![]() ![]() The album cover, an intimidating shot of a British Chieftain tank, may lead you to think that this album is something that it is not. Overall Salisbury is less gloomy and dark as its predecessor. A milestone for progressive rock as good as the very best of Pink Floyd, Genesis, Yes et al. It is completely different to what has gone before in terms of pure unfiltered talent. So whilst six tracks makes the album feel short what the title track gives you is something truly exceptional. This track is worth half a dozen of other good to very good tracks on the album. Starting off like a Sergio Leone spaghetti western is soon takes a sinister musical turn courtesy of nothing less than a 24-piece orchestra. One shouldn’t allow the 16 minute run-time put you off as this track is an insight into the talent and creative mindset of what the band had been and achieved to that point. The speedy rocker “High Priestess” allows the band to let loose and indulge in some good old-fashioned rock and roll rhythms, all done in their own unique way of course.Ĭlosing the album out is the supremely lengthy but supremely brilliant title-track “Salisbury”. A track that has been covered more times than the band have played it live. The highlight, to most rock fans unfamiliar with the bulk of the Heep’s work, will undoubtably be the magnificently anthemic “Lady In Black”. ![]() “Time To Live” is fairly standard straight forward rock fare, save for a short and swirling Mick Box solo. Paul Newton’s bass is very prominent throughout and leads the final couple of minutes down an instrumental rabbit hole before emerging back where we left off. Take the next track “The Park” which is a flighty folk acoustic guitar/organ led number that sets itself off on a winding path with no end in sight. There are only six tracks on offer but each of them has something unique. Opener “Bird Of Prey” may well of been the vocal inspiration for Justin Hawkins (The Darkness) style and method of delivery such is the change in register from the bassy tones to the helium-infused higher notes that allow the track to float above standard opening rock fare. The follow-up to the band’s debut saw a continuation of the band’s rapidly developing unique sound. To finish things off we have “Wake Up (Set Your Sights)” which is a progressive light rock track that lends itself perfectly to David Bryson’s operatic and powerful vocals back by a Jazz-swing drumming style from Alex Napier. Mid-tempo groove rocker “I’ll Keep On Trying” is the penultimate that echoes early Deep Purple that contains a soaring and fizzing solo from Mick Box. A belter of a track that demands to be played loud with beer in hand. “Real Turned On” goes full-on boogie blues rock with truck-drivin’ riffs that Status Quo would later make their trademark. “Dreammare” picks back up the hard rock vibe of the opening two tracks with some extra vocal bluster. “Lucy Blues” has a slowbeat strut and confidence that is difficult to achieve is such a melancholic track. It is a cover version of the popular Tim Rose track but it sounds like it would sit easier in The Eagles back catalogue. “Come Away Melinda” is a total change of pace and atmosphere, showcasing the band’s ability to switch gears and moods at will, something that has served them well ever since this album’s original release five decades ago. “Walking In Your Shadow” is a riff driven tour-de-force that flows like a raging river. Opening with the fantastic “Gypsy”, a song that has probably the most words written about of any Heep so no real need to add anything further here other than to say that the word and term classic is very apt. Originally this album was released in 1970 but it sounds as fresh as it is possible to sound 52 years on. ![]()
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