Mark Ronson, Producer, Co-Arranger, Recording Engineer, Clapping, AssociatedPerformer, StudioPersonnel - Gabriel Roth, Co-Arranger, Recording Engineer, AssociatedPerformer, StudioPersonnel - Homer Steinweiss, Drums, AssociatedPerformer - Thomas Brenneck, Guitar, AssociatedPerformer - Peter Hanson, Violin, AssociatedPerformer - Everton Nelson, Violin, AssociatedPerformer - Richard Edwards, Trombone, AssociatedPerformer - Frank Ricotti, Percussion, AssociatedPerformer - Jesse Gladstone, Asst. When critical opinion meets popular opinion – something relatively rare that’s worth underlining - the enjoyment is only tenfold. Back To Black topped the charts for months all over the world, and it's still a real masterpiece of soul music and R&B. To top it all off, even her image was distinctive: 50’s beehive, biker tattoos and a cheeky attitude. But then along came Amy Winehouse, with her incredible timbre, her genuine songs (which she wrote herself, unlike 90% of her peers), her vintage-tinged productions (which were never passé) and brass-filled instrumentation. Few people tried to develop the path established by Aretha Franklin, Ann Peebles, Nina Simone, Tina Turner, Dinah Washington and Marlena Shaw. When the Winehouse phenomenon exploded with this second album, the sublime Back To Black being far superior to her first record Frank, soul music was going through a slump with hollow, syrupy R&B singers and sanitized productions flooding the scene. She has a voice that should never be overshadowed either by her chaotic life covering the pages of British tabloids, or by her struggles with alcohol and drugs, or even the hundreds of videos of failed concerts on YouTube. With her tragic early death (though hardly surprising given Amy Winehouse's lifestyle) a truly unique voice of contemporary soul stopped singing on July 23, 2011.

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