Home  ›  When Did Steve First Record Back in the High Life Again

When Did Steve First Record Back in the High Life Again

Written By sábado, 14 de maio de 2022 Add Comment Edit

1986 studio album by Steve Winwood

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

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

Dorsum in the High Life is the quaternary solo anthology past English singer, songwriter, and multi-instrumentalist Steve Winwood, released on thirty June 1986.[one] The album proved to be Winwood's biggest success to that engagement, certified Gold in the Uk and 3× Platinum in the United states of america, and it reached the top twenty in most Western countries.[2] [3] It collected 3 Grammy Awards[4] and generated five hit singles, starting with "Higher Love", which became Winwood's first Billboard Hot 100 number-1 nautical chart topper, coming 20 years subsequently he first entered that nautical chart with "Go on on Running" by the Spencer Davis Grouping.[v] Other global striking singles from the album were "Freedom Overspill", "Back in the High Life Once more" and "The Finer Things". The single "Split Decision", with ex-Eagles guitarist Joe Walsh, was a Us hit.[6]

Musically, the album was polished and sophisticated, representative of pop product in the 1980s, featuring Winwood's style of layered synthesizers and electronic drums that he had established with Arc of a Diver (1980). Different his two prior albums, on which he played every instrument himself, Winwood made extensive use of session musicians for this anthology, including Joe Walsh and Nile Rodgers on guitars and JR Robinson on drums. Winwood himself also performed on a large number of instruments, combining live-played instruments with synthesizers and programming. Prominent backing vocals were provided by established stars, including Chaka Khan on "College Beloved", James Ingram on "Finer Things", and James Taylor on the title track. The album showcased Winwood'due south lifelong fascination with the fusion of styles, bringing folk, gospel and Caribbean sounds into a rock, pop and R&B milieu.[i] [2] [7] Equally with his previous albums, Dorsum in the High Life served equally an uplifting alternative to the angry or political punk that was sweeping the rock world.[8]

The album was recorded and released during a time of pregnant modify in Winwood's personal life. Subsequently touring North America to promote the anthology during August–Nov 1986, Winwood divorced in England and then married in New York Metropolis. He bought a second home in Nashville, where he organized his next projection, Chronicles, a retrospective album 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'southward solo career had seen success in the Great britain with Steve Winwood in 1977 and Arc of a Diver in 1980, the latter existence his first major solo United states of america 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-downwards. The terminal ii albums had been created by Winwood playing all the instruments himself at his technologically avant-garde Turkdean home studio "Netherturkdonic,"[9] but for his next project Winwood returned to working with other musicians for additional inspiration. He hired Los Angeleno Ron Weisner every bit manager, 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 suggestion, but Weisner responded, "Well, forget London. Perchance yous 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 Isle Records.[eleven] Blackwell had been serving as Winwood'south quasi-manager for a few years, but Winwood was intent on moving in a new direction with Weisner. Weisner encouraged him to cease standing half-subconscious behind the Hammond organ and accept his position every bit front man and entertainer.[viii] [12] [13] Winwood said in 1988, "I made a conscious effort to offset working with musicians and producers and engineers. I got a manager. I have to say that those people are straight or indirectly responsible for my success now."[8] [fourteen] Between sessions for Dorsum in the High Life, Winwood booked some other studio, where he scored synthesizer-based music for the documentary The High Life, about the 1985 Tour de France experience of Scottish bicycle racer Robert Millar (later known as Philippa York). The documentary was produced past ITV Granada; information technology aired in the weeks leading up to the 1986 Tour de France, in which Millar competed.[seven] [15]

Writing [edit]

Songwriting for the album began after Talking Back was released. Winwood wrote his ain music simply he usually relied on other lyricists. He collaborated again with Texan Volition Jennings, a professor of English who had written the words to Winwood's song "While Y'all Encounter a Take a chance", a hitting single in 1981. For this new project, Winwood'south 4th solo anthology, the pair equanimous 5 more songs, two of which would go the biggest album hits: "College Love" and "Back in the High Life Again". Jennings carried the phrase "Back in the Loftier Life" around equally a song championship idea written down in a notebook, simply when he was at Winwood's business firm in late 1984 he wrote the rest of the lyric in a half hour, without any music. More than a year subsequently, Winwood finally wrote the music, after being nudged to do so by Titelman, who was notified of its being by Jennings. "Back in the High Life Again" came very virtually to existence missed altogether.[16] Winwood said most teaming with Jennings, "Nosotros've got absolutely no rules when we work together. Sometimes we start with the lyric, sometimes with the melody; sometimes nosotros offset with chorus and add the verses, and sometimes I write some of the lyrics myself. At that place are no formulas; things merely happen naturally."[17]

