Uriah Heep – Firefly (1977)

Uriah Heep are an English rock band formed in London in 1969. Their current lineup consists of guitarist Mick Box, keyboardist Phil Lanzon, lead vocalist Bernie Shaw, drummer Russell Gilbrook, and bassist Dave Rimmer. They have experienced numerous lineup changes throughout their 54-year career, leaving Box as the only remaining original member. Notable former members of the band are vocalists David Byron, John Lawton, John Sloman and Peter Goalby, bassists Gary Thain, Trevor Bolder, John Wetton, Bob Daisley, Paul Newton, and John Jowitt, drummers Nigel Olsson, Iain Clark, Lee Kerslake and Chris Slade, and keyboardists Ken Hensley, Gregg Dechert and John Sinclair.

Uriah Heep were part of the early 1970s rock scene, and have been referred to as pioneers of the hard rock, heavy metal and progressive rock genres. The band has sold over 40 million albums worldwide with over four million sales in the U.S, where its best-known songs include “Gypsy”, “Easy Livin'”, “The Wizard”, “Sweet Lorraine”, and “Stealin'”. They also maintain a significant following and perform at arena-sized venues in the Balkans, Germany, Japan, the Netherlands, Russia, Finland and Scandinavia.

Uriah Heep has released twenty-five studio albums of original material, twenty live albums and forty-one compilation albums (including two greatest hits albums). Thirteen of the band’s studio albums have made it to the UK Albums Chart (Return to Fantasy reached No. 7 in 1975), while of the fifteen Billboard 200 Uriah Heep albums, Demons and Wizards was the most successful (No. 23, 1972). In the late 1970s the band had massive success in Germany, where the “Lady in Black” single was a big hit. (wikipedia)

Firefly is the tenth studio album by British rock band Uriah Heep, released in February 1977 by Bronze Records in the UK and Warner Bros. Records in the US. It was their first album without lead vocalist and founding member David Byron, and the first of three albums with new singer John Lawton, formerly of Lucifer’s Friend. Bassist Trevor Bolder made his Uriah Heep debut on this album. Barring a break of about 18 months in the early 1980s, he remained with the group until his death in 2013.

The first single from the album was “Wise Man”.

The original vinyl album was a gatefold sleeve, with a cardboard lyric liner.

The album was remastered and reissued by Castle Communications in 1997 with four bonus tracks, and again in 2004 in an expanded deluxe edition.

Martin Popoff in his Collector’s Guide to Heavy Metal defined the album as “a mixed bag of scroungy, comatose blues ballads, nerdy party rockers and scary prog rock abortions”, proving the intensification of “the deconstruction of a once great collective”. (wikipedia)

After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group’s early-’70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer’s Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound.

An ideal example of this new synergy was provided by the opening track, “The Hanging Tree,” which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. Other memorable tracks on Firefly include “Who Needs Me,” a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of “Gypsy” or “July Morning,” but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. In the end, Firefly remains one of the most cohesive albums from Uriah Heep’s mid- to late-’70s period and is guaranteed to bring a smile to the faces of the group’s fan base. (by Donald A. Guarisco)

Personnel:
Trevor Bolder (bass)
Mick Box (guitar)
Ken Hensley (keyboards, guitar, background vocals)
Lee “The Bear” Kerslake (drums, background vocals)
John Lawton (vocals)

