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8 of 8 people found the following review helpful
4.0 out of 5 stars One of their best, if not like the rest
Their second album (I always thought, though some people refer to it as their third) and much less commercially successful than both its preceding debut, Very `Eavy, Very `Umble (which I never rated) and its successor Look At Yourself (which I most assuredly do). However, apparently Lady In Black to close S.1 was released as a single and scored quite a hit in Germany, if...
Published on 12 Nov 2007 by Julian Stevens

versus
3.0 out of 5 stars Some (Important) Trivia
Back in the 70's I went to a high school in La Paz, Bolivia. The life of my mates and me revolved around rock -- and the range of superlative bands to choose from at the time, I realize now, was breathtaking. Uriah Heep were among those. But so was a great fusion Bolivian band called Wara. On their third album, Quimsa, Wara played an epic song called Nacimiento which,...
Published on 24 Jan 2011 by Carlo Matthews


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8 of 8 people found the following review helpful
4.0 out of 5 stars One of their best, if not like the rest, 12 Nov 2007
By 
Julian Stevens (BRISTOL, UK United Kingdom) - See all my reviews
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This review is from: Salisbury (Audio CD)
Their second album (I always thought, though some people refer to it as their third) and much less commercially successful than both its preceding debut, Very `Eavy, Very `Umble (which I never rated) and its successor Look At Yourself (which I most assuredly do). However, apparently Lady In Black to close S.1 was released as a single and scored quite a hit in Germany, if not in the UK.

That aside, Salisbury was always one of my favourite Heep albums, particularly The Park and the title suite, which was a great blend of rock and jazz influences with a full orchestra ~ rather better, in my opinion, than Deep Purple's attempt at much the same thing with their Live at the Albert Hall album from a year earlier. The jazz undercurrent to this album develops fully in the title suite, which I think is why it caught my ear before I ever consciously realised I liked jazz. Apart from that, the whole thing's darned good anyway yet, due to commercial pressures I imagine, they never did another remotely like it, at least not like the title suite.

Digitally remastered this has come up wonderfully fresh as well, brilliantly so, in fact, given the vintage. The original vinyl issue (which I still have) was thick and dynamically compressed, whilst the first CD reissue was unlistenably bright and steely. The cover pic of a Chieftain tank on manoeuvres was always great too (though evidently not everyone agrees and for the current issue it seems to have been completely emasculated). But musically, this remains one of my all time faves. The more I listen to it the more I love it.
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5 of 5 people found the following review helpful
4.0 out of 5 stars Heep's second offering, 31 May 2008
By 
A. McComiskey (Scotland) - See all my reviews
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This review is from: Salisbury (Audio CD)
I must correct the above, this was actually Uriah Heep's second album coming after "Very 'eavy, very 'umble" and before "Look at yourself". Saw them perform "Salisbury" live in 1970 before they recorded it, amazing piece of music. David Byron had an amazing voice. Was slightly disappointed when they added the strings and brass on the record, but have grown to love it. Keep looking for a live version, must be one out there somewhere.
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11 of 12 people found the following review helpful
4.0 out of 5 stars Heeptastic Gem, 27 Feb 2007
This review is from: Salisbury (Audio CD)
The old adage of 'never judge a book by its cover' was never more apt than when applied to this - Uriah Heep's 3rd album. The album cover has to rank as one of the worst in rock history (along side such greats as Black Sabbath's Sabotage). But as with the Sabbath album, once you get this record onto your turn table you are in for a serious treat. Opener Bird of Prey is one of the most insanely fantastic tracks ever written. It starts with a cracking guitar riff from Mick Box - Ken Hensley is on fine form on the keys - and then (from so left field, it's out of the stadium!) David Byron et al burst in with a falsetto barrage of notes that is inspired lunacy, copied note for note on guitar, before the song truely lets rip. And then half way through the song the band launch into a stop start harmony vocal run that beggers belief. The song is either the worst piece of music ever conceived - or the most outlandishly brilliant song yet committed to vinyl. Other tracks on the album include the slightly hippyesque accoustic 'The Park' (a really nice Sunday afternoon number); the deliciously heavy 'Lady in Black' with another gem of a guitar riff from Mick Box; and of course 'High Priestess' which is a galloping metal and organ monster. And as if that wasn't enough, they close the album with the 16 minute Salisbury. Deploying strings, and jazzy brass instruments to carry you through the twists and turns of a real corker of a number. My only quibble with this song is the rather lame lyrics, which feel as if they've been quickly scribbled down at the last minute to give David something to sing.

And there you have it. One of the best albums in Uriah Heeps rather vast catalogue. But also one of the best and most diverse rock/metal albums of the early 70's. A real classic.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Not the cover, the music, 20 Jan 2011
This review is from: Salisbury (Audio CD)
What is there not to like on this album? When I first purchased it in the late seventies (a few years after release) it was just another good (perhaps excellent) Uriah Heep album.