A second return collaborator was eccentric English songwriter and sometime 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 2 ofttimes traded favours: Winwood played on both of Stanshall's solo albums in the 1970s. More recently, Stanshall had come up up 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 Dearest's Leavin'" at Netherturkdonic, engineered by Nobby Clarke, who was Winwood's right-manus human at the studio and on the road.[19] Stanshall too wrote the lyric to "If That Gun is For Real" in the early '80s, which was under consideration for Back in the High Life simply was ultimately left off.[18]

The third returning lyricist was George Fleming, an old friend of Winwood'southward and the nephew of James Bond creator Ian Fleming. George Fleming had written ii songs for Arc of a Diver – "2nd-hand Woman" and "Dust" – which were his first-ever compositions.[nine] In 1985, he brought Winwood the words for "Liberty Overspill". Winwood wrote most of the music for "Liberty Overspill", with meaning contribution from ex–Amazing Rhythm Ace James Hooker, an American keyboard player who toured in Winwood's band starting in 1983.[20]

Recording [edit]

Ability Station, Right Rails Recording, and Behemothic Audio sessions [edit]

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

In July 1985,[10] Winwood settled into New York Metropolis for August recording sessions at Power Station, getting an apartment off Madison Artery near Primal Park Zoo. Russ Titelman was chosen to co-produce the album considering he was already familiar with Winwood's keyboard piece of work on Titelman'due south earlier productions George Harrison (1979) and Christine McVie (1984).[21] Titelman had too produced the Rufus/Chaka Khan song "Ain't Nobody", which won the artists a functioning Grammy in 1984, and was 1 of Weisner's favorite songs, aiding in the choice of Titelman.[22] Tracking began in Studio C at Power Station nether engineer Jason Corsaro, with Winwood laying downwards pulsate motorcar, synth bass, and some vocal and instrument tracks. Drummer Jimmy Bralower assisted with the programming of electronic drums, even going to Winwood's flat to work out the sequencing for "Back in the Loftier Life Once more", featuring a conga loop devised by Bralower on the Roland TR-808.[23] Corsaro too engineered sessions at Right Runway Recording. When Corsaro had to leave to honour a commitment with Fleetwood Mac,[24] Titelman moved the projection to Behemothic Audio 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 iii talented brothers who engineered at a nearby studio with a broad selection of synthesizers: Chris, Jeff and Tom Lord-Alge at Unique Recording Studios.[26] [27] Kilgore took Titelman to Unique, where they discovered that the studio besides had an SSL 4000E mixer but like Winwood's at Netherturkdonic, then Titelman moved the project in that location in early Nov 1985.[21] Titelman was immediately impressed by the speed of Chris Lord-Alge.[24] [28] Winwood was delighted with all the choices of synthesizer, playing on them during all-dark 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, simply he had been pushing Tom into positions of greater responsibility; Tom earned his mode to get caput engineer on the Winwood album, his first fourth dimension in the role.[30]

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-runway tape recorders was initially mixed down to stereo on a Studer A-80 one-half-inch two-track deck.[31] [32] At 1 point the analog Studer stopped working and the mixdown was shifted to a digital Mitsubishi X-80 open up-reel 2-track recorder. The greater sonic clarity achieved this way was profound plenty for Titelman and Winwood to decide that the whole album must be mixed to digital stereo.[24] Tom said that Winwood taught him a few tricks on the SSL, and Tom returned the favour by showing Winwood a fox or two of his ain.[26] Titelman said Tom "uses the SSL similar a thespian uses an musical instrument".[24] According to Tom, between x and 20 percent of the Power Station and other previous tracks ended up on the album. The smashing majority of Back in the High Life came from overdubbing at Unique.[26]

Drums [edit]

