a Yamaha baby grand piano, Ampeg B-15 amp, and Neumann U47 microphone, where she recorded vocals and guitar simultaneously in one or two takes over multiple trips. These sessions emphasized live instrumentation without quantization or Auto-Tune, capturing raw emotional performances on tracks like "Tears Dry on Their Own," which incorporated a sample from Marvin Gaye and Tammi Terrell's "Ain't No Mountain High Enough" to evoke a Motown-era groove. In contrast, Ronson's sessions took place primarily in March 2006 at and in New York, compressing six tracks into just five to seven days using all-analog equipment for an authentic texture. He collaborated closely with the Dap-Kings, the Brooklyn-based soul band known for their work with , who provided drums, horns, bass, and tambourine to tracks such as "Rehab," featuring a crisp 1960s Motown-inspired snare sound achieved through a single , , and heavy reverb. Winehouse recorded her vocals in the studio with Ronson and the Dap-Kings, providing guide vocals that the band played to during live instrumentation recording. She approved arrangements on-site and resisted initial additions like strings before relenting. Winehouse was deeply involved throughout, driving arrangements by sharing personal stories that shaped and performing with hands-on intensity, often playing guitar while to infuse authenticity into the retro sound. The Dap-Kings' live ensemble approach, borrowed by Ronson from their regular gigs, helped achieve the album's vintage feel without digital emulation, aligning with Winehouse's vision for a revival. The process faced hurdles from Winehouse's turbulent personal life, particularly her on-again, off-again relationship with Blake Fielder-Civil, which inspired much of the material but brought emotional volatility to the studio. Her emerging health struggles, including an that affected her physical state, added strain, though sessions remained productive due to the focused, intimate environment.

Post-production and mixing

Following the primary recording sessions led by producers Mark Ronson and Salaam Remi, the album underwent mixing at Metropolis Studios in London in 2006, handled by engineer Tom Elmhirst. Elmhirst focused on enhancing the retro aesthetic through warm analog processing, employing the Urei 1176 compressor with a fast attack and quick release for approximately 10 dB of gain reduction on Winehouse's lead vocals, followed by the Fairchild 660 for added tube warmth and a slower release. Drums received similar treatment with the Neve 33609 bus compressor and spring reverb to evoke a vintage Motown feel, while subtle Pultec EQ boosts around 12 kHz introduced airiness without harshness. String arrangements, overdubbed at Metropolis, were integrated via bounced tracks to manage density, with EMT plate reverb and surgical EQ cuts (e.g., at 465 Hz, 917 Hz, and 3.1 kHz) ensuring clarity and emotional resonance in the final balances. Post-mixing, brass and percussion elements from The Dap-Kings— including horn sections on tracks like "Rehab" and "Tears Dry on Their Own"—were refined and layered during these London sessions to amplify the soulful, live-band texture. Backing vocals, featuring Winehouse's own harmonies, were similarly bounced and treated with plate reverb for cohesion. Mastering occurred at Metropolis Mastering, where engineer Stuart Hawkes applied final polish to achieve the album's signature retro sheen, balancing while preserving the analog warmth across formats. The process faced minor delays from iterative tweaks to vocal and instrumental balances, incorporating Winehouse's feedback to heighten emotional depth in key tracks.

Music and lyrics

Musical style and influences

Back to Black is characterized by a fusion of , , and R&B genres, heavily inspired by pop and traditions. The album draws from Spector's production technique, evident in its dense, reverberant arrangements, as well as the emotive stylings of and Motown acts like and . This blend creates a retro yet contemporary sound, incorporating elements of girl-group from artists such as and . The production emphasizes live instrumentation to capture a vintage aesthetic, featuring drums, a four-piece brass section from the Dap-Kings, and a separate 16-piece string ensemble, all layered with heavy reverb for a lush, orchestral feel. Additional elements like Wurlitzer organs on tracks such as "Rehab" and "You Know I'm No Good," along with tambourines for rhythmic propulsion, enhance the album's driving grooves. The tempos often fall in the mid-range, with ballads like the title track starting at approximately 124 BPM before shifting to 107 BPM, contributing to a swinging, syncopated rhythm that combines tresillo patterns and wide jazz-like swing. Amy Winehouse's vocal performance showcases her range, marked by melismatic runs reminiscent of influences like , and a conversational delivery with relaxed phrasing that places her slightly behind the beat for an effortless sense of timing. This style, blending bold emotional power with subtle rhythmic command, anchors the album's soulful architecture.

