Album Info
Artist: | Amy Winehouse |
Album: | Back To Black |
Released: | US |
Tracklist:
A1 | Rehab | |
Alto Saxophone - Andy Mackintosh, Chris Davies | ||
Arranged By [Band] - Gabriel Roth, Mark Ronson | ||
Arranged By [Orchestra], Conductor - Chris Elliott | ||
Baritone Saxophone - Dave Bishop, Ian Hendrickson-Smith | ||
Bass Guitar - Nick Movshon | ||
Cello - Anthony Pleeth, Joely Koos, John Heley | ||
Drums - Homer Steinweiss | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Handclaps - Mark Ronson, Vaughan Merrick | ||
Harp - Helen Tunstall | ||
Leader [Orchestra] - Perry Montague-Mason | ||
Percussion - Frank Ricotti | ||
Piano, Electric Piano [Wurlitzer], Handclaps - Victor Axelrod | ||
Tenor Saxophone - Jamie Talbot, Mike Smith , Neal Sugarman | ||
Tenor Trombone - Richard Edwards | ||
Trumpet - Dave Guy, Steve Sidwell | ||
Viola - Bruce White, Jon Thorne , Katie Wilkinson, Rachel Bolt | ||
Violin - Boguslaw Kostecki, Chris Tombling, Liz Edwards, Everton Nelson, Jonathan Rees, Mark Berrow, Perry Montague-Mason, Peter Hanson, Tom Piggot-Smith, Warren Zielinski | ||
A2 | You Know I'm No Good | |
Arranged By [Band] - Gabriel Roth, Mark Ronson | ||
Baritone Saxophone - Ian Hendrickson-Smith | ||
Bass Guitar - Nick Movshon | ||
Drums - Homer Steinweiss | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Piano, Electric Piano [Wurlitzer], Handclaps - Victor Axelrod | ||
Tenor Saxophone - Neal Sugarman | ||
Trumpet - Dave Guy | ||
A3 | Me And Mr Jones | |
Bass Trumpet, Flugelhorn - Bruce Purse | ||
Double Bass [Upright Bass], Drums, Piano - Salaam Remi | ||
Guitar, Backing Vocals - Amy Winehouse | ||
Guitar, Baritone Saxophone, Tenor Saxophone - Vincent Henry | ||
A4 | Just Friends | |
Bass - Salaam Remi | ||
Clarinet, Bass Clarinet, Guitar - Vincent Henry | ||
Drums - Troy Auxilly-Wilson | ||
Guitar - Amy Winehouse | ||
Organ, Electric Piano [Rhodes] - John Adams | ||
Trumpet, Bass Trumpet, Flugelhorn - Bruce Purse | ||
A5 | Back To Black | |
Alto Saxophone - Andy Mackintosh, Chris Davies | ||
Arranged By [Band] - Gabriel Roth | ||
Arranged By [Orchestra], Conductor - Chris Elliott | ||
Baritone Saxophone - Dave Bishop | ||
Bass Guitar - Nick Movshon | ||
Cello - Anthony Pleeth, Joely Koos, John Heley | ||
Drums - Homer Steinweiss | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Leader [Orchestra] - Perry Montague-Mason | ||
Percussion - Frank Ricotti | ||
Piano - Victor Axelrod | ||
Tenor Saxophone - Jamie Talbot | ||
Viola - Bruce White, Jon Thorne , Katie Wilkinson, Rachel Bolt | ||
Violin - Boguslaw Kostecki, Chris Tombling, Liz Edwards, Everton Nelson, Jonathan Rees, Mark Berrow, Perry Montague-Mason, Peter Hanson, Tom Piggot-Smith, Warren Zielinski | ||
Written-By - Amy Winehouse | ||
Written-By, Arranged By [Band], Tambourine - Mark Ronson | ||
A6 | Love Is A Losing Game | |
Alto Saxophone - Andy Mackintosh, Chris Davies | ||
Arranged By [Band] - Gabriel Roth, Mark Ronson | ||
Arranged By [Orchestra], Conductor - Chris Elliott | ||
Baritone Saxophone - Dave Bishop | ||
Bass Guitar - Nick Movshon | ||
Cello - Anthony Pleeth, Joely Koos, John Heley | ||
Drums - Homer Steinweiss | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Harp - Helen Tunstall | ||
Leader [Orchestra] - Perry Montague-Mason | ||
Percussion - Frank Ricotti | ||
Piano - Victor Axelrod | ||
Tenor Saxophone - Jamie Talbot, Mike Smith | ||