Once Winwood settled in at Unique, Titelman decided to bring in a real drummer to augment or replace 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 pulsate equipment.[33] JR had already worked with Titelman on Rufus and Chaka Khan dates, and he had many hit records under his chugalug, including the charity single "We Are the World" and Michael Jackson's multi-Platinum "Don't Stop 'Til You Get Enough". To get a larger-than-life drum sound, Titelman and the Lord-Alge brothers had the drums placed in the middle of the main room of Studio B, with viii additional microphones positioned around the room to capture sound-wave reflections and increment the ratio of room ambience.[21] [34]

"Higher Love" was offset tracked with a uncomplicated drum car loop, which Titelman felt was "flat", non quite fitting with the synth layers, which had been created mainly by Kilgore. Titelman tried replacing all the electronic drums with JR playing live, merely the producers felt that this, besides, was non quite suitable.[34] Instead, the rhythm part for the vocal was constructed as a combination of electronic drums, JR's live drums, and sequenced samples of JR'southward drums added later.[24] Winwood instructed JR to brand the snare overdubs feel like they were slightly rushing the tempo, to add together excitement.[34] JR noted that Winwood asked for high-pitched, bright sounds from the drum kit, and so he chose brass snares such as a vintage 1930 Ludwig for "Dissever Conclusion", and the vintage Blackness Beauty on "Higher Honey". JR tuned his drumheads loftier 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 album except "My Love's Leavin'", on which the drum parts stayed purely electronic.[21]

"Higher Dearest" drum-fill [edit]

Tom says he "clinched the gig" when he fabricated a proffer to Titelman every bit the overdubbing was winding down and mixing was soon to begin. The proposition involved Tom moving ane of JR'due south impromptu drum fills to the outset of "Higher Love", by assigning a timing offset to one of two record machines such that they first played the drum fill followed by the vocal coming in on the beat.[27] Titelman was very happy with the result, and decided to open the album with this drum fill. The opening eventually became then famous that JR put it on his answering machine equally a professional calling bill of fare. JR said the pattern was a Latin rimshot technique beyond 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 pulsate intros I've e'er played."[33]

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

Notable collaborators [edit]

Joe Walsh co-wrote "Split Decision" with Winwood

Titelman tapped James Taylor to add background vocals to "Dorsum in the High Life Again", after hearing the slowed-down Winwood and Bralower version. Titelman felt that the song fit Taylor'south manner perfectly.[22] Another Titelman decision was to call Nile Rodgers to handle a guitar solo in "Wake Me Up on Judgment Twenty-four hours", for which Winwood wanted an interpretation different from his ain.[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 manager in a lot of means."[22] Merely Winwood himself invited Eagles guitarist Joe Walsh to join the project.[22] Walsh and Winwood had met during Walsh's James Gang years. More than a decade later Walsh phoned "out of the blue" to say hello, with Winwood immediately suggesting a songwriting collaboration.[19] In Oct,[35] the two wrote "Split Decision" together, the only song on the album written entirely during the recording process in New York. Walsh also performed slide guitar on "Freedom Overspill". Walsh tackled his electric guitar solo for "Split up Decision" in a wholly unrehearsed operation – his usual fashion. Winwood felt challenged to exercise the same on synthesizer.[19]

Marketing and video [edit]

Dorsum in the High Life was a top 10 striking on the album charts in the United States, peaking at number 3, and has sold over five meg copies. The single "Higher Love" first entered the US 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 Honor for "Tape of the Yr"; "Back in the Loftier Life Again" (US number thirteen), "The Finer Things" (Usa number 8, the second-biggest hit from the album), and "Liberty Overspill" (US number 20) were too large hits. "Carve up Decision" failed to chart in other countries only rose to number 3 in the US. "Take It As It Comes" fared less well, reaching number 33 in the Usa.[6] Island had promoted Dorsum in the High Life successfully, basing the entrada on the idea that Winwood was on a "comeback".[3]

