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What Genre Is Back in the High Life Again

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1986 studio album by Steve Winwood

1986 studio anthology by Steve Winwood

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

Steve Winwood
Released thirty June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Ability Station (New York)
  • Right Rail (New York)
  • Giant Audio (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • stone
  • R&B
  • blue-eyed soul
Length 45:03
Characterization Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Nighttime
(1982) 		Dorsum in the High Life
(1986) 		Chronicles
(1987)
Singles from Back in the Loftier Life
  1. "Higher Love"
    Released: 20 June 1986
  2. "Separate Decision"
    Released: July 1986
  3. "Accept It Every bit Information technology Comes"
    Released: August 1986
  4. "Liberty Overspill"
    Released: August 1986
  5. "Back in the High Life Again"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Back in the High Life is the fourth solo anthology by English vocaliser, songwriter, and multi-instrumentalist Steve Winwood, released on thirty June 1986.[one] The album proved to be Winwood's biggest success to that date, certified Gold in the Great britain and 3× Platinum in the U.s., and it reached the top twenty in almost Western countries.[2] [three] Information technology collected three Grammy Awards[iv] and generated 5 hit singles, starting with "Higher Honey", which became Winwood's first Billboard Hot 100 number-ane nautical chart topper, coming xx years afterward he starting time entered that chart with "Keep on Running" by the Spencer Davis Group.[5] Other global hit singles from the album were "Freedom Overspill", "Back in the High Life Again" and "The Finer Things". The single "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'due south style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Unlike his ii prior albums, on which he played every instrument himself, Winwood fabricated all-encompassing employ of session musicians for this album, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself also 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 Dear", James Ingram on "Effectively Things", and James Taylor on the title rails. The album showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean area sounds into a rock, pop and R&B milieu.[i] [2] [vii] As with his previous albums, Dorsum in the Loftier Life served as an uplifting alternative to the angry or political punk that was sweeping the rock world.[8]

The anthology was recorded and released during a time of significant change in Winwood's personal life. Later touring N America to promote the album during Baronial–November 1986, Winwood divorced in England and so married in New York Metropolis. He bought a 2d domicile in Nashville, where he organized his next project, Chronicles, a retrospective album of before songs, including some remixes engineered by Tom Lord-Alge, whom Winwood had befriended in the making of Back in the High Life.

Groundwork [edit]

Winwood'south solo career had seen success in the UK with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his first major solo Us hit, reaching number 3 on the Billboard 200. His third album, Talking Back to the Night (1982), generated less of a response and was considered a let-down. The terminal two albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean abode studio "Netherturkdonic,"[9] but for his next projection Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner equally managing director, known for his piece of work with Madonna and Michael Jackson.[10] Weisner pushed Winwood to tape in London rather than at his home, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London proffer, simply Weisner responded, "Well, forget London. Maybe you should go to New York."[eight]

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'due south quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop standing half-hidden behind the Hammond organ and accept his position equally front man and entertainer.[8] [12] [13] Winwood said in 1988, "I made a witting endeavour to first working with musicians and producers and engineers. I got a managing director. I have to say that those people are straight or indirectly responsible for my success now."[viii] [14] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The High Life, well-nigh the 1985 Tour de French republic 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 up to the 1986 Tour de France, 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 ordinarily relied on other lyricists. He collaborated again with Texan Will Jennings, a professor of English language who had written the words to Winwood's song "While You See a Chance", a hit single in 1981. For this new project, Winwood'south fourth solo album, the pair equanimous five more than songs, 2 of which would become the biggest album hits: "Higher Love" and "Back in the Loftier Life Once again". Jennings carried the phrase "Back in the High Life" effectually as a song championship idea written down in a notebook, but when he was at Winwood's business firm in late 1984 he wrote the rest of the lyric in a half 60 minutes, without any music. More than a yr afterward, Winwood finally wrote the music, after being nudged to do then by Titelman, who was notified of its existence past Jennings. "Back in the High Life Again" came very most to being missed altogether.[xvi] Winwood said virtually teaming with Jennings, "We've got absolutely no rules when we work together. Sometimes nosotros 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 just happen naturally."[17]

