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URIAH HEEP

Heavy Prog • United Kingdom


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Uriah Heep picture
Uriah Heep biography
Founded in 1969 in London, England - Still active as of 2018

URIAH HEEP came into being in 1970, the band evolving from SPICE. The multi talented Ken HENSLEY, who had previously been a member of CLIFF BENNETT'S TOE FAT, and THE GODS (who also featured GREG LAKE in their line up) was brought in, initially to add an organ to the band's sound. In the early years, Hensley, together with Mick Box (guitar) and David Byron (vocals) formed the nucleus of the band. The rhythm section was somewhat transient with both bass and drums being played by a succession of band members. Of these, Paul Newton was probably the most influential member, particularly as early on his father was involved in managing the band.

It wasn't until their fourth album "Demons and Wizards" that the rhythm section was finally sorted out. Lee Kerslake (who had previously played with Hensley in The GODS) took over on drums, and Gary Thain (ex KEEF HARTLEY BAND) on bass. The difference was immediately obvious, and the "classic" line up was born. Sadly, Thain died in 1975 and Byron in the 1980's, both having been previously sacked by the band at different times due to drug and drink related problems respectively.

Line up changes have been a feature of the band throughout their career, with John Wetton, John Lawton, and Trevor Bolder being among the lengthy list of names to feature in the line up. These changes have not always proved to be for the better, and have at times resulted in disappointing albums, the most notorious of these being generally regarded as "Conquest". The band has on a number of occasions been on the brink of extinction, or at least a change of name. Guitarist Mick Box has however carried the torch and ensured that even today, the songs which made URIAH HEEP one of the top acts in the world, are still performed live.

The line up of Bolder, Kerslake, Box, Lanzon, Shaw holds the distinction of having been together for the longest period of any line up in the band's entire career. They still tour regularly, and released their latest album, "Wake the sleeper" in 2008. On that album, Russell Gilbrook plays drums, Kersalake having been forced into retirement for health reasons.

URIAH HEEP's music covers a multitude of styles. In prog terms, they lean towards heavy rock with symphonic overtones wh...
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URIAH HEEP discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

URIAH HEEP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.37 | 476 ratings
Very 'Eavy...Very 'Umble
1970
3.56 | 221 ratings
Uriah Heep
1970
4.19 | 845 ratings
Salisbury
1971
4.13 | 740 ratings
Look at Yourself
1971
4.07 | 816 ratings
Demons and Wizards
1972
3.85 | 626 ratings
The Magician's Birthday
1972
3.44 | 371 ratings
Sweet Freedom
1973
3.10 | 319 ratings
Wonderworld
1974
3.14 | 317 ratings
Return to Fantasy
1975
3.15 | 261 ratings
High and Mighty
1976
3.55 | 282 ratings
Firefly
1977
2.86 | 219 ratings
Innocent Victim
1977
2.42 | 205 ratings
Fallen Angel
1978
2.60 | 175 ratings
Conquest
1980
2.82 | 189 ratings
Abominog
1982
2.37 | 149 ratings
Head First
1983
1.98 | 137 ratings
Equator
1985
2.56 | 128 ratings
Raging Silence
1989
2.07 | 119 ratings
Different World
1991
3.62 | 193 ratings
Sea Of Light
1995
3.18 | 130 ratings
Sonic Origami
1998
3.42 | 183 ratings
Wake The Sleeper
2008
2.63 | 81 ratings
Celebration - Forty Years Of Rock
2009
3.37 | 161 ratings
Into the Wild
2011
3.27 | 102 ratings
Outsider
2014
3.74 | 141 ratings
Living the Dream
2018

URIAH HEEP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 192 ratings
Uriah Heep - Live
1973
2.74 | 35 ratings
Live At Shepperton '74
1986
2.76 | 36 ratings
Live in Europe 1979
1986
3.13 | 39 ratings
Live in Moscow
1988
3.05 | 31 ratings
Spellbinder Live
1996
2.94 | 19 ratings
Live On The King Biscuit Flower Hour
1997
3.64 | 17 ratings
Future Echoes Of The Past
2000
4.27 | 52 ratings
Acoustically Driven
2001
3.89 | 25 ratings
Electrically Driven
2001
4.13 | 47 ratings
The Magician's Birthday Party
2002
3.36 | 11 ratings
Live in the USA
2003
3.11 | 17 ratings
Magic Night
2004
3.17 | 10 ratings
Live at Sweden Rock Festival 2009 (Official Bootleg)
2010
2.16 | 9 ratings
Live in Budapest Hungary 2010 (Official Bootleg Volume II)
2010
4.04 | 7 ratings
Live in Kawasaki, Japan 2010 (Official Bootleg Volume III)
2011
4.20 | 15 ratings
Live In Armenia
2011
4.00 | 4 ratings
Live In Brisbane Australia 2011 (Official Bootleg Volume IV)
2011
3.33 | 6 ratings
Live In Athens, Greece 2011 (Official Bootleg Vol. V)
2012
4.00 | 2 ratings
Live at the Rock of Ages Festival Germany 2008 (Official Bootleg Volume VI)
2013
3.90 | 10 ratings
Live at Koko London 2014
2015
3.00 | 3 ratings
Raging Through the Silence - - The 20th Anniversary Concert - Live At The London Astoria 18th May 1989
2017

URIAH HEEP Videos (DVD, Blu-ray, VHS etc)

