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The Virginian-Pilot, Article |
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Irish, Scottish and Norwegian folk Tempest tunes it up for beach faithful Virginia Beach has long been a favorite port of call for Lief Sorbye, and this year it is a must-stop. A tall pirate of a man with his long hair and cavalierlike goatee, Sorbye wields a double-necked electric mandolin and sings for Tempest, the San Francisco-area band that's touring America and Northern Europe for two reasons: to support "Prime Cuts," a best-of compilation, and to celebrate its 20th anniversary as a band. "Starting in the mid-'90s we got a regular home in Virginia Beach at the White Horse Pub," Sorbye says. "It became a tradition for us that whenever we toured the East Coast we'd play an intimate show for our regular following, until it fell apart two years ago when the owner, Larry Mercieca, sold the venue and moved away." Tempest, which mixes elements of traditional Irish, Scottish and Norwegian folk music with 1970s prog rock a la Jethro Tull, will perform a free concert Tuesday at Murphy's Irish Pub (2914 Pacific Ave., Virginia Beach, 9 p.m.). Sorbye says he has received an outpouring of e-mails and calls from fans in Virginia Beach asking for Tempest's return. "I always looked at Virginia Beach as a place I wanted to come back and play. The audiences there are really sympathetic and enthusiastic about folk music. It's important to us that we do play to the people of Virginia Beach." |
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South Bend Tribune, Article |
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Kicking up a Tempest in folk music When the Celtic rock band Tempest formed in the San Francisco Bay Area in 1988, not many bands were combining traditional folk elements with rock ’n’ roll. “I am not saying we were groundbreaking, per se,” Tempest founding member and lead singer/electric mandolinist Lief Sorbye says. “I am just saying the niche was so small that you had to really educate people to bring awareness towards what you were doing.” Twenty years later, the band’s fusion of folk, Irish reels, Scottish ballads and other world music elements with rock ’n’ roll has proven popular enough to afford Tempest the opportunity to tour the world, from Sorbye’s homeland of Norway to — on Sunday — The Acorn Theater, for a yearlong celebration of the group’s anniversary. “Things have changed over the last 20 years,” he says. “There has been so much cultural exchange. The world has changed tremendously over that time, especially when it comes to understanding other cultures. Now, the whole idea of world music or anything ethnic fused with modern rock ’n’ roll has been charted out and done a lot.” Growing up, Sorbye made a living playing on street corners throughout Europe. “You are playing pass-the-hat, playing for tips,” he says. “In the ’70s, there was a real flourishing artist scene in the cities of Europe. It was very common that you could get a permit to go out to perform in public on the street corners and actually make a living at it. It was quite exciting. If you are a teenager, it beats going to school. It beats having a 9-to-5, I can tell you that. As a result of that, I never really got a straight job.” Suffering from a case of wanderlust, Sorbye moved to America in 1978 “to see what it looks like to support myself as a busker in the U.S.” He found street performing in the States was very different from Europe and instead had to join an acoustic folk music band to make a living. That didn’t last long because Sorbye says he “got tired of people knitting in the front row” and he “wanted to infuse some of the folk music experience with rock ’n’ roll energy and turn up the volume and party hard.” Sorbye says the folk music scene “is a subculture existing within the culture. It never really gets beyond that little niche market, but if you fuse it with rock ’n’ roll, you have the ability to take it other places. You can play everything from Celtic festivals, in our case, to the corn-dog crowd at the county fair. You can play the rock festivals, motorcycle events and the folk festivals.” Tempest keeps “one foot in rock ’n’ roll, and one foot in folk music,” Sorbye says, because his roots are deep in the folk music tradition. “What attracts me to folk music has always been that folk music tells a story,” he says. “I think a lot of mainstream pop music is shallow in that sense. There is not a lot to learn from a run-of-the-mill pop song, but a folk song might have a story that can survive a couple hundred of years because it reflects the human condition.” Blending folk music with rock ’n’ roll is the result of “of overindulging myself in so much traditional folk music for the last 30 years, it comes out that way,” Sorbye says. “Had they had electric guitar, bass and drums 200 years ago, you know they would have used them,” he says. “It totally makes sense. We are playing folk-style music. We just happen to be an electric band. We happen to rock with the best of them.” |
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Hanford Sentinel, Article |
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Folk and rock enthusiasts alike should be able to find something they like in Celtic rock band Tempest, which will perform later this month in Hanford along with the Wicked Tinkers. “There’s enough electric guitars to keep the young rock and roll enthusiast happy and there’s enough fiddles and mandolins to keep the folk purist excited,” said Tempest founder and lead singer, Lief Sorbye. The two Celtic rock bands will perform together for the fourth time at the Weekend Winter Wonderland of Celtic Music concert at 8 p.m. on Friday, Jan. 18, at the Hanford Fox Theatre. Sorbye said Hanford will be the first stop on the band’s 20th anniversary tour. “We’re kicking off our 20th anniversary in downtown, beautiful, cosmopolitan Hanford,” said Sorbye. The Bay Area-based band has released 12 albums and played more than 2,000 gigs since getting together in 1988. Sometimes described as a European folk band, Sorbye described his band’s sound as “folk rock injected with a big dose of rock and roll energy and intensity.” And of course, being that it is “Celtic rock,” their music has roots in traditional folk music from the Celtic nations (Ireland and Scotland). The band members themselves hail from all over the globe. Sorbye, the founding member and lead singer/electric mandolinist, is originally from Oslo, Norway; fiddler Michael Mullen is a California native who grew up in Reedley; bassist Damien Gonzalez, another California native, was raised in the Bay Area. He also plays the drums and Australian didgeridoo and “may occasionally breathe fire,” according to the band’s biography. Guitarist James Crocker is a native of Devon, England; and drummer Adolfo Lazo hails from Havana, Cuba. Tempest has regularly performed at prestigious festivals such as the Philadelphia Folk Festival, Denmark’s Skagen Festival and Britain’s Cropredy Festival and the Winnipeg Folk Festival. They’ve also performed at countless American Celtic festivals. Still, Sorbye said whether they’re playing for a large audience or a small theater like Hanford Fox, the goal is to make the audience feel like you’re performing just for them. “For me, it’s not the size of the venue or the size of the audience as it is the ability to communicate with the audience,” Sorbye said. “Whether we play for 200,000 people at a big festival or play for a small room of people, we try to create an intimacy. We try to make it seem like we’re performing just for you while you’re there.” At the Hanford Fox Theatre show, the Los Angeles-based band the Wicked Tinkers will open for Tempest. The Wicked Tinkers perform at many Irish and Scottish festivals, Highland Games, and Renaissance Faires in the western United States. Utilizing bagpipes, tribal drums, the Australian didgeridoo and the Bronze Age Irish horn, the band is known for their tribal Celtic style. The Tinkers are: Bagpiper and frontman Aaron Shaw, Keith Jones on percussion, Warren Casey on percussion and Jay Atwood, on didgeridoo and Bronze Age Irish horn. “It’s very drum oriented, very rhythmic oriented,” said Casey of the band’s sound. “It’s all about rhythmic grooves and soaring pipes.” Tickets are $20. To purchase in advance, call the Hanford Fox Theatre at 584-7823 or e-mail info@foxhanford.com, The reporter can be reached at 583-2427. |
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Press & Sun-Bulletin Article, Binghampton, NY |
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Ahoy, matey! Tempest’s coming to town Growing up in Norway, Lief Sorbye was like a lot of kids: Sometimes he played “cowboys and Indians” with friends, and other times he pretended he was a pirate on the high seas. Today, Sorbye lives in the land of cowboys and Indians (well, California anyway) and sings about pirates as leader of the folkrock band Tempest. Not bad as far as childhood dreams go. Since 1988, Tempest has circumnavigated the globe’s music, sailing a rock ’n’ roll flagship and plundering the best of Celtic, Scandinavian and other traditional sounds to add to its booty. The band’s 12th and latest CD, “The Double-Cross,” launches with a rollicking song about Captain William Kidd, an English sailor who reluctantly became a pirate and ended up getting hanged for it. While previous albums have featured tales about the notorious Captain Henry Morgan and Captain Jack Ward, Sorbye sees Kidd as different. “Captain Kidd was an interesting one, because he was from that period where you could buy a buccaneering license from the government — you could go out there and be a legal pirate,” Sorbye said last week from his San Francisco area home. “But by the time he got out there to do that, it got outlawed, so he found himself being an outlaw by default. He got double-crossed by the government and the British navy all at once.” Thanks to a certain Johnny Depp movie series, Tempest is ready to dust off its back catalog of original and traditional swashbuckler tunes for pirate festivals and carnivals around the country this summer. (Yes, there really are such things.) “You know how fads come and go? Now there’s a pirate fad,” Sorbye said. “Tempest has been recording pirate songs for years now, and it’s funny that the fad is catching up with us.” Of course, Tempest isn’t all about pirates. “The Double-Cross” also features traditional songs — souped up with rock arrangements — about escaping the noose (“Hangman”), trading material goods for music (“Per Spelmann”) and the hazards of arranged marriages (“Eppy Moray”). Also included are several breathtaking instrumentals (what Celtic traditionalists call “tunes”) that showcase the band’s skills at high speeds. Tempest has seen plenty of lineup changes in its 19-year history, and this spring tour brings on two new band members: guitarist James Crocker, formerly with the British folk-rock band Equation, and bassist Damien Gonzalez, who also plays a mean didgeridoo. They’ll be joined by Cuban-born drummer Adolfo Lazo, an original Tempest member; fan favorite Michael Mullen, the band’s original fiddler, and, of course, Sorbye, who sings lead vocals and plays electric mandolin (including a funky-looking double-necked one that he invented himself). Sorbye said new band members always provide new inspiration: “Right now, I think I’m more excited about the band than I’ve been in a long time, because it’s really an all-around good vibe in the band. Everybody’s doing really well, everybody’s anxious to get out on the road. We’ve got lots of new material, lots of new energy, and we just enjoy ourselves. Nothing gets in the way of the music.” After spending April on the road, Tempest returns to the Bay Area May 5 for its own Karfluki Fest. The revelry will feature not only musical acts that inspire band members — such as Fairport Convention and Big Brother & the Holding Co. — but also giants, jugglers, sword-swallowers and other sideshow acts, as well as a mariachi band for Cinco de Mayo. Sounds like a place where a band of pirates would fit right in. |
