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Back in the High Life Again Lyrucs Meaning

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1986 studio album by Steve Winwood

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

Steve Winwood
Released xxx June 1986
Recorded August 1985 – May 1986
Studio
  • Unique Recording (New York)
  • Power Station (New York)
  • Right Track (New York)
  • Giant Sound (New York)
  • Netherturkdonic (Turkdean)
Genre
  • Pop
  • rock
  • R&B
  • blueish-eyed soul
Length 45:03
Characterization Island
Producer Russ Titelman, Steve Winwood
Steve Winwood chronology
Talking Back to the Night
(1982) 		Back in the High Life
(1986) 		Chronicles
(1987)
Singles from Dorsum in the High Life
  1. "Higher Honey"
    Released: twenty June 1986
  2. "Split up Decision"
    Released: July 1986
  3. "Have It Every bit It Comes"
    Released: August 1986
  4. "Liberty Overspill"
    Released: Baronial 1986
  5. "Dorsum in the High Life Again"
    Released: December 1986
  6. "The Finer Things"
    Released: February 1987

Back in the High Life is the quaternary solo album by English vocalizer, songwriter, and multi-instrumentalist Steve Winwood, released on 30 June 1986.[ane] The album proved to be Winwood's biggest success to that date, certified Gold in the Uk and 3× Platinum in the United states of america, and it reached the top xx in almost Western countries.[2] [3] Information technology nerveless three Grammy Awards[4] and generated five hit singles, starting with "College Love", which became Winwood's kickoff Billboard Hot 100 number-one chart topper, coming twenty years afterwards he first entered that chart with "Keep on Running" by the Spencer Davis Grouping.[five] Other global hit singles from the album were "Freedom Overspill", "Dorsum in the High Life Once again" and "The Effectively Things". The single "Separate Conclusion", with ex-Eagles guitarist Joe Walsh, was a US striking.[half dozen]

Musically, the album was polished and sophisticated, representative of pop production in the 1980s, featuring Winwood'south 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 Rodgers on guitars and JR Robinson on drums. Winwood himself besides performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided past established stars, including Chaka Khan on "College Beloved", James Ingram on "Effectively Things", and James Taylor on the title track. The anthology 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.[1] [2] [vii] Every bit with his previous albums, Back in the High Life served every bit an uplifting culling to the angry or political punk that was sweeping the rock world.[viii]

The anthology was recorded and released during a time of significant change in Winwood's personal life. Afterward touring North America to promote the album during Baronial–November 1986, Winwood divorced in England and then married in New York City. He bought a 2nd home in Nashville, where he organized his side by side projection, Chronicles, a retrospective album of earlier songs, including some remixes engineered by Tom Lord-Alge, whom Winwood had befriended in the making of Back in the Loftier Life.

Background [edit]

Winwood's solo career had seen success in the Uk with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo United states of america striking, reaching number 3 on the Billboard 200. His third album, Talking Dorsum to the Night (1982), generated less of a response and was considered a permit-downward. The terminal 2 albums had been created by Winwood playing all the instruments himself at his technologically advanced Turkdean home studio "Netherturkdonic,"[9] just for his next projection Winwood returned to working with other musicians for boosted inspiration. He hired Los Angeleno Ron Weisner as manager, known for his work with Madonna and Michael Jackson.[ten] Weisner pushed Winwood to record in London rather than at his home, where he was having relationship difficulties with his wife, Nicole. Winwood agreed to the London proffer, merely Weisner responded, "Well, forget London. Maybe y'all should go to New York."[8]

Winwood was already acquainted with New York, having stayed at the Key Park South apartment of Chris Blackwell, the founder of Island Records.[11] Blackwell had been serving equally Winwood's 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 backside the Hammond organ and take his position as front human and entertainer.[8] [12] [13] Winwood said in 1988, "I made a conscious effort to outset working with musicians and producers and engineers. I got a managing director. I have to say that those people are directly or indirectly responsible for my success now."[8] [14] Between sessions for Dorsum in the High Life, Winwood booked another studio, where he scored synthesizer-based music for the documentary The High Life, about the 1985 Tour de France experience of Scottish bike 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.[7] [15]

Writing [edit]

