URIAH HEEP

Arguably the British group's most cohesive and consistent effort, 'Demons & Wizards' was Uriah Heep's fourth overall release, showcasing the group's fondly-remembered 'classic' line-up during that great prog year of 1972 operating at pretty much the zenith of their powers. Issued in the wake of some pretty strong predecessors - 'Salisbury' and 'Look At Yourself' both spring to mind - 'Demons & Wizards' actually beat them all, shifting an impressive three million copies worldwide and turning Uriah Heep into minor rock stars. Featuring the classic line-up of Ken Hensley(vocals, keyboards, guitar), Mick Box(guitar), David Byron(vocals), Gary Thain(bass) and Lee Kerslake and the necessary Roger Dean artwork, this is undoubtedly a great album thanks to its glut of excellent tracks, though the real trick here is the Heep's insistence on exploring a fairly wide range of styles. As a result, 'Demons & Wizards' runs a razor-sharp line between anthemic AOR and organ- doused progressive rock, all the while adding dashes of folk, tinges of blue and a generous helping of fantasy- inspired mysticism. It also, like many great albums, features some serious heavy moments - by heavy I mean great - with the acoustic-strummed opening of 'The Wizard', the grinding, organ-soaked power chorus of 'Rainbow Demon' and the chundering, good-time stomp of 'Easy Livin'(a big hit in the Netherlands) just some of the classic moments that have helped make 'Demons & Wizards' one of the classic progressive albums. Virtually always found in progressive rock 'best of' lists, this is one of those rare albums in which almost every individual track shines bright. Lowlights are prevalent - the almost doomy ambience of 'Paradise' may be a bit too downbeat for some; the seven-minute closer 'The Spell' flirts aimlessly with psedo-symphonic aspirations - yet for the most 'Demons & Wizards' is the sound of an inspired and confident group. Many groups are defined by a key album; for Uriah Heep look no further than this hard rockin' power-prog set. STEFAN TURNER

Into the wild is the latest Uriah Heep album from 2011 after a gap of 3 years from previous one Wake the sleeper and to tell the truth was a very nice surprise for me, I didn't expected to be so good, even excellent in some parts. While previous album was ok, this one tops it for sure, the sound , the manner of composing, the arrangements are much better, sounding like in the glory days. We have everything here to please every true UH fan , from the intresting guitar parts from the master Box, some great hammond organ solo from Lanzon, really great voice with plenty of memorable parts, good druming, all is more then excellent, at least for me. Highlights Into the Wild , Lost or Trail of diamonds, still showing that thay are capable to compose good music after more then 40 years in bussines. I can add that this Into the wild is among their best works for sure, and really stand among their top 3 in last 20 years. Very nice work and for that 4 stars, nice cover art.

Wake the sleeper was released in 2008 after almost a decade pause of this legendary band. I'm a fan of the band and a big one, have all their albums, saw them live twice in 1992 while promoting Different world album and second in 2008 promoting this album, and was quite an experince keeping in mind that all members has good over 50 in age. Anyway this is a good album in Uriah Heep tradition , comnining hard rock elemnts with more heavy prog arrangements. The guitar is good, Mick Box is one of my fav guitarists ever and here he done no wrong, the voice of Bernie is excellent, all is well done. But, there is a but while is a good record , some passages are only usual, nothing excellent or groundbreaking, and for that this album is more only for UH fans. A good come back, ok the band was not disbanded they took a break only. 3 stars for this one, their next one Into the wild is much better, is even one of the best of the band in last 20 years. Someting to add, the legendary drumer Lee Kerslake is not present here because of some healt problems, the place is taken by Russell Gilbrook who dome a good job for sure and integrated perfectly in the UH sound. All pieces are ok, nothing more nothing less.

Caught somewhere between the past and the present, Uriah Heeps first album is somewhat of a mixed bag. There is brilliance in several pieces, like the led-heavy and supremely organ driven Gypsy to the amazing (Wake up) Set your sights with it's fine, jazzy composition. But then there are other tracks (like Lucy blues) not quite up to par. Actually that one is really boring blues.

Uriah Heep stands somewhere between Deep Purple and Black Sabbath on this one. Utterly heavy at times, truly proggy in other and always with a dominance of keyboards, especially organ. I think Uriah Heep ought to be more acknowledged than they are. True, they are not as brilliant as Sabbath, Purple or Zeppelin but they do possess their own sound and trademark. When they are brilliant they are divine. This, their first album, is quite a good way to start exploring Heep.

I like most of Uriah Heep's stuff up until this album. The title suggests a revisiting of old glories but it's a lie. John Wetton joins the group but none of his Crimson influence carries over. To be honest i have tried to get through this album many times and I just can't. Just bland song after bland song. It's too bad. This band showed a lot of promise early on in their career but their management steered them away from their strengths and then the ideas dried up. From this point on, all of their records are spotty and they became a second or third rate act.