Tracklist:
01. The Hanging Tree (Hensley/Williams) 3.39
02. Been Away Too Long (Hensley) 5.01
03. Who Needs Me (Kerslake) 3.37
04. Wise Man (Hensley) 4.41
05. Do You Know (Hensley) 3.15
06. Rollin’ On (Hensley) 6.19
07. Sympathy (Hensley) 4.42
08. “Firefly (Hensley) 6.14
+
09. Crime Of Passion (B-side of “Wise Man” single) (Hensley/Box/Kerslake) 3.37
10. Do You Know (previously unreleased demo version recorded in 1976) (Hensley) 3.16
11. A Far Better Way (previously unreleased version different from the rough mix released on the Time of Revelation box set in 1996) (Hensley/Box/Kerslake/Bolder/Lawton) 5.51
12. Wise Man (TV backing track – previously unreleased mix originally used during an advertising campaign) (Hensley) 4.47
13. A Far Better Way (Demo Mix) (Hensley/Box/Kerslake/Bolder/Lawton) 5.57
14. I Always Knew (Previously Unreleased Demo Version) (Hensley/Box/Kerslake/Bolder/Lawton) 4.01
15. Dance Dance Dance (Outtake) (Hensley/Box/Kerslake/Bolder/Lawton) 3.44
16. Been Away Too Long (Alternative Version) (Hensley) 5.00
17. Do You Know (Demo Mix) (Hensley) 3.13
18. Who Needs Me (Alternative Live Version) (Kerslake) 9.48

*
**

More from Uriah Heep:

The official website:

Uriah Heep – Rarities From The Bronze Age (1991)

Uriah Heep are an English rock band formed in London in 1969. Their current lineup includes lead and rhythm guitarist Mick Box, keyboardist Phil Lanzon, lead vocalist Bernie Shaw, drummer Russell Gilbrook, and bassist Dave Rimmer. They have experienced numerous lineup changes throughout their 52-year career, leaving Box as the only remaining original member. Notable former members of the band include vocalists David Byron, John Lawton, John Sloman, Peter Goalby, and Steff Fontaine, bassists Gary Thain, Trevor Bolder, John Wetton, Bob Daisley, Paul Newton, and John Jowitt, drummers Nigel Olsson, Lee Kerslake and Chris Slade, and keyboardists Ken Hensley, and John Sinclair.

Uriah Heep have released twenty-four studio albums (of original material), twenty live albums and forty-one compilation albums (including two greatest hits albums). Twelve of the band’s studio albums have made it to the UK Albums Chart (Return to Fantasy reached No. 7 in 1975), while of the fifteen Billboard 200 Uriah Heep albums, Demons and Wizards was the most successful (No. 23, 1972). In the late 1970s the band had massive success in Germany, where the “Lady in Black” single was a big hit.

Uriah Heep are notable for being part of the early 1970s rock scene (along with other British bands like Led Zeppelin, Black Sabbath and Deep Purple), and have been referred to as pioneers of the hard rock, heavy metal and progressive rock genres. The band has sold over 45 million albums worldwide with over four million sales in the U.S, where its best-known songs include “Easy Livin'”, “The Wizard”, “Sweet Lorraine”, and “Stealin'”. They also maintain a significant following and perform at arena-sized venues in the Balkans, Germany, Japan, the Netherlands, Russia, Finland and Scandinavia. (wikipedia)

This was the first of a number of albums to plunder the Uriah Heep archives in search of rough diamonds. As the title suggests, it covers the period when the band recorded on the Bronze label. This era lasted from their inception through to the â??Head Firstâ? album.

Up until this point, the average Uriah Heep fan had to assume they had heard all the Byron era songs by the band which had been recorded, with the possible exception of the odd single B side. This collection however indicated that there was a veritable wealth of material to be unearthed, leading to the superior “Landsdowne Tapes” release a couple of years later.

The tracks here are in fact a mixture of alternative recordings and edits, plus surplus album material. While David Byron dominates the vocals, there are also recordings featuring John Lawton, John Sloman, and Peter Goalby.

Getting the superfluous material out of the way first, “Look at yourself”, “Gypsy” “Return to fantasy” and “Stealin” are all excellent songs, but the versions here are simply edits of the original songs.

“Simon the bullet freak” is a pulsating blues based song which featured on the US verison of “Salisbury” and also appeared as the B side of the “Look at yourself” single. It is the first of many gems here. “Why” (full title allegedly “Why fourteen minutes”) is one of Heep’s most progressive songs ever. Several takes of the song have now become available but this superbly loose version is absolutely essential not just for fans of the band, but for anyone who thinks they were little more than a heavy rock band.

