Who Did It Better? Storm Warning

Who Did It Better? 

Storm Warning

Well, this is a bit of a reach, but then I thought... if we can skip through a few decades with a given song, why not one that never quite made it as a single?

You're familiar with one of the writers of this one... Terry Britten, cowriter of that rather marvelous classic, What's Love Got To Do With It. I have another of his in the chamber, but I thought I'd slip this one by you first. A bit of a change of pace!

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Storm Warning is a song written by Terry Britten and New Zealander Lea Maalfrid.

First recorded in 1991 by Danish singer Sanne Salomonsen, professionally known at the time as Sanne, for one of  her English language albums on Virgin Records, the song appears on her Where Blue Begins album. 

Bonnie Raitt then took a stab at it in 1994, including it on her Longing In Their Hearts CD. It was also chosen as the B-side for the single release version of the title song, featured on jukeboxes throughout the world. 

And in 1995 Hilary James and her father, jazz/soul legend Bob James, teamed up for an album called, appropriately enough, Flesh and Blood. Storm Warning made the cut and was included. 

So, that's all there is to this story. Sort of a non-story. Still, if a song attracts the interest of three artists there must be something 'there' worth a listen. 

Today's competition? Really an exercise in testing your listening skills. Which vocalist attracts your interest? Is there a musical style you appreciate more than another?

Let's dive in.

The Song: Storm Warning

The Competitors: Sanne' vs. Raitt vs. James and James 

Storm Warning - Sanne

Storm Warning - Bonnie Raitt

Storm Warning - Hilary James and Bob James

Sanne

Danes refer to this woman as the 'Rock Mama of Denmark.'

The opening brings to mind Cyndi Lauper's Time After Time; that signature tick-tock rhythm. The moody, hollow synth with the pinpoint guitar overlay immediately date this as 1991. It's lovely. Haunting. Interesting icicle synth accent. I wonder if it will become a motif in the arrangement. Big, breathy vocals, yet there's a warmth and intimacy implied. That trap set is mixed way too high. 

All those guitar lines are very Dire Straits/Mark Knopfler. And yes, icicle synth motif reappears at the 1:18 mark. I rather admire the vocal flex she demonstrates on 'flood of my tears'. Her tight vibrato comes into play as she pushes her voice a bit. I can't understand what she's singing at the 1:46 mark. Could be a language barrier thing. 

I like how focused and gospel the background vocals are. That guitar keeps selling this thing. Her voice compliments it very well and possesses a lot more personality than I expected. The production work here is sterile clean, but it actually works to the songs advantage. It also dates the recording. Richard Marx and a host of others were mining this sound in the years previous. The sound definitely had a shelf life.

By the 2:08 mark, I really want her to dig in and deliver her full voice. Instead, she goes for a pop-lite sound and a return to breathiness. Post breakdown, her vocals don't go anywhere new. It's very pleasant, but the emotional disconnect is a bit disappointing. Up to a point, we had a nice build going, however that seems abandoned. She's just riffing now, carried by those lovely backing vocals. Love that guitar lick at the 3:30 mark. It's a pity she doesn't choose to dig in, in kind. A bit of a guttural reach would seem fitting. But she offers no grit - sadly, content to be a 'pretty' singer. That's not totally fair of me, as her voice has considerable charm, but 'Rock Mama' was not on display at all here and, after the first minute and half, she really should have been. That little coda is a nice way to go. 

A pleasant read. I like the song.

Bonnie Raitt

Sorry about the video. It was the only version of this song available.

No doubt Raitt listened to Sanne's version and immediately recognized that this song was a perfect fit for her. The moody, bluesy guitar licks and the overall bittersweet ennui suited her sound at the time to a 'T.' 

She goes for an acoustic sound on top of a synth pad, similar in atmosphere, but less spooky. With Raitt's second phrase she establishes that time-weary soul sound. It's much more engaging than the breathiness Sanne offered. I'm already paying more attention to the lyrics, to the story. Raitt is doing with her voice what that pinpoint guitar was doing in the Sanne version - each phrase is a fully-informed lick. The singer's resignation to what has come to pass colors every note.  And while the instrumental backing supports, it isn't left to tell the story... Raitt is front and center, where she belongs. 

I love the harmony. I do wish she'd opened up her sound a bit more for the 'i' vowel in "hypnotized'. "Such a sense of loss tonight..." Perfect. I have to say, I did not pay attention to the lyrics at all in the Sanne version, but Raitt has me hanging on every single one. 

