Customer Reviews

Salisbury

5 star:		(17)
4 star:		(6)
3 star:		(1)
2 star:		(2)
1 star:		(2)

 

 

Salisbury redirects the band's style in the prog direction, at least the title song does. Containing only six songs dominated by the lengthy and elaborate epic-length title track composition. On Salisbury, Uriah Heep moderates the heavy, gloomy rock sound of their debut and works toward perfecting a new sound, a confluence of heavy metal power and progressive rock complexity.

At 16-minutes, I would be surprised if the title track, Salisbury, ever received any radio play. It features a 26-piece orchestra, which revealed the band's latent progressive tendencies. Highlights on the remaining songs side include "High Priestess," a soaring rocker that blends furious, power chord-fueled verses with spacey, keyboard-drenched instrumental breaks, and "The Park" is a light slow paced ballad sung falsetto by Byron and soaring harmonies by the band accompanied by a light blend of acoustic guitars and ethereal keyboards in a totally different style from the rest of the album. This song, which exudes a gentle, appealingly psychedelic feel, seems to recall a childish innocence as juxtaposition to the other more dreary themes. There is a nifty jazzy stop and go bridge in this song that reminds me in timbre, tempo and texture of Alice Cooper's "Steven".

In "Time to Live" we seem to return to the throbbing guitar/keyboard style of their debut album, while telling a story about a guy in prison for killing someone who hurt a little girl. Next, "Lady in Black", is one of the better known songs by Heep. A stylishly arranged and very catchy tune that escalates from a folksy styled acoustic tune into a pulsating rocker with ambient harmonies and crunching guitar riffs.

The fifth track, "Simon the Bullet Freak", is a bluesy tune that again reverts to the style of their debut with a throbbing beat led by the bass player and additional emphasis on piano and guitar. Byron sounds like he's singing through a megaphone and there don't seem to be any of their trademark background vocals.

The climax, "Salisbury" is truly a climax. I don't know how anybody could not appreciate this song since "Salisbury" is one of my all time favorite long songs, yet I have read some reviews that don't. As previously mentioned this 16:02 minute song utilizes a twenty-six piece orchestra which gives the song a huge sound and allows Heep to spread their progressive wings. This is a remarkable band playing a remarkable song in which they are totally in their element. "Salisbury" is bombastic, it's subtle, it's fast, it's quiet. It has horns and violins and organs and choirs and Byron has never sung better and oh those guitars of Mick Box. "Salisbury" is phenomenal, it is a classic.

You may have and like any of the twenty or so albums Uriah Heep has made and they have made some good ones but if you haven't heard "Salisbury" you haven't heard Uriah Heep.

I, being of the older persuasion, have seven or eight of Heep's albums on vinyl and I'm slowly replacing them with CDs. The first CD I went after was this one because if you don't have Salisbury you are missing an integral part of this rock/metal fixture.

The band's second effort, and their first foray into the "progressive" arena, this disc shows incredible growth from their somewhat generic debut, mainly due to organist Ken Hensley taking over as the primary songwriter.

The first side (of the original LP, hey it was 1970, OK?) ranges from the full-throttle guitar rave-up "High Priestess" (the US edition does, anyway; avoid the UK version which opens with a version of "Bird of Prey" inferior to the one included on their US debut), to the introspective and haunting "The Park" and "Lady in Black"; while "Time to Live" is a solid, if unspectacular blues-rocker.

Side two is where the band really takes flight, though, with the ominous and menacing "Simon the Bullet Freak" leading into the epic 16-minute title track, which really has to be heard to be believed; backed with a 24-piece woodwind and brass section, Heep produces one of their most emotionally moving songs, powered by David Byron's heartfelt vocal, and supported by some of the most spectacular playing of their career; particularly impressive are the bass/organ duet between Paul Newton and Ken Hensley early on, and guitar wizard Mick Box's absolutely blistering lead near the end, which stands as one of the most impressive performances I've heard from anyone on any instument. Heep took a big chance with this track, and came up a winner; everything gels into 16 minutes of pure audio magic. Their first masterpiece, and a harbinger of greatness to come. A must for Heepsters, and highly recommended to anyone who appreciates dynamics in their music.

Uriah Heep was my favorit band when I was a teeager but now I am forty years old. I have all the Heep albums on vinyl and also on CD and resently I bought all the remastered versions of the CD's. My favourit tracks on this album is "The Park, Lady in Black and Sailsbury. David Byron's falsetto vocals on "The Park" is fantastic. It is a shame that he is no longer with us. I played "The Park" to my daugther who is 20 years old about 3 years ago and it is still one of her favourite songs. "Lady in Black" is very poweful in it's simplicity, only 2 cords. "Sailsbury" is the most powerful and the most honest love song about a love gone wrong I have ever heard. Mick Box's guitar solos on this song are one of the best in rock history. "Sailsbury" is in my opinion Uriah Heep heavyest album and one of their best. This album is one of my all time favourites.

I really don't know what the boys were thinking about when they put this album together but the blend of Very Hard Rock with jazz and English rounds is better then I make it out to be. High Priestess starts out this often overlooked Heep recording. It kicks in one of the most intense recordings the Paul Newton line up with Heep ever delivered. The Park is Very Jazzy as a second cut. Very mellow. Third is "Time to Live". The recording starts to really rock, and then goes into what sounds like an English bar song called Lady in Black. The last two songs go together very well. Simon the Bullet Freak is just great! David Byron is terrific on the whole recording but spectacular on the last two cuts! Salisbury is the finest song Heep ever wrote.(Obviously up for debate-but this is my take!) The call and response from Paul Newton and Ken Hensley is fantastic! David Byron's lyrics and vocals bring back memories to anyone over the age of 25(or in my case over 40!) The final 7 or 8 minuets of this song make the cost of the CD insignificant to any true Heepster! Mick Box simply Explodes! This recording was made in 1970 and makes Guns-and -Roses' Slash look like a beginner! Box is simply a better guitar player and he proves it on this album! Any true Heepster must have this CD. Anyone who appreciates a fine electric bass and loud guitar must have this as well!

