Storm Warning - Different Horizons
"It’s hard to see another Storm Warning album after this one… we’re pretty sure this is our swan song for writing and recording."
The reason for such an announcement from Storm Warning front man Stuart Maxwell was due to the sad and sudden passing of the band’s guitarist Bob Moore, shortly after completion of Different Horizons.
But Bob Moore, who wasn’t just a good guitarist but a great one, has bowed out with the most impressive of musical statements on a truly excellent album.
The near seven and a half minute 'Horizons' (which opens with bird chirps and a spacious, slow build blues wash) is a gorgeously atmospheric progressive blues.
Beautifully constructed, 'Horizons' kicks in to rockier gear following Stuart Maxwell’s cry of "Wake up, time to go!"
What follows is a poignant reminder of what the British blues-rock scene lost with the passing of Bob Moore.
The guitarist sets the distinct and individualistic tone through subtle little remarks and uplifting melodic blues licks that sit atop drummer Russ Chaney and bassist Derek White’s pumping rhythm and Ian Salisbury’s organ backing, which sits slightly lower in the mix to allow Moore to shine (a nod hear to the excellent production from the band and co-producer/ engineer Martin Atkinson).
Following number 'Feeling Something' is the type of up-tempo, blues rock R&B that Storm Warning seem to be able to deliver with ease (this year’s model featuring a simple but wicked little riff and some fun little piano and guitar interplay in the instrumentals section).
'Feeling Something' also adds to the contrast and diversity of the thematically linked songs on Different Horizons, of which 'Stranger' is perhaps the one where the band push their boundaries and musical explorations further than ever before.
Opening with a collection of voices and a simple drum beat 'Stranger' is a brooding, bluesy affair that sits in darker, shadowy territory; lyrically Stuart Maxwell/ the protagonist is not so much a stranger in strange land as a stranger in "a strange part of town" and in his "own land," which makes it all the more unsettling.
That the song holds the attention for its near seven minutes also speaks volumes for the band’s arrangement skills and, again, the atmospheres created by Bob Moore’s guitar work.
'Stranger' then fades much as it opened amid a cacophony of voices and drum-heart-beat.
The reason for such an announcement from Storm Warning front man Stuart Maxwell was due to the sad and sudden passing of the band’s guitarist Bob Moore, shortly after completion of Different Horizons.
But Bob Moore, who wasn’t just a good guitarist but a great one, has bowed out with the most impressive of musical statements on a truly excellent album.
The near seven and a half minute 'Horizons' (which opens with bird chirps and a spacious, slow build blues wash) is a gorgeously atmospheric progressive blues.
Beautifully constructed, 'Horizons' kicks in to rockier gear following Stuart Maxwell’s cry of "Wake up, time to go!"
What follows is a poignant reminder of what the British blues-rock scene lost with the passing of Bob Moore.
The guitarist sets the distinct and individualistic tone through subtle little remarks and uplifting melodic blues licks that sit atop drummer Russ Chaney and bassist Derek White’s pumping rhythm and Ian Salisbury’s organ backing, which sits slightly lower in the mix to allow Moore to shine (a nod hear to the excellent production from the band and co-producer/ engineer Martin Atkinson).
Following number 'Feeling Something' is the type of up-tempo, blues rock R&B that Storm Warning seem to be able to deliver with ease (this year’s model featuring a simple but wicked little riff and some fun little piano and guitar interplay in the instrumentals section).
'Feeling Something' also adds to the contrast and diversity of the thematically linked songs on Different Horizons, of which 'Stranger' is perhaps the one where the band push their boundaries and musical explorations further than ever before.
Opening with a collection of voices and a simple drum beat 'Stranger' is a brooding, bluesy affair that sits in darker, shadowy territory; lyrically Stuart Maxwell/ the protagonist is not so much a stranger in strange land as a stranger in "a strange part of town" and in his "own land," which makes it all the more unsettling.
That the song holds the attention for its near seven minutes also speaks volumes for the band’s arrangement skills and, again, the atmospheres created by Bob Moore’s guitar work.