Tenor Trombone - Richard Edwards | ||
Trumpet - Steve Sidwell | ||
Viola - Bruce White, Jon Thorne , Katie Wilkinson, Rachel Bolt | ||
Violin - Boguslaw Kostecki, Chris Tombling, Liz Edwards, Everton Nelson, Jonathan Rees, Mark Berrow, Perry Montague-Mason, Peter Hanson, Tom Piggot-Smith, Warren Zielinski | ||
B1 | Tears Dry On Their Own | |
Backing Vocals - Amy Winehouse | ||
Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Flute, Clarinet, Piano, Celesta, Guitar - Vincent Henry | ||
Bass, Piano, Guitar - Salaam Remi | ||
Drums, Tambourine - Troy Auxilly-Wilson | ||
Performer [Uncredited, Sample Interpolation] - Marvin Gaye, Tammi Terrell | ||
Trumpet, Bass Trumpet, Flugelhorn - Bruce Purse | ||
Written-By - Amy Winehouse, Nickolas Ashford and Valerie Simpson | ||
Written-By [Sample Interpolation] - Nickolas Ashford and Valerie Simpson | ||
B2 | Wake Up Alone | |
Arranged By [Band] - Gabriel Roth | ||
Bass Guitar - Nick Movshon | ||
Drums - Homer Steinweiss | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Piano - Victor Axelrod | ||
Written-By - Paul O'Duffy | ||
B3 | Some Unholy War | |
Bass, Drums, Guitar - Salaam Remi | ||
Guitar - Vincent Henry | ||
Guitar, Backing Vocals - Amy Winehouse | ||
Organ - John Adams | ||
B4 | He Can Only Hold Her | |
Backing Vocals - Ade, Zalon | ||
Baritone Saxophone - Cochemea Gastelum | ||
Bass Guitar - Nick Movshon | ||
Drums - Homer Steinweiss | ||
Finger Snaps - Mark Ronson | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Percussion - Sam Koppelman | ||
Performer [Uncredited, Sample interpolation] - The Icemen | ||
Piano - Victor Axelrod | ||
Producer [Original Demo] - PNut | ||
Tenor Saxophone - Neal Sugarman | ||
Trumpet - Dave Guy | ||
Written-By - Amy Winehouse, Richard Poindexter, Robert Poindexter | ||
Written-By [Sample Interpolation] - Robert Poindexter | ||
Written-By [Sample interpolation] - Richard Poindexter | ||
B5 | You Know I'm no Good | |
Arranged By [All band arrangements] - Gabriel Roth, Mark Ronson | ||
Baritone Saxophone - Ian Hendrickson-Smith | ||
Bass Guitar - Nick Movshon | ||
Drums - Homer Steinweiss | ||
Featuring - Ghostface Killah | ||
Guitar - Binky Griptite, Thomas Brenneck | ||
Piano, Electric Piano [Wurlitzer], Handclaps [Claps] - Victor Axelrod | ||
Producer - Mark Ronson | ||
Rap [Rap Vocals] - Ghostface Killah | ||
Tenor Saxophone - Neal Sugarman | ||
Trumpet - Dave Guy | ||
Written-By - Amy Winehouse |
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Description
It doesn't take much listening to Amy Winehouse's 1960s pop period piece to realize that this is a tribute with an edge--nice girls back then didn't sing about boozing and rehab. Since her 2003 debut album, FRANK, Winehouse has been a frequent presence on the gossip pages of the U.K. tabloids, and her songwriting here candidly reflects her experiences with drinking, sex, and drugs. BACK TO BLACK's production is an artful blend of sophisticated '60s R&B and 21st-century stylistic poaching, with "Tears Dry on Their Own" incorporating elements of Marvin Gaye and Tammi Terrell's "Ain't No Mountain High Enough," and Winehouse sounding like Billie Holiday fronting a reggae band on the old-fashioned cheating song "Just Friends." Densely packed with musical history and often conjuring a dark, Portishead-esque atmosphere, BACK TO BLACK is a sumptuous-sounding collection freighted with blunt confessionals of a lush life.
