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Steve Winwood Back in the High Life Again Cd Cover

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1986 studio album past Steve Winwood

Back in the High Life
Back in the High Life.jpg
Studio album by

Steve Winwood
Released xxx June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Correct Runway (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Popular
  • rock
  • R&B
  • blueish-eyed soul
Length 45:03
Label Isle
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Dorsum to the Night
(1982) 		Back in the Loftier Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Love"
    Released: twenty June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Take It Every bit It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Dorsum in the Loftier Life Again"
    Released: December 1986
  6. "The Effectively Things"
    Released: February 1987

Back in the High Life is the 4th solo album by English singer, songwriter, and multi-instrumentalist Steve Winwood, released on xxx June 1986.[ane] The album proved to be Winwood's biggest success to that date, certified Gold in the United kingdom and 3× Platinum in the U.s.a., and information technology reached the top xx in most Western countries.[2] [3] It collected three Grammy Awards[4] and generated 5 hit singles, starting with "College Love", which became Winwood'south start Billboard Hot 100 number-one nautical chart topper, coming 20 years after he first entered that chart with "Keep on Running" by the Spencer Davis Group.[five] Other global hitting singles from the album were "Freedom Overspill", "Back in the High Life Again" and "The Finer Things". The single "Carve up Decision", with ex-Eagles guitarist Joe Walsh, was a Us striking.[six]

Musically, the album was polished and sophisticated, representative of popular production in the 1980s, featuring Winwood's style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Different his two prior albums, on which he played every instrument himself, Winwood made extensive apply of session musicians for this album, including Joe Walsh and Nile Rogers on guitars and JR Robinson on drums. Winwood himself also performed on a big number of instruments, combining alive-played instruments with synthesizers and programming. Prominent bankroll vocals were provided by established stars, including Chaka Khan on "Higher Dear", James Ingram on "Finer Things", and James Taylor on the title rails. The album showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean area sounds into a stone, pop and R&B milieu.[1] [2] [7] As with his previous albums, Dorsum in the Loftier Life served as an uplifting alternative to the angry or political punk that was sweeping the rock globe.[8]

The anthology was recorded and released during a time of pregnant change in Winwood'south personal life. After touring North America to promote the album during August–November 1986, Winwood divorced in England and then married in New York City. He bought a second home in Nashville, where he organized his next project, Chronicles, a retrospective album of earlier songs, including some remixes engineered by Tom Lord-Alge, whom Winwood had befriended in the making of Back in the High Life.

Groundwork [edit]

Winwood's solo career had seen success in the United kingdom of great britain and northern ireland with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his start major solo US hit, reaching number iii on the Billboard 200. His 3rd album, Talking Back to the Dark (1982), generated less of a response and was considered a let-downwardly. The last two albums had been created past Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[9] but for his adjacent project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner as manager, known for his work with Madonna and Michael Jackson.[x] Weisner pushed Winwood to record in London rather than at his home, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, but Weisner responded, "Well, forget London. Maybe you should get to New York."[viii]

Winwood was already acquainted with New York, having stayed at the Cardinal Park South apartment of Chris Blackwell, the founder of Isle Records.[11] Blackwell had been serving as Winwood'southward quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop continuing half-hidden backside the Hammond organ and have his position as forepart man and entertainer.[8] [12] [thirteen] Winwood said in 1988, "I made a witting attempt to start working with musicians and producers and engineers. I got a manager. I have to say that those people are directly or indirectly responsible for my success now."[8] [14] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The Loftier Life, about the 1985 Tour de France experience of Scottish bicycle racer Robert Millar (later known every bit Philippa York). The documentary was produced past ITV Granada; it aired in the weeks leading upwardly to the 1986 Tour de French republic, in which Millar competed.[7] [15]

Writing [edit]

Songwriting for the album began after Talking Dorsum was released. Winwood wrote his own music but he normally relied on other lyricists. He collaborated once more with Texan Will Jennings, a professor of English language who had written the words to Winwood's vocal "While You See a Gamble", a hit unmarried in 1981. For this new project, Winwood's fourth solo album, the pair equanimous five more songs, two of which would become the biggest album hits: "Higher Dearest" and "Back in the High Life Again". Jennings carried the phrase "Dorsum in the High Life" effectually equally a song championship thought written down in a notebook, but when he was at Winwood's house in belatedly 1984 he wrote the rest of the lyric in a one-half hour, without whatever music. More than a year after, Winwood finally wrote the music, afterwards being nudged to do and then by Titelman, who was notified of its being by Jennings. "Back in the High Life Again" came very nearly to being missed altogether.[16] Winwood said about teaming with Jennings, "We've got admittedly no rules when nosotros work together. Sometimes we offset with the lyric, sometimes with the melody; sometimes we starting time with chorus and add the verses, and sometimes I write some of the lyrics myself. There are no formulas; things but happen naturally."[17]

