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Get Caught in the High Life Again

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1986 studio album past Steve Winwood

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

Steve Winwood
Released 30 June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Right Rails (New York)
  • Behemothic Audio (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • stone
  • R&B
  • blueish-eyed soul
Length 45:03
Label Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Dorsum to the Dark
(1982) 		Dorsum in the High Life
(1986) 		Chronicles
(1987)
Singles from Dorsum in the High Life
  1. "Higher Love"
    Released: xx June 1986
  2. "Split Decision"
    Released: July 1986
  3. "Take It Every bit It Comes"
    Released: Baronial 1986
  4. "Freedom Overspill"
    Released: August 1986
  5. "Back in the High Life Once more"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Dorsum in the High Life is the quaternary solo album by English language singer, songwriter, and multi-instrumentalist Steve Winwood, released on xxx June 1986.[1] The album proved to be Winwood'due south biggest success to that engagement, certified Golden in the United kingdom of great britain and northern ireland and 3× Platinum in the US, and information technology reached the elevation twenty in nearly Western countries.[2] [3] It nerveless iii Grammy Awards[4] and generated five hitting singles, starting with "Higher Love", which became Winwood's first Billboard Hot 100 number-1 chart topper, coming 20 years afterwards he first entered that chart with "Keep on Running" past the Spencer Davis Grouping.[5] Other global hit singles from the album were "Liberty Overspill", "Dorsum in the High Life Again" and "The Finer Things". The unmarried "Dissever Conclusion", 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'south style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Unlike his two prior albums, on which he played every musical instrument himself, Winwood made all-encompassing use 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 large number of instruments, combining alive-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 rails. The album showcased Winwood's lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[1] [2] [seven] Every bit with his previous albums, Back in the Loftier Life served as an uplifting alternative to the aroused or political punk that was sweeping the rock earth.[8]

The anthology was recorded and released during a fourth dimension of significant modify in Winwood's personal life. Later on touring Due north America to promote the album during August–November 1986, Winwood divorced in England and then married in New York City. He bought a 2d habitation in Nashville, where he organized his adjacent project, Chronicles, a retrospective anthology of earlier songs, including some remixes engineered past Tom Lord-Alge, whom Winwood had befriended in the making of Back in the Loftier Life.

Background [edit]

Winwood's solo career had seen success in the United kingdom with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter being his offset major solo US hit, reaching number 3 on the Billboard 200. His tertiary album, Talking Back to the Night (1982), generated less of a response and was considered a let-down. The concluding two albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[ix] but for his next project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner as director, known for his work with Madonna and Michael Jackson.[10] Weisner pushed Winwood to record in London rather than at his home, where he was having human relationship difficulties with his wife, Nicole. Winwood agreed to the London proffer, simply Weisner responded, "Well, forget London. Peradventure you lot should go to New York."[8]

Winwood was already acquainted with New York, having stayed at the Primal Park Southward flat of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving every bit Winwood'due south quasi-manager for a few years, only 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 every bit forepart man and entertainer.[8] [12] [13] Winwood said in 1988, "I fabricated a witting attempt to kickoff working with musicians and producers and engineers. I got a manager. I have to say that those people are direct or indirectly responsible for my success at present."[8] [14] Between sessions for Back in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The Loftier Life, about the 1985 Tour de France experience of Scottish bicycle racer Robert Millar (later known as Philippa York). The documentary was produced by ITV Granada; it aired in the weeks leading up to the 1986 Tour de French republic, in which Millar competed.[seven] [15]

Writing [edit]

Songwriting for the album began afterward Talking Back was released. Winwood wrote his own music but he usually relied on other lyricists. He collaborated once more with Texan Will Jennings, a professor of English who had written the words to Winwood's vocal "While Yous Come across a Chance", a hit single in 1981. For this new project, Winwood's fourth solo album, the pair equanimous five more than songs, two of which would get the biggest album hits: "College Beloved" and "Back in the High Life Once more". Jennings carried the phrase "Back in the High Life" around every bit a vocal title idea written down in a notebook, merely when he was at Winwood'southward house in late 1984 he wrote the residuum of the lyric in a half 60 minutes, without any music. More than a yr afterward, Winwood finally wrote the music, later on being nudged to practice so past Titelman, who was notified of its being by Jennings. "Back in the Loftier Life Again" came very near to existence missed altogether.[sixteen] Winwood said about teaming with Jennings, "Nosotros've got absolutely no rules when nosotros work together. Sometimes nosotros offset with the lyric, sometimes with the melody; sometimes we showtime with chorus and add the verses, and sometimes I write some of the lyrics myself. There are no formulas; things only happen naturally."[17]