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Amy Winehouse's "Back to Black," released on October 27, 2006, is a timeless masterpiece that continues to resonate with listeners around the world. This album, which was Winehouse's second and final studio release, is often credited with revitalizing interest in soul music and influencing a new generation of artists.
"Back to Black" was met with critical acclaim upon its release, and it's easy to see why. The album's production, primarily handled by Mark Ronson and Salaam Remi, perfectly complements Winehouse's raw and emotive vocal delivery. The sound is a rich tapestry of 1960s soul, jazz, and R&B, with a modern twist that makes it feel both nostalgic and fresh.
One of the standout tracks, "Rehab," became an anthem of sorts, with its catchy chorus and candid lyrics about Winehouse's refusal to go to rehabilitation. The song's success was a testament to Winehouse's ability to blend personal storytelling with universal themes, a skill that permeates the entire album. "Rehab" not only topped charts worldwide but also won three Grammy Awards, including Record of the Year and Song of the Year.
Another highlight is the title track, "Back to Black," which delves into the depths of heartbreak and loss. The song's haunting melody and Winehouse's poignant delivery capture the essence of the album's themes of love, betrayal, and despair. The accompanying music video, with its black-and-white aesthetic, further emphasizes the song's somber tone.
The album's critical reception was overwhelmingly positive. Publications like Rolling Stone and The Guardian praised Winehouse's vocal prowess and the album's cohesive production. Rolling Stone even included "Back to Black" in its list of the 500 Greatest Albums of All Time, a testament to its enduring impact.
"Back to Black" was not only a commercial success, selling over 16 million copies worldwide, but it also garnered numerous accolades. At the 50th Annual Grammy Awards, the album won five awards, including Best Pop Vocal Album, making Winehouse the first British woman to win five Grammys in one night.
Beyond its commercial and critical success, "Back to Black" holds significant cultural importance. It played a pivotal role in the late 2000s soul revival, influencing artists like Adele, Duffy, and Florence Welch. Winehouse's candid exploration of her personal struggles with addiction and relationships resonated with many, making her a relatable and iconic figure.
The album's production is also worth noting. Mark Ronson's use of vintage recording techniques and live instrumentation gives the album a warm, authentic sound that sets it apart from the heavily produced pop music of the time. This approach not only highlighted Winehouse's vocal talent but also paid homage to the classic soul records that inspired her.
In interviews, Winehouse often spoke about her love for artists like The Shangri-Las and The Ronettes, and this influence is evident throughout "Back to Black." The album's retro sound, combined with Winehouse's modern lyrical sensibility, creates a unique listening experience that feels both timeless and contemporary.
In conclusion, "Back to Black" is more than just an album; it's a cultural milestone that showcases Amy Winehouse's extraordinary talent and artistic vision. Its blend of classic and modern elements, coupled with Winehouse's honest and powerful lyrics, ensures that it will remain a beloved classic for years to come. Whether you're a longtime fan or a newcomer to her music, "Back to Black" is an essential listen that captures the essence of Amy Winehouse's legacy.