A second return collaborator was eccentric English songwriter and former Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic's 1974 album When the Hawkeye Flies. The two often traded favours: Winwood played on both of Stanshall's solo albums in the 1970s. More recently, Stanshall had come with the lyric to the song "Arc of a Diver", which provided the 1980 album title.[18] Stanshall joined with Winwood to create a demo version of "My Love's Leavin'" at Netherturkdonic, engineered past Nobby Clarke, who was Winwood's right-hand homo at the studio and on the road.[19] Stanshall also wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the High Life just was ultimately left off.[18]

The third returning lyricist was George Fleming, an old friend of Winwood'southward and the nephew of James Bail creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "Second-manus Woman" and "Dust" – which were his showtime-ever compositions.[ix] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote most of the music for "Freedom Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood'south band starting in 1983.[twenty]

Recording [edit]

Power Station, Right Track Recording, and Behemothic Sound sessions [edit]

"The timing was right. Stevie was gear up to try something unlike. He had been working on tracks for about a year and some of the songs were demoed pretty seriously. I wasn't brought in for whatever desperate changes. I retrieve he might have wanted to take some responsibility off his own shoulders."
    —Russ Titelman on existence selected every bit co-producer[21]

In July 1985,[10] Winwood settled into New York City for August recording sessions at Power Station, getting an apartment off Madison Artery nearly Central Park Zoo. Russ Titelman was chosen to co-produce the album because he was already familiar with Winwood's keyboard work on Titelman's before productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had likewise produced the Rufus/Chaka Khan song "Own't Nobody", which won the artists a performance Grammy in 1984, and was ane of Weisner's favorite songs, aiding in the pick of Titelman.[22] Tracking began in Studio C at Ability Station under engineer Jason Corsaro, with Winwood laying downwards drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, fifty-fifty going to Winwood's apartment to piece of work out the sequencing for "Back in the High Life Again", featuring a conga loop devised by Bralower on the Roland TR-808.[23] Corsaro also engineered sessions at Correct Track Recording. When Corsaro had to leave to accolade a commitment with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in Oct.[25]

The Lord-Alge brothers' involvement and Unique sessions [edit]

Session keyboard histrion Robbie Kilgore told Winwood and Titelman that he knew three talented brothers who engineered at a nearby studio with a wide selection of synthesizers: Chris, Jeff and Tom Lord-Alge at Unique Recording Studios.[26] [27] Kilgore took Titelman to Unique, where they discovered that the studio also had an SSL 4000E mixer just like Winwood's at Netherturkdonic, so Titelman moved the project in that location in early November 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited any interested musicians to join him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60.[21]

Chris Lord-Alge was the more accomplished of the three engineer brothers, but he had been pushing Tom into positions of greater responsibleness; Tom earned his way to become caput engineer on the Winwood album, his offset time in the function.[30]

Back in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique's Studio B on the 48-channel SSL 4000E. A pair of linked 24-rail tape recorders was initially mixed down to stereo on a Studer A-80 half-inch two-rail deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open-reel 2-rails recorder. The greater sonic clarity achieved this way was profound enough for Titelman and Winwood to decide that the whole album must be mixed to digital stereo.[24] Tom said that Winwood taught him a few tricks on the SSL, and Tom returned the favour past showing Winwood a trick or two of his own.[26] Titelman said Tom "uses the SSL like a player uses an instrument".[24] According to Tom, between 10 and twenty pct of the Power Station and other previous tracks ended up on the anthology. The great majority of Dorsum in the Loftier Life came from overdubbing at Unique.[26]

Drums [edit]

Once Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or supersede the drum machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic pulsate sounds, only these were not setting the right tone for many of the songs. Session drummer John "JR" Robinson was called in from a nearby George Benson session, bringing his own drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hit records nether his chugalug, including the charity single "We Are the World" and Michael Jackson'due south multi-Platinum "Don't Finish 'Til You Get Plenty". To become a larger-than-life pulsate audio, Titelman and the Lord-Alge brothers had the drums placed in the center of the chief room of Studio B, with eight boosted microphones positioned around the room to capture sound-wave reflections and increment the ratio of room ambience.[21] [34]