3.98 | 9 ratings
Easy Livin' - A history of Uriah Heep
1985
3.66 | 13 ratings
Gypsy (DVD)
1985
4.00 | 3 ratings
Raging Through The Silence
1989
4.00 | 3 ratings
The Legend Continues... A Celebration of 30 Years in Rock
2000
4.00 | 3 ratings
Classic Rock Legends (DVD)
2001
4.61 | 32 ratings
Acoustically Driven (DVD)
2001
2.00 | 2 ratings
Sailing The Sea Of Light
2001
3.86 | 12 ratings
Moscow And Beyond (DVD)
2002
4.17 | 21 ratings
The Magician's Birthday Party (DVD)
2002
3.38 | 8 ratings
Live In The USA (DVD)
2003
3.93 | 9 ratings
Inside Uriah Heep - The Hensley Years 1970-1976
2004
3.89 | 9 ratings
Inside Uriah Heep - The Hensley Years 1976-1980
2004
3.53 | 13 ratings
Magic Night (The Magicians Birthday Party 2003) (DVD)
2004
4.46 | 10 ratings
Inside Uriah Heep - The Hensley Years 1970-1980
2004
4.23 | 34 ratings
Classic Heep - Live from the Byron era
2004
3.00 | 1 ratings
The Ultimate Anthology
2004
3.07 | 9 ratings
Between Two Worlds (Live In London 2004) (DVD)
2005
3.00 | 1 ratings
The Live Broadcasts
2005
3.00 | 3 ratings
Access All Areas (Live in Moscow)
2014
3.00 | 2 ratings
Access All Areas (20th Anniversary Concert)
2015
3.67 | 3 ratings
Live At Koko - London 2014
2015

URIAH HEEP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

5.00 | 2 ratings
Downunda..
1974
0.00 | 0 ratings
The Best Of Uriah Heep
1974
4.00 | 1 ratings
The Best Of Uriah Heep Vol. 2
1974
0.00 | 0 ratings
Best Of Uriah Heep
1974
0.00 | 0 ratings
The Very Best Of Uriah Heep
1974
4.00 | 1 ratings
The Best of Uriah Heep
1975
3.20 | 13 ratings
The Best Of Uriah Heep
1976
0.00 | 0 ratings
Goldener Lwe
1978
3.51 | 9 ratings
The Best Of (1985)
1985
5.00 | 1 ratings
Anthology Volume One
1986
5.00 | 1 ratings
Two Decades In Rock
1990
2.22 | 4 ratings
Still 'eavy, Still Proud
1990
3.54 | 10 ratings
Rarities From The Bronze Age
1991
0.00 | 0 ratings
July Morning / Rain
1991
3.39 | 13 ratings
The Lansdowne tapes
1993
0.00 | 0 ratings
The Ballads
1994
3.79 | 10 ratings
A Time Of Revelation - 25 years on
1996
2.96 | 4 ratings
Remasters - The Official Anthology (AKA Uriah Heep Gold - Looking Back 1970-2001)
2001
3.08 | 5 ratings
20th Century Masters: The Millenium Collection: the Best of Uriah Heep
2001
3.05 | 3 ratings
Come Away Melinda: The Ballads
2001
0.00 | 0 ratings
Empty the Vaults: The Rarities
2001
0.00 | 0 ratings
You Can't Keep A Good Band Down
2002
3.00 | 1 ratings
The Golden Palace
2002
3.00 | 3 ratings
Revelations - The Uriah Heep Anthology
2004
4.60 | 5 ratings
Gold from the Byron Era
2004
4.00 | 6 ratings
Travellers In Time Anthology Volume 1
2005
4.04 | 8 ratings
Chapter And Verse
2005
0.00 | 0 ratings
Greatest Hits
2006
3.00 | 1 ratings
Wake Up - The Singles Collection
2006
3.40 | 5 ratings
Easy Livin' - The Singles A's & B's
2006
3.33 | 3 ratings
Platinum Collection
2007
0.00 | 0 ratings
Best Of
2009
4.00 | 8 ratings
On The Rebound (A Very 'Eavy 40th Anniversary Collection)
2010
3.86 | 5 ratings
Wizards - The Best Of Uriah Heep
2011
0.00 | 0 ratings
Icon
2012
4.29 | 7 ratings
Totally Driven
2015
0.00 | 0 ratings
The Classic Rock Years
2016
4.00 | 3 ratings
Your Turn To Remember - The Definitive Anthology 1970-1990
2016

URIAH HEEP Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 1 ratings
Wake Up (Set Your Sights)
1970
4.17 | 6 ratings
Look At Yourself
1971
3.12 | 6 ratings
Lady In Black
1971
3.67 | 3 ratings
July Morning
1971
3.33 | 3 ratings
Gypsy
1971
2.95 | 3 ratings
Spider Woman
1972
0.00 | 0 ratings
Special DJ Copy of Uriah Heep
1972
3.33 | 6 ratings
The Wizard
1972
3.83 | 7 ratings
Easy Livin'
1972
0.00 | 0 ratings
Sweet Freedom
1973
2.00 | 2 ratings
Seven Stars
1973
2.00 | 2 ratings
Something Or Nothing
1974
0.00 | 0 ratings
Uriah Heep Live
1975
2.00 | 2 ratings
Prima Donna
1975
3.00 | 2 ratings
Return To Fantasy
1975
2.00 | 1 ratings
Make a Little Love
1976
2.00 | 1 ratings
Wise Man
1977
3.00 | 12 ratings
Free Me
1977
2.00 | 1 ratings
One More Night (remix)
1978
2.00 | 1 ratings
Come Back To Me
1978
2.00 | 2 ratings
Love Or Nothing
1978
2.50 | 6 ratings
Carry On
1980
3.00 | 5 ratings
Love Stealer
1980
2.00 | 1 ratings
Feelings
1980
2.20 | 6 ratings
Think It Over
1981
3.18 | 11 ratings
Abominog Junior EP
1982
2.80 | 5 ratings
That's The Way That It Is
1982
2.50 | 4 ratings
Lonely Nights
1983
3.40 | 5 ratings
Stay On Top
1983
4.00 | 4 ratings
Poor Little Rich Girl
1985
2.50 | 6 ratings
Rockarama
1985
2.67 | 3 ratings
Easy Livin' (live)
1988
3.00 | 3 ratings
Lady In Black
1988
2.50 | 2 ratings
Hold Your Head Up
1989
2.75 | 4 ratings
Blood Red Roses
1989
3.25 | 4 ratings
Dream On
1995
3.00 | 2 ratings
Come Away Melinda
2001
3.50 | 4 ratings
Lady In Black
2001
0.00 | 0 ratings
Official Bootleg Bad Rappenau 2009
2009
0.00 | 0 ratings
Official Bootleg Krefeld 2009
2009
0.00 | 0 ratings
Official Bootleg Salzburg 2009
2009
0.00 | 0 ratings
Wolverhampton Official Bootleg 2011
2011
3.25 | 4 ratings
One Minute
2014
4.00 | 1 ratings
Grazed by Heaven
2018

