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1986 studio album by Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded Baronial 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Ability Station (New York)
  • Right Rails (New York)
  • Behemothic Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • blue-eyed soul
Length 45:03
Label Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Night
(1982) 		Dorsum in the Loftier Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Love"
    Released: twenty June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Take It Every bit It Comes"
    Released: Baronial 1986
  4. "Liberty Overspill"
    Released: Baronial 1986
  5. "Back in the High Life Again"
    Released: December 1986
  6. "The Effectively Things"
    Released: February 1987

Back in the High Life is the 4th solo album by English singer, songwriter, and multi-instrumentalist Steve Winwood, released on xxx June 1986.[1] The anthology proved to be Winwood's biggest success to that appointment, certified Golden in the UK and 3× Platinum in the US, and it reached the top twenty in most Western countries.[2] [3] Information technology collected three Grammy Awards[4] and generated five striking singles, starting with "Higher Dearest", which became Winwood's start Billboard Hot 100 number-one nautical chart topper, coming xx years after he offset entered that nautical chart with "Go on on Running" past the Spencer Davis Group.[five] Other global hit singles from the album were "Freedom Overspill", "Dorsum in the High Life Once more" and "The Finer Things". The single "Split Decision", with ex-Eagles guitarist Joe Walsh, was a The states hitting.[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). Dissimilar 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 Rodgers on guitars and JR Robinson on drums. Winwood himself as well performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided past established stars, including Chaka Khan on "Higher Love", James Ingram on "Finer Things", and James Taylor on the title runway. The album showcased Winwood'southward lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a stone, pop and R&B milieu.[1] [two] [7] Equally with his previous albums, Back in the High Life served as an uplifting alternative to the angry or political punk that was sweeping the rock globe.[8]

The album was recorded and released during a time of pregnant change in Winwood's personal life. After touring North America to promote the album during August–November 1986, Winwood divorced in England and so married in New York City. He bought a 2nd home in Nashville, where he organized his side by side 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.

Groundwork [edit]

Winwood's solo career had seen success in the United kingdom of great britain and northern ireland with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his showtime 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 concluding 2 albums had been created by Winwood playing all the instruments himself at his technologically avant-garde Turkdean home studio "Netherturkdonic,"[9] simply for his adjacent project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner every bit manager, known for his piece of work with Madonna and Michael Jackson.[10] Weisner pushed Winwood to record in London rather than at his dwelling house, where he was having relationship difficulties with his married woman, Nicole. Winwood agreed to the London suggestion, simply Weisner responded, "Well, forget London. Possibly you lot should get to New York."[8]

Winwood was already acquainted with New York, having stayed at the Central Park Due south apartment of Chris Blackwell, the founder of Island Records.[xi] Blackwell had been serving as Winwood'due south quasi-managing director for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop standing one-half-hidden backside the Hammond organ and take his position every bit front man and entertainer.[8] [12] [13] Winwood said in 1988, "I made a conscious effort to showtime working with musicians and producers and engineers. I got a manager. I have to say that those people are straight or indirectly responsible for my success at present."[8] [xiv] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The High Life, about the 1985 Tour de French republic feel of Scottish bicycle racer Robert Millar (afterwards known equally Philippa York). The documentary was produced past ITV Granada; information technology aired in the weeks leading up to the 1986 Bout de France, in which Millar competed.[7] [15]

Writing [edit]

Songwriting for the album began later on Talking Back was released. Winwood wrote his ain music simply he usually relied on other lyricists. He collaborated again with Texan Will Jennings, a professor of English who had written the words to Winwood'due south vocal "While Yous See a Take a chance", a hit single in 1981. For this new project, Winwood's fourth solo album, the pair composed v more songs, two of which would become the biggest album hits: "Higher Love" and "Back in the High Life Once again". Jennings carried the phrase "Back in the High Life" around as a vocal title idea written down in a notebook, but when he was at Winwood's house in late 1984 he wrote the rest of the lyric in a one-half hr, without whatsoever music. More than a year afterward, Winwood finally wrote the music, after being nudged to do so by Titelman, who was notified of its existence by Jennings. "Back in the High Life Once more" came very near to being missed altogether.[16] Winwood said about teaming with Jennings, "Nosotros've got absolutely no rules when nosotros work together. Sometimes we commencement with the lyric, sometimes with the melody; sometimes we start with chorus and add the verses, and sometimes I write some of the lyrics myself. At that place are no formulas; things just happen naturally."[17]

A 2nd return collaborator was eccentric English songwriter and erstwhile Bonzo Canis familiaris Doo-Dah Ring frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic'due south 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 song "Arc of a Diver", which provided the 1980 album championship.[18] Stanshall joined with Winwood to create a demo version of "My Dear'due south Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood'due south right-manus 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 but was ultimately left off.[xviii]