A second return collaborator was eccentric English songwriter and erstwhile Bonzo Dog Doo-Dah Band frontman Vivian Stanshall, who had written the words for Winwood's "Dream Gerrard", appearing on Traffic's 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 than 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 past Nobby Clarke, who was Winwood's right-hand man at the studio and on the route.[19] Stanshall also wrote the lyric to "If That Gun is For Real" in the early on '80s, which was under consideration for Back in the High Life merely was ultimately left off.[18]

The 3rd returning lyricist was George Fleming, an former friend of Winwood's and the nephew of James Bail creator Ian Fleming. George Fleming had written two songs for Arc of a Diver – "2nd-hand Woman" and "Grit" – which were his first-ever compositions.[9] In 1985, he brought Winwood the words for "Liberty Overspill". Winwood wrote almost of the music for "Liberty Overspill", with significant contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood'due south band starting in 1983.[xx]

Recording [edit]

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

"The timing was right. Stevie was ready to try something dissimilar. 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 any drastic changes. I think he might have wanted to have some responsibility off his ain shoulders."
    —Russ Titelman on existence selected as co-producer[21]

In July 1985,[ten] Winwood settled into New York City for August recording sessions at Ability Station, getting an apartment off Madison Artery most Central Park Zoo. Russ Titelman was chosen to co-produce the album because he was already familiar with Winwood's keyboard work on Titelman'southward 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 one 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 down drum auto, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood'south apartment to work out the sequencing for "Back in the Loftier Life Again", featuring a conga loop devised past Bralower on the Roland TR-808.[23] Corsaro also engineered sessions at Right Track Recording. When Corsaro had to leave to award a commitment with Fleetwood Mac,[24] Titelman moved the project to Giant Sound for a couple of weeks in 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 likewise had an SSL 4000E mixer just like Winwood's at Netherturkdonic, so Titelman moved the projection there in early November 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited any interested musicians to join him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60.[21]

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

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-track record recorders was initially mixed down to stereo on a Studer A-80 half-inch 2-rail deck.[31] [32] At one point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-lxxx open-reel 2-runway recorder. The greater sonic clarity achieved 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 play tricks or two of his own.[26] Titelman said Tom "uses the SSL like a role player uses an instrument".[24] According to Tom, between 10 and 20 percent of the Power Station and other previous tracks concluded up on the album. The great majority of Dorsum in the High Life came from overdubbing at Unique.[26]

Drums [edit]

In one case Winwood settled in at Unique, Titelman decided to bring in a existent drummer to broaden or replace the pulsate machine parts. On tape, the anthology already had Roland, LinnDrum and Simmons electronic pulsate sounds, but these were non 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 striking records under his belt, including the charity single "We Are the World" and Michael Jackson'south multi-Platinum "Don't Cease 'Til You Get Enough". To get a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the eye of the master room of Studio B, with eight additional microphones positioned around the room to capture audio-moving ridge reflections and increase the ratio of room ambient.[21] [34]

"Higher Love" was first tracked with a simple drum machine loop, which Titelman felt was "flat", not 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, as well, was non quite suitable.[34] Instead, the rhythm function for the vocal was synthetic as a combination of electronic drums, JR's live drums, and sequenced samples of JR's drums added later.[24] Winwood instructed JR to make the snare overdubs feel similar they were slightly rushing the tempo, to add excitement.[34] JR noted that Winwood asked for high-pitched, bright sounds from the pulsate kit, so he chose brass snares such as a vintage 1930 Ludwig for "Split Conclusion", and the vintage Black Beauty on "Higher Love". JR tuned his drumheads high to satisfy Winwood, different some other of JR's bandleaders, Bob Seger, who wanted merely depression-pitched drums.[33] Real drums augmented or replaced the electronic drums on every song on the album except "My Love's Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher Love" pulsate-fill [edit]

Tom says he "clinched the gig" when he fabricated a proffer to Titelman as the overdubbing was winding down and mixing was soon to begin. The suggestion involved Tom moving one of JR's impromptu drum fills to the beginning of "College Dearest", by assigning a timing offset to ane of two record machines such that they first played the drum fill followed by the song coming in on the crush.[27] Titelman was very happy with the upshot, and decided to open the album with this drum fill. The opening eventually became and 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 top 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's one of the best drum intros I've always played."[33]

