One record at a time: 467. Steve Winwood - Refugees of the Heart

The final Steve Winwood record in my collection takes us out of the eighties with 1990's "Refugees of the Heart". I hadn’t heard this album before ordering it, but since it was on a flash sale for a very reasonable price, I thought—why not?

On hearing the record, things don't bode well from the outset as opening track, "You'll Keep On Searching" begins with the dreaded sound of a saxophone. Still, there’s just enough of the Roland D-50 preset "Digital Native Dance" to keep me listening. As the song crawls along at a mid-tempo pace, weaving through passages of Hammond organ and more saxophone, it feels as though it might never end. After nearly six and a half minutes, we move on to the slightly more palatable "Every Day (Oh Lord)," which offers some interesting rhythmic elements, though it still doesn’t exactly set the house on fire.

Among these rather conventional rock tracks, "One and Only Man" has enough rhythm and synth textures to make it worth a listen, but much of the rest can be safely ignored. I have a dislike of the final track on the first side, "I Will Be There," which is marred by a grating saxophone and runs for at least twice as long as it has any right to.  

Flipping to the reverse side, there’s some country-tinged nonsense called "Another Deal Goes Down", while "Running On" and "Come Out and Dance" are almost indistinguishable rock dirges. The ten-minute-long closing track, "In The Light of Day," starts with a simple synth sequence before gradually building into yet another torturous saxophone solo before it peters out.

Although the credits frequently mention the use of the Fairlight CMI, aside from a few elements on the final track and some scattered drum samples, this album sounds like it was created by session musicians using conventional instruments. "Refugees of the Heart" marks Winwood’s final step away from making music for American radio and is aimed closer to his roots. However, as I stated in my first piece on Steve Winwood, the genres he is generally associated with aren’t to my taste—and neither is this album. 1/5

One record at a time: 466. Steve Winwood - Roll With It

"Roll With It" was released in 1988 and became one of Winwood's most commercially successful albums in the USA. Having had a massive pop hit with his previous studio album, Steve Winwood seemed to deliver a record full of rock tracks aimed at middle America for the follow-up. However, if you look past the machismo and the leather jacket, the old Steve Winwood can still be found lurking on the background.

We kick off with the Motown pastiche that gave the album its name. I say 'pastiche' but this song was so close to actual Motown songs that Holland–Dozier–Holland received a song writing credit. Whilst this is undoubtedly a catchy number it is highly derivative and belongs to a genre I do not enjoy. Hot on its heels is another single called  "Holding On" which sound much more like traditional Winwood territory. 

There's a prominent Roland CR-78 drum machine and a Multimoog bass on the brooding third track "The Morning Side" which sound like something Phil Collins would have come up with. My personal favourite on the album is "Put On Your Dancing Shoes" as it has some great chords in the chorus and some plastic synth brass that is redolent of the eighties.

I know "Don't You Know What The Night Can Do?" was popular at the time of release but I find it a truly unremarkable song. "Hearts On Fire" recycles lyrics and licks from "Higher Love" and sounds a bit too 'mainstream adult contemporary radio' to me. The only other song to mention is the final number "Shining Song" which features the Fairlight CMI "ARR1" preset along with "Fantasia" from the Roland D50. Tame stuff. 2/5

One record at a time: 465. Steve Winwood - Chronicles

"Chronicles" is a compilation album from 1987 that bring together the highlights of Steve Winwood's solo work released on the Island record label. Having just scored a hit with "Back in the High Life" Winwood was hot property in America and the executives at Island records were keen to use their final album under his contract to capitalise. 

To promote the album Tom Lord-Alge was asked to sprinkle some of his auditory fairy dust on the criminally ignored track "Valerie" and another top ten hit was born. Also dunked in the Lord-Alge sheep-dip were "Help Me Angel" and "Talking Back To The Night". Whilst all these remixes sound good, you could argue the originals were perfectly satisfactory. I guess the aim of giving these older songs a more polished sound was to make them more appealing to the new found American market. 

Whilst the track choices for this compilation are fairly evenly split amongst Winwood's solo albums, the only song from his eponymous debut is "Vacant Chair". However, this track is presented as a lean four and a half minute edit rather than the the full fat album mix. Also edited are "Spanish Dancer" and "While You See A Chance" with the former sounding particularly truncated. Interestingly my compact disc and "The streaming services of Lucifer™ " use the full album mixes rather than the edits, so this vinyl is rather unique in that regard.

Personally I'd like to have seen "Big Girls Walk Away" included here and a tasteful edit of "Midland Maniac" might have offered a slightly more holistic view of Windood's solo career. Having said that, this is an engaging compilation and serves as a great introduction to Steve's early solo work. 3/5

One record at a time: 464. Steve Winwood - Back In The High Life

In 1986, Steve Winwood decided to pursue his commercial ambitions and aim for greater success in America. The result was "Back In The High Life," a highly polished album produced by Russ Titelman in New York. Winwood collaborated with a host of session musicians and prominent backing vocalists, while the technically adept Lord-Alge brothers worked behind the scenes to add the finishing touches that would make the record so appealing to the American market. Once released the album sold well and earned Winwood two Grammy awards in the process. All this success prompted his move to the United States—mission accomplished.