The third returning lyricist was George Fleming, an old friend of Winwood's and the nephew of James Bond creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "Second-hand Woman" and "Dust" – which were his get-go-ever compositions.[nine] In 1985, he brought Winwood the words for "Liberty Overspill". Winwood wrote most of the music for "Freedom Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's band starting in 1983.[20]

Recording [edit]

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

"The timing was right. Stevie was ready to endeavor something different. He had been working on tracks for about a twelvemonth and some of the songs were demoed pretty seriously. I wasn't brought in for any drastic changes. I think he might have wanted to take some responsibleness off his own shoulders."
    —Russ Titelman on being selected every bit co-producer[21]

In July 1985,[10] Winwood settled into New York City for August recording sessions at Power Station, getting an apartment off Madison Avenue near Central Park Zoo. Russ Titelman was chosen to co-produce the anthology because he was already familiar with Winwood'southward keyboard work on Titelman'south before 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 pick of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying downwards drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, fifty-fifty going to Winwood's flat 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 also engineered sessions at Right Track Recording. When Corsaro had to exit to laurels a delivery with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in Oct.[25]

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

Session keyboard player 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 also had an SSL 4000E mixer just like Winwood'south at Netherturkdonic, so Titelman moved the project there in early November 1985.[21] Titelman was immediately impressed past 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 accomplished of the 3 engineer brothers, but he had been pushing Tom into positions of greater responsibility; Tom earned his style to become head engineer on the Winwood anthology, his first fourth dimension in the role.[30]

Back in the Loftier Life was mixed through May 1986 by Tom Lord-Alge in Unique'south Studio B on the 48-aqueduct SSL 4000E. A pair of linked 24-track record recorders was initially mixed down to stereo on a Studer A-80 one-half-inch two-track deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-lxxx open-reel ii-track recorder. The greater sonic clarity achieved this way was profound plenty 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 past showing Winwood a trick or two of his own.[26] Titelman said Tom "uses the SSL like a player uses an instrument".[24] According to Tom, between ten and 20 pct of the Ability Station and other previous tracks ended up on the album. The great majority of Dorsum in the High 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 broaden or replace the drum machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were not setting the correct tone for many of the songs. Session drummer John "JR" Robinson was 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 belt, including the charity unmarried "We Are the World" and Michael Jackson'southward multi-Platinum "Don't Stop 'Til You Go Plenty". To become a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the middle of the chief room of Studio B, with eight additional microphones positioned around the room to capture audio-wave reflections and increment the ratio of room ambience.[21] [34]

"Higher Love" was first tracked with a simple pulsate machine loop, which Titelman felt was "flat", non quite plumbing fixtures with the synth layers, which had been created mainly by Kilgore. Titelman tried replacing all the electronic drums with JR playing live, just the producers felt that this, besides, was non quite suitable.[34] Instead, the rhythm part for the song was constructed equally a combination of electronic drums, JR's live drums, and sequenced samples of JR'due south drums added subsequently.[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 brass snares such as a vintage 1930 Ludwig for "Split Determination", and the vintage Black Beauty on "College Honey". JR tuned his drumheads loftier to satisfy Winwood, dissimilar 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 Dear'southward Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher Love" pulsate-fill [edit]

Tom says he "clinched the gig" when he fabricated a suggestion to Titelman as the overdubbing was winding down and mixing was soon to begin. The suggestion involved Tom moving one of JR's impromptu drum fills to the beginning of "Higher Beloved", by assigning a timing offset to ane of ii tape machines such that they first played the drum fill followed past the song coming in on the trounce.[27] Titelman was very happy with the outcome, and decided to open the anthology with this drum make full. The opening eventually became so famous that JR put information technology on his answering machine equally a professional calling carte du jour. JR said the pattern was a Latin rimshot technique across the top of his classic seamless brass Ludwig Black Beauty snare, unmuffled, with its snare wires disengaged, to emulate the audio of a timbale. He said, "it's one 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 Beloved", 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 subsequently JR had completed his drum overdubs for "Higher Love". Tom said, "Information technology was one of those happy accidents, and it happened because Chris always taught me that if the tape is rolling and at that place's a musician in the studio, make sure the record machine is in tape!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Conclusion" with Winwood

