Warren Storm - Taking The World, By Storm (200g)
Prix habituel
€59,00
La TVA est incluse dans le prix pour les pays de l'Union Européenne, et ajustée sur la base du pays de destination au moment du paiement.
Temps moyen d'expédition : 2 à 4 jours ouvrés. L'expédition est gratuite au sein de l'Union Européenne au dessus de 99€ d'achat, sauf pour certaines destinations, et jusqu'à 50kg. Au dessus de 50kg, frais d'expédition sur demande à contact@audiosounmusic.com. Il n'y a pas de politique de retour pour les pays hors Union Européenne.
Warren "Storm" Schexnider - vocals
Eric Adcock - piano
Roddie Romero - electric guitar
Derek Huston - tenor/baritone saxophone
Chris French - upright bass
Gary Usie - drums
Sonny Landreth - slide guitar (A2)
Richard Comeaux - pedal steel guitar (A5)
Beau Thomas - fiddle (A5)
Willie "Tee" Trahan - tenor saxophone (B2, B5)
John Fogerty - guest vocals (A1) [click here to see more vinyl featuring John Fogerty]
Marc Broussard - guest vocals (A2)
Yvette Landry - guest vocals (B1)
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 200g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Quality Record Pressings
Label : APO
Original Label : APO
Produced by Chad Kassem
Remastered by Ryan K. Smith
Released in 2019
Tracks:
Side A :
- Long As I Can See The Light
- Mathilda
- Lonely Nights
- Let The Four Winds Blow
- Tennessee Blues
Side B:
- Mama, Mama, Mama
- In My Moments Of Sorrow
- Prisoner's Song
- My House Of Memories
- Troubles, Troubles
- Raining In My Heart
Reviews:
"Trust me when the opener 'Long as I Can See the Light' begins you won't care how it was recorded. Mr. Storm (or Mr. Schexnider, however you wish to call him) does not sound like an 82 year old. No way. He owns the mournful, inspirational Fogerty penned tune... Now's the time for music that lifts the spirits and here's some that does just that! Mr. Schexnider is in fine voice here, soaring to hit all of the high notes and clearly enjoying the adulation coming from all of the participants.... Live to 2-track analog sound pleases the ears at low levels and no matter how loud you crank it. If I could rate these records separately for sound this one would be up at least a notch to "noine" bordering on 10. Go high, go low, have a party with this album of honest music making... thanks to Executive Producer Chad Kassem, the audiophile community's Alan Lomax. Perfectly pressed at QRP, Salina Kansas, USA." Michael Fremer, Analog Planet
"Taking the World by Storm is that rarest of recordings. It's made with love. Warren and the band aren't just playing music, they're taking you with them — deep into the timeless Louisiana swamps they know so well." Scott M. Bock, Living Blues Magazine
"At 82 years old, Warren Storm has more history behind him than in front of him. Fortunately, this stop along the way gives the world another chance to take a taste of the swamp pop that he is generally considered to have created- a steamy mixture of country, cajun, zydeco and New Orleans R & B. Think early CCR and you'll be in the right book, if not on the right page. Louisiana musician Yvette Landry coaxed Storm into the studio to revisit some of his career highlights such as 'Mathilda' and 'Prisoner's Song' as well as some takes on classics by others including CCR's John Fogerty who guests on his classic 'Long As I Can See the Light.' With an all-star band including Eric Adcock on piano, Roddie Romero on guitar, Derek Huston on sax, Chris French on bass and Gary Usie on drums plus special guests including Fogerty, Marc Broussard, Sonny Landreth and Willie "Tee" Traham, the stage was set for a fine release and this disc delivers. Storm's voice shows little signs of his aging as revealed by both ballads such as the Bobby Charles penned 'Tennessee Blues' and more upbeat numbers such as the Dave Bartholomew/Fats Domino classic 'Let the Four Winds Blow' and his 1956 hits, 'Mama, Mama, Mama' (where Landry adds some saucy vocals to the mix) and 'Prisoner's Song.' Merle Haggard's 'My House of Memories' aptly captures the anguish of unshakable loss while the bouncy, saxdriven 'Troubles, Troubles' is musically at odds with the misery and turmoil claimed in the lyrics revealing the loss of his lady isn't likely as bad as he protests. For those seeking to revisit swamp pop history this is a nice souvenir. For those new to the genre, this is a great introduction." Mark Smith, Jazz & Blues Report, Issue 389, March - April 2020,
"The setlist includes eleven tracks, mostly songs Storm has performed for years, songs like Earl King's 'Lonely Nights,' Dave Bartholomew and Fats Domino's 'Let The Four Winds Blow, Bobby Charles' 'Tennessee Blues,' 'Raining In My Heart,' Merle Haggard's 'My House of Memories,' and the swamp pop anthem, 'Mathilda.'" Also included are Storm's first two songs 'The Prisoner's Song' and 'Mama, Mama, Mama.' The opening track is new to his repertoire, however....Creedance Clearwater Revival's 'Long As I Can See The Light.' John Fogerty and CCR's sound were heavily influenced by swamp pop, so it seemed a wise choice and Storm does a fantastic job with it, even sharing the final verse of the song with Fogerty himself!...Warren Storm has been making this kind of music for over 70 years. At 82, he sounds as great as he did in 1958. If you're not familiar with the man or swamp pop, Taking The World, By Storm is a great place for new listeners to start, and it's a welcome addition to the genre for longtime fans." Graham Clarke, Friday Blues Fix Blog / Blues Bytes
"These are songs (from writers such as Earl King, Dave Bartholomew & Fats Domino, Bobby Charles, and others) that (Storm) has figuratively made his own already. ... There is also one song that is utterly new to Storm's repertoire: a sublime take on 'Long As I Can See the Light,' written and originally recorded by John Fogerty during his Credence Clearwater Revival heyday. This track alone might justify acquisition of the album, for not only does the soul-stirring number seem perfectly made for Storm to interpret but it also features Fogerty himself as special guest vocalist on the final verse. Together, those two distinctive voices are a marvel to behold — and a reminder of just how much the California-born rocker's essential sound (as well as verbal motifs on classic CCR songs such as 'Born on the Bayou') was influenced by the music and culture of South Louisiana." Roger Wood, Living Blues Magazine, February 2020.