“Executives within the dead celebrity business refer to the high-net-worth deceased as “delebs,” and today these executives preside over an industry that is valued at more than $800 million a year and growing.”

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[4.71]

Michaelangelo Matos: A scratch vocal is a scratch vocal. R.I.P.
[5]

Katherine St Asaph: “Our day will come if we just wait a while,” a sentiment nobody in Camp Perpetual Winehouse heard. Posthumous sound forever! Strike while the autopsy’s hot!
[3]

Jonathan Bogart: Her performance, playfully winking at the Ruby & the Romantics original while keeping her personality fully in evidence: [8]. The ghoulish practice of exhuming leftovers, demos, and other relics in order to squeeze more revenue out of a senseless tragedy: [2]. Weighted total:
[5]

Brad Shoup: In the creative sense, this is the sound of someone unwell. Casting a starry R&B classic as rocksteady cruise-ship entertainment, Salaam Remi – I hesitate to blame Winehouse, who usually displayed and demanded impeccable taste – scuttles the affair with easy-listening backup singers. Winehouse’s treatment, unfortunately, shares their tack: a callow performance, marred by lightly-held notes and labored melisma. Surely would have merited a different mix and a B-side had she been around to exert control.
[3]

Alfred Soto: Stretching vowels and snapping consonants, she’s in command of the camp elements she injects to keep her and us awake, but this gesture emits a market-tested, format-spanning finality. We’ll be seeing Winehouse comps around Christmas time for years. 
[4]

Hazel Robinson: This is fine. It won’t be the song that gets played at every opportunity to remember Amy Winehouse, but inasmuch as there’s ever any point in releasing this sort of thing (and it seems as though Amy might have at least been intending for people to hear her work before she died) then this is exactly what it claims to be: a mostly unfinished demo, some ideas and some half-sketches. I’m not sure I would want to know exactly what could have been on her third album, though.
[6]

Sally O’Rourke: “Our Day Will Come” remained in the vaults for good reason: there was no need for it to exist. The production is essentially a karaoke version of the Ruby & the Romantics original, down to the last backing vocal and Hammond organ flourish. Even the most radical change, the lite-ska rhythm, is essentially the original’s bossa nova updated for the early ’00s. The sole point of distinction is Amy Winehouse herself, her voice purer than ever, her delivery assured in the confidence that her day would come soon. While inessential as a standalone recording, “Our Day Will Come” makes for a moving farewell single by returning the focus to Amy as a singer with talent and promise instead of a caricature. At the same time, though, there’s no escaping the sad irony of the song’s hopeful lyrics, as Amy anticipates a happiness she’d never quite achieve.
[7]