I always thought Uriah Heep could have been one of the great prog rock bands. According to many things I have read about them, their management steered them towards more accessible hard rock and let Ken Hensley dominate the songwriting. Much of their early stuff hinted at great prog rock such as "Wake Up, Set Your Sights", "The Park", "Salisbury" and Shadows of the Grief" among others. To many people, this is their quintessential album. I think its good but a step back from the three previous albums.

"The Magicians Birthday" is a great title and the Roger Dean artwork is excellent. It is just that most of the music doesn't match the proggy title or cover. This is their second album with their "classic" line-up and they implement a lighter approach with mixed results.

"Sunrise starts of the album with a bang. One of their best songs. 100% of it's time?a total '70's anthem. A perfect mixture of early 70's metal and art rock.

"Spider Woman" is a bland rock song with corny lyrics that did not age well at all. Decent slide guitar though.

"Blind Eye" is a good song that is acoustically driven with nice lead guitar harmonies that could have influenced Thin Lizzy and Iron Maiden.

"Echoes In The Dark" another highlight on the album with a cool theremin sound creating an eerie effect.

"Rain" I think this is a terrible song. It sounds like a band trying to do a ballad that doesn't really know how. David Byron's voice doesn't suit it and the lyrics are lame.

"Sweet Lorraine" is a straight forward rock song with some annoying synthesizer sounds that have aged badly and ultimately ruin the song. Take away the keyboards and you have yourself a decent song.

"Tales" is another acoustical guitar driven song with a really cool delaying effect on the slide guitar. Great song with nice mellow mood.

"The Magicians Birthday" Don't let the length of this song fool you, It's not really prog. It is more of a long hard rock song with prog leanings. It has the multi parts, some synth effects and a wild hard rocking extended guitar solo with some excellent drums behind it. It's a good tune. I just feel like it wasn't the big song that the earlier albums hinted towards.

I'm rating Salisbury as "Essential" because of the title track, period. The bass guitar & keyboard work is beyond awesome. That one song is to the rest of the album as the Sun is to the solar system. Anybody who wants to introduce a Black Sabbath fan to prog addiction only needs to play "Salisbury" once. It's like hearing Jethro Tull's "Thick As A Brick" in its capacity to grab and captivate you and leave you thirsty for much, much more prog music. Next song I would recommend from Uriah Heep is "Sunrise" from "The Magician's Birthday" which is an "Excellent addition".

Uriah Heep i don't know why i choosed this album as my first Uriah Heep album reviewed here ... as i own all their 70s albums for years... ant that's not my favourite of course...

Now the cover...It's one of the most ridiculous creepy hard rock badtasty cover released around that time (November 1977) ... i'm nearly sure that...if you put this picture in front of a 1year old baby... he will hesitate for a second...then ultimately say... "gaga" and smile and want to catch the cover and play with it !

Fellow popular 70s hard rockers Nazareth released "Expect No Mercy" at the same time, that same month...November 1977... and that cover is much more serious, convincin' and muscular... If the Uriah Heep album is slightly more prog-oriented , the Nazareth effort is slightly superior... i've not a doubt about it... (plenty of good to great records are not in progarchives...but that's another chapter)

But hopefully this album ain't as ridiculous as the cover... and the opening song is really one of the very best here... The bassplayer on "Keep On Riding" is more than alive and funky here... the song is not prog and not revolutionary but we can feel their true motivation to rock & groove ... their stone roll on this one... the bridge in the middle of the song is welcomed and gives some air and space to the song...

"Flyin' High" is just traditional rock ...it's not always a problem for me... i m not a die-hard progger ...i like many other musical styles as much... but here it's just beyond my possibilities... it brings nothing new to the table ...not even some extra spice ... it even irritates me ...that's possibly the real low of the record

On "Roller" they're back on decent form... it's slightly more prog and the intro guitar could have been interested some NewWaveofBritishHeavyMetal musicians at the right end of the 70s...

On "Free'n Easy" it's a rather weird mixture...like to drink chocolate milk with a cucumber&pumpkin soup.... bad idea... they play it at an unconvincin' speed at first (but not as good as early Motorhead of course) ...then the refrein comes and it's just borin' boogie...

On the + side, I should admit that the end of the song is more convincin' + Iron Maiden could have take notice of the speed guitar section... who knows ?

"Illusion" is the real pearl of the album, the only song deserving Five Stars... it had it all... psychedelic, so prog, delightful guitars, good backing vocals/ vocals... Box at his atmospheric guitar, one of his best solo ever , and Hensley is inventive here...

Some will say that it sound too dated... but i don't care about that...people should watch beyond their nose... what is new is not better just because it's fresh & new... people who thinks that way lacks perspective and are living in a 2 dimensional world... they are not running after Art ... they're running after what is Hype now... as if the present can be catched in a cage... that is a lost cause of course.

Now Side B

"Free Me" ... it's such a sweet song... with some kind of blues hidden in the so soulful heart of the song ... but well honestly i'm not a massive fan of this one... because it's just too "middle of the road" for my taste... it's really what was on the radio in the mid 70s... and it's that kind of tunes that drives crazy the (future) punks... this is what they hated the most i guess... Still this song and the band deserve their success in Northern and Central Europe , it's well played and very professionnal...