URIAH HEEP Reviews


Showing last 10 reviews only
 Into the Wild by URIAH HEEP album cover Studio Album, 2011
3.37 | 161 ratings

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Into the Wild
Uriah Heep Heavy Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

3 stars It says a lot that Uriah Heep, had finally got away from the revolving door of members coming and going in 1987. Except for the departure of long-time drummer Lee Kerslake in 2007 for health reasons, the line-up has remained the same with Bernie Shaw on vocals (you could pretty much say that he is the voice for UH now), forever UH member Mick Box, the only original member that has been with the band through everything, Phil Lanzon on keys, Trevor Bolder on bass and finally, Kerslake's replacement Russell Gilbrook on drums.

So, this line-up has had a lot of time to get familiar with each other, and quite honestly, they play as quite a tight union. The main problem is they have pretty much settled into a rather typical hard rock sound that has very little to do with progressive rock anymore. It's all quite straightforward, and the band has seen some success in a few countries with this formula.

To me, the music just doesn't stand out anymore as anything other than another good hard rock band. It is good that the band has found a foothold in their style, and they still get to show off the talents of their main players, Box on some really great guitar solos and Lanzon on the organ, they have that Deep Purple vibe, but with a rather formulaic and unoriginal sound. But, they do it well, don't get me wrong, it's just not music that stands out for me now. Deep Purple, the band that they are always compared to, at least has managed to incorporate their unique style into a current style of heavy rock, where Uriah Heep just pretty much sounds like any hard rock band and don't have enough uniqueness to keep them interesting, even in the non-progressive universe.

It always seems, however, that the band can still pull off a few really great tracks on each of their later albums. One of these is the real standout "Trail of Diamonds" which begins as a nice ballad-style and later evolves into an interesting heavy track with some excellent guitar and organ work, and even some great vocals from Shaw. This singing on this track tends to bring back some of the emotion we felt from the band in their early years, and that is always a big plus on a UH album. More emotion like this would help to raise the overall rating, but, unfortunately, this gets lost in following the formula and staying safe. At this point, UH is pretty much just maintaining the fans they have and not really winning over new fans or bringing back old fans that have lost faith in the band. More variety would have helped out too, but at least they still find time to allow Bolder to sing lead on one track, "Lost". There is a great organ solo at the end, but it fades too quickly. This track has some merit in that it is the last time we would hear his vocals and this album is the last time he plays for the band as he passed away from pancreatic cancer in 2013 and was replaced by Dave Rimmer who remains with the band today. There is one more standout moment with the ending track "Kiss of Freedom". Is it a coincidence that the two best tracks here are the longer ones (over 6 minutes)? Even then, there's nothing surprising here, it's just that these longer tracks seem to be better composed.

What you get here is mostly typical and predictable hard rock. There is plenty of this and the music will appeal to those fans. For me, it's not enough, even to satisfy the hard rocker in myself, as even in my mind, nothing much really stands out. It's just another album with a bunch of songs that could have easily fit on any of their albums released in 1990 to present. It's good, but I can't really recommend anything about it that you can't find on any other hard rock album. For the most part, the soul and fire of the early years is missing and you get a bunch of songs that could have easily come from the assembly line of hard rock songs.

 Innocent Victim by URIAH HEEP album cover Studio Album, 1977
2.86 | 219 ratings

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Innocent Victim
Uriah Heep Heavy Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

3 stars This is the 2nd of the trilogy of albums with John Lawton as the frontman/vocalist for the band. This trilogy of albums would actually consist of the same line-up of musicians all across the board. You would think they would have been able to settle in to a decent sound during this time, but instead of getting better with time, things seemed to actually go downhill as time went on.

Innocent Victim is quite an obvious bridge in the middle that spans the first and third album in this trilogy. Starting off where "Firefly" left off, the album begins with some decent rockers, but none of them contain any progressive traits. If you are looking for that in this stage of UH's history, you find that anywhere here. The first four tracks sound like they could have easily fit on "Firefly". Then the track "Illusion" even seems to be a bit better as things slow down a bit. But, when you hear that messed up fade out at the end of the song, you wonder why it was cut off so short just when the tempo starts to move. Actually, there is a reason for that and it becomes more apparent on the 1997 and 2004 bonus tracks as the 2nd part of the intended "medley" is left intact on these editions.

