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• ' Released: 23 October 2006 • ' Released: 8 January 2007 • ' Released: 30 April 2007 • ' Released: 13 August 2007 • ' Released: 10 December 2007 Back to Black is the second and final studio album by English singer and songwriter, released on 27 October 2006. The album spawned five singles: ', ', ', ' and '. Back to Black was acclaimed by music critics, who praised Winehouse’s songwriting and emotive singing style as well as and 's production.
At the ceremony, Back to Black won and was also nominated for. At the same ceremony, Winehouse won four additional awards meaning that she ties with five other artists as the second-most awarded female in a single ceremony.
The album was also nominated at the for British Album and was shortlisted for the 2007. Back to Black sold 3.58 million copies in the UK alone, becoming the. By 2018, the album had sold over 20 million copies worldwide.
A deluxe edition of Back to Black was released in November 2007, containing a bonus disc of, rare, and live tracks. Winehouse's debut DVD, released that same month, includes a live set recorded at in London and a 50-minute documentary detailing the singer's career over the previous four years. Contents • • • • • • • • • • • • • • • • • • • • • Background [ ] Winehouse released her debut album,, on 20 October 2003.
Produced mainly by, many songs were influenced by, and apart from two, every song was co-written by Winehouse. The album received positive reviews with compliments over the 'cool, critical gaze' in its lyrics and brought comparisons of her voice to, and others. The album reached number 13 on the at the time of its release, and was eventually certified triple Platinum by the (BPI). In 2004, Winehouse was nominated for British Female Solo Artist and British Urban Act at the, while Frank made the shortlist for the. That same year, the album's first single, ', earned Winehouse and Remi an for Best Contemporary Song. Recording [ ] In contrast to her jazz-influenced debut album Frank, Winehouse's focus shifted to the of the 1950s and 1960s.
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Winehouse hired New York singer 's longtime band, the, to back her up in the studio and on tour. Mitch Winehouse relates in Amy, My Daughter how fascinating watching her process was: her perfectionism in the studio and how she would put what she had sung on a CD and play it in his taxi outside to know how most people would hear her music. In May 2006, Winehouse's demo tracks such as ' and ' appeared on 's New York radio show on. 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, was produced entirely by Salaam Remi and Ronson, with the production credits being split between them.
Ronson said in a 2010 interview that he liked working with Winehouse because she was blunt when she did not like his work. 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., who remixed the single 'You Know I'm No Good', was enlisted to help with the mixing of the album. He first received Ronson's original mix, which he described as being 'radical in terms of panning, kind of.
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The drums, for instance, were all panned to one side.' He attempted to mix ' in the same manner he did with 'Rehab', but he felt it was not right. The majority of the songs produced by Ronson were done at the studio of the band the Dap-Kings, in Brooklyn, New York.
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The drums, piano, guitar and bass were all done together in one room, with the drums being recorded with one microphone, with lots of spill between the instruments. Elmhirst mixed 'Rehab'; when he first received the multitrack of the song it was small, but Ronson then went to London to record strings, brass and percussion in one of 's tracking rooms. After this was added, there were quite a few tracks. The song had a retro, 1960s soul, R&B feel, which is what the Dap-Kings specialise in, when it came to the mixing Elmhirst added a contemporary feel to it as well, while Ronson wanted to keep the mix sparse and not overproduced. Music and lyrics [ ] According to 's John Bush, Back to Black finds Winehouse 'deserting and wholly embracing '. David Mead of also viewed it as a departure from Frank and said that it sets her singing to Salaam Remi and Mark Ronson's 'synthetic -style backdrop'. Meanwhile, from characterised Back to Black as 'a full embrace of classic.'
Music journalist credits Ronson and Remi's production for resembling 's technique and surrounding Winehouse with brass and string sections, harp, and the. Writer Christian John Wikane said that its 'sensibilities of 1960s and ' 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'. The staff of emphasized on 'the record's status as the pinnacle of the Brit wave it ushered in'.