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Song Back in the High Life Again

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1986 studio album past Steve Winwood

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

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

Back in the High Life is the fourth solo album by English language vocaliser, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[1] The anthology proved to be Winwood'southward biggest success to that date, certified Gold in the UK and 3× Platinum in the United states of america, and it reached the top twenty in most Western countries.[2] [3] It nerveless three Grammy Awards[4] and generated 5 hit singles, starting with "Higher Dearest", which became Winwood's first Billboard Hot 100 number-1 chart topper, coming 20 years after he first entered that chart with "Keep on Running" past the Spencer Davis Group.[5] Other global hit singles from the anthology were "Liberty Overspill", "Back in the High Life Over 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 pop 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). Different his ii prior albums, on which he played every instrument himself, Winwood made 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 alive-played instruments with synthesizers and programming. Prominent backing vocals were provided by established stars, including Chaka Khan on "Higher Love", James Ingram on "Finer Things", and James Taylor on the title track. The anthology showcased Winwood'southward lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[1] [2] [7] As 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 rock earth.[8]

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

Background [edit]

Winwood'due south solo career had seen success in the United kingdom with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo US hit, reaching number 3 on the Billboard 200. His tertiary album, Talking Back to the Night (1982), generated less of a response and was considered a allow-down. The terminal 2 albums had been created past Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[9] but for his adjacent project Winwood returned to working with other musicians for boosted inspiration. He hired Los Angeleno Ron Weisner equally manager, known for his work with Madonna and Michael Jackson.[10] Weisner pushed Winwood to record in London rather than at his home, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, merely Weisner responded, "Well, forget London. Perchance y'all should go to New York."[8]

Winwood was already acquainted with New York, having stayed at the Central Park S apartment of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood'south quasi-manager for a few years, but Winwood was intent on moving in a new management with Weisner. Weisner encouraged him to finish continuing one-half-hidden behind the Hammond organ and accept his position as forepart man and entertainer.[viii] [12] [xiii] Winwood said in 1988, "I made a witting try to kickoff working with musicians and producers and engineers. I got a director. I have to say that those people are directly or indirectly responsible for my success now."[eight] [14] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The Loftier Life, about the 1985 Tour de France feel of Scottish bicycle racer Robert Millar (afterward known every bit 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.[vii] [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 once more with Texan Will Jennings, a professor of English 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'southward 4th solo anthology, the pair composed 5 more songs, two of which would become the biggest album hits: "Higher Dearest" and "Dorsum in the High Life Again". Jennings carried the phrase "Back in the High Life" effectually equally a vocal title idea written down in a notebook, simply when he was at Winwood's firm in late 1984 he wrote the residue of the lyric in a half hour, without any music. More than a year later on, 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.[xvi] Winwood said virtually teaming with Jennings, "We've got admittedly no rules when we work together. Sometimes we start with the lyric, sometimes with the tune; sometimes we showtime with chorus and add the verses, and sometimes I write some of the lyrics myself. There are no formulas; things just happen naturally."[17]

A second render collaborator was eccentric English language songwriter and former Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic's 1974 album When the Eagle Flies. The two oftentimes 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 vocal "Arc of a Diver", which provided the 1980 anthology title.[xviii] Stanshall joined with Winwood to create a demo version of "My Dear'south Leavin'" at Netherturkdonic, engineered past Nobby Clarke, who was Winwood'south right-hand man at the studio and on the route.[19] Stanshall also wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the High Life just was ultimately left off.[18]

The third returning lyricist was George Fleming, an former friend of Winwood's and the nephew of James Bail creator Ian Fleming. George Fleming had written 2 songs for Arc of a Diver – "Second-paw Woman" and "Dust" – which were his first-ever compositions.[9] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote virtually of the music for "Freedom Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard actor 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 right. Stevie was gear up to try something different. He had been working on tracks for nigh a yr and some of the songs were demoed pretty seriously. I wasn't brought in for whatsoever drastic changes. I think he might take wanted to take some responsibility off his own shoulders."
    —Russ Titelman on beingness selected as co-producer[21]