The 2nd half of the album, in contrast, sounds like a sudden, abrupt turn to hard pop, and it is just awful. This is the direction the band would continue in for the last of this trilogy of albums "Fallen Angel". The songs "Free Me", "Cheat 'n' Lie" and "The Dance" are just plain awful attempts at trying to make their music accessible. You can't even call this straight ahead hard rock at this point, but if nothing else, it should have served as a warning to fans where the band was headed. UH wasn't meant to do pop and the 2nd half of this album proves that (along with all of "Fallen Angel"). The last track "Choices" is the strongest on this side of the album and also, surprisingly, the most soulful vocals we've heard from the band since Byron was fired. But nothing else on this album can save it at this point. Even "Choices" isn't interesting enough to search out this album for.

The bonus tracks on later reissues don't do much to bring any redemption to the output of the band at this time in their history. Yes, you get to hear the entire "Illusions/Masquerade" medley together and that at least explains that messy fade-out on the album. However, just like "Firefly", there is no progressive rock anywhere here to be found, but at least if they stayed in that same sound for the duration of this album, they wouldn't have to be accused of getting worse with each album this line-up released. "Firefly" got 3 stars, this one gets 2.5 (which I'll round up to 3), and I earlier gave "Fallen Angel" 2 stars, which still doesn't change since it is the worst of the three. After that album, the band decided to adjust it's line-up again, but they would still be a long way from their best work.

 Outsider by URIAH HEEP album cover Studio Album, 2014
3.27 | 102 ratings

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Outsider
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars Timeless, stainless and so on and so forth. Just like the classic healthy hard rock they keep playing. The production, entrusted to Mike Paxman, does not seek to modernize Heep sound, but rather to restore atmospheres that belong to the decade in which Uriah Heep began. Album number twenty-four of the band's honored career marks the entry of bassist Dave Rimmer (formerly with Zodiac Mindwarp), who replaces the late Trevor Bolder. Noteworthy is the cover, the work of Igor Morski, which effectively contributes to bring us without too many words into the perfectly recognizable musical world painted by Uriah Heep. After the not so rosy parenthesis of the years '80 -'90, Heep has not missed a beat since 2008, and precisely from that Wake the sleeper that indelibly marked the new creative phase of Mick Box and associates, an escalation that led the band to channeling one masterpiece after another, with a renewed style, yes, but always faithful to one's DNA. To be fair, however, it should be noted immediately that this album, while being decidedly valid, is just a hair lower than the previous one. Nothing serious or compromising, nothing bad or unlistenable, in some cases that something extra that was present in "Into the wild" is simply missing. And if in any case there are songs that get stuck in your brain after the first listen, like "One minute", "Speed ​​of sound" or the titletrack, it is equally true that there are a couple of slightly faded episodes.

The album starts with a masterpiece track Speed ​​Of Sound which, after a minute of instrumental introduction, accelerates riding between guitars and keyboards, to the point of shining on a choral, melodic refrain from an anthology of the genre. Equally sensational, One Minute has a soft and delicate beginning, all entrusted to the beautiful voice of Bernie Shaw, who then leaves room for a perfect Ken Hensley-style piece, with a new heart-pounding refrain, including embossed keyboards. A little more sustained, The Law highlights the skill of the new bassist, who then immediately got the chance to shine again with the title track The Outsider, in which he perfectly combines with the thundering drums from Russel Gilbrook, on a very fast track, almost metallic, at the limits of the symphonic, and with an unstoppable riffing. Rock The Foundation doesn't hold back the band's advance, presenting itself as a new hard rock anthem of the 70s, and Is Anybody Gonna Help Me? it appears as a mid-tempo with a great groove, rich in accordion in the background, rather sustained, refined in its almost progressive tempo changes. Also of undoubted and absolute value are the following hard rock songs Looking At You, with a new refrain to scream !, and Can't Take That Away, in fact one of the best Mick Box riffs on the disk. Finally, this exciting platter Kiss The Rainbow, a very original song with a fresh and melodic sound, and the bombastic Say Goodbye, which finally puts the excellent work in the recording phase of the producer in the spotlight.

The legends are back in town, and here is that true hard rock, the pure and uncontaminated one, finds new life and reason to exist still today, more than fifty years after its birth. And so, Uriah Heep reconfirms themselves as spearheads of this musical movement, and Outsider has the flavor of a new masterpiece, to be framed in the perfect discography of these giants.

 Into the Wild by URIAH HEEP album cover Studio Album, 2011
3.37 | 161 ratings

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Into the Wild
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars How many times have we found ourselves underlining the merits of a group considered important today, but absolutely snubbed at the time when it appeared on the market? Many, certainly too many. One of the names that corresponds to this description is certainly that of Uriah Heep, who had problems with very enlightened critics since the days of the fantastic debut entitled Very 'Eavy Very' Umble. Today it is unanimously considered one of the best records of the first part of the 70s, but at the time of its appearance on the market, it was branded as not worthy of attention by many; even, the authoritative (?) Rolling Stone critic, Melissa Mills, said "If this group breaks through, I will commit suicide." I am not aware that Mills committed suicide, but despite a lot of water having passed under the bridge, the Uriah Heep never reaped in proportion to what they sowed, and the reputation of a somewhat "unappreciated " group has never completely abandoned them. . Of the formation that took its first steps at the end of 1968, with the first Proto-metal stirrings, today the only guitarist Mick Box remains in the band, and even if the dark shades that characterized the debut album and Salisbury are far away, Uriah Heep keep intact the Hard Rock matrix of the 70s and are still able to do good things, as their album entitled Into The Wild can testify.

