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Back in the High Life Again by Steve Winwood

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1986 studio album past Steve Winwood

Back in the High 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)
  • Right Track (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • stone
  • R&B
  • blueish-eyed soul
Length 45:03
Label Isle
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Dark
(1982) 		Back in the High Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Love"
    Released: 20 June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Take It As It Comes"
    Released: August 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the Loftier Life Again"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Back in the High Life is the fourth solo anthology by English vocalist, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[1] The album proved to be Winwood's biggest success to that appointment, certified Gold in the U.k. and 3× Platinum in the U.s.a., and it reached the top twenty in most Western countries.[2] [three] It collected three Grammy Awards[4] and generated five hitting singles, starting with "College Love", which became Winwood'due south first Billboard Hot 100 number-one chart topper, coming 20 years after he showtime entered that chart with "Keep on Running" by the Spencer Davis Group.[5] Other global hit singles from the anthology were "Freedom Overspill", "Back in the High Life Again" and "The Finer Things". The single "Split Decision", with ex-Eagles guitarist Joe Walsh, was a US hitting.[6]

Musically, the album was polished and sophisticated, representative of pop production in the 1980s, featuring Winwood's style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Different his two prior albums, on which he played every instrument himself, Winwood made extensive apply of session musicians for this album, including Joe Walsh and Nile Rogers on guitars and JR Robinson on drums. Winwood himself besides performed on a big number of instruments, combining live-played instruments with synthesizers and programming. Prominent bankroll 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 album showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, popular and R&B milieu.[one] [2] [7] Equally with his previous albums, Dorsum in the High Life served as an uplifting alternative to the angry or political punk that was sweeping the rock world.[8]

The album was recorded and released during a time of significant change in Winwood's personal life. After touring North America to promote the album during August–November 1986, Winwood divorced in England and and then married in New York Urban center. He bought a 2nd 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 Dorsum in the High Life.

Groundwork [edit]

Winwood'south solo career had seen success in the UK with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo U.s. hit, reaching number 3 on the Billboard 200. His 3rd album, Talking Back to the Night (1982), generated less of a response and was considered a let-downwardly. The last two albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[ix] but for his next project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner equally manager, known for his work with Madonna and Michael Jackson.[x] Weisner pushed Winwood to tape in London rather than at his dwelling, where he was having relationship difficulties with his married woman, Nicole. Winwood agreed to the London proffer, but Weisner responded, "Well, forget London. Perchance you should get to New York."[eight]

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 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 end standing half-hidden behind the Hammond organ and take his position every bit forepart man and entertainer.[8] [12] [13] Winwood said in 1988, "I made a conscious effort to commencement working with musicians and producers and engineers. I got a managing director. I accept to say that those people are directly or indirectly responsible for my success now."[8] [14] Between sessions for Back in the Loftier 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 (later known every bit Philippa York). The documentary was produced past ITV Granada; it aired in the weeks leading upwards to the 1986 Tour de France, in which Millar competed.[7] [xv]

Writing [edit]

Songwriting for the anthology began after Talking Dorsum was released. Winwood wrote his ain music only he usually relied on other lyricists. He collaborated once more with Texan Volition Jennings, a professor of English who had written the words to Winwood's song "While You Encounter a Take chances", a hit single in 1981. For this new projection, Winwood'south fourth solo album, the pair composed 5 more songs, two of which would get the biggest album hits: "Higher Love" and "Back in the Loftier Life Again". Jennings carried the phrase "Dorsum in the High Life" around as a vocal championship idea written down in a notebook, but when he was at Winwood's business firm in late 1984 he wrote the residuum of the lyric in a half 60 minutes, without whatever music. More than a year later on, Winwood finally wrote the music, after being nudged to do and so past Titelman, who was notified of its existence by Jennings. "Back in the High Life Again" came very near to being missed altogether.[sixteen] Winwood said about teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes we start with the lyric, sometimes with the melody; sometimes we first with chorus and add the verses, and sometimes I write some of the lyrics myself. There are no formulas; things merely happen naturally."[17]

A second return collaborator was eccentric English songwriter and former Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", actualization on Traffic'due south 1974 album 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 album title.[xviii] Stanshall joined with Winwood to create a demo version of "My Beloved's Leavin'" at Netherturkdonic, engineered past Nobby Clarke, who was Winwood'south right-hand human at the studio and on the road.[xix] Stanshall also wrote the lyric to "If That Gun is For Existent" in the early '80s, which was under consideration for Back in the High Life simply was ultimately left off.[18]

