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On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Innocent Victim. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR record, but it still manages to be a surprisingly enjoyable listen. Fallen Angel focuses squarely on crafting driving rock tunes leavened with a series of pop hooks: "Woman of the Night" pairs guitar-bolstered verses with a harmony-drenched chorus reminiscent of Queen while "One More Night" cleverly conforms the sloppy good cheer of boogie rock to a pop song format. Other tracks find the band stretching their heavy-AOR ambitions into other genres: the burbling synthesizers and stuttering bassline of "Whad'ya Say" lend that song a disco feel while the insistent, naggingly catchy "la la la" chorus of "Love or Nothing" suggests the group had spent some time listening to old bubblegum pop singles. This surprising diversity points out the problems with Fallen Angel: it goes in so many different directions that it never coheres the way a really good album should, and it strays too far from the group's original sound to really fit in with the rest of their catalog. Nonetheless, it is simply too energetic and well-crafted to be rejected as a bad album. Patient Uriah Heep fans will also be rewarded with some stunning tracks that hark back to the group's gothic metal style: "I'm Alive" is a barnstorming anthem of self-affirmation that layers Mick Box's soaring yet mournful slide guitar leads over a furious, double-time backbeat from Lee Kerslake and the title track is a gothic-tinged ballad about a lost romance that is built on a haunting chorus and an atmospheric backing of acoustic guitar and synthesizer. All in all, Fallen Angel may not please Uriah Heep fans who favor the group's Demons and Wizards-era style, but it offers enough slickly crafted music to please any fan of '70s AOR sounds.
© Donald A. Guarisco /TiVo
現在、試聴中です。
無制限ストリーミングプランで1億曲以上の楽曲を聴くことができます。
無制限のストリーミング プランで、このプレイリストと1億曲以上の楽曲を聴くことができます。
¥1,280/ 月から
Lee Kerslake, Composer - Ken Hensley, Producer - John Lawton, Composer - Gerry Bron, Producer - Mick Box, Composer - Uriah Heep, Composer, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - John Lawton, Composer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Lee Kerslake, Composer - Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, Composer, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist - Trevor Bolder, Composer - Peter Mcdonald, Composer
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - John Lawton, Composer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Producer - Gerry Bron, Producer - Uriah Heep, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 1978 Sanctuary Records Group Ltd., a BMG Company
Uriah Heep, Performance, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
Uriah Heep, Performance, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
Uriah Heep, Performance, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
Ken Hensley, Composer - Uriah Heep, Performance, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
Lee Kerslake, Composer - John Lawton, Composer - Mick Box, Composer - Uriah Heep, Composer, Performance, MainArtist
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
アルバム·レビュー
On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Innocent Victim. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR record, but it still manages to be a surprisingly enjoyable listen. Fallen Angel focuses squarely on crafting driving rock tunes leavened with a series of pop hooks: "Woman of the Night" pairs guitar-bolstered verses with a harmony-drenched chorus reminiscent of Queen while "One More Night" cleverly conforms the sloppy good cheer of boogie rock to a pop song format. Other tracks find the band stretching their heavy-AOR ambitions into other genres: the burbling synthesizers and stuttering bassline of "Whad'ya Say" lend that song a disco feel while the insistent, naggingly catchy "la la la" chorus of "Love or Nothing" suggests the group had spent some time listening to old bubblegum pop singles. This surprising diversity points out the problems with Fallen Angel: it goes in so many different directions that it never coheres the way a really good album should, and it strays too far from the group's original sound to really fit in with the rest of their catalog. Nonetheless, it is simply too energetic and well-crafted to be rejected as a bad album. Patient Uriah Heep fans will also be rewarded with some stunning tracks that hark back to the group's gothic metal style: "I'm Alive" is a barnstorming anthem of self-affirmation that layers Mick Box's soaring yet mournful slide guitar leads over a furious, double-time backbeat from Lee Kerslake and the title track is a gothic-tinged ballad about a lost romance that is built on a haunting chorus and an atmospheric backing of acoustic guitar and synthesizer. All in all, Fallen Angel may not please Uriah Heep fans who favor the group's Demons and Wizards-era style, but it offers enough slickly crafted music to please any fan of '70s AOR sounds.
© Donald A. Guarisco /TiVo
アルバムについて
- 組み枚数 : 1ディスク - 収録数 : 18曲
- 合計収録時間 : 01:05:50
- メインアーティスト : ユーライア・ヒープ
- 作曲家 : Various Composers
- レーベル : Castle Communications
- ジャンル: ポップス / ロック ロック
© 2004 Sanctuary Records Group Ltd., a BMG Company ℗ 2004 Sanctuary Records Group Ltd., a BMG Company
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