Uriah Heep

Uriah Heep formed in 1970 with keyboard player Ken Hensley, guitarist Mick Box, and vocalist David Byron.

Byron and Box had previously been with the Essex-based band Spice, which recorded a single for United Artists in 1968. Hensley had previously played with The Gods, who recorded two notable psychedelic albums for EMI’s Columbia label in 1969.

Inspired by heavy rock bands such as Deep Purple and Led Zeppelin, Heep signed to Gerry Bron’s Bronze organisation, which had a deal with the newly established Vertigo label.

In 1970 the band recorded their debut album, Very ‘Eavy, Very ‘Umble, which immediately gained favourable reaction from fans, if not from the critics. The album famously inspired a Rolling Stone reviewer to promise that she would “commit suicide if this group makes it”.

Various drummers were enlisted during the band’s first year of touring (shades of Spinal Tap), but following the release of 1971’s orchestrated Salisbury, Lee Kerslake was recruited as permanent skinsman.

Despite lineup changes, critical derision, and the departure of singer David Byron in the mid-70s, Uriah Heep became a major concert attraction worldwide, particularly in the USA, selling millions of records.

Uriah Heep probably pioneered the concept of the organ solo (and 6th form lads everywhere have never been the same since), although for my money, David Byron just always seemed to try too hard with all his screams and his “aaah”s.

And when they weren’t giving it the art school mega pomp, they were wallowing in naff acoustic ballads with crap lyrics. Ok, so I’m not a big fan.

My mate Tony will no doubt disagree and tell me that ver Heep helped change the shape of music (and what was wrong with the shape it was in, I ask you?).

Still, along with Black Sabbath, they probably helped pioneer Heavy Metal (except it was called Hard Rock or “Progressive” Rock back then). How progressive? Well, check out Lady in Black. It’s only got two chords all the way through!

On the positive side, the cover of 1971’s Look at Yourself (pictured at left) had a mirror on it, which probably came in dead handy for the sixth formers and art school lads to cut up some lines of go-fast before they slapped it on the album and went very, very slow.

In 1972,  the stars aligned for Uriah Heep at the fourth attempt.

Newly joined by bassist Gary Thain and drummer Lee Kerslake, and sporting an eye-catching double-gatefold Roger Dean sleeve, their Demons And Wizards LP saw them explore fantasy lyrics for the first time, with their newly honed skills as arrangers crystallising a previously half-formed artistic vision.

Drenched with Ken Hensley’s Hammond organ sounds and articulated by the flamboyant voice of David Byron, The Wizard, Rainbow Demon and the boogie shuffle of Easy Livin’ all became perennial live favourites.

The Magician’s Birthday (1972) – released a mere six months later – followed the blueprint of its illustrious predecessor, coming tantalisingly close to matching its colourful eloquence via Sunrise, Rain and a ten-minute title track that features a guitar and drum fight sequence, the latter concocted after a visit to an adjacent public house.

Six albums into their career, with the wheels in danger of coming off thanks to a mixture of alcohol and drug problems and souring inter-band relations, Uriah Heep broke with their usual recording routine to head for the supposedly haunted Chateau d’Hérouville in France for Sweet Freedom.

That the band could banish their demons to create a work of such resonance is astonishing. Despite being banned for the line “l done the rancher’s daughter”, the success of the album’s single Stealin’ allowed them to wallpaper over the growing cracks, though Gary Thain’s heroin addiction would eventually take his life.

I did quite like Free Me from the 1977 Innocent Victim LP (even though it sounded more like The Eagles), but after the disaster of the Conquest album (1980), Mick Box had his work cut out for him to keep Heep’s heart beating.

Indeed, with the band leaking members like a rusty bucket, it stopped doing so for a few days until he began piecing together a new line-up from the ashes in an emphatic and unlikely fashion.

With ex-Trapeze man Pete Goalby on vocals, Abominog (1982) ushered in an invigorated and revitalised take on the Heep sound.

The positive reaction to songs such as Too Scared To Run, That’s The Way That It Is and On The Rebound even allowed the previously unfashionable group to appear at 1982’s Monsters Of Rock festival.

David Byron 
Vocals
Ken Hensley  
Keyboards
Mick Box  
Guitar
Trevor Bolder  
Bass
Gary Thain  
Bass
Paul Newton 
Bass
Lee Kerslake  
Drums
Keith Baker  
Drums
Ian Clarke  
Drums
Alex Napier  
Drums
Loughty Amao 
Percussion
Phil Lanzon 
Keyboards
Bernie Shaw 
Vocals
Russell Gilbrook 
Drums
Mark Clarke 
Bass
John Wetton 
Bass
John Lawton 
Vocals
Chris Slade 
Drums
Peter Goalby 
Vocals 
John Sinclair 
Keyboards 
Bob Daisley 
Bass

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