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Im Back in the High Life Again

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1986 studio album by Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Correct Track (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • bluish-eyed soul
Length 45:03
Label Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Dorsum to the Night
(1982) 		Dorsum in the High Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "College Love"
    Released: 20 June 1986
  2. "Split up Decision"
    Released: July 1986
  3. "Accept Information technology As It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Dorsum in the High Life Again"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Back in the Loftier Life is the quaternary solo album by English language vocalizer, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[ane] The album proved to be Winwood'southward biggest success to that date, certified Aureate in the UK and 3× Platinum in the United states of america, and information technology reached the acme twenty in about Western countries.[2] [iii] It collected three Grammy Awards[4] and generated 5 hit singles, starting with "Higher Dear", which became Winwood's first Billboard Hot 100 number-1 chart topper, coming twenty years after he first entered that chart with "Continue on Running" by the Spencer Davis Group.[5] Other global hit singles from the album were "Freedom Overspill", "Back in the Loftier Life Again" and "The Finer Things". The single "Split Decision", with ex-Eagles guitarist Joe Walsh, was a Us hit.[6]

Musically, the album was polished and sophisticated, representative of popular production in the 1980s, featuring Winwood'due south style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Unlike his two prior albums, on which he played every musical instrument himself, Winwood made extensive employ of session musicians for this album, including Joe Walsh and Nile Rogers on guitars and JR Robinson on drums. Winwood himself also performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided by established stars, including Chaka Khan on "College Love", James Ingram on "Finer Things", and James Taylor on the title rail. The anthology showcased Winwood'due south lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a stone, pop and R&B milieu.[i] [ii] [7] Equally with his previous albums, Back in the High Life served as an uplifting culling to the angry or political punk that was sweeping the stone world.[8]

The album was recorded and released during a time of meaning change in Winwood'due south personal life. After touring North America to promote the album during August–November 1986, Winwood divorced in England and and so married in New York City. He bought a 2d abode in Nashville, where he organized his next projection, Chronicles, a retrospective album of earlier songs, including some remixes engineered by Tom Lord-Alge, whom Winwood had befriended in the making of Dorsum 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 commencement major solo US striking, reaching number 3 on the Billboard 200. His 3rd album, Talking Back to the Nighttime (1982), generated less of a response and was considered a let-downward. The last ii albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[nine] merely 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.[ten] Weisner pushed Winwood to record in London rather than at his home, where he was having human relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, simply Weisner responded, "Well, forget London. Maybe you should become to New York."[8]

Winwood was already acquainted with New York, having stayed at the Central Park South apartment of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood's quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to terminate standing half-hidden behind the Hammond organ and take his position as front man and entertainer.[8] [12] [xiii] Winwood said in 1988, "I made a conscious effort to kickoff working with musicians and producers and engineers. I got a manager. I have to say that those people are direct or indirectly responsible for my success now."[8] [14] Between sessions for Back in the Loftier 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 (later known as Philippa York). The documentary was produced past ITV Granada; it aired in the weeks leading up to the 1986 Tour de France, in which Millar competed.[seven] [15]

Writing [edit]

Songwriting for the album began after Talking Dorsum was released. Winwood wrote his own music but he ordinarily relied on other lyricists. He collaborated again with Texan Volition Jennings, a professor of English who had written the words to Winwood's song "While You See a Chance", a hitting single in 1981. For this new project, Winwood's 4th solo album, the pair composed five more songs, two of which would become the biggest album hits: "Higher Dearest" and "Dorsum in the Loftier Life Again". Jennings carried the phrase "Dorsum in the High Life" around equally a song championship idea written downwards in a notebook, simply when he was at Winwood'south house in belatedly 1984 he wrote the rest of the lyric in a half hour, without any music. More than than a twelvemonth afterward, Winwood finally wrote the music, after beingness nudged to do so past Titelman, who was notified of its existence by Jennings. "Back in the High Life Again" came very near to being missed altogether.[16] Winwood said nigh teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes we first with the lyric, sometimes with the melody; sometimes we first 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 second return collaborator was eccentric English songwriter and erstwhile Bonzo Dog Doo-Dah Ring frontman Vivian Stanshall, who had written the words for Winwood'southward "Dream Gerrard", appearing on Traffic'due south 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 with the lyric to the song "Arc of a Diver", which provided the 1980 anthology championship.[18] Stanshall joined with Winwood to create a demo version of "My Love's Leavin'" at Netherturkdonic, engineered past Nobby Clarke, who was Winwood'southward correct-paw man at the studio and on the road.[19] Stanshall likewise wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the High Life simply was ultimately left off.[18]