In July 1985,[ten] Winwood settled into New York City for August recording sessions at Power Station, getting an apartment off Madison Artery nigh Central Park Zoo. Russ Titelman was called to co-produce the anthology because he was already familiar with Winwood'south keyboard work on Titelman'due south before productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had besides produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a functioning Grammy in 1984, and was one of Weisner's favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying downwardly drum car, 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 "Back in the High Life Again", featuring a conga loop devised by Bralower on the Roland TR-808.[23] Corsaro besides engineered sessions at Correct Track Recording. When Corsaro had to leave to honour a commitment with Fleetwood Mac,[24] Titelman moved the projection to Behemothic Audio for a couple of weeks in October.[25]

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

Session keyboard thespian Robbie Kilgore told Winwood and Titelman that he knew three talented brothers who engineered at a nearby studio with a wide option 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 just like Winwood'due south 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-dark jam sessions in which he invited any 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, only he had been pushing Tom into positions of greater responsibility; Tom earned his way to become head engineer on the Winwood album, his start fourth dimension in the role.[30]

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

Drums [edit]

Once Winwood settled in at Unique, Titelman decided to bring in a existent drummer to broaden or replace the drum automobile parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, merely 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 ain pulsate 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 Get Plenty". To become 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 eight additional microphones positioned effectually the room to capture audio-wave reflections and increase the ratio of room ambient.[21] [34]

"Higher Honey" was get-go tracked with a simple pulsate machine loop, which Titelman felt was "flat", not quite fitting with the synth layers, which had been created mainly by 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 vocal was synthetic as a combination of electronic drums, JR'due south live drums, and sequenced samples of JR's drums added afterward.[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, and then he chose brass snares such as a vintage 1930 Ludwig for "Split Decision", and the vintage Black Dazzler on "Higher Love". JR tuned his drumheads loftier to satisfy Winwood, different another of JR's bandleaders, Bob Seger, who wanted only depression-pitched drums.[33] Real drums augmented or replaced the electronic drums on every song on the album except "My Dearest'southward Leavin'", on which the drum parts stayed purely electronic.[21]

"College Honey" pulsate-fill up [edit]

Tom says he "clinched the gig" when he made a proffer to Titelman as the overdubbing was winding downwards and mixing was soon to begin. The proffer involved Tom moving one of JR's impromptu drum fills to the first of "Higher Beloved", by assigning a timing kickoff to i of 2 tape machines such that they first played the drum fill followed by the song coming in on the crush.[27] Titelman was very happy with the effect, and decided to open the album with this pulsate fill. The opening somewhen became so famous that JR put it on his answering machine as a professional calling card. JR said the pattern was a Latin rimshot technique across the top of his archetype seamless brass Ludwig Black Dazzler snare, unmuffled, with its snare wires disengaged, to emulate the audio of a timbale. He said, "it's 1 of the best drum intros I've ever 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? Information technology sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the drum fill was played every bit a lark later JR had completed his drum overdubs for "Higher Honey". 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 certain the tape machine is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Dissever Determination" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Over again", subsequently hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'due south style perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Twenty-four hour period", for which Winwood wanted an interpretation different from his own.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman's contacts. Titelman likewise brought in David Frank for his feel at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting director in a lot of means."[22] Simply Winwood himself invited Eagles guitarist Joe Walsh to join the project.[22] Walsh and Winwood had met during Walsh'southward James Gang years. More a decade later Walsh phoned "out of the blue" to say hi, with Winwood immediately suggesting a songwriting collaboration.[nineteen] 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 electric guitar solo for "Separate 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 acme ten hitting on the album charts in the United states of america, peaking at number 3, and has sold over five one thousand thousand copies. The unmarried "Higher Love" first entered the Usa charts at number 77 during the calendar week of xiv June 1986,[36] and so proceeded to summit the singles chart at the finish of Baronial and win the Grammy Award for "Record of the Year"; "Back in the Loftier Life Again" (Us number 13), "The Finer Things" (Us number viii, the 2nd-biggest hit from the album), and "Freedom Overspill" (US number xx) were also big hits. "Split Determination" failed to nautical chart in other countries only rose to number 3 in the US. "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 entrada on the thought that Winwood was on a "improvement".[3]

