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Steve Winwood Back in the High Life Again Released

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1986 studio album past Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded Baronial 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Ability Station (New York)
  • Right Track (New York)
  • Behemothic Audio (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • blueish-eyed soul
Length 45:03
Label Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Night
(1982) 		Back in the Loftier Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Honey"
    Released: twenty June 1986
  2. "Dissever Decision"
    Released: July 1986
  3. "Take Information technology Equally It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the Loftier Life Again"
    Released: December 1986
  6. "The Finer Things"
    Released: Feb 1987

Back in the Loftier Life is the fourth solo album by English language singer, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[1] The album proved to be Winwood's biggest success to that date, certified Gilded in the United kingdom and 3× Platinum in the United states, and it reached the top twenty in most Western countries.[2] [3] Information technology collected three Grammy Awards[4] and generated five hitting singles, starting with "Higher Love", which became Winwood's starting time Billboard Hot 100 number-1 nautical chart topper, coming 20 years later on he first entered that chart with "Proceed on Running" past the Spencer Davis Grouping.[5] Other global hit singles from the album were "Freedom Overspill", "Back in the High Life Over again" and "The Finer Things". The single "Split Determination", with ex-Eagles guitarist Joe Walsh, was a U.s. hit.[six]

Musically, the album was polished and sophisticated, representative of popular product in the 1980s, featuring Winwood's fashion 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 fabricated extensive apply of session musicians for this anthology, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself also performed on a large number of instruments, combining alive-played instruments with synthesizers and programming. Prominent backing vocals were provided by established stars, including Chaka Khan on "Higher Dearest", James Ingram on "Finer Things", and James Taylor on the championship track. The album showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[1] [ii] [7] As with his previous albums, Back in the High Life served equally an uplifting alternative to the angry or political punk that was sweeping the rock world.[eight]

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

Background [edit]

Winwood'south solo career had seen success in the UK with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his kickoff major solo US striking, reaching number 3 on the Billboard 200. His third anthology, Talking Back to the Night (1982), generated less of a response and was considered a permit-downward. The final ii albums had been created by Winwood playing all the instruments himself at his technologically avant-garde Turkdean home studio "Netherturkdonic,"[9] but for his side by side 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.[ten] 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 proposition, but Weisner responded, "Well, forget London. Maybe you should get to New York."[8]

Winwood was already acquainted with New York, having stayed at the Cardinal Park South flat of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood's quasi-manager for a few years, simply Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to finish continuing half-hidden behind the Hammond organ and accept his position as front human and entertainer.[eight] [12] [13] Winwood said in 1988, "I made a conscious effort 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 at present."[8] [14] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The High Life, almost the 1985 Bout de French republic feel of Scottish bicycle racer Robert Millar (subsequently known as Philippa York). The documentary was produced by ITV Granada; it aired in the weeks leading up to the 1986 Bout de France, in which Millar competed.[7] [xv]

Writing [edit]

Songwriting for the album began later Talking Back was released. Winwood wrote his own music but he usually 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 song "While You Encounter a Run a risk", a hit single in 1981. For this new project, Winwood's quaternary solo album, the pair composed five more songs, two of which would get the biggest anthology hits: "Higher Love" and "Dorsum in the High Life Again". Jennings carried the phrase "Dorsum in the Loftier Life" around as a song title idea written downward in a notebook, but when he was at Winwood'southward house in late 1984 he wrote the rest of the lyric in a one-half hour, without any music. More than a yr afterward, Winwood finally wrote the music, after being nudged to exercise so by Titelman, who was notified of its existence past Jennings. "Dorsum in the Loftier Life Once more" came very near to being missed altogether.[xvi] Winwood said virtually teaming with Jennings, "Nosotros've got absolutely no rules when we piece of work together. Sometimes we start with the lyric, sometimes with the melody; sometimes nosotros start with chorus and add together the verses, and sometimes I write some of the lyrics myself. At that place are no formulas; things simply happen naturally."[17]