The 3rd returning lyricist was George Fleming, an old friend of Winwood'due south and the nephew of James Bail creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "Second-mitt Woman" and "Dust" – which were his first-ever compositions.[9] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote most of the music for "Freedom Overspill", with significant contribution from ex–Astonishing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's band starting in 1983.[twenty]

Recording [edit]

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

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

In July 1985,[x] Winwood settled into New York City for August recording sessions at Ability Station, getting an apartment off Madison Avenue well-nigh Central Park Zoo. Russ Titelman was chosen to co-produce the album because he was already familiar with Winwood'due south keyboard piece of work on Titelman's earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had also produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a performance Grammy in 1984, and was one of Weisner's favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Ability 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 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 Track Recording. When Corsaro had to leave to honour a delivery with Fleetwood Mac,[24] Titelman moved the project to Behemothic Sound for a couple of weeks in Oct.[25]

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

Session keyboard histrion Robbie Kilgore told Winwood and Titelman that he knew iii 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 too had an SSL 4000E mixer only like Winwood's at Netherturkdonic, and so Titelman moved the projection 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 any interested musicians to join him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60.[21]

Chris Lord-Alge was the more than accomplished of the 3 engineer brothers, but he had been pushing Tom into positions of greater responsibility; Tom earned his way to become head engineer on the Winwood anthology, his beginning time in the function.[30]

Dorsum in the Loftier Life was mixed through May 1986 by Tom Lord-Alge in Unique'due south Studio B on the 48-channel SSL 4000E. A pair of linked 24-rail tape recorders was initially mixed down to stereo on a Studer A-lxxx one-half-inch 2-runway deck.[31] [32] At one betoken the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi Ten-fourscore open-reel 2-track recorder. The greater sonic clarity achieved this manner 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 play a trick on or two of his own.[26] Titelman said Tom "uses the SSL like a player uses an musical instrument".[24] According to Tom, between ten and twenty percent of the Power Station and other previous tracks concluded upwards on the album. The dandy majority of Back in the Loftier Life came from overdubbing at Unique.[26]

Drums [edit]

In one case Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or replace the pulsate car parts. On tape, the anthology already had Roland, LinnDrum and Simmons electronic drum sounds, only these were not setting the right tone for many of the songs. Session drummer John "JR" Robinson was called in from a nearby George Benson session, bringing his own drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hit records under his chugalug, including the charity single "We Are the World" and Michael Jackson's multi-Platinum "Don't Stop 'Til You Become Plenty". To go a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the center of the main room of Studio B, with viii additional microphones positioned around the room to capture audio-wave reflections and increase the ratio of room ambience.[21] [34]

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

"Higher Love" drum-fill up [edit]

Tom says he "clinched the gig" when he made a proffer to Titelman equally the overdubbing was winding downwards and mixing was soon to begin. The suggestion involved Tom moving one of JR's impromptu pulsate fills to the outset of "Higher Honey", by assigning a timing starting time to one of ii tape machines such that they starting time played the pulsate fill up followed by the song coming in on the beat out.[27] Titelman was very happy with the result, and decided to open the album with this pulsate fill up. The opening eventually became so famous that JR put it on his answering machine as a professional person calling card. JR said the blueprint was a Latin rimshot technique across the meridian 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'south one of the best drum intros I've ever played."[33]

Titelman remembered the fill beingness played advertisement lib past 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 drum fill was played as a lark later on JR had completed his drum overdubs for "College Love". Tom said, "It was one 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, brand sure the tape motorcar is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Decision" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Over again", later on hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'due south manner perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Upwards on Judgment Day", for which Winwood wanted an interpretation dissimilar from his own.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman'southward contacts. Titelman also brought in David Frank for his feel at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting managing director in a lot of ways."[22] But Winwood himself invited Eagles guitarist Joe Walsh to join the projection.[22] Walsh and Winwood had met during Walsh'south James Gang years. More a decade later Walsh phoned "out of the blue" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the two wrote "Separate Decision" together, the only song on the album written entirely during the recording process in New York. Walsh too performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Dissever Decision" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to do the same on synthesizer.[19]

