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Back in the High Life Again

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1986 studio album by Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Right Track (New York)
  • Behemothic Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • blue-eyed soul
Length 45:03
Label Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Night
(1982) 		Back in the Loftier Life
(1986) 		Chronicles
(1987)
Singles from Back in the High Life
  1. "College Love"
    Released: 20 June 1986
  2. "Dissever Decision"
    Released: July 1986
  3. "Take It As It Comes"
    Released: Baronial 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the High Life Again"
    Released: December 1986
  6. "The Effectively Things"
    Released: February 1987

Back in the High Life is the fourth solo album past English language vocalist, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[1] The anthology proved to exist Winwood's biggest success to that date, certified Gilt in the UK and 3× Platinum in the Usa, and it reached the top twenty in most Western countries.[2] [iii] It collected three Grammy Awards[4] and generated five hit singles, starting with "Higher Love", which became Winwood'due south first Billboard Hot 100 number-one nautical chart topper, coming xx years after he first entered that chart with "Keep on Running" by the Spencer Davis Group.[v] Other global hit singles from the album were "Freedom Overspill", "Dorsum in the High Life Again" and "The Finer Things". The single "Divide Decision", with ex-Eagles guitarist Joe Walsh, was a The states hit.[vi]

Musically, the album was polished and sophisticated, representative of pop production in the 1980s, featuring Winwood's way of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Unlike his 2 prior albums, on which he played every instrument himself, Winwood made extensive use of session musicians for this album, including Joe Walsh and Nile Rogers on guitars and JR Robinson on drums. Winwood himself as well 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 Honey", James Ingram on "Finer Things", and James Taylor on the title rails. The anthology showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, popular and R&B milieu.[1] [two] [7] Every bit with his previous albums, Dorsum in the High Life served as an uplifting alternative to the aroused 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 North America to promote the album during August–November 1986, Winwood divorced in England and then married in New York Urban center. He bought a 2d home in Nashville, where he organized his side by side 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's solo career had seen success in the U.k. with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his first major solo U.s.a. 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 last two albums had been created by Winwood playing all the instruments himself at his technologically avant-garde Turkdean home studio "Netherturkdonic,"[nine] 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.[10] Weisner pushed Winwood to record in London rather than at his dwelling, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London suggestion, but Weisner responded, "Well, forget London. Maybe you should go to New York."[8]

Winwood was already acquainted with New York, having stayed at the Cardinal Park S apartment of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving as Winwood's quasi-director for a few years, merely Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to stop standing one-half-hidden behind the Hammond organ and accept his position every bit forepart man and entertainer.[eight] [12] [13] Winwood said in 1988, "I made a conscious effort to start working with musicians and producers and engineers. I got a manager. I have to say that those people are directly or indirectly responsible for my success now."[8] [14] Betwixt sessions for Back in the High Life, Winwood booked some other studio, where he scored synthesizer-based music for the documentary The High Life, almost the 1985 Tour de France experience of Scottish bicycle racer Robert Millar (later known equally Philippa York). The documentary was produced by ITV Granada; it aired in the weeks leading upward to the 1986 Tour de France, in which Millar competed.[vii] [15]

Writing [edit]

Songwriting for the anthology began afterward Talking Dorsum was released. Winwood wrote his own music only he normally relied on other lyricists. He collaborated once again with Texan Will Jennings, a professor of English who had written the words to Winwood's song "While You Meet a Risk", a hit single in 1981. For this new projection, Winwood'south fourth solo album, the pair composed five more songs, two of which would become the biggest album hits: "College Dearest" and "Back in the High Life Again". Jennings carried the phrase "Dorsum in the Loftier Life" around as a song title idea written downwardly in a notebook, only when he was at Winwood's house in late 1984 he wrote the rest of the lyric in a half hour, without any music. More than a yr afterward, Winwood finally wrote the music, after existence nudged to do then by Titelman, who was notified of its existence past Jennings. "Back in the High Life Again" came very about to being missed altogether.[xvi] Winwood said most teaming with Jennings, "We've got admittedly no rules when we work together. Sometimes we start with the lyric, sometimes with the melody; sometimes we start with chorus and add together the verses, and sometimes I write some of the lyrics myself. There are no formulas; things just happen naturally."[17]

A second return collaborator was eccentric English language songwriter and one-time Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic's 1974 album When the Eagle Flies. The two often traded favours: Winwood played on both of Stanshall'southward solo albums in the 1970s. More recently, Stanshall had come 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's Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's right-hand human being at the studio and on the road.[19] Stanshall also wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the Loftier Life but was ultimately left off.[xviii]