Thematic content and songwriting

The lyrics of Back to Black center on themes of toxic romance, , , and female empowerment, drawing directly from Amy Winehouse's volatile relationship with Blake Fielder-Civil, whom she began dating in 2005. These elements portray the cyclical pain of destructive love, where passion intertwines with self-destruction, as seen in narratives of and emotional dependency that mirror Winehouse's real-life experiences of breakups and reconciliations. emerges not just as personal vice but as a for relational entrapment, while underscores the futility of clinging to lost connections, often laced with a defiant undercurrent of female agency in embracing one's flaws unapologetically. Winehouse's songwriting process for the album was deeply autobiographical, transforming personal chaos into poetic metaphors that blend raw with vivid , such as likening heartbreak to a return to darkness or substance as a stand-in for emotional voids. She co-wrote most tracks with producers and , who facilitated sessions that captured her stream-of-consciousness style, allowing lyrics to evolve organically from demos and conversations rather than rigid outlines. For example, "Rehab" employs to mock societal and personal denial of , framing refusal of treatment as both humorous deflection and tragic insight. This collaborative yet intimate method emphasized vulnerability, with Winehouse often revising lines to heighten emotional precision during recording at studios like in . Structurally, the songs adhere to classic verse-chorus formats rooted in , augmented by bridges that intensify through extended vocal runs or stark lyrical shifts, creating moments of release amid the album's polished arrangements. These bridges often pivot from description to direct emotional pleas, underscoring themes of isolation and resilience. The retro musical backings, including harmonies and Motown-inspired rhythms, complement the lyrics by evoking that contrasts with the modern confessional tone. Compared to her debut Frank (2003), which featured more observational and introspective lyrics influenced by jazz standards and urban life, Back to Black marks a shift to a bolder, more dramatic confessional style driven by immediate personal turmoil. Where Frank explored youthful wit and detachment, the sophomore album's writing delves into unfiltered diary-like revelations, amplifying Winehouse's voice as both victim and empowered narrator of her narrative. This evolution reflects her growth as a songwriter, prioritizing emotional immediacy over stylistic experimentation.

Songs and track listing

No.TitleWriter(s)Producer(s)Length
1."Rehab"WinehouseMark Ronson3:35
2."You Know I'm No Good"WinehouseMark Ronson4:17
3."Me & Mr. Jones"WinehouseSalaam Remi2:33
4."Just Friends"WinehouseMark Ronson3:13
5."Back to Black"Winehouse, RonsonMark Ronson4:01
6."Love Is a Losing Game"WinehouseMark Ronson2:35
7."Tears Dry on Their Own"Winehouse, Ashford, SimpsonMark Ronson3:20
8."Wake Up Alone"WinehouseMark Ronson3:41
9."He Can Only Hold Her"WinehouseSalaam Remi2:46
10."Addicted"WinehouseSalaam Remi2:52
11."Valerie"McClure, EllisonMark Ronson3:23

Side A tracks (1–6)

"Rehab" serves as the energetic opener to Side A, presenting an upbeat denial of the need for addiction treatment through its Motown-inspired arrangement. The track features soulful horns that evoke the girl-group sound of the , including nods to , layered over a driving provided by the Dap-Kings. Released as the on October 23, 2006, in the UK, it captures Winehouse's defiant wit in lyrics like "They tried to make me go to rehab, I said no, no, no," drawing from her real-life resistance to intervention suggested by her management. Produced by , the song blends retro soul with modern pop accessibility, clocking in at 3:35 and establishing the album's thematic exploration of personal struggles. Following is "You Know I'm No Good," a slow-burning confession of that unfolds over 4:17 with a sultry jazz-blues vibe. The arrangement highlights sparse chords and subtle swells, emphasizing Winehouse's raw vocal delivery as she admits to her duplicity in a relationship. Co-written with Ronson, the track's lyrical honesty—"I told you I was trouble, you know that I'm no good"—reflects autobiographical elements of , supported by a understated bass line from and brushed drums that maintain its intimate, late-night atmosphere. "Me & Mr. Jones" shifts to a jazzy of media intrusion and fleeting romance, lasting 2:33 with syncopated rhythms and swinging upright bass. Winehouse's sharp , including profane lines like "What kind of fuckery is this?" and references to "" (likely Davis Jr.), blend humor and frustration over a horn-driven groove reminiscent of classic R&B. Produced by , the song's playful yet pointed tone critiques tabloid culture while nodding to standards, with Neal Sugarman's tenor sax adding a lively, improvisational feel. The "" explores the tension between platonic and romantic feelings in a 3:13 acoustic-focused piece, stripped down to emphasize emotional . Centered on fingerpicked guitar and Winehouse's soaring vocals, it conveys through lines like "I hate it when the phone rings," portraying the pain of unrequited desire. Ronson's keeps the minimal, allowing the ' of friendship turning complicated to resonate, with subtle percussion underscoring the song's intimacy. The title track "Back to Black" delivers a dramatic orchestral swell over 4:01, emulating Phil Spector's wall-of-sound through dense strings, tolling bells, and a retro girl-group backing. Inspired by Winehouse's heartbreak from her ex-boyfriend's infidelity, the lyrics use "black" as a for depression and substance-fueled despair, as in "We only said goodbye with words, I died a hundred times." Recorded first for the with Ronson in 2006, its production at studios like Chung King incorporates mournful violin sections arranged by , creating a danceable yet tragic lament. Closing Side A, "" offers a gospel-tinged reflection on doomed romance in 2:35, arranged with a for emotional depth. Winehouse's vulnerable phrasing over and reverbed drums conveys regret without self-pity, as plead "For you, I was the flame that stayed alight." Ronson preserved an early demo's raw sentiment, adding subtle production touches like those from the Dap-Kings to enhance its soulful gospel influences without overpowering the intimacy.

