Released in 2006, Amy Winehouse’s second and final studio album, Back To Black, achieved critical acclaim and catapulted Winehouse to superstardom overnight. Few would doubt her vocal prowess for her uniqueness is on par with Nina Simone, Billie Holiday, and Ella Fitzgerald; to name a few of the soul queens of yesteryear. Back To Black may well have been approached as a tribute to the 60s era, hence one could question my correlations, but I stand by these connections as the three aforementioned soul queens are as unique to each other as they are to any other artist, from any era. It is this uniqueness that allowed Winehouse to not only stand out from the crowd but to become immortalised through her music. 

Naturally, Winehouse was not alone in her endeavours and while her vocal prowess and writing ability are truly a gift to all music lovers, it’s true to say that Back To Black would have lost the soul element had it not been for the incomparable Dap-Kings, amongst other players, that created a compelling musical sound signature across the entire album. 

Arguably more important still was the contribution of co-producers Salaam Remi and Mark Ronson; two musical geniuses in their own right but two who would put everything they had into the composition and collective nature of this release. The combination of all elements was akin to lightning in a bottle and the production is done so well that the untrained listener won’t hear a deviation in production styles, despite it being there. Interestingly, Remi and Ronson didn’t connect in person but in speaking with Apple Music’s Zane Lowe for the 15th Anniversary Essential Album recording, Remi stated that “I give all of the vision to where she (Amy) was at with it and her interpretation of what she wanted to do.” It’s this kind of cohesion, and these kinds of producers, that ensured Back To Black became an iconic recording. 

Thematically, Back To Black was driven by Winehouse’s turbulent relationship status at the time as well as her addictions. Yet, Back To Black doesn’t sound glum for it’s a thoroughly enjoyable musical experience to behold; especially if you don’t pay too much attention to lyrical interpretation and instead focus on the vocal as an instrument.  

While some may lament the short runtime of Back To Black, there’s no filler to be heard here. Sure, some songs are better than others, but just as I never pick a particular song to listen to, from Back To Black, I never start the album without finishing it, for this is one release that deserves to be heard in its original sequencing. 

Speaking of listening to the album, if you’ve only ever heard the stereo mix of Back To Black then the Dolby Atmos mix may take you by surprise for it’s different. It may take a few listens, but if you give it time you’ll notice and begin to appreciate the spaciousness of the soundstage. The Atmos mix, in particular, is no longer limited by overzealous dynamic range compression thereby making for a more relaxed listening experience. Winehouse’s vocal is also more prominent in the surround mix as the tapering on the end of her enunciations is simply magnificent. The other aspect that rings true is the level of detail throughout the various musical layers that breathe new life into the songs that we know and love.

As for the stereo lossless Apple Digital Master edition, on Apple Music, it is as you’d expect if you’ve heard the album before—muddy (partially due to the intentionally added reverb), shrill, and lacking soundstage depth. Even the High Fidelity Pure Audio Blu-ray release that I was fortunate to have owned suffered the same fate. It was often suggested that it was the CD version upscaled, rather than a true high-fidelity source file; an aspect that doesn’t seem to be addressed to this day in the lossless and high-resolution stereo editions on Apple Music. Subsequently, the Dolby Atmos stream is now my preferred version for it addresses some of these aforementioned issues and offers fans a much smoother and more detailed presentation that is far more enjoyable to listen to. 

Rehab opens Back To Black perfectly as it sets the tone of the album from the first note. While many will point to Winehouse’s struggle with addictions, and perhaps dislike Rehab for its off-the-cuff approach to a very serious issue, Mark Ronson told Apple Music’s Zane Lowe that during the composing of the song, “Winehouse wasn’t doing any drugs and that he felt that those days were in Winehouse’s past.” If nothing else, Ronson’s statement offers a unique insight into the writing and recording process of this autobiographical signature song. 

You Know I’m No Good has an incredible bass intro akin to numerous hip-hop classic loops, but it is the jazzy appeal of the song that will touch your soul. Winehouse’s vocal is front and centre and the mix is utterly perfect with the musicians filling the remainder of the soundstage as if they were performing live in an out-of-the-way jazz club. The horn section is magnificent, particularly in the solo, but I can’t help but wish it were a little more gritty. Without a doubt, You Know I’m No Good is one of the best songs on Back To Black.

Me & Mr Jones is, when contrasted with You Know I’m No Good, not as strong as it should be. It simply comes down to its style. It’s well-written, but the mix is a little challenging to listen to at times resulting in a shock to the senses whereby your mind and body are unsure of which rhythm element it should be attaching itself to. The jazz aspect is appealing but not all jazz is created equally and while some will thoroughly enjoy this approach, other jazz fans will find it to be too erratic. 

Just Friends is a great off-beat vocal track that is perfectly suited to the inspiration of the album and Winehouse’s overall style. The horn section, however, is really the driving force, but that could also be said for the bass and drum elements. Yet, it is the piano and guitar components that sing most to me as I listen to Just Friends. 

Back To Black is magnificent! Mark Ronson created the quintessential piano backbeat that makes Back To Black not only memorable but iconic, allowing Winehouse to lay down some of the greatest vocals in recorded music history. Music doesn’t get much better than this; a truly wonderful experience for any music lover.   

Love Is A Losing Game showcases Winehouse at her smoothest and is a lovely tune. It has that old-time feel to it, with a dose of nostalgia, but as that is the purpose of the album, to be reflective and somewhat timeless, then Love Is A Losing Game ticks all the required boxes. 

Tears Dry On Their Own picks up the tempo with a very light musical tone that ensures it’s captivating despite its somewhat sombre lyrical style. It can also be seen as a homage to Marvin Gaye & Tammi Terrell’s Ain’t No Mountain High Enough.

Wake Up Alone has an incredible introduction. Close your eyes and take a listen for it instantly transports you to the moment of recording; as if you were there in person. Such a beautiful song but the drumming is a little too distant in the overall mix. Understandably, other musical elements are more important here, along with Winehouse’s vocals, but a decibel increase on the drum track would have been appreciated. 

Some Unholy War is bass heaven; thank you, Salaam Remi! Additionally, the intermingling of Winehouse and the backing vocalists are magnificent and another throwback to the 60s. A modern classic!

He Can Only Hold Her is one of the songs that’s a throwback tune. I’m sure that if someone unaware of Winehouse listened to this track, they’d assume it was from the 60s era for that Motown-styled backing vocal is simply exceptional. While I’m unsure if they had any influence on the song, I hear a little Crusaders throughout He Can Only Hold Her. 

Addicted is a solid closing track but I feel Back To Black would have been the better closing song. If you switch the two, the album wouldn’t sound right, but I much prefer the outro featured on Back To Black. That said, Addicted is perhaps a perfect bookend to Rehab as they share a similar approach with regard to tempo. However, in defence of Addicted, the closing few notes are a pure masterstroke. 

Back To Black is a landmark release and as solid as Winehouse’s other recordings are, there’s something very special to be heard here. Subsequently, as a piece of musical art and emotional expression, Back To Black is a timeless addition to any music lover’s library.