The third returning lyricist was George Fleming, an sometime 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 outset-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–Astonishing Rhythm Ace James Hooker, an American keyboard thespian who toured in Winwood's band starting in 1983.[twenty]

Recording [edit]

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

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

In July 1985,[10] Winwood settled into New York City for August recording sessions at Power Station, getting an apartment off Madison Avenue near Fundamental Park Zoo. Russ Titelman was called to co-produce the anthology considering 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 performance Grammy in 1984, and was ane of Weisner's favorite songs, aiding in the selection of Titelman.[22] Tracking began in Studio C at Power Station under engineer Jason Corsaro, with Winwood laying downwardly drum auto, 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 piece of work out the sequencing for "Back in the High Life Once again", featuring a conga loop devised past Bralower on the Roland TR-808.[23] Corsaro as well engineered sessions at Correct Track Recording. When Corsaro had to leave to honor a commitment with Fleetwood Mac,[24] Titelman moved the projection to Behemothic 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 option 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 merely like Winwood's at Netherturkdonic, and 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 join him.[29] In the terminate, 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 three engineer brothers, just he had been pushing Tom into positions of greater responsibility; Tom earned his manner to get head engineer on the Winwood album, his kickoff time in the role.[xxx]

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-track tape recorders was initially mixed down to stereo on a Studer A-80 one-half-inch 2-track deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi Ten-80 open-reel 2-track recorder. The greater sonic clarity accomplished this way was profound enough for Titelman and Winwood to make up one's mind 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 two of his own.[26] Titelman said Tom "uses the SSL like a player uses an instrument".[24] According to Tom, between 10 and 20 percentage of the Ability Station and other previous tracks ended upwardly on the album. The corking majority of Dorsum in the High Life came from overdubbing at Unique.[26]

Drums [edit]

Once Winwood settled in at Unique, Titelman decided to bring in a existent drummer to augment or replace the drum automobile parts. On record, the album already had Roland, LinnDrum and Simmons electronic drum sounds, but these were not setting the correct tone for many of the songs. Session drummer John "JR" Robinson was called in from a nearby George Benson session, bringing his own drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hitting records under his belt, including the charity single "We Are the Globe" and Michael Jackson's multi-Platinum "Don't Finish 'Til You lot Get Enough". To get a larger-than-life pulsate sound, Titelman and the Lord-Alge brothers had the drums placed in the heart of the master room of Studio B, with eight additional microphones positioned around the room to capture audio-wave reflections and increase the ratio of room ambience.[21] [34]

"Higher Honey" 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, but the producers felt that this, too, was not quite suitable.[34] Instead, the rhythm part for the song was constructed as a combination of electronic drums, JR's live drums, and sequenced samples of JR'due south drums added later.[24] Winwood instructed JR to brand the snare overdubs feel like they were slightly rushing the tempo, to add excitement.[34] JR noted that Winwood asked for loftier-pitched, vivid sounds from the drum kit, and so he chose contumely snares such every bit a vintage 1930 Ludwig for "Split Decision", and the vintage Black Beauty on "Higher Honey". JR tuned his drumheads loftier to satisfy Winwood, dissimilar another of JR's bandleaders, Bob Seger, who wanted only low-pitched drums.[33] Real drums augmented or replaced the electronic drums on every song on the album except "My Love'southward Leavin'", on which the drum parts stayed purely electronic.[21]

"College Love" drum-fill up [edit]

Tom says he "clinched the gig" when he made a suggestion to Titelman as the overdubbing was winding down and mixing was soon to brainstorm. The proffer involved Tom moving one of JR'south impromptu drum fills to the starting time of "Higher Love", by assigning a timing starting time to ane of two tape machines such that they first played the drum fill followed past the song coming in on the beat.[27] Titelman was very happy with the outcome, and decided to open the anthology with this pulsate make full. The opening somewhen became so famous that JR put information technology on his answering machine equally a professional person calling card. JR said the pattern 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, "it'southward one of the all-time drum intros I've ever played."[33]

Titelman remembered the fill being played ad lib by JR while his friend Chaka Khan was preparing to sing her groundwork vocals on "Higher Dearest", causing Khan to exclaim "What is that shit? It sounds similar 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'southward a musician in the studio, brand sure the tape auto is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Determination" with Winwood