After a record like Wake The Sleep, which has been waiting for ten years, followed by a Celebration released to celebrate the band's forty years of career, plus a few extra bootlegs , the band led by the stainless Mick Box returns to the market aware of the fact that you are never too old to continue composing good music and, not least, thanks to a contract with Frontiers Records. After all, the band is rather compact thanks to all the elements, with Bernie Shaw (born in 1956) who, most of all, seems not to feel the weight of the years weighing on his shoulders.

And then Uriah Heep, from a certain point of view, as it had already happened on the occasion of the previous album, remain faithful only and exclusively to themselves, with a sound that only in some small parts, and especially on this occasion, seems to tend towards more "modern" shores. An example of this is the initial Nail On The Head, the first single from the record and, frankly, not my favourite one. The next and turbulent I Can See You is already beginning to put things in order, and then leaves room for all the splendor of a title-track (where Phil Lanzon's keyboards do their best work) that immediately earns the award as an absolute highlight of the entire work. What remains is a parade of pieces composed to perfection such as a Trail Of Diamonds to say the least splendid especially in the initial part, a T-Bird Angel perfectly suited in its refrains, or even the literally thrilling grand finale of Kiss Of Freedom.

Behind the sly smile of Box hides the heart of one of the greatest riff makers of all time, as demonstrated by the new songs supported by a fresh but powerful guitar work. Also in 2011 the Heep know how to be magical (the debut is dated 1970!), "Into The Wild" could not have been better, covered with a light progressive but damn hard patina, this album will not struggle to gather enthusiasm among the many admirers , scattered all over the world, of the historic English group.

 Sea Of Light by URIAH HEEP album cover Studio Album, 1995
3.62 | 193 ratings

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Sea Of Light
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars Mick Box and his Uriah Heep are still on the road, telling stories of demons and sorcerers, fireflies and fallen angels with reasonable pride, strengthened by a perseverance that has few equals and the honor won with weapons and sweat. Weighted and aged, of course, because this life does not discount anyone. But how much emotion there is still behind those sounds. Vibrations that survive the course of the seasons, the multiple line-up changes, the companions lost along the way, the few lights and many shadows of the eighties and? Melissa Mills. Now, I sincerely hope that the poisonous Rolling Stone reporter did not keep what she promised.

Fortunately for us, the "Beach Boys of heavy rock" made it, in spite of the many (too many) detractors. Time has partly restored their undeniable merits, while Heep have continued to give us precious gems over the years, such as this "Sea of ​​Light". A record that celebrates 25 years of career in the best possible way and recalls the flavors of those early seventies, since the splendid and celestial cover by the rediscovered Roger Dean. Mickey and his associates succeed in the arduous task of forging a modern and aggressive sound, which will also be the basis for subsequent and equally valid works, but which at the same time remains faithful to its roots. All thanks to a well-established line-up (Box-Kerslake-Bolder-Lanzon-Shaw), which demonstrates an enviable harmony. The sea of ​​light is the elixir of long life for Heep, the pleasure of returning to vibrate, a timeless formula that mixes aggression and sweetness, references from the past and seductions of the present.

360 hard rock, which laps the coasts of the AOR and lets itself be intoxicated by progressive aromas, but does not distract attention from its own route in search of the melody. We realize that basically little has changed since that distant 1970: the passion and constancy are the same, and they are married to a newfound vigor that other dinosaurs of the seventies can now forget. And then there is their trademark, those unattainable vocal harmonizations that made us turn up our noses at the time, including delicate falsettos and stabbing high notes, and which are still so powerful and recognizable to this day.

Perhaps the most beautiful song of the lot is the opener "Against The Odds", six minutes of variegated and elaborate hard rock that never fails to strike for the retro taste that goes well with the more modern impact of Box's guitars and Bolder's low button. The chorus that follows the refrain is grandiose and epic, not to mention the wonderful interweaving of instruments, including Lanzon's hammond, in the instrumental parts! In reality, among the twelve pieces of "Sea Of Light" there is only the embarrassment of choice because the tracks of considerable value are so numerous. First of all we mention the wonderful "Mistress Of All Time", a piece that starts in the best way with the keyboard parts full of emphasis by Lanzon and then flows into a slow and elaborate hard rock in which the acoustic guitar of Box and also Bernie Shaw's microphone interpretation? truly magical piece.

A convincing and slightly more modern hard rock track is "Fear Of Falling", sung and written by bassist Trevor Bolder; the piece presents itself with a remarkable dynamism at a rhythmic level and places both the bassist and the drummer Kerslake on the shields.

Other hard rock songs with epic colors and great melodic openings are also "Spirit Of Freedom" and the "Logical Progression" button. The more rock and easy listening side is represented by tracks such as "Sweet Sugar" and "Time Of Revelation", songs that you will listen to and will conquer you immediately. We add that all the songs have a subtitle that indicates the themes of the lyrics, always profound and never superficial.

Undoubtedly an album to have.

 Living the Dream by URIAH HEEP album cover Studio Album, 2018
3.74 | 141 ratings

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Living the Dream
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars After a career spanning nearly five decades, many musicians would surely think about enjoying the hardships of a lifetime; instead there are those who really do not want to leave the stages and want to continue to give us great emotions with their art; Uriah Heep certainly belongs to this second group, a splendid band that in its long epic has been able to mix classic rock, hard rock and prog, composing some indisputable masterpieces of our beloved music, such as the beautiful Demons & Wizards and The Magician's Birthday. In 2018, which precedes precisely the fiftieth anniversary of the group, Mick Box and associates release their twenty-fifth studio album, entitled Living the Dream, under the aegis of Frontiers Music; as can also be seen from the title, Heep really have no intention of interrupting their dream!