Weisner pushed Winwood to promote the album with at least one video that could exist shown on MTV. Island Records agreed. They chose "College Love", and selected Peter Kagan and Paula Greif to straight it, on the strength of their video for "The Beloved Parade" by the Dream Academy.[37] Weisner relayed his wish that Winwood should await similar an entertainer, that he should not hide behind the Hammond as in the past.[8] Shooting took place in June 1986, primarily on 35 mm flick stock, just sometimes using a mitt-held camera, especially for black-and-white photography. One 16 mm Bolex and a Super 8 camera were used for these in-move shots. Riding in a shopping trolley, Greif was pushed through the trip the light fantastic floor to capture motion. Laura State of israel and Glenn Lazzaro edited the film to U-matic video, and 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 adjacent to Chaka Khan, and he dances with several women wearing tropical clothing every bit different scenes change from color to black-and-white.[8] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. 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'southward "Sledgehammer" in all four categories. The video was as well nominated for Best Choreography, honouring Ed Honey's 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 by U2's "With or Without Y'all".[39]

Bout [edit]

Winwood began a bout of N America to promote the album, starting on 22 August 1986 with a evidence at Pine Knob Music Theatre n of Detroit, with reggae artist Jimmy Cliff as the opening act.[forty] [41] In Winwood's eight-piece ring, James Hooker, co-writer of "Freedom Overspill", continued in his role equally 2d keyboard player. Winwood'southward human 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 audition reactions on the songs "College Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audition members might be thinking "Gimme Some Lovin'" was a Blues Brothers cover because information technology had been in the film The Blues Brothers (1980).[42]

After Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 Earth Machine album had brought greater fame and introduced more than electronic and pop elements to their sound. The Arizona Republic remarked near how well they fit with Winwood's manner, both sharing a "multilayered instrumentation and a prominent trounce."[43] The tour continued through four dates in California, the fourth at the Concord Pavilion, where the San Francisco Examiner reviewed the testify, noting that Winwood played very little guitar and a bit of mandolin, and performed his electrical guitar solos on the keyboards to strike a "residue 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", then finished large with "Back in the High Life Again".[44]

Level 42 and Winwood's ring moved up the Pacific Coast to Oregon and Washington, crossing into Canada for i night in British Columbia, and another in Alberta. They headed east to play nine more dates in the U.s. plus 1 in Toronto. The tour concluded on 23 Nov in Virginia at the Patriot Center. Not every show enjoyed good reviews: Stone critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut's New Oasis Coliseum, describing how nearly of the two-hour show was "less than captivating" because of Winwood'south shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing terminal number that got the crowd standing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A calendar month afterward, the Courant published rebuttals by two readers who had witnessed the same concert, one saying, "This was one of the all-time concerts I have e'er 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 ratings
Review scores
Source Rating
AllMusic [ane]
Encyclopedia of Pop Music [47]
The Great Rock Discography 8/10[47]
Los Angeles Times [48]
MusicHound Stone iv/5[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Village 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 first undeniably superb record of an virtually decade-long solo career" for Winwood.[50] Stereo Review mag'southward Marker Peel said the album "weds Winwood'due south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", calculation, "it's Lite Soul, but Russ Titelman'southward production and the outstanding recording chore bring out every musical instrument with a bite and clarity that are oftentimes spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life generally "sounds every bit cute every bit the exemplary message of hope it espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making information technology more than just "a decidedly tasteful record".[52]