Titelman tapped James Taylor to add background vocals to "Back in the High Life Again", later on hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor's way perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Mean solar day", for which Winwood wanted an interpretation different from his own.[24] Chaka Khan, JR and drummer Mickey Back-scratch were all Titelman's contacts. Titelman also brought in David Frank for his feel at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting director in a lot of ways."[22] But Winwood himself invited Eagles guitarist Joe Walsh to join the projection.[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.[19] In October,[35] the 2 wrote "Split Conclusion" together, the just song on the anthology written entirely during the recording process in New York. Walsh as well performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split Decision" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to do the same on synthesizer.[19]

Marketing and video [edit]

Back in the High Life was a elevation ten hit on the anthology charts in the United States, peaking at number 3, and has sold over five million copies. The unmarried "College Beloved" first entered the United states charts at number 77 during the week of 14 June 1986,[36] then proceeded to top the singles chart at the end of August and win the Grammy Honour for "Tape of the Year"; "Dorsum in the High Life Again" (U.s.a. number thirteen), "The Effectively Things" (Usa number viii, the second-biggest hit from the album), and "Liberty Overspill" (US number 20) were likewise large hits. "Split Conclusion" failed to chart in other countries but rose to number iii in the United states of america. "Have It As Information technology 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".[iii]

Weisner pushed Winwood to promote the anthology with at least one video that could be shown on MTV. Isle Records agreed. They chose "Higher Dear", and selected Peter Kagan and Paula Greif to direct it, on the strength of their video for "The Beloved Parade" by the Dream Academy.[37] Weisner relayed his wish that Winwood should look similar an entertainer, that he should not hide behind the Hammond as in the past.[viii] Shooting took identify in June 1986, primarily on 35 mm film stock, but sometimes using a hand-held camera, especially for blackness-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 movie to U-matic video, and so mastered to 1-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 clothing as different scenes change from colour to black-and-white.[viii] Nile Rodgers plays electric guitar in the ring, wearing a brilliant duster. At the 1987 MTV Video Music Awards, "College Beloved" was nominated for Video of the Yr, Best Male Video, All-time Editing, and Best Management, but lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was as well nominated for Best Choreography, honouring Ed Love's work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "College Beloved" was nominated in the Viewers Choice category, which was won past U2's "With or Without You".[39]

Tour [edit]

Winwood began a tour of N America to promote the album, starting on 22 Baronial 1986 with a prove at Pino Knob Music Theatre north of Detroit, with reggae creative person Jimmy Cliff equally the opening deed.[40] [41] In Winwood'south viii-piece band, James Hooker, co-writer of "Freedom Overspill", continued in his role as second keyboard player. Winwood's human 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 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 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 Dejection Brothers cover because it had been in the film The Blues Brothers (1980).[42]

After Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening act. Their 1985 World Machine album had brought greater fame and introduced more electronic and popular elements to their sound. The Arizona Republic remarked about how well they fit with Winwood's way, both sharing a "multilayered instrumentation and a prominent beat."[43] The tour connected through four dates in California, the 4th at the Concur Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very fiddling guitar and a chip 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 equally "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's band moved upwardly the Pacific Coast to Oregon and Washington, crossing into Canada for one night in British Columbia, and another in Alberta. They headed east to play nine more dates in the US plus one in Toronto. The tour concluded on 23 November 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's New Haven Coliseum, describing how well-nigh of the ii-hour show was "less than captivating" because of Winwood's shyness onstage. Rizzo felt that a few hot solos from the ring, and a rousing terminal number that got the crowd continuing for "Gimme Some Lovin'", were not enough to make the show worthwhile.[45] A month later, the Courant published rebuttals by ii readers who had witnessed the aforementioned concert, one saying, "This was ane of the best concerts I have always attended, and judging from the clapping, dancing, singing and auspicious of the audience, I assume that many others would concur with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [47]
The Peachy Rock Discography viii/ten[47]
Los Angeles Times [48]
MusicHound Rock 4/v[47]
Music Story [47]
The Rolling Stone Anthology Guide [47]
The Village 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 first undeniably superb record of an almost decade-long solo career" for Winwood.[50] Stereo Review mag'southward Marker Pare said the anthology "weds Winwood's sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", calculation, "information technology's Lite Soul, but Russ Titelman's production and the outstanding recording job bring out every instrument with a bite and clarity that are frequently spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the Loftier Life mostly "sounds as beautiful equally the exemplary message of hope it espouses", with themes of "faith, confusion, [and] a yearning for spiritual clarity" making it more than simply "a decidedly tasteful tape".[52]

