One record at a time: 463. Steve Winwood - Talking Back To The Night

“Talking Back to the Night” was recorded entirely in Steve Winwood’s home studio, making it a genuine solo effort. This time, Winwood not only composed every note, but also played, recorded, and mixed the whole album himself. If he had taken charge of the sleeve design as well, perhaps we would have had a more striking cover, but that is a minor complaint. I purchased this original 1982 UK pressing from eBay eight years ago. The sound quality is decent, though not outstanding.

The album begins with the hit single “Valerie”. On this release, you will find the original mix, which feels raw compared to the polished 1987 remix. For those familiar with the latter, this version may seem less refined, but it remains an irresistibly catchy track. The synth textures are prominent and Winwood has mentioned that the Prophet 5 was responsible for nearly all the electronic sounds on the album.

“Big Girls Walk Away” might raise eyebrows with its title, but if you give it your full attention, it proves to be a highlight. The track blends Linn LM-1 drums, Roland VP-330 vocoder and Prophet 5 synth to create a soulful edge to its synth-pop foundation.

After such an energetic start, “And I Go” slows the pace. This is a soul-infused number, featuring Hammond organ flourishes and other familiar genre tropes. There is also a jarring edit at one minute and twenty-two seconds that always catches my ear. “While There’s a Candle Burning” begins unassumingly but gradually builds with synth riffs and seventies-style guitar. Side one closes with “Still in the Game”, which, while melodically bland, offers some appealing synth work.

Turning to side two, “It Was Happiness” is pleasant but somewhat forgettable. However, “Help Me Angel” is a true highlight and is presented here in its original form before Tom Lord-Alge got his hands on it for the “Chronicles” compilation. This song grooves relentlessly, driven by a tight drum pattern and excellent synths. The title track is another mid-tempo, synth-driven piece that is enjoyable but does not leave a lasting impression. Finally, “There’s a River” delivers the slow blues number you might have been dreading; it is best skipped. 3/5