Robert Hilburn from
Los Angeles Times wrote, "Another classy and imaginative dance-floor soundscape from the London team that gave us '
Keep On Movin''. The album version is mostly a cappella (and it's fine), but the
7-inch single is even more seductive." Another
Los Angeles Times editor, Duff Marlowe, remarked that the "gorgeously arranged", a cappella "Back to Life", "shows that the sound-system concept not only works, but also may be an effective way of presenting a wide range of talent." Jerry Smith from
Music Week praised it as another "totally mesmerising killer track" from the "dance floor stylists", adding, "Hard beats and
Caron Wheeler's silky vocals will ensure heavy chart action once more."
Pat Sharp for
Smash Hits named it Single of the Fortnight, writing, "Brilliant. I don't have to listen to this one. I know it really well already. I much prefer it to 'Keep On Movin'." He concluded, "This one is miles better. I've been playing this one for a while. It's really simple and tuneful." It went on to win the group their first
Grammy Award for
Best R&B Performance by a Duo or Group with Vocal in 1990.
Retrospective response In a 2019 retrospective review, Justin Chadwick from Albumism wrote in his review of
Club Classics Vol. One, "While '
Keep on Movin'' lit the fuse for the group's ascendance across radio and the sales charts, another
Wheeler blessed composition kept the flame burning bright. Originally—and in retrospect, somewhat incredulously—included on the album in stripped-down, acapella form, 'Back to Life' further illuminated Wheeler's vocal prowess as she sang about seeking romantic clarity, with the drums borrowed from
Graham Central Station's '
The Jam' kicking in at the 2:40 mark. In short order following the album's release, the song was reworked into a more robust midtempo groove, its instant earworm appeal and unforgettable hook (
How ever do you want me, how / How ever do you need me) all but ensuring its ubiquity throughout the summer of 1989."
AllMusic editor Alex Henderson named it a "
Chic-influenced gem". In a 2009 review, Daryl Easlea for
BBC praised its "swooning chorus and churning beat". In 2015, Eric Harvey from
Pitchfork wrote, "The mainstream got a taste of
house music that was stately and groovy, not dripping with acid, and which sounded fantastic amid clubbish contemporaries like
Black Box's '
Ride on Time',
Technotronic's '
Pump Up the Jam',
Janet Jackson's '
Miss You Much', and
Lisa Stansfield's '
All Around the World'." ==Chart performance==