Steve Winwood -

Steve Winwood (born May 12, 1948) is an English vocalist, keyboardist, and songwriter from Birmingham who emerged as the voice of the Spencer Davis Group, which he joined in 1963 at age 15. After four years, three proper albums, and assorted singles with the band — including the soul-rock evergreens “Gimme Some Lovin'” and “I’m a Man” — Winwood left to form Traffic, which cut two albums on Island during 1967 and 1968.

In 1969, Winwood teamed with Cream and Family alumni for the one-album project Blind Faith. Traffic reformed in 1970, releasing four studio albums and a live disc during the ensuing four-year period. Between 1973 and 1976, he partook in the Osibisa-spinoff Third World, appeared on the Jade Warrior album Waves, and collaborated with Stomu Yamash’ta and Michael Shrieve on the project Go.

In 1977, Winwood debuted as a solo artist with a self-titled album on Island. His 1980 album Arc of a Diver spawned hits with the synth-driven numbers “While You See a Chance” and “Night Train.” He continued this style with the 1982 album Talking Back to the Night and the singles “Still In the Game” and “Valerie.”

Winwood reached new commercial heights with his 1986 album Back in the High Life and its dance-oriented hits “Higher Love” and “The Finer Things.” On his multi-Platinum 1988 Virgin release Roll With It, he reached back to his soul roots with the No. 1 title track.

Origin and Early Music

Steve Winwood was born Stephen Lawrence Winwood on May 12, 1948, in Handsworth, Birmingham. His father, Lawrence Winwood, worked as a foundryman and played saxophone and clarinet as a semi-professional musician.

Winwood started piano at age four and sang in the choir at St John the Evangelist Church in Perry Barr. He later added drums and guitar while he learned from swing, Dixieland, American blues, and rock-and-roll records. Great Barr School enrolled him after the family moved to Atlantic Road in Kingstanding. He also took piano classes at the Birmingham and Midland Institute.

Early Gigs with Muff Winwood

His older brother, Mervyn “Muff” Winwood (b. 1943), played bass and worked with Steve in family and school-age bands. At eight, Steve played piano with Lawrence and Muff in the Ron Atkinson Band. In licensed rooms, they turned the piano away from audiences to obscure Steve’s age. The brothers later played in the Muff Woody Jazz Band, a Birmingham group rooted in traditional-jazz repertory.

The Spencer Davis Group

Spencer Davis saw Steve and Muff Winwood at the Golden Eagle in Birmingham and recruited them for a new group. Davis formed the Rhythm and Blues Quartette in Birmingham in 1963 with the Winwood brothers and drummer Pete York. The quartet performed local dates before it became the Spencer Davis Group, a democratic unit named after the only press-friendly member.

Chris Blackwell saw the group in a local club and arranged a contract with Island Records, which issued their 1964 debut single “Dimples” shortly after Steve turned sixteen. The group reached UK No. 1 with “Keep On Running” and “Somebody Help Me,” both Jackie Edwards songs. Winwood bought a Hammond organ from the proceeds of that success.

Winwood gave the Spencer Davis Group its principal lead voice and keyboard identity. He co-wrote their 1966 transatlantic breakthrough hit, “Gimme Some Lovin’,” an evergreen soul-rock anthem recognized for its distinct Hammond riff. They followed with a second Winwood co-write, “I’m a Man,” another belted, organ-dense salvo. Steve and Muff left the Spencer Davis Group in April 1967. Muff moved into A&R and production work at Island Records.

Traffic: First Phase

Traffic formed in Birmingham in April 1967 when Winwood met drummer–vocalist Jim Capaldi, guitarist–vocalist Dave Mason, and saxophonist–flautist Chris Wood. The group rented a cottage near Aston Tirrold, Berkshire, for rehearsals and song development.

Winwood wrote music for lyric texts by Capaldi and sang most lead parts. He played keyboards and guitar, with an expanded guitar role after the first Mason departure. Traffic issued “Paper Sun” as an early single. Island issued the debut album Mr. Fantasy during December. Mason left and returned twice during the first phase, which also produced their 1968 second album Traffic and the post-split Last Exit. Traffic broke apart during the opening months of the next year.

Winwood and Eric Clapton began rehearsals at the Aston Tirrold cottage after the first Traffic split. Ginger Baker joined the sessions after the end of Cream. Ric Grech left Family to complete the quartet. In February 1969, Blind Faith announced their formation.

