The results of the tinkering that Tempest has conducted on previous albums are unveiled with resounding results.
The Gravel Walk achieves a solid balance between their foundational classic '70s rock and folk influences. Lead singer, flautist, and mandolin player
Lief Sorbye is no longer the dominant centerstage occupant. His once commanding presence has blended smoothly with that of his bandmates. Most of these fellows have played together for years but are now reaching their height as performers who have settled on their musical blueprint and grown comfortable with it. Particularly well-suited for Tempest's dual-purpose is fiddler Michael Mullen. He is just as adept at incorporating traditional Irish reels ("Flowers of Red Hill") as he is at integrating a searing Robbie Steinhardt-esque electric violin solo.
Robert Wullenjohn compares favorably to
Jethro Tull guitarist
Martin Barre. Many of his mannerisms resemble
Barre's, including his well-tempered, crafty but not self-absorbed style. He's forever hovering around each song, preparing to plunge in with an irresistible riff or to playfully insert some humorous fretwork when applicable. As usual, a couple of Norwegian folk songs from
Sorbye's vast catalog are included. "Sinclair" is a quaint number sung in Norwegian that, were it not for the English introduction and translation, could easily pass as a harmless courting or seafaring song rather than the conniving and pillaging account of battle that it is. Buried deep in the "Karfluki Set" is yet another version of "Music for a Found Harmonium." An accommodating piece, it lends itself nicely to a variety of arrangements including this funky, free-form, folk-rock assault by Tempest. Bassist Jay Nania and drummer
Adolfo Lazo flawlessly provide the rhythm necessary for those versatile jaunts into the wonderful world of "Celtodelia." ~ Dave Sleger