The disc is inaugurated by Grazed by Heaven, whose drum roll by Russell Gilbrook, soon accompanied by keyboards and guitar, immediately gives excellent sensations: the song lives on an alternation of accelerations and slowdowns managed with great elegance and skill, while Bernie Shaw confirms himself as an excellent vocalist and offers a convincing and, above all, engaging proof; he is one of the protagonists of the piece, together with the aforementioned Gilbrook and the excellent Phil Lanzon. Some AOR echoes, after the hard rock of the introductory piece, peek out in the title track, another piece of great class able to make these sounds appreciate even to those who prefer more robust rhythms and sustained speeds; Box's guitar is a great protagonist in the pleasant Take Away My Soul, especially blessed towards the end by a splendid solo. Little to do, the class is not water! Lovers of hard rock sounds will be happy to hear the group press on the accelerator again with the pressing Knocking at My Door, where Box's guitar is once again the great protagonist, this time however in the rhythm. The long Rocks in the Road (over eight minutes in duration) instead proposes the Uriah Heep of albums such as Salisbury, halfway between hard rock echoes and obvious prog suggestions, again managed with great skill and without the tedium length. 'listener; the slowdown towards three minutes, with a consequent change of atmosphere, indeed, is of great pathos, thanks also to Lanzon's excellent work and Shaw's interpretation. The AOR returns as protagonist on Waters Flowin 'and, a little as a protagonist, gives us one of the best pieces of the album, with its beautifully well-chosen melodies; in short, ours do not like to fossilize on a style, but rather seem to be particularly keen to show the world all the colorful baggage of sound nuances they possess. We return to hard & heavy territories with It's All Been Said, characterized by a beautiful duel between guitar and keyboards and by a surprising alternation between heavy rides and more evocative and melodic slowdowns; also in this case we find ourselves at a ninety piece that ennobles Living the Dream. On the other hand, even Goodbye to Innocence, although in construction it is all too similar to Grazed by Heaven, certainly cannot be defined as an unsuccessful track! Approaching the conclusion, Box and associates delight us first with the epic Falling Under Your Spell and, finally, they take their leave with Dreams of Yesteryear, a more subdued and melodic track than those just analyzed; it is perhaps the "worst" piece of the work, even though it is still a song of higher average quality. Not bad, right?

"Living The Dream", in conclusion, shows a surprising energy, class to spare, a Mick Box in great shape, keyboards as vintage as they are exciting, a shot of the rhythm section worthy of a group of kids, a production of high quality at par of songwriting. An album, in short, that will not fail to satisfy the admirers of the band and the lovers of hard, heavy prog rock.

 Wake The Sleeper by URIAH HEEP album cover Studio Album, 2008
3.42 | 183 ratings

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Wake The Sleeper
Uriah Heep Heavy Prog

Review by prog_traveller!!

5 stars With the album "Sea of light" Uriah Heep returned to the path of old glory. the powerful sound of Hammond and the magnificent riff heralded the second arrival of the heavy rock giants. The line-up has stabilized since 1989 and in 1998 they released a pretty good album "Sonic origami". And then the silence ... In addition to touring and great live albums, the band has evaded in terms of studio work. They have released a number of live albums of which I will mention "Acoustically Driven" and the now legendary "The Magician's Birthday Party". And then comes 2008, Uriah Heep releases a new album "Wake the sleeper" the only change in the lineup was in the position of drummer where the legendary Lee Kerslake (16 April 1947 - 19 September 2020 R.I.P.) was replaced by Russell Gilbrook. Russell Gilbrook had great shoes to fill, and honestly the drums on this album were done perfectly.

As soon as you put the disc in your player, most of you won't believe your ears as you hear the frontal assault of the title track: double kick , Wah-wah, Hammond and the classic, legendary vocal harmonies that have always constitute the trademark of the band. All terribly vintage, yet with a terribly modern sound, for an almost entirely instrumental song that strikes, takes no prisoners and leads straight to the first real song, "Overload". And here, if anyone had still had doubts about the health of the five Englishmen, you can be sure that things are going great: a solid, engaging and rhythmic Seventies hard rock, in which Bernie Shaw proves to still have splendid vocal cords. Excellent central and final parts, with more than welcome back and forth between keyboards and guitar, just like in the old days. "Tears Of The World" brings back to the most recent Uriah Heep, those of the last two / three albums to be clear, with a royal, melodic, elegant song but always seasoned with great underlying energy. Continuing with the listening, we meet "Light Of A Thousand Stars", another excellent mid tempo which, in the melodies and rhythms, recalls none other than 1972's "Sweet Lorraine", while "Heavens Rain" is more rhythmic, with a groove remarkable and several atmospheric passages. The rocky "Book Of Lies" acts as a bridge to get to "What Kind Of God", one of the best songs on the album, which starts slowly and solemnly, with Phil Lanzon's organ on the shields, and then grows in intensity in the finale. Still double bass in "Ghost Of The Ocean", a song reminiscent of the best Uriah Heep of the mid-70s, thanks to the vigorous performance, the syncopated organ and the choirs, always perfect and performed with splendid mastery. This is followed by "Angel Walk With You", with a dreamy and pathos-filled intro, which in a minute flows into a granite mid tempo that is always well balanced by the right amount of melody. Shaw definitely in good shape and great organ solo in the middle of the song. Seventies atmosphere of "Shadow", dominated by a riff that seems to come from the sessions of a "Demons And Wizards" or a "Sweet Freedom" and completed by the usual, very effective refrain. Closes "War Child", majestic, at the start, in the vocals and in the carpet of keyboards and guitar, massive in the verses thanks to a nice riff stopped and exciting in the chorus. A piece that seems to have been made on purpose to make the public sing in concerts and that concludes in the best way an album that all Uriah Heep fans have been waiting for for a long time.