Side B tracks (7–11)

The second half of Back to Black shifts from the album's earlier confrontational energy to a more introspective and melancholic tone, delving deeper into themes of isolation, unrequited longing, and subtle vice, often with stripped-back arrangements that emphasize Winehouse's raw vocal delivery. "" opens Side B as an empowering yet bittersweet breakup anthem, where Winehouse resolves to move forward despite lingering pain, sampling the upbeat classic "" by and to infuse the track with lively brass and strings that contrast its dejected lyrics. The song's chorus soars with exuberance, underscoring lines like "I cannot play myself again / I should be my own best friend," as Winehouse delivers a stern self-admonition amid the relationship's fallout. Produced by , it blends retro soul with contemporary pop flair, marking a pivotal moment of resilience in the album's narrative arc. "Wake Up Alone" follows with a haunting lament on and unresolved desire, featuring minimal accompaniment that highlights Winehouse's vulnerable performance and the track's waltz-like rhythm inspired by forebears. The vividly capture the torment of post-breakup and physical yearning, as in "When he comes to me I drip for him tonight / Drowned in me, we bathe under blue light," reflecting the inescapable pull of an ex-lover. This sparse production, helmed by Ronson, amplifies the song's , positioning it as a standout for its excavation of history beyond mere stylistic homage. "He Can Only Hold Her" adopts a third-person perspective to explore the emotional unavailability in relationships scarred by past trauma, portraying a whose heart remains tethered to a former love, rendering her current partner unable to fully connect. Lyrics like "He can only hold her for so long / The lights are on but no one's home / She's so vacant, her is taken" evoke a duet-like between lovers, with Winehouse's soulful delivery underscoring the shared inadequacy. The track interpolates the 1966 R&B single "(My Girl) She's a Fox" by The Icemen, adding a layer of nostalgia to its reflective tone. "Addicted" serves as a wry, understated commentary on dependency, with sparse instrumentation that mirrors the song's intimate, jazz-inflected wit, nodding to traditions like those of Fats Waller. Written amid Winehouse's turbulent romance with Blake Fielder-Civil, it subtly references addictive habits through lines such as "Tell your boyfriend next time he around / To buy his own weed and don't wear my shit down," blending mordant humor with the album's recurring motif of destructive love. This track winds down the album's personal confessions, emphasizing emotional entanglement over explicit confrontation. Closing the album, "Valerie" injects a quirky, upbeat energy as Winehouse's cover of The Zutons' single, reimagined with mod-style rhythms, handclaps, and 1960s soul production by Ronson that transforms its original into a lubricious, danceable tribute. The lyrics playfully question a mysterious woman's appearance—"Did you get your hair cut? / Looks like you lost a few more pounds"—infusing the track with sassy curiosity and vocal flair that highlights Winehouse's interpretive prowess. As the album's closing track, it provides a lighter to the preceding introspection, encapsulating the album's blend of heartache and charisma.

Artwork and packaging

Cover design

The cover art for Back to Black consists of a stark black-and-white photograph of Amy Winehouse, captured by photographer Mischa Richter during a session in London in 2006. Shot in Richter's home in Kensal Rise after initial poses at a Portobello Road bar, the image depicts Winehouse in a relaxed pose against a dark backdrop, highlighting her transformation into a retro-inspired persona with a towering beehive hairstyle, heavy winged black eyeliner, and a fitted dress. This visual style deliberately evoked 1960s girl group aesthetics, particularly the iconic look of Ronnie Spector of the Ronettes, reflecting Winehouse's admiration for vintage Motown and soul influences. The title appears in a bold, custom retro font designed by Russell, a friend of Winehouse, which contributes to the packaging's motif and nods to mid-20th-century record sleeves. The back cover features the track listing rendered in the same distinctive , maintaining a minimalist, monochromatic that emphasizes textual simplicity over ornate graphics. While the standard packaging includes printed in the booklet without explicit personal annotations, the overall aesthetic ties into the 's thematic content of emotional turmoil. The palette of the cover, serendipitously aligned with the album's title and selected post-photoshoot, symbolizes , , and the shadowy central to Winehouse's songwriting about heartbreak and . Richter noted the image's moody tone, taken in a black-painted with natural evening light, perfectly captured Winehouse's evolving artistic identity amid personal challenges during the recording period. This visual choice established an enduring for the album, underscoring its blend of and raw vulnerability.

Additional visuals and formats

The deluxe edition of Back to Black, released in November 2007, expanded on the original album with a bonus disc featuring eight additional tracks, including additional tracks such as the B-side "Monkey Man" and the single "Valerie," as well as a studio cover of "Cupid" and a demo of "Love Is a Losing Game." This two-disc set was packaged in a foldout digipak with black trays and a hard-back slipcase, accompanied by an updated 24-page illustrated booklet that incorporated color photography alongside lyrics and credits, providing enhanced visual depth to the album's aesthetic. The original vinyl pressing of Back to Black utilized a gatefold sleeve design, which opened to reveal inner panels printed with full lyrics and track information, offering collectors an immersive format that complemented the album's retro soul influences. This configuration was standard for the 2007 black wax edition, a limited initial run on 180-gram vinyl that emphasized tactile and visual engagement through its sturdy packaging and high-fidelity pressing. International variants further diversified the album's presentation, with the Japanese CD edition (catalog UICI-9021) featuring a traditional obi strip wrapped around the case for cultural authenticity and collectibility. This release included a lyric booklet with Japanese translations and exclusive liner notes providing contextual essay-like insights into the album's production and themes, alongside six bonus tracks such as "Hey Little Rich Girl" to appeal to local audiences. For digital formats, the 2006 release employed static artwork derived from the core cover design as its primary visual element, with early versions incorporating a digital booklet mirroring the physical edition's 16-page layout of black-and-white images and lyrics for enhanced on the platform. These visuals maintained a minimalist, period-inspired aesthetic without additional animations, focusing on high-resolution scans of promotional photography from the era.

