Uriah Heep
Abominog

THE REVIEW

INTRODUCTION:
The year 1980 is a critical one for Uriah Heep. During the "Conquest" tour, the band's keyboardist and creative mind, Ken Hensley, is in a constant clash with singer John Sloman (possessing an extraordinary voice, but too different from previous singers Byron and Lawton). At the end of the year, Hensley leaves the band, replaced by Greg Dechert, who is then immediately dismissed by Mick Box (the guitarist and now the sole leader of the Heep). Following this event, the situation worsens: Sloman departs to launch his own solo career (though his first album would not be released until nine years later!), and Bolder (bassist) doesn't feel like continuing in such a precarious situation. Even Slade (drummer) who had replaced Lee Kerslake for just 1980 leaves.

Uriah Heep ceases to exist for two years, during which Box is constantly depressed and thoroughly drunk. He is saved by the return of his friend Kerslake, who brings along bassist Bob Daisley from the Ozzy Osbourne band. To complete the lineup, Peter Goalby, a hard rock vocalist (he was, for instance, in Trapeze), and John Sinclair, keyboardist from an up-and-coming metal band, are recruited.

THE ALBUM:
In 1982, "Abominog" finally releases: already after two/three songs, it's clear that this is an album aiming to cut ties with the past, especially with the refined pop-rock of "Conquest".

[SIDE A] It begins with "Too Scared To Run" (*****): a furious and sharp guitar riff, almost metal, opens and marks the whole song. All other instruments then join in to complete the scant four minutes in the most intense way possible. It is followed by "Chasing Shadows" (***), a standard pop-rock song typical of the period with plenty of good keyboards: nice but nothing transcendental. "On The Rebound" (****) is a cover, notably superior to the original, by Russ Ballard (from the 1979 album "Barnet Dogs"): great keyboards, great rhythm, very '80s… but also lots of quality! "Hot Night In A Cold Town" (*****) is a ballad that opens with keyboards simulating the piano, and continues with sweet yet energetic sounds: here the real strength lies in the truly over-the-top chorus. The high level continues with "Running All Night (With The Lion)" (****): full of grit and a strong melody!

[SIDE B] The same goes for the phenomenal "That's The Way That It Is" (*****) credited to Paul Bliss and, undoubtedly, one of the best songs on the album: I have no words to describe it… you just have to listen to it (at the time it even became a reasonable hit). The album continues without peaks with the ballads "Prisoner" (***) and "Hot Persuasion" (***): nice by all means, but nothing special. It gets better with "Sell Your Soul" (****), undoubtedly the five heaviest minutes of the entire album… and it ends in style with "Think It Over" (*****). In this case, Uriah Heep covers themselves. The song, in fact, was released as a 45 rpm after "Conquest" (composed by the Bolder/Sloman duo)… nice but a bit weak: the new 1982 arrangement transforms it into a gem… indisputably another highlight of the album!

[BONUS TRACKS] The 1997 remastered edition features 4 bonus tracks. Two are demos of "That's The Way That It Is" and "Hot Persuasion". As for the remaining ones… "Tin Soldier" (*****) is a fantastic cover of the Small Faces, while "Son Of A Bitch" (****) is a good hard rock track.

CONCLUSIONS:
"Abominog" is an excellent product, recommended for all Uriah Heep fans, fans of '80s metal, and anyone looking for an album capable of delivering tons of energy.