The third returning lyricist was George Fleming, an old friend of Winwood'southward 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 first-e'er compositions.[9] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote about of the music for "Freedom Overspill", with pregnant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's band starting in 1983.[20]

Recording [edit]

Ability Station, Right Track Recording, and Behemothic Audio sessions [edit]

"The timing was right. Stevie was ready to effort something unlike. 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 whatever drastic changes. I think he might have wanted to accept some responsibility off his own shoulders."
    —Russ Titelman on being selected as 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 Fundamental Park Zoo. Russ Titelman was chosen to co-produce the album because he was already familiar with Winwood'southward keyboard work on Titelman's earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had likewise produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a performance Grammy in 1984, and was 1 of Weisner's favorite songs, aiding in the choice of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's flat to piece of 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 also engineered sessions at Right Rail Recording. When Corsaro had to go out to honour a commitment with Fleetwood Mac,[24] Titelman moved the project to Giant 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 choice 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's at Netherturkdonic, then Titelman moved the project at that place in early Nov 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited whatsoever interested musicians to join him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-sixty.[21]

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

Back in the High Life was mixed through May 1986 past Tom Lord-Alge in Unique's Studio B on the 48-channel SSL 4000E. A pair of linked 24-rails tape recorders was initially mixed downward to stereo on a Studer A-80 half-inch two-track deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi 10-80 open-reel 2-track recorder. The greater sonic clarity accomplished this manner 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 trick or two of his ain.[26] Titelman said Tom "uses the SSL similar a histrion uses an instrument".[24] According to Tom, between 10 and twenty per centum of the Ability Station and other previous tracks ended up on the album. The smashing 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 broaden or replace the pulsate machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic pulsate sounds, but these were non setting the right tone for many of the songs. Session drummer John "JR" Robinson was chosen in from a nearby George Benson session, bringing his own drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many striking records under his belt, including the charity unmarried "We Are the Earth" and Michael Jackson's multi-Platinum "Don't Terminate 'Til Y'all Get Enough". To get 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 sound-moving ridge reflections and increase the ratio of room ambience.[21] [34]

"College Love" was offset tracked with a simple drum 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, also, was non quite suitable.[34] Instead, the rhythm part for the vocal was constructed as a combination of electronic drums, JR's live drums, and sequenced samples of JR's drums added later.[24] Winwood instructed JR to make the snare overdubs experience like they were slightly rushing the tempo, to add excitement.[34] JR noted that Winwood asked for high-pitched, bright sounds from the drum kit, and so he chose contumely snares such every bit a vintage 1930 Ludwig for "Split Decision", and the vintage Black Beauty on "Higher Love". JR tuned his drumheads high to satisfy Winwood, unlike another of JR'due south bandleaders, Bob Seger, who wanted simply low-pitched drums.[33] Existent drums augmented or replaced the electronic drums on every song on the album except "My Dearest's Leavin'", on which the pulsate parts stayed purely electronic.[21]

"Higher Love" drum-fill up [edit]

Tom says he "clinched the gig" when he fabricated a suggestion to Titelman as the overdubbing was winding down and mixing was shortly to begin. The suggestion involved Tom moving one of JR's impromptu drum fills to the kickoff of "Higher Love", by assigning a timing offset to i of two tape machines such that they offset played the drum fill up followed by the song coming in on the beat.[27] Titelman was very happy with the effect, and decided to open up the album with this pulsate fill. The opening somewhen became so famous that JR put information technology on his answering machine every bit a professional calling card. JR said the pattern was a Latin rimshot technique beyond the top of his classic seamless contumely Ludwig Black Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "information technology'south i of the best drum intros I've ever played."[33]

Titelman remembered the fill being played ad lib by JR while his friend Chaka Khan was preparing to sing her background vocals on "Higher Dear", causing Khan to exclaim "What is that shit? Information technology sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the drum make full was played every bit a lark after JR had completed his drum overdubs for "Higher Love". Tom said, "Information technology was ane of those happy accidents, and information technology happened because Chris always taught me that if the tape is rolling and there'south a musician in the studio, make sure the record motorcar is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Divide Decision" with Winwood

