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1986 studio album by Steve Winwood

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

Steve Winwood
Released xxx June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Right Rails (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • bluish-eyed soul
Length 45:03
Label Isle
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Night
(1982) 		Dorsum in the High Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Dear"
    Released: 20 June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Take Information technology Equally It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the High Life Again"
    Released: Dec 1986
  6. "The Finer Things"
    Released: February 1987

Back in the High Life is the fourth solo album by English singer, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[i] The album proved to be Winwood's biggest success to that appointment, certified Golden in the United kingdom of great britain and northern ireland and 3× Platinum in the US, and it reached the top xx in virtually Western countries.[2] [three] It collected iii Grammy Awards[4] and generated five hit singles, starting with "Higher Honey", which became Winwood'south showtime Billboard Hot 100 number-1 chart topper, coming 20 years after he first entered that chart with "Keep on Running" by the Spencer Davis Grouping.[five] Other global hit singles from the album were "Freedom Overspill", "Back in the High Life Again" and "The Finer Things". The single "Split up Decision", with ex-Eagles guitarist Joe Walsh, was a Usa hitting.[6]

Musically, the album was polished and sophisticated, representative of pop product in the 1980s, featuring Winwood'south 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 fabricated extensive use of session musicians for this anthology, including Joe Walsh and Nile Rogers on guitars and JR Robinson on drums. Winwood himself also performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided past established stars, including Chaka Khan on "Higher Love", James Ingram on "Finer Things", and James Taylor on the title runway. The album showcased Winwood'due south lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[one] [2] [7] Every bit with his previous albums, Back in the Loftier Life served as an uplifting alternative to the angry or political punk that was sweeping the rock world.[8]

The anthology was recorded and released during a fourth dimension of meaning modify in Winwood's 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 2nd habitation 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.

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 first major solo US hit, reaching number iii on the Billboard 200. His tertiary album, Talking Dorsum to the Night (1982), generated less of a response and was considered a let-downwards. The terminal two albums had been created by Winwood playing all the instruments himself at his technologically avant-garde Turkdean home studio "Netherturkdonic,"[nine] but for his side by side project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner as director, 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 married woman, Nicole. Winwood agreed to the London proposition, but Weisner responded, "Well, forget London. Maybe you should go to New York."[8]

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'due south quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop standing half-hidden behind the Hammond organ and accept his position equally front human being and entertainer.[8] [12] [thirteen] Winwood said in 1988, "I made a conscious effort to kickoff working with musicians and producers and engineers. I got a managing director. I have to say that those people are direct or indirectly responsible for my success now."[8] [fourteen] Betwixt sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The High Life, about the 1985 Tour de France experience of Scottish bicycle racer Robert Millar (later known equally Philippa York). The documentary was produced by ITV Granada; it aired in the weeks leading upward to the 1986 Bout de French republic, in which Millar competed.[7] [15]

Writing [edit]

Songwriting for the album began subsequently Talking Back was released. Winwood wrote his own music but he commonly relied on other lyricists. He collaborated again with Texan Will Jennings, a professor of English who had written the words to Winwood's song "While You lot See a Gamble", a hit single in 1981. For this new project, Winwood's quaternary solo album, the pair composed v more songs, two of which would become the biggest album hits: "Higher Beloved" and "Back in the Loftier Life Over again". Jennings carried the phrase "Back in the High Life" effectually as a song title idea written downward in a notebook, but when he was at Winwood's house in late 1984 he wrote the rest of the lyric in a half 60 minutes, without any music. More than a year afterward, Winwood finally wrote the music, subsequently being nudged to exercise so past Titelman, who was notified of its existence past Jennings. "Back in the High Life Again" came very about to being missed altogether.[sixteen] Winwood said about teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes we start with the lyric, sometimes with the melody; sometimes nosotros offset with chorus and add the verses, and sometimes I write some of the lyrics myself. There are no formulas; things simply happen naturally."[17]

A second return collaborator was eccentric English songwriter and former Bonzo Dog Doo-Dah Ring 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 ofttimes traded favours: Winwood played on both of Stanshall's solo albums in the 1970s. More recently, Stanshall had come up with the lyric to the song "Arc of a Diver", which provided the 1980 album title.[xviii] Stanshall joined with Winwood to create a demo version of "My Love's Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood'due south right-mitt man 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 nether consideration for Dorsum in the High Life but was ultimately left off.[18]

The 3rd returning lyricist was George Fleming, an old friend of Winwood'southward and the nephew of James Bond creator Ian Fleming. George Fleming had written ii songs for Arc of a Diver – "Second-paw Adult female" and "Dust" – which were his showtime-always compositions.[9] In 1985, he brought Winwood the words for "Liberty Overspill". Winwood wrote about of the music for "Liberty Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard thespian who toured in Winwood's band starting in 1983.[20]