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Dirty Linen's Review of "The Double-Cross" |
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Make no mistake about the fact that this is a rock album, driven along by drums and bass. But mandolin player Lief Sørbye and fiddler Michael Mullen make absolutely sure that not only are Sørbye’s Norwegian and Mullen’s Celtic heritage well represented, but that you will also encounter Finnish and Latin American influences. The latter are, in part, imparted through the playing of the band’s Cuban drummer Adolfo Lazo.While I miss the blazing elegance of fiddler Sue Draheim, who appeared on Shapeshifter (2003), the return of Michael Mullen is a welcome alternative, and he is a composer to boot. (Both Mullen and Draheim still play alternately with Sørbye as the duo Caliban.) Irish guitarist Ronan Carroll hews to a progressive rock style and avoids the leaden chop of metal. Sørbye is an oddly traditional mandolin plucker; he employs little or no distortion or effects on his electric instrument and simply plays the heck out the double-necked contraption. “Captain Kidd” is the third in Tempest’s “pirate series,” which began with “Captain Morgan” and continued with “Captain Ward.” “Kidd” rather uneasily recalls the baroque sound of “classic rock” radio perennials Kansas, but things get a bit more exciting after this opener. Mullen’s “Slippery Slide” is a muscular guitar workout that brings to mind late 70s Jethro Tull with a killer fiddle in the mix. “Black Eddy” is a set of three Sørbye originals and a traditional Finnish tune, “Sakijarven Polka.” “Per Spelmann,” the lone Scandinavian traditional song that Sørbye includes, is a relatively low-energy number with lyrics in Norwegian that for most of us rather obscure the humor of the story. The album concludes with a set called “Wizard’s Walk” that leads off with a bluesy take on “Tam Lin” and segues into a kickin’ version of Jay Ungar’s tune “Wizard’s Walk” that is going to leave its composer chuckling about those crazy rock ’n’ roll kids. |
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Auburn Sentinel Karfluki Fest Preview |
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Just have fun at foothills’ first Karfluki Fest
The word “karfluki” won’t be found in any dictionary, but according to Lief Sorbye, it means fun, energetic, quirky and unique.
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Port Folio Weekly |
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Take 5 with Tempest
Tempest, the international band of swashbuckling Celtic-rock pirates, has set sail on another national tour. When Captain Lief Sorbye and his crew of musical Buccaneers make merriment at the White Horse Pub on Tuesday, they'll have a treasure chest of new gems, including "Captain Kid," "Hangman" and "Wizard's Walk." With The Double-Cross, did you setout to do a concept album?
Your first track is "Captain Kidd." What intrigued you about this character?
Within the "Black Eddy" medley is a tune you wrote called "The Tater Polka."
Let's talk about "Wizard's Walk." It is a medley of four songs, but it gets really interesting about 3:30 into the piece.
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Goldmine's Review of "The Double-Cross" |
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The Double Cross
Tempest are an interesting, if hard to classify, group. Led by Norwegian Lief Sorbye, the band is composed of players who hail from all over the globe. They play a unique blend of traditional folk, Celtic and rock music that puts them in the same musical neighborhood as Steeleye Span and Fairport Convention. Their latest effort, The Double Cross, finds the band in excellent form. The return of fiddler Michael Mullen and the addition of bassist Ariane Cap adds some powerful musical muscle to the lineup. Mullen is a versatile player who also contributes songs to the mix, while Cap’s aggressive style makes listeners sit up and take notice. In addition to standards such as “Hangman,” “Eppy Moray” and “Cabar Feidh,” the band throws in tasty original gems such as “Captain Kidd,” the rousing instrumental “Slippery Slide,” the haunting “Vision Quest” and “Whoever You Are.” Longtime producer Robert Berry’s “live in the studio” approach showcases them at their best without sacrificing sonic clarity. Folky at times and hard-driving at others (thanks to guitarist Ronan Carroll, Cap and drummer Adolfo Lazo), The Double Cross succeeds as a great example of 21st century folk-rock and one rousing listen. Tempest have shifted lineups a lot over their past few albums. Maybe this one will stay together for a while and produce more fine works like this one. |
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A & A Review Of “The Double-Cross” |
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Tempest The Double-Cross (Magna Carta) Celtic prog is one of those sideways genres that probably ought not exist. And yet here's Tempest, and damn if the stuff doesn't work. There's the requisite technical wizardry, but by and large the band channels those impulses into the songs themselves. Over the top? You bet. And a lot of fun because of it, doncha know. |
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Celtic Beat Review of The Double-Cross |
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I will cut to the chase. This CD contains one of the greatest stateside interpretations of traditional tunes ever done. That Is "Cabar Feidh" performed here by both Tempest and The Wicked Tinkers. Hear the didge. In the annals of CeltRock history was made here. Sometimes Tempest, and The Wicked Tinkers here also, just ascend to another plane. Wonderfully crazy also are the instrumentals of "Slippery Slide" composed years ago by Tempest fiddler Michael Mullen which resounds with a battle royal of fiddle, bass, and guitar, and drums. And the final cut here" Wizard's Walk" named after the Ungar tune, but where Bach's "Violin Concerto In D", Morrison's "Buffyflow And Spike", and traditional tune "Tam Lin" interweave and where Michael's fiddle shines at the end in a feverish "Jenny Dang the Weaver." Truly a "Wizard's Walk." Along with "Cabar Feidh" this is the hardest to beat tour de force of fury. Vocal cuts I liked here were "Per Spelmann" with it's ardent singing by Lief Sorbye of an old Norwegian tale. And the inspirational "Whoever You Are" A light hearted rendition of a central ageless truth. "Hangman" is also excellent and grim-pointing back to history. Indeed it is an excellent cut to be paired with "Captain Kidd" which is actually the title cut, referring to the "double- cross" which in that era turned privateers into pirates. Both of these are appropriately dark and angry, from a dark and angry era, sung excellently by Lief and with Tempest's innovative instrumentals. Tempest. You'll always be surprised and delighted with what they come up with. -AK |
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Midwest Record Recap review of "The Double-Cross" |
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TEMPEST/Double Cross: Leader Lief Sorbye has come a long way from his folkie days as he now leads a hard charging Celtic/world music rock crew that know how to kick out the jams in high, hard style. When you've got no restraints, you can do what you want, and on this outing they draw their inspiration from how the powers that be screwed Captain Kidd turning him into an outlaw. Not the kind of stuff that gets you an opening slot for Jessica Simpson, but it is the kind of stuff that keeps you working, flying under the radar and developing a large, loving cult that looks forward to your next release because you've got the chops to deliver the goods. Sorbye was never one to be easily pigeon holed, and he isn't going to start now, but he is going to make sure you have a grand time on the high seas. |
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Ytsejam.com Review of The Double-Cross |
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I have always compared this band to what a heavier version of the folky side of Jethro Tull (‘Songs from the Wood’) and Fairport Convention would be. But let’s just say that Tempest has fit within their own mold of British, Celtic, and even Scandinavian folk, which is fused with progressive rock; even adding some jam band related factors into their music. All the while adding some crunch with an electric guitar and a strong percussive prowess and you have the Tempest sound. Probably their most sophisticated piece of work yet, they almost move more into rock territories on this one, but yet, on the other side of the spectrum, their folk sound also is pushed to the envelope. Still the sound of the fiddles and mandolins race through the musical passages with their rock tinged chops with more straightforward folk-rock tracks such as ‘Captain Kidd,’ ‘Whoever you Are,’ and ‘Eppy Moray,’ which feature the hierarchy for the songwriting basis. But of course you have the jam sessions meeting traditionalism with ‘Slippery Slide,’ ‘Per Spelmann,’ and ‘Black Eddy,’ adding a different type of improvisational approach to the music, where traditional melodies are the basis for expressive instrumentation and arrangements, maybe proving that technical music didn’t begin with the progressive rock movement of the 70’s; but centuries before. Produced by Robert Berry, it’s easy to see where the sophisticated production came full circle in harnessing Tempest’s sound on ‘The Double Cross.’ Nevertheless, the album exposes traditional folk/Celtic in an energetic matter that so few have been able to do before. |
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Port Folio Weekly |
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Irresistible Tempest
