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1986 studio album by Steve Winwood

1986 studio anthology by Steve Winwood

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

Steve Winwood
Released thirty June 1986
Recorded Baronial 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Correct Track (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • stone
  • 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 Dearest"
    Released: 20 June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Accept It As It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the High Life Once more"
    Released: Dec 1986
  6. "The Finer Things"
    Released: February 1987

Back in the Loftier Life is the fourth solo album by English language vocalist, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[one] The album proved to be Winwood'due south biggest success to that date, certified Gilt in the Britain and three× Platinum in the Us, and information technology reached the superlative twenty in most Western countries.[2] [3] It collected 3 Grammy Awards[4] and generated v hit singles, starting with "College Love", which became Winwood's first Billboard Hot 100 number-one chart topper, coming 20 years after he get-go entered that nautical chart with "Keep on Running" by the Spencer Davis Group.[5] Other global hit singles from the album were "Liberty Overspill", "Back in the Loftier Life Again" and "The Finer Things". The single "Dissever Decision", with ex-Eagles guitarist Joe Walsh, was a U.s. hit.[6]

Musically, the anthology 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). Unlike his 2 prior albums, on which he played every instrument himself, Winwood made extensive apply of session musicians for this album, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself also performed on a big number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided past established stars, including Chaka Khan on "Higher Honey", James Ingram on "Finer Things", and James Taylor on the championship rail. The album showcased Winwood'due south lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean area sounds into a rock, popular and R&B milieu.[i] [two] [7] Every bit with his previous albums, Dorsum in the High Life served every bit an uplifting alternative to the angry or political punk that was sweeping the stone world.[viii]

The anthology was recorded and released during a time of significant change in Winwood'southward personal life. After touring Due north America to promote the album during Baronial–November 1986, Winwood divorced in England and then married in New York City. He bought a second abode in Nashville, where he organized his next project, 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's solo career had seen success in the UK with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo U.s.a. hit, reaching number 3 on the Billboard 200. His third album, Talking Back to the Night (1982), generated less of a response and was considered a let-downwards. The last two albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[9] just for his next 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.[10] Weisner pushed Winwood to tape in London rather than at his domicile, where he was having human relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, but Weisner responded, "Well, forget London. Mayhap y'all should get to New York."[8]

Winwood was already acquainted with New York, having stayed at the Key Park Due south apartment of Chris Blackwell, the founder of Isle Records.[11] Blackwell had been serving every bit 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 every bit front man and entertainer.[eight] [12] [13] Winwood said in 1988, "I fabricated a conscious attempt to outset working with musicians and producers and engineers. I got a managing director. I have to say that those people are directly or indirectly responsible for my success now."[eight] [14] Between sessions for Dorsum in the High Life, Winwood booked some other 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 (afterwards known as Philippa York). The documentary was produced by ITV Granada; it aired in the weeks leading up to the 1986 Tour de France, in which Millar competed.[7] [xv]

Writing [edit]

Songwriting for the album began after Talking Back was released. Winwood wrote his own music simply he usually relied on other lyricists. He collaborated again with Texan Will Jennings, a professor of English language who had written the words to Winwood's song "While You Run across a Chance", a hit single in 1981. For this new project, Winwood's quaternary solo album, the pair composed five more songs, ii of which would become the biggest album hits: "Higher Love" and "Dorsum in the High Life Again". Jennings carried the phrase "Back in the High Life" around equally a song title idea written down in a notebook, but when he was at Winwood's house in late 1984 he wrote the residue of the lyric in a half hour, without any music. More than a twelvemonth afterward, Winwood finally wrote the music, after being nudged to do so by Titelman, who was notified of its being past Jennings. "Back in the Loftier Life Again" came very almost to being missed altogether.[16] Winwood said most teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes we start with the lyric, sometimes with the melody; sometimes we start with chorus and add together the verses, and sometimes I write some of the lyrics myself. There are no formulas; things just happen naturally."[17]

