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Who Sang Back in the Highlife Again

Written By ۱۴۰۱ فروردین ۱۶, سه‌شنبه Add Comment Edit

1986 studio anthology by Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Correct Rails (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Popular
  • rock
  • R&B
  • bluish-eyed soul
Length 45:03
Label Isle
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Dorsum to the Night
(1982) 		Back in the Loftier Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "Higher Beloved"
    Released: 20 June 1986
  2. "Dissever Decision"
    Released: July 1986
  3. "Take It Equally 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: Feb 1987

Back in the High Life is the 4th solo album past English singer, songwriter, and multi-instrumentalist Steve Winwood, released on thirty June 1986.[1] The album proved to be Winwood'south biggest success to that appointment, certified Golden in the UK and iii× Platinum in the U.s.a., and it reached the top twenty in most Western countries.[ii] [3] It collected 3 Grammy Awards[iv] and generated five striking singles, starting with "College Love", which became Winwood's start Billboard Hot 100 number-ane chart topper, coming 20 years after he kickoff entered that chart with "Go on on Running" by the Spencer Davis Group.[v] Other global hit singles from the anthology were "Freedom Overspill", "Back in the Loftier Life Again" and "The Finer Things". The unmarried "Split Decision", with ex-Eagles guitarist Joe Walsh, was a The states hit.[6]

Musically, the album was polished and sophisticated, representative of popular production in the 1980s, featuring Winwood'due south manner 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 use of session musicians for this anthology, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself too performed on a big 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 "Finer Things", and James Taylor on the title track. The anthology showcased Winwood'south lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean area sounds into a stone, pop and R&B milieu.[i] [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 fourth dimension of significant change in Winwood'due south personal life. Subsequently touring North America to promote the album during August–November 1986, Winwood divorced in England and and then married in New York City. He bought a second home in Nashville, where he organized his next project, Chronicles, a retrospective album of earlier songs, including some remixes engineered by Tom Lord-Alge, whom Winwood had befriended in the making of Back in the High Life.

Background [edit]

Winwood'due south solo career had seen success in the Uk with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter beingness his start major solo US striking, reaching number 3 on the Billboard 200. His third album, Talking Dorsum to the Night (1982), generated less of a response and was considered a let-downward. 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 next project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner as manager, known for his work with Madonna and Michael Jackson.[ten] Weisner pushed Winwood to tape in London rather than at his habitation, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London proffer, just Weisner responded, "Well, forget London. Maybe you lot should go to New York."[eight]

Winwood was already acquainted with New York, having stayed at the Central Park South flat of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood'south quasi-managing director for a few years, merely Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop standing half-hidden backside the Hammond organ and accept his position as front end human and entertainer.[viii] [12] [13] Winwood said in 1988, "I fabricated a conscious try to start working with musicians and producers and engineers. I got a director. I accept to say that those people are directly or indirectly responsible for my success at present."[8] [fourteen] Betwixt sessions for Back in the Loftier 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 every bit Philippa York). The documentary was produced past ITV Granada; it aired in the weeks leading up to the 1986 Bout de French republic, in which Millar competed.[vii] [15]

Writing [edit]

Songwriting for the album began afterwards Talking Dorsum was released. Winwood wrote his ain music just he usually relied on other lyricists. He collaborated again with Texan Will Jennings, a professor of English who had written the words to Winwood's song "While You See a Chance", a hit single in 1981. For this new projection, Winwood's fourth solo album, the pair composed five more songs, ii of which would go the biggest album hits: "Higher Love" and "Back in the High Life Again". Jennings carried the phrase "Back in the High Life" effectually as a vocal title idea written down in a notebook, just when he was at Winwood's firm in tardily 1984 he wrote the rest of the lyric in a half 60 minutes, without any music. More than a twelvemonth afterward, Winwood finally wrote the music, after being nudged to do and so by Titelman, who was notified of its existence by Jennings. "Back in the Loftier Life Again" came very well-nigh to being missed altogether.[16] 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 start 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 language songwriter and erstwhile Bonzo Domestic dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", actualization on Traffic'southward 1974 anthology When the Hawkeye Flies. The two often traded favours: Winwood played on both of Stanshall'due south solo albums in the 1970s. More recently, Stanshall had come up with the lyric to the vocal "Arc of a Diver", which provided the 1980 album title.[xviii] Stanshall joined with Winwood to create a demo version of "My Love's Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's right-hand homo 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 nether consideration for Back in the High Life but was ultimately left off.[18]