Titelman remembered the fill up being played advertising lib past 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 was played as a lark after JR had completed his pulsate overdubs for "Higher Love". Tom said, "It was i of those happy accidents, and information technology happened because Chris always taught me that if the tape is rolling and there's a musician in the studio, make sure the record motorcar 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 "Dorsum in the Loftier Life Again", later on hearing the slowed-down Winwood and Bralower version. Titelman felt that the vocal fit Taylor'due south mode perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Day", for which Winwood wanted an estimation 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 experience at turning out synthesizer horn parts. Titelman said, "I feel that basically I was a casting director in a lot of ways."[22] Just Winwood himself invited Eagles guitarist Joe Walsh to bring together the projection.[22] Walsh and Winwood had met during Walsh'due south James Gang years. More than a decade subsequently Walsh phoned "out of the blueish" to say hi, with Winwood immediately suggesting a songwriting collaboration.[xix] In October,[35] the two wrote "Split Decision" together, the but vocal on the album written entirely during the recording procedure in New York. Walsh also performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Dissever Decision" in a wholly unrehearsed performance – his usual style. Winwood felt challenged to do the same on synthesizer.[xix]

Marketing and video [edit]

Dorsum in the High Life was a acme ten striking on the album charts in the United States, peaking at number 3, and has sold over five million copies. The single "Higher Love" beginning entered the US charts at number 77 during the calendar week of fourteen June 1986,[36] and then proceeded to top the singles chart at the stop of Baronial and win the Grammy Award for "Tape of the Year"; "Back in the High Life Once more" (Usa number 13), "The Finer Things" (US number 8, the second-biggest hit from the album), and "Freedom Overspill" (US number 20) were also big hits. "Split Decision" failed to nautical chart in other countries but rose to number three in the US. "Take It As It Comes" fared less well, reaching number 33 in the U.s..[6] 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 album with at to the lowest degree i video that could exist shown on MTV. Island Records agreed. They chose "Higher Love", and selected Peter Kagan and Paula Greif to direct it, on the strength of their video for "The Love Parade" past the Dream Academy.[37] Weisner relayed his wish that Winwood should look like 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, but sometimes using a manus-held camera, especially for blackness-and-white photography. One sixteen 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 floor to capture move. Laura State of israel and Glenn Lazzaro edited the film to U-matic video, then mastered to i-inch tape with a team of assistants.[37] In the resulting video, Winwood is never shown playing an instrument. Instead, he sings far out in front end of the band, he stands adjacent to Chaka Khan, and he dances with several women wearing tropical article of clothing every bit unlike scenes alter from colour to blackness-and-white.[eight] Nile Rodgers plays electric guitar in the band, wearing a bright squeegee. At the 1987 MTV Video Music Awards, "Higher Love" was nominated for Video of the Year, Best Male Video, Best Editing, and All-time Direction, merely lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was also nominated for Best Choreography, honouring Ed Love'southward piece of work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Love" was nominated in the Viewers Option category, which was won by U2's "With or Without Y'all".[39]

Tour [edit]

Winwood began a tour of North America to promote the anthology, starting on 22 August 1986 with a show at Pine Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening human activity.[xl] [41] In Winwood's eight-piece band, James Hooker, co-writer of "Liberty Overspill", continued in his office equally second keyboard player. Winwood's man 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 Beloved" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might be thinking "Gimme Some Lovin'" was a 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 pop elements to their audio. The Arizona Republic remarked nigh how well they fit with Winwood'south mode, both sharing a "multilayered instrumentation and a prominent trounce."[43] The tour continued through four dates in California, the fourth at the Concord Pavilion, where the San Francisco Examiner reviewed the prove, noting that Winwood played very little guitar and a chip of mandolin, and performed his electrical guitar solos on the keyboards to strike a "remainder between his instruments and voice." Danny Wolinski on saxophone and Bob Leffert on trumpet were named as "outstanding" musicians. Winwood started the concert softly with "The Low Spark of High Heeled Boys", then finished big with "Dorsum in the High Life Again".[44]

Level 42 and Winwood'south band moved upward the Pacific Declension to Oregon and Washington, crossing into Canada for one night in British Columbia, and another in Alberta. They headed eastward to play 9 more dates in the United states plus one in Toronto. The bout ended on 23 November in Virginia at the Patriot Center. Not every evidence enjoyed good reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut's New Oasis Coliseum, describing how most of the two-hour show was "less than captivating" because of Winwood'southward shyness onstage. Rizzo felt that a few hot solos from the band, and a rousing final number that got the crowd standing for "Gimme Some Lovin'", were not enough to make the bear witness worthwhile.[45] A month later on, the Courant published rebuttals by two readers who had witnessed the same concert, one saying, "This was one of the best concerts I accept ever attended, and judging from the clapping, dancing, singing and auspicious of the audience, I presume that many others would agree with me."[46]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [i]
Encyclopedia of Popular Music [47]
The Groovy Rock Discography eight/10[47]
Los Angeles Times [48]
MusicHound Rock 4/5[47]
Music Story [47]
The Rolling Stone Anthology Guide [47]
The Village Voice C[49]