"Higher Dear" was first tracked with a simple drum machine loop, which Titelman felt was "flat", not quite fitting with the synth layers, which had been created mainly past Kilgore. Titelman tried replacing all the electronic drums with JR playing alive, but the producers felt that this, too, was not quite suitable.[34] Instead, the rhythm office for the song was constructed as a combination of electronic drums, JR's live drums, and sequenced samples of JR's drums added later.[24] Winwood instructed JR to make the snare overdubs feel like they were slightly rushing the tempo, to add together excitement.[34] JR noted that Winwood asked for high-pitched, brilliant sounds from the drum kit, so he chose contumely snares such as a vintage 1930 Ludwig for "Split Decision", and the vintage Black Beauty on "College Love". JR tuned his drumheads loftier to satisfy Winwood, unlike another of JR'southward bandleaders, Bob Seger, who wanted only low-pitched drums.[33] Existent drums augmented or replaced the electronic drums on every song on the album except "My Love's Leavin'", on which the pulsate parts stayed purely electronic.[21]

"Higher Love" drum-fill [edit]

Tom says he "clinched the gig" when he made a proffer to Titelman as the overdubbing was winding down and mixing was presently to brainstorm. The suggestion involved Tom moving one of JR's impromptu drum fills to the beginning of "College Love", by assigning a timing starting time to one of two tape machines such that they first played the drum fill followed by the vocal coming in on the beat.[27] Titelman was very happy with the result, and decided to open up the album with this drum fill up. The opening eventually became and so famous that JR put it on his answering machine equally a professional calling card. JR said the pattern was a Latin rimshot technique across the top of his archetype seamless brass Ludwig Black Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "it's one of the best drum intros I've always played."[33]

Titelman remembered the fill being played advertising lib by JR while his friend Chaka Khan was preparing to sing her background vocals on "College Dearest", causing Khan to exclaim "What is that shit? It sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the drum fill up was played as a distraction afterwards JR had completed his drum overdubs for "Higher Love". Tom said, "Information technology was one of those happy accidents, and it happened because Chris e'er taught me that if the tape is rolling and in that location's a musician in the studio, make sure the tape machine is in tape!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Carve up Decision" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Once again", later on hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor's style perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment 24-hour interval", for which Winwood wanted an interpretation different from his ain.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman'south contacts. Titelman also brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I experience that basically I was a casting director in a lot of means."[22] Only Winwood himself invited Eagles guitarist Joe Walsh to join the project.[22] Walsh and Winwood had met during Walsh'south James Gang years. More than a decade afterward Walsh phoned "out of the blue" to say hullo, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the 2 wrote "Split Decision" together, the only song on the album written entirely during the recording procedure in New York. Walsh also performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Dissever Determination" in a wholly unrehearsed functioning – his usual style. Winwood felt challenged to do the same on synthesizer.[19]

Marketing and video [edit]

Dorsum in the High Life was a top 10 hit on the album charts in the Us, peaking at number 3, and has sold over five one thousand thousand copies. The single "Higher Honey" first entered the United states charts at number 77 during the week of 14 June 1986,[36] then proceeded to peak the singles nautical chart at the end of Baronial and win the Grammy Award for "Record of the Yr"; "Back in the High Life Again" (Us number 13), "The Finer Things" (US number 8, the second-biggest striking from the anthology), and "Freedom Overspill" (United states number xx) were too big hits. "Divide Decision" failed to chart in other countries simply rose to number iii in the US. "Take Information technology As Information technology Comes" fared less well, reaching number 33 in the U.s..[6] Island had promoted Back in the High Life successfully, basing the entrada on the thought that Winwood was on a "comeback".[iii]

Weisner pushed Winwood to promote the album with at least i video that could exist shown on MTV. Island Records agreed. They chose "College Honey", and selected Peter Kagan and Paula Greif to direct it, on the strength of their video for "The Dear Parade" past the Dream Academy.[37] Weisner relayed his wish that Winwood should look like an entertainer, that he should not hide backside the Hammond as in the past.[8] Shooting took identify in June 1986, primarily on 35 mm film stock, just sometimes using a manus-held camera, specially for blackness-and-white photography. I 16 mm Bolex and a Super 8 camera were used for these in-motility shots. Riding in a shopping trolley, Greif was pushed through the dance floor to capture movement. Laura Israel and Glenn Lazzaro edited the film to U-matic video, then mastered to i-inch tape with a team of administration.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in front of the band, he stands adjacent to Chaka Khan, and he dances with several women wearing tropical clothing as different scenes alter from colour to black-and-white.[eight] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Love" was nominated for Video of the Year, Best Male Video, Best Editing, and Best Direction, but lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was also nominated for Best Choreography, honouring Ed Love'due south work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Love" was nominated in the Viewers Selection category, which was won by U2's "With or Without You".[39]