Release and promotion

Singles rollout

The singles rollout for Back to Black commenced with "Rehab" as the , released in the on 23 October 2006. The accompanying , directed by , depicted Winehouse in a stylized 1960s-inspired narrative, emphasizing the song's themes of denial and indulgence. It achieved commercial success, peaking at number 7 on the UK Singles Chart and marking Winehouse's first top 10 entry there. "You Know I'm No Good" followed as the second single on 8 January 2007, featuring various remix versions including collaborations that expanded its appeal. The release targeted U.S. radio promotion, contributing to its entry on the where it later peaked at number 77, while reaching number 18 on the UK Singles Chart. The title track "Back to Black" served as the third single, released on 30 April 2007, and became a major hit across Europe. In the UK, it climbed to number 8 on the Singles Chart, bolstered by its orchestral arrangement and emotional resonance. "Tears Dry on Their Own" was issued as the fourth single on 13 August 2007, aligning with a summer promotional push that included a remix featuring rapper Wale to broaden its urban radio play. The upbeat Motown-infused track peaked at number 16 on the UK Singles Chart, highlighting Winehouse's blend of retro soul and contemporary production. Closing the initial rollout, "" was released on 10 December 2007 as the fifth single, prominently featuring a strings-led version that underscored its structure for targeted promotion. This orchestral rendition, drawn from the album's deluxe edition, reached number 33 on the UK Singles Chart.

Marketing campaigns

initiated the marketing campaign for Back to Black with its UK release on 27 October 2006, leveraging early radio airplay and buzz from Winehouse's growing reputation following her debut album Frank. The album debuted at No. 3 on the and climbed to No. 1 in January 2007, maintaining a presence in the Top 10 for nearly the entire year. In the United States, Universal Republic Records spearheaded a targeted push starting in early 2007, beginning with Winehouse's inaugural live shows at in New York in mid-January, which garnered strong critical acclaim and helped build anticipation. The album's US release on 13 March 2007 was supported by features on VH1's series and programming, including acoustic performances that highlighted her soulful style and retro aesthetic, aligning with fashion influences from 1960s icons. International efforts included European television appearances, such as Winehouse's performance of the title track at the in , which amplified her visibility across the continent. Promotional activities extended to , where issued exclusive sampler CDs and posters to promote the album's regional release. Post-release media coverage was significantly amplified by rumors and reports surrounding Winehouse's struggles with addiction, which drew intense tabloid attention and inadvertently heightened public interest in the album during its 2007 peak.

Touring and live performances

Promotional tours

Following the release of Back to Black in October 2006, Amy Winehouse launched promotional tours in the UK and Europe starting in late 2006 and extending into early 2007. These headline performances included a charity appearance at London's Union Chapel on November 24, 2006, as part of the Little Noise Sessions. The tour featured multiple dates across the region, building on the album's growing success, with notable shows such as her performance at the O2 Academy in Birmingham on February 21, 2007. By November 2007, she returned for a headline gig at the O2 Academy Brixton in London on November 23, where she delivered a set drawing heavily from the album. In 2007, Winehouse undertook her US debut tour to support the album's North American release on March 13. Announced shortly after her appearances at the SXSW Music Festival, the tour kicked off with a high-profile slot at the Music and Arts Festival on April 27 in , where she performed tracks like "Addicted" and "Tears Dry on Their Own" to an enthusiastic crowd. Subsequent dates included concerts at the in on May 3, Avalon in on May 7, and Highline Ballroom in New York on May 8, alongside other summer festival appearances. However, plans for an extended fall promotional run in the US and were disrupted by visa complications arising from drug-related allegations, notably her October 2007 arrest for marijuana possession in , which resulted in the denial of a US work visa. Setlists during these promotional outings evolved to prioritize material from Back to Black, reflecting the album's dominance in her live repertoire, while incorporating select songs from her 2003 debut Frank for balance. Typical performances opened with "Addicted" and included staples like "Back to Black," "You Know I'm No Good," "Rehab," and "Love Is a Losing Game," alongside earlier cuts such as "Cherry" and "I Heard Love Is Blind." This mix highlighted her soulful versatility and helped solidify her stage presence amid rising fame. Health challenges led to several cancellations, impacting the tour's momentum. In August 2007, Winehouse was hospitalized for severe exhaustion, prompting the cancellation of European dates in and . Her doctor subsequently advised against further travel, resulting in the postponement and eventual cancellation of the planned fall North American leg. These interruptions underscored the physical toll of her intensifying schedule and personal struggles.