Marketing and video [edit]

Back in the High Life was a pinnacle ten striking on the album charts in the U.s., peaking at number three, and has sold over five million copies. The single "Higher Dearest" first entered the US charts at number 77 during the week of 14 June 1986,[36] then proceeded to top the singles nautical chart at the stop of August and win the Grammy Honour for "Tape of the Year"; "Back in the Loftier Life Over again" (US number 13), "The Effectively Things" (US number 8, the second-biggest hit from the album), and "Liberty Overspill" (United states of america number 20) were also big hits. "Dissever Decision" failed to nautical chart in other countries but rose to number 3 in the US. "Have It As It Comes" fared less well, reaching number 33 in the US.[6] Island had promoted Dorsum in the Loftier Life successfully, basing the campaign on the idea that Winwood was on a "comeback".[three]

Weisner pushed Winwood to promote the album with at to the lowest degree one video that could exist shown on MTV. Isle Records agreed. They chose "Higher Dearest", and selected Peter Kagan and Paula Greif to straight it, on the strength of their video for "The Beloved Parade" past the Dream Academy.[37] Weisner relayed his wish that Winwood should look like an entertainer, that he should not hide behind the Hammond every bit in the past.[eight] Shooting took place in June 1986, primarily on 35 mm motion picture stock, but sometimes using a hand-held camera, especially for blackness-and-white photography. 1 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 movement. Laura Israel and Glenn Lazzaro edited the motion picture to U-matic video, then mastered to ane-inch tape with a team of administration.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in forepart of the band, he stands next to Chaka Khan, and he dances with several women wearing tropical clothing as different scenes change from colour to black-and-white.[eight] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Beloved" was nominated for Video of the Year, Best Male person Video, Best Editing, and Best Management, but lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was also nominated for All-time Choreography, honouring Ed Love'south work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Love" was nominated in the Viewers Choice category, which was won past U2's "With or Without You".[39]

Tour [edit]

Winwood began a tour of N America to promote the album, starting on 22 Baronial 1986 with a show at Pine Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening act.[40] [41] In Winwood'southward eight-piece band, James Hooker, co-author of "Freedom Overspill", continued in his function as second keyboard player. Winwood'southward 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 "College Beloved" 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 encompass considering it had been in the pic The Blues Brothers (1980).[42]

Later on Texas, Winwood played Colorado and Arizona, where English language ring Level 42 became the opening act. Their 1985 World Car anthology had brought greater fame and introduced more than electronic and popular elements to their sound. The Arizona Democracy remarked about how well they fit with Winwood's manner, both sharing a "multilayered instrumentation and a prominent beat out."[43] The bout continued through four dates in California, the fourth at the Concord Pavilion, where the San Francisco Examiner reviewed the evidence, noting that Winwood played very piddling guitar and a bit of mandolin, and performed his electrical 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 as "outstanding" musicians. Winwood started the concert softly with "The Low Spark of Loftier Heeled Boys", and so finished large with "Dorsum in the High Life Over again".[44]

Level 42 and Winwood'due south band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for i night in British Columbia, and another in Alberta. They headed due east to play nine more dates in the US plus one in Toronto. The tour ended on 23 November in Virginia at the Patriot Center. Not every testify 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 ii-hour 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 oversupply standing for "Gimme Some Lovin'", were not enough to make the evidence worthwhile.[45] A month later, the Courant published rebuttals by 2 readers who had witnessed the aforementioned concert, one saying, "This was 1 of the best concerts I accept 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 Groovy Rock Discography 8/ten[47]
Los Angeles Times [48]
MusicHound Stone 4/five[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Village Vocalism C[49]