A succession of wonderful David Byron vocal performances follows on tracks such as “Sunshine”, “What can I do”, “Shout it out”, etc. None of these songs had previously appeared on a Uriah Heep album. In fairness, some of them may not be up to the standard of the classics which made it onto albums such as “Wonderworld”, “Return to fantasy”, “Magician’s birthday” etc., but they are still akin to the Holy Grail for Heep affectionados.

The John Lawton tracks here, of which there are four, are more prosaic. While Lawton is a fine singer in his own right, he did not fit in well with the sound of Heep, largely because he sounded nothing like Byron. The tracks here reflect that. Those who appreciated the Lawton era albums will however find these songs to be of a similar standard.

The “Conquest” album featuring the vocals of John Sloman is generally considered to be the low point of the band’s career, and the four tracks here on which he sings do nothing to alter that view. “Love stealer” is however historically interesting, as it was only the band’s second cover version ever. Ken Hensley then left the band, leaving Mick Box as the only original member. The final three tracks here are from that post Hensley period, with Pete Goalby (whom Hensley had wanted to join the band when Sloman got the job) on vocals. Two of the tracks are from the rare “Abominog junior” EP, while the final track “Playing for time” is from the “Head first” sessions.

As will by now have become apparent, as this collection progresses, it moves rapidly from an indispensable status to (ardent) collectors only. Fortunately, the Byron era material included here has since appeared on expanded remasters of the original albums, and on other more complete Byron era compilations. Nevertheless, the historical significance of this album (in Uriah Heep terms) is unquestionable, and about 50% of the music worthy of any collection.

Personnel:
Various Uriah Heep line ups

Tracklist:
01. Look At Yourself (Hensley) 3.09
02. Simon The Bullet Freak (Hensley) 3.28
03. Gypsy (Box/Byron) 2.59
04. Why (Box/Byron/Hensley/Newton) 4.57
05. Stealin` (Hensley) 3.19
06. Sunshine (Thain/Box) 4.50
07. What Can I Do (Box/Byron/Kerslake) 3.13
08. Shout It Out (Hensley) 3.36
09. Return To Fantasy (Byron/Hensley) 3.42
10. Time Will Come (Box/Byron/Kerslake/Hensley) 4.08
11. Crime Of Passion (Box/Hensley/Kerslake) 3.39
12. Masquerade (Hensley) 3.47
13. Gimme Love Struttin (Box/Bolder/Kerslake/Lawton) 3.16
14. Cheater (Hensley) 3.59
15. Been Hurt (Hensley) 3.54
16. Love Stealer (Myhill/Wainman) 3.25
17. Think It Over (Bolder/Sloman) 3.33
18.  My Joanna Needs Tuning (Bolder/Box/Dechert/Sloman/Slade) 2.54
19. Tin Soldier (Marriott/Lane) 3.53
20. Son Of A Bitch (Box/Daisley/Goalby/Sinclair/Kerslake) 4.07
21. Playing For Time (Box/Daisley/Goalby/Sinclair/Kerslake) 4.26

*
**

More from Uriah Heep:

Various Artists – The Vertigo Annual (1970)

Vertigo Records was the late 60s progressive rock arm of the Philips Records empire.

Vertigo Records is a record company, which originated in the United Kingdom. It was a subsidiary of the Philips/Phonogram record label, launched in 1969 to specialise in progressive rock and other non-mainstream musical styles. Today it is operated by Universal Music UK.

Vertigo was the brainchild of Olav Wyper when he was Creative Director at Phonogram. It was launched as a competitor to labels such as Harvest (a prog subsidiary of EMI) and Deram (Decca). It was the home to bands such as Colosseum, Jade Warrior, Affinity, Ben and other bands from ‘the “cutting edge” of the early-’70s British prog-folk-post-psych circuit’. The first Vertigo releases came with a distinctive black and white spiral label, which was replaced with Roger Dean’s spaceship design in 1973.

Vertigo later became the European home to various hard rock bands signed to Mercury in North America, such as Bon Jovi, Rush and Kiss.