Titelman tapped James Taylor to add together groundwork vocals to "Back in the High Life Over again", later hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'south mode perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Upwardly on Judgment Mean solar 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 besides brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I experience that basically I was a casting manager in a lot of means."[22] Just Winwood himself invited Eagles guitarist Joe Walsh to join the project.[22] Walsh and Winwood had met during Walsh'south James Gang years. More than a decade later Walsh phoned "out of the bluish" to say hello, with Winwood immediately suggesting a songwriting collaboration.[nineteen] In October,[35] the two wrote "Separate Determination" together, the merely song on the album written entirely during the recording process in New York. Walsh also performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split Determination" in a wholly unrehearsed performance – his usual mode. Winwood felt challenged to exercise the same on synthesizer.[xix]

Marketing and video [edit]

Back in the High Life was a top ten striking on the album charts in the United States, peaking at number 3, and has sold over v million copies. The unmarried "Higher Love" first entered the U.s.a. charts at number 77 during the week of 14 June 1986,[36] then proceeded to height the singles chart at the end of Baronial and win the Grammy Award for "Record of the Year"; "Back in the Loftier Life Once more" (Us number 13), "The Finer Things" (U.s. number 8, the second-biggest hit from the album), and "Liberty Overspill" (US number 20) were also big hits. "Split up Decision" failed to chart in other countries but rose to number three in the United states. "Accept Information technology As It Comes" fared less well, reaching number 33 in the US.[six] Island had promoted Back in the High Life successfully, basing the campaign on the idea that Winwood was on a "improvement".[3]

Weisner pushed Winwood to promote the album with at least 1 video that could be shown on MTV. Island Records agreed. They chose "College Love", and selected Peter Kagan and Paula Greif to straight information technology, on the strength of their video for "The Love Parade" by the Dream Academy.[37] Weisner relayed his wish that Winwood should wait like an entertainer, that he should not hide behind the Hammond equally in the past.[eight] Shooting took place in June 1986, primarily on 35 mm film stock, but sometimes using a paw-held camera, especially for black-and-white photography. One 16 mm Bolex and a Super 8 camera were used for these in-motion shots. Riding in a shopping trolley, Greif was pushed through the trip the light fantastic floor to capture movement. Laura Israel and Glenn Lazzaro edited the moving picture to U-matic video, so mastered to 1-inch tape with a team of assistants.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in front of the band, he stands next to Chaka Khan, and he dances with several women wearing tropical habiliment as dissimilar scenes change from colour to black-and-white.[viii] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "College Dearest" was nominated for Video of the Year, Best Male Video, Best Editing, and All-time Management, but lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was likewise nominated for All-time Choreography, honouring Ed Beloved's work with the dancers, and information technology 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 You".[39]

Tour [edit]

Winwood began a tour of North America to promote the anthology, starting on 22 Baronial 1986 with a show at Pino Knob Music Theatre due north of Detroit, with reggae artist Jimmy Cliff equally the opening deed.[40] [41] In Winwood's viii-piece band, James Hooker, co-author of "Freedom Overspill", continued in his role equally second keyboard histrion. Winwood's man in Turkdean, Nobby Clarke, resumed every bit road manager. The bout played dates in Ohio, Illinois, Maryland, New York, Pennsylvania, Massachusetts, Florida, Georgia, Tennessee and Arkansas. In October when he was "somewhere" in Texas, Winwood told the Los Angeles Times that he was seeing the largest audience reactions on the songs "Higher Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might exist thinking "Gimme Some Lovin'" was a Blues Brothers comprehend because it 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 human action. Their 1985 World Machine album had brought greater fame and introduced more than electronic and pop elements to their sound. The Arizona Republic remarked about how well they fit with Winwood'south style, both sharing a "multilayered instrumentation and a prominent crush."[43] The tour connected through four dates in California, the quaternary at the Concord Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very piddling guitar and a bit of mandolin, and performed his electric 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 big with "Back in the High Life Once more".[44]

Level 42 and Winwood'south band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for one dark in British Columbia, and some other in Alberta. They headed east to play nine more dates in the The states plus one in Toronto. The tour ended on 23 November in Virginia at the Patriot Middle. Not every prove enjoyed skilful reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut'southward New Haven Coliseum, describing how most of the two-hour evidence 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 continuing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A calendar month later, the Courant published rebuttals by ii readers who had witnessed the same concert, i saying, "This was one of the best concerts I take e'er attended, and judging from the clapping, dancing, singing and cheering of the audience, I presume that many others would agree with me."[46]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [47]
The Great Rock Discography 8/10[47]
Los Angeles Times [48]
MusicHound Rock 4/5[47]
Music Story [47]
The Rolling Rock Album Guide [47]
The Village Vox C[49]