Recording [edit]

Power Station, Right Rail Recording, and Behemothic Audio sessions [edit]

"The timing was correct. Stevie was gear up to try something unlike. He had been working on tracks for nigh a year and some of the songs were demoed pretty seriously. I wasn't brought in for whatever drastic changes. I retrieve he might take wanted to take some responsibility off his ain 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 Ability Station, getting an apartment off Madison Artery most Central Park Zoo. Russ Titelman was chosen to co-produce the album considering he was already familiar with Winwood'south keyboard work on Titelman's before productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had too produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a performance Grammy in 1984, and was one of Weisner'due south favorite songs, aiding in the pick of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's apartment to piece of work out the sequencing for "Dorsum in the Loftier Life Again", featuring a conga loop devised by Bralower on the Roland TR-808.[23] Corsaro also engineered sessions at Right Runway Recording. When Corsaro had to exit to laurels a delivery with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in October.[25]

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

Session keyboard player Robbie Kilgore told Winwood and Titelman that he knew three talented brothers who engineered at a nearby studio with a broad 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 projection there in early Nov 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 terminate, 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 iii engineer brothers, but he had been pushing Tom into positions of greater responsibility; Tom earned his mode to become caput engineer on the Winwood album, his first time in the function.[thirty]

Back in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique'southward Studio B on the 48-channel SSL 4000E. A pair of linked 24-track tape recorders was initially mixed downward to stereo on a Studer A-80 half-inch 2-track deck.[31] [32] At i indicate the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-eighty open-reel two-rails recorder. The greater sonic clarity achieved this style was profound enough for Titelman and Winwood to make up one's mind 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 trick or two of his own.[26] Titelman said Tom "uses the SSL like a player uses an instrument".[24] According to Tom, betwixt 10 and 20 percent of the Power Station and other previous tracks ended up on the album. The swell majority of Dorsum in the High Life came from overdubbing at Unique.[26]

Drums [edit]

One time Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or replace the pulsate machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were not setting the correct tone for many of the songs. Session drummer John "JR" Robinson was chosen in from a nearby George Benson session, bringing his ain pulsate equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many striking records under his belt, including the charity single "We Are the World" and Michael Jackson'due south multi-Platinum "Don't Stop 'Til You Get Enough". To get a larger-than-life pulsate sound, Titelman and the Lord-Alge brothers had the drums placed in the center of the main room of Studio B, with eight additional microphones positioned around the room to capture sound-wave reflections and increase the ratio of room ambient.[21] [34]

"Higher Love" was first tracked with a unproblematic pulsate machine loop, which Titelman felt was "flat", non quite fitting with the synth layers, which had been created mainly by Kilgore. Titelman tried replacing all the electronic drums with JR playing live, simply the producers felt that this, too, was not quite suitable.[34] Instead, the rhythm function for the song was synthetic every bit a combination of electronic drums, JR's alive drums, and sequenced samples of JR's drums added after.[24] Winwood instructed JR to make 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 drum kit, so he chose brass snares such every bit a vintage 1930 Ludwig for "Dissever Conclusion", and the vintage Black Beauty on "Higher Love". JR tuned his drumheads high to satisfy Winwood, unlike another of JR's bandleaders, Bob Seger, who wanted but low-pitched drums.[33] Real 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 Beloved" 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 presently to begin. The suggestion involved Tom moving one of JR'south impromptu pulsate fills to the beginning of "College Beloved", by assigning a timing showtime to one of two tape machines such that they first played the drum fill followed past the song coming in on the beat.[27] Titelman was very happy with the result, and decided to open the album with this drum fill. The opening somewhen became so famous that JR put information technology on his answering motorcar equally a professional person calling carte. JR said the pattern was a Latin rimshot technique across the top of his archetype seamless brass Ludwig Blackness Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "it'due south one of the best pulsate intros I've always played."[33]

Titelman remembered the fill existence played ad lib by JR while his friend Chaka Khan was preparing to sing her background vocals on "Higher Love", causing Khan to exclaim "What is that shit? It sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the pulsate fill up was played equally a lark after JR had completed his pulsate overdubs for "College Honey". Tom said, "Information technology was one of those happy accidents, and information technology happened considering Chris always taught me that if the tape is rolling and there's a musician in the studio, brand sure the record automobile is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Decision" with Winwood