Weisner pushed Winwood to promote the anthology with at least one video that could be shown on MTV. Island Records agreed. They chose "Higher Dearest", and selected Peter Kagan and Paula Greif to direct it, on the strength of their video for "The Beloved Parade" past the Dream University.[37] Weisner relayed his wish that Winwood should look like an entertainer, that he should non hide behind the Hammond every bit in the past.[8] 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. 1 xvi 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 movement. Laura State of israel and Glenn Lazzaro edited the flick to U-matic video, then mastered to one-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 forepart 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.[8] Nile Rodgers plays electric guitar in the band, wearing a vivid duster. At the 1987 MTV Video Music Awards, "Higher Love" was nominated for Video of the Yr, Best Male Video, Best Editing, and All-time Management, but lost to Peter Gabriel's "Sledgehammer" in all four categories. The video was also nominated for Best Choreography, honouring Ed Beloved'due south work with the dancers, and it was nominated for Best Cinematography, crediting Kagan. "Higher Dear" was nominated in the Viewers Pick category, which was won past U2's "With or Without You".[39]

Tour [edit]

Winwood began a bout of N America to promote the album, starting on 22 Baronial 1986 with a show at Pino Knob Music Theatre north of Detroit, with reggae artist Jimmy Cliff as the opening deed.[twoscore] [41] In Winwood'due south 8-slice band, James Hooker, co-author of "Freedom Overspill", continued in his part as second keyboard thespian. Winwood's human being 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 Love" and "Gimme Some Lovin'" (1966) – his "newest and oldest songs." He imagined that some of the younger audience members might exist thinking "Gimme Some Lovin'" was a Blues Brothers encompass because it had been in the moving-picture show The Dejection Brothers (1980).[42]

After Texas, Winwood played Colorado and Arizona, where English ring Level 42 became the opening act. Their 1985 World Machine anthology had brought greater fame and introduced more electronic and popular elements to their audio. The Arizona Republic remarked about how well they fit with Winwood's fashion, both sharing a "multilayered instrumentation and a prominent shell."[43] The bout continued through four dates in California, the fourth at the Agree Pavilion, where the San Francisco Examiner reviewed the testify, noting that Winwood played very little guitar and a bit of mandolin, and performed his electric guitar solos on the keyboards to strike a "residue betwixt 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", so finished big with "Back in the High Life Again".[44]

Level 42 and Winwood's band moved up the Pacific Declension 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 1 in Toronto. The bout concluded on 23 Nov in Virginia at the Patriot Eye. Not every show enjoyed good reviews: Rock critic Frank Rizzo in the Hartford Courant was unimpressed by Winwood in Connecticut'due south New Haven Coliseum, describing how most of the two-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 last number that got the crowd continuing for "Gimme Some Lovin'", were not plenty to make the show worthwhile.[45] A month afterwards, the Courant published rebuttals by 2 readers who had witnessed the aforementioned concert, one saying, "This was ane 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 agree with me."[46]

Critical reception [edit]

Professional ratings
Review scores
Source Rating
AllMusic [ane]
Encyclopedia of Pop Music [47]
The Keen Stone Discography eight/10[47]
Los Angeles Times [48]
MusicHound Rock four/5[47]
Music Story [47]
The Rolling Stone Anthology Guide [47]
The Village Voice C[49]

Back in the High Life was met with generally positive reviews. Writing in July 1986 for Rolling Stone, Timothy White hailed it every bit "the first undeniably superb record of an near decade-long solo career" for Winwood.[50] Stereo Review magazine'south Marking Peel said the album "weds Winwood'due south sure sense of melody to gospel, r-&-b, African polyrhythm, and Philly soul grooves", adding, "information technology's Lite Soul, simply Russ Titelman's product and the outstanding recording chore bring out every instrument with a bite and clarity that are often spectacular."[51] In the Los Angeles Times, Kristine McKenna wrote that Back in the Loftier Life generally "sounds as beautiful as the exemplary message of hope information technology espouses", with themes of "faith, defoliation, [and] a yearning for spiritual clarity" making information technology more than just "a decidedly tasteful record".[52]

