Gunning for Uriah Heep is simple: Their albums are loaded with targets. Return to Fantasy, like most of its eight predecessors, is loud and facile. Occasionally they trigger reactions of active annoyance, thanks to David Byron's piercing shrieks or Ken Hensley's synthesizer squeals ("Devil's Daughter"). Other times they get off a decent hard-rock shot ("Showdown"). But usually their mechanical, machinegun rock leaves a blank in the memory ten minutes after initial impact. (RS 195)

KEN BARNES