Titelman tapped James Taylor to add together background vocals to "Dorsum in the High Life Again", after hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'south fashion perfectly.[22] Some other Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Solar day", for which Winwood wanted an interpretation different from his ain.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman's contacts. Titelman as well brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I experience that basically I was a casting managing director in a lot of ways."[22] But Winwood himself invited Eagles guitarist Joe Walsh to bring together the project.[22] Walsh and Winwood had met during Walsh'southward James Gang years. More than a decade later Walsh phoned "out of the blue" to say hi, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the two wrote "Split Decision" together, the just song 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 "Dissever Conclusion" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to practise the same on synthesizer.[xix]

Marketing and video [edit]

Back in the High Life was a tiptop ten hit on the anthology charts in the United States, peaking at number 3, and has sold over five meg copies. The single "Higher Beloved" kickoff entered the US charts at number 77 during the calendar week of 14 June 1986,[36] then proceeded to top the singles chart at the stop of August and win the Grammy Award for "Tape of the Year"; "Back in the High Life Again" (United states of america number 13), "The Finer Things" (Us number 8, the second-biggest hit from the album), and "Liberty Overspill" (US number 20) were also big hits. "Split Conclusion" failed to chart in other countries just rose to number 3 in the United states of america. "Take It As It Comes" fared less well, reaching number 33 in the US.[6] Island had promoted Back in the High Life successfully, basing the campaign on the thought that Winwood was on a "comeback".[three]

Weisner pushed Winwood to promote the album with at least one 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 Academy.[37] Weisner relayed his wish that Winwood should look similar an entertainer, that he should not hibernate backside the Hammond as in the past.[8] Shooting took place in June 1986, primarily on 35 mm film stock, just sometimes using a manus-held photographic camera, especially for black-and-white photography. One 16 mm Bolex and a Super 8 camera were used for these in-motion shots. Riding in a shopping trolley, Greif was pushed through the dance floor to capture move. Laura State of israel and Glenn Lazzaro edited the pic to U-matic video, then mastered to ane-inch tape with a team of assistants.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in front of the band, he stands next to Chaka Khan, and he dances with several women wearing tropical article of clothing as different scenes change from colour to black-and-white.[8] Nile Rodgers plays electric guitar in the band, wearing a bright squeegee. At the 1987 MTV Video Music Awards, "College Love" was nominated for Video of the Year, Best Male person Video, Best Editing, and Best Direction, but lost to Peter Gabriel'due south "Sledgehammer" in all iv categories. The video was also nominated for Best Choreography, honouring Ed Beloved's work with the dancers, and it was nominated for All-time Cinematography, crediting Kagan. "Higher Honey" was nominated in the Viewers Choice category, which was won by U2's "With or Without You".[39]

Tour [edit]

Winwood began a bout of Northward America to promote the album, starting on 22 Baronial 1986 with a prove at Pine Knob Music Theatre n of Detroit, with reggae artist Jimmy Cliff equally the opening act.[40] [41] In Winwood's eight-slice band, James Hooker, co-author of "Freedom Overspill", continued in his role equally second keyboard actor. Winwood's man 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 "Higher Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might be thinking "Gimme Some Lovin'" was a Blues Brothers cover considering it had been in the motion-picture show The Dejection Brothers (1980).[42]

Subsequently Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 World Machine album had brought greater fame and introduced more electronic and pop elements to their sound. The Arizona Commonwealth remarked about how well they fit with Winwood's style, both sharing a "multilayered instrumentation and a prominent beat."[43] The tour continued through four dates in California, the 4th at the Concord Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very niggling guitar and a flake of mandolin, and performed his electrical 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 equally "outstanding" musicians. Winwood started the concert softly with "The Low Spark of High Heeled Boys", then finished big with "Back in the Loftier Life Once again".[44]

Level 42 and Winwood's band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for one dark in British Columbia, and some other in Alberta. They headed e to play nine more dates in the US plus one in Toronto. The tour concluded on 23 November in Virginia at the Patriot Center. Non every show enjoyed good reviews: Stone critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut'southward New Haven Coliseum, describing how most of the two-hr show was "less than captivating" because of Winwood's shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing final number that got the oversupply standing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A month later, the Courant published rebuttals by two readers who had witnessed the same concert, one saying, "This was ane of the best concerts I take always attended, and judging from the clapping, dancing, singing and cheering of the audition, I assume that many others would agree with me."[46]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [i]
Encyclopedia of Popular Music [47]
The Great Stone Discography eight/10[47]
Los Angeles Times [48]
MusicHound Rock iv/5[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Hamlet Voice C[49]

Back in the High Life was met with more often than not positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed it as "the kickoff undeniably superb record of an almost decade-long solo career" for Winwood.[fifty] Stereo Review magazine's Marking Skin said the album "weds Winwood's sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", calculation, "it's Lite Soul, but Russ Titelman's 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 Dorsum in the High Life mostly "sounds equally beautiful as the exemplary message of promise it espouses", with themes of "faith, defoliation, [and] a yearning for spiritual clarity" making information technology more than only "a decidedly tasteful tape".[52]