The 3rd 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 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 thespian who toured in Winwood's band starting in 1983.[20]

Recording [edit]

Ability Station, Correct Track Recording, and Giant Audio sessions [edit]

"The timing was correct. 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 desperate changes. I think he might accept wanted to have some responsibleness off his ain shoulders."
    —Russ Titelman on being selected as co-producer[21]

In July 1985,[x] Winwood settled into New York Urban center 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 work on Titelman'south earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had also produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a functioning Grammy in 1984, and was one of Weisner'south favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Power Station nether engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and musical 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 Loftier Life Over 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 honour a commitment with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in October.[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 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's at Netherturkdonic, so 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 bring together him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60.[21]

Chris Lord-Alge was the more accomplished of the iii engineer brothers, but he had been pushing Tom into positions of greater responsibility; Tom earned his way to get head engineer on the Winwood album, his first time in the part.[30]

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-rails tape recorders was initially mixed down to stereo on a Studer A-80 half-inch 2-rail deck.[31] [32] At one indicate the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open-reel ii-track recorder. The greater sonic clarity achieved this way was profound enough for Titelman and Winwood to decide that the whole anthology must be 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 thespian uses an instrument".[24] According to Tom, betwixt ten and 20 percent of the Power Station and other previous tracks ended upwardly on the anthology. The great majority of Back in the High Life came from overdubbing at Unique.[26]

Drums [edit]

One time Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or supplant the drum car parts. On tape, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were non 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 under his belt, including the clemency unmarried "We Are the Earth" and Michael Jackson's multi-Platinum "Don't End 'Til You Become Plenty". To go a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the center of the main room of Studio B, with 8 additional microphones positioned around the room to capture sound-wave reflections and increase the ratio of room ambient.[21] [34]

"Higher Love" was showtime tracked with a simple drum machine loop, which Titelman felt was "flat", non quite fitting with the synth layers, which had been created mainly by Kilgore. Titelman tried replacing all the electronic drums with JR playing live, but the producers felt that this, too, was not quite suitable.[34] Instead, the rhythm part for the song was constructed every bit a combination of electronic drums, JR'due south alive 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, brilliant sounds from the drum kit, so he chose contumely snares such as a vintage 1930 Ludwig for "Split Decision", and the vintage Blackness Dazzler on "Higher Love". JR tuned his drumheads high to satisfy Winwood, unlike another of JR's bandleaders, Bob Seger, who wanted only low-pitched drums.[33] Existent drums augmented or replaced the electronic drums on every song on the album except "My Honey'due south Leavin'", on which the drum parts stayed purely electronic.[21]

"College Beloved" drum-fill up [edit]

Tom says he "clinched the gig" when he made a suggestion to Titelman every bit the overdubbing was winding downwards and mixing was soon to begin. The suggestion involved Tom moving one of JR'southward impromptu drum fills to the beginning of "Higher Love", by assigning a timing showtime to 1 of two record machines such that they first played the drum fill followed by the vocal coming in on the beat.[27] Titelman was very happy with the event, and decided to open the album with this drum fill. The opening eventually became so famous that JR put it on his answering car as a professional calling card. JR said the blueprint was a Latin rimshot technique across the height of his archetype seamless contumely Ludwig Black Dazzler snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "information technology'due south i of the best drum intros I've ever played."[33]

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

Notable collaborators [edit]

Joe Walsh co-wrote "Separate Decision" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Once again", after hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'southward style perfectly.[22] Some other Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Upwardly 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 likewise 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 join the project.[22] Walsh and Winwood had met during Walsh'southward James Gang years. More than a decade later on Walsh phoned "out of the blue" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In October,[35] the ii wrote "Split Decision" together, the only vocal 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 "Carve up Decision" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to practice the same on synthesizer.[xix]

Marketing and video [edit]

Back in the High Life was a pinnacle ten hit on the album charts in the United States, peaking at number 3, and has sold over five million copies. The single "Higher Love" starting time entered the US charts at number 77 during the week of 14 June 1986,[36] and 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 Loftier Life Once again" (US number 13), "The Finer Things" (United states of america number 8, the second-biggest hit from the album), and "Freedom Overspill" (US number 20) were likewise big hits. "Split Conclusion" failed to chart in other countries but rose to number 3 in the United states of america. "Take Information technology As It Comes" fared less well, reaching number 33 in the US.[half dozen] Island had promoted Back in the High Life successfully, basing the campaign on the idea that Winwood was on a "comeback".[3]