Key live interpretations

One of the standout live interpretations from the Back to Black era was Amy Winehouse's performance of "Back to Black" at the in , , where her raw and unscripted delivery, marked by visible struggles with coordination and slurred vocals, captured widespread viral attention amid her personal challenges. This rendition, delivered with her full band on November 1, 2007, highlighted the emotional intensity of the title track while drawing scrutiny for its unpolished authenticity, amplifying public discourse on her vulnerability during the album's promotional peak. At the 2007 Mercury Prize ceremony on September 4, where Back to Black won Album of the Year, Winehouse delivered a poignant performance of "" with her full band, showcasing the album's soulful orchestration and her commanding in a more composed setting. The arrangement emphasized the track's jazz-inflected strings and brass, providing a live glimpse into the Motown-inspired production that defined the record, and it was later released as part of her sessions compilation. Intimate sessions further exemplified Winehouse's interpretive depth, such as her Live Lounge appearance on January 10, 2007, where she performed an acoustic-leaning version of "Back to Black" stripped of its studio horns, revealing the song's raw lyrical heartbreak through subtle guitar and vocal harmonies. She also debuted a cover of ' "Valerie" in the same session, reimagining it as a retro-soul staple tied to the album's aesthetic, which became one of her most enduring live signatures and was nominated for a Brit Award. Later festival appearances underscored the material's emotional resonance, notably Winehouse's June 22, 2007, set at on the Other Stage, where tracks like "Rehab" and "Back to Black" were rendered with a vulnerable intensity that peeled back her brash persona to expose underlying fragility. The performance, amid a large crowd, featured unadorned emotional delivery and band interplay that mirrored the album's confessional tone, marking it as a pivotal moment before her intensifying personal struggles affected subsequent shows.

Critical reception

Initial reviews

Upon its release in the United Kingdom on 27 October 2006, Back to Black received widespread critical acclaim from the British press, with reviewers highlighting its authentic blend of retro and personal lyricism. The described the album as a "21st-century classic," commending the "exuberant neo-Motown swing" provided by producers and Salaamremi, alongside Winehouse's "rich, sinewy vocals" and compelling, authentic songwriting that explored themes of love and heartbreak with unflinching honesty. Similarly, the praised it as one of the best albums of the year, emphasizing the "emotional rawness" in Winehouse's delivery, likening her vocal depth to ' tradition of "dark " and noting how the tracks reeked of "desire and " through their raw self-portrayal of youthful misery, lust, and pathos. Aggregating these and other contemporary opinions, the album earned a Metacritic score of 81 out of 100 based on 26 reviews, signifying universal acclaim and underscoring its emotional rawness, originality in lyrics, and Winehouse's emergence as a standout soul singer of her generation. Critics such as Mojo lauded her as "one of modern music's most original voices," while highlighted how her precisely crafted, confessional elevated the retro-inspired production into something fresh and immediate. In the United States, where the album arrived in March 2007, initial responses echoed the enthusiasm, particularly for Winehouse's vocal prowess and emotive storytelling. spotlighted tracks like the "Rehab" as "Motown-style winners" with a "banging beat" and lovesick attitude, celebrating her "whiskey-soaked voice" and ability to infuse classic R&B with personal intensity. echoed this, noting the album's chronicle of Winehouse's real-life refusal of rehabilitation as a bold, narrative-driven element that distinguished her from contemporaries. However, a minority of American reviewers critiqued the production's heavy reliance on and girl-group aesthetics as occasionally dated, though this did not detract from the overall praise for its cohesive, evocative sound. Contemporary coverage also sparked debates separating Winehouse's tumultuous public image from the album's musical merits, with "Rehab" drawing early attention to themes of and self-sabotage that foreshadowed concerns about her personal struggles. Outlets like the observed how such raw, autobiographical elements made the record "widely accessible" yet intensely personal, prompting discussions on whether the focus should remain on her artistry rather than emerging tabloid narratives around her lifestyle.

Accolades and awards

At the in 2008, Back to Black won Best Pop Vocal Album, while received Best New Artist; additionally, the single "Rehab" earned , Song of the Year, and Best Female Pop Vocal Performance. The album was also nominated for Album of the Year at the same ceremony. In 2007, Winehouse won the Brit Award for British Female Solo Artist for her work on Back to Black, and the album was nominated for British Album of the Year. That May, she received the for Best Contemporary Song for "Rehab". Back to Black was shortlisted for the 2007 , where Winehouse performed live. At the 2007 , she won the Artist's Choice award. The album and its singles collectively earned more than 20 awards and nominations across various ceremonies, including multiple Video Music Award nods for "Rehab".

Commercial performance

Chart achievements

Back to Black topped the for a total of six weeks and has spent over 600 weeks on the chart as of 2025, establishing it as the longest-charting album by a British in history. Initially released in 2006, the album first reached No. 1 in early 2007, holding the position for three consecutive weeks during its debut run. In the United States, Back to Black debuted at No. 7 on the Billboard 200 in March 2007, marking the highest debut position for a British female solo artist's album at the time. Following Amy Winehouse's Grammy wins, it climbed to a peak of No. 2 in early 2008, the first such achievement for a British female solo artist since 1986. The album's international success was equally notable, reaching No. 1 on album charts in 20 countries, including , , and . This widespread peaking underscored the album's global appeal, bolstered briefly by strong performances from its singles.