For their album, Winwood wrote “Had to Cry Today,” “Can’t Find My Way Home,” and “Sea of Joy.” Blind Faith made their public debut at Hyde Park in London on June 7, 1969, before a large outdoor audience. That summer, Polydor issued Blind Faith, which reached No. 1 in Britain and the United States. The quartet toured Scandinavia and North America with a limited album book and pressure to include Cream and Traffic material. Blind Faith ended after the tour.

Traffic: Return

In 1970, Winwood began a solo album tentatively titled Mad Shadows. He brought Capaldi and Wood into the sessions, and Island issued John Barleycorn Must Die under the Traffic name. Traffic continued with Welcome to the Canteen, The Low Spark of High Heeled Boys, Shoot Out at the Fantasy Factory, On the Road, and When the Eagle Flies.

Winwood kept the Capaldi partnership at the center of the revived group. His roles covered lead vocals, keyboards, guitar, and occasional bass, while Wood added saxophone and flute to the trio frame. Traffic expanded around the core trio for stage and studio work during the early 1970s. The Traffic run ended after their 1974 album When the Eagle Flies.

Steve Winwood

Steve Winwood released his self-titled debut album in June 1977 on Island.

Winwood contains four Capaldi co-writes recorded with bassist Willie Weeks and drummer Andy Newmark. He collaborated with ex-Bonzo Viv Stanshall on “Vacant Chair,” cut with bassist Alan Spenner, drummer John Susswell, and guitarist Junior Marvin. The self-written “Midland Maniac” features Winwood alone on all instruments.

“Hold On” drives a rounded, darkened lead through a clipped Minimoog accent and electric-piano weight. “Time Is Running Out” tightens organ, clavinet, backing-vocal replies, and conga-marked accents. “Midland Maniac” drifts through reflective tempo turns and coils around harpsichord edges and acoustic-guitar shading.

“Vacant Chair” lingers on a solemn vocal phrase over restrained accompaniment and low-end gravity. “Luck’s In” cues a Hammond entrance, then cuts into a tight play-out around clipped figures. “Let Me Make Something in Your Life” settles into a sweetened closing line and renders words with softened drift.

A1. “Hold On” (4:31) – Winwood, Capaldi
A2. “Time Is Running Out” (6:29) – Winwood, Capaldi
A3. “Midland Maniac” (8:34) – Winwood

B1. “Vacant Chair” (6:50) – Winwood, Stanshall
B2. “Luck’s In” (5:26) – Winwood, Capaldi
B3. “Let Me Make Something in Your Life” (5:48) – Winwood, Capaldi

Sessions occurred in late 1976 and early 1977, primarily at Island Studios on Basing Street, London. He recorded “Vacant Chair” at Chipping Norton Studios. Winwood and Chris Blackwell co-produced the album in association with Mark Miller Mundy. Phil Brown engineered the sessions, assisted by Robert Ash and Ray Doyle.

James Hutcheson designed the sleeve and painted the cover image. Fin Costello photographed the package. The front painting shows Winwood in a light suit beside a tree, under a thatched line against pale sky and sand. Original LP copies included a picture inner sleeve.

Island lifted “Time Is Running Out” as a June 1977 UK 12-inch single (b/w “Penultimate Zone”). The title also appeared as an August 1977 US 7-inch, with “Hold On” on one pressing and “Luck’s In” on another pressing. Steve Winwood reached No. 12 on the UK Albums Chart and No. 22 on the Billboard 200.

Arc of a Diver

Steve Winwood released his second solo album, Arc of a Diver, on December 31, 1980, on Island.

Arc of a Diver contains seven self-performed Winwood originals with lyrics by George Fleming and ongoing collaborator Will Jennings. The title track carries a lyric by returning Bonzo alumnus Viv Stanshall. Winwood’s keyboard credits include Prophet-5, Minimoog, Yamaha CS-80, Hammond B3 organ, and Steinway piano. He adds mandolin and Linn LM-1 rhythm to his one-man instrumental setup.

“While You See a Chance” swells from glassy chords into a buoyant vocal line and tightly paced turns. “Arc of a Diver” carries a measured keyboard array through warm harmonies and a doubled closing vocal. “Second-Hand Woman” clips through angular discofied figures with a fretless-bass line. “Slowdown Sundown” settles around acoustic color, piano weight, and organ counterpoint, then opens into a lifted middle section.