When Tempest was formed sixteen years ago by Lief Sorbye, a transplanted electric mandolin player and singer from Oslo, Norway, it was with a specific purpose: taking Celtic and Scandinavian traditional music and fuse it with rock 'n' roll. "I wanted rock 'n' roll musicians to sink their teeth into the traditional music forms," Sorbye said in a phone interview from his base in Oakland. "We've been evolving ever since and we're still exploring what we can do." With 11 albums to its credit, including Shapeshifter (2003), Turn of the Wheel (1996) and Sunken Treasures (1993), Tempest is America's most prolific and road-tested Celtic rock band. Lately, the quintet -- Sorbye, Adolfo Lazo (drums), Michael Mullen (fiddle), Ronan Carroll (guitar) and Ariane Cap (bass) -- has been crisscrossing the United States in promotion of its 15th Anniversary box set, a three CD collection of live recordings, radio promotional performances and rare studio tracks that failed to make it on any proper release. Among the studio recordings is a brilliant rendition of Bob Dylan's "Masters of War." Because of Sorbye's passing resemblance to Ian Anderson and the band's mix of rock and folk, many people compare them to the Heavy Horses and Songs From the Wood era of Jethro Tull. "I can certainly see it," says Sorbye. "Musicians in Tempest over the years have had a strong Jethro Tull influence and I think it might have put a mark on our music. I never made any conscious effort as the band leader of Tempest to have a Tull sound per say, but I think whoever you listen to and whoever you're influenced by will shine through in your music." Tull comparisons aside, the music of Tempest is actually much more rooted in traditional music. As is done by other contemporary folk groups, including Scotland's Battlefield Band, Tempest gives traditional songs, such as the rousing "You Jacobites By Name" and "John Barleycorn," a new twist. They also compose fresh material in the sonic image of the past, and hopefully no one detects any difference. When Tempest performs Tuesday, April 19 at the White Horse Pub in Pembroke Mall, it will be one of its most cozy gigs. Sorbye & company are a big draw at the Philadelphia Folk Festival and at numerous outdoor Scottish and Celtic festivals scattered around the country. The awareness of the genre has been growing steadily. "Over the last decade there's been a real growing interest in world music," says Sorbye. "Because your British Isles and Celtic music is very accessible, if you expose it to a large audience a large audience would really enjoy it because it is an uplifting, high spirited style of music that lends itself well to be blended with contemporary music form. I think that is key to it being enjoyed by a wider audience. It's the same thing that happened to country and western music; you can take any kind of roots music and bring it out in a more contemporary form and it will put a mark on the contemporary music scene." Tempest's greatest strength is its high energy, musically marveling live performance. As a true showman, Sorbye is masterful at engaging his audience and always leaves it wanting. There're plenty of tongue-in-cheek Spinal Tap poses and between song musings to get the audience laughing and clapping along. And just when it seems the kinetic energy connection between band and fan can get no more illuminating, Sorbye and band parade through the crowd while playing a high octane jig and reel. "We're a band that likes to have fun; that's the number one thing. Our music sometimes can get intricate and very arrangement intensive, but we never forget it's fun. We take our music very seriously but we don't take ourselves too seriously. We show that in our stage show and I think the audience enjoys that. They can expect a very loose sense of humor and kick-ass music." |
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15th Anniversary Collection - Exposé review |
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Tempest In 1989, Norwegian expatriate Leif Sørbye founded Tempest, the SF Bay Area’s best-known Celtic rock band. Fifteen years later, after ten albums, a dozen members, and over 2000 gigs, the band has released an outstanding 3-CD collection covering the band’s work from its birth through the present. Disk 1 features studio recordings. For longtime Tempest fans, this holds the fewest surprises. Of its seventeen tracks, twelve appeared on earlier albums. (Thoughtfully, however, these all come from early recordings which are no longer available and all are excellent.) Of the five remaining tracks, two are alternate takes of songs from the band’s most recent albums. This leaves only three wholly new tunes: “Toss the Feathers” (a longtime staple of the band’s live sets), “Three Ships” (yes, the Christmas carol), and a recently-recorded (and extremely timely) cover of Bob Dylan’s “Masters of War”. Of these, the recently-recorded “Masters of War” is the most impressive, showing a lively spirit and musical energy that had been lacking from some of the band’s more recent CDs.). Some fans might be surprised to see that the band’s cover of “Locomotive Breath” (from the To Cry You a Song tribute CD) is left off although given the high caliber of the material that appears here, I can’t really say which of the other tracks on this disk ought to have been cut to make room for it. Disk 2 contains sixteen tracks taken from the band’s numerous radio performances. The selection emphasizes the second half of the band’s career (from 1997 through the present), although the recording of “Baladi” (one of the band’s early experiments with middle-eastern influences) comes from 1992 and two other cuts were recorded in 1995. As on the studio disk, the songs showcase the band’s strongest material (both original and traditional) and there are few pleasant surprises thrown in to boot, including covers of classic folktunes “As I Roved Out” and “John Barleycorn” that have never found their way onto any prior Tempest albums. For the most part, the sound quality on these is top-notch ‘live session’ sound and the performance quality is excellent (Michael Mullen’s fiddle solo on “The Three of Us” is a real standout). A few of the later tracks, however, are taken from radio broadcasts of concert/festival performances and come with attendant crowd noise and less impressive sound although they’re still perfectly listenable. An interesting editing decision was to preface several tracks with bits of on-air dialogue between the band members and the DJs on whose radio shows they were appearing. While this does help establish the ‘radio’ feel of the album, the patter is mostly just small talk and doesn’t really convey anything interesting about the band or its members. Disk 3 contains live concert material. Most of its fourteen tracks were recorded at a special 15th anniversary show in Davis, California from early 2004, at which several former members joined the current lineup on stage. This CD is thus quite broad-ranging in its coverage of musicians and material from 1989 to the present. Like the others two disks of the set, it tends to feature the band’s stronger material (without duplicating any songs from the other two), although I’m not sure their one-time cover of Spinal Tap’s “Stonehenge” really merits being placed along side such great folk-rock performances as the other tunes. Still, that’s a minor criticism of an excellent CD collection that is a must-have for the band’s fans and which would serve as a terrific intro to the band for newcomers. - Jim Chokey |
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15th Anniversary Collection - Dirty Linen review |
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Tempest Tempest is the quintessential Celtic-folk-rock group. Over 15 years, through multiple lineup changes, a plethora of albums, and a multitude of odysseys across the U.S. and around the world, the band has remained consistent to the vision of founder Lief Sørbye. One might think of it as the other direction heavy-metal might have gone, rather than wandering further and further into chainsaws and ghoulish theatrics. There’s Led Zeppelin in Tempest’s genetic makeup. There is also an honest respect for traditional Celtic music, though Tempest is more accessible in this regard, with rock and pop tropes as its access points. All of this is old news to Tempest’s devoted fans, who will probably get the most out of this collection of rarities, radio appearances, and live performances (the last including, by the way, a dead-on rendition of Spinal Tap’s “Stonehenge”). They’re fun — especially the radio broadcast of a concert in Eugene where the band’s encore was cancelled, to the audience’s consternation, for curfew reasons — but for listeners unfamiliar with Tempest’s blend of Celtic and other folk, rock, jazz, and just about anything else that fits, this probably isn’t the best place to start. On the other hand, the recordings are worth hearing, and the live ones are a particular treat. Tempest has the grand sense of scale of a true prog-rock outfit, and in live performance, that grandeur comes out to play in a big way. This is three CDs’ worth of snapshots from the band’s decade-and-a-half history and is emphatically worth hearing. For the best stuff, go straight to disc three. |
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15th
Anniversary Collection - Relix review |
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TEMPEST Although this multi-national Celtic-rock band hasn't hit the big time, it is a perennial festival favorite. For the past decade and a half, Tempest has mixed folk and rock with power and conviction. It comes across as kind of Jethro Tull meets Fairport Convention with a slightly more international feel. The band is led by the talented Norwegian mandolinist Lief Sorbye. This three-disc box set is a fan's delight. It offers a disc of studio rarities and alternates, a disc of radio broadcasts and a dynamic, 14-track collection of concert favorites that captures the band at its best. Highlights are the jovial "Captain Morgan" and the harder-rocking "The House Carpenter." All in all a nice overview of a hard working and much underrated band. |
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15th
Anniversary Collection - Green Man Review |
