The third solo album became Neil's most personal work yet.
Setting aside the opening suite he goes on to describe growing
up in Haworth beneath the creative shadow of the Brontës,
close to the wild and windy moors. These songs are all semi-
autobiographical and flow through the album, momentarily
punctuated by placenames and references to people who left
their mark on the singers life.
There is nothing chronological about Heartland, only a rhythm
of highs and lows. 'Second Birth' for example, is a moving tribute
to a father who always managed to be there for his family.
Through the unemployment of the early eighties when futures
seemed uncertain, courage and determination meant that the
family pulled through. And there is a feeling of that, coming
through as the lengthy solos towards the end of the song seem
to brighten the mood. The Swan Suite is another good example
of movement in this album. Ultimately inspired by the childrens
story of The Ugly Duckling, it tells of how a shy and unpopular
schoolgirl can blossom into womanhood, transformed, yet still
recognisable.
The musical diversity of the album is due largely to the guest
musicians who made contributions along the way. Neil's friend
Becky Taylor played the very distinctive Irish Pipes on 'Old Ebor
Bridge' and members of female-voice choir Opus 44 provided
some excellent vocal texture on 'Wild Heather'. Deborah Oldfield
and Maev Bradley performed the very sensual female verse in
Pepperhaus, and Neil's old friend Leigh Stothard provide
exceptional percussion on numerous numbers.