The most surprising thing is the freshness, vigor and energy that these 11 songs are able to unleash. The perfect album from start to finish with all the elements that have raised this band (unfortunately not nearly enough) to stardom.

 Firefly by URIAH HEEP album cover Studio Album, 1977
3.55 | 282 ratings

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Firefly
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars With High And Mighty another phase in the history of Uriah Heep closes. The internal tensions undermine the tranquility of the band and John Wetton decides to leave, in his place comes Trevor Bolder, known for being the bassist of David Bowie's Spiders From Mars. David Byron also leaves, indeed, to be precise, he is dismissed for his problems with alcohol and John Lawton, recommended by Roger Glover of Deep Purple and known for being the lead singer of Lucifer's Friend, takes his place. The band must align the music with the voice of the new singer, not comparable to that of David Byron, but equally excellent and very versatile and the genre is closer to melodic hard rock becoming more commercial, but Firefly is still a great job , also featuring a beautiful cover design in the gatefold version of Martin White's vinyl.

There is more lightness in Uriah Heep's music and it is heard in The Hanging Tree, introduced by the synth that gives an electronic atmosphere, then the rest of the band enters, for a melodic hard rock that will open the doors to the future AOR. John Lawton's voice is great, perfect for this new sound. It continues with "Been Away Too Long" which contributes to giving the album that nocturnal, epic and twilight atmosphere: great piece. With "Who Needs Me" we have the first weak point, in the fact it tastes like filler, with that jaunty rhythm; however a fine guitar solo and Lawton's usual flawless singing give it a certain dignity. The fourth track "Wise Man" is a melodic masterpiece where John's powerful and dynamic vocalizations sublimate in a final chopper solo. After such great beauty, the three minutes of "Do You Know" are placed, the real weak point of the album, a light rock tune. The blues ballad arrives with Rollin On, another excellent captivating and enthralling song, in which the new singer tries to highlight once again his versatility and the desire not to be just the substitute for David Byron. At the end there is Sympathy, with Box's guitar more in evidence, the sound becomes more radio and commercial, but the result is still excellent, thanks also to the desire to keep the name of Uriah Heep high. The title track, Firefly, has a touch of symphonic rock, splendid choirs and keyboard parts, guitar riffs arrive in the middle and Hammond returns and in the finale the choirs are accompanied by acoustic guitar incorporating soul influences.

In the 1997 CD reissue, there are bonus tracks, including Crime Of Passion, Wise Man's B-side, very southern rock, A Far Better Way, slow and atmospheric, a Firefly outtakes and two alternative versions by Do You Know and Wise Man. We can say that we are in front of an excellent record, certainly "Innocent victim" and "Fallen angel" will not be masterpieces but this "Firefly" goes straight to the heart.

 High and Mighty by URIAH HEEP album cover Studio Album, 1976
3.15 | 261 ratings

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High and Mighty
Uriah Heep Heavy Prog

Review by prog_traveller!!

3 stars The entry of John Wetton in Uriah Heep gave that more progressive touch to the sound of the English band, especially in High And Mighty, where the former King Crimson, in addition to signing a song, gives real lifeblood to the sound of the mellotron. But it is Ken Hensley who takes over, signing all the tracks on the album. An intrusiveness that weighs on the future of the band and Mick Box remains only an executor of Hensley's ideas, while David Byron's problems with alcohol begin to be heavy, but High And Mighty is a great album, which continues the speech left pending from Return To Fantasy. The cover is also particular, which in the vinyl version has a certain effect.

One Way Or Another is very enthralling classic hard rock, where some vocal parts are entrusted to John Wetton, but also David Byron does his part, very particular the choirs, as always and in the final they approach some parts of the musical Jesus Christ Superstar. Much closer to progressive rock is Weep In Silence, written by Ken Hensley and John Wetton, a slow ballad with a bluesy taste with the carpet organ and Mick Box's guitar that also gives emotions, as well as the always great voice of Byron. Misty Eyes is the B-side of the lead single, it originates as a haze, slowly gaining momentum after a whispered first part, quickly turning into a rock piece built on acoustic guitars. The refrain comes suddenly, breaking the rhythm, resting on the notes of the keyboards. Midnight is also a song closer to progressive rock and you hear a great work of Wetton's bass and organ, moog and mellotron also take over. Followed by Can't Keep A Good Band Down, a more aggressive and simple song, a well-played rock'n'roll and full of energy. Woman Of The World presents lighter and more light-hearted tones, with a funky rhythm, where the band launches into a soft rock song with an ironic atmosphere. The refrain is particular, Byron's high notes and falsettos convey a bit of tension, despite the lightness of the text. The evocative Footprints In The Snow feels good, a graceful dance that conveys poetry and softness. The chimes of the keyboards, the sound effects in the background, the acoustic guitar swing, everything is so calm and surreal. When the chorus arrives the rhythm advances, dragging with it, for a very rare magic. Can't Stop Singing is very strange, a tribal funky sung in chorus, especially in the chorus, which induces confidence and joy. Ironic, light, it is not striking for its beauty but for the particularity of its arrangement. Make A Little Love is a cery traditional rock blues, the most essential thing, that the band sounds great, without big pretensions, neither musical nor lyrical, but which nevertheless succeeds in its intent, that is to create a discreet piece to be enjoyed. Confession is a masterpiece, a very deep ballad full of melancholy composed of a melody impossible not to love. Voice and piano that touch the heart with their delicacy, a refrain sung in the beautiful falsetto by David Byron that smells of enchantment.

With the confessions of a man in love, an overly criticized album closes, inexplicably considered unsuccessful, when in reality it stands as yet another jewel in Uriah Heep's career.

