SALISBURY

URIAH HEEP and probably the most famous album, just for its tank! 1. Bird of Prey go intro that I initially associate with FOCUS yes 'Hocus Pocus' I don't know why; after David's strangled voice; who knows but there is a link between the 2! In short, a rock title that will give you a fever with its heady riff 2. The Park comes a very warm little organ that melts in Ken's fingers and that's how a folk tune becomes touching; the guitar accompanies everything with castrati voices, excuse me but that's the only idea that comes to mind; 3'30 and it's gone... ah no the break is coming... yes you see me coming... prog blood I tell you; Ken goes there with his keyboards to give a very greasy bucolic space; the choirs then resume again at a very high pitch 3. Time to Live finally the hard rock intro that moves, moves; the tune which crescendoes with a saturated organ and an energetic guitar; the riff, the riff is there as we expect it, heavy, repetitive and calm accompanying David who resumes his natural voice... well I don't know if we put the right limb back on him; we talk and we forget the guitar solo; good prog question what can we say about it? a hard sound with an organ that gives more meaning, in line with DEEP PURPLE with its singularity 4. Lady in Black there it's THE BEATLES or FLEETWOOD MAC finally a very psychedelic tune like in the first SCORPIONS yes at the same time, it's the chorus that makes me think of it; well a rising tune, I love watching the clip with these sweet musicians singing nicely in front of an even nicer audience, all happy to be filmed, yes that was it... at the time; the final kitsch outro to donf 5. High Priestess like JUDAS? well the guitar solo straight away which takes up all the space and which will leave room for Ken for the vocal, yes it was the one who was going to push the other to be at the front; a punchy rock with a very/too high sound and a final guitar solo which squirts and cleans the ambient air, ah these siren or devil choirs like the tarot card 6. Salisbury ... yes if we talk about URIAH HEEP here it's good for this masterpiece; choirs, trumpets, majestic opening tune and 16 minutes looming; we enter the proto metal prog with the current codes; an organ that would scare John LORD's, a 3 minute intro as long as certain tracks on the album; a tune that will frolic on phrased verses supported by an aggressive medieval trumpet fortunately coaxed with a flute; the tank has its effect, the sound becomes threatening, nothing to hide from, a solo organ suddenly comes out of the wood and throws notes to anyone who wants; a sax, Paul's bass which provides the lead and John FIDDY who arranges the brass and woodwinds, quite an art; halfway through it calms down the prog spirit is there, notice to the grumpy people who only see hard-boiled prog; it's rising; David picks up his voice before a new more nervous break, hop we cut again, a little flute which levels, go a little voice to the monolithic GLASS and the guitar solo sets in motion, rolls, rolls; fusion of guitar and choirs and brass, a fusion... progressive? In any case a fine example of lyrical and instrumental crescendo; the end in two stages to descend from a progressive space unique in its time, avant-proto gardist.