Ah, that bottleneck guitar solo is lovely. And in the bridge, Raitt brings it... in her softened, adult-weary style. That's the reach missing in Sanne's version - that's digging in. Can anybody sing the word 'heartbreak' as well as Raitt?  That said, listen to the way she sings the word 'storm'. I want to stop her and ask her to drop her jaw and open up that sound a bit more. I have always had issues with how tight her jaw is when she sings - it inhibits the flow of sound, placing a hood over her vocals. But then, that's part of her signature sound, so... ? 

Wow, this is just lovely. And notice how little I called attention to the instrumental backing - that's because it was doing exactly what it was supposed to be doing... supporting the singer; allowing Raitt to tell the whole aching story. 

Hilary James and Bob James

Piano is substituted for the guitar licks in this version. And immediately, there is that strange, airy synth pad in the background, coloring the proceedings. It's weird, as it pulls my ear, distracting me. Such ambient sounds are a dangerous trade off - they immediately establish mood (wistful), but, overused, can wear out their welcome, overpower the production and become an annoyance. I once did a demo of a song featuring the sound of waves cresting and crashing in the background - while it suited the song, less would have been more. Let's see what happens here.

Very subtle piano noodling, a nicely underscored intro. Intriguing. We return to a tick-tock percussion with this version. Ahh, that jazz interplay between vocalist and the piano, very nice. This song adapts well to this sound. Hilary's voice? Very focused, highly-pitched. Like the tinkling keys of a piano played in an upper octave, she dances on top of the notes. Yet, she's also able to add a raw throatiness on key words. Promising. 

Listen to that tiny piano fill at the 1:14 mark. So smart. I adore stuff like that there (hee, hee.) I wish she would have brought more bottom to the bridge. Again, I want her to dig in and it's not happening. She keeps relying on the flutter in her soprano voice... it's a lovely sound, but not suited to this story. "Such a sense of loss, tonight": that's a very believable reading - I have to give that to her. And she does dig in on the following phrase; nice. 

Those backing vocals dovetail in perfectly. This is a very knowing, wise arrangement. I thought I would spend the rest of this review complaining about the atmospheric synth pad, but it is not getting in my way at all. My ear is totally occupied by the interplay between the piano and the singer. The piano fill again, at the 2:22 mark. I need to buy me some Bob James! That is tasty stuff. 

I don't like it when singer's bleat. "It's burst its banks," is an example. It communicates nothing, except that the singer is at a loss as to how to convey pain. But then, the very next phrase, she comes through. That is lovely. She has a habit of pulling her notes, but here, it works, adding to the song's hollowness and the ache. And all through it, there are those lovely piano lines, bits and phrases informing the whole piece. Adore. 

This whole presentation has been a play on dynamics used very effectively. It's a delicate dance, but on those occasions when the vocalist puts a little something more into her sound - some grit, a stance - it speaks volumes, serving to magnify her intent. Wow, I have to hand it to these two. Bob James never tries to compete with his daughter's vocals, but adds so much to the proceedings - that's some masterful playing. Hilary's voice? I would have to hear more. Here? It works. I don't think she has much bottom to play with, so there are limits there. She definitely understands how to work the interplay that takes place between a pianist and a singer - and that's rare enough to be of great interest to me. I would like to hear more. 

The Verdict

I give this to Raitt. She told the story best, and that is what I'm all about - hearing the story. She's road-tested and brings all that knowing to this song. 

That said, I can't help but wonder what could have been... had Bob James and Raitt worked together on this? That would have been two amazing talents playing off one another. 

I like all three versions. There's something interesting about each. The clean production and instrumental arrangement of Sanne's version kept my interest and served the song well, Raitt's storytelling ability and middle-aged angst carried the day, and the interplay between James and James? Positively compelling. Bob James is an incredible musician and arranger. His ego never attempts to assert itself, serving the song well. 

But this song? It needs a vocalist who can convey a sense of 'been there, done that' - and Raitt is the only vocalist here that fits that particular bill.

I will be pulling out my Raitt CDs, which I haven't listened to since the mid 1990's, and will seek out more of James and James.

Storm Warning is a lovely, evocative song. A hit single? Naw. But a lovely deep cut, for sure. 

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Okay, that's my two cents worth. Your turn. What did you think? Who do you love? 

Leave your thoughts in the comments section. I love hearing from you.

And, as always... thanks for reading and listening!

Storm Warning - Sanne

(Live - Unplugged - 1994)