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Tempest "It's time travel with Tempest!" says front man Lief Sorbye, to start off Disc 3 of this collection. He's joking, certainly, but there's some truth to his words. To celebrate fifteen years of Tempest's career, Sorbye and friends have released this triple CD collection. Fifteen years also makes for a lot of personnel changes (mandolinist Sorbye and drummer Adolfo Lazo are the only constants), and to the best of my knowledge, every Tempest line-up appears on this collection. Tempest released their first recording in 1989, with a cassette titled Celtic Rock. For those unfamiliar with Tempest, that title is an accurate label for the group's sound, with the emphasis on "Rock." There are other influences, to be sure, among them Nordic, Middle Eastern, an occasional hint of country and the odd flavoring of ska, but Celtic Rock describes things nicely. Each disc showcases the group's talents in different arenas. Disc 1 contains selected cuts from their numerous studio recordings, as well as previously unreleased tracks and some alternate recorded versions. Though the disc opens with the current Tempest playing a cover of Dylan's "Masters of War," it is weighted heavily toward earlier incarnations of the band. There are several gems here: the classic rock stylings of "Barrow Man", the drum-talk intro to "Cat In The Corner", and Sorbye's Tull-esque flute playing on "One Last Cold Kiss" are just a few. Disc 2 holds various live radio appearances, interspersed with brief interviews and commentary. Again, many Tempest classics are present: "You Jacobites By Name," "Heather On The Moor," "Two Sisters." Despite that, this disc is probably the weakest of the three, having neither the polish of the studio tracks, nor the energy of concert recordings. The exceptions are a few live cuts that have been sneaked in. Disc 2 isn't bad, mind you, it just isn't as good as Discs 1 and 3. Disc 3 has an assortment of live sets. This disc is arena rock, and the music here is the most energetic in the collection. Some groups can carry a live recording, others can't: without question, Tempest can. Extended soloing tends to be a hallmark of arena rock, and for examples of that here, one can listen to Ronan Carroll's guitar work on "Cruel Brother," or to "Bonden og Kraka," where each member of the band gets a chance to indulge a little. Tempest shows off their musical sense of humor, too -- in the middle of "The Ballydesmond Set", a medley of dance tunes, they suddenly break into a portion of "William Tell Overture," done vocally, à cappella, in madrigal harmonies. Then there's that cover of Spinal Tap's "Stonehenge," complete with narration. Disc 3 will make you want to catch this group live. Tempest has also released a recording to mark ten years of existence, and now this one for fifteen. Both are outstanding. I'll keep my fingers crossed for something similar in five more years. |
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Dirty Linen Concert Review |
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15th Anniversary Show Veterans Memorial Theatre Davis, CA January 24, 2004 It was as close to time travel as you could get during a concert. Tempest's 15th anniversary gig saw members spanning its entire history celebrating with a raucous, packed house at Veterans Memorial Theatre in Davis, CA. Nearly 400 fans traveled from around the country to witness America's leading Celtic folk-rockers resurrect nuggets from its back catalog played by the original line-ups that created them. The first half of the evening began with the first line-up, featuring lead vocalist, electric mandolinist and founder Lief Sorbye; the group's first and only drummer Adolfo Lazo; guitarist Rob Wullenjohn; and bassist Ian Butler. They rocked through spirited versions of "Milligan's Fancy" and "Queen of Argyll" from the deleted and much sought-after 1989 debut cassette Celtic Rock. For more recent Tempest fans, the opportunity to see the band in a fiddle-free incarnation was a real ear-opener, with guitar and mandolin playing more upfront roles. They also got to enjoy Butler hamming it up in his inimitable Ace Ventura meets Wayne's World style. The quartet also revived some of its "New Celts on the Block" unison choreography routines thought lost to history, much to the delight of the audience. Next, fiddler Michael Mullen hit the stage to help unearth "Raggle Taggle Gypsy" and "Heather on the Moor" from 1991's Bootleg and 1992's Serrated Edge, respectively. Mullen was the group's original fiddler and recently rejoined. The crowd rewarded the return of his high-energy presence with a generous helping of jumping and pumping. Mullen's fiddle successor Jon Berger then joined the band to perform three tracks from 1994's Surfing to Mecca, including the title cut, "Take You to the Well" and "Spring Carol." Though Berger went on to become a lawyer after departing Tempest in 1996, he was in impressive form, gliding through the tunes with ease and enthusiasm. Equally exciting was seeing Sorbye play the flute during "Surfing to Mecca" for the first time in five years. Mullen then returned to engage in a rare Tempest performance as a six piece. He and Berger traded fiddle licks, and Berger also played accordion during renditions of "Captain Morgan" from Bootleg, as well as "Whiskey in the Jar" and "The Ballydesmond Set," both from Serrated Edge. A couple of ebullient Morris dancers added to the allure of the joyous "Ballydesmond," spawning several amusing audience attempts to mimic their moves. The second set saw the premiere of Tempest's latest line-up featuring Sorbye, Lazo, Mullen, guitarist Ronan Carroll and new recruit bassist Ariane Cap. The well-rehearsed group charged out of the gate with a fiery tune medley featuring "Nine Points of Roguery," "For the Three of Us" and "Wind That Shakes the Barley." Next, they launched into "One for the Fiddler" from 1997's Gravel Walk, providing Mullen with a showcase to strut his stuff. Four pieces from 2003's Shapeshifter followed, including "Tamosher," "Catalina Island," "Cruel Brother" and the radical rearrangement of "Byker Hill." The material sounded richer than ever, infused with new four-part vocal harmonies. The set finished up with "The Karfluki Set," featuring a manic Mullen bounding offstage into the crowd while Sorbye leaped about and successfully got everyone off their feet. A standing ovation and ear-splitting cheering greeted the band as they returned for the first encore. All eight musicians performed "Hal-an-Tow," "Green Grow The Rashes" from The Gravel Walk and "Jenny Nettles" from Celtic Rock. The eight-piece Tempest worked remarkably well, with Butler switching to baritone guitar and Berger performing on accordion. The entire band was having a great time, with old and new members dashing around the stage, gleefully interacting like kids in a playground. The second encore came as a hilarious shock to everyone. The new line-up reemerged, decked out in black hoods and capes and launched into the spooky, unmistakable intro of Spinal Tap's "Stonehenge." Everything you know and love was there, from the descending mini-monument, to the medieval dancers, to Ronan Carroll doing his best Nigel Tufnel impression. It was a brilliant moment in an already excellent show. After huge applause from the stunned crowd, the other reunion members returned and all involved performed the buoyant instrumental "The Sleeping Highlander" from Surfing to Mecca. Judging by the hundreds of beaming smiles after the show, the show was a grand success for the audience and musicians alike. "It was a fantastic experience," said Sorbye after the gig. "Each musician put their heart and soul into it. Everyone came into it with a really good spirit. It was an impulsive and unpredictable show. We had people onstage who had never played together before and it really worked. The common thread is that the musicians don't take themselves too seriously, but they take the music seriously. It's a very playful group that is terrific at communicating with audiences in a natural and open way." "Stonehenge" appeared to be a natural for the band too. An impromptu decision resulted in its inclusion. "Doing 'Stonehenge' was the fans' idea," explained Sorbye. "We worked on it during rehearsals and it clicked. So, at the last second we got a smoke machine, the capes, and built the monument, which was still drying the night before. It was priceless to see the reactions of people standing in the front. They were going crazy. Some people had their mouths gaping open. They couldn't believe what they were seeing. That was a lot of fun." After 15 years with Tempest, Sorbye remains fiercely enthusiastic about the group and its future prospects. "Our 15th anniversary has made me realize that Tempest has just scratched the surface of what we can do," he said. "The musical policy of the group has never become stale. When you dabble in traditional music, there's an endless source of inspiration and source material. We've made a home in folk-rock and I'm just as excited about it today as I've ever been." The gig was filmed and will be released this summer as a DVD with some special bonus material, including behind-the-scenes footage. Also, look for a three-CD boxed set featuring rare live, radio and studio cuts from Tempest in the same timeframe. |
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The
Virginian Pilot - Article by Jeff Maisey |
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Minstrel still finds lot to mine in the rich Folk-Rock
movement The lifestyle of a strolling minstrel , even as it relates to performing in progressive folk rock band Tempest, is well suited for singer/mandolinist Lief Sorbye, who's two passions in life are music and travel. "I started traveling when I was 14-years old," said Sorbye by phone from Oakland, California. "I supported myself as a street performer to get around." Sorbye was raised in Oslo, Norway, but he says his native Scandinavian homeland is a difficult place to make a living as a musician. There're few urban centers and getting around in the winter months is often treacherous. So as a teenager, Sorbye grabbed his acoustic instrument and embarked upon a mainland European adventure. "It was the typical oral tradition of folk music," he said. "You meet other musicians, you swap songs, and you move on to the next town. That was my education. That's what I did instead of going to college." Sorbye actually grew-up listening to rock 'n' roll. He was also a huge fan of Bob Dylan. In fact, it was Dylan's songs, which Sorbye says were often adaptations of traditional melodies with new lyrics, which piqued Sorbye's interest in traditional music. "The roots music had more substance to me somehow," said Sorbye. "It painted very intense pictures on my young mind." At the same time Sorbye learned about Celtic music from his contact with Irish immigrates who had settled in Oslo, he developed an interest in his native music. He took it all to heart. "To me, traditional Norwegian music and the Celtic music have always been the same and very much related," said Sorbye, who would later mesh all of these styles of music into one stylistic concept, which today is Tempest. Sorbye formed Tempest in 1998, almost a decade after he arrived on American shores. He says he came to the United States because he'd seen most of Europe, as a wandering musician, and was excited about the possibilities of traveling in such a vast country. "A lot of curiosity and lust for adventure made me want to come to the States," he said. "Just the size of it, and the fact that so much great music had come out of the U.S. I was up to the challenge." After seeing America, Sorbye eventually settled in San Francisco. With Tempest, Sorbye had formed his dream band, incorporating traditional Celtic and Norwegian music, as well as 70's-styled prog rock. This timeless cross-pollination of cultural styles often