A 2nd return collaborator was eccentric English songwriter and former Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood'due south "Dream Gerrard", appearing on Traffic's 1974 anthology When the Eagle Flies. The two often traded favours: Winwood played on both of Stanshall's solo albums in the 1970s. More recently, Stanshall had come up upwards with the lyric to the vocal "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'due south right-hand man at the studio and on the route.[19] Stanshall also wrote the lyric to "If That Gun is For Real" in the early on '80s, which was nether consideration for Dorsum in the Loftier Life but was ultimately left off.[xviii]

The third returning lyricist was George Fleming, an one-time friend of Winwood's and the nephew of James Bail creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "Second-hand Woman" and "Grit" – which were his first-ever compositions.[9] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote virtually of the music for "Freedom Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's ring starting in 1983.[20]

Recording [edit]

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

"The timing was right. Stevie was fix to endeavour something different. He had been working on tracks for virtually a year and some of the songs were demoed pretty seriously. I wasn't brought in for any drastic changes. I think he might have wanted to have some responsibility off his own shoulders."
    —Russ Titelman on being selected as 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 Avenue near 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 also produced the Rufus/Chaka Khan vocal "Ain't Nobody", which won the artists a performance Grammy in 1984, and was one of Weisner'due south favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Power Station nether engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and musical instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's apartment to work out the sequencing for "Back in the Loftier Life Again", featuring a conga loop devised past Bralower on the Roland TR-808.[23] Corsaro besides engineered sessions at Right Rails Recording. When Corsaro had to leave to honour a commitment with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in October.[25]

The Lord-Alge brothers' interest 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 only like Winwood'south 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 whatsoever 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 achieved of the iii engineer brothers, but he had been pushing Tom into positions of greater responsibleness; Tom earned his style to go caput engineer on the Winwood anthology, his offset time in the part.[30]

Back in the Loftier 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-track record recorders was initially mixed down to stereo on a Studer A-80 one-half-inch 2-track deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open-reel ii-track recorder. The greater sonic clarity accomplished 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 by showing Winwood a play a trick on or two of his ain.[26] Titelman said Tom "uses the SSL like a player uses an instrument".[24] According to Tom, between x and 20 percent of the Power Station and other previous tracks concluded upward on the anthology. The great majority of Back in the High Life came from overdubbing at Unique.[26]

Drums [edit]

Once Winwood settled in at Unique, Titelman decided to bring in a existent drummer to augment or replace the pulsate machine parts. On record, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were not setting the right tone for many of the songs. Session drummer John "JR" Robinson was chosen 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 striking records nether his chugalug, including the clemency unmarried "We Are the Earth" and Michael Jackson's multi-Platinum "Don't Stop 'Til You lot Get Enough". To go a larger-than-life drum audio, Titelman and the Lord-Alge brothers had the drums placed in the middle of the main room of Studio B, with eight additional microphones positioned around the room to capture sound-moving ridge reflections and increment the ratio of room ambience.[21] [34]

"Higher Honey" was first tracked with a simple drum machine loop, which Titelman felt was "flat", not quite plumbing fixtures with the synth layers, which had been created mainly by Kilgore. Titelman tried replacing all the electronic drums with JR playing live, merely the producers felt that this, as well, was not quite suitable.[34] Instead, the rhythm part for the vocal was synthetic as a combination of electronic drums, JR'southward live drums, and sequenced samples of JR's drums added later.[24] Winwood instructed JR to brand the snare overdubs feel like they were slightly rushing the tempo, to add excitement.[34] JR noted that Winwood asked for high-pitched, bright sounds from the pulsate kit, so he chose brass snares such as a vintage 1930 Ludwig for "Split Determination", and the vintage Black Beauty on "Higher Love". JR tuned his drumheads high 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 Dearest'south 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 suggestion to Titelman as the overdubbing was winding down and mixing was soon to brainstorm. The proposition involved Tom moving one of JR's impromptu drum fills to the kickoff of "Higher Love", by assigning a timing start to one of two record machines such that they outset played the drum fill followed by the song coming in on the beat.[27] Titelman was very happy with the consequence, and decided to open the album with this drum make full. The opening somewhen became so famous that JR put information technology on his answering machine as a professional calling carte. JR said the design was a Latin rimshot technique beyond the top of his archetype seamless contumely Ludwig Black Dazzler snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "it'south one of the all-time pulsate intros I've always played."[33]