The album was not without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Dissever Conclusion" for "meander[ing] about rather aimlessly".[52] The Village Phonation reviewer Robert Christgau was more critical. He establish Winwood's lyrics to be truthful and unpretentious but ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood beingness "a wunderkind with more talent than brains", who "after ii decades of special treatment … derives all the self-esteem he needs only from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, saying that Winwood's creativity 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, but he criticised the album as a whole, proverb, "The songs really have no content, though Winwood'south gorgeous blue-eyed soul voice almost convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-upward album Gyre with It, Dennis Chase of the Los Angeles Times called Back in the Loftier Life "arguably the best R&B anthology by a white singer in the last five years".[54] Years later, in The Rough Guide to Rock (2003), Justin Lewis alleged it "the epitome of sophisticated mid-80s AOR, as Winwood adds Caribbean and gospel flavours to his pop, rock and R&B mix."[55]

Legacy [edit]

In the UK, Back in the Loftier Life was certified Gold by BPI in August 1986.[56] In the U.s., Gilt was reached almost as speedily but potent sales continued for a longer period, raising the album to Platinum in October 1986. With steady sales through 1987, the album 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 withal recording on the other side of the Atlantic Sea. Effectually the aforementioned fourth dimension, Winwood went to hear a Inferior Walker concert at the Alone Star Cafe in New York City and met a Nashville woman named Eugenia Crafton; the ii struck upwards a relationship.[58] Crafton was Winwood'due south girlfriend in mid-Dec 1985 when Will Jennings visited New York Urban center with his own paramour, vocalizer-songwriter Marshall Chapman. They went out as a foursome to enjoy the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and declining matrimony private: When he started his album bout in August 1986, he instructed his staff to inform journalists that he would not reply any questions nigh his personal life.[42] Winwood's divorce was finalised in Dec 1986, and so Crafton and Winwood married in Jan in a private anniversary held at Fifth Avenue Presbyterian Church.[58] [sixty] [61] When he stepped up to the podium on 24 February 1987 to take one of two Grammy Awards, Winwood said, "I'd similar to say how much an award similar that means to me. The more I'chiliad involved in making records the more information technology seems to mean. So I would like to thank everyone who has written for me... And finally, I would like to give thanks my wife."[62] Winwood settled in Nashville, and his first kid, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood's fifth album, Roll With It, released in June 1988, which would somewhen surpass Back in the High Life in sales.[60]

The song "College Dearest" was covered past Irish gaelic vocalist-songwriter James Vincent McMorrow, who recorded a stripped-downward, ethereal acoustic version of it in 2011 for a compilation album called Silver Lining, produced to benefit the Irish clemency Headstrong. The album raised €225,000.[63] McMorrow's encompass version was also used in Europe for an Amazon visitor advert. Information technology was picked up again in 2022 for an American television commercial promoting the Hyundai Kona car. McMurrow said, "Information technology's a cute melody, the chord structure of that song is really complex. When I used to play it on the guitar only to myself, I was e'er struck by how interesting it was."[64] "Higher Love" was likewise covered past Whitney Houston in 1990, only her version was not widely heard every bit it was released only as a bonus rails in Japan. In June 2019, 7 years afterward 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 August. The Houston/Kygo remix of "Higher Dearest" was certified Gold in the Us in October 2019, and the next calendar month it reached Platinum in the UK.[66] [67]

Track list [edit]

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

No. Championship Author(s) Length
1. "Higher Beloved" 5:45
2. "Take It As It Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Dorsum in the High Life Again" 5:33
v. "The Effectively Things" 5:47
6. "Wake Me Up on Judgment Day" 5:48
7. "Dissever Decision" Winwood, Joe Walsh 5:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall v:19

Personnel [edit]

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

Manufacture 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 Loftier Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 Baronial 2011.
  2. ^ a b Hughes, Rob (3 Oct 2017). "Steve Winwood: from teen prodigy to Traffic and across". Louder Sound: Classic Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Album of the Day – July 2: Steve Winwood – Back in the Loftier Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording University Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (thirty August 1986). "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 Menstruation". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (one December 1988). "From Mr Fantasy to Mr Entertainment". Rolling Stone.
  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 Y'all Meet A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Pop Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C fifteen.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 Dec 2016). "How Steve Winwood Survived the '80s". Ultimate Archetype Rock . Retrieved ten July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Roll With Information technology. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It's All About the Cycle. 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). Island 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's 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 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 (xi July 2013). "Mailbag". Music Industry News . Retrieved ten July 2020.
  24. ^ a b c d e f Jones, Ralph (Dec 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (two November 1985). "Sound Rails: New York". Billboard. Vol. 97, no. 44. p. 41. ISSN 0006-2510.
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External links [edit]

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

tisdalewaake1976.blogspot.com

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

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