Vertigo is a division of Island Records in the United States and operates as Virgin EMI Records in the UK, which in turn is a frontline music group operation of Universal Music UK. In Germany, Vertigo has merged with Capitol Records and is mainly used for German rock artists. The label’s legacy artists include Metallica (outside the US and Canada), Razorlight, Rush (Europe) and Dire Straits (except the US). More recent signings include The Rapture, The Killers (UK/Ireland), One Night Only, Amy Macdonald, Noisettes and Thee Unstrung 2004-2005 and Kassidy in 2009. Black Sabbath returned to the label in 2013 (including the US and Canada for the first time via sister label Republic) until their dissolution in 2017 although former sister label Sanctuary Records Group acquired international rights to their back catalogue in the interim (the band were last on Vertigo in 1987). (by wikipedia)

And here´s a damn good sampler, the first sampler of the legendary Vertigo Label:

A two-LP label sampler from the nascent Vertigo label — Polygram’s answer to EMI’s progressive — psychedelic boutique, Harvest. Overall, for a label sampler, this was a better than average double slab of vinyl, with tried-and-true heavy cuts (from Black Sabbath, Uriah Heep, Juicy Lucy, May Blitz) jostling for space with lighter stuff (Magna Carta, Dr. Strangely Strange). Rod Stewart turns up as well, with an early solo outing on “Handbags and Gladrags.” (by Steven McDonald)

The title of this double label sampler leads one to believe that there were plans for an annual release, but Vertigo never got any further than 1970. Contrary to the ‘Heads together’ sampler, this one contains previously released material only and so serves quite succeedingly as an introduction to Vertigo’s miracles.The contents are chosen with taste: almost every track is among the best from the respective album and therefore this sampler comes recommended for anyone who wants to start to explore what the fuzz is all about.Red foliage surely is a favourite of Keef the album designer. This time a naked lady on a dotted hobby-horse fronts the landscape. A small boy dressed in parade uniform plays the drum and looks at her. Quite striking.

The lettering is chosen in accordance to the ‘annual’ idea and could have been taken from any children’s annual of the times.

Inside the horse’s head is displayed in a coloured negative photograph and also proudly quotes underground magazine ‘it’: Vertigo is the least pretentiously and most happily married of the ‘progressive’ labels to emerge from ‘neath the wings of the large record companies.

One of those indispensable samplers, with so much going for it – label design, musical quality, rare tracks, top audio and alluring cover pics – it has become a collectors item by own merits. One cut each from the sixteen first albums realeased by the label. Most represented here didn’t sell a lot back then and the originals can sometimes be hard to find or afford. I haven’t had or heard all of those so I can’t compare, but get the impression they picked the better or best from each.

Some compilations have at least one downer regarding track choice or audio. On here I can’t find one thing less than marvelous. From the happy-go-luckys Fairfield Parlour “In My Box” and Magna Carta “Going My Way” over the heavy Sabbath, Juicy Lucy and Uriah Heep cuts to the jazzier Nucleus, Colosseum and May Blitz it’s all tophole.

Vertigo was a highly collectable label . and this sampler is the best way to start with this cult label…