Sales and certifications

Back to Black has sold over 20 million units worldwide, including equivalent album sales, as of 2025, establishing it as one of the best-selling albums of the according to industry reports from labels and organizations like IFPI. In major markets, the album has received numerous certifications reflecting its commercial success. In the , it is certified 15 times by the (BPI), equivalent to 4.5 million units shipped. In the United States, it holds a 2× Platinum certification from the (RIAA) for 2 million units, though secondary estimates suggest shipments exceeding 4 million based on historical updates.
CountryCertifying BodyCertificationUnits (as of certification)Date
United KingdomBPI15× Platinum4,500,000March 2025
United StatesRIAA2× Platinum2,000,000March 2008
FranceSNEP2× Platinum200,000December 2007
JapanRIAJGold100,000N/A
The album has also earned multi-platinum status across and other regions, including 3× Platinum in and 7× Platinum in . Following Amy Winehouse's death on July 23, 2011, sales of Back to Black experienced a dramatic posthumous spike, with U.S. album sales rising from 58,000 in the full year prior to over 855,000 in the subsequent 12 months, driven by renewed interest and digital downloads. The 2024 Back to Black further boosted consumption, propelling the album to No. 2 on the and Top Album Sales charts in May 2024 amid increased streaming and physical sales.

Impact and legacy

Cultural influence

Back to Black played a pivotal role in reviving music during the mid-2000s, blending , , and influences with contemporary production that inspired a wave of artists in the . The album's success paved the way for British singers like and Duffy, whose 2007 debuts echoed Winehouse's emotive, soul-infused style and contributed to a broader resurgence of vintage sounds in pop. Similarly, artists such as and incorporated elements of Winehouse's raw, retro aesthetic into their work, helping to popularize soul revivalism across genres and generations. The "Rehab" permeated through its iconic chorus—"They tried to make me go to rehab, I said no, no, no"—which became a widely referenced phrase symbolizing in the face of and entered everyday lexicon as a shorthand for resisting help. This candid portrayal of struggles contributed to early destigmatization efforts around in music, as Winehouse's unfiltered lyrics opened discussions on depression, , and recovery at a time when such topics were rarely addressed so directly in mainstream pop. The song's Grammy wins further amplified its reach, embedding these themes into broader cultural conversations about vulnerability in celebrity life. Winehouse's visual style during the Back to Black era, characterized by pin-up aesthetics like beehive hairstyles, winged , and form-fitting dresses, sparked a revival that influenced designers and trends into the . Her rockabilly-inspired looks, blending retro with punk edge, were celebrated as a modern take on classic pin-up culture, prompting tributes from high-fashion houses such as in 2012 couture collections. This aesthetic not only defined her persona but also encouraged a broader resurgence of silhouettes in and , emphasizing bold, unapologetic self-expression. Scholars have analyzed Back to Black through lenses of gender and addiction, highlighting how Winehouse's lyrics subverted traditional female narratives in pop by intertwining personal turmoil with empowerment. Academic works, such as explorations of the album's Gothic elements, examine its portrayal of female vulnerability and self-destruction as a critique of societal expectations around women and substance use. Theses on her music further dissect the juxtaposition of poetic artistry and addiction, arguing that it challenged gender stereotypes in confessional songwriting and influenced subsequent discussions on women's mental health in the industry.

Posthumous recognition and adaptations

Following Amy Winehouse's death in 2011, the album Back to Black received significant posthumous acclaim through media projects and critical retrospectives. The 2015 documentary Amy, directed by Asif Kapadia, prominently featured tracks from the album, including "Back to Black" and "Tears Dry on Their Own," alongside rare archival footage and interviews to explore Winehouse's life and artistry; the film won the Academy Award for Best Documentary Feature Film. In 2021, to mark the album's 15th anniversary, released a limited-edition vinyl reissue of Back to Black, which renewed interest in the work and included high-fidelity remastering of the original tracks, though no new unreleased demos were added to this edition; however, earlier posthumous releases like the 2011 compilation Lioness: Hidden Treasures incorporated demos and outtakes from the Back to Black sessions, such as an alternate version of "Back to Black." The album inspired further adaptations in 2024 with the release of the biographical film Back to Black, directed by and starring as Winehouse, which dramatized the recording process and personal turmoil behind the album; the movie grossed approximately $51 million worldwide but garnered mixed reviews, earning a 35% approval rating on for its stylistic choices despite praise for Abela's vocal performance. In 2025, reflections on Winehouse's legacy continued, including tributes on what would have been her 42nd birthday in September and a interview with producer revealing that she wrote the title track in just 10 minutes. Notable covers of songs from Back to Black emerged as tributes following Winehouse's death, including and André 3000's jazz-infused rendition of the title track for the 2013 soundtrack to , which blended soul and hip-hop elements to honor the original's emotional depth. Similarly, the album's cover of "Valerie" (originally by ), performed by featuring Winehouse in 2007, saw renewed popularity posthumously through live tributes and remixes, though a direct collaboration involving was not recorded; instead, has cited Winehouse's influence in her own soul-revival style. Back to Black has been retrospectively honored in influential music rankings, placing at No. 33 on Rolling Stone's 2020 edition of the 500 Greatest Albums of All Time, recognized for its fusion of with modern confessional lyrics and its enduring impact on .