Titelman remembered the fill beingness played ad lib by JR while his friend Chaka Khan was preparing to sing her groundwork vocals on "Higher Love", 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 lark after JR had completed his drum overdubs for "Higher Dear". Tom said, "It was i of those happy accidents, and it happened because Chris always taught me that if the tape is rolling and there's a musician in the studio, make sure the tape machine is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Separate Conclusion" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Again", later on hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'due south style perfectly.[22] Another Titelman decision was to phone call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Day", for which Winwood wanted an estimation different from his ain.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman'due south contacts. Titelman also brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting director in a lot of means."[22] Just Winwood himself invited Eagles guitarist Joe Walsh to join the projection.[22] Walsh and Winwood had met during Walsh's James Gang years. More than a decade later Walsh phoned "out of the blue" to say howdy, with Winwood immediately suggesting a songwriting collaboration.[19] In Oct,[35] the ii wrote "Split Determination" together, the simply vocal on the album written entirely during the recording process in New York. Walsh besides performed slide guitar on "Freedom Overspill". Walsh tackled his electrical guitar solo for "Split Decision" in a wholly unrehearsed performance – his usual fashion. Winwood felt challenged to do the aforementioned on synthesizer.[nineteen]

Marketing and video [edit]

Back in the High Life was a top ten hit on the album charts in the United states, peaking at number 3, and has sold over 5 million copies. The unmarried "Higher Love" commencement entered the US charts at number 77 during the week of 14 June 1986,[36] so proceeded to top the singles nautical chart at the end of August and win the Grammy Award for "Record of the Yr"; "Back in the High Life Once again" (U.s.a. number xiii), "The Finer Things" (US number eight, the second-biggest hit from the album), and "Freedom Overspill" (United states of america number 20) were besides big hits. "Separate Decision" failed to chart in other countries but rose to number iii in the US. "Have It Equally It Comes" fared less well, reaching number 33 in the US.[6] Isle had promoted Back in the High Life successfully, basing the campaign on the idea that Winwood was on a "comeback".[three]

Weisner pushed Winwood to promote the album with at least ane video that could exist shown on MTV. Island Records agreed. They chose "Higher Beloved", and selected Peter Kagan and Paula Greif to direct it, on the strength of their video for "The Love Parade" past the Dream University.[37] Weisner relayed his wish that Winwood should look like an entertainer, that he should non hide backside the Hammond as in the past.[8] Shooting took place in June 1986, primarily on 35 mm picture stock, merely sometimes using a mitt-held camera, especially for black-and-white photography. One 16 mm Bolex and a Super viii photographic camera were used for these in-motion shots. Riding in a shopping trolley, Greif was pushed through the dance flooring to capture motility. Laura State of israel and Glenn Lazzaro edited the film to U-matic video, and then mastered to ane-inch record with a team of assistants.[37] In the resulting video, Winwood is never shown playing an musical instrument. Instead, he sings far out in forepart of the band, he stands side by side to Chaka Khan, and he dances with several women wearing tropical clothing as dissimilar scenes alter from colour to black-and-white.[8] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Dearest" was nominated for Video of the Year, Best Male Video, Best Editing, and Best Direction, but lost to Peter Gabriel'southward "Sledgehammer" in all four categories. The video was also nominated for All-time Choreography, honouring Ed Love'due south work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "College Love" was nominated in the Viewers Choice category, which was won by U2's "With or Without You".[39]

Bout [edit]