Tracklist:
01. Colosseum; Elegy (from “Valentyne Suite VO1”) (Litherland) 3.10
02. Rod Stewart: Handbags And Gladrags (from “An Old Raincoat Won’t Ever Let You Down VO4”) (d’Abo) 4.26
03. Jimmy Campbell: Half Baked (from “Half Baked 6360010”) (Campbell) 4.43
04. May Blitz: I Don’t Know (from “May Blitz 6360007”) (Black/Hudson/Newman) 4.50
05. Juicy Lucy: Mississippi Woman (from “Juicy Lucy VO2”) (Hubbart/Campbell/Mercer/ Ellis/Owen/Dobson) 3.49
06. Fairfield Parlour: In My Box (from “From Home To Home 6360001”) (Pumer/Daltrey) 2.00
07. Magna Carta: Goin’ My Way (Road Song) (from “Seasons 6360003”) (Simpson) 2.55
08. Affinity: Three Sisters (from “Affinity 6360004”) (Hoile/Naiff) 5.01
09. Black Sabbath: Behind The Wall Of Sleep (from “Black Sabbath VO6”) (Ward/Butler/ Osbourne/Iommi) 3.41
10. Gracious; Introduction (from “Gracious! 6360002” (Kitcat/Davis) 5.56
11. Cressida: To Play Your Little Game (from “Cressida VO7”) (Heyworth) 3.22
12. Nucleus: Elastic Rock (from “Elastic Rock 6360008”) (Jenkins) 4.06
13. Manfred Mann Chapter Three: One Way Glass (from “Manfred Mann Chapter Three VO3”) (Mann/Thomas) 3.36
14. Bob Downes: No Time Like The Present (from “Electric City 6360005”) (Downes) 3.05
15. Dr. Strangely Strange: Summer Breeze (from “Heavy Petting 6360009”) (Booth) 3.42
16. Uriah Heep: Gypsy (from “…Very ‘Eavy Very ‘Umble… 6360006”) (Byron/Box) 6.57
+
17. Catapilla: Changes (from “Changes 6360 074”) (Wilson/Calvert/Meek) 12.05
18. Gravy Train: Think Of Life (from “Gravy Train 6360 023”) (Davenport/Hughes/Barratt /Cordwell/Williams) 5.10
19. Jade Warrior: May Queen (from ” Last Autumn’s Dream 6360 079″) (Havard/ Field/ Duhig) 5.24
20. Mike Absalom: Frightened Of The Dark (from “Mike Absalom 6360 053 “) (Absalom) 3.25
21. Ramases: Life Child (from “Space Hymns 6360 046”) (Godley/GouldmanCreme/ Raphael ) 6.39
22. Patto: Give It All Away (from “Hold Your Fire 6360 032 ) (Patto/Halsall) 4.10

*
**

Uriah Heep – Look At Yourself (Expanded De-Luxe Edition) (1971)

Look at Yourself is the third album by British rock band Uriah Heep, released in 1971 by Bronze Records in the UK and Mercury Records in the US.

Characterized as heavy metal and progressive rock, the album has come to be viewed as a highpoint in the band’s career, and is today regarded by many fans and critics as Uriah Heep’s finest album along with Demons and Wizards, released the following year. The title track and “July Morning” were released as singles in the UK and North America in 1971 and 1973, respectively.

The original cover art on the LP featured a single sleeve with a die-cut opening on the front through which a reflective foil “mirror” was seen, conveying a distorted image of the person viewing it. The idea, by guitarist Mick Box, was for the cover to directly reflect the album title, and this theme is carried through the band photos on the rear of the LP sleeve, which have also been distorted. The LP itself was housed in a heavy-duty card inner, complete with lyrics.

The song “July Morning” become the inspiration for a Bulgarian hippie tradition, known eponymously as July Morning.

The album was mentioned in the David Sedaris book Barrel Fever, in “Don’s Story”.

Alternate front + backcover

The third time proved to be the charm for Uriah Heep: on Look at Yourself, the group perfects its fusion of heavy metal power and prog rock majesty, and the result is one of the best albums in the Heep catalog. The gauntlet is thrown down on the title track, a powerful rocker that layers its relentless hard rock attack with ornate vocal harmonies and quicksilver organ runs before climaxing with a tribal-sounding drum jam. The remainder of Look at Yourself presents an effective blend of gutsy guitar rock and organ-fueled prog excursions. In the rock arena, the gems are “Tears in My Eyes,” a powerful rocker driven by an almost rockabilly-style riff that stops midway for a surprising vocal harmony break supported by smooth wah-wah guitar, and “Love Machine,” a short, punchy slice of hard rock built on an infectious, stomping rhythm. However, the best track on the album is one of the more prog-oriented ones: “July Morning” starts with a pastoral organ riff, then builds into a heavy yet symphonic rock tune that divides its time between gentle acoustic verses and emotional, organ-fueled choruses before climaxing in a monstrous jam dominated by a swirling Moog synthesizer lead. Special note should also be taken of David Byron’s vocal performance; his multi-octave, operatic style was no doubt an influence on later metal vocalists like Rob Halford. All in all, Look at Yourself is both one of Uriah Heep’s finest, most cohesive albums and a high point of 1970s heavy metal. (by Donald A. Guarisco)