Titelman tapped James Taylor to add together background vocals to "Dorsum in the Loftier Life Again", subsequently hearing the slowed-down Winwood and Bralower version. Titelman felt that the vocal fit Taylor's style 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 estimation different from his own.[24] Chaka Khan, JR and drummer Mickey Back-scratch were all Titelman's contacts. Titelman also brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting managing director in a lot of means."[22] But Winwood himself invited Eagles guitarist Joe Walsh to bring together the project.[22] Walsh and Winwood had met during Walsh's James Gang years. More than a decade afterwards Walsh phoned "out of the bluish" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the ii wrote "Dissever Decision" together, the simply song on the album written entirely during the recording procedure in New York. Walsh besides performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split up Decision" in a wholly unrehearsed performance – his usual fashion. Winwood felt challenged to exercise the same on synthesizer.[19]

Marketing and video [edit]

Back in the High Life was a height x hit on the album charts in the The states, peaking at number iii, and has sold over five million copies. The single "Higher Beloved" commencement entered the US charts at number 77 during the week of 14 June 1986,[36] then proceeded to top the singles chart at the end of Baronial 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 2nd-biggest striking from the album), and "Freedom Overspill" (US number xx) were also big hits. "Split Conclusion" failed to chart in other countries but rose to number iii in the Us. "Accept It As It Comes" fared less well, reaching number 33 in the U.s.a..[half-dozen] Isle had promoted Dorsum in the High Life successfully, basing the campaign on the thought that Winwood was on a "comeback".[iii]

Weisner pushed Winwood to promote the album 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 direct it, on the strength of their video for "The Love Parade" by the Dream University.[37] Weisner relayed his wish that Winwood should look like an entertainer, that he should not hide behind the Hammond equally in the by.[viii] Shooting took identify in June 1986, primarily on 35 mm film stock, but sometimes using a mitt-held photographic camera, especially for black-and-white photography. I 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 motility. Laura State of israel and Glenn Lazzaro edited the film to U-matic video, then mastered to 1-inch record 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 ring, he stands next to Chaka Khan, and he dances with several women wearing tropical wearable as dissimilar 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, "College Love" was nominated for Video of the Year, Best Male Video, Best Editing, and Best Direction, just lost to Peter Gabriel'due south "Sledgehammer" in all iv categories. The video was also nominated for Best Choreography, honouring Ed Love'south work with the dancers, and information technology was nominated for Best Cinematography, crediting Kagan. "Higher Love" was nominated in the Viewers Option category, which was won by U2's "With or Without Y'all".[39]

Tour [edit]

Winwood began a tour of North America to promote the album, starting on 22 August 1986 with a show at Pine Knob Music Theatre due north of Detroit, with reggae creative person Jimmy Cliff equally the opening human action.[40] [41] In Winwood's 8-piece ring, James Hooker, co-writer of "Freedom Overspill", continued in his office as second keyboard player. Winwood'due south human being in Turkdean, Nobby Clarke, resumed every bit road managing director. The tour played dates in Ohio, Illinois, Maryland, New York, Pennsylvania, Massachusetts, Florida, Georgia, Tennessee and Arkansas. In October when he was "somewhere" in Texas, Winwood told the Los Angeles Times that he was seeing the largest audience reactions on the songs "Higher Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might be thinking "Gimme Some Lovin'" was a Blues Brothers cover 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 deed. Their 1985 Globe Auto album had brought greater fame and introduced more electronic and pop elements to their sound. The Arizona Republic remarked virtually how well they fit with Winwood's style, both sharing a "multilayered instrumentation and a prominent vanquish."[43] The tour continued through four dates in California, the fourth at the Concur Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very picayune guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "rest 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 then finished big with "Dorsum in the High Life Again".[44]

Level 42 and Winwood's band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for ane night in British Columbia, and another in Alberta. They headed eastward to play nine more dates in the US plus ane in Toronto. The tour ended on 23 November in Virginia at the Patriot Center. Not every show enjoyed adept reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut's New Haven Coliseum, describing how nearly of the two-hr show was "less than captivating" because of Winwood's shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing final number that got the crowd standing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A month after, the Courant published rebuttals by ii readers who had witnessed the same concert, one proverb, "This was i of the best concerts I have always attended, and judging from the clapping, dancing, singing and cheering of the audience, I presume that many others would hold with me."[46]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [47]
The Great Rock Discography eight/ten[47]
Los Angeles Times [48]
MusicHound Rock 4/v[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Village Voice C[49]