Weisner pushed Winwood to promote the anthology with at least one video that could be shown on MTV. Island Records agreed. They chose "Higher Beloved", and selected Peter Kagan and Paula Greif to straight information technology, on the force of their video for "The Dear Parade" past the Dream Academy.[37] Weisner relayed his wish that Winwood should expect similar an entertainer, that he should not hide behind the Hammond as in the by.[8] Shooting took place in June 1986, primarily on 35 mm film stock, simply sometimes using a mitt-held camera, particularly 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 dance flooring to capture movement. Laura Israel and Glenn Lazzaro edited the picture show to U-matic video, then mastered to 1-inch tape with a team of administration.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in front of the ring, he stands next to Chaka Khan, and he dances with several women wearing tropical clothing every bit dissimilar scenes change from colour to blackness-and-white.[viii] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Love" was nominated for Video of the Twelvemonth, Best Male Video, All-time Editing, and Best Management, but lost to Peter Gabriel's "Sledgehammer" in all iv categories. The video was besides nominated for Best Choreography, honouring Ed Beloved's work with the dancers, and it was nominated for All-time 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 bout of N America to promote the anthology, starting on 22 Baronial 1986 with a show at Pino Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening act.[40] [41] In Winwood'due south 8-piece band, James Hooker, co-writer of "Freedom Overspill", continued in his function every bit second keyboard actor. Winwood's homo in Turkdean, Nobby Clarke, resumed as route manager. The tour played dates in Ohio, Illinois, Maryland, New York, Pennsylvania, Massachusetts, Florida, Georgia, Tennessee and Arkansas. In October when he was "somewhere" in Texas, Winwood told the Los Angeles Times that he was seeing the largest audition reactions on the songs "Higher Dear" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audition members might be thinking "Gimme Some Lovin'" was a Blues Brothers cover because it had been in the movie The Blues Brothers (1980).[42]

Later Texas, Winwood played Colorado and Arizona, where English language ring Level 42 became the opening act. Their 1985 World Auto anthology had brought greater fame and introduced more than electronic and popular elements to their sound. The Arizona Commonwealth remarked about how well they fit with Winwood'due south style, both sharing a "multilayered instrumentation and a prominent beat."[43] The bout 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 little guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "balance between his instruments and voice." Danny Wolinski on saxophone and Bob Leffert on trumpet were named as "outstanding" musicians. Winwood started the concert softly with "The Depression Spark of High Heeled Boys", then finished large with "Back in the Loftier Life Again".[44]

Level 42 and Winwood'south band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for one night in British Columbia, and some other in Alberta. They headed east to play ix more dates in the US plus one in Toronto. The tour ended on 23 Nov in Virginia at the Patriot Center. Non every show enjoyed proficient 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 testify was "less than captivating" because of Winwood'due south shyness onstage. Rizzo felt that a few hot solos from the ring, and a rousing last number that got the crowd continuing for "Gimme Some Lovin'", were not plenty to make the testify worthwhile.[45] A month later, the Courant published rebuttals past ii readers who had witnessed the same concert, 1 saying, "This was one of the best concerts I take ever attended, and judging from the clapping, dancing, singing and auspicious of the audition, I assume that many others would agree with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [one]
Encyclopedia of Popular Music [47]
The Nifty Rock Discography eight/x[47]
Los Angeles Times [48]
MusicHound Rock 4/5[47]
Music Story [47]
The Rolling Rock Album Guide [47]
The Village Voice C[49]