Personnel:
Mick Box (guitar)
David Byron (vocals)
Iain Clark (drums)
Ken Hensley (keyboards, vocals on 01., guitar, background vocals)
Paul Newton (bass)
+
Manfred Mann (synthesizer (on 03.)

The percussion section of Osibisa (on 01.):
Ted Osei – Mac Tontoh – Loughty Amao

Tracklist:
01. Look At Yourself (Hensley) 5.09
02. I Wanna Be Free (Hensley)  4.00
03. July Morning (Byron/Hensley) 10.32
04. Tears In My Eyes (Hensley) 5.01
05. Shadows Of Grief (Byron/Hensley) 8.39
06. What Should Be Done (Hensley) 4.15
07. Love Machine (Box/Byron/Hensley) 3.37
+
08. What’s Within My Heart (out-take) (Hensley) 5.23
09. Why (early version) (Box,/Byron) 11.18
10. Look At Yourself (single edit) (Hensley) 3.19
11. Tears In My Eyes (extended mix) (Hensley) 5.38
12. What Should Be Done (alternate version) (Hensley) 4.26
13. Look At Yourself (live at the BBC) (Hensley) 4.32
14. What Should Be Done (live at the BBC) (Hensley) 3.26

*
**

Uriah Heep – Salisbury (Expanded Deluxe Edition) (1970/2003)

Salisbury is the second album by British rock band Uriah Heep, released in December 1970. It was produced by Gerry Bron.

Unlike their first album, songwriting credits for fully half of the record were attributed to Ken Hensley alone, as opposed to the collaborative partnership credits of Box/Byron on the debut.

The album was originally released on the Vertigo label, as was the band’s debut …Very ‘Eavy …Very ‘Umble, but both were soon re-released when the band signed to the new Bronze Records for their third LP.

The front cover of the album depicted a British Chieftain tank, which connects to the title, as Salisbury Plain in Wiltshire, England, is a military training area. The original LP release was a gatefold sleeve, with a black-and-white image of a World War I British tank on the inside, over which were printed Hensley’s comments on each track. Later reissues would be in a single sleeve. The American release on Mercury Records featured a different cover image, as did the original Canadian pressings. Subsequent Canadian pressings used the UK artwork.

US front + back cover

Salisbury is skewed toward the progressive rock genre, with its 16-minute title track featuring a 24-piece orchestra. One of the album’s tracks, “Lady in Black”, described as “a stylishly arranged tune that builds from a folk-styled acoustic tune into a throbbing rocker full of ghostly harmonies and crunching guitar riffs”, became a hit in Germany upon its re-release in 1977 (earning the band the Radio Luxemburg Lion award). According to Allmusic, the album perfected Uriah Heep’s “blend of heavy metal power and prog rock complexity” and was also significant for Hensley’s instant rise to a position as main composer of the group’s music. Soon after the release, drummer Keith Baker left the band, to be replaced by Ian Clarke (from another Vertigo band, Cressida). With Clarke, the band embarked on their first US tour, supporting Three Dog Night and Steppenwolf. (by wikipedia)

Personnel:
Keith Baker (drums)
Mick Box (guitar, vocals)
David Byron (vocals)
Ken Hensley (keyboards, slide-guitar, guitar, vocals)
Paul Newton (bass,vocals)
+
unknown orchestra
John Fiddy (nrass and woodwind arrangement on 06.)

