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While yet to break commercially, 1970s Heep harboured decidedly epic ambitions. Undaunted by the critical mauling accorded to their Very ’Eavy Very ’Umble debut that summer, and sales figures confining them to the apposite humility of The Kings Head, Romford, come October, the quintet were back in the studio crafting material more uncompromisingly Heep-ish than ever. Keyboardist Ken Hensley’s emergence as a songwriter only intensified the band’s baroque combination of melodramatic heaviness, theatrical presentation and prodigious jazz complexity.
As prog found its focus, Uriah Heep were filling pubs with soaring set pieces better suited to arenas – or, judging by the vocal stylings of frontman David Byron, opera houses. Opener Bird Of Prey retains its startling impact even now. Following a scene-setting Purple-hued riff combination of Hensley and guitarist Mick Box, Byron’s astounding multitracked vocals soar from the mix like a heavenly choir of massed Roger Taylors. Somewhere a light bulb of awe-inspiring wattage ignites above Roy Thomas Baker’s head; Rob Halford recalibrates his range; Iron Maiden find the foundation for an entire world-beating career.
Elsewhere, The Park effects dynamic restraint, Time To Live showcases Box’s fretboard fluidity, Lady In Black keeps an eye on the pop chart and High Priestess provides a neat prog/metal template, before an epic title track closes proceedings over the course of the briefest 16 minutes you’ll ever spend. There’s a second disc of alternative contemporary mixes that are occasionally arguably superior, and the original album’s remaster is markedly crisper. But leaving aside its extras, Salisbury is well worth revisiting if only for David Byron. Sometimes he soars over the top; sometimes his theatricality belongs in the previous decade, with David McWilliams, Paul and Barry Ryan and Scott Walker. In terms of influence, is there anyone more underrated by rock historians? It’s doubtful.
Classic Rock’s Reviews Editor for the last 20 years, Ian stapled his first fanzine in 1977.Since misspending his youth by way of ‘research’ his work has also appeared in such publications as Metal Hammer, Prog, NME, Uncut, Kerrang!, VOX, The Face, The Guardian, Total Guitar, Guitarist, Electronic Sound, Record Collector and across the internet. Permanently buried under mountains of recorded media, ears ringing from a lifetime of gigs, he enjoys nothing more than recreationally throttling a guitar and following a baptism of punk fire has played in bands for 45 years, releasing recordings via Esoteric Antenna and Cleopatra Records.
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Uriah Heep, fictional character, the unctuous villain in Charles Dickens's novel David Copperfield (1849–50). The name Uriah Heep has become a byword for a falsely humble hypocrite.
Uriah Heep may always miss out on the mainstream recognition and respect enjoyed by Zeppelin, Purple and Sabbath, but Box's boys have recorded more truly great albums than any of their more celebrated peers, if only through sheer persistence and enthusiasm.
/juˌraɪə ˈhiːp/ /juˌraɪə ˈhiːp/ a character in the novel David Copperfield by Charles Dickens. He is David's clerk who pretends to be ' humble ' and to want to serve him well, but in reality cheats him. His name is sometimes used for a person who pretends to show great respect but is not sincere.
Uriah Heep took their name from a character in Charles Dickens' novel David Copperfield (using Dickens ' character names for bands would become something of a trend with Mott the Hoople and Jethro Tull). Their first album, released in 1970, Very 'eavy, Very' umbl.
Uriah Heep is a fictional character created by Charles Dickens in his 1850 novel David Copperfield. Heep is the primary antagonist during the second part of the novel. His character is notable for his sycophancy.
The Kinks. The Kinks will always occupy an important place in rock music history thanks to their early hit “You Really Got Me,” which was one of the first rock songs to use guitar distortion.
Combining elements of old school rock, country and folk music, The Eagles have played a pivotal role in defining the classic rock genre, and in doing so they're largely attributed as being America's greatest rock n' roll band.
To the end, Uriah plots strategies to increase his control. Because he deploys his strategies to selfish purposes that bring harm to others, he stands out as the novel's greatest villain.
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