The album was non without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Split Determination" for "meander[ing] most rather aimlessly".[52] The Hamlet Voice reviewer Robert Christgau was more critical. He found Winwood'south 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 "after ii decades of special treatment … derives all the self-esteem he needs just from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood's inventiveness had abandoned him in 1971, and that this new album was proof that "the spark is gone." He complimented "Higher Love" for its tricky tune and electronic product, simply he criticised the album as a whole, saying, "The songs really have no content, though Winwood's gorgeous bluish-eyed soul vocalisation almost convinces you otherwise."[53]

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

Legacy [edit]

In the United kingdom, Back in the High Life was certified Aureate by BPI in August 1986.[56] In the US, Gold was reached almost as quickly but potent sales connected for a longer period, raising the album to Platinum in October 1986. With steady sales through 1987, the album was certified three× Platinum by the RIAA in January 1988.[57]

Whitney Houston's version of "Higher Love" was remixed posthumously in 2019

Winwood'south wife Nicole separated from him in belatedly 1985 while he was still recording on the other side of the Atlantic Ocean. Around the same time, Winwood went to hear a Junior Walker concert at the Lone Star Buffet in New York City and met a Nashville woman named Eugenia Crafton; the two 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 equally 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 anthology tour in August 1986, he instructed his staff to inform journalists that he would not answer any questions most his personal life.[42] Winwood's divorce was finalised in December 1986, then Crafton and Winwood married in January in a private ceremony held at Fifth Avenue Presbyterian Church.[58] [60] [61] When he stepped upwards to the podium on 24 Feb 1987 to accept one of ii Grammy Awards, Winwood said, "I'd similar to say how much an award like that means to me. The more I'm involved in making records the more it seems to hateful. And then I would like to thank everyone who has written for me... And finally, I would like to thank 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 audio to Winwood'south 5th album, Roll With Information technology, released in June 1988, which would eventually surpass Back in the High Life in sales.[60]

The song "College Love" was covered past Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-downwards, ethereal acoustic version of information technology in 2011 for a compilation album called Silverish Lining, produced to benefit the Irish charity Headstrong. The anthology raised €225,000.[63] McMorrow'due south cover version was also used in Europe for an Amazon company advert. It was picked up again in 2017 for an American boob tube commercial promoting the Hyundai Kona car. McMurrow said, "It'due south a beautiful melody, the chord structure of that song is really complex. When I used to play information technology on the guitar just to myself, I was always struck by how interesting it was."[64] "Higher Honey" was also covered past Whitney Houston in 1990, but her version was not widely heard equally it was released just as a bonus track in Japan. In June 2019, vii years afterward Houston's death, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical business firm version.[65] An accompanying video was released in August. The Houston/Kygo remix of "Higher Love" was certified Gilded in the US in Oct 2019, and the next month it reached Platinum in the UK.[66] [67]

Rail listing [edit]

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

No. Title Writer(s) Length
1. "Higher Dear" 5:45
2. "Take It Every bit It Comes" 5:20
iii. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
four. "Dorsum in the High Life Again" 5:33
5. "The Effectively Things" 5:47
6. "Wake Me Up on Judgment Twenty-four hour period" five:48
7. "Separate Decision" Winwood, Joe Walsh 5:58
viii. "My Love's Leavin'" Winwood, Vivian Stanshall five:19

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). "Dorsum in the Loftier Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the Day – July ii: Steve Winwood – Back in the High Life". Pop 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 August 1986). "Chart Crush". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Split Decision"". Billboard. Retrieved xv July 2020.
  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Brand the Juices Flow". The New York Times.
  8. ^ a b c d eastward f DeCurtis, Anthony (1 Dec 1988). "From Mr Fantasy to Mr Entertainment". Rolling Rock.
  9. ^ a b Blackness, 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 Encounter A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Pop Life; Winwood, at 32, a stone traditionalist". The New York Times. p. C 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (seven December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: Information technology's All About the Bike. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (vii May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved eleven 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'due south Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Straight . 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. thirty. p. 48. ISSN 0006-2510.
  22. ^ a b c d east White, Timothy (22 June 1996). "'Please Don't Wake Me'". Billboard. Vol. 108, no. 25. pp. 41–54. ISSN 0006-2510.
  23. ^ a b Titelman, Russ (eleven July 2013). "Mailbag". Music Industry News . Retrieved 10 July 2020.
  24. ^ a b c d e f Jones, Ralph (December 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (2 November 1985). "Audio Track: 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)

pullenwhippyraton1972.blogspot.com

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

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