On the 2004 CD version there are many bonus tracks, including the enthralling hard rock of Name Of The Game and the southern rock of Sundown, two outtakes left out of the original vinyl release. Then there is the extended version of Weep In Silence, the demo version of Name Of The Game, Does Anything Matter, I Close My Eyes and Take Care, all songs written by Hensley that have remained unreleased and reissued by Sanctuary Records for these remasters, some songs ended up in Ken Henlsey's solo discography and others in Uriah Heep collections. In the summer of 1976, David Byron is dismissed from the band and John Wetton also decides to leave, to temporarily join Roxy Music with which he will record the live Viva! and will go on with big projects like UK and Asia. The history of Uriah Heep will have a sharp change of course and for many years the line-up changes will be the real problem of a band that tries to play various cards to stay in the game, but not always winning cards.

 Return to Fantasy by URIAH HEEP album cover Studio Album, 1975
3.14 | 317 ratings

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Return to Fantasy
Uriah Heep Heavy Prog

Review by prog_traveller!!

4 stars 1975 is the year of changes for Uriah Heep, Gary Thain is dismissed from the band for his heroin addiction problems and John Wetton takes his place, very skilled both as a bassist and as a singer. John Wetton is now a well- known musician, already with Mogul Thrash, with Family and singer and bassist of King Crimson to whom he collaborated to give life to progressive rock masterpieces such as Lark's Tongue In Aspic, Starless And Bible Black and the spectacular Red, where he enchanted everyone with his voice on a masterpiece like Starless. But he also boasted collaborations with the solo works of Bryan Ferry and Phil Manzanera of Roxy Music. Wetton's contribution to Return To Fantasy is only executive, as all the songs were ready and played in demo versions by Gary Thain. Return To Fantasy is a beautiful album, where the classic Uriah Heep sound is joined by strong progressive and bluesy influences that coexist perfectly. The cover design by Dave Field is very beautiful and evocative, especially in the vinyl version, a woman's body, a dancer who seems to fly and wrap a very bright sun on fire. As for John Wetton, Box is enthusiastic about it because he sees in his figure an artist full of ideas and with a stable mind, capable of bringing everyone back to the right life. In short, the works for the new album materialize: Return To Fantasy, as the title suggests, is considered a return to the fantastic themes and alchemical sounds a little latent in the two previous albums.

Return To Fantasy strikes for its greatness, for a dense sound and a cosmic atmosphere that bring to mind the dancer on the cover, pushed by a lost planet in the universe. The rhythm of the piece resembles a dance in the sky, where the instruments blend together, increasing the psychedelic attitude. The keyboards lull us into a dark dimension, taking us by the hand into the inner world of every man. It is the turn for Shady Lady, an account of a good night in the company of a fatal woman. Rock n 'roll direct and with feline features, which sees dueling guitar and bass brilliantly. The prog streak re-emerges with Devil's Daughter, a delirious song in which the protagonist is attracted by the charm of the evil one, but at the same time he is afraid of it. He invokes the devil but does not want to be subdued by his daughter. The keyboards simulate a sacred ceremony, the choirs in the refrain are liturgical songs. Wetton's bass refines some very special liquid verses. But the experimental nature of the band comes in the middle stage, Hensley launches into a synth solo and Kerslake pounds like hell. Beautiful Dream is one of the hidden masterpieces of the album, and of the whole Uriah Heep production. It opens with alienating sound effects, immediately giving a progressive connotation. Pure magnificence and a dreamlike atmosphere embroidered on Byron's infernal highs. Prima Donna is a simple rock n 'roll where saxes are present. A fast, carefree song, an on the road track that proceeds fun, from a saloon, to be listened to perhaps in the company of beer and cigars. The country-blues of Your Turn To Remember is attractive and relaxed. The vocal lines are clean, serene, supported by soulful choruses that soften the whole. A good ballad that highlights the more refined side of the English band. Showdown as the single "Prima Donna", goes down direct. An essential text and a simple rhythm section. Not a memorable piece, indeed, but still pleasant to listen to. The solemn Why Did You Go is enchanting and exudes bitterness in its essentiality. The rhythm stretches out as calm as the sunrise, and it is no coincidence that the protagonist of the lyrics wakes up after a long sleep and realizes that he is alone. The vocal is surrounded by soft choruses, bells and a mystical carpet of synthesizers. A spectacular ballad, which touches the heart, with an irresistible melody. The epic A Year Or A Day is the very embodiment of the genius of Uriah Heep. In just a few minutes, all the traits that make the music of these hard rock giants magical are concentrated here. Prog and epicness for a life story of sublime beauty. The tempo changes are sudden, the melodic lines are multiple, for an unpredictable piece that is nothing more than a hymn to life and to the world, hope for a better future, for a civil society. Immense, exciting, A Year Or A Day represents the whole musical imagination of the band.

Various tracks have been added to the 2004 CD reissue, such as Shout It Out, which appeared only on the B-side of the single Prima Donna, an excellent hard rock track that would not have disfigured the LP at all. There is also The Time Will Come, this time as the B-side of the Return To Fantasy single, still an enthralling hard rock, wasted for being just a B-side. Then there are demo versions of songs like Prima Donna, Why Did You Go, Showdown and Beautiful Dream, the peculiarity is that they are the original versions with Gary Thain on bass. There is also an extended version of Return To Fantasy, two minutes longer than the version that later appeared on the LP. In the same year, New Zealand bassist Gary Thain died at just 27 from a heroin overdose and John Wetton will have the opportunity to demonstrate his potential with High And Mighty, which will be released the following year.

Thanks to Easy Livin for the artist addition. and to Quinino for the last updates

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