Back in the High Life was met with by and large positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed it equally "the first undeniably superb record of an almost decade-long solo career" for Winwood.[50] Stereo Review magazine'southward Mark Pare said the album "weds Winwood'south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "information technology'south Lite Soul, but Russ Titelman'southward production and the outstanding recording job bring out every instrument with a seize with teeth and clarity that are oftentimes spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the High Life mostly "sounds equally beautiful equally the exemplary message of hope it espouses", with themes of "faith, defoliation, [and] a yearning for spiritual clarity" making it more just "a incomparably tasteful record".[52]

The album was not without criticism. McKenna suggested that the songs are flawed past somewhat indulgent lengths, singling out the Walsh duet "Split Decision" for "meander[ing] well-nigh rather aimlessly".[52] The Village Voice reviewer Robert Christgau was more than disquisitional. He constitute Winwood's lyrics to be true and unpretentious just ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood existence "a wunderkind with more talent than brains", who "afterward 2 decades of special treatment … derives all the self-esteem he needs just from surviving, every bit they say."[49] Geoffrey Himes, writing for The Washington Postal service, was dismissive, saying that Winwood's creativity had abased him in 1971, and that this new album was proof that "the spark is gone." He complimented "Higher Honey" for its catchy melody and electronic production, simply he criticised the album as a whole, saying, "The songs really have no content, though Winwood's gorgeous blue-eyed soul vocalisation about convinces you otherwise."[53]

Retrospective appraisals accept 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 last 5 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 United kingdom of great britain and northern ireland, Back in the High Life was certified Gold by BPI in August 1986.[56] In the US, Gilded was reached almost equally chop-chop but strong sales continued for a longer period, raising the anthology to Platinum in October 1986. With steady sales through 1987, the anthology was certified 3× Platinum by the RIAA in January 1988.[57]

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

Winwood'southward married woman Nicole separated from him in late 1985 while he was still recording on the other side of the Atlantic Ocean. Effectually the same fourth dimension, Winwood went to hear a Inferior Walker concert at the Lone Star Cafe in New York City and met a Nashville adult female named Eugenia Crafton; the two struck up a relationship.[58] Crafton was Winwood's girlfriend in mid-Dec 1985 when Will Jennings visited New York City with his own paramour, singer-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 failing marriage individual: When he started his album tour in Baronial 1986, he instructed his staff to inform journalists that he would not answer whatever questions almost his personal life.[42] Winwood'due south divorce was finalised in Dec 1986, then Crafton and Winwood married in January in a private ceremony held at Fifth Avenue Presbyterian Church building.[58] [sixty] [61] When he stepped upwardly to the podium on 24 February 1987 to accept 1 of two Grammy Awards, Winwood said, "I'd like to say how much an award like that means to me. The more I'one thousand involved in making records the more it seems to mean. 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 commencement child, Mary Clare, was born in May 1987. The new Nashville vibe lent its sound to Winwood's fifth anthology, Roll With It, released in June 1988, which would somewhen surpass Dorsum in the High Life in sales.[60]

The vocal "Higher Love" was covered by Irish vocalizer-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal audio-visual version of it in 2011 for a compilation album chosen Argent Lining, produced to do good the Irish charity Headstrong. The album raised €225,000.[63] McMorrow's encompass version was also used in Europe for an Amazon visitor advert. It was picked up again in 2017 for an American boob tube commercial promoting the Hyundai Kona machine. 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 just to myself, I was always struck past how interesting information technology was."[64] "College Love" was besides covered by Whitney Houston in 1990, but her version was not widely heard as it was released only as a bonus track in Japan. In June 2019, seven years after Houston's decease, Norwegian producer Kygo re-bundled and remixed her vocals to create a tropical house version.[65] An accompanying video was released in August. The Houston/Kygo remix of "College Love" was certified Gold in the Usa in Oct 2019, and the next month information technology reached Platinum in the UK.[66] [67]

Rails listing [edit]

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

No. Title Author(due south) Length
1. "Higher Honey" 5:45
two. "Take It As It Comes" 5:xx
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Back in the High Life Again" five:33
v. "The Effectively Things" 5:47
6. "Wake Me Upwards on Judgment Mean solar day" 5:48
7. "Divide Decision" Winwood, Joe Walsh 5:58
8. "My Honey'due 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]

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  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Anthology of the Twenty-four hour period – July two: Steve Winwood – Dorsum 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. 10. ISSN 0006-2510.
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  8. ^ a b c d due east f DeCurtis, Anthony (1 December 1988). "From Mr Fantasy to Mr Entertainment". Rolling Stone.
  9. ^ a b Blackness, 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 Run across A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 Jan 1981). "The Pop Life; Winwood, at 32, a rock traditionalist". The New York Times. p. C 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (7 December 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Rock . Retrieved x 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 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 Loftier Life (booklet). Island 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'due south 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 10 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.
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External links [edit]

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

michaudupposer.blogspot.com

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

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