The album was not without criticism. McKenna suggested that the songs are flawed by somewhat indulgent lengths, singling out the Walsh duet "Split Decision" for "meander[ing] about rather aimlessly".[52] The Hamlet Voice reviewer Robert Christgau was more critical. He establish Winwood'southward lyrics to be truthful and unpretentious only ultimately "well-wrought banalities" and uninteresting, which he attributed to Winwood being "a wunderkind with more talent than brains", who "after two decades of special treatment … derives all the self-esteem he needs merely from surviving, as they say."[49] Geoffrey Himes, writing for The Washington Mail service, was dismissive, maxim that Winwood'south 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 product, just he criticised the anthology as a whole, proverb, "The songs really accept no content, though Winwood's gorgeous blue-eyed soul vocalism almost convinces you otherwise."[53]

Retrospective appraisals have been positive. While reviewing Winwood's 1988 follow-up anthology Roll with It, Dennis Hunt of the Los Angeles Times called Dorsum in the High Life "arguably the all-time R&B album past a white vocalist in the final five years".[54] Years later, in The Rough Guide to Rock (2003), Justin Lewis declared it "the epitome of sophisticated mid-80s AOR, as Winwood adds Caribbean area and gospel flavours to his popular, rock and R&B mix."[55]

Legacy [edit]

In the Uk, Back in the High Life was certified Gold by BPI in August 1986.[56] In the US, Gilded was reached most as quickly but strong sales connected for a longer menstruation, raising the anthology 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 "Higher Love" was remixed posthumously in 2019

Winwood'due south wife Nicole separated from him in late 1985 while he was all the same recording on the other side of the Atlantic Bounding main. Around the same 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 two struck up a relationship.[58] Crafton was Winwood'southward girlfriend in mid-December 1985 when Will Jennings visited New York Metropolis with his own paramour, singer-songwriter Marshall Chapman. They went out as a foursome to savour the nightlife, and stayed at the Gramercy Park Hotel for a few days.[59] Winwood kept his new girlfriend and failing union private: When he started his album bout in August 1986, he instructed his staff to inform journalists that he would not reply any questions nearly his personal life.[42] Winwood'due south divorce was finalised in December 1986, then Crafton and Winwood married in January in a private anniversary held at Fifth Avenue Presbyterian Church.[58] [60] [61] When he stepped up to the podium on 24 February 1987 to accept ane of two Grammy Awards, Winwood said, "I'd like to say how much an laurels like that means to me. The more I'm involved in making records the more it seems to hateful. Then 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 commencement child, Mary Clare, was born in May 1987. The new Nashville vibe lent its sound to Winwood'due south fifth album, Curlicue With Information technology, released in June 1988, which would eventually surpass Back in the Loftier Life in sales.[60]

The song "Higher Love" was covered past Irish vocaliser-songwriter James Vincent McMorrow, who recorded a stripped-down, ethereal acoustic version of it in 2011 for a compilation album called Silvery Lining, produced to benefit the Irish clemency Headstrong. The album raised €225,000.[63] McMorrow's cover version was also used in Europe for an Amazon company advertising. It was picked upward again in 2017 for an American television commercial promoting the Hyundai Kona car. McMurrow said, "It'southward a beautiful melody, the chord construction of that song is actually complex. When I used to play information technology on the guitar but to myself, I was always struck past how interesting it was."[64] "Higher Dearest" was also covered by Whitney Houston in 1990, only her version was non widely heard equally it was released just as a bonus track in Japan. In June 2019, seven years after Houston's death, Norwegian producer Kygo re-arranged and remixed her vocals to create a tropical house version.[65] An accompanying video was released in August. The Houston/Kygo remix of "College Beloved" was certified Golden in the US in October 2019, and the next month information technology reached Platinum in the U.k..[66] [67]

Track list [edit]

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

No. Title Writer(s) Length
ane. "College Honey" 5:45
2. "Take It Equally It Comes" 5:20
iii. "Freedom Overspill" Steve Winwood, George Fleming, James Hooker v:33
4. "Back in the High Life Once more" five:33
5. "The Finer Things" 5:47
6. "Wake Me Upwards on Judgment Day" 5:48
7. "Split Decision" Winwood, Joe Walsh 5:58
8. "My Beloved'south Leavin'" Winwood, Vivian Stanshall 5:19