Songwriting for the album began after Talking Back was released. Winwood wrote his ain music but he usually relied on other lyricists. He collaborated once again with Texan Will Jennings, a professor of English who had written the words to Winwood's vocal "While You Come across a Chance", a hit unmarried in 1981. For this new project, Winwood'south 4th solo anthology, the pair composed five more songs, ii of which would become the biggest album hits: "Higher Beloved" and "Back in the High Life Again". Jennings carried the phrase "Back in the High Life" around every bit a song title thought written down in a notebook, but when he was at Winwood's house in late 1984 he wrote the balance of the lyric in a one-half 60 minutes, without any music. More than a year afterward, Winwood finally wrote the music, afterwards being nudged to practise and so by Titelman, who was notified of its being by Jennings. "Back in the High Life Again" came very almost to being missed altogether.[16] Winwood said about teaming with Jennings, "We've got absolutely no rules when nosotros work together. Sometimes nosotros offset with the lyric, sometimes with the melody; sometimes we start with chorus and add the verses, and sometimes I write some of the lyrics myself. In that location are no formulas; things just happen naturally."[17]

A second return collaborator was eccentric English songwriter and former Bonzo Canis familiaris 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 ofttimes traded favours: Winwood played on both of Stanshall's 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'south Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's right-mitt man at the studio and on the road.[nineteen] Stanshall also wrote the lyric to "If That Gun is For Existent" in the early on '80s, which was nether consideration for Back in the Loftier Life only was ultimately left off.[18]

The third returning lyricist was George Fleming, an old friend of Winwood's and the nephew of James Bond creator Ian Fleming. George Fleming had written 2 songs for Arc of a Diver – "Second-hand Adult female" and "Dust" – which were his first-e'er compositions.[ix] In 1985, he brought Winwood the words for "Freedom Overspill". Winwood wrote virtually of the music for "Freedom Overspill", with significant contribution from ex–Astonishing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood'south band starting in 1983.[twenty]

Recording [edit]

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

"The timing was right. Stevie was set up to try something different. He had been working on tracks for about a twelvemonth 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 responsibleness off his own shoulders."
    —Russ Titelman on being selected as co-producer[21]

In July 1985,[10] Winwood settled into New York City for Baronial recording sessions at Power Station, getting an flat off Madison Avenue well-nigh Central Park Zoo. Russ Titelman was chosen to co-produce the anthology because he was already familiar with Winwood'due south keyboard work on Titelman'southward before productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had also produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a functioning Grammy in 1984, and was 1 of Weisner'due south favorite songs, aiding in the pick of Titelman.[22] Tracking began in Studio C at Ability Station under engineer Jason Corsaro, with Winwood laying down drum machine, synth bass, and some vocal and musical instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood'southward apartment to work out the sequencing for "Back in the High Life Again", featuring a conga loop devised by Bralower on the Roland TR-808.[23] Corsaro also engineered sessions at Right Rail Recording. When Corsaro had to leave to laurels a delivery with Fleetwood Mac,[24] Titelman moved the projection 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 pick of synthesizers: Chris, Jeff and Tom Lord-Alge at Unique Recording Studios.[26] [27] Kilgore took Titelman to Unique, where they discovered that the studio too had an SSL 4000E mixer just like Winwood's at Netherturkdonic, then Titelman moved the projection at that place in early on November 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-night jam sessions in which he invited any interested musicians to bring together him.[29] In the end, he stuck with a few favorites, including the familiar Hammond B3, a Minimoog, a Yamaha DX7, and a Roland Juno-60.[21]

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

Back in the Loftier Life was mixed through May 1986 by Tom Lord-Alge in Unique's Studio B on the 48-channel SSL 4000E. A pair of linked 24-rails tape recorders was initially mixed down to stereo on a Studer A-lxxx one-half-inch ii-track deck.[31] [32] At i point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open-reel 2-rail recorder. The greater sonic clarity achieved this way was profound enough for Titelman and Winwood to decide that the whole anthology must be mixed to digital stereo.[24] Tom said that Winwood taught him a few tricks on the SSL, and Tom returned the favour by showing Winwood a trick or two of his own.[26] Titelman said Tom "uses the SSL similar a actor uses an instrument".[24] Co-ordinate to Tom, between 10 and 20 percentage of the Power Station and other previous tracks ended up on the album. The not bad bulk of Back in the High Life came from overdubbing at Unique.[26]

Drums [edit]