Central to this success was the single "Higher Love". Whilst my children know this song thanks to a dance remix of Whitney Houston’s cover version that appeared on the soundtrack to the film "Sing 2", my own first encounter with the song was thirty-five years earlier. Side A of the cassette compilation "Now That's What I Call Music 8" is full of wonderful music and I would always look forward to this track coming along straight after Swing Out Sister's "Breakout". 

One of the standout elements of "Higher Love" is its rhythm track, where drummer John Robinson enhanced the Oberheim DMX drum machine’s sound with dynamic fills and added punch. The remarkable percussive loop that opens the track was actually captured by chance as Robinson practiced in the studio. I've heard esteemed producer and engineer Gary Langan say that a recording engineer’s job is to capture everything musicians produce in the studio—if you’re not recording, you’re not doing your job properly. By this definition, Tom Lord-Alge was certainly doing his job as not only did he manage to record Robinson’s improvisation but he then managed to seamlessly incorporated it into the finished track. 

Famously, Chaka Khan provides backing vocals and the credits also list Nile Rodgers on guitar. The liner notes mention the use of a PPG Waveterm, but I can also hear sounds reminiscent of the Yamaha DX7 (bass) and the Sequential Circuits Prophet 5 (brass). The album version of the song is almost six minutes long, but it never feels tiresome. This is peak eighties pop.

The second track, "Take It As It Comes" moves into more conventional rock territory, featuring Hammond organ, chugging rhythm guitar, and a brass section. However, both the song and its execution are rather unremarkable. The single "Freedom Overspill" brings in more synth touches, including a Yamaha DX7 BASS.1 bassline, but the overly showy guitar work by Joe Walsh of The Eagles feels out of place.

Another highlight is "Wake Me Up On Judgement Day". While the verse and pre-chorus are somewhat bland, the song rewards persistence with an uplifting chorus. As the track gathers momentum, Nile Rodgers steps into the spotlight, and the focus remains on the infectious chorus, leaving behind the earlier diversions.

A personal favourite is "My Love's Leavin'" which was co-written with long-term collaborator Vivian Stanshall. This song blends the sound of the DMX drum machine with the ubiquitous DX7 E.PIANO 1 and Tom Lord-Alge’s mix is rich with reverbs, delays, and equalisation, maintaining a palpable tension throughout. The album credits are so extensive that it is easy to overlook that Arif Mardin arranged the synthesised strings on this track. It is an amazing end to a pleasing album. 3.5/5.

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

One record at a time: 462. Steve Winwood - Arc of a Diver

"Arc of a Diver" was released in 1980 and my well worn original pressing is showing its age. Not only is the sound reproduction pretty poor, but there are also some outdated and misogynistic ideas within these grooves. The first time I heard "Second-hand Woman" I thought I was misinterpreting things or being oversensitive, but the more I heard the song the more disconcerting I found it. The music is inoffensive, but the lyrics are just vile.

On a brighter note, the album opens with "While You See a Chance", where the Prophet 5 and Multimoog synths blend beautifully with Winwood’s signature Hammond organ. The lyrics may be a bit scattershot, but the inventive, catchy music more than compensates. "Slowdown Sundown" takes an unexpected acoustic turn, but the track is ultimately saved by a wonderful Moog bass and a standout solo.

Side B begins with "Spanish Dancer," a long-time favourite of mine. The track is rich with synth textures and features a bubbling analogue sequence that underpins lush polysynths and subtle percussion. I especially enjoy how this song ebbs and flows, building tension and release to great effect. "Night Train" is an eight-minute journey that feels more contemporary and you may find yourself tapping your foot - albeit absent mindedly. The album closes with "Dust," a somewhat underwhelming composition, though Winwood’s vocals remain a highlight.

Overall, "Arc of a Diver" is a mixed bag: musically inventive in places, but marred by outdated themes and inconsistent songwriting. Still, there are moments of brilliance that make it worth a listen—if you can look past its flaws. 2/5

One record at a time: 461. Steve Winwood - Steve Winwood

Although I’m not a fan of blues, R&B, or blue-eyed soul—the genres most often associated with Steve Winwood—there’s something about his solo work that genuinely intrigues me. I suspect it’s the undeniable brilliance of his songwriting and musicianship that draws me in. Still, I have to admit, it’s his albums from the 1980s that truly capture my interest.

I picked up my copy of this album on eBay about six years ago. Interestingly, it turned out to be an American pressing, which I hadn’t realised when I bought it. The sleeve has a deletion cut in the bottom right corner—a telltale sign of how it ended up here in the UK.

Since this album dates back to 1977, it isn’t among my favourites. The tracks lean heavily into the style of seventies soul, filled with funky clavinet, electric piano, and wailing guitars. The Minimoog makes a few appearances as the only synth, and, as you’d expect from Winwood, there’s plenty of Hammond organ throughout. There are just six songs on the record, but with each running between five and eight minutes, listeners would have felt they were getting their money’s worth.

While most of the album doesn’t quite resonate with me, I did find myself paying closer attention to “Midland Maniac” and “Vacant Chair.” The opening track, “Hold On,” features a Minimoog patch that I instantly recognised from Winwood’s later work, and its strong energy did win me over to some extent. Still, overall, this album isn’t really my cup of tea. 1/5