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). "Dorsum in the High Life – Steve Winwood | AllMusic". allmusic.com . Retrieved 7 August 2011.
  2. ^ a b Hughes, Rob (3 October 2017). "Steve Winwood: from teen prodigy to Traffic and beyond". Louder Sound: Classic Rock . Retrieved 12 July 2020.
  3. ^ a b Higgons, Keith R. (two July 2020). "Album of the Twenty-four hours – July 2: Steve Winwood – Back in the Loftier 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 August 1986). "Chart Beat". Billboard. Vol. 98, no. 35. p. x. ISSN 0006-2510.
  6. ^ a b "Steve Winwood Chart History: "Separate Conclusion"". Billboard. Retrieved 15 July 2020.
  7. ^ a b Pareles, Jon (23 July 1986). "The Pop Life: Steve Winwood Returns to Make the Juices Flow". The New York Times.
  8. ^ a b c d e f DeCurtis, Anthony (one Dec 1988). "From Mr Fantasy to Mr Entertainment". Rolling Stone.
  9. ^ a b Blackness, Johnny (28 May 2020). "Steve Winwood: Arc Of A Diver". Hello-Fi News & Tape Review.
  10. ^ a b Van der Kiste, John (2018). While Yous See A Take 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 15.
  12. ^ Van der Kiste 2018. p. 199
  13. ^ Wawzenek, Bryan (seven Dec 2016). "How Steve Winwood Survived the '80s". Ultimate Classic Stone . Retrieved 10 July 2020.
  14. ^ Welch, Chris (1990). Steve Winwood – Scroll With It. Perigee Books. ISBN978-0399515583.
  15. ^ Fotheringham, William (2015). Concordance: It'due south All Nigh the Bike. Chicago Review Press. p. 272. ISBN9781613734155.
  16. ^ Wiser, Carl (seven 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 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 Straight . Retrieved x July 2020.
  21. ^ a b c d eastward f Parisi, Paula (26 July 1986). "Titelman Wears Many Hats at Warner Bros". Billboard. Vol. 98, no. xxx. p. 48. ISSN 0006-2510.
  22. ^ a b c d eastward White, Timothy (22 June 1996). "'Delight 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 (December 1986). "Product Viewpoint: Russ Titelman". Recording Engineer/Producer. pp. 44, 46, 48, 52, 54.
  25. ^ Dupler, Steven (2 November 1985). "Audio Track: New York". Billboard. Vol. 97, no. 44. p. 41. ISSN 0006-2510.
  26. ^ a b c Schultz, Barbara (2000). Music Producers: Conversations with Today's Height Hit Makers. Hal Leonard. p. 215. ISBN9780872887305.
  27. ^ a b c Verna, Paul (5 Nov 2005). "Chris and Tom Lord-Alge". Billboard. Vol. 117, no. 45. p. 38. ISSN 0006-2510.
  28. ^ Scherman, Tony (January 1988). "The Lord-Alges: The Marx Brothers of the mixing board". Musician. No. 111. p. 38.
  29. ^ Staff (one Baronial 2000). "Unique Recording Studio". Mixonline.com. Archived from the original on 24 March 2006. Retrieved 10 July 2020.
  30. ^ Tingen, Paul (Apr 2000). "Tom Lord-Alge: From Manson To Hanson". Sound on Sound.
  31. ^ Dupler, Steve (eighteen Jan 1986). "Unique Unveils Improved 'Studio A'". Billboard. Vol. 98, no. 3. p. 31. ISSN 0006-2510.
  32. ^ Dupler, Steven (15 November 1986). "Sound Investment". Billboard. Vol. 98, no. 46. p. 53. ISSN 0006-2510.
  33. ^ a b c d Mattingly, Rick (June 1987). "John Robinson". Modern Drummer. No. 91. pp. 16–21, 48–53.
  34. ^ a b c Amendola, Billy (June 2017). "A Different View: Russ Titelman". Mod Drummer . Retrieved 11 July 2020.
  35. ^ Campbell, Mary (12 October 1985). "Walsh fondly recalls Eagles". The Postal service-Star. Glen Falls, New York. Associated Press. p. 28.
  36. ^ "Hot 100". Billboard. Vol. 98, no. 24. 14 June 1986. p. 74. ISSN 0006-2510.