Tracklist:
01. Bird Of Prey (Box/Byron/Hensley/Newton) 4.13
02. The Park (Hensley) 5.41
03. Time To Live (Box/Byron/Hensley) 4.01
04. Lady In Black (Hensley) 4.44
05. High Priestess (Hensley) 3.42
06. Salisbury (Box/Byron/Hensley) 16.20
+
07. Simon The Bullet Freak (US album version) (Hensley) 3.27
08. Here Am I (previously unreleased version) (Hensley) 7.51
09. Lady In Black (single edit) (Hensley) 3.34
10. High Priestess (single edit) (Hensley) 3.39
11. Salisbury (single edit) (Box/Byron/Hensley) 4.23
12. The Park (alternate version) (Hensley) 5.19
13. Time To Live (alternate version) (Box/Byron/Hensley) 4.13

*
**

Time To Live:

Let me see the sunshine
Let me feel the rain
Let me go where I wanna go
I wanna smell the flowers
See the dawn again
Find those friends I used to know

Well, I spent twenty long years
In a dirty old prison cell
I never saw the light of day
If you could understand
Oh, that kind of living hell
That’s the price I have to pay
That’s the price I have to pay

They say I killed a man
But I never told them why
So you can guess
What I’ve been through
So for twenty long years
I’ve been thinking of that other guy
And what I saw him do to you
What I saw him do to you

Listen here
So if tomorrow comes
And I walk outside that door
Try to understand the strain
But if you smile that smile
I know I couldn’t ask for more
I know I’d do it all again
Yes, I would
I know I’d do it all again

Uriah Heep – Very ‘eavy Very ‘umble (1970)

A killer, a monster, a classic hard-rock album !

…Very ‘Eavy …Very ‘Umble is the debut album by British rock band Uriah Heep, released in 1970.

It was issued in the United States as Uriah Heep with different sleeve artwork, and with the track “Bird of Prey” in place of “Lucy Blues”. The album shows the band trying out various genres – a mix of heavy metal and progressive rock – rather than the hard rock that they would become known for on later albums.

The album was generally panned by the mainstream critical press upon its release, although it has since been acknowledged as an early classic of the heavy metal genre. Rolling Stone magazine’s Melissa Mills began her review by saying, “If this group makes it I’ll have to commit suicide. From the first note you know you don’t want to hear any more.”

The original vinyl release was a gatefold sleeve, featuring David Byron on the front sleeve, almost unrecognisable beneath cobwebs.

The album was first released on the Vertigo label in the UK, as was the follow-up Salisbury, but both were quickly reissued by Bronze when the band signed to that label.(by wikipedia)

US Cover

This album was the debut of Uriah Heep, an English band that would become one of the Titans of the ’70s heavy metal sound. Despite their eventual hard-rocking reputation, Very ‘Eavy…Very ‘Umble finds the band trying on different stylistic hats as they work towards finding their own sound. At this juncture, their music falls halfway between the crunch of heavy metal and the dramatic arrangements of prog rock. When this style jells, the results are quite powerful: “Dreammare” blends psychedelic lyrics and a complex vocal arrangement with a stomping beat from the rhythm section to create an effective slice of prog metal fusion while “I’ll Keep on Trying” presents a head-spinning, complex tune with enough riffs, hooks, and tempo changes to fill three or four songs. However, the album’s finest achievement is “Gypsy”: this heavy metal gem nails the blend of swirling organ riffs, power chords, and leather-lunged vocal harmonies that would define the group’s classic tunes and remains a staple of the band’s live performances today. Unfortunately, the focus of the album is diluted by some unsuccessful experiments: “Lucy Blues” is a dull, unmemorable stab at a Led Zeppelin-style heavy blues tune and “Come Away Melinda” is an overproduced, melodramatic cover that tries to marry the band’s full-throttle musical style to a message song. Despite these occasional moments of stylistic schizophrenia, Very ‘Eavy…Very ‘Umble is a likable album that shows the promise that Uriah Heep would soon realize. Those unfamiliar with Uriah Heep may want to try out Demons and Wizards or a compilation first, but anyone with a serious interest in Uriah Heep or the roots of heavy metal will find plenty to like on Very ‘Eavy…Very ‘Umble. The American edition of this album was retitled Uriah Heep and omits “Lucy Blues” in favor of the track “Bird of Prey” from Salisbury. (by Donald A. Guarisco)

Personnel:
Mick Box (guitar, vocals)
David Byron (vocals)
Ken Hensley (keyboards, slide guitar, vocals)
Alex Napier (drums)
Paul Newton (bass, vocals)
+
Nigel Olsson (drums, percussion on 04 – 05.)
Colin Wood (keyboards on 03. + 08.)

