Bird Of Prey/The Park/Time To Live/Lady In Black/High Priestess/Salisbury
Salisbury was the follow up album from the heavy progressive group Uriah Heep, which some out of touch music critics bizarrely chose to unfairly disparage. Fortunately, the record buying public had more sense. (US:103)
“It's not as insanely heavy as the debut, nor as consistent, but it's a slightly more proggy album, and still heavy, with some excellent riffs and plenty of guitar/organ madness to go around.”
“Musically they continued where they stopped on the previous album. This is probably the most progressive in their discography, the epic title track, which has multiple parts and a running time of 16 minutes, is proof enough.”
“Whilst not all of the songs on the album are top-notch, it deserves credit for managing to establish a heavy and metal-like atmosphere despite eschewing what would eventually be seen as typical metal instrumentation and compositional practices.”
“Salisbury is one of Uriah Heep's most magical and epic albums. It is a protometal masterpiece with amazing vocals from David Byron and keyboards by Ken Hensley.”
“This is the closest the group ever came to a masterpiece. Excellent musicianship and songwriting, plus the vocals are tolerable.”
“As well as the hard-rocking tunes, you also have the beautiful jazz fusion cut, The Park, and a foray into progressive rock, Salisbury, complete with a twentyfour piece orchestra. These have always been my favourite tracks from this album, which has held up well over time, and is as good today as it was then.”
“This has to be Heep's most diverse effort. Bird Of Prey, Time To Live and High Priestess are just pure proto heavy metal, alternating between the beautiful soft tracks The Park and the hit single Lady In Black. However, the title track, in all its orchestrated glory, has to be the most pompous thing I've ever heard.”
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