The album “made people rethink music,” Ronson told Billboard, “because it was so simple in its approach: the sound of five or six really good instrumentalists with an amazing singer.” Blender, greeting the record’s US appearance, said it “sounds fantastic – partly because the production nails sample-ready 60s soul right down to the drum sound and partly because Winehouse is one hell of an impressive singer.” The New York Times purred: “A 23-year-old English songwriter, Ms. Amy had two incredibly successful shows here in New York that generated a slew of excellent reviews.” Those mid-January gigs, at Joe’s Pub in mid-January, were her first-ever US shows. Just in advance of the set’s US release on Universal Republic, Kim Garner, the label’s senior VP of marketing & artist development, told Billboard: “The feedback across the board here has been nothing short of amazing. It’s been a whirlwind year and a half for the 25-year-old Winehouse, whose second album, Back to Black, has sold 10 million copies. America couldn’t overlook Amy any longer, and the album entered the Billboard 200 on the March 31 chart. Amy Winehouse and the (Black) Art of Appropriation. In the second half of January 2007, Back To Black topped the UK chart for the first time, and would go on to spend all but two of the next 48 weeks in the Top 10.
Perhaps surprisingly in retrospect, it spent only four initial weeks in the Top 40, but then the effect of its first hit “Rehab” and the new year single “You Know I’m No Good” began to kick in. Produced by Mark Ronson and universally hailed in Britain as a modern-day masterpiece of contemporary soul music, the record entered the domestic bestsellers at No.3 in November 2006.
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