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Back in the High Life Again Steve Winwood Studio Version

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1986 studio album by Steve Winwood

1986 studio album by Steve Winwood

Dorsum in the High Life
Back in the High Life.jpg
Studio album past

Steve Winwood
Released thirty June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Ability Station (New York)
  • Correct Track (New York)
  • Behemothic Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • blueish-eyed soul
Length 45:03
Label Isle
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. "College 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 High Life Once more"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Back in the High Life is the fourth solo anthology by English singer, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[i] The album proved to be Winwood'south biggest success to that engagement, certified Gold in the UK and 3× Platinum in the Usa, and it reached the superlative twenty in most Western countries.[two] [iii] It collected three Grammy Awards[iv] and generated v hit singles, starting with "Higher Love", which became Winwood's first Billboard Hot 100 number-1 chart topper, coming xx years later he first entered that chart with "Go on on Running" past the Spencer Davis Grouping.[5] Other global hit singles from the album were "Freedom Overspill", "Back in the High Life Once again" and "The Finer Things". The unmarried "Carve up 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's style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Unlike his two prior albums, on which he played every instrument himself, Winwood made extensive employ of session musicians for this anthology, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself also performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided by established stars, including Chaka Khan on "Higher Love", James Ingram on "Effectively Things", and James Taylor on the championship runway. The anthology showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[1] [2] [7] Equally with his previous albums, Dorsum in the High Life served equally an uplifting alternative to the angry or political punk that was sweeping the rock earth.[8]

The album was recorded and released during a time of significant modify in Winwood's personal life. After touring N America to promote the album during August–November 1986, Winwood divorced in England and so married in New York City. He bought a second habitation in Nashville, where he organized his adjacent projection, 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's solo career had seen success in the UK with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo United states hitting, reaching number 3 on the Billboard 200. His 3rd album, Talking Back to the Nighttime (1982), generated less of a response and was considered a let-down. The last two albums had been created past Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[9] but for his side by side 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.[x] Weisner pushed Winwood to tape in London rather than at his home, where he was having human relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, but Weisner responded, "Well, forget London. Maybe y'all should get to New York."[8]

Winwood was already acquainted with New York, having stayed at the Primal Park South apartment of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood'southward quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to terminate standing half-hidden behind the Hammond organ and accept his position as front end man and entertainer.[8] [12] [13] Winwood said in 1988, "I fabricated a conscious effort to start working with musicians and producers and engineers. I got a manager. I have to say that those people are direct or indirectly responsible for my success now."[8] [fourteen] 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 France experience of Scottish bicycle racer Robert Millar (later known as Philippa York). The documentary was produced past ITV Granada; it aired in the weeks leading upward to the 1986 Tour de French republic, in which Millar competed.[7] [15]

Writing [edit]

Songwriting for the album began after Talking Back was released. Winwood wrote his own music but he usually relied on other lyricists. He collaborated once more with Texan Will Jennings, a professor of English language who had written the words to Winwood's song "While You See a Hazard", a hit single in 1981. For this new project, Winwood's fourth solo album, the pair composed five more songs, two of which would become the biggest anthology hits: "Higher Beloved" and "Back in the High Life Again". Jennings carried the phrase "Back in the High Life" around every bit a vocal championship idea written down in a notebook, but when he was at Winwood's firm in late 1984 he wrote the remainder of the lyric in a one-half hr, without any music. More than than a year later on, Winwood finally wrote the music, after being nudged to do so by Titelman, who was notified of its existence past Jennings. "Dorsum in the High Life Again" came very near to being missed altogether.[16] Winwood said about teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes we offset 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. There are no formulas; things just happen naturally."[17]

A 2d return collaborator was eccentric English songwriter and former Bonzo Dog Doo-Dah Ring frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic's 1974 anthology When the Eagle Flies. The two oft 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.[18] Stanshall joined with Winwood to create a demo version of "My Love'south Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's correct-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 on '80s, which was under consideration for Back in the High Life but was ultimately left off.[18]

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 ii songs for Arc of a Diver – "Second-hand Adult female" and "Dust" – which were his first-ever compositions.[ix] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote most of the music for "Freedom Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's band starting in 1983.[20]