Personnel

Vocalists and musicians

served as the on all tracks of Back to Black, delivering her signature soulful performances characterized by raw emotion and intricate phrasing, while also contributing backing vocals to tracks such as "Me & Mr. Jones," "," and "Addicted". She occasionally played guitar on select songs, including "Me & Mr. Jones," "," and "Addicted." The album prominently features the Dap-Kings, the house band from , who provided the core instrumentation for the seven tracks produced by (1, 2, 5, 6, 8, 9, 10), infusing the recordings with authentic 1960s and soul influences recorded at their studio. Key Dap-Kings contributors include saxophonist Neal Sugarman on for tracks like "Rehab," "," and "He Can Only Hold Her" (1, 2, 10); trumpeter on for "Rehab," "Back to Black," and "He Can Only Hold Her" (1, 5, 10); drummer , whose dynamic grooves underpin songs such as "Rehab," "Back to Black," "," "Valerie," and "He Can Only Hold Her" (1, 2, 5, 9, 10); and guitarist , who handled guitar duties on "Rehab," "Back to Black," "Valerie," and "He Can Only Hold Her" (1, 5, 9, 10), alongside Binky Griptite on guitar for several Ronson-produced tracks. Additional vocalists appear on specific tracks, with backing vocals on "He Can Only Hold Her" provided by Ade Omotayo and , enhancing the song's layered harmonies. , another Dap-Kings affiliate, contributed bass guitar across multiple Ronson sessions, including "Rehab," "Back to Black," "," "," "Wake Up Alone," "Valerie," and "He Can Only Hold Her" (1, 2, 5, 6, 8, 9, 10), while also appearing on guitar for select recordings. Other notable contributors include pianist Victor Axelrod on piano and Wurlitzer for several Ronson-produced tracks such as "Rehab," "You Know I'm No Good," "Back to Black," and "Love Is a Losing Game" (1, 2, 5, 6). The following table summarizes the primary vocalists and musicians by role, focusing on their key contributions:
RoleMusician(s)Notable Tracks/Contributions
Lead & Backing VocalsAll tracks; backing on 3, 7, 11; guitar on 3, 4, 11
Neal Sugarman1, 2, 10
1, 5, 10
DrumsRonson-produced tracks (e.g., 1, 2, 5, 9, 10)
Guitar, Binky Griptite1, 2, 5, 9, 10
1, 2, 5, 6, 8, 9, 10
Backing VocalsAde Omotayo, 10 ("He Can Only Hold Her")
Piano/WurlitzerVictor Axelrod1, 2, 5, 6
These performers, drawn largely from the New York soul scene, helped create the album's retro yet contemporary sound.

Production and technical staff

The production of Back to Black was primarily overseen by and , who divided responsibilities across the album's tracks to blend influences with and hip-hop elements. Ronson, known for his work in reviving 1960s and aesthetics, produced tracks 1, 2, 5, 6, 8, 9, and 10, including key singles like "Rehab" and the title track "Back to Black," recording much of the material at studios in New York and to capture a live band energy. Salaam Remi handled tracks 3, 4, 7, and 11, contributing bass, drums, piano, and guitar performances while infusing a raw, sample-based production style drawn from his hip-hop background, as heard in songs like "" and "Addicted." Mixing duties were led by at Metropolis Studios in , who balanced the album's dense arrangements to maintain its emotional intensity and sonic clarity without over-polishing the raw vocal delivery. Assistant engineering support came from Sam Williams, aiding in the technical execution during sessions. String arrangements were crafted by , adding orchestral depth to select tracks and enhancing the album's dramatic swells. The final mastering was performed by Stuart Hawkes, ensuring a cohesive and warmth across the release. Overall project management and A&R were managed by Nick Shymansky at , who played a key role in coordinating the collaboration between Winehouse, Ronson, and Remi from the album's inception.

Charts

Weekly chart positions

In the United Kingdom, Back to Black debuted at number three on the Official Albums Chart dated 5 November 2006, marking Amy Winehouse's first entry in the top three. It reached number one the following week on 12 November 2006 and accumulated six non-consecutive weeks at the summit, including an initial run in late 2006 and early 2007, followed by additional weeks at number one in 2008 and three more in July and August 2011 after Winehouse's . The album's chart trajectory featured steady presence in the top 10 during its early years, with periodic re-entries driven by sustained physical and digital sales, including boosts from the 2024 biopic film. As of November 2025, it has logged 550 weeks on the Official Albums Chart, reflecting its enduring popularity, and 213 weeks on the Official Albums Streaming Chart. On the US , Back to Black first entered at number seven on the chart dated 31 March 2007, following its stateside release. It experienced significant upward movement after Winehouse's Grammy wins in February 2008, climbing to a peak of number two for one week on the chart dated 1 March 2008. The album maintained a strong foothold, re-entering the chart multiple times, including a notable return to number nine in July 2011 amid heightened interest following Winehouse's passing, and further re-entries in 2020 and 2024 linked to streaming growth and the biopic. It has amassed approximately 162 weeks on the as of late 2024, with additional weeks into 2025. In , the album debuted on the ARIA Albums Chart at number 20 on 11 March 2007, peaking at number four with no weeks at number one. This performance underscored its commercial breakthrough in the region, supported by strong radio and retail performance. The album continued to chart intermittently, benefiting from long-tail sales and later streaming integration, accumulating over 100 weeks as of 2025. Germany provided another strong market, with Back to Black entering the Offizielle Deutsche Albumcharts at number 49 on 16 March 2007. It quickly rose to number one, spending 12 non-consecutive weeks at the peak between March 2007 and August 2008, including an 11-week stretch in mid-2007. The album resided in the top 10 for 45 weeks overall, demonstrating sustained demand amid Winehouse's rising international profile. As of September 2025, it has charted for 258 weeks on the German albums chart. The advent of streaming metrics in chart methodologies from the mid-2010s onward significantly prolonged Back to Black's weekly chart presence globally, enabling frequent re-entries through equivalent album units that include on-demand audio and video streams. Post-2011, this shift amplified the album's visibility, particularly after Winehouse's death sparked renewed catalog consumption, leading to boosted rankings on combined charts in the UK, US, and Europe without relying solely on physical or download sales.
Country/ChartDebut Date & PositionPeak Position (Weeks at Peak)Total Weeks Charted (as of 2025)
(Official Albums)5 Nov 2006 (#3)#1 (6 weeks)550
(Billboard 200)31 Mar 2007 (#7)#2 (1 week)162+ (with re-entries)
(ARIA Albums)11 Mar 2007 (#20)#4 (0 weeks)100+
(Offizielle Deutsche)16 Mar 2007 (#49)#1 (12 weeks)258