Back in the High Life was met with generally positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed it as "the first undeniably superb tape of an almost decade-long solo career" for Winwood.[50] Stereo Review magazine'southward Mark Skin said the album "weds Winwood'due south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", calculation, "it'southward Lite Soul, simply Russ Titelman'south product and the outstanding recording task bring out every musical instrument with a bite and clarity that are oft spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the Loftier Life mostly "sounds as beautiful equally the exemplary message of hope it espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making it more than just "a incomparably tasteful tape".[52]

The album was non without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Carve up Conclusion" for "meander[ing] about rather aimlessly".[52] The Hamlet Vocalization reviewer Robert Christgau was more disquisitional. He found Winwood's lyrics to exist truthful and unpretentious merely ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood beingness "a wunderkind with more talent than brains", who "after two decades of special handling … derives all the self-esteem he needs just from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood'southward 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 product, but he criticised the album as a whole, saying, "The songs really accept no content, though Winwood'south gorgeous blue-eyed soul vox almost convinces you lot otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-up album Gyre with It, Dennis Chase of the Los Angeles Times called Back in the High Life "arguably the all-time R&B album by a white singer in the last v 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 UK, Dorsum in the Loftier Life was certified Gilt by BPI in August 1986.[56] In the US, Gold was reached almost equally quickly but potent sales continued for a longer period, raising the anthology to Platinum in Oct 1986. With steady sales through 1987, the album was certified three× Platinum by the RIAA in January 1988.[57]

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

Winwood's married woman Nicole separated from him in belatedly 1985 while he was nonetheless recording on the other side of the Atlantic Ocean. Around the same time, Winwood went to hear a Junior Walker concert at the Lone Star Cafe in New York City and met a Nashville adult female named Eugenia Crafton; the 2 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, singer-songwriter Marshall Chapman. They went out equally a foursome to enjoy the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing marriage individual: When he started his anthology tour in August 1986, he instructed his staff to inform journalists that he would not reply any questions near his personal life.[42] Winwood'south divorce was finalised in December 1986, then Crafton and Winwood married in January in a individual ceremony held at Fifth Avenue Presbyterian Church building.[58] [sixty] [61] When he stepped up to the podium on 24 February 1987 to have ane of 2 Grammy Awards, Winwood said, "I'd similar to say how much an laurels like that means to me. The more I'm involved in making records the more than 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 first child, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood'south fifth album, Roll With It, released in June 1988, which would somewhen surpass Back in the High Life in sales.[60]

The song "Higher Honey" was covered by Irish vocalizer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of it in 2011 for a compilation anthology chosen Silver Lining, produced to benefit the Irish charity Headstrong. The album raised €225,000.[63] McMorrow's comprehend version was as well used in Europe for an Amazon company advert. It was picked upwardly once more in 2017 for an American television commercial promoting the Hyundai Kona automobile. McMurrow said, "It's a beautiful tune, the chord structure of that song is really complex. When I used to play it on the guitar merely to myself, I was always struck past how interesting it was."[64] "Higher Dearest" was too covered by Whitney Houston in 1990, simply her version was not widely heard every bit it was released only every bit a bonus runway in Nippon. In June 2019, seven years afterwards Houston'southward decease, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical business firm version.[65] An accompanying video was released in August. The Houston/Kygo remix of "College Love" was certified Gold in the The states in October 2019, and the next month it reached Platinum in the UK.[66] [67]

Runway list [edit]

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

No. Title Writer(due south) Length
one. "Higher Dearest" five:45
2. "Accept It As It Comes" five:20
three. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Dorsum in the High Life Again" five:33
five. "The Finer Things" 5:47
6. "Wake Me Up on Judgment 24-hour interval" v:48
7. "Carve up Decision" Winwood, Joe Walsh 5:58
8. "My Love'southward 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 7 August 2011.
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  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 August 1986). "Chart Crush". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
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  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hi-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While Yous See A Gamble: 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 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved ten July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Curl With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All Most the Wheel. 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 10 July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood'south Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Directly . Retrieved x July 2020.
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  25. ^ Dupler, Steven (two November 1985). "Audio Track: New York". Billboard. Vol. 97, no. 44. p. 41. ISSN 0006-2510.
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External links [edit]

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

hughinglacrievor.blogspot.com

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

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