(Frontiers / Mastertrax)
seems that over the years does not make a dent in the creative ability of these to veto British rockers continue to offer interesting work and this new record before us in this 2011. No less than thirty-one years after the launch of its first delivery of worship "Very 'eavy .... Very 'umble "Uriah Heep are able to create a work around, full of enacnto, intimate and lively than most, well above what they are doing for a while some of his contemporaries who were eclipsed at the time, lease Deep Purple or Black Sabbath. And it is a delight to hear that absolutely personal and characteristic sound which mixed hard rock entirely classical, symphonic rock and melodic rock, framed in a llegaderos issues, affordable and envelopes that can be heard with ease and pleasure staying at the first in many cases. For example, "Nail On The Head", ideal to start classy seventies with the classic voices enveloping group staff Bernie Shaw and the stinging guitar of Mick Box . The party continues with "I Can See You" animated composition with good guitar playing with the keys of former Grand Prix Phil Lanzon , and the epic and Enclosure "Into The Wild" full of choirs. The pace down a little with "Money Talk" with the hammond mark within a monotonous tempo, which again encourages "I'm Ready" with a big Bernie Shaw, who continues to shine in the relaxed "Trail Of Diamonds "almost a capella in the beginning to grow in intensity and strength as they enter the instruments, especially percussion Russell Gilbrook and bass veteran Trevor Bolder . The more symphonic hard seizes "Southern Star" an issue that engages and involves an evocative air in which choral voices and classical guitars stand out, as in the more AOR "Believe" that could perfectly fit into the group's previous albums as "Equator" or "Sonic Origami" be one of my favorite songs on the disc. Somewhat less convincing me the most lying and seventies "Lost", which, although not bad at all, has a lower rate and lower brightness, making the path more commercial and melodic hard with the joyful "T-Bird Angel" in which vocal lines remind me of Danny Vaughn himself. The closure comes with the soft, compact "Kiss Of Freedom", deep voices, chorus and felt good guitar solos and keyboards to put an end to this very good album, even better than his previous Wake The Sleeper ", a band that remains a cult but, in view of his career and perseverance, should have been much larger and recognized. Mariano
Palomo
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