One time Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or supplant the drum machine parts. On tape, the album already had Roland, LinnDrum and Simmons electronic pulsate 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 ain drum equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hit records under his belt, including the charity unmarried "We Are the World" and Michael Jackson's multi-Platinum "Don't Stop 'Til Yous Get Enough". To become a larger-than-life pulsate audio, Titelman and the Lord-Alge brothers had the drums placed in the centre of the primary room of Studio B, with eight boosted microphones positioned around the room to capture sound-wave reflections and increase the ratio of room ambient.[21] [34]

"Higher Love" was beginning tracked with a simple drum motorcar 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 not quite suitable.[34] Instead, the rhythm part for the song was constructed every bit a combination of electronic drums, JR's alive drums, and sequenced samples of JR's drums added later.[24] Winwood instructed JR to make the snare overdubs feel like they were slightly rushing the tempo, to add excitement.[34] JR noted that Winwood asked for high-pitched, brilliant sounds from the drum kit, then he chose brass snares such as a vintage 1930 Ludwig for "Divide Decision", and the vintage Blackness Beauty on "Higher Love". JR tuned his drumheads high to satisfy Winwood, unlike another of JR's bandleaders, Bob Seger, who wanted only low-pitched drums.[33] Real drums augmented or replaced the electronic drums on every vocal on the anthology except "My Dearest'southward Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher 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 begin. The suggestion involved Tom moving i of JR's impromptu drum fills to the get-go of "Higher Love", past assigning a timing beginning to one of two tape machines such that they first played the drum make full followed by the song coming in on the vanquish.[27] Titelman was very happy with the result, and decided to open the album with this drum fill up. The opening somewhen became so famous that JR put information technology on his answering car every bit a professional person calling bill of fare. JR said the pattern was a Latin rimshot technique across the top of his classic seamless contumely Ludwig Blackness Dazzler snare, unmuffled, with its snare wires disengaged, to emulate the audio of a timbale. He said, "it'southward one of the best drum intros I've always played."[33]

Titelman remembered the fill up being played ad lib by JR while his friend Chaka Khan was preparing to sing her groundwork vocals on "Higher Love", causing Khan to exclaim "What is that shit? It sounds like voodoo shit!"[22] Tom Lord-Alge agreed that the pulsate fill was played equally a distraction afterwards JR had completed his drum overdubs for "College Love". Tom said, "It was ane of those happy accidents, and it happened because Chris always taught me that if the record is rolling and there's a musician in the studio, make sure the tape motorcar is in record!"[27]

Notable collaborators [edit]

Joe Walsh co-wrote "Split Decision" with Winwood

Titelman tapped James Taylor to add together background vocals to "Back in the High Life Again", afterward hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'south style perfectly.[22] Some other Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Day", for which Winwood wanted an interpretation unlike from his own.[24] Chaka Khan, JR and drummer Mickey Curry were all Titelman'due south 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] Only Winwood himself invited Eagles guitarist Joe Walsh to bring together the project.[22] Walsh and Winwood had met during Walsh's James Gang years. More than a decade later Walsh phoned "out of the bluish" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In Oct,[35] the two wrote "Split Conclusion" together, the only song on the anthology written entirely during the recording process in New York. Walsh besides performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split Decision" in a wholly unrehearsed performance – his usual fashion. Winwood felt challenged to do the same on synthesizer.[19]

Marketing and video [edit]

Back in the High Life was a top ten hit on the album charts in the United States, peaking at number 3, and has sold over five million copies. The unmarried "College Love" showtime entered the Usa charts at number 77 during the week of 14 June 1986,[36] then proceeded to elevation the singles nautical chart at the stop of August and win the Grammy Award for "Tape of the Year"; "Back in the High Life Again" (US number 13), "The Effectively Things" (U.s. number eight, the second-biggest hit from the album), and "Freedom Overspill" (US number 20) were likewise big hits. "Split Decision" failed to chart in other countries just rose to number three in the United states of america. "Take Information technology As It Comes" fared less well, reaching number 33 in the Us.[6] Island had promoted Back in the High Life successfully, basing the campaign on the idea that Winwood was on a "comeback".[three]