Recording [edit]

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

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

In July 1985,[10] Winwood settled into New York Metropolis 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 album because he was already familiar with Winwood's keyboard piece of work on Titelman'due south earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had also produced the Rufus/Chaka Khan vocal "Own't Nobody", which won the artists a operation Grammy in 1984, and was one of Weisner's favorite songs, aiding in the choice of Titelman.[22] Tracking began in Studio C at Ability 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 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 also engineered sessions at Right Rails Recording. When Corsaro had to leave to award a commitment 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 three talented brothers who engineered at a nearby studio with a wide pick 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'south at Netherturkdonic, then Titelman moved the project there in early on November 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited any interested musicians to join him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-sixty.[21]

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

Back in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique's Studio B on the 48-channel SSL 4000E. A pair of linked 24-runway tape recorders was initially mixed downwardly to stereo on a Studer A-fourscore one-half-inch 2-track deck.[31] [32] At one betoken the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open up-reel two-track recorder. The greater sonic clarity achieved 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 fox or 2 of his own.[26] Titelman said Tom "uses the SSL like a histrion uses an instrument".[24] Co-ordinate to Tom, between 10 and 20 per centum of the Power Station and other previous tracks ended upward on the album. The great majority 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 real drummer to augment or supercede the drum machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were not setting the right tone for many of the songs. Session drummer John "JR" Robinson was called in from a nearby George Benson session, bringing his own pulsate equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hit records nether his belt, including the charity unmarried "We Are the World" and Michael Jackson'south multi-Platinum "Don't Stop 'Til You Become Enough". 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 around the room to capture sound-wave reflections and increase the ratio of room ambient.[21] [34]

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

"Higher Love" drum-fill [edit]

Tom says he "clinched the gig" when he made a suggestion to Titelman as the overdubbing was winding downward and mixing was presently to brainstorm. The suggestion involved Tom moving one of JR'southward impromptu drum fills to the beginning of "Higher Love", by assigning a timing kickoff to one of two tape machines such that they outset played the drum fill followed by the song coming in on the vanquish.[27] Titelman was very happy with the outcome, and decided to open up the album with this drum make full. The opening somewhen became so famous that JR put it on his answering machine as a professional calling card. JR said the design was a Latin rimshot technique across the acme of his classic seamless brass Ludwig Black Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "information technology's one of the best drum intros I've ever played."[33]

Titelman remembered the fill being played advert 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 similar voodoo shit!"[22] Tom Lord-Alge agreed that the drum fill up was played equally 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 ever taught me that if the tape is rolling and there's a musician in the studio, make sure the tape machine is in tape!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Divide Decision" with Winwood

Titelman tapped James Taylor to add together groundwork vocals to "Back in the High Life Again", later hearing the slowed-downwards Winwood and Bralower version. Titelman felt that the song fit Taylor's style perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Day", for which Winwood wanted an interpretation different from his own.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman's contacts. Titelman also brought in David Frank for his experience at turning out synthesizer horn parts. Titelman said, "I experience that basically I was a casting director in a lot of ways."[22] Only Winwood himself invited Eagles guitarist Joe Walsh to join the project.[22] Walsh and Winwood had met during Walsh's James Gang years. More than a decade later Walsh phoned "out of the blue" to say hello, with Winwood immediately suggesting a songwriting collaboration.[nineteen] In October,[35] the two wrote "Carve up Determination" together, the only vocal on the album written entirely during the recording process in New York. Walsh as well performed slide guitar on "Freedom Overspill". Walsh tackled his electrical guitar solo for "Separate Conclusion" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to practice the same on synthesizer.[19]

Marketing and video [edit]

Dorsum in the Loftier Life was a top ten hit on the album charts in the The states, peaking at number iii, and has sold over five million copies. The unmarried "College Love" first entered the US charts at number 77 during the week of fourteen June 1986,[36] then proceeded to superlative the singles chart at the end of August and win the Grammy Award for "Record of the Year"; "Back in the High Life Over again" (Usa number 13), "The Finer Things" (US number 8, the 2d-biggest hit from the album), and "Freedom Overspill" (US number twenty) were also big hits. "Split Decision" failed to chart in other countries only rose to number three in the U.s.a.. "Take Information technology As It Comes" fared less well, reaching number 33 in the Usa.[half dozen] Isle had promoted Back in the High Life successfully, basing the campaign on the thought that Winwood was on a "comeback".[iii]