'Stranger' then fades much as it opened amid a cacophony of voices and drum-heart-beat.
Photo by Sally Newhouse
'Come On In' returns to the R&B boogie blues of Storm Warning and Stuart Maxwell’s train-track harmonica (with a modern splash of synth keys from Ian Salisbury) before the tempo is slowed for the bluesy and slightly angular 'Tell the Truth.'
Anchored by a meaty bass line, 'Tell the Truth' features Stuart Maxell in gravelly voiced Rory Gallagher mode on a progressively framed blues that features Bob Moore and Ian Salisbury doubling up on riff and space filling duties and a slightly discordant (and cleverly unsettling) closing section.
'Tell the Truth' and following number, the groove-driven radio friendly blues of 'Call it Midlife' ("Crisis? What crisis?" enquires Stuart Maxwell on a set of quirky and humorous lyrics) may not be the strongest songs on the album but they are both intriguing numbers that fit the exploratory musical and lyrical profile of the album.
Serious contenders for best songs on the album (along with 'Horizons') then swing into view in the shape of 'Can’t Sleep For Dreaming' and 'Long Road.'
The former, which is decidedly Floyd-esque (if 'Money' had been a blues song), swings along on Derek White’s bass line while Bob Moore delivers slow 'n' tasty Gilmour-styled slide and a seriously cool-blues solo.
The gorgeous 'Long Road' carries such a Mark Knopfler/ Dire Straits stamp you’ll be checking to see if Mr Knopfler has a co-write credit (he doesn’t) while admiring Bob Moore’s beautiful tone and melodically shaped six string remarks.
Given the enquiring lyrical nature and themes of change on Different Horizons it’s fitting the album closes on a number entitled 'Questions,' a breezy, mid-tempo blues-rock Lite offering that’s as smooth as it is a satisfying ending (complete with bird chirp book-ending outro).
In the sadness of Bob Moore’s passing, some musical solace can be taken from the fact he left us with his finest six-string work on Storm Warning’s best and, it would seem, final offering.
Ross Muir
FabricationsHQ
In memory of Bob Moore (1957-2020)
Photo Credit: Sally Newhouse
Anchored by a meaty bass line, 'Tell the Truth' features Stuart Maxell in gravelly voiced Rory Gallagher mode on a progressively framed blues that features Bob Moore and Ian Salisbury doubling up on riff and space filling duties and a slightly discordant (and cleverly unsettling) closing section.
'Tell the Truth' and following number, the groove-driven radio friendly blues of 'Call it Midlife' ("Crisis? What crisis?" enquires Stuart Maxwell on a set of quirky and humorous lyrics) may not be the strongest songs on the album but they are both intriguing numbers that fit the exploratory musical and lyrical profile of the album.
Serious contenders for best songs on the album (along with 'Horizons') then swing into view in the shape of 'Can’t Sleep For Dreaming' and 'Long Road.'
The former, which is decidedly Floyd-esque (if 'Money' had been a blues song), swings along on Derek White’s bass line while Bob Moore delivers slow 'n' tasty Gilmour-styled slide and a seriously cool-blues solo.
The gorgeous 'Long Road' carries such a Mark Knopfler/ Dire Straits stamp you’ll be checking to see if Mr Knopfler has a co-write credit (he doesn’t) while admiring Bob Moore’s beautiful tone and melodically shaped six string remarks.
Given the enquiring lyrical nature and themes of change on Different Horizons it’s fitting the album closes on a number entitled 'Questions,' a breezy, mid-tempo blues-rock Lite offering that’s as smooth as it is a satisfying ending (complete with bird chirp book-ending outro).
In the sadness of Bob Moore’s passing, some musical solace can be taken from the fact he left us with his finest six-string work on Storm Warning’s best and, it would seem, final offering.
Ross Muir
FabricationsHQ
In memory of Bob Moore (1957-2020)
Photo Credit: Sally Newhouse