draws comparisons to Jethro Tull. "A certain part of Jethro Tull's career was very steeped in traditional folk music, whether Ian Anderson will admit it or not." said Sorbye, "It was all about exploring and fusing different genres of music together. When Tempest performs at the White Horse Pub in Virginia Beach on Tuesday, the quintet will be touring in support of its 15th anniversary. In addition to releasing ten studio albums, the group that is considered the driving force in the modern folk rock movement will be making available a 3-disc box set comprised of unheard studio songs, one-off radio promotion performances, and a set of live recordings that capture the essence of Tempest." "It's not about polished recording," said Sorbye, "it's about the spirit." And what a soaring spirit Tempest possesses when the lively act takes the stage. The band, which also includes Ronan Carroll (guitarist from Ireland), Ariane Cap (bassist from Austria), Adolfo Lazo (drummer from Cuba), and Michael Mullen (fiddle player from the USA), is an international cast. Their live shows are a mix of humor (jokes and Spinal Tap-like posses), sophisticated arrangements of songs featuring remarkable musicianship, and audience participation. Tempest has remained on the road for most of it fifteen years. They are favorites at the large outdoor summer Scottish and Celtic festivals, as well as Denmark's Skagen Festival and the prestigious Philadelphia Folk Festival. Between May and October, all of Tempest's performance will be at outdoor events. But the cozy watering holes, like the White Horse Pub, are not to be overlooked by this one-time street smart troubadour. "Those shows are just as important because you learn to appreciate the intimacy of a smaller venue," said Sorbye. "Obviously there's going to be more adrenalin when you walk in front of 20,000 people than when you walk in front of 200 people, but it can be just as rewarding. The magic of a live performance is the two-way communication." As for Sorbye's adventure, he says it is a work in progress and being a member of Tempest isn't much different that roving world cities on his own with nothing but a mandolin in hand. "It's still about getting in front of audiences, getting your music out to people, lifting their spirits, and having a positive effect by doing so," said Sorbye. "I'm in it for the journey." |
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Erie
Times-News - Article by Dave Richards |
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The Mad-Accent Band Before "Titanic," Riverdance, Frank McCourt, the Corrs, and others ushered in an Irish-culture boom, Tempest built a fervent following with its stirring, fiery brand of Celtic folk-rock. The Irish fad has faded. But Tempest blazes onward, celebrating its 15th anniversary with a yearlong tour that includes a don't-miss stop at Forward Hall Concert Club on Tuesday. Fans of such bands as Jethro Tull, Steeleye Span, Fairport Convention, and the Corrs will appreciate their dynamic, driving tunes. "We don't get affected that much by fads," said Lief Sorbye, Tempest's longtime leader in a phone interview. "We've sort of been finding our own place in the world and having our own grass-roots following that's expanding. We keep working hard to bring our music in front of people. Whenever there's a fad, it helps. But fads come and go. Tempest has been around awhile." Since 1988, to be precise, when Sorbye left Golden Bough, his successful, acoustic Celt band, to go electric. He aimed to fuse the power and energy of rock with Celtic tradition and his own Norwegian heritage. "From day one, I always wanted to inject a different perspective into the traditional music format by using people who might be skilled in jazz or metal or the singer-songwriter genre or whatever," Sorbye said. "Even if the musical policy is rooted in traditional folk music, we have our own take on it, and our sound incorporates a big spectrum. It's not just the rock energy, but all our individual members, who put their stamps on the arrangements. That's what makes it interesting and different than just a folk band that's plugging in." Tempest's members hail from nearly every corner of the globe, which also spices their sound. Sorbye grew up in Oslo, though he's lived in the U.S. the past 20 years. Drummer Adolfo Lazo is from Cuba, and guitarist Ronan Carroll comes from Dublin. Bassist Ariane Cap hails from Innsbruck, Austria, while fiddler Michael Mullen, who recently returned to the band, is the only American, a native of Fresno, Calif. "So it's truly an international lineup," Sorbye said. "We incorporate those backgrounds into our sound. When we travel across the country, it's the mad-accent band. It's quite something." So is their exuberant stage show. Tempest inspires fans to dance, no matter what type of festival they play, and they play them all — Celtic ones, rock events, jam-band gatherings, and progressive-rock affairs. Their swirling sound so appeals to prog-rockers that they record for Magna Carta. They got Keith Emerson to play keyboards on 1996's "Turn of the Wheel," and also covered "Locomotive Breath" for a Tull tribute album. "The chemistry in the band is really good, and everyone's a top-notch performer. So it's very energetic, very entertaining, and sometimes a little goofy," said Sorbye, who's a sight himself, playing a double-necked mandolin. "We don't take ourselves seriously, but we take the music seriously. We do all sorts of quirky and goofy choreography. But we're not in clogging shoes." "Shapeshifter," their 2003 release, showcases their robust blend of tradition and mad-eyed energy on contagious songs such as "Natural Law" and "Tamosher." In July, Tempest will issue a three-CD box set with rarities, live cuts, and other obscurities. It's a treat for fans who've been with them the entire journey. "We're doing our 15th anniversary tour, and we've still got three of the original members," Sorbye said. "Which is a pretty good stat in rock and roll." |
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Obvious
Pop - Concert Review |
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Celtic Rock?! While I enjoy traditional Celtic music, I like the merger of traditional Celtic styles with progressive rock and fusion even more. That's where Tempest comes in. Their CD's are for the most part good, but their live show is even better. I saw them for the first time last night in Chippewa Falls, WI. What could have been a small town gig disaster actually turned out to be a phenomenal performance and show. Mostly high school aged kids showed up, and I was wondering what they would think of this Celtic Rock act, complete with fiddle and mandolin. As it turns out, my fears were unfounded, the show was great and they captivated the young audience. There was even a large dancing mob of kids up in front of the stage, bouncing around wildly to the music for the entire show. The songs were great, but the most impressive part of it was the performance. Each of the 5 band members are masters at their instruments. Besides being great, tight players, they really have a wild time on stage. They seem to be having so much fun it's infectious, and the audience has just as much fun right along with them. You can tell it's a great show when everyone from the high school kids to the parents in the back swarm the merch' table after the show to buy the bands CD's. There are two other factors that make Tempest an even more amazing and unique band. One is the simple fact that they are the nicest, friendliest band you'll ever meet. These are real, down to earth people who are enjoyable to talk to. The other thing, which is perhaps the most unbelievable fact of all, is that all 5 members are from different countries. Lief, the lead singer and electric mandolin player is from Norway, drummer Adolfo is from Cuba, the guitarist Ronan is from Ireland, bassist Ariane is from Austria and Michael the fiddle player is from California. Are there any other nationally known bands that have 5 or more members that are all from different countries? Again, the band is amazing live, but the CD's are good too. You can listen to samples on their website at www.tempestmusic.com |
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The
San Francisco Observer |
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Tempest: East Bay Band Hails Celtic Rock OAKLAND -- Fifteen years into a musical career that has taken him all over the world, Lief Sorbye admits that he likes having an American band that is not from America. "The music is a melting pot, "the wild-eyed, ceaselessly grinning, Norwegian-born, Oakland resident confirms. Sorbye is describing the sound of Tempest, his local eccentric rock n' roll band that draws heavily on Celtic, Irish and other 200-year-old European traditions, and contains four other members who hail from Cuba, Austria, Ireland, and Fresno. "The music is really international music played with a rock n' roll energy, so it makes sense to have international people playing it." Tempest's present lineup of Lief, who plays a double-necked mandolin, along with bassist Ariane Cap (Innsbruck, Austria), drummer Adolfo Lazo (Havana, Cuba), guitarist Ronan Carroll (Dublin, Ireland), and American fiddler Michael Mullen tweaks the traditional Northern European sound with heavy modern electric amplification and funky rock improvisation a la '70's jam bands like Jethro Tull and the Allman Brothers. Their instrumental sections will often last upwards of 30 minutes, all the while the band engaging the audience with quirky on-stage antics including humorous wacky choreographed dancing and runs through the crowd. And although the band relies heavily on its influences, the ultimate sound is truly original. "We have a musical policy which is steeped in tradition," Sorbye explains, "but each player brings his own style. We have five members with five strong influences, and therefore we always come out with something that is unique." And Lief's choice of instrument elevates the sound to a whole new level of uniqueness. He plays a double-necked mandolin that he invented and had custom made when he first formed Tempest and decided that one mandolin was just not enough. "It's an acquired taste for a musician, definitely a little eccentric," Lief notes. "It's an awkward instrument to play unless you're a little tweaked." Hence Tempest. The band just finished a West Coast tour that included a 15th anniversary show in Davis with all five members from the original line-up dating back to 1989, and a rare San Francisco appearance at 12 Galaxies on St. Patrick's Day with the current line-up. The 12 Galaxies show treated a joyously enthusiastic, if a tad tipsy (hey, we were seeing an Irish band on St. Paddy's Day) audience to over two-and-a-half hours of feet-stomping original and traditional tunes from 10 albums and a spoof on Spinal Tap's "Stonehenge" as a fitting encore. When you think about the Celtic-Irish genre of music, you don't imagine high-energy intensity that rivals the most cutting-edge party music, but somehow the magical hands of Tempest manage to lead you to the realms of frenzy. Songs like "One for the Fiddler" and "Old Man at the Mill," the titles of which evoke images of serene, rustic scenes from Irish farms, rocked the 12 Galaxies almost as hard as Spinal Tap during their peak performances. |