Dorsum in the High Life was met with generally positive reviews. Writing in July 1986 for Rolling Rock, Timothy White hailed it every bit "the beginning undeniably superb record of an near decade-long solo career" for Winwood.[50] Stereo Review magazine'south Marker Skin said the album "weds Winwood's certain sense of tune to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "it's Lite Soul, but Russ Titelman's production and the outstanding recording chore bring out every instrument with a seize with teeth and clarity that are oftentimes spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life mostly "sounds as beautiful as the exemplary bulletin of promise it espouses", with themes of "faith, defoliation, [and] a yearning for spiritual clarity" making information technology more than only "a decidedly tasteful record".[52]

The anthology 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] about rather frantically".[52] The Hamlet Voice reviewer Robert Christgau was more disquisitional. He plant Winwood's lyrics to exist truthful and unpretentious merely ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood being "a wunderkind with more than talent than brains", who "later 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 Mail, was dismissive, saying that Winwood's 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 tune and electronic production, merely he criticised the album as a whole, saying, "The songs actually accept no content, though Winwood'due south gorgeous blue-eyed soul vocalism almost convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-up album Roll with Information technology, Dennis Hunt of the Los Angeles Times called Dorsum in the Loftier Life "arguably the best R&B anthology past a white singer in the last 5 years".[54] Years after, in The Rough Guide to Rock (2003), Justin Lewis declared it "the epitome of sophisticated mid-80s AOR, every bit Winwood adds Caribbean area and gospel flavours to his pop, rock and R&B mix."[55]

Legacy [edit]

In the U.k., Back in the High Life was certified Gold by BPI in August 1986.[56] In the United states of america, Gold was reached almost equally quickly but strong sales connected for a longer period, raising the album to Platinum in October 1986. With steady sales through 1987, the album was certified 3× Platinum by the RIAA in January 1988.[57]

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

Winwood's wife Nicole separated from him in late 1985 while he was still recording on the other side of the Atlantic Ocean. Around the same time, Winwood went to hear a 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's girlfriend in mid-December 1985 when Will Jennings visited New York Urban center with his own paramour, vocalist-songwriter Marshall Chapman. They went out as a foursome to savour 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 anthology tour in August 1986, he instructed his staff to inform journalists that he would not reply whatever questions about his personal life.[42] Winwood'southward divorce was finalised in December 1986, and then Crafton and Winwood married in Jan in a private ceremony held at 5th Avenue Presbyterian Church.[58] [60] [61] When he stepped up to the podium on 24 Feb 1987 to accept one of two Grammy Awards, Winwood said, "I'd like to say how much an honor like that means to me. The more I'g involved in making records the more it seems to mean. And so I would similar to thank anybody who has written for me... And finally, I would like to give thanks my married woman."[62] Winwood settled in Nashville, and his offset child, Mary Clare, was born in May 1987. The new Nashville vibe lent its sound to Winwood's fifth album, Ringlet With Information technology, released in June 1988, which would eventually surpass Dorsum in the High Life in sales.[sixty]

The song "College Love" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal audio-visual version of it in 2011 for a compilation album called Silvery Lining, produced to benefit the Irish clemency Headstrong. The album raised €225,000.[63] McMorrow'due south embrace version was also used in Europe for an Amazon company advert. It was picked upwards again in 2022 for an American telly commercial promoting the Hyundai Kona automobile. McMurrow said, "Information technology'southward a cute melody, the chord structure of that song is really complex. When I used to play information technology on the guitar merely to myself, I was always struck by how interesting it was."[64] "College Dearest" was besides covered by Whitney Houston in 1990, simply her version was not widely heard as it was released but 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 house version.[65] An accompanying video was released in August. The Houston/Kygo remix of "Higher Love" was certified Gold in the US in October 2019, and the adjacent calendar month it reached Platinum in the Britain.[66] [67]

Track listing [edit]

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

No. Championship Writer(s) Length
1. "College Dearest" 5:45
2. "Take It As Information technology Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Back in the High Life Again" 5:33
five. "The Effectively Things" 5:47
6. "Wake Me Up on Judgment Day" 5:48
seven. "Split Decision" Winwood, Joe Walsh 5:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall 5:19

Personnel [edit]

Adjusted from the anthology liner notes[17] and AllMusic credits[68]

Industry awards [edit]

Grammy Awards [edit]

MTV Video Music Awards [edit]

Charts [edit]

Certifications [edit]

References [edit]

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  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the 24-hour interval – July 2: Steve Winwood – Back in the High Life". Popular 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). "Chart Beat". 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". Howdy-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While You Run into A Chance: 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 10 July 2020.
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  15. ^ Fotheringham, William (2015). Cyclopedia: It's All About the Bike. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (7 May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved 11 July 2020.
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  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved 10 July 2020.
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  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Direct . Retrieved ten July 2020.
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  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]

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

suttoncloonstaked98.blogspot.com

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

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