Weisner pushed Winwood to promote the album with at least 1 video that could be shown on MTV. Island Records agreed. They chose "Higher Honey", and selected Peter Kagan and Paula Greif to straight it, on the strength of their video for "The Dear Parade" by 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 identify in June 1986, primarily on 35 mm motion picture stock, but sometimes using a paw-held camera, especially for blackness-and-white photography. One sixteen mm Bolex and a Super 8 photographic camera were used for these in-motility shots. Riding in a shopping trolley, Greif was pushed through the dance flooring to capture motion. Laura Israel and Glenn Lazzaro edited the movie to U-matic video, then mastered to 1-inch record with a team 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 vesture as dissimilar scenes modify from color to blackness-and-white.[8] Nile Rodgers plays electrical guitar in the ring, wearing a vivid duster. At the 1987 MTV Video Music Awards, "College Love" was nominated for Video of the Twelvemonth, Best Male Video, Best Editing, and All-time Direction, only lost to Peter Gabriel's "Sledgehammer" in all 4 categories. The video was also nominated for Best Choreography, honouring Ed Love'southward work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Dearest" was nominated in the Viewers Choice category, which was won past U2'south "With or Without Yous".[39]

Bout [edit]

Winwood began a tour of North America to promote the album, starting on 22 August 1986 with a show at Pino Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening deed.[40] [41] In Winwood's eight-piece ring, James Hooker, co-author of "Liberty Overspill", continued in his function as 2d keyboard histrion. Winwood'southward human in Turkdean, Nobby Clarke, resumed every bit 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 Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might be thinking "Gimme Some Lovin'" was a Dejection Brothers cover because it had been in the film The Blues Brothers (1980).[42]

Afterwards Texas, Winwood played Colorado and Arizona, where English band Level 42 became the opening human activity. Their 1985 World Motorcar album had brought greater fame and introduced more electronic and pop elements to their audio. The Arizona Republic remarked most how well they fit with Winwood's style, both sharing a "multilayered instrumentation and a prominent beat."[43] The tour continued through four dates in California, the fourth at the Concur Pavilion, where the San Francisco Examiner reviewed the show, noting that Winwood played very little guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "balance between his instruments and voice." Danny Wolinski on saxophone and Bob Leffert on trumpet were named every bit "outstanding" musicians. Winwood started the concert softly with "The Low Spark of High Heeled Boys", then finished big with "Back in the High Life Again".[44]

Level 42 and Winwood'southward band moved up the Pacific Coast to Oregon and Washington, crossing into Canada for one nighttime in British Columbia, and some other in Alberta. They headed east to play nine more than dates in the U.s.a. plus one in Toronto. The bout ended on 23 November in Virginia at the Patriot Middle. Not every show enjoyed expert reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed past Winwood in Connecticut's New Haven Coliseum, describing how nearly of the 2-hr show was "less than captivating" because of Winwood's 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 evidence worthwhile.[45] A calendar month subsequently, the Courant published rebuttals past 2 readers who had witnessed the aforementioned 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 hold with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [1]
Encyclopedia of Popular Music [47]
The Groovy Rock Discography 8/x[47]
Los Angeles Times [48]
MusicHound Rock iv/5[47]
Music Story [47]
The Rolling Rock Album Guide [47]
The Village Vocalism C[49]

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

The anthology was not without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Carve up Determination" for "meander[ing] about 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 existence "a wunderkind with more talent than brains", who "after ii decades of special treatment … derives all the self-esteem he needs just from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Post, was dismissive, maxim that Winwood's creativity had abased 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, only he criticised the album equally a whole, saying, "The songs really have no content, though Winwood'due south gorgeous blue-eyed soul voice nearly convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-up album Roll with Information technology, Dennis Hunt of the Los Angeles Times called Back in the Loftier Life "arguably the all-time R&B album by a white singer in the last five years".[54] Years later, in The Crude 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, Back in the High Life was certified Gold by BPI in August 1986.[56] In the US, Gold was reached almost as quickly but strong sales continued for a longer period, raising the album to Platinum in October 1986. With steady sales through 1987, the album was certified three× Platinum by the RIAA in Jan 1988.[57]