A 2nd render collaborator was eccentric English songwriter and erstwhile Bonzo Dog Doo-Dah Ring frontman Vivian Stanshall, who had written the words for Winwood'due south "Dream Gerrard", appearing on Traffic's 1974 anthology When the Hawkeye Flies. The 2 frequently traded favours: Winwood played on both of Stanshall'south solo albums in the 1970s. More recently, Stanshall had come upward with the lyric to the song "Arc of a Diver", which provided the 1980 album title.[xviii] Stanshall joined with Winwood to create a demo version of "My Love's Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood'southward right-hand man at the studio and on the road.[19] Stanshall besides wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the High Life just was ultimately left off.[eighteen]

The 3rd returning lyricist was George Fleming, an old friend of Winwood'southward and the nephew of James Bail creator Ian Fleming. George Fleming had written ii songs for Arc of a Diver – "Second-manus Adult female" and "Dust" – which were his first-ever compositions.[9] 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 role player who toured in Winwood's ring starting in 1983.[twenty]

Recording [edit]

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

"The timing was correct. Stevie was set to effort something different. He had been working on tracks for about a year and some of the songs were demoed pretty seriously. I wasn't brought in for whatsoever drastic changes. I think he might have wanted to take some responsibility off his own shoulders."
    —Russ Titelman on existence selected as co-producer[21]

In July 1985,[10] Winwood settled into New York City for Baronial recording sessions at Power Station, getting an apartment off Madison Artery near Key Park Zoo. Russ Titelman was chosen to co-produce the album because he was already familiar with Winwood'due south keyboard work on Titelman'due south before productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had also produced the Rufus/Chaka Khan vocal "Ain't Nobody", which won the artists a functioning Grammy in 1984, and was one of Weisner's favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Power Station nether engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's 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 too engineered sessions at Right Rail Recording. When Corsaro had to leave to award a commitment with Fleetwood Mac,[24] Titelman moved the projection to Giant Audio for a couple of weeks in October.[25]

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

Session keyboard histrion Robbie Kilgore told Winwood and Titelman that he knew three talented brothers who engineered at a nearby studio with a broad 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 only like Winwood's at Netherturkdonic, so Titelman moved the project at that place in early Nov 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-nighttime jam sessions in which he invited whatever interested musicians to bring together him.[29] In the finish, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-lx.[21]

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

Back in the High Life was mixed through May 1986 by Tom Lord-Alge in Unique's Studio B on the 48-aqueduct SSL 4000E. A pair of linked 24-runway tape recorders was initially mixed down to stereo on a Studer A-80 half-inch 2-rail deck.[31] [32] At 1 point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-eighty open up-reel 2-runway recorder. The greater sonic clarity achieved this manner 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 trick or 2 of his own.[26] Titelman said Tom "uses the SSL like a histrion uses an instrument".[24] According to Tom, between x and twenty percent of the Ability Station and other previous tracks ended up on the anthology. The great bulk of Dorsum in the Loftier 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 broaden or supervene upon the pulsate automobile parts. On tape, the anthology 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 drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hitting records under his belt, including the charity unmarried "Nosotros Are the World" and Michael Jackson's multi-Platinum "Don't Stop 'Til Yous Get Plenty". To become a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the center of the chief room of Studio B, with eight additional microphones positioned effectually the room to capture audio-wave reflections and increase the ratio of room ambience.[21] [34]

"College Beloved" was first 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 alive, but the producers felt that this, besides, was not quite suitable.[34] Instead, the rhythm part for the song was constructed as a combination of electronic drums, JR'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, brilliant sounds from the pulsate kit, so he chose brass snares such every bit a vintage 1930 Ludwig for "Split Decision", and the vintage Black Beauty on "Higher Love". JR tuned his drumheads high to satisfy Winwood, unlike another of JR's bandleaders, Bob Seger, who wanted just low-pitched drums.[33] Real drums augmented or replaced the electronic drums on every song on the album except "My Love'due south Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher Love" pulsate-fill [edit]