“Spanish Dancer” circles a persistent arpeggio, stereo answer phrases, a slow chord drift, and a briefly surfacing low-end figure. “Night Train” drives a long entrance into vocal delay, lead-guitar phrases, and nocturnal vibes. “Dust” lingers on sustained electronic lines and a contained vocal close.

A1. “While You See a Chance” (5:12) – Winwood, Jennings
A2. “Arc of a Diver” (5:28) – Winwood, Stanshall
A3. “Second-Hand Woman” (3:41) – Winwood, Fleming
A4. “Slowdown Sundown” (5:27) – Winwood, Jennings

B1. “Spanish Dancer” (5:58) – Winwood, Jennings
B2. “Night Train” (7:51) – Winwood, Jennings
B3. “Dust” (6:20) – Winwood, Fleming

Sessions occurred in 1980 at Netherturkdonic Studios in Gloucestershire with producer and engineer Steve Winwood. John “Nobby” Clarke served as additional engineer, and John Dent mastered the album at The Sound Clinic in London.

Arc of a Diver features cover art by Tony Wright and photography by Fin Costello. Wright’s front cover places a black arched diver silhouette on a teal field with a yellow disc, green lower shapes, and white artist lettering. Original LP copies included a lyric inner sleeve.

Island lifted “While You See a Chance” as a December 1980 single (b/w “Vacant Chair”), which reached No. 45 on the UK Official Singles Chart and No. 7 on the Billboard Hot 100. In the corresponding video, a suited Winwood performs in a saturated blue/red setting where silhouetted mimes make stop-start movements toward a ball-topped pyramid. The song’s synth riff became theme music for local affiliates of the US PM/Evening Magazine franchise.

“Spanish Dancer” became an April 1981 UK single (b/w “Hold On”). Island lifted “Arc of a Diver” as an April 1981 US single (b/w “Dust”), which reached No. 48 on the Billboard Hot 100.

In September 1981, “Night Train” appeared as a UK single (b/w “Night Train (Instrumental)”). Clive Richardson directed the “Night Train” video, which places monochrome footage of the sharp-dressed keyboardist against infrared green-screen locomotive footage; intercut with blue-tinted scenes of Winwood, guitar-strapped and expressionless, in a triangular fluorescent corridor.

Arc of a Diver reached No. 13 on the UK Albums Chart and No. 3 on the Billboard 200.

Talking Back to the Night

Steve Winwood released his third solo album, Talking Back to the Night, on August 2, 1982, on Island.

Talking Back contains nine Winwood–Jennings titles in a self-performed setup. He trims his keyboard arsenal to Hammond B3, Prophet-5, and Multimoog, tracked with the Linn LM-1 rhythm computer. His then wife, Nicole Weir Winwood, sings backing vocals on “Big Girls Walk Away” and “Still in the Game.”

“Valerie” springs from a synthetic bounce into a high, zipped synth lead. “Big Girls Walk Away” snaps through tight harmony replies and stuttered dance accents. “And I Go” softens into a glossy line over a Hammond bed. “While There’s a Candle Burning” presses the smoother side with firmer motion.

“Still In the Game” advances on relentless momentum and broad electronic strings. “Help Me Angel” leans into a light offbeat pattern and rounded chord turns. “Talking Back to the Night” cuts into a tighter late-album dance pattern and gives the lead vocal a stronger emotional charge. “There’s a River” settles on a pump-organ color and leaves the closing section fixed on that tone.

A1. “Valerie” (4:05)
A2. “Big Girls Walk Away” (3:51)
A3. “And I Go” (4:12)
A4. “While There’s a Candle Burning” (3:11)
A5. “Still in the Game” (4:51)

B1. “It Was Happiness” (4:58)
B2. “Help Me Angel” (5:06)
B3. “Talking Back to the Night” (5:44)
B4. “There’s a River” (4:40)

Sessions occurred between November 1981 and June 1982 at Netherturkdonic Studios in Gloucestershire with producer and engineer Steve Winwood. John “Nobby” Clarke served as assistant engineer.

Talking Back to the Night features cover art by Tony Wright and photography by Lynn Goldsmith. Wright’s front cover layers street figures, illuminated signs, and yellow-red light fields beneath the artist name and title. Original LP copies included a lyric inner sleeve.