Winwood began a tour of North America to promote the anthology, starting on 22 August 1986 with a show at Pine Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff every bit the opening deed.[twoscore] [41] In Winwood'south 8-slice ring, James Hooker, co-author of "Freedom Overspill", continued in his role as second keyboard actor. Winwood's homo in Turkdean, Nobby Clarke, resumed every bit road manager. The tour 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 audience reactions on the songs "College 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 embrace considering information technology had been in the moving-picture show The Blues Brothers (1980).[42]

After Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 Globe Machine album had brought greater fame and introduced more than electronic and popular elements to their sound. The Arizona Republic remarked about how well they fit with Winwood'southward manner, both sharing a "multilayered instrumentation and a prominent beat."[43] The tour continued through 4 dates in California, the fourth at the Concord Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very little guitar and a flake of mandolin, and performed his electric guitar solos on the keyboards to strike a "balance between his instruments and voice." Danny Wolinski on saxophone and Bob Leffert on trumpet were named equally "outstanding" musicians. Winwood started the concert softly with "The Depression Spark of High Heeled Boys", then finished big with "Dorsum in the High Life Once again".[44]

Level 42 and Winwood's band moved upward the Pacific Declension to Oregon and Washington, crossing into Canada for ane night in British Columbia, and another in Alberta. They headed east to play 9 more dates in the US plus 1 in Toronto. The tour ended on 23 Nov in Virginia at the Patriot Eye. Non every bear witness enjoyed adept reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed past Winwood in Connecticut's New Haven Coliseum, describing how virtually of the two-hour show was "less than captivating" considering of Winwood'due south shyness onstage. Rizzo felt that a few hot solos from the ring, and a rousing final number that got the crowd continuing for "Gimme Some Lovin'", were not enough to make the testify worthwhile.[45] A month later, the Courant published rebuttals by two readers who had witnessed the same concert, one proverb, "This was 1 of the best concerts I accept always attended, and judging from the clapping, dancing, singing and cheering of the audience, I assume that many others would agree with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Pop Music [47]
The Bully Rock Discography eight/10[47]
Los Angeles Times [48]
MusicHound Rock 4/5[47]
Music Story [47]
The Rolling Rock Album Guide [47]
The Village Voice C[49]

Back in the Loftier Life was met with generally positive reviews. Writing in July 1986 for Rolling Rock, Timothy White hailed it equally "the first undeniably superb record of an almost decade-long solo career" for Winwood.[l] Stereo Review mag'south Mark Peel said the anthology "weds Winwood'south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "it'south Lite Soul, just Russ Titelman's production and the outstanding recording chore bring out every musical instrument with a bite and clarity that are often spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life by and large "sounds every bit beautiful as the exemplary message of hope it espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making it more just "a decidedly tasteful record".[52]

The album was not without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Split Decision" for "meander[ing] well-nigh rather aimlessly".[52] The Hamlet Vocalisation reviewer Robert Christgau was more disquisitional. He found Winwood's lyrics to be truthful and unpretentious but ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood being "a wunderkind with more talent than brains", who "later on two decades of special handling … derives all the self-esteem he needs just from surviving, equally they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood's creativity had abandoned him in 1971, and that this new anthology was proof that "the spark is gone." He complimented "Higher Love" for its tricky melody and electronic production, but he criticised the anthology as a whole, saying, "The songs really have no content, though Winwood's gorgeous blue-eyed soul voice almost convinces y'all otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-up album Scroll with It, Dennis Hunt of the Los Angeles Times called Dorsum in the High Life "arguably the best R&B album past a white singer in the last five years".[54] Years later, in The Rough Guide to Rock (2003), Justin Lewis declared it "the epitome of sophisticated mid-80s AOR, equally Winwood adds Caribbean and gospel flavours to his pop, rock and R&B mix."[55]

Legacy [edit]

In the Britain, Dorsum in the High Life was certified Gold past BPI in Baronial 1986.[56] In the U.s.a., Gold was reached near as quickly but strong sales continued for a longer period, raising the album to Platinum in Oct 1986. With steady sales through 1987, the album was certified 3× Platinum by the RIAA in January 1988.[57]