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The
Sacramento Bee -15th Anniversary Show Preview |
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Tempest through the years in Davis celebration Saturday, Tempest will celebrate its 15th anniversary with a special show at the Veterans Memorial Theater in Davis. To chronicle Tempest's myriad lineups, Sorbye has invited band members past and present to perform. For the finale, everyone will join forces on stage. "For me, it's been a pet project," Sorbye said. "It's a very ambitious show, and a lot has gone into making this a big party. I want to give the fans the show they always wanted but never thought they'd ever get. We'll do the songs they didn't expect us to do again live, and we've got other surprises." Tempest is certainly familiar to followers of Northern California's outdoor music festivals, such as Sacramento's Heritage Festival. Tempest also is a staple at Scottish games and Celtic festivals around the country. The band has a particular affinity with the city of Davis. Tempest has played plenty of gigs at UC Davis' Whole Earth Festival, plus countless shows at the Palms Playhouse's former location in South Davis. The Veterans Memorial Theater in downtown Davis is another favorite venue for the band. "We have a history with Davis, but more importantly, we have a history with this particular venue," Sorbye said. "I have a long relationship with the guys who are producing the show with me. I know the theater really well. We know every nook and cranny, so it's easy to do the production in there." Although Tempest is based in the Bay Area, its members' hometowns are all over the map. Sorbye, who sings lead and plays the electric mandolin, is a native of Oslo, Norway. Drummer Adolfo Lazo hails from Havana, Cuba. Bassist Ariane Cap is from Innsbruck, Austria, and guitarist Ronan Carroll is originally from Dublin, Ireland. Fiddler Michael Mullen, from Fresno, is the only American-born band member. Musically, Tempest taps into the sounds of Northern Europe, such as Scottish and Scandinavian music, but with an emphasis on all things Irish. Its repertoire is a mix of original tunes, which harken to Jethro Tull and Fairport Convention, and pumped-up versions of traditional Celtic songs. Overall, Sorbye's electric mandolin and an omnipresent electric guitar add edge to the folksy elements of Tempest's sound. "I got into traditional music the first time I realized that I tapped my toe to a fiddle tune and not to a guitar solo," Sorbye said. "Celtic music and Northern European music has a lot of substance to me. It echoes the past and tells a story. I like timeless music, and that idea of combining folk music with rock 'n' roll, combining ethnic music with a backbeat. "Fifteen years ago, there was a lot of debate, and purists were saying that we were breaking the rules," he said. "These days, it's old hat. There's a whole world-music movement that's about mixing styles. I love the way traditional music was played 200 years ago, but I'm not looking for museum pieces. Folk music should be alive." Despite a few glitches, Tempest has enjoyed many highlights as well. Keith Emerson, the famed keyboardist from Emerson, Lake and Palmer, cameoed on 1996's "Turn of the Wheel." In 1989, Tempest performed at the Woodstock 25th anniversary concert. The band also has enjoyed a prolific recording output. The group's next project is to compile a box set featuring radio spots, outtakes and acoustic material. Meanwhile, Tempest will keep gigging. The upcoming summer season will be especially busy with outdoor festivals, and the band's overall goal is as always: To produce a joyful storm of dancing bodies. "I think the strength of the band is that we appeal to more than one age group or market," Sorbye said. "If you're into folk music, or into rock music, it doesn't matter. We're into uniting people behind music. That's why we're out here." |
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The
Vacaville Reporter -15th Anniversary Show Preview |
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Celtic Rock Storm "I've been in this silly business for a living all my life," the tall, shaggy-looking Oakland resident said by telephone late last week. "I've never had a day job. Somehow I've managed to combine my two passions in life - playing music and traveling. I've found a job that combined both and I feel privileged." Making music and traveling - he will do both, again, Saturday. That's when he and his current four-member backing unit - plus some original members from the band's early days - hold forth at a 15th anniversary and reunion at the Veterans Memorial Theatre in Davis. Sounding upbeat and optimistic, Sorbye, a fortysomething Norwegian, said the all-ages event promises to be "a great celebration of Tempest's past and present." The reunion, part of a wintertime California tour stretching from Blue Lake (near Arcata) to Angels Camp to San Francisco, will culminate in a grand jam session featuring old and new band members. "My whole philosophy is to throw a big party for all the fans and give them a Tempest show they'll always remember," he explained in only slightly accented English. Since Tempest - like its musical kin Boiled in Lead, The Moors and Wolfstone - ranks among the world's best of its kind, the band and its fans are connected by the Internet, not suprisingly. "We've been monitoring the discussion and it's interesting," said Sorbye, a former member of the Celtic band Golden Bough. "We've been eyeing the discussion lists dedicated to the band. People are wondering what songs we'd always play and don't do live anymore. So we've combined all these notes to give the fans the show they've always wanted - plus a little bit extra they'd never expect." No, he doesn't want to divulge just what the extras are. His brainchild, the reunion will be the story of Tempest, in words, music and song. Since forming in 1988, Tempest has fused traditional Celtic acoustic sounds - Irish reels, Scottish ballads and Norwegian folk - with the driving energy of plugged-in guitars and drums. "I have one foot in folk music and one foot in rock 'n' roll," said Sorbye, describing the band's sound. "The backbone is music from the British Isles. It's all Northern European. That's what I've always been into. After so many years of doing it, I think I've only scratched the surface. It never gets stale for me. It's always exciting." In the past 15 years, the band has released 10 albums, the most recent being "Shapeshifter," a 10-tune disc on the Magna Carta label, distributed by the powerful WEA (Warner/Elektra/Atlantic) corporation. Among the songs are "Tamosher," "Carnival" and "Cruel Brother," all propelled by Tempest's current lineup: Besides Sorbye on lead vocals and doubled-necked mandolin and mandolas, the band is Adolfo Lazo, drums; Ronan Carroll, guitar and vocals; Michael Mullen (the group's only American, by the way), fiddle and vocals; and Ariane Cap, bass and vocals. Released last year, "Shapeshifter" signifies a returns to roots, Sorbye said. It contains five original songs, mostly written by Sorbye, and five traditional tunes. "There's Irish, Scottish, English and Norwegian and an American song," he noted. "It covers all the bases of the roots of the music, really. I have a soft spot for that record. It opened a lot of doors for us." Those doors include club dates in the fall and winter, followed by festival and fair season in the summer, including the Philadelphia Folk Festival, Britains's Copredy Festival and the Winnipeg Folk Festival. More locally, Tempest headlines Vacaville's Celtic Nations Festival on June 26 and 27 in Andrews Park. Sorbye started Tempest "with a blueprint in mind." "I knew exactly what I wanted to do and how to go about it," he said with the confident air of man who, indeed, knew exactly what he wanted to do, when and how. "There was no lengthy experimentation with the music I wanted. I found the musicians and got on the road." Like so many youths growing up in the late 1960s and 1970s, Sorbye fell under the spell of The Beatles. He felt rock 'n' roll in the marrow of his bones, but it was an Irish fiddle that did something the Fab Four from Liverpool and George Harrison's stinging guitar leads did not: set his foot tapping in time to upbeat music. And the songs' lyrics also spoke volumes to him, too. Their themes tend to be "timeless," Sorbye said. "They deal with the human condition," he said. "And it tells a story. It's all about the human condition and the human condition is about survival." |
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Davis
Enterprise -15th Anniversary Show Preview |
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Tempest in a must-see spot. Tempest, a band that remains a one-of-a-kind blend of traditional Celtic music and hard-driving rock 'n' roll, will take the stage Saturday evening at the Veterans' Memorial Theater to celebrate its 15th anniversary. "This will not be a predictable Tempest show at all," said Lief Sorbye, Tempest's founder, lead vocalist, mandolin and mandola player. "We've got lots of surprises, and we'll do stuff that people never expected us to do again." The 8 p.m. show will mark the passing years by reuniting the band's various lineups at different times throughout the evening. Sorbye has poured through old memorabilia, and he even plans to raffle off a copy of the band's original demo tape. "Our musical platform was established from the beginning," he recalled, when asked about the band's origins. "I was still in Europe in the late '70s, supporting myself as a street musician. I started getting into Norwegian music and had the idea to combine the traditional sound with rock 'n' roll-type music." The idea sat quietly with Sorbye for years, as the native Norwegian made his way to San Francisco. Once settled, he began playing with the traditional acoustic Celtic group, Golden Bough. "I played their style for eight years, but I've always had one foot in traditional music and one foot in rock 'n' roll." In 1988, Sorbye knew the time had come to combine his two passions. "I started Tempest with a clear vision of what I wanted to do," he continued. "We were going to combine the melodic, rhythmic sensation of traditional Celtic with the energy and power of a full rock band." Sorbye recorded a demo with original bassist Ian Butler, enlisted guitarist Rob Wullenjohn, and - once a drummer was safely in tow - the band quickly lined up its first gig in Berkeley. The newly formed Fab Four, however, didn't quite make it to the show intact. "We'd been practicing for our debut performance ... Ian, Rob and I, plus a drummer who none of us knew that well. On the