A 2nd return collaborator was eccentric English language songwriter and former Bonzo Domestic dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood'south "Dream Gerrard", appearing on Traffic's 1974 anthology When the Eagle Flies. The two oftentimes traded favours: Winwood played on both of Stanshall'southward 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.[eighteen] Stanshall joined with Winwood to create a demo version of "My Dear'south Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's right-hand homo at the studio and on the road.[xix] Stanshall also wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Dorsum in the High Life simply was ultimately left off.[18]

The third returning lyricist was George Fleming, an one-time friend of Winwood's and the nephew of James Bond creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "Second-mitt 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 role player who toured in Winwood's band starting in 1983.[20]

Recording [edit]

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

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

In July 1985,[10] Winwood settled into New York Urban center for Baronial recording sessions at Power Station, getting an apartment off Madison Avenue near Central Park Zoo. Russ Titelman was chosen to co-produce the anthology considering he was already familiar with Winwood's keyboard work on Titelman's earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had as well produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a performance Grammy in 1984, and was one of Weisner'southward favorite songs, aiding in the pick of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying downward pulsate 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 work out the sequencing for "Back in the High Life Again", featuring a conga loop devised past Bralower on the Roland TR-808.[23] Corsaro too engineered sessions at Correct Track Recording. When Corsaro had to get out to honour a commitment with Fleetwood Mac,[24] Titelman moved the projection to Behemothic Sound for a couple of weeks in Oct.[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 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, then Titelman moved the project there 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 bring together 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-sixty.[21]

Chris Lord-Alge was the more accomplished of the three engineer brothers, just he had been pushing Tom into positions of greater responsibleness; Tom earned his mode to become head engineer on the Winwood album, his first time in the part.[thirty]

Dorsum in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique'south Studio B on the 48-channel SSL 4000E. A pair of linked 24-track tape recorders was initially mixed down to stereo on a Studer A-80 one-half-inch two-track deck.[31] [32] At ane point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi Ten-80 open-reel ii-runway recorder. The greater sonic clarity accomplished this fashion was profound enough for Titelman and Winwood to decide that the whole album must exist 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 10 and twenty percentage of the Power Station and other previous tracks concluded up on the album. The great majority of Back in the Loftier 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 supplant the drum machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were non 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 belt, including the charity single "We Are the World" and Michael Jackson's multi-Platinum "Don't Finish 'Til You Get Plenty". To get a larger-than-life drum audio, Titelman and the Lord-Alge brothers had the drums placed in the eye of the primary room of Studio B, with eight additional microphones positioned around the room to capture sound-moving ridge reflections and increase the ratio of room ambience.[21] [34]

"Higher Love" was first tracked with a unproblematic drum machine loop, which Titelman felt was "apartment", not quite fitting with the synth layers, which had been created mainly past Kilgore. Titelman tried replacing all the electronic drums with JR playing live, but the producers felt that this, too, was not quite suitable.[34] Instead, the rhythm part for the song was constructed as a combination of electronic drums, JR'due south 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 together excitement.[34] JR noted that Winwood asked for high-pitched, bright sounds from the drum kit, so he chose brass snares such as a vintage 1930 Ludwig for "Separate Conclusion", and the vintage Black Dazzler on "Higher Love". JR tuned his drumheads loftier to satisfy Winwood, dissimilar another of JR's bandleaders, Bob Seger, who wanted only low-pitched drums.[33] Real drums augmented or replaced the electronic drums on every song on the anthology except "My Beloved'southward Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher Love" drum-fill [edit]

Tom says he "clinched the gig" when he made a suggestion to Titelman equally the overdubbing was winding down and mixing was soon to begin. The suggestion involved Tom moving one of JR's impromptu pulsate fills to the beginning of "College Love", past assigning a timing offset to ane of ii record machines such that they outset played the drum fill followed by the song coming in on the vanquish.[27] Titelman was very happy with the result, and decided to open the album with this drum make full. The opening eventually became so famous that JR put it on his answering machine as a professional person calling card. JR said the design was a Latin rimshot technique across the height of his classic seamless brass Ludwig Black Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "information technology'due south one of the best pulsate intros I've always played."[33]

