Well, who could have foreseen it? A great review of a Heep-album in the NME! Yes, you read that right. Mr. Stewart even uses the word “excellent” to describe it. Wow!
Read on!
Uriah Heep – “Sweet Freedom” (Bronze)
Album Review by Tony Stewart
ALTHOUGH THEIR “Live” double supposedly brought them to the end of a period of studio recordings, their seventh album is not a radical departure from the style they nurtured through to “Magician’s Birthday”.
It would appear that Heep feel themselves to be dangerously close to losing their individuality of performance. Thus various restraining tactics are used to prevent this, such as the way Ken Hensley on keyboards neglects to exploit his own ability, and consistently limits himself to providing the renowned curtain of sound.
Quite a high proportion of the music is decidedly new in construction and playing. But whether they have gone far enough is arguable, because there are several numbers which can be described as safe moves.
Undoubtedly it must be the final cut, “Pilgrim” which makes this point particularly apparent. Uriah Heep usually incorporate their own epic, like “July Morning” or “Gypsy”, this number is a series of movements opening with a full organ sound, lo, the Viking choral work, and a touch of grandeur with a few classical piano lines.
David Byron is in sure vocal form, and the arrangement — again similar to previous epics — is good. Tempos change, the lyrics become stronger, and towards the end hit the pit of the stomach.
In some respects, “Sweet Freedom” follows a similar pattern of light and shade through this beautifully melodious love song. Gary Thain on bass — who consistently impresses throughout the set — deals with setting the core of the number, while Hensley becomes a little monotonous directing his intentions into organ sound and texture, rather than playing well.
Technique though is not everything, as Thain and Mick Box illustrate on their composition, “Dreamer”. It is without a lot of body and soul in the structure, and unfortunately, apart from an effective chorus, a typical guitarist’s number. Though it is an example of Box’s instrumental development, with a more sympathetic use of harmonics.
Byron comes out well, singing now with greater feeling and with less tendence to holler unless absolutely necessary. On “Stealin”‘ especially, and “One Day” he expresses himself better, backed by some outstanding harmonies.
It is these first three songs, and then a gloriously sensitive “If I Had The Time” and a song about LA groupies, “Circus” on the second side, which act as apt illustrations of a better melodic sense in compostition. Sadly Thain has to carry most of the themes, which he does excellently, though Hensley does project the core of “Time”.
“Circus” is basically something new for the band, played on acoustic guitars, with light percussion and a more sympathetic organ embellishment. This, like other of the numbers, is a song. And although they can play shuddering rock — with some indelicate work by Thain, as on “Seven Stars” — it is the other songs which prove more satisfactory.
As Heep have said themselves, they are not content to rest on their rumps and success. Drummer Lee Kerslake is more purposeful than ever before, apart from some unsubtle bashing on “Pilgrim”. It is an excellent album, to the point of re-emphasising their musical aptitudes. It’s possible they may even become fashionable this year — God forbid.
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