Year-end and all-time rankings

In 2007, Back to Black topped the UK year-end albums chart, becoming the best-selling album of the year with 1,586,194 copies sold. In the United States, it ranked No. 24 on the Billboard 200 year-end chart, reflecting its breakthrough commercial success following the Grammy wins for singles like "Rehab." For the 2000s decade, the album placed No. 3 on the UK decade-end albums chart, underscoring its dominance in a period marked by diverse genres from pop to hip-hop. In the US, it reached No. 40 on the Billboard 200 decade-end chart, entering the top 50 and highlighting its cross-Atlantic appeal amid competition from acts like Eminem and Norah Jones. As of 2025, Back to Black ranks No. 14 among the UK's all-time best-selling albums according to BPI data, with shipments exceeding 4.5 million units following its 15× Platinum in March of that year. It also holds a prominent position in critical retrospectives, ranking No. 33 on 's 500 Greatest Albums of All Time list (2020 edition), praised for its soulful revival and emotional depth. The album's legacy extended into the through streaming platforms, which boosted its visibility and led to inclusions in year-end lists; for instance, it ranked No. 54 on the decade-end albums chart for 2010–2019, driven by renewed interest post-Winehouse's and digital consumption trends.
ChartYear/PeriodPosition
Albums (OCC) Year-End20071
Year-End200724
Albums (OCC) Decade-End3
Decade-End40
All-Time Best-Sellers (BPI)As of 202514
500 Greatest Albums202033
Albums (OCC) Decade-End54

Release history

Standard editions

The standard edition of Back to Black features the original 11-track lineup, including lead singles "Rehab" and "You Know I'm No Good," and was initially released in physical and digital formats by Island Records. In the United Kingdom, the album launched on 27 October 2006 in CD and vinyl configurations, with the CD housed in a standard jewel case packaging. The United States edition followed on 13 March 2007 through Universal Republic Records, maintaining the identical tracklist but with the CD version featuring a parental advisory sticker for explicit lyrics. Digital downloads of the standard edition became available via upon the UK launch, encoded at 256 kbps AAC quality. Cassette formats were produced in limited quantities for select markets, including , rendering them rare collector's items today.

Special and international releases

A deluxe edition of Back to Black was released in November 2007, featuring the original 11-track album alongside an eight-track bonus disc with B-sides, rare recordings, and live performances, including covers of "Valerie" (originally by ) and "Cupid" (by ). This edition, available in 2CD format and enhanced for digital playback, was distributed internationally by Group and included additional photography and highlighting Winehouse's influences. International releases of the standard varied by region, often featuring unique packaging or catalog numbers but retaining the core tracklist. For instance, the French (Universal Records, 174 130-3) included distinctive artwork and jewel case design, while the Chinese edition (Universal Records, TY0207CX) was abbreviated to eight tracks, omitting "Me & Mr. Jones" and "Back to Black" due to of content. In and , deluxe 2CD versions ( Group, 175 563 1 and 174 909 7, respectively) mirrored the global bonus content but incorporated region-specific mastering for enhanced audio quality. Other variants included a cassette release in (Island Records Group, 2898) and a super jewel box CD across (Universal Records, 171 421 1), both from 2006. In 2024, coinciding with the release of the biopic Back to Black directed by , a special soundtrack edition titled Back to Black: Songs from the Original Motion Picture was issued, with the digital edition on April 12 and physical formats on May 17. This 12-track compilation on 140g light peach-colored vinyl () curated selections from Winehouse's catalog, including three tracks from her debut Frank ("What Is It About Men," "Stronger Than Me," "Help Yourself") and highlights from Back to Black like "Rehab" and "You Know I'm No Good," alongside influences such as Thelonious Monk's "Straight, No Chaser." A separate 2CD deluxe soundtrack expanded to 26 tracks with behind-the-scenes photos, while the film's original score by and was released on standard black vinyl. These editions were produced by and aimed to contextualize Winehouse's musical legacy. The same year saw multiple reissues of the original Back to Black album, including vinyl pressings on October 25, 2024, and various colored and half-speed master editions to mark the biopic and renewed interest.

References

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