Whitney Houston'south version of "Higher Honey" was remixed posthumously in 2019

Winwood's wife Nicole separated from him in late 1985 while he was withal recording on the other side of the Atlantic Ocean. Around the aforementioned fourth dimension, Winwood went to hear a Junior Walker concert at the Solitary Star Cafe in New York Metropolis and met a Nashville woman named Eugenia Crafton; the 2 struck up a relationship.[58] Crafton was Winwood'due south girlfriend in mid-December 1985 when Will Jennings visited New York City with his ain paramour, singer-songwriter Marshall Chapman. They went out as a foursome to bask the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing spousal relationship individual: When he started his album tour in August 1986, he instructed his staff to inform journalists that he would non reply any questions about his personal life.[42] Winwood'southward divorce was finalised in December 1986, so Crafton and Winwood married in Jan in a private ceremony held at Fifth Avenue Presbyterian Church.[58] [threescore] [61] When he stepped up to the podium on 24 Feb 1987 to have i of two Grammy Awards, Winwood said, "I'd similar to say how much an honour like that means to me. The more I'm involved in making records the more it seems to mean. So I would similar to thank anybody who has written for me... And finally, I would like to thank my wife."[62] Winwood settled in Nashville, and his outset kid, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood'southward fifth album, Roll With It, released in June 1988, which would eventually surpass Back in the High Life in sales.[lx]

The song "Higher Honey" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of it in 2011 for a compilation anthology called Silver Lining, produced to benefit the Irish charity Headstrong. The album raised €225,000.[63] McMorrow'south cover version was also used in Europe for an Amazon visitor advert. Information technology was picked up again in 2022 for an American goggle box commercial promoting the Hyundai Kona automobile. McMurrow said, "Information technology'south a beautiful melody, the chord structure of that vocal is really complex. When I used to play it on the guitar but to myself, I was always struck by how interesting it was."[64] "Higher Beloved" was also covered by Whitney Houston in 1990, just her version was not widely heard as it was released merely equally a bonus track in Japan. In June 2019, vii years after Houston's death, Norwegian producer Kygo re-bundled and remixed her vocals to create a tropical house version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Love" was certified Gold in the US in October 2019, and the side by side calendar month it reached Platinum in the UK.[66] [67]

Track list [edit]

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

No. Title Writer(s) Length
1. "Higher Beloved" 5:45
2. "Take Information technology As It Comes" v:20
three. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
iv. "Dorsum in the Loftier Life Over again" 5:33
5. "The Finer Things" v:47
six. "Wake Me Upwardly on Judgment 24-hour interval" 5:48
vii. "Split Conclusion" Winwood, Joe Walsh five:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall 5:nineteen

Personnel [edit]

Adjusted 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 seven Baronial 2011.
  2. ^ a b Hughes, Rob (iii Oct 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Archetype Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Album of the Twenty-four hour period – July 2: Steve Winwood – Back in the High Life". Popular Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 Baronial 1986). "Chart Crush". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Nautical chart History: "Dissever Decision"". Billboard. Retrieved 15 July 2020.
  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Make the Juices Period". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (ane 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 See A Gamble: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Popular 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 December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Stone . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All Almost the Bike. Chicago Review Press. 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.
  21. ^ a b c d east f Parisi, Paula (26 July 1986). "Titelman Wears Many Hats at Warner Bros". Billboard. Vol. 98, no. 30. p. 48. ISSN 0006-2510.
  22. ^ a b c d e White, Timothy (22 June 1996). "'Delight Don't Wake Me'". Billboard. Vol. 108, no. 25. pp. 41–54. ISSN 0006-2510.
  23. ^ a b Titelman, Russ (xi July 2013). "Mailbag". Music Industry News . Retrieved 10 July 2020.
  24. ^ a b c d east f Jones, Ralph (December 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
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External links [edit]

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

cowherdsupoer.blogspot.com

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

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