SALISBURY

There has always been a rather stupid argument made by some that Uriah Heep were a poor imitation of Deep Purple and that David Byron couldn't sing. This is as far from the truth as possible, and if the first album failed to prove that UH were above second tier hard rock than this was the album that made it quite obvious that Uriah Heep were not an imitation of anybody, but a unique and gifted progressive/hard rock crossover band. During the worst year of my life in 2003 I was in London talking to a British soldier when because of the cover I brought up this album and he said that a friend of his owned the album. I was going into great detail about "Bird Of Prey" and strangely enough not "The Park" which is a blatant anti war song. We talked for a long time about many things, but strangely kept coming back to this record and its cover while I felt very moved by him. Back to the music, Salisbury opens up in European version with a track ludicrously left off the American pressing "Bird Of Prey-" a song that will pin you to the floor with its screaming vocals and brutal riffing. Heep were pioneering heavy metal, they also could play folkrock better than just about anyone as witnessed in "Lady In Black." "Time To Live" proves that David Byron had a great voice and could write, while "The Park" is a scary, spooky anti war song that features some amazing high pitched vocals. The real knockout here though is the epic title track which I still don't understand what it was written about. That doesn't matter much as the song with full brass section is a progressive masterwork full of arcane tempo, mood, and chord changes and soaring majestic vocals. UH were not a satanist hard rock outfit like the horrible Black Widow or Warhorse, and this makes for a refreshing change when it comes to their lyrics. "Salisbury" at first glance is a love song epic, but it really could be about exactly the opposite of the soldier in a tank on the cover, an anthem for goodwill between people turning into passionate love. There are even some soul influences here! "Salisbury" fits well at the end of the album, because every track beforehand is building up to it. "High Priestess" even has the Gospel/Soul influences in place. For the first time we can hear what great musicians Heep are on this record, whereas Very Eavy Very Umble had a plodding, half with it quality despite a few great rockers. Mick Box soars into space on his savage guitar lines, the big organ sound is enhanced by great songwriting and more clever use of the instrument, and the rhythm section- modified since the 1st LP- sound much better. The pace had picked up quite a bit since the first album, but also elements of Hensley's previous and great band The Gods had come into play. For those uninitiated, The Gods entire second album To Samuel A Son was taken up by the title track which was a 9 part suite! Now who can say that Hensley, Box, and the boys weren't adventurous souls! Still, Salisbury is very much a Heep album and very much a British heavy progressive rock album, but also a landmark. In the 1970s Uriah Heep only had trouble with one thing- making a bad album! Still, Salisbury and Firefly are my two favourites, and the two I would reccommend the most.