Back in the Loftier Life was met with generally positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed information technology every bit "the start undeniably superb record of an nigh decade-long solo career" for Winwood.[l] Stereo Review magazine's Mark Peel said the album "weds Winwood's certain sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "it'south Light Soul, merely Russ Titelman's product and the outstanding recording job bring out every instrument with a seize with teeth and clarity that are frequently spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life generally "sounds every bit cute equally the exemplary bulletin of hope it espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making it more than but "a incomparably 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 up Decision" for "meander[ing] about rather frantically".[52] The Village Voice reviewer Robert Christgau was more critical. He constitute Winwood'due south lyrics to exist true and unpretentious but ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood being "a wunderkind with more talent than brains", who "subsequently two decades of special treatment … derives all the cocky-esteem he needs simply from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood'due south creativity had abandoned him in 1971, and that this new anthology was proof that "the spark is gone." He complimented "Higher Love" for its catchy 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 nearly convinces you lot otherwise."[53]

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

Legacy [edit]

In the United kingdom, Back in the High Life was certified Gilt by BPI in August 1986.[56] In the U.s.a., Gilt was reached almost as quickly but potent sales connected for a longer period, raising the anthology 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 Honey" was remixed posthumously in 2019

Winwood's married woman Nicole separated from him in late 1985 while he was notwithstanding recording on the other side of the Atlantic Sea. Effectually the same time, Winwood went to hear a Junior Walker concert at the Lone Star Cafe in New York City and met a Nashville woman named Eugenia Crafton; the two struck up a human relationship.[58] Crafton was Winwood'due south girlfriend in mid-Dec 1985 when Volition Jennings visited New York Metropolis with his ain paramour, vocaliser-songwriter Marshall Chapman. They went out as 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 spousal relationship private: When he started his album bout in August 1986, he instructed his staff to inform journalists that he would non answer any questions about his personal life.[42] Winwood'south divorce was finalised in December 1986, so Crafton and Winwood married in January in a private anniversary held at Fifth Avenue Presbyterian Church.[58] [threescore] [61] When he stepped up to the podium on 24 Feb 1987 to accept i of 2 Grammy Awards, Winwood said, "I'd like to say how much an laurels like that ways to me. The more than I'm involved in making records the more it seems to mean. And then I would like to thank everyone 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 born in May 1987. The new Nashville vibe lent its sound to Winwood's 5th album, Roll With Information technology, released in June 1988, which would eventually surpass Back in the Loftier Life in sales.[sixty]

The song "Higher Dear" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-downward, ethereal acoustic version of it in 2011 for a compilation album called Silverish Lining, produced to benefit the Irish charity Headstrong. The anthology raised €225,000.[63] McMorrow'southward embrace version was also used in Europe for an Amazon company advertizement. It was picked up again in 2017 for an American television commercial promoting the Hyundai Kona automobile. McMurrow said, "It's a beautiful melody, the chord structure of that song is really complex. When I used to play it on the guitar just to myself, I was ever struck by how interesting it was."[64] "Higher Love" was also covered by Whitney Houston in 1990, but her version was not widely heard as it was released only as a bonus track in Nippon. In June 2019, seven years later Houston's death, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical firm version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Beloved" was certified Gold in the US in October 2019, and the next calendar month information technology reached Platinum in the UK.[66] [67]

Rail listing [edit]

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

No. Title Writer(s) Length
one. "Higher Love" 5:45
two. "Take Information technology As It Comes" 5:twenty
3. "Liberty Overspill" Steve Winwood, George Fleming, James Hooker five:33
4. "Back in the High Life Again" 5:33
5. "The Finer Things" 5:47
half dozen. "Wake Me Up on Judgment Mean solar day" 5:48
7. "Divide Decision" Winwood, Joe Walsh 5:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall 5:19

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 Baronial 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Stone . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the Twenty-four hour period – July 2: Steve Winwood – Dorsum in the High Life". Popular Off. Medium. Retrieved nine July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 August 1986). "Nautical chart Shell". Billboard. Vol. 98, no. 35. p. x. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Dissever Decision"". Billboard. Retrieved 15 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 east f DeCurtis, Anthony (i December 1988). "From Mr Fantasy to Mr Amusement". Rolling Rock.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hi-Fi News & Tape Review.
  10. ^ a b Van der Kiste, John (2018). While You See A Adventure: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Pop Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C xv.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Coil With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: Information technology's All Near the Bicycle. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (vii May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved 11 July 2020.
  17. ^ a b c Winwood, Steve (1986). Back in the High Life (booklet). Isle Records. A2 25448.
  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved ten 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 due 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). "'Please 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 e 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)

tayloraland1957.blogspot.com

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

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