Whitney Houston's version of "College Love" was remixed posthumously in 2019

Winwood's wife Nicole separated from him in late 1985 while he was still recording on the other side of the Atlantic Ocean. Effectually the same fourth dimension, Winwood went to hear a Junior Walker concert at the Alone Star Buffet in New York Metropolis and met a Nashville woman named Eugenia Crafton; the two struck up a relationship.[58] Crafton was Winwood's girlfriend in mid-Dec 1985 when Volition Jennings visited New York Metropolis 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 private: 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, then Crafton and Winwood married in Jan in a private anniversary held at 5th Artery Presbyterian Church building.[58] [60] [61] When he stepped up to the podium on 24 February 1987 to accept one of two Grammy Awards, Winwood said, "I'd similar to say how much an award like that means to me. The more I'thousand involved in making records the more it seems to mean. So I would like to thank anybody who has written for me... And finally, I would like to thank my wife."[62] Winwood settled in Nashville, and his first child, Mary Clare, was built-in in May 1987. The new Nashville vibe lent its sound to Winwood'south 5th album, Coil With It, released in June 1988, which would eventually surpass Back in the High Life in sales.[60]

The song "College Love" was covered by Irish vocalizer-songwriter James Vincent McMorrow, who recorded a stripped-down, 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's cover version was as well used in Europe for an Amazon visitor ad. It was picked up again in 2017 for an American television commercial promoting the Hyundai Kona motorcar. McMurrow said, "It'south a cute tune, the chord construction of that song is really complex. When I used to play information technology on the guitar simply to myself, I was always struck past how interesting information technology was."[64] "College Beloved" was besides covered by Whitney Houston in 1990, but her version was not widely heard as it was released only equally a bonus rails in Nihon. In June 2019, vii years after Houston's death, Norwegian producer Kygo re-bundled and remixed her vocals to create a tropical house version.[65] An accompanying video was released in Baronial. The Houston/Kygo remix of "Higher Love" was certified Gold in the U.s.a. in October 2019, and the next calendar month information technology reached Platinum in the United kingdom.[66] [67]

Rail listing [edit]

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

No. Championship Writer(s) Length
i. "Higher Honey" 5:45
two. "Accept Information technology As It Comes" 5:20
3. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker 5:33
4. "Back in the Loftier Life Again" 5:33
five. "The Effectively Things" 5:47
6. "Wake Me Up on Judgment Day" 5:48
7. "Split Decision" Winwood, Joe Walsh 5:58
8. "My Love's Leavin'" Winwood, Vivian Stanshall five:19

Personnel [edit]

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

Industry awards [edit]

Grammy Awards [edit]

MTV Video Music Awards [edit]

Charts [edit]

Certifications [edit]

References [edit]

  1. ^ a b c Ruhlmann, William (2011). "Back in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 Baronial 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Archetype Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (2 July 2020). "Album of the Day – July ii: Steve Winwood – Back in the High Life". Pop Off. Medium. Retrieved 9 July 2020.
  4. ^ "29th Annual Grammy Awards (1986)". Recording Academy Grammy Awards. 1987. Retrieved 12 July 2020.
  5. ^ Grein, Paul (xxx Baronial 1986). "Chart Beat". Billboard. Vol. 98, no. 35. p. 10. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Nautical chart History: "Split up Decision"". Billboard. Retrieved xv 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 (1 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 See A Chance: The Steve Winwood Story. Fonthill Media. p. 194.
  11. ^ Palmer, Robert (21 January 1981). "The Popular Life; Winwood, at 32, a stone traditionalist". The New York Times. p. C fifteen.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (vii December 2016). "How Steve Winwood Survived the '80s". Ultimate Archetype Rock . Retrieved ten July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Scroll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Cyclopedia: It'south All Near the Bike. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (vii May 2006). "Songwriter Interviews: Steve Winwood". Songfacts . Retrieved eleven July 2020.
  17. ^ a b c Winwood, Steve (1986). Dorsum in the Loftier Life (booklet). Island Records. A2 25448.
  18. ^ a b Nzo, Vince. "Vivian Stanshall: Solo". The Illustrated Vivian Stanshall . Retrieved ten July 2020.
  19. ^ a b c White, Timothy (July 1986). "Steve Winwood'due south Merging Traffic". Musician. No. 93. p. 34.
  20. ^ Hooker, James (12 March 2011). "Biography". AirPlay Directly . 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 (December 1986). "Production Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (2 November 1985). "Audio Rail: New York". Billboard. Vol. 97, no. 44. p. 41. ISSN 0006-2510.
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External links [edit]

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

camargoiont1964.blogspot.com

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

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