Weisner pushed Winwood to promote the anthology with at least ane 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" past the Dream Academy.[37] Weisner relayed his wish that Winwood should await similar an entertainer, that he should non hide behind the Hammond as in the past.[8] Shooting took place in June 1986, primarily on 35 mm film stock, but sometimes using a mitt-held camera, peculiarly for black-and-white photography. 1 16 mm Bolex and a Super 8 photographic camera were used for these in-motion shots. Riding in a shopping trolley, Greif was pushed through the dance floor to capture movement. Laura State of israel and Glenn Lazzaro edited the film to U-matic video, so mastered to ane-inch record with a squad 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 wearable as dissimilar scenes change from colour to black-and-white.[8] Nile Rodgers plays electric guitar in the band, wearing a bright squeegee. At the 1987 MTV Video Music Awards, "College Honey" was nominated for Video of the Year, All-time Male person Video, Best Editing, and All-time Management, but lost to Peter Gabriel'south "Sledgehammer" in all four categories. The video was also nominated for Best Choreography, honouring Ed Love's work with the dancers, and it was nominated for All-time Cinematography, crediting Kagan. "Higher Dear" was nominated in the Viewers Choice category, which was won past U2'southward "With or Without You lot".[39]

Tour [edit]

Winwood began a tour of North America to promote the anthology, starting on 22 August 1986 with a show at Pine Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening act.[40] [41] In Winwood's eight-piece band, James Hooker, co-writer of "Liberty Overspill", continued in his role as second keyboard actor. Winwood's man in Turkdean, Nobby Clarke, resumed as 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 considering information technology had been in the picture show The Blues Brothers (1980).[42]

Afterwards Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 World Car anthology had brought greater fame and introduced more than electronic and pop elements to their sound. The Arizona Commonwealth remarked most how well they fit with Winwood's style, both sharing a "multilayered instrumentation and a prominent beat out."[43] The tour connected through four dates in California, the fourth at the Concord Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very footling guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "remainder between his instruments and vocalisation." 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 Again".[44]

Level 42 and Winwood'southward band moved up the Pacific Declension to Oregon and Washington, crossing into Canada for i dark in British Columbia, and another in Alberta. They headed due east to play nine more dates in the US plus one in Toronto. The tour ended on 23 November in Virginia at the Patriot Centre. Not every prove enjoyed good reviews: Stone critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut's New Haven Coliseum, describing how most of the ii-60 minutes show was "less than captivating" considering of Winwood's shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing concluding number that got the crowd standing for "Gimme Some Lovin'", were non plenty to make the show worthwhile.[45] A calendar month later on, the Courant published rebuttals by two readers who had witnessed the same concert, one saying, "This was i of the best 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 [1]
Encyclopedia of Popular Music [47]
The Great Rock Discography viii/10[47]
Los Angeles Times [48]
MusicHound Rock 4/5[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Hamlet Voice C[49]

Back in the Loftier Life was met with mostly positive reviews. Writing in July 1986 for Rolling Rock, Timothy White hailed information technology as "the first undeniably superb record of an virtually decade-long solo career" for Winwood.[50] Stereo Review magazine's Mark Pare said the album "weds Winwood'south certain sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "it's Lite Soul, merely Russ Titelman's production and the outstanding recording job bring out every musical instrument with a bite and clarity that are often spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life generally "sounds as beautiful as the exemplary message of promise it espouses", with themes of "organized religion, confusion, [and] a yearning for spiritual clarity" making it more but "a incomparably tasteful record".[52]

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

Retrospective appraisals accept been positive. While reviewing Winwood's 1988 follow-up album Roll with It, Dennis Hunt of the Los Angeles Times called Dorsum in the High Life "arguably the all-time R&B album by a white vocalizer in the last five years".[54] Years later, in The Rough Guide to Rock (2003), Justin Lewis declared information technology "the image of sophisticated mid-80s AOR, as Winwood adds Caribbean and gospel flavours to his popular, rock and R&B mix."[55]