day of the show, I woke up and found a note from the drummer on my mailbox, that he'd left in the middle of the night. It said he couldn't make the show! "Now, this show had generated a lot of buzz. There was a lot of PR, some people were angry with me for leaving Golden Bough, some were curious, excited ... and there we were, without a drummer. "Well, four years prior, my ex-wife had run away with this Cuban guy, who also happened to be a drummer. I figured he owed me one. So I called and asked if he wanted to do a gig that night, and he said, 'Yeah, I'm there.' So we practiced the day of the show, Ian and Rob met him for the first time on stage ... and Adolfo Lazo hasn't missed a beat ever since." Given Sorbye's well-established connections, Tempest took off right away, both figuratively and literally. "We started booking tours immediately," Sorbye said. "Three months out, and we were off touring the Pacific Northwest. Later that year, on our first time out on the East Coast, we happened to be playing somewhere in upstate New York. After the show, we were invited at the last minute to play at the 20th anniversary of Woodstock. We shared the stage with Richie Havens and Arlo Guthrie ... and people responded really well to our music. "That was a magical moment, and it happened for the band right away." In 1992, Tempest expanded to its current five-piece format, by adding Michael Mullen on the fiddle. "Mike is our token American," Sorbye joked. "He later left the band for awhile, but he's rejoining us as of this date ... for him, everything's coming full circle." Mullen, a Fresno native, had been a long-time Tempest fan; with his addition, the band's fusion finally was complete. Unlike other new bands, however, Tempest never has experienced the typical growing pains that mark the demise of so many fledgling groups. "We did our first recording within three months of playing our first gig, and we've been fortunate enough to always have a label." Backing by a label is no guarantee of success, but with someone outside the band to handle the production and distribution aspects of the business, Sorbye and his crew were free to focus on what mattered most: making music. After some success with smaller, now defunct labels, Tempest now records for WEA subsidiary Magna Carta. And, as Sorbye noted, hooking up with Magna Carta was a match that was meant to be. "We'd always used big budgets in the studio," he joked. "As we were recording, 'Across the Borders' in Portland, the label people pulled me in and told us they didn't have the capacity to fund us after this, and that we should look for another label." Feeling dejected, Sorbye and his mates soon had no choice but to return home. "I flew back to California that day and happened to go into a record store, where I saw one of our records in the 'used' record bin. Well, the next morning I got a call from a man named Mike Varney. He'd been in the same record store that day, bought that record, looked on the back and saw that our number was local, called it, and when I answered the phone said to me: 'I want to sign you.' "We've been with Magna Carta ever since." The band has recorded a total of 10 albums to date, and Sorbye plans to spend some time this year compiling a Tempest Boxed Set. "The CDs under our belt have shown the band's progression and evolution over time. Each album has reflected a point in time of where the band was ... a lot of them are distinctly different, but we never run out of inspiration, because there's so much source material." Sorbye has no trouble being pragmatic: "It's really cool to see how much good, bad, mediocre and great material we've done." The current lineup features Sorbye, Lazo and Mullen, along with Dublin's Ronan Carroll on guitar and vocals, and a newly added Austrian, Ariane Cap, on bass and vocals. Saturday's show will be hosted by Mike Gerrel. As a city of Davis employee for 24 years, Gerrel was responsible for managing the Vets', and also has served as a longtime friend of band. "We met many years ago, when I was stage manager for the State Fair," Gerrel recalled. "They were playing five or six sets over as many days, and I was working their sound at the time. I remember them mentioning that they needed a place to stay. Well, I had an extra room, and they all wound up crashing on my floor. "We've been friends ever since." Given all the anticipation, Gerrel was asked to describe what to expect at a typical Tempest show. "Loud," he said, without hesitation. "But it's great rocking, raucous Celtic music." The band is proud to bring its anniversary show to Davis - and a portion of the proceeds have been earmarked to support the Navajo people of Big Mountain, Ariz. - and while Sorbye noted that our fair city has been one of the anchors for the band's fan base, the setting really prompted the decision. "We've been using the Veterans' Memorial for 10 years, and we love the venue. People are coming from Washington, Ohio and Texas to see the show .... and people in the Bay Area don't seem to mind driving up an hour, hour and a half, to see us play this particular show. "We've got great seating and a great dance floor here," Sorbye continued. "And I'm really looking forward to it. "It's cause for celebration. The whole purpose of the band is to make people feel good, and give them a good experience they can walk away from. "This is a way of saying 'thank you' to our loyal fans." |
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Dirty
Linen Magazine Review of Shapeshifter |
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After 15 years, one might think that Celtic-prog-rockers Tempest would start to sound a little dated, particularly since its sound does hearken to a particular period in folk-rock history: the 1970s, to be exact. It’s often been said of Tempest that if it were around 30 years ago, it would be ranked next to Jethro Tull and King Crimson. Be that as it may, the band still sounds remarkably fresh, although Shapeshifter does feature the latest of several lineup rotations; only bandleader Lief Sørbye and drummer Adolfo Lazo remain of Tempest’s original members. And describing this band as 1970s-style folk-rock reads as something of a dismissal when one considers what else is going on on this CD. It begins familiarly enough with a rearranged traditional Celtic song, but "Tamosher" pushes the fiddle of new member Sue Draheim out front right away; she’s a confident musician who fits in perfectly. This is followed by a fast-paced, upbeat instrumental that would sound more appropriate in an arena than a pub. For the first time, Tempest adds an American folk song to its repertoire with "Old Man at the Mill." Although this, like other traditional songs Tempest records, is rearranged according to the band’s own aesthetic, it retains its unique Appalachian flair. Tempest’s ability to adapt songs while retaining their unique characteristics is one of this band’s great strengths. While these adapted traditional songs tend to rock harder than the original material, "Natural Law" in particular could benefit from a bit of bite. For the most part, though, Tempest’s musical instincts remain sound. On the closing number, "The Cruel Brother," the music reinforces and highlights the emotional turns detailed in the lyrics. Shapeshifter is the work of a band at the top of its game, all the more impressive in light of the turnover in the lineup. |
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Amazon.com
Review of Shapeshifter |
| Tempest expertly infuses ballads and reels with rock, giving traditional folk music a new energy as well as contributing some original pieces that are equally timeless. I like this album even better than their last (titled "Balance"). Though each track is distinct and stands well on its own, they all complement one another and play almost seamlessly as a whole. Maybe I'm partial since I first heard Tempest live as the current ensemble of musicians, but I think newcomer violinist Sue Draheim's harmony vocals add a sweet texture the previous album did not have. Then again, there's just something about the female voice in general that gives authenticity to the emotional layer in folk ballads. At any rate, having seen some of Tempest's live performances, I can attest that all of its current members are highly talented and treat the craft of blending folk and rock with a professionalism that is entirely trustworthy. Listening to this album is like gathering around a home fire and being entertained by a captivating storyteller. Definitely worth hearing...again and again. |
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Goldmine
Magazine Review of Shapeshifter |
| Shapeshifter is certainly an appropriate album title for Tempest, a band who can be somewhat challenging to classify. Their unique blend of high-energy folk-rock combines elements of Celtic folk and various branches of world music with the complexity and precision of progressive rock to create a sound that is sure to appeal to fans of The Chieftains, Fairport Convention, and Heavy Horses-era Jethro Tull. Tempest, as Shapeshifter aptly demonstrates, seems to be equally at home covering traditional tunes such as the Scottish ballad "Tamosher," the Appalachian standard "Old Man At The Mill" or original songs such as "Carnival" and the instrumental "Catalina Island," which features powerful interplay between the mandolin of leader Lief Sorbye and fretwork of electric guitarist Ronan Carroll. The mix of Sorbye’s and Carroll’s instruments, the violin of Sue Draheim and the rhythm section of bassist Mark Skowronek and drummer Adolfo Lazo give the music of Tempest a lush, rich sound that is very capable of adapting itself to meet the needs of the diverse material. Draheim and Skowronek’s tight background vocals bring a new element to the Tempest mix, while Sorbye’s tasty electric and acoustic mandolin work, a hallmark of every Tempest album, continues to shine as he lets loose on almost every track. Longtime producer Robert Berry (3, GTR) achieves a powerful, clear sound without sacrificing a live feel. Whether live in concert or in the CD player, Tempest’s combination of folk songs and rock ’n’ roll attitude is always a worthwhile listen, and Shapeshifter is no exception. |
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Dave
Sleger's Review of Shapeshifter |