Tom says he "clinched the gig" when he made a proposition to Titelman as the overdubbing was winding downwardly and mixing was shortly to begin. The suggestion involved Tom moving one of JR's impromptu drum fills to the beginning of "Higher Honey", by assigning a timing first to one of two tape machines such that they first played the drum make full followed by the song coming in on the beat.[27] Titelman was very happy with the result, and decided to open 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 pattern was a Latin rimshot technique across the elevation of his classic seamless brass Ludwig Blackness Beauty snare, unmuffled, with its snare wires disengaged, to emulate the sound of a timbale. He said, "information technology's i of the all-time drum intros I've e'er played."[33]

Titelman remembered the make full being played ad lib by JR while his friend Chaka Khan was preparing to sing her background vocals on "Higher Love", causing Khan to exclaim "What is that shit? It sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the drum fill up was played as a lark after JR had completed his drum overdubs for "Higher Love". Tom said, "Information technology was 1 of those happy accidents, and information technology happened because Chris always taught me that if the tape is rolling and there'south a musician in the studio, make sure the record car is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Decision" with Winwood

Titelman tapped James Taylor to add together background vocals to "Back in the High Life Again", after hearing the slowed-downward Winwood and Bralower version. Titelman felt that the song fit Taylor's style perfectly.[22] Another Titelman conclusion was to phone 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 Back-scratch were all Titelman'south 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 manager 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's James Gang years. More than a decade later Walsh phoned "out of the blueish" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In Oct,[35] the two wrote "Split Decision" together, the only song on the album written entirely during the recording procedure in New York. Walsh besides performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split Decision" in a wholly unrehearsed functioning – his usual style. Winwood felt challenged to do the same on synthesizer.[19]

Marketing and video [edit]

Back in the Loftier Life was a top x striking on the album charts in the U.s., peaking at number 3, and has sold over five million copies. The single "College Beloved" first entered the U.s.a. charts at number 77 during the calendar week of xiv June 1986,[36] then proceeded to top the singles chart at the finish of August and win the Grammy Award for "Tape of the Twelvemonth"; "Back in the High Life Again" (U.s.a. number thirteen), "The Finer Things" (United states of america number eight, the second-biggest hit from the anthology), and "Liberty Overspill" (The states number 20) were as well big hits. "Carve up Determination" failed to chart in other countries but rose to number 3 in the Usa. "Take It As It Comes" fared less well, reaching number 33 in the US.[half-dozen] Island had promoted Dorsum in the Loftier Life successfully, basing the campaign on the thought 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 Love", and selected Peter Kagan and Paula Greif to direct information technology, on the strength of their video for "The Love Parade" by the Dream University.[37] Weisner relayed his wish that Winwood should await similar an entertainer, that he should not hide behind the Hammond every bit in the by.[viii] Shooting took place in June 1986, primarily on 35 mm film stock, just sometimes using a hand-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 toe flooring to capture movement. Laura Israel and Glenn Lazzaro edited the film to U-matic video, then mastered to 1-inch tape 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 adjacent to Chaka Khan, and he dances with several women wearing tropical article of clothing as different scenes modify from colour to black-and-white.[8] Nile Rodgers plays electrical guitar in the band, wearing a vivid squeegee. At the 1987 MTV Video Music Awards, "Higher Love" was nominated for Video of the Yr, Best Male person Video, Best Editing, and Best Direction, merely lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was also nominated for Best Choreography, honouring Ed Honey's work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Beloved" 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 N America to promote the anthology, starting on 22 Baronial 1986 with a bear witness at Pino Knob Music Theatre n of Detroit, with reggae artist Jimmy Cliff as the opening act.[twoscore] [41] In Winwood'south eight-piece ring, James Hooker, co-author of "Freedom Overspill", continued in his role as second keyboard role player. Winwood's homo in Turkdean, Nobby Clarke, resumed as road manager. The tour played dates in Ohio, Illinois, Maryland, New York, Pennsylvania, Massachusetts, Florida, Georgia, Tennessee and Arkansas. In Oct 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 audition members might exist thinking "Gimme Some Lovin'" was a Dejection Brothers cover because it had been in the film The Blues Brothers (1980).[42]