"Cheat'n Lie" the guitar sound is interesting...i'm not sure if it's a dear 12 strings guitar.... but once again the refrein is not essential stuff, a refrein that could be in a Rolling Stone mid 70s b-side at best... the guitar solo is a good one here... and with at the right end the Castred Hippie Queens at the backing vocals...that's rather funny

I'm sure many proggers here dig the intro of "The Dance"... it's really good... but of course things won't really last ...the rest of the song take a slightly funkier direction and with a subtile pink floydian atmosphere ...it still acceptable... Hensley is inspired all thru the song... and it's rather an old school hensley... It's good to hear (xpt the "eardamaging" bridge around 3min.) ...the outro is like the intro ....so it's alright even if John Lawton vocal performance could have been better at the end...

The last song "Choices" start good with a burnin' guitar... but i'm not really into the rest of the song... a respectable burnin' performance but not much more... it lacks a memorable refrein among other things

By the way some songs here reminds me David Coverdale vocals style ... he was one of the 4 singers to pass an audition after Byron was fired... Coverdale & Uriah Heep it was potentially interesting...to say the least...

Ok this album imo really deserve a 2.5/5 mark...it's really average but as we cannot put half point so... i put a 3 stars ... maybe that if Hensley was less dictatorial the result could have been slightly better ... hehehe... but we will never know.

It's often the case with albums that have a sidelong epic that the shorter tracks simply can't stand up. In such cases, I often find myself skipping tracks to get to the epic, or, if the epic comes first, just turning off the album after it's over. It's for precisely this reason that I have trouble even remembering the names of the tracks on the back half of ELP's Tarkus despite having the titular epic completely memorized, and why I so often struggle to remember what "Can-Utility and the Coastliners" sounds like when I could probably transcribe the lyrics to "Supper's Ready" offhand. It's simply very hard for a band to create a selection of shorter tracks that can adequately balance the grandiosity that often comes standard in the longer tracks of classic prog.

With that said, I hope I can accurately convey the level of admiration I have for the construction of Uriah Heep's Salisbury. If you've ever heard the incredibly grandiose title track than you know it's an absolute monster, but the five tracks that accompany it are collectively so good that I never find myself anxious to skip through them. In fact, whenever I listen to this album from front to back, I enjoy myself so much through the shorter tracks that I often forget the massive title track even exists until it starts.

"Bird of Prey," for example, is the kind of track that would be the best song on any album but this one. It has one of the most driving riffs I've ever heard, and David Byron's vocal delivery, while perhaps not technically perfect, sounds absolutely amazing. The album certainly doesn't fall off at all from this very high starting point, either; "The Park" foreshadows the acoustic, falsetto, ethereal style that would show up on Zeppelin's "The Battle of Evermore" only 8 months later, and "Time to Live" comes very close to matching the pounding intensity of "Bird of Prey." With another fantastic vocal delivery from Byron and some stunning guitar solos, it may be a little less subtle than either of the previous tracks but it rocks more than hard enough to make up for it. "Lady In Black" continues on with a fantastic western twang, jangly guitars wonderfully complementing more laid back but still intense vocals, and "High Priestess" is another galloping rocker with some excellent bass playing and an eccentric repeating guitar motif that pulls attention from the admittedly slightly cheesy lyrics.

The album could, in my opinion, end there and still be a 4 star (if very short) effort. But no. The band isn't just content to make some of the most consistently excellent rock of the early 70s, they have to push it to the next level. For the sake of all of us who are listening 40 years later, I'm extremely glad they did. "Salisbury," in my book, deserves to be mentioned along with all the big-name epics. While it might not reach the compositional perfection of "Supper's Ready" or the virtuosic playing of "Karn Evil 9," it's much tighter than the latter and rocks considerably harder than the former, and the result is one heck of a track. Featuring grand horn fanfares that only add and never distract, as well as soaring vocal melodies and killer solos, it's a masterpiece of proggy hard rock and just a killer piece all around.

I had never listened to Uriah Heep prior to hearing this album, but I've been obsessing over it since I first heard it about a month ago. I don't know if the band suspected or suspects that their 1971 album would have the staying power to be heard by twenty-somethings in 2012, but they made a masterpiece then and I'm here to say that it's just as good now. Killer stuff.

5/5

Though undeniably a pleasant listen, Uriah Heep's The Magician's Birthday doesn't quite measure up to the high standards of the run of albums leading up to it. The soaring, fantastic atmosphere of Demons and Wizards is more or less present once again, which saves the album from mediocrity, but the album doesn't really have any standout songs - something every Heep album from Salisbury to Demons and Wizards offered in spades. Simply put, I could listen intently to the album and then an hour later I couldn't remember what most of the songs sound like aside from Sweet Lorraine - something which certainly isn't true of Salisbury or Demons and Wizards. Worth it if you were bowled over by Demons and Wizards, but The Magician's Birthday marks the waning of Heep's classic period in my view.