Legacy [edit]

In the UK, Back in the Loftier Life was certified Aureate by BPI in Baronial 1986.[56] In the The states, Gold was reached most equally rapidly but strong sales continued for a longer period, raising the anthology to Platinum in October 1986. With steady sales through 1987, the album was certified 3× Platinum past the RIAA in Jan 1988.[57]

Whitney Houston'south version of "Higher Dear" was remixed posthumously in 2019

Winwood'due south wife Nicole separated from him in late 1985 while he was however recording on the other side of the Atlantic Ocean. Around the same fourth dimension, 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 ii struck up a relationship.[58] Crafton was Winwood's girlfriend in mid-December 1985 when Will Jennings visited New York Metropolis with his own paramour, vocaliser-songwriter Marshall Chapman. They went out equally a foursome to relish the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing marriage private: When he started his anthology tour in August 1986, he instructed his staff to inform journalists that he would not reply any questions about his personal life.[42] Winwood'south divorce was finalised in December 1986, then Crafton and Winwood married in January in a private ceremony held at 5th Artery Presbyterian Church.[58] [lx] [61] When he stepped upwards to the podium on 24 Feb 1987 to accept one of two Grammy Awards, Winwood said, "I'd like to say how much an award similar that means to me. The more I'm involved in making records the more information technology seems to mean. And then I would like to give thanks 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 born 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 eventually surpass Dorsum in the High Life in sales.[sixty]

The song "Higher Love" was covered by Irish vocaliser-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of it in 2011 for a compilation album chosen Silver Lining, produced to benefit the Irish charity Headstrong. The anthology raised €225,000.[63] McMorrow's comprehend version was too used in Europe for an Amazon visitor advertizing. It was picked up again in 2017 for an American boob tube commercial promoting the Hyundai Kona automobile. McMurrow said, "It'south a beautiful melody, 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] "College Dearest" was also covered by Whitney Houston in 1990, merely her version was not widely heard equally it was released only every bit a bonus track in Nippon. In June 2019, vii years later Houston's death, Norwegian producer Kygo re-bundled and remixed her vocals to create a tropical firm version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Love" was certified Gold in the Us in Oct 2019, and the next month it reached Platinum in the United kingdom.[66] [67]

Track listing [edit]

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

No. Title Author(s) Length
one. "Higher Love" five:45
2. "Take Information technology As It Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker v:33
4. "Dorsum in the High Life Again" v:33
5. "The Finer Things" 5:47
vi. "Wake Me Up on Judgment Twenty-four hour period" 5:48
7. "Split Conclusion" Winwood, Joe Walsh v:58
8. "My Dearest's Leavin'" Winwood, Vivian Stanshall five: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). "Dorsum in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved vii Baronial 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (ii July 2020). "Album of the Day – July two: Steve Winwood – Back in the Loftier Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Almanac Grammy Awards (1986)". Recording University Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (thirty Baronial 1986). "Nautical chart Beat". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
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  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Make the Juices Flow". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (1 December 1988). "From Mr Fantasy to Mr Entertainment". Rolling Stone.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hullo-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While Y'all Come across A Gamble: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Pop Life; Winwood, at 32, a stone traditionalist". The New York Times. p. C 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (vii December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All Virtually the Bike. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (7 May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved 11 July 2020.
  17. ^ a b c Winwood, Steve (1986). Dorsum in the High Life (booklet). Island Records. A2 25448.
  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved ten July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood's Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Direct . Retrieved 10 July 2020.
  21. ^ a b c d due east f Parisi, Paula (26 July 1986). "Titelman Wears Many Hats at Warner Bros". Billboard. Vol. 98, no. thirty. p. 48. ISSN 0006-2510.
  22. ^ a b c d e White, Timothy (22 June 1996). "'Please Don't Wake Me'". Billboard. Vol. 108, no. 25. pp. 41–54. ISSN 0006-2510.
  23. ^ a b Titelman, Russ (11 July 2013). "Mailbag". Music Industry News . Retrieved 10 July 2020.
  24. ^ a b c d east f Jones, Ralph (December 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (2 Nov 1985). "Sound Runway: 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)

shormins1965.blogspot.com

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

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