Later Texas, Winwood played Colorado and Arizona, where English ring Level 42 became the opening act. Their 1985 World Machine anthology had brought greater fame and introduced more electronic and pop elements to their sound. The Arizona Republic remarked about how well they fit with Winwood's fashion, both sharing a "multilayered instrumentation and a prominent beat."[43] The bout connected through 4 dates in California, the fourth at the Agree Pavilion, where the San Francisco Examiner reviewed the prove, noting that Winwood played very niggling guitar and a scrap of mandolin, and performed his electrical guitar solos on the keyboards to strike a "balance between his instruments and vox." Danny Wolinski on saxophone and Bob Leffert on trumpet were named every bit "outstanding" musicians. Winwood started the concert softly with "The Depression Spark of Loftier Heeled Boys", then finished large with "Back in the Loftier Life Again".[44]

Level 42 and Winwood's band moved up the Pacific Declension to Oregon and Washington, crossing into Canada for 1 night in British Columbia, and some other in Alberta. They headed eastward to play 9 more dates in the The states plus one in Toronto. The tour ended on 23 Nov in Virginia at the Patriot Center. Not every show enjoyed good reviews: Stone critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut'south New Haven Coliseum, describing how most of the two-hour show was "less than captivating" because of Winwood'due south 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 testify worthwhile.[45] A month later, the Courant published rebuttals past two readers who had witnessed the same concert, one saying, "This was i of the best concerts I have ever attended, and judging from the clapping, dancing, singing and cheering of the audience, I assume that many others would concur with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [one]
Encyclopedia of Pop Music [47]
The Swell Rock Discography 8/10[47]
Los Angeles Times [48]
MusicHound Rock 4/v[47]
Music Story [47]
The Rolling Stone Album Guide [47]
The Hamlet Voice C[49]

Dorsum in the High Life was met with generally positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed information technology as "the starting time undeniably superb record of an most decade-long solo career" for Winwood.[l] Stereo Review magazine'south Marking Peel said the anthology "weds Winwood's sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "it's Low-cal Soul, simply Russ Titelman's production and the outstanding recording task bring out every instrument with a bite and clarity that are often spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Dorsum in the High Life by and large "sounds equally beautiful equally the exemplary message of hope it espouses", with themes of "organized religion, confusion, [and] a yearning for spiritual clarity" making it more than simply "a decidedly tasteful record".[52]

The album was non without criticism. McKenna suggested that the songs are flawed past somewhat indulgent lengths, singling out the Walsh duet "Split Decision" for "meander[ing] nearly rather aimlessly".[52] The Village Voice reviewer Robert Christgau was more critical. He found Winwood's lyrics to be truthful and unpretentious but ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood being "a wunderkind with more than talent than brains", who "after two decades of special treatment … derives all the cocky-esteem he needs just from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, proverb that Winwood's inventiveness had abandoned him in 1971, and that this new album was proof that "the spark is gone." He complimented "Higher Dearest" for its catchy tune and electronic production, but he criticised the album as a whole, saying, "The songs really have no content, though Winwood's gorgeous blue-eyed soul voice almost convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood'southward 1988 follow-up album Roll with It, Dennis Hunt of the Los Angeles Times called Back in the High 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 alleged it "the epitome of sophisticated mid-80s AOR, as Winwood adds Caribbean and gospel flavours to his popular, stone and R&B mix."[55]

Legacy [edit]