I consider this album as one of the more underestimated masterpieces of Rock history. I have a thousand of rock albums and I rank this one second after Deep Purple In Rock.
This is only my humble opinion of course.
Lady in black is a classic, and you will feel it at the first listening. The park in a true hymn to beauty and Salisbury is the most marvelous mix of music style I have heard in one single song.
Uriah Heep can say that they did their part for humanity with this album.

Not only does David Byron have a smooth as silk voice, he can sing falsetto and hits harmonies among the best of the legends. What a legendary voice, and Salisbury is definalty in my opinion his best achievement vocally.

This album is just packed with incredibly replayable music. I still can't get enough of this album. Although only one of them is 16 minutes long, they each play like an incredible epic. So casual listeners will be happy, along with the dedicated progressive head.

Bird Of Prey is just an amazing adventure, Byron pelts it out with no fear. The vocal harmonies build pretty nicely, I'm not fond of the ending, but the middle bits are enough to bring you back. Then we get the track Park, which is one of the most haunting tracks I've ever heard. So much it's tear jerking. It's sung falsetto, but wow, you think it would sound like a screech? Nope, pure glass. Did I mention the harmonies are endless. Definatly one of the top highlights. Time To Live is a solid rocker, highlighted by a top notch Mick Box solo! Lady In Black is another highlight of the album. The lyrics are haunting, the melody is a two chorded masterpiece, Byron builds his vocal harmony the entire song which is just wow. The last 2 minutes or so are just an attack of haunting ahhhs that is just amazing. High Priestess is an undeniable jumping rocker, but don't get lost in the end bit where Box kicks you in the [...] with a bunch of ripping guitar licks. The title track clocking in at 16 minutes is just a display of each members incredible skill. Hensley keyboards, Box licks, and Byron vocals are just amazing. Not a fan of 16 minute epics? You'll like this one guarenteed.

Are you a classic rock fan? You'll love it. Are you a Heep fan? Then I put money down that you already have it, and probably played it to death.

For me the song salisbury does it. It is a great mix of classical with guitar and Byrons voice is one of my all time favourites. Other bands like Deep Purple played with Orchestras but I dont believe the really merged the two styles where as with this they did. I was disappointed that bird of prey was not included in the CD when I upgraded from Record as its a great song. Every song is strong with time to live also being a favourites. i like all Byron Uriah Heep but i think this one is their best.

The band's second effort, and their first foray into the "progressive" arena, this disc shows incredible growth from their somewhat generic debut, mainly due to organist Ken Hensley taking over as the primary songwriter.

The first side (of the original LP, hey it was 1970, OK?) ranges from the full-throttle guitar rave-up "High Priestess" (the US edition does, anyway; avoid the UK version which opens with a version of "Bird of Prey" inferior to the one included on their US debut), to the introspective and haunting "The Park" and "Lady in Black"; while "Time to Live" is a solid, if unspectacular blues-rocker.

Side two is where the band really takes flight, though, with the ominous and menacing "Simon the Bullet Freak" leading into the epic 16-minute title track, which really has to be heard to be believed; backed with a 24-piece woodwind and brass section, Heep produces one of their most emotionally moving songs, powered by David Byron's heartfelt vocal, and supported by some of the most spectacular playing of their career; particularly impressive are the bass/organ duet between Paul Newton and Ken Hensley early on, and guitar wizard Mick Box's absolutely blistering lead near the end, which stands as one of the most impressive performances I've heard from anyone on any instument. Heep took a big chance with this track, and came up a winner; everything gels into 16 minutes of pure audio magic. Their first masterpiece, and a harbinger of greatness to come. A must for Heepsters, and highly recommended to anyone who appreciates dynamics in their music.

The title track says it all..'Salisbury'..a true progressive rock epic, co written by all the band members, yet showing Ken Hensley's influence. I think it was written because the fashion in the early 70s was to go prog..and Uriah Heep did not attempt to go prog in the scale of Salisbury again..
But the whole album is excellent, with the great David Byron on vocals, and the very talented Hensley on keys/guitars.
Lady In Black is one of those songs with a catchy chorus that you will remember forever, and I have to disagree with one reviewer who likened it to an English pub song. It is simply a classic melodic rock song.
The Park has very nice keys, a bit mellow and more prog than jazzy in my opinion.
The other tracks are typical of the Heep 70s output..not progressive, but good rock songs.
While the Heep survives to this day, and have released good cds of late,the influence of the multi talened Hensley who left the band in late 70s is clearly absent, and with it the kind of song writing that impact the listener from the first listen, which Salisbury is a very good example of.
As a prog rock fan, I rate Salisbury as the best Heep album..Very early 70s sound, but at the same time a classic that would delight music lovers everywhere.

Uriah Heep never really made it into rock's elite, but this release may suprise most, not only is their style all their own, they never got any credit for it.

You won't hear another band that is as diverse as Heep, and the last song, the 16 minute plus title track, displays these styles greatly. Check out the guitar solo on 'Salisbury', I never really had much respect for Mick Box until I heard this one, amazing!!!!!