Island issued “There’s a River” as a December 1981 UK single (b/w “Two Way Stretch”). “Still in the Game” followed as a July 1982 single (b/w “Dust”), which reached No. 47 on the Billboard Hot 100. Clive Richardson directed the “Still in the Game” video, which places Winwood in a duet-style performance frame with Nicole Weir. The video received high MTV rotation during the US cable music channel’s second year of broadcast.

Island lifted “Valerie” as a September 1982 UK single and October 1982 US single (b/w “Slowdown Sundown”), which reached No. 51 on the UK Official Singles Chart and No. 70 on the Billboard Hot 100. The original “Valerie” video intercuts Winwood at synthesizer with layered images of a woman; Meiert Avis directed a separate 1987 video for the remixed single.

Talking Back to the Night reached No. 6 on the UK Albums Chart and No. 28 on the Billboard 200.

Back in the High Life

Steve Winwood released his fourth solo album, Back in the High Life, on June 30, 1986, on Island.

High Life contains five Winwood–Jennings titles and select co-writes with Fleming, Stanshall, James Hooker and Joe Walsh. The session credits place five guitarists (Walsh, Nile Rodgers, Eddie Martinez, Paul Pesco, Ira Siegel) beside three drummers (John Robinson, Mickey Curry, Steve Ferrone). David Frank arranged the horn parts for a five-piece section with Randy Brecker. Winwood harmonizes on select tracks with Chaka Khan (“Higher Love”) and James Taylor (“Back in the High Life Again”), while “The Finer Things” features vocal backing by James Ingram and Dan Hartman.

“Higher Love” congeals from loose, Latin percussion through a measured bridge to a brassy, Chaka-harmonized chorus. “Take It As It Comes” leans into a brass-centered arrangement and compact instrumental push. “Freedom Overspill” cuts slide-guitar bite across synths, organ, and hard brass accents. “Back in the High Life Again” saunters with mandolin color and James Taylor’s harmony line.

“The Finer Things” shifts from a misted opening into bouncing figures and quick section turns. “Wake Me Up on Judgment Day” bursts from its intro into heavy bass pressure, spare brass, and a later break that returns the opening color. “Split Decision” grinds from Joe Walsh’s crunchy riff into organ-led verses and a stretched ending. “My Love’s Leavin’” recedes into stark electronic space and a haunted vocal close.

A1. “Higher Love” (5:45)
A2. “Take It As It Comes” (5:20)
A3. “Freedom Overspill” (5:33) – Winwood, Fleming, Hooker
A4. “Back In The High Life Again” (5:33)

B1. “The Finer Things” (5:47)
B2. “Wake Me Up On Judgment Day” (5:48)
B3. “Split Decision” (5:58) – Winwood, Walsh
B4. “My Love’s Leavin’” (5:19) – Winwood, Stanshall

Sessions occurred between August 1985 and May 1986 at Unique Recording, the Power Station, Right Track Recording, and Giant Sound in New York City, and at Netherturkdonic in Turkdean, Gloucestershire, with producers Russ Titelman and Steve Winwood. Jason Corsaro engineered at the Power Station, and Tom Lord-Alge engineered and mixed at Unique Recording.

Back in the High Life appeared in a sleeve with art direction by Jeffrey Kent Ayeroff and Jeri McManus, cover design by McManus, and photography by Arthur Elgort. The front cover shows a warm-toned close-up portrait of Winwood smiling, with white script lettering across the upper image. Original LP copies included a lyric inner sleeve.

Island lifted “Higher Love” as a June 1986 single (b/w “And I Go”), which reached No. 13 on the UK Official Singles Chart and No. 1 on the Billboard Hot 100. Peter Kagan and Paula Greif directed the “Higher Love” video, which places Winwood in a studio-performance setting with Chaka Khan and Nile Rodgers.

“Freedom Overspill” followed as a September 1986 single (UK b/w “Spanish Dancer”; US and Canada b/w “Help Me Angel”) and reached No. 69 in the UK and No. 20 in the US. Kazumi Kurigami directed the “Freedom Overspill” video.

In January 1987, “The Finer Things” appeared as a US single (b/w “Night Train (Instrumental)”) and reached No. 8 on the Billboard Hot 100. The video for “The Finer Things” opens with Winwood on a concert stage, then shifts toward a center-stage vocal performance.