Tracklist:
01. Gypsy (Box/Byron) 6.37
02. Walking In Your Shadow (Byron/Newton) 4.31
03. Come Away Melinda (Hellerman/Minkoff) 3.46
04. Lucy Blues (Box/Byron) 5.08
05. Dreammare (Newton) 4.39
06. Real Turned On (Box/Byron/Newton) 3.37
07. I’ll Keep On Trying (Box/Byron) 5.24
08. Wake Up (Set Your Sights) (Box/Byron) 6.22
+
09. Gypsy (single edit) (Box/Byron) 2.57
10. Come Away Melinda (“Spice” version) (Hellerman/Minkoff) 3.42
11. Born In A Trunk (“Spice” version) (Box/Byron) 3.45

*
**

 

Higher Livin’ – A Tribute To The Music Of Uriah Heep (2012)

The collection that you hold in your hands was born from the immense admiration of Bassist and future Leader of Higher Livin’, Daniele Rossi towards this Band. A band that sadly has not gotten his due as far as praise and its place in Rock Olympus is concerned.Daniele, had the idea of involving the House Band of famed Club “Vivere Su”, i.e himself, Fabio Baruzzo on Guitar, Pierga Dettori on Drums and charming Vocalist Claudia Dani in his project, but in order to recreate the original sound of Heep consisting of a solid Rhythm base sustained by a deep Hammond organ and a nimble guitar switching swiftly from lead to back to support the Vocal harmonics of the Group, he needed his Ken Hensley. After countless efforts , Daniele finally found his man in Stefano Toni that in his old Band Butterfly’s Tail proposed several pieces of Uriah Heep, mainly due to the love of said band’s Vocalist Thor Bertolucci for David Byron. Obviously Daniele did not miss the opportunity to bring on board Thor adding further spices to the powerful vocal mix.All of them finally together , they proceded to organize the first “Heep Night”( and that’s where due to mere chance I got involved), that was held at “Vivere Su” on January 27 2011. Being among the public to celebrate my 49th birthday, I had the honour to be called on stage to aid in the presentation of this band that right from the word Go, showed to everybody that they had all it takes to be a real powerhouse. Several other concerts followed until they realized that they needed to leave to posterity something from this wonderful experience.From this primal need stems the cd that you are now holding in your hands, an album that on top of the pieces performed by the “Core Group”, can call on the superb interpretation of Vocalist Extraordinaire Jon Binder on Corridors of Madness, the only song that cannot count on the help that comes from being on the classic and better known albums from the Byron and Lawton periods.Please try to appreciate the effort from the band to record everything Live without overdubs, in order to try to recreate the magic of those concerts. (by Steve The Rock)

Personnel:
Fabio Baruzzo (guitar)
Tor Bertolucci (vocals)
Claudia Dani (vocals)
Pierga Dettori (drums,  vocals)
Daniele Rossi (bass, vocals)
Stefano Toni (keyboards)

Tracklist:

01. Bird Of Prey (Hensley/Byron/Box/Newton) 3.53
02. Sweet Lorraine (Box/Byron/Thain) 4.34
03. Corridors Of Madness (Box/Lanzon) 5.32
04. Sunrise (Hensley) 4.16
05. Wise Man (Hensley) 4.29
06. Free ‘n Easy (Box/Lawton) 2.16
07. Gypsy (Box/Byron) 4.20
08. Rain (Hensley) 4.20
09. July Morning (Byron/Hensley) 8.32

*
**