Tour [edit]

Winwood began a tour of North America to promote the album, starting on 22 August 1986 with a evidence at Pino Knob Music Theatre due north of Detroit, with reggae artist Jimmy Cliff every bit the opening act.[40] [41] In Winwood'southward eight-piece ring, James Hooker, co-writer of "Liberty Overspill", connected in his role as 2d keyboard player. Winwood's man in Turkdean, Nobby Clarke, resumed equally road manager. The bout played dates in Ohio, Illinois, Maryland, New York, Pennsylvania, Massachusetts, Florida, Georgia, Tennessee and Arkansas. In October when he was "somewhere" in Texas, Winwood told the Los Angeles Times that he was seeing the largest audition reactions on the songs "Higher Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audition members might be thinking "Gimme Some Lovin'" was a Blues Brothers cover because it had been in the moving-picture show The Blues Brothers (1980).[42]

Afterwards Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 World Automobile album had brought greater fame and introduced more electronic and popular elements to their sound. The Arizona Commonwealth remarked near how well they fit with Winwood's way, both sharing a "multilayered instrumentation and a prominent beat."[43] The tour connected through iv dates in California, the quaternary at the Concord Pavilion, where the San Francisco Examiner reviewed the prove, noting that Winwood played very little guitar and a chip of mandolin, and performed his electric guitar solos on the keyboards to strike a "balance betwixt his instruments and voice." Danny Wolinski on saxophone and Bob Leffert on trumpet were named as "outstanding" musicians. Winwood started the concert softly with "The Low Spark of Loftier Heeled Boys", then finished big with "Back in the Loftier Life Again".[44]

Level 42 and Winwood's band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for 1 night in British Columbia, and another in Alberta. They headed east to play nine more dates in the Us plus one in Toronto. The bout ended on 23 November in Virginia at the Patriot Center. Not every show enjoyed expert reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed past Winwood in Connecticut's New Oasis Coliseum, describing how most of the 2-hour show was "less than captivating" because of Winwood's shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing terminal number that got the crowd continuing for "Gimme Some Lovin'", were not plenty to make the bear witness worthwhile.[45] A month later on, the Courant published rebuttals by ii readers who had witnessed the aforementioned concert, ane maxim, "This was one of the all-time concerts I have ever attended, and judging from the clapping, dancing, singing and auspicious of the audition, I presume that many others would agree with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [47]
The Great Rock Discography 8/10[47]
Los Angeles Times [48]
MusicHound Stone 4/5[47]
Music Story [47]
The Rolling Stone Anthology Guide [47]
The Village Vox C[49]

Back in the High Life was met with generally positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed information technology as "the first undeniably superb tape of an almost decade-long solo career" for Winwood.[50] Stereo Review magazine'due south Mark Skin said the album "weds Winwood'south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", calculation, "it's Lite Soul, but Russ Titelman'south production and the outstanding recording job bring out every instrument with a bite and clarity that are often spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the Loftier Life more often than not "sounds as beautiful as the exemplary message of hope information technology espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making it more than just "a decidedly tasteful record".[52]

The album was non without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Split Conclusion" for "meander[ing] about rather aimlessly".[52] The Hamlet Vocalization reviewer Robert Christgau was more critical. He found Winwood's lyrics to be truthful and unpretentious only ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood beingness "a wunderkind with more talent than brains", who "after two decades of special treatment … derives all the self-esteem he needs just from surviving, equally they say."[49] Geoffrey Himes, writing for The Washington Mail, was dismissive, saying that Winwood'due south inventiveness had abandoned him in 1971, and that this new album was proof that "the spark is gone." He complimented "College Love" for its catchy melody and electronic product, but he criticised the album as a whole, saying, "The songs actually have no content, though Winwood'due south gorgeous blue-eyed soul vocalization almost convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood'southward 1988 follow-up album Roll with It, Dennis Hunt of the Los Angeles Times called Back in the High Life "arguably the all-time R&B album by a white singer in the terminal five years".[54] Years later, in The Rough Guide to Stone (2003), Justin Lewis declared it "the prototype of sophisticated mid-80s AOR, every bit Winwood adds Caribbean and gospel flavours to his popular, rock and R&B mix."[55]

Legacy [edit]

In the UK, Back in the High Life was certified Gilded by BPI in August 1986.[56] In the US, Gold was reached most every bit apace but strong sales connected for a longer period, raising the anthology to Platinum in October 1986. With steady sales through 1987, the anthology was certified 3× Platinum by the RIAA in January 1988.[57]