| After experiencing personnel stability during their early Magna Carta years, Tempest has since undergone numerous changes in which no lineup remained untouched for consecutive releases. In fact, each of their three studio albums since The Gravel Walk (1997) featured at least two new members. The surprising result is that Tempest has retained an amazingly consistent sound despite the upheaval. Shapeshifter welcomes to the fold guitarist Ronan Carroll, bassist Mark Skowronek and veteran fiddler Sue Draheim. And again this band produces at an incredibly high level. Much of the credit goes to frontman Leif Sorbye who is able to achieve his vision of Tempest with a changing cast of characters, but the replacements through the years have always been extremely gifted musicians too, perfectly suited for Sorbye’s ongoing project. And it’s no small feat to routinely trade one guitarist and fiddler in for another when those two instruments are vital to Tempest’s sound. Draheim is the most noteworthy addition as she is well schooled in the traditional and folk-rock idiom given her experience with Richard Thompson, John Renbourn and Albion Country Band. In addition to being the ideal instrumentalist for this band she provides delightful harmony vocals as well, which are a welcome contrast to Sorbye’s rich and omnipresent baritone. Carroll continues the long line of exceptional guitarists that have graced Tempests albums beginning with Rob Wullenjohn. Of particular interest on Shapeshifter is Tempest’s diverse selection of traditional material from the Scottish "Tamosher" to the American "Old Man at the Mill" to the English "Byker Hill" to the Irish "Coalminers’" to the Norwegian "Fjellmannjenta." The real gem, however, is the closing track "The Cruel Brother", a ten-minute track that exemplifies and solidifies Tempest’s designation as premier Celtic prog-rockers. It’s a three-part medley comprised of "The Tempest Reel" in which Draheim’s harmonies sound uncannily like Maddy Prior, "Sue’s Reel," a Draheim original and the Irish reel "Maid of Mount Kisco." |
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F5 Wichita's
Review of Shapeshifter |
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If Balance, Tempest's 2001 release, was a little overfurnished for some, then Shapeshifter, the latest release from this progressive folk/rock collective, is the perfect antidote. Whereas this stormy bunch (led by vocalist/mandolin player Lief Sorbye) sounded positively metallic in places on Balance (their reading of Phil Ochs' "The Iron Lady" had a little more in common with Ozzy than Ochs), here the band sounds more at ease, more in touch with the traditional elements of the material. Much of that has to do as much with a shift in attitude as a shift in personnel. The addition of Sue Draheim (Jon Renbourn Group and Sorbye's other unit, Caliban) has added an extra, deeper and (again) more relaxed dimension to the Tempest sound. Her ultra-fluid fiddle lines and soft harmony vocals lend balance to Sorbye's rough-around-the-edges vocals and hard-rockin' mandolin lines. That said, it's clear that Tempest is Sorbye's band (he and drummer Adolfo Lazo are the only original members left) as he wrote (or co-wrote) all but one of the four originals presented on this ten-song release. It's Sorbye's voice and mandolin that are the band's most distinctive features (at least before Draheim's entrance), to say nothing of his talent for picking traditional songs that have resonance with contemporary audiences, whether picking from Appalachian tradition ("Old Man At The Mill"), English coal-mining territory ("Byker Hill"), or from Norwegian fiddle music ("Numedalshalling" and "Kafjell," both inserted into "Fjellmannjenta," dedicated to a lady with vast appetites). Along the way the band finds time for a murder ballad ("Cruel Brother") and a meditation on a shape-shifting girl ("Carnival"). Shapeshifter isn't perfect ("Winter Night" is a well-intentioned seduction ballad that never really takes off) but whereas some working the Celtic/folk niche are too happy to serve up cold, twice-baked versions of the same old staples, Tempest is full of surprises, offering fresh flavors and variety, especially here. |
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Sea of
Tranquility's Review of Shapeshifter |
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On Tempest’s tenth album, Shapeshifter, the ethnically diverse folk-rock band does, indeed, shift shapes. This is arguably the group’s most accessible collection of songs - a 10-track 50/50 split of charming original compositions and reworked traditional pieces that swell with Celtic warmth and character. The harmony vocals, courtesy of newcomer Sue Draheim (who also plays fiddle and viola) are more prominent than ever, and Norwegian singer Lief Sorbye expresses himself with a confidence that’s both authoritative and intimate. Rounding out Tempest’s 2003 lineup is Cuban drummer and Sorbye’s fellow founding member Adolfo Lazo, plus American bassist Mark Skowronek and Irish guitarist Ronan Carroll. While Jethro Tull comparisons are still valid mainly because of Sorbye’s singing style, Tempest’s sound remains distinct because of the band’s tendency to rekindle with contemporary drama and flair traditional 19th century songs you’ve probably never heard, such as the 10-minute murder ballad "The Cruel Brother" and the English coal mining rocker "Byker Hill." Likewise, Tempest’s original songs are just as captivating. "Carnival" is an acoustic mythological love song Sorbye wrote with his wife about a man who falls in love with a carnival woman known as a "shapeshifter" - from which the album derives its title. The mandolin-propelled "Winter Night" is lush with aural imagery, while "Natural Law" could be the only pop song the band has ever recorded. While previous Tempest albums tend to grow stale by record’s end, Shapeshifter holds the listener’s attention for the complete 47 minutes. If you’re new to the band, this is a perfect introduction. And if you’ve been a fan for any or all of Tempest’s 15 years, your faithfulness has now been justly rewarded. |
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KUAR
Radio Review of Shapeshifter |
| Classic folk-rockers Tempest's latest lineup has produced their most satisfying work to date with Shapeshifter a finely honed assortment of traditional and contemporary songs and tunes each sitting comfortably and seemlessly beside the other and providing sufficient depth and breadth for both folk and rock elements to display their prowess. The rhythm section is gloriously water-tight, Sue Draheim's fiddle weaves exuberantly wild or exquisitely controlled and guitarist Ronan Carroll's acoustic and electric contributions variously show sensitivity or straight ahead rock'n'roll swagger. The vocal arrangements of the songs skillfully combine three voices to their optimum presentation and the song subjects range from the paranormal, in the wistful "Carnival", to the metaphysical "Natural Law" to love lost in "Winter Night." Played with fire and panache Shapeshifter is a splendid additon to the folk-rock canon. |
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All Music
Guide Review of Shapeshifter |
| With this album, Tempest seem to have completely found themselves. Maybe it's the new lineup, maybe it's maturity. Whatever the season, it's very satisfying. They've worked their way out of the prog-rock cul de sac that had trapped them recently, and they've also outgrown the Steeleye Span fetish that was a hallmark of their earlier albums. The instrumental work sparkles throughout, and Lief Sørybe's vocals have more punch about them. To be fair, they shine brighter on traditional material like “Tamosher" and “Byker Hill" (a storming version) than their own work, which is treated a little too gently. Notably, they've expanded from the British tradition to take in old American songs here (“Old Man At The Mill"), which might offer a way forward for them — they certainly do it justice. Sue Draheim is a revelation on fiddle, bringing years of playing with her, adding texture and tone. With Shapeshifter, the band does indeed shift shape, breaking out from the Celtic ghetto, while rocking as hard as ever. At the same time, although successful on its own terms, it's impossible to think of this as anything but a transitional record as they head to wherever they're going next. |
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Amazon.com
Review of Shapeshifter |
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Tempest is a celtic-folk-rock band that reminds me of Fairport Convention in its heyday. This is their tenth CD, but the first with this line-up. The CD has cohesiveness, despite several different styles of music. The band really plays as a true ensemble, with leads being shared by the 3 lead instruments (guitar, fiddle, mandolin). It seems like the band has made a conscious effort to get closer to their live sound than previous releases, and this is an excellent decision. After listening several times I realized that I didn't notice the rhythm section. The reason being that the drums (Adolfo Lazo) and bass (Mark Skowronek) play exactly perfectly for each song. Both play interesting parts that never "stand out" because of inappropriateness or over playing. The rhythm section is superb (and I'm a guitarist, so I very seldom give praise to a rhythm section). Adolfo continues to be the heartbeat of the Tempest sound while never getting repetitive or boring. Sue Draheim's fiddle has a very warm and rich sound (production by Robert Berry) that just highlights her beautiful playing. Sue really gets to the heart of the song with her playing and makes the melodies come alive, without overpowering the band. It sounds like Sue used an acoustic violin rather than her electric violin, this really adds to the harmonic resonance, and gives it a depth and warmth. Ronan Carroll is the newest member of the band, and an excellent guitarist. Based on this recording, you would think he'd been in the band for years. His playing varies nicely from melodic and mellow to almost heavy metal sound. Like all members of Tempest, his playing fits the songs exactly as needed without overplaying. Lief Sorbye, the lead vocalist and mandolin player, as always gives a strong and dynamic performance. Lief is one of the few singers who seems to live the song as he sings it. There's an old Incredible String Band song that has the line "You know all the words and you've sung all the notes, but you've never quite learned the sung you've sung". This is NOT the case with Tempest; they seem to have learned the songs very well. The harmony singing on this release is very different than prior Tempest releases due to the two high voices of Sue Draheim and Mark Skowronek. In all cases, the harmonies, really work well in supporting the songs. Of particular note are Tamosher and Cruel Brother. On Winter Night, Mark uses a different register, and it really is a nice counter point to Lief Sorbye's lead vocal. The only weakness I see is in some of the song choices. Some songs work great live, but have a tendency to get stale on repeated listening on CD. The two that I think don't hold up are Old Man At The Mill and Byker Hill. The traditional choices other that the two above are outstanding - Tamosher, Coalminers', Fjellmannjenta and Cruel Brother. The original material - Catalina Island, Natural Law, Carnival and Winter Night - is as strong as the above traditional tunes. There are a few standout tracks. Coalminers' is one of the best instrumental pieces that Tempest has done. Strong melodies, excellent playing. Tamosher and Cruel Brother rank up there with the best of traditional ma |