In the UK, Dorsum in the High Life was certified Gold by BPI in August 1986.[56] In the US, Gold was reached almost as speedily but stiff sales continued for a longer menstruation, raising the album to Platinum in October 1986. With steady sales through 1987, the anthology was certified iii× 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 tardily 1985 while he was still recording on the other side of the Atlantic Body of water. Around the same time, Winwood went to hear a Junior Walker concert at the Lonely Star Buffet in New York City and met a Nashville adult female named Eugenia Crafton; the two struck upward a relationship.[58] Crafton was Winwood'south girlfriend in mid-December 1985 when Will Jennings visited New York City with his own paramour, singer-songwriter Marshall Chapman. They went out as a foursome to savour the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing marriage individual: When he started his album tour in August 1986, he instructed his staff to inform journalists that he would not respond any questions about his personal life.[42] Winwood's divorce was finalised in Dec 1986, and then Crafton and Winwood married in January in a private anniversary held at Fifth Avenue Presbyterian Church building.[58] [60] [61] When he stepped up to the podium on 24 Feb 1987 to accept ane of two Grammy Awards, Winwood said, "I'd like to say how much an award like that means to me. The more I'k involved in making records the more than information technology seems to mean. And so 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 first child, Mary Clare, was born in May 1987. The new Nashville vibe lent its sound to Winwood's fifth album, Roll With It, released in June 1988, which would eventually surpass Back in the High Life in sales.[60]

The song "College Dearest" was covered by Irish singer-songwriter James Vincent McMorrow, who recorded a stripped-downwards, ethereal acoustic version of it in 2011 for a compilation album called Silver Lining, produced to benefit the Irish charity Headstrong. The album raised €225,000.[63] McMorrow'southward embrace version was likewise used in Europe for an Amazon visitor advertisement. Information technology was picked up over again in 2017 for an American television commercial promoting the Hyundai Kona car. McMurrow said, "It's a cute melody, the chord structure of that song is actually complex. When I used to play it on the guitar just to myself, I was always struck by how interesting information technology was."[64] "Higher Dear" was also covered by Whitney Houston in 1990, but her version was non widely heard as it was released just as a bonus rail in Japan. In June 2019, seven years after Houston's death, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical firm version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Love" was certified Gold in the Us in October 2019, and the side by side calendar month information technology reached Platinum in the U.k..[66] [67]

Track listing [edit]

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

No. Title Writer(s) Length
1. "Higher Dear" v:45
2. "Accept It Equally Information technology Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Dorsum in the High Life Over again" 5:33
5. "The Effectively Things" 5:47
6. "Wake Me Up on Judgment Twenty-four hours" 5:48
7. "Split Decision" Winwood, Joe Walsh 5:58
viii. "My Dearest'south Leavin'" Winwood, Vivian Stanshall 5:19

Personnel [edit]

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

Industry awards [edit]

Grammy Awards [edit]

MTV Video Music Awards [edit]

Charts [edit]

Certifications [edit]

References [edit]

  1. ^ a b c Ruhlmann, William (2011). "Back in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
  2. ^ a b Hughes, Rob (3 Oct 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Stone . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the Day – July 2: Steve Winwood – Back in the High Life". Pop Off. Medium. Retrieved ix July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (30 August 1986). "Chart Beat". Billboard. Vol. 98, no. 35. p. ten. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Separate Decision"". Billboard. Retrieved fifteen 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 e f DeCurtis, Anthony (one December 1988). "From Mr Fantasy to Mr Entertainment". Rolling Rock.
  9. ^ a b Black, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hi-Fi News & Record Review.
  10. ^ a b Van der Kiste, John (2018). While You Come across A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Popular Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C xv.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (vii December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Stone . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Curl With Information technology. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All Nearly 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). Back in the High Life (booklet). Isle Records. A2 25448.
  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved 10 July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood'southward 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 e f Parisi, Paula (26 July 1986). "Titelman Wears Many Hats at Warner Bros". Billboard. Vol. 98, no. 30. p. 48. ISSN 0006-2510.
  22. ^ a b c d due east White, Timothy (22 June 1996). "'Please Don't Wake Me'". Billboard. Vol. 108, no. 25. pp. 41–54. ISSN 0006-2510.
  23. ^ a b Titelman, Russ (11 July 2013). "Mailbag". Music Industry News . Retrieved 10 July 2020.
  24. ^ a b c d e f Jones, Ralph (Dec 1986). "Product 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)

dejesusnotin1974.blogspot.com

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

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