Whitney Houston'due south version of "College Love" was remixed posthumously in 2019

Winwood's married woman Nicole separated from him in tardily 1985 while he was nonetheless recording on the other side of the Atlantic Body of water. Around the same time, Winwood went to hear a Junior Walker concert at the Lone Star Cafe in New York City and met a Nashville woman named Eugenia Crafton; the ii struck up a relationship.[58] Crafton was Winwood's girlfriend in mid-December 1985 when Will Jennings visited New York City with his own paramour, singer-songwriter Marshall Chapman. They went out every bit a foursome to enjoy the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing marriage individual: When he started his album bout in August 1986, he instructed his staff to inform journalists that he would not reply whatever questions nearly his personal life.[42] Winwood's divorce was finalised in Dec 1986, and then Crafton and Winwood married in January in a private ceremony held at Fifth Avenue Presbyterian Church building.[58] [threescore] [61] When he stepped upwardly to the podium on 24 February 1987 to accept one of two Grammy Awards, Winwood said, "I'd like to say how much an award like that means to me. The more I'm involved in making records the more than information technology seems to mean. So I would similar to thank everyone who has written for me... And finally, I would similar to give thanks my married woman."[62] Winwood settled in Nashville, and his first child, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood'south fifth album, Roll With It, released in June 1988, which would eventually surpass Dorsum in the High Life in sales.[60]

The vocal "Higher Love" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-downwardly, ethereal acoustic version of it in 2011 for a compilation album chosen Silvery Lining, produced to do good the Irish charity Headstrong. The album raised €225,000.[63] McMorrow'south cover version was likewise used in Europe for an Amazon visitor advert. It was picked upwards over again in 2017 for an American goggle box commercial promoting the Hyundai Kona machine. McMurrow said, "It's a beautiful melody, the chord structure of that song is really complex. When I used to play it on the guitar just to myself, I was always struck by how interesting it was."[64] "College Beloved" was likewise covered by Whitney Houston in 1990, but her version was non widely heard as it was released only as a bonus track in Nippon. In June 2019, vii years after Houston'due south decease, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical house version.[65] An accompanying video was released in August. The Houston/Kygo remix of "Higher Beloved" was certified Gold in the US in October 2019, and the next month it reached Platinum in the UK.[66] [67]

Track listing [edit]

All tracks written by Steve Winwood and Will Jennings except where noted.[17]

No. Title Writer(s) Length
1. "Higher Love" 5:45
two. "Accept It Every bit It Comes" five:20
3. "Liberty Overspill" Steve Winwood, George Fleming, James Hooker v:33
4. "Back in the High Life Again" 5:33
v. "The Finer Things" 5:47
half-dozen. "Wake Me Upwards on Judgment Twenty-four hour period" 5:48
seven. "Split Determination" Winwood, Joe Walsh 5:58
8. "My Love'south Leavin'" Winwood, Vivian Stanshall 5:xix

Personnel [edit]

Adapted from the anthology liner notes[17] and AllMusic credits[68]

Industry awards [edit]

Grammy Awards [edit]

MTV Video Music Awards [edit]

Charts [edit]

Certifications [edit]

References [edit]

  1. ^ a b c Ruhlmann, William (2011). "Back in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
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  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the Day – July 2: Steve Winwood – Back in the High Life". Pop Off. Medium. Retrieved ix July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 Baronial 1986). "Nautical chart Beat". Billboard. Vol. 98, no. 35. p. ten. ISSN 0006-2510.
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  8. ^ a b c d due east f DeCurtis, Anthony (1 Dec 1988). "From Mr Fantasy to Mr Entertainment". Rolling Stone.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hi-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While You lot See A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Pop Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 Dec 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved ten July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All About the Wheel. Chicago Review Printing. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (7 May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved 11 July 2020.
  17. ^ a b c Winwood, Steve (1986). Back in the High Life (booklet). Island Records. A2 25448.
  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved 10 July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood's Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Direct . Retrieved 10 July 2020.
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  22. ^ a b c d eastward White, Timothy (22 June 1996). "'Delight Don't Wake Me'". Billboard. Vol. 108, no. 25. pp. 41–54. ISSN 0006-2510.
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  24. ^ a b c d e f Jones, Ralph (Dec 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (2 November 1985). "Audio Rails: New York". Billboard. Vol. 97, no. 44. p. 41. ISSN 0006-2510.
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External links [edit]

  • Back in the High Life at Discogs (list of releases)

weldonbutionfoned91.blogspot.com

Source: https://en.wikipedia.org/wiki/Back_in_the_High_Life

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