[Heeplist] My Outsider review for In Rock magazine (Russia)

[Iain Barnes]

That's a great review Igor, thanks for taking the time to share with us all.

Iain

-----Original Message----- 
From: Igor Shveitser
Sent: Tuesday, June 24, 2014 2:37 PM
To: Heepsters Mailing List (Travellers in Time)
Subject: [Heeplist] My Outsider review for In Rock magazine (Russia)

Hello everyone,
As promised, here's the review of the latest LP. Be as strict as you can, 
constructive criticism is ALWAYS better for me than indulging approval. I 
hope, musicians also feel that way, at least sometimes. :))))))))

URIAH HEEP
Outsider
Frontiers records/Soyuz
9 /10
Recording of a modern hard rock LP is similar to cooking a dish from an in 
advance known and not really various set of products. In this case 
products – certain touches, harmonies, sounds by which we actually determine 
the identity of a group. And freshness is still very much in demand. No, not 
freshness of ideas, - crucial innovations in the genre have not been present 
for some 30 years now, - but of the mood. Mick Box and Phil Lanzon – the 
main driving force behind modern Uriah Heep throughout  all those "not 
innovative" three decades – without any exaggeration managed to create if 
not a masterpiece still an album without obvious shortcomings and filled 
with mood. The mood is the drive.
Any of the genre’s classics including Black Sabbath or Deep Purple  can’t 
afford themselves to be as crazy as modern Heep in, for example, the 
Outsider itself or tongue-in-cheek Say Goodbye. The disk is generally filled 
with fast, fervent songs. If the captious Heep’ or style’s connoisseur 
objects: “All of this doesn’t have much to do with real vintage Uriah Heep, 
tracks of the level of "that" group are still vitally necessary, - I will 
give a cutting answer: “that group” isn't around since mid 70-s, and copy is 
always worse than original. The same titled modern group is very good in its 
own way. Probably, even better than ever. And it’s not that certain 
Box-Byron-Hensley incarnation of UH could give the same fierce hell then as 
Box-Lanzon-Shaw one can now. Knowing almost by heart all of Uriah Heep 
releases, I dare to claim: in terms of  an entire album Mick Box ne-ver did 
his fretwork  with such inspiration and passion. Perhaps, his job on 
Abominog was of the same kind, but the album was not. And composition-wise 
there’s never been such variety since Byron's departure. Besides, regarding 
rhythmical aspect, the group also obviously opened a new page in their book.
Let us also not forget about the state which musicians were in prior to 
recording the Outsider. It was necessary to reject sad thoughts of 
terrestrial life’s caducity, cease mourning Trevor Bolder's loss how ever 
dear he was to the band, and integrate into recording process the new 
creative link – Dave Rimmer, the bassist. As Bernie Shaw sings in the most 
recently made traditional Heep kind of shuffle, "There’s one thing in life 
which you do best, - just do it right …". Undoubtedly, these words are 
applicable to Davey. He, as the new record shows, is perfectly able to play 
music in that pulsing, walking heepy manner, with air filling glissandos. We 
won’t also take away from UH the ability to make a right choice. It concerns 
not only the one of a bass player, but also the album’ format in many ways. 
First, there’s an excellent cover art somehow reminding Storm Thorgerson’ 
works made for Pink Floyd. Secondly, there’s a variety of its forms – 
standard CD,  digipack, bonused Japanese release, download, two kinds of 
vinyl platters and even a set with a t-shirt. Thirdly, timing limited by 50 
minutes means we are in the reign of a classical hard rock album. However 
crucial are the compositions. Sending us back to late 80-s Heep (which 
strictly speaking Mick Box& Co. still are) even if only a little, the songs 
are an example of cleverly synthesized all eras of a genre with various 
dynamics. For instance, our title track is almost heavy metal, The Law 
brings in both funky main part and progressive middle-section which has a 
place for both forte and pianissimo.
Jessie – here’s truly a hit! - its intro is a very cunningly processed 
allusion on Smoke on the Water (same both harmony and key) while the verse 
part is rather a stadium kind of heavy pop rock of the 80-s.  Rocking and 
rolling Rock The Foundation resurrects distinct spirit of … that’s correct, 
of rock'n'rolls off Return To Fantasy, High And Mighty or even Lawton’era 
releases. Is Anybody Gonna Help Me stands out – for the first time since 
1972 Uriah Heep decided to jam in the studio, allowing every band member to 
play the solo.
The similar variative approach is inherent practically in each song, sending 
us either back to the roots of Uriah Heep or to time-wise less distant eras 
of the group itself and the whole genre which is classic hard rock. 
Probably, that’s exactly what Phil Lanzon meant in an interview given to the 
author of these lines in autumn of 2013 while speaking of his desire to make 
music more "progressive". Progress for  Heep, their step forward – synthesis 
and complexification of compositions. Plus the spirit, its freshness, 
cheerfulness and power.
The album has no weak spots. That is also perfectly confirmed by its sales 
in one of the largest British online shops. Motherland never sympathized too 
much with the band, but currently Outsider is the best selling album in 
"hard rock" category. Everyone thinking differently I address to the 
beginning of this ‘umble text and repeat: Uriah Heep of 2014 is an 
absolutely different group. The music might please you not, no, we all know 
that proverb about tastes. But there are qualities, merits and, speaking the 
language of these fine musicians, you can’t take that away. Yes, Mick Box 
and the company are in many respects hostages of a glorious rock legend past 
but they handle with the heritage very carefully and surely do their thing 
good, thus augmenting the mentioned above heritage. And it is them who are 
definitely no outsiders.
Igor Shveytser



-- 
Igor Shveytser
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