Titelman remembered the fill up existence played advertising lib past 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 was played as a lark after JR had completed his drum overdubs for "College Dearest". Tom said, "It was one of those happy accidents, and information technology happened because Chris always taught me that if the record 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 "Split 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'south style perfectly.[22] Another Titelman decision was to phone call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Twenty-four hours", for which Winwood wanted an estimation unlike from his own.[24] Chaka Khan, JR and drummer Mickey Back-scratch were all Titelman's contacts. Titelman likewise 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] But Winwood himself invited Eagles guitarist Joe Walsh to join the project.[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 hi, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the 2 wrote "Split Decision" together, the only vocal on the album written entirely during the recording process in New York. Walsh also performed slide guitar on "Liberty Overspill". Walsh tackled his electric guitar solo for "Split Decision" in a wholly unrehearsed performance – 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 x hitting on the anthology charts in the U.s.a., peaking at number three, and has sold over v million copies. The single "Higher Beloved" outset entered the United states of america charts at number 77 during the week of 14 June 1986,[36] then proceeded to top the singles chart at the end of August and win the Grammy Award for "Record of the Year"; "Back in the High Life Again" (US number 13), "The Finer Things" (US number eight, the second-biggest hit from the album), and "Freedom Overspill" (US number twenty) were also large hits. "Split up Decision" failed to chart in other countries but rose to number three in the US. "Take It As It Comes" fared less well, reaching number 33 in the U.s.a..[vi] Isle had promoted Back in the High Life successfully, basing the campaign on the thought that Winwood was on a "improvement".[3]

Weisner pushed Winwood to promote the anthology with at least one video that could be shown on MTV. Island Records agreed. They chose "Higher Love", and selected Peter Kagan and Paula Greif to directly it, on the strength of their video for "The Dear Parade" past the Dream Academy.[37] Weisner relayed his wish that Winwood should await similar an entertainer, that he should non hibernate backside the Hammond as in the by.[8] Shooting took place in June 1986, primarily on 35 mm motion-picture show stock, just sometimes using a hand-held photographic camera, especially for black-and-white photography. Ane 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 trip the light fantastic toe floor to capture move. Laura Israel and Glenn Lazzaro edited the film to U-matic video, so mastered to 1-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 wear as different scenes change from colour to black-and-white.[8] Nile Rodgers plays electric guitar in the ring, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Beloved" was nominated for Video of the Year, Best Male person Video, Best Editing, and Best Direction, merely lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was besides nominated for Best Choreography, honouring Ed Dear'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]

Bout [edit]

Winwood began a tour of North America to promote the album, starting on 22 Baronial 1986 with a testify at Pine Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening act.[40] [41] In Winwood's 8-piece band, James Hooker, co-writer of "Liberty Overspill", continued in his role as second keyboard actor. Winwood'southward man in Turkdean, Nobby Clarke, resumed every bit road director. 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 audience reactions on the songs "College 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 because it had been in the movie The Blues Brothers (1980).[42]

After Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 World Auto album had brought greater fame and introduced more electronic and pop elements to their sound. The Arizona Commonwealth remarked most how well they fit with Winwood's style, both sharing a "multilayered instrumentation and a prominent crush."[43] The tour continued through four dates in California, the quaternary at the Concord Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very little guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "residual between 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 High Heeled Boys", and so finished big with "Back in the Loftier Life Again".[44]

Level 42 and Winwood'due south band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for one nighttime in British Columbia, and another in Alberta. They headed east to play nine more dates in the United states of america plus one in Toronto. The bout ended on 23 November in Virginia at the Patriot Middle. Not every show enjoyed good reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut's New Haven Coliseum, describing how most of the two-60 minutes show was "less than captivating" considering of Winwood's shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing concluding number that got the crowd standing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A month subsequently, the Courant published rebuttals by two readers who had witnessed the aforementioned concert, one saying, "This was 1 of the best concerts I have ever attended, and judging from the clapping, dancing, singing and auspicious of the audience, I assume that many others would agree with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [i]
Encyclopedia of Popular Music [47]
The Swell Rock Discography 8/x[47]
Los Angeles Times [48]
MusicHound Stone four/5[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Village Voice C[49]