“Back in the High Life Again” appeared as a January 1987 UK single (b/w “Help Me Angel”) and a May 1987 US single (b/w “Night Train (Instrumental)”), reaching No. 53 in the UK and No. 13 in the US. Roger Lunn directed the “Back in the High Life Again” video, which uses Manassas, Virginia, train-station scenes alongside Winwood performance footage.

Back in the High Life reached No. 8 on the UK Albums Chart and No. 3 on the Billboard 200.

Roll With It

Steve Winwood released his fifth solo album, Roll With It, on June 20, 1988, on Virgin.

Roll With It contains seven Winwood–Jennings titles and the Capaldi co-write “Hearts on Fire.” Winwood balances Hammond organ, Fairlight, Moog bass, and Minimoog, supplemented by keyboardists Mike Lawler and Robbie Kilgore. Pesco and Robinson return as backing musicians alongside percussionists Bashiri Johnson and Jimmy Bralower. Mark Williamson and Tessa Niles sing backing vocals. Four tracks feature the Memphis Horns pair of trumpeter–trombonist Wayne Jackson and tenor saxophonist Andrew Love.

“Roll With It” punches horn lines through organ jabs with Stax/Motown vibes rooted in “Shotgun” by Jr. Walker & The All Stars. “Holding On” locks arranged brass and synths to a firmer rhythmic push. “The Morning Side” hovers on brittle electric-piano trills, looming synth wash, and delayed rhythmic entry. “Put on Your Dancing Shoes” crawls through low-tempo synth figures, a shifted bridge, and call-and-answer voices.

“Don’t You Know What the Night Can Do?” smolders with moody electronic flourishes, arranged backing vocals, and mechanical motion. “Hearts on Fire” charges on an insistent bass line and higher dance pressure. “One More Morning” rises through Hammond organ, ethereal color, and late-arriving brass. “Shining Song” bounces through a polished closing line with a more organic finish.

A1. “Roll With It” (5:17)
A2. “Holding On” (6:14)
A3. “The Morning Side” (5:12)
A4. “Put On Your Dancing Shoes” (5:10)

B1. “Don’t You Know What the Night Can Do?” (6:53)
B2. “Hearts On Fire” (5:14) – Winwood, Capaldi
B3. “One More Morning” (4:58)
B4. “Shining Song” (5:29)

Sessions occurred between autumn 1987 and spring 1988 at Windmill Lane Studios in Dublin and McClear Place Studio in Toronto with producers Steve Winwood and Tom Lord-Alge. Lord-Alge engineered and mixed the album, with Jeff Lord-Alge, Mary Kettle, and Paul Shubat as assistant engineers.

Roll With It appeared in a sleeve by Mick Haggerty, with art direction by Jeffrey Kent Ayeroff and Haggerty and photography by Herb Ritts. The front cover shows a black-and-white portrait of Winwood in a leather jacket and white shirt, beneath distressed orange “WINWOOD” lettering. Original LP copies included a lyric inner sleeve.

Virgin lifted “Roll With It” as a May 1988 single (b/w “The Morning Side”), which reached No. 53 on the UK Official Singles Chart and No. 1 on the Billboard Hot 100. David Fincher directed the sepia-toned “Roll With It” video, which places Winwood and his band in a bar-room performance setting.

“Don’t You Know What The Night Can Do?” followed as an August 1988 single (b/w “Don’t You Know What The Night Can Do? (Instrumental)”) and reached No. 6 in the US. The corresponding video tied the single to the same album-cycle visual emphasis on night settings and staged performance. Prior to the single release, Michelob used a 60-second edit of “Don’t You Know What the Night Can Do?” for a summer 1988 commercial. Winwood allowed the beer brand’s use of the track as part of a tour-sponsorship arrangement.

“Holding On” appeared as a November 1988 single (b/w “Holding On (Instrumental)”) and reached No. 11 in the US. Fincher also directed the “Holding On” video, which opens with a photographer taking out camera equipment. In March 1989, “Hearts On Fire (Remix)” appeared as a US single and reached No. 53.

Roll With It reached No. 4 on the UK Albums Chart and No. 1 on the Billboard 200.

In 1990, the Motown publishing firm Jobete filed a copyright claim on “Roll With It,” citing similarities to the All Stars track “(I’m A) Road Runner,” a Holland–Dozier–Holland song. Subsequent Roll With It pressings add the Motown songwriters to the Winwood–Jennings credit.

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