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

The anthology was not without criticism. McKenna suggested that the songs are flawed past somewhat indulgent lengths, singling out the Walsh duet "Divide Decision" for "meander[ing] about rather aimlessly".[52] The Hamlet Voice reviewer Robert Christgau was more disquisitional. He found Winwood's lyrics to be true 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 treatment … derives all the self-esteem he needs simply from surviving, equally they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood's creativity had abased him in 1971, and that this new anthology was proof that "the spark is gone." He complimented "College Love" for its catchy melody and electronic production, but he criticised the anthology every bit a whole, saying, "The songs really accept no content, though Winwood's gorgeous blue-eyed soul voice near convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood'due south 1988 follow-up album Scroll with Information technology, Dennis Chase of the Los Angeles Times called Back in the Loftier Life "arguably the all-time R&B album by a white singer in the terminal v years".[54] Years later, in The Rough Guide to Stone (2003), Justin Lewis declared it "the epitome of sophisticated mid-80s AOR, as Winwood adds Caribbean area and gospel flavours to his pop, rock and R&B mix."[55]

Legacy [edit]

In the U.k., Dorsum in the High Life was certified Gold past BPI in August 1986.[56] In the Us, Gold was reached almost every bit quickly but potent sales continued for a longer flow, raising the album to Platinum in October 1986. With steady sales through 1987, the anthology was certified 3× Platinum past 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 2 struck upwards a human relationship.[58] Crafton was Winwood'due south girlfriend in mid-December 1985 when Will Jennings visited New York Metropolis with his ain paramour, singer-songwriter Marshall Chapman. They went out as a foursome to relish the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and declining marriage individual: When he started his album tour in Baronial 1986, he instructed his staff to inform journalists that he would not answer any questions about his personal life.[42] Winwood'southward divorce was finalised in Dec 1986, then Crafton and Winwood married in Jan in a individual ceremony held at 5th Artery Presbyterian Church.[58] [threescore] [61] When he stepped upwards to the podium on 24 February 1987 to accept one of 2 Grammy Awards, Winwood said, "I'd like to say how much an award like that ways to me. The more I'm involved in making records the more information technology seems to mean. And then I would like to thank everyone who has written for me... And finally, I would like to thank my wife."[62] Winwood settled in Nashville, and his outset child, Mary Clare, was born in May 1987. The new Nashville vibe lent its sound to Winwood'south fifth album, Curlicue With It, released in June 1988, which would eventually surpass Dorsum in the Loftier Life in sales.[60]

The vocal "Higher Dear" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of information technology in 2011 for a compilation album called Argent Lining, produced to do good the Irish charity Headstrong. The album raised €225,000.[63] McMorrow's cover version was also used in Europe for an Amazon visitor advert. It was picked up once again in 2022 for an American television commercial promoting the Hyundai Kona automobile. McMurrow said, "It'due south a beautiful melody, the chord construction of that song is actually circuitous. When I used to play it on the guitar merely to myself, I was always struck by how interesting it was."[64] "Higher Love" was also covered by Whitney Houston in 1990, just her version was non widely heard as it was released only as a bonus track in Nihon. In June 2019, vii years afterwards 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 Dearest" was certified Gold in the United states of america in October 2019, and the next month it reached Platinum in the U.k..[66] [67]

Track list [edit]

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

No. Title Author(south) Length
i. "Higher Love" 5:45
ii. "Have It As It Comes" v:twenty
3. "Liberty Overspill" Steve Winwood, George Fleming, James Hooker v:33
4. "Back in the High Life Once more" 5:33
5. "The Finer Things" v:47
6. "Wake Me Upward on Judgment Day" 5:48
7. "Carve up Determination" Winwood, Joe Walsh v:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall 5:19

Personnel [edit]

Adapted 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]

  1. ^ a b c Ruhlmann, William (2011). "Back in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and across". 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 High Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (thirty Baronial 1986). "Chart Beat". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Dissever Decision"". Billboard. Retrieved 15 July 2020.
  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Make the Juices Flow". The New York Times.
  8. ^ a b c d east f DeCurtis, Anthony (1 December 1988). "From Mr Fantasy to Mr Amusement". Rolling Stone.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". How-do-you-do-Fi News & Tape Review.
  10. ^ a b Van der Kiste, John (2018). While Yous Run across A Take chances: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Popular Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C xv.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (vii December 2016). "How Steve Winwood Survived the '80s". Ultimate Archetype Rock . Retrieved ten July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All About the Bike. Chicago Review Printing. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (7 May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved eleven 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 x July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood'southward Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Direct . Retrieved 10 July 2020.
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  22. ^ a b c d eastward 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 Manufacture News . Retrieved 10 July 2020.
  24. ^ a b c d e f Jones, Ralph (December 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
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External links [edit]

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

wiensapprive.blogspot.com

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

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