I just did not realise just how good it was until I had purchased my second CD copy (the first one too scratched, the vinyl long gone) and played it after a 2 year gap. Apart from Demons and The Magicians Birthday, I am not sure that Uriah Heep get better than this.

You want metal - it's here. You want prog rock - its here. You want classical style pieces, just listen to the title track. A nice soft acoustic number, well you get that as well. What more could you want from one CD?

Variety and it improves with age.

How many albums do you have that still sound this good over twenty years after you first listend? Just try this one, as I think it will still be good in another twenty years.
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7 of 9 people found the following review helpful
4.0 out of 5 stars Heep show their subtler side shock, 27 Mar 2007
By 
D. J. H. Thorn "davethorn13" (Hull, UK) - See all my reviews
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This review is from: Salisbury (Audio CD)
I agree with the previous reviewer on the overall quality of this album, without agreeing entirely on the detail. First, the cover: I've always found this quite striking, if irrelevant to the music. Second, 'Bird Of Prey': an ordinary composition, but rocked up well, particularly the fast sections. My real beef, though, is about David Byron's attempt at combining vibrato and falsetto. Here, it's clear he's finding it a strain and to me it sounds excruciating. There's a strong case for claiming that he's more suited to the softer stuff. 'The Park' also features falsetto, but this is beautifully done and the acoustic guitar and organ textures add a wonderfully eerie atmosphere. On 'Lady In Black', we again have acoustic guitar and one of Ken Hensley's many epic tales. Byron sings it straight, and you wonder why he doesn't do this more often.

There are two other rockers of standard duration, both, in my opinion, far better than 'Bird Of Prey'. Mick Box is on top form as he meanders through the chunky 'Time To Live' and the band as a whole go gonzo on 'High Priestess'. The sixteen-minute title track features a neatly-crafted if unremarkable build up, accompanied by brass and woodwind, in true 1970s spirit. It gathers momentum, though, and once the band get into their stride they turn it into a treat.

'Salisbury', like most of UH's albums, seems to have been largely forgotten. It's actually a vibrant and imaginative album that, for the most part, belies the band's poor critical reputation.
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5.0 out of 5 stars the 2nd, 20 Sep 2013
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This review is from: Salisbury (Audio CD)
another must album to buy if your a heep fan just shows you the direction they were on and the promise of what was to become excellent
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5.0 out of 5 stars GREAT ALBUM, 4 May 2013
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This review is from: Salisbury (Audio CD)
As usual another great great great album from a FAB rock band of the 70's. Definately recommended to all traditional rock fans
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5.0 out of 5 stars Still the best record of this band, 19 May 2012
This review is from: Salisbury (Audio CD)
After decades of following Uriah Heep, I am convinced that the combination of composition, playing and production on this album is the one that best reflects the skill and fire (and versatility) of this band when they were at their best. Best on vinyl, of course, but CD will have to do in absentia. After this their composition somehow lost its way, and sometimes they got a bit tedious. But not here. Well done this particular version of the band.
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4.0 out of 5 stars Salisbury a Heep Classic, 21 April 2012
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This review is from: Salisbury (Audio CD)
Uriah Heep at their best with one of their most formidable line ups with Ken Hensley, Mick Box,Paul Newton, Keith Baker & David Byron. This is a classic heep album and includes some of their most notable tracks, Lady In Black, Bird Of Prey and Salisbury. The album is worth buying just for the title track which gives an insight to the creativity and musical ability of such a legendary progressive rock band who are still playing gigs albeit with an almost totally reformed lineup. I used to have this album on vinyl some 40 years ago it brings back memories of an incredible music era that we were so lucky to enjoy. I recently saw Heep at Newcastle O2 Academy on their Into the Wild Tour. The band are still rocking strong and it was a delight to see that the legend of Heep lives on,the evening was a blast!. This album is a must for any Uriah Heep fan.
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3.0 out of 5 stars Some (Important) Trivia, 24 Jan 2011
By 
Carlo Matthews "carlo" (Been Moving Around) - See all my reviews
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This review is from: Salisbury (Audio CD)
Back in the 70's I went to a high school in La Paz, Bolivia. The life of my mates and me revolved around rock -- and the range of superlative bands to choose from at the time, I realize now, was breathtaking. Uriah Heep were among those. But so was a great fusion Bolivian band called Wara. On their third album, Quimsa, Wara played an epic song called Nacimiento which, according to the album credits, is a traditional Andean song. We flocked to see Wara whenever they put on a rare concert date.

Imagine our surprise, then, when on a given Friday, gathered around my rickety turntable, we throw on Salisbury (my latest acquisition), and after a few minutes...Nacimiento comes on! Or The Park, as the Heep called it. Note for bloody note, too! Needless to say, that's all we could talk about the rest of the evening.

Had Heep plagiarized? We cast our minds back to the hushed up scandal Simon & Garfunkel generated when they credited the song El Condor Pasa to themselves, only to change it a few years later and amend the information to 'traditional Andean song'.

Check out Wara's version by writing 'Nacimiento Wara' on You Tube; it's got a beautiful section not used by Heep.
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