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

The anthology was non without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Split up Conclusion" for "meander[ing] well-nigh rather aimlessly".[52] The Village Voice reviewer Robert Christgau was more critical. He found Winwood'southward 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 "afterwards ii decades of special treatment … derives all the self-esteem he needs but from surviving, equally they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood'southward inventiveness had abandoned him in 1971, and that this new album was proof that "the spark is gone." He complimented "Higher Dear" for its tricky melody and electronic product, merely he criticised the anthology as a whole, saying, "The songs really have no content, though Winwood's gorgeous blue-eyed soul voice well-nigh convinces you lot otherwise."[53]

Retrospective appraisals accept been positive. While reviewing Winwood'southward 1988 follow-up anthology Coil with Information technology, Dennis Chase of the Los Angeles Times chosen Back in the High Life "arguably the best R&B album by a white vocalizer in the last v years".[54] Years later, in The Rough Guide to Rock (2003), Justin Lewis declared information technology "the image of sophisticated mid-80s AOR, every bit Winwood adds Caribbean and gospel flavours to his popular, stone and R&B mix."[55]

Legacy [edit]

In the UK, Dorsum in the High Life was certified Gold by BPI in August 1986.[56] In the US, Aureate was reached almost as speedily merely 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's version of "Higher Dear" was remixed posthumously in 2019

Winwood's wife Nicole separated from him in late 1985 while he was still recording on the other side of the Atlantic Ocean. Around the same time, Winwood went to hear a Inferior Walker concert at the Lone Star Buffet in New York Urban center and met a Nashville woman named Eugenia Crafton; the two struck upwardly a relationship.[58] Crafton was Winwood's girlfriend in mid-December 1985 when Will Jennings visited New York City with his own paramour, vocalist-songwriter Marshall Chapman. They went out every bit a foursome to savor the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing matrimony private: When he started his album bout in August 1986, he instructed his staff to inform journalists that he would non answer whatever questions near 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 5th Avenue Presbyterian Church.[58] [60] [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 ways to me. The more I'm involved in making records the more it seems to mean. And so I would similar to thank everyone who has written for me... And finally, I would like to give thanks my wife."[62] Winwood settled in Nashville, and his showtime child, Mary Clare, was born in May 1987. The new Nashville vibe lent its audio to Winwood's 5th album, Curlicue With It, released in June 1988, which would eventually surpass Back in the Loftier Life in sales.[sixty]

The vocal "Higher Love" was covered by Irish gaelic singer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of it in 2011 for a compilation album chosen Silverish Lining, produced to benefit the Irish charity Headstrong. The anthology raised €225,000.[63] McMorrow's cover version was also used in Europe for an Amazon company advert. It was picked upwardly again in 2017 for an American television commercial promoting the Hyundai Kona machine. McMurrow said, "It's a beautiful melody, the chord structure of that song is actually circuitous. When I used to play it on the guitar just to myself, I was ever struck by how interesting information technology was."[64] "Higher Love" was also covered by Whitney Houston in 1990, but her version was not widely heard as it was released merely equally a bonus track in Japan. In June 2019, seven years later Houston'southward decease, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical house version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Honey" was certified Gold in the US in October 2019, and the next calendar 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
one. "College Love" 5:45
2. "Take Information technology As Information technology Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
iv. "Back in the High Life Again" 5:33
5. "The Finer Things" five:47
vi. "Wake Me Upward on Judgment Day" 5:48
7. "Split Decision" Winwood, Joe Walsh five:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall five:nineteen

Personnel [edit]

Adapted from the album 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 vii August 2011.
  2. ^ a b Hughes, Rob (three Oct 2017). "Steve Winwood: from teen prodigy to Traffic and across". 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 – Dorsum in the Loftier Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Almanac Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 August 1986). "Nautical chart Beat". Billboard. Vol. 98, no. 35. p. x. 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 Popular Life: Steve Winwood Returns to Make the Juices Flow". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (1 December 1988). "From Mr Fantasy to Mr Entertainment". Rolling Rock.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Howdy-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While Yous Run into A Adventure: 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 (7 December 2016). "How Steve Winwood Survived the '80s". Ultimate Archetype Rock . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Whorl 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 (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 e 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 (11 July 2013). "Mailbag". Music Industry News . Retrieved 10 July 2020.
  24. ^ a b c d east f Jones, Ralph (Dec 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)

thomashastannow54.blogspot.com

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

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