  37. ^ a b c Lazzaro, Glenn (17 August 2011). "Steve Winwood 'Higher Love'". 99 Tigers . Retrieved 13 July 2020.
  38. ^ Higher Love official video. Isle Records, 1986. Online video hosted by Vevo.
  39. ^ de Atley, Richard (xi September 1987). "Peter Gabriel Endeavor Chosen Every bit Video Of The Twelvemonth". Associated Printing.
  40. ^ "Steve Winwood". The Concert Database . Retrieved 12 July 2020.
  41. ^ Graff, Gary (22 August 1986). "Making Hits: Rocker Steve Winwood hasn't lost his impact". The Detroit Gratuitous Press. p. 32.
  42. ^ a b Pond, Steve (12 October 1986). "The Road Gets Back into Winwood's Blood". Los Angeles Times. p. 350.
  43. ^ Means, Andrew (17 October 1986). "Steve Winwood offers new visage to '80s crowd". The Arizona Commonwealth. p. 41.
  44. ^ Elwood, Philip (27 October 1986). "Steve Winwood Sparks Interest of Thousands". San Francisco Examiner. p. 51.
  45. ^ Rizzo, Frank (18 November 1986). "Winwood's Reserve Robs Show of Warmth". Hartford Courant. p. 10.
  46. ^ Wilson, Marshall; Scrivano, Lorraine D. (17 Dec 1986). "Review of Winwood was off base". Hartford Courant. p. 58.
  47. ^ a b c d e "Steve Winwood - Dorsum in the High Life". Acclaimed Music. Retrieved half-dozen July 2020.
  48. ^ "Stars Twinkle on Elevation forty Shopping List". Los Angeles Times. 21 December 1986. p. 297. Retrieved 12 July 2020 – via Newspapers.com. open access
  49. ^ a b Christgau, Robert (5 Baronial 1986). "Christgau'south Consumer Guide". The Village Voice . Retrieved 6 July 2020 – via robertchristgau.com.
  50. ^ White, Timothy (23 July 1986). "Steve Winwood: Dorsum In The Loftier Life". Rolling Stone. Archived from the original on 13 February 2009. Retrieved 10 July 2020.
  51. ^ Peel, Marker (November 1986). "Back in the High Life". Stereo Review. p. 133.
  52. ^ a b McKenna, Kristine (27 July 1986). "Steve Seeks Clarity". Los Angeles Times . Retrieved 12 July 2020.
  53. ^ Himes, Geoffrey (28 August 1986). "Records". The Washington Post.
  54. ^ Hunt, Dennis (19 June 1988). "Steve Winwood Is Notwithstanding On a Roll With White Hot Soul". Los Angeles Times . Retrieved 12 July 2020.
  55. ^ Lewis, Justin (2003). "Steve Winwood". In Buckley, Peter (ed.). The Rough Guide to Stone. Rough Guides. p. 1178. ISBN9781843531050.
  56. ^ "Steve Winwood – Dorsum in the Loftier Life". BPI. Retrieved 12 July 2020.
  57. ^ "Steve Winwood – Back in the High Life". RIAA. Retrieved 12 July 2020.
  58. ^ a b Blackness, Johnny (May 1997). "No Hiding Place". Mojo.
  59. ^ Chapman, Marshall (2003). Good day, Little Rock and Roller. Macmillan. p. 157. ISBN9780312315689.
  60. ^ a b "Winwood's Comeback Has a Tennessee Bent". Deseret News. Salt Lake Urban center. Associated Printing. xv July 1988.
  61. ^ Trott, William C. (xx January 1987). "Glimpses". United Press International . Retrieved 13 July 2020.
  62. ^ Swenson, John (25 Feb 1988). "Steve Winwood and his comeback". United Press International. Retrieved 12 July 2020.
  63. ^ "Silver Lining". Sound Grooming Productions. ix January 2016. Retrieved 12 July 2020.
  64. ^ Nudd, Tim (27 April 2018). "How Hyundai Savage in Love with a Haunting Comprehend of Steve Winwood's 'Higher Beloved'". Clio Music. Clio Awards. Retrieved 12 July 2020.
  65. ^ Lewis, Brandon (28 June 2019). "Kygo Does Whitney Houston Justice on "College Love" Remix". When Things Become Pop . Retrieved 21 July 2019.
  66. ^ "Kygo & Whitney Houston – Higher Love". RIAA. Retrieved 13 July 2020.
  67. ^ "Kygo & Whitney Houston – Back in the High Life". BPI. Retrieved 13 July 2020.