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

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-upwardly album Roll with It, Dennis Hunt of the Los Angeles Times called Dorsum in the Loftier Life "arguably the all-time R&B anthology by a white singer in the last five years".[54] Years subsequently, 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 Gold past BPI in August 1986.[56] In the United states of america, Gold was reached nearly every bit quickly but potent sales connected for a longer period, raising the album to Platinum in Oct 1986. With steady sales through 1987, the anthology was certified iii× Platinum by the RIAA in January 1988.[57]

Whitney Houston's version of "College Beloved" was remixed posthumously in 2019

Winwood's married woman Nicole separated from him in belatedly 1985 while he was still recording on the other side of the Atlantic Bounding main. Around the same time, Winwood went to hear a Junior Walker concert at the Lone Star Cafe in New York Urban center 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 as 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 matrimony private: When he started his album tour in Baronial 1986, he instructed his staff to inform journalists that he would non respond any questions about his personal life.[42] Winwood's divorce was finalised in December 1986, then Crafton and Winwood married in January in a individual anniversary held at Fifth Avenue Presbyterian Church building.[58] [sixty] [61] When he stepped up to the podium on 24 February 1987 to take one of 2 Grammy Awards, Winwood said, "I'd like to say how much an award similar that means to me. The more I'thou involved in making records the more it seems to mean. So I would like to thank anybody who has written for me... And finally, I would like to thank my wife."[62] Winwood settled in Nashville, and his commencement child, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood'due south fifth album, Roll With It, released in June 1988, which would somewhen surpass Dorsum in the High Life in sales.[60]

The song "Higher Love" 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 Silver Lining, produced to benefit the Irish gaelic charity Headstrong. The album raised €225,000.[63] McMorrow's cover version was too used in Europe for an Amazon company advert. Information technology was picked up once more in 2017 for an American television commercial promoting the Hyundai Kona car. McMurrow said, "It'due south a beautiful tune, the chord construction of that vocal is actually complex. When I used to play it on the guitar but to myself, I was always struck past how interesting it was."[64] "Higher Honey" was also covered by Whitney Houston in 1990, only her version was not widely heard equally it was released only every bit a bonus runway in Japan. In June 2019, seven years after 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 August. The Houston/Kygo remix of "Higher Love" was certified Gilded in the US in October 2019, and the next month it reached Platinum in the Uk.[66] [67]

Runway listing [edit]

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

No. Title Author(south) Length
1. "Higher Love" five:45
2. "Take Information technology Every bit It Comes" 5:20
iii. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Dorsum in the High Life Again" 5:33
5. "The Effectively Things" 5:47
six. "Wake Me Upwardly on Judgment 24-hour interval" five:48
vii. "Split Decision" Winwood, Joe Walsh 5:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall five:xix

Personnel [edit]

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

Manufacture awards [edit]

Grammy Awards [edit]

MTV Video Music Awards [edit]

Charts [edit]

Certifications [edit]

References [edit]

  1. ^ a b c Ruhlmann, William (2011). "Back in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
  2. ^ a b Hughes, Rob (iii 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 Mean solar day – July two: Steve Winwood – Back in the High Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording University Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 August 1986). "Nautical chart Beat". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Split up Determination"". Billboard. Retrieved fifteen July 2020.
  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Make the Juices Menses". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (one December 1988). "From Mr Fantasy to Mr Amusement". Rolling Stone.
  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 See A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Popular Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C xv.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 Dec 2016). "How Steve Winwood Survived the '80s". Ultimate Archetype Rock . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Curlicue With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: Information technology's All Most 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). 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 ten 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. xxx. p. 48. ISSN 0006-2510.
  22. ^ a b c d due 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 (xi July 2013). "Mailbag". Music Industry News . Retrieved ten 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]

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

isomclook1992.blogspot.com

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

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