  68. ^ "Back in the Loftier Life – Steve Winwood | Credits | AllMusic". AllMusic . Retrieved 17 November 2016.
  69. ^ "GRAMMYs' Best Albums 1980–1989". grammy.org. 4 Feb 2008. Archived from the original on 30 August 2011.
  70. ^ "By Winners Search". National Academy of Recording Arts and Sciences. Retrieved i May 2014.
  71. ^ a b Hunt, Dennis (9 Jan 1987). "Grammy Nominations: Highs and Lows : Winwood, Gabriel and Simon Garner Nearly Nominations". Los Angeles Times . Retrieved 3 May 2014.
  72. ^ a b "Past Winners Search". National University of Recording Arts and Sciences. Retrieved 1 May 2014.
  73. ^ Hilburn, Robert (thirteen January 1989). "U2, Jackson Tiptop Grammy Nominees : No Major Embarrassment Seen in Top Categories". Los Angeles Times . Retrieved 3 May 2014.
  74. ^ "MTV Video Music Awards: 1987 VMA Winners". Retrieved 3 May 2014.
  75. ^ "MTV Video Music Awards: 1988 VMA Winners". Retrieved iii May 2014.
  76. ^ a b Kent, David (1993). Australian Nautical chart Volume 1970–1992. St Ives, NSW: Australian Chart Volume. ISBN0-646-11917-half-dozen.
  77. ^ "Pinnacle Albums/CDs – Volume 45, No. three" (PHP). RPM. 11 October 1986. Retrieved 3 May 2013.
  78. ^ "dutchcharts.nl Steve Winwood – Back in the High Life" (ASP). dutchcharts.nl. MegaCharts. Retrieved one May 2014.
  79. ^ "charts.nz Steve Winwood – Back in the High Life" (ASP). Recording Industry Association of New Zealand. Retrieved 1 May 2014.
  80. ^ "swedishcharts.com Steve Winwood – Back in the Loftier Life" (ASP). Sverigetopplistan. Retrieved ane May 2014.
  81. ^ "Steve Winwood – Back in the High Life – hitparade.ch" (ASP) . Retrieved 1 May 2011.
  82. ^ "Steve Winwood > Artists > Official Charts". United kingdom Albums Chart. Retrieved 1 May 2014.
  83. ^ "Steve Winwood Chart History: Billboard 200". Billboard. Retrieved nine July 2020.
  84. ^ "Steve Winwood Chart History: Tiptop R&B/Hip-Hop Albums". Billboard. Retrieved 9 July 2020.
  85. ^ "Album Search: Steve Winwood – Back in the High Life" (ASP) (in German). Media Command. Retrieved 1 May 2014. [ dead link ]
  86. ^ "RPM Top 100 Albums of 1986". RPM . Retrieved one May 2014.
  87. ^ "Dutch charts jaaroverzichten 1986" (ASP) (in Dutch). Retrieved 1 May 2014.
  88. ^ "Complete Great britain Year-Terminate Album Charts". Archived from the original on 19 May 2012. Retrieved 2 April 2014.
  89. ^ "Billboard.BIZ  – Year-end Charts – Billboard 200 – 1986". billboard.biz. Archived from the original on 9 December 2012. Retrieved i May 2014.
  90. ^ "Top 100 Albums of '87". RPM. 26 December 1987. Retrieved two May 2014.
  91. ^ "Top Pop Albums of 1987". billboard.biz. Archived from the original on ii Baronial 2012. Retrieved 2 May 2014.
  92. ^ "New Zealand album certifications – Steve Winwood – Back in the High Life". Recorded Music NZ. Retrieved 18 October 2021.
  93. ^ "British album certifications – Steve Winwood – Back in the Loftier Life". British Phonographic Industry. Retrieved x October 2013.
  94. ^ "American album certifications – Steve Winwood – Back in the High Life". Recording Industry Association of America. Retrieved 10 Oct 2013.

External links [edit]

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

carterfreadd78.blogspot.com

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

0 Response to "When Did Steve First Record Back in the High Life Again"

Postar um comentário

Assinar: Postar comentários (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel