Uriah Heep - Demons & Wizards (1972) + Bonus Tracks

(U.K 1969 - Present)

Few groups have minted as much critical derision as Uriah Heep. This veteran British band's style includes elements of progressive rock, jazz, and even country but their essential nature was perfectly summed up by the UK title of their debut album. 'Very 'Eavy, Very 'umble' (1970). The album was eponymous in the United States, where it led Rolling Stone's Mellissa Mills to famous pronounce, "If this group makes it I'll have to commit suicide." Other writers have decided Uriah Heep as "The worst music I've ever heard in my life" and likened them to a foul odor.

Nonetheless, Heep - named after a character in Charles Dickens' David Copperfield - did indeed make it particularly with album 'Demons And Wizards', released in May 1972 and considered their masterpiece by those whose nostrils aren't so sensitive. 'Innocent Victim' came out in 1977, a period that saw the band temper their indulgences and even nod toward pop - which didn't stop another journo opining, "I've always loathed them and thought... Innocent Victim... was the nadir of a worthless career."

Since relegated to cult status in America and Britain, the band remain popular in Europe, Japan, and even Russia, where stadium shows are a regular proposition. All the discouraging words and innumerable line-up changes - guitarist Mick Box has been the only ever-present - haven't hobbled a band whose continued existence perhaps owes a debt to that shopworn saying, "Bad publicity beats none at all."
(by Ralph Heibutzki from 'Defining Moments in Music', Cassell Illustrated Publishers, 2007 p423)

Ken Hensley Speaks about Demons And Wizards

I know I have said this before, but this is still one of my favourite albums and when people ask me that terrible question..."Which is your favourite Heep record?" I have to name it...along with a bunch of others, of course. Like most of the records I did with Heep, I can remember details of the sessions very clearly, such as David and I doing the choir parts for "Paradise/The Spell", spending hours and hours in a little booth in the studio while Gerry and Peter recorded, sub-mixed and re-recorded the parts.

 

It was always long, hard work, but the end result made it all worthwhile I think. I also remember not being told that the photographer was coming to shoot the inside shots which is why I have that feeble attempt at a beard in some of them, but let's not mention that. I still think it's the best of Roger's many great covers, but what I like about this record more than anything else is that itnall "fits"...if you know what I mean!! This was definitely a milestone in the band's musical history and it's nice to have a new slant and a fresh slant on it like this. Hope you enjoy it...again !
(Ken Hensley - February 2003)

Mick Box Speaks about Demons And Wizards

This was a really important album for us, as it really did put us on the world stage. It has since taken us to over 47 countries and with songs like Easy Livin', written by Ken, it made a huge impact and is requested everywhere we have travelled since its release. This album was our first visit into the world of fantasy lyrics and this seemed to capture everyone's imagination. 

Along with the Roger Dean inspired artwork, we felt for the first time we really had the total package, with the music and artwork totally in synch. We felt on completion of this album a lot of excitement and that things were going to explode for us in a big way; this proved to be correct as we constantly toured places we had previously only dreamed of. This re-mastered CD version is a must for fans old and new and I am still very proud of it. (Mick Box, on tour in Germany, 23.09.95)

Regarded By Most As The Glittering Jewel

All these years later, the reasons why Demons And wizards became such an important and influential record are totally unmistakable - just play the bloody thing. Besides enhancing their growing status in the United States, songs like "The Wizard" and "Easy Livin", also turned Heep into superstars around the globe, including the UK where it spent 11 weeks, peaking at No.20.

Demons And Wizards was once again produced by Gerry Bron, whose growing importance within the Heep camp was mirroring the group's own fortunes. However, it also caused problems with their de facto manager, Paul Newton Senior. The bassist's father had worked long and hard on the fledgling act's behalf. It was Newton who'd invited Bron to check out his young charges at the Blues Loft in High Wycombe, though Bronze Records were only just beginning to see a financial return for their costly investment in studio time.

In Uriah Heep's crown, 'Demons And Wizards' was originally released back in May 1972. The quintet's fourth album transpired to be the cornerstone of their most commercially successful era, bringing them more Gold discs and maintaining the swift upward surge that had begun just seven months earlier with 'Look At yourself'.

The fall-out eventually cost both Newtons their roles in the band, and by the time that keyboard player/guitarist Ken Hensley, frontman David Byron and guitarist Mick Box returned to London's Lansdowne Studios for the Demons And Wizards sessions - their very first l6-track recordings - three further personnel changes had taken place.

The role of bassist briefly fell to Mark Clarke, though within just three months the ex- Colosseum/Tempest man had willingly stepped aside to accommodate New Zealand-born Gary Thain (see right). Clarke knew he was unsuited to Heep's non-stop workload - he later realised that he was on the verge of a nervous breakdown - though he sportingly agreed to stay on and teach former Keef Hartley four-stringer Thain the ropes during a US tour. Before he took his leave, Mark also had the honour of co-writing and singing a section of arguably the band's finest song, 'The Wizard', which was recorded as a single prior to the album.

"That one was written in the back of a van on our way to a gig," relates Box. "Kenny [Hensley] had his acoustic guitar out and we started playing around. Mark had an idea for the middle-eight. So he and Kenny went to the studio the next day and knocked down the riff, and it slotted in perfectly.

"Starting a song with an acoustic guitar was quite something in those days," Mick continues, before revealing another fascinating secret. "We had the studio door open, which led into the kitchen. While we were listening to the playback, this old fashioned kettle with a whistle went off. ln those days of peace and love, man, we thought the whistle sounded right with the track. So we recorded it and tracked it about six times, then varispeeded it to the right pitch. Not many people know that the high pitched note that sounds like a string note is actually the whistle of a kettle!"
Adds Clarke: "l'm also singing the part that goes, 'Why don't we listen to the voices in our hearts?' Dave Byron said, 'Does it have to be so high?' so Gerry Bron said, 'Why don't you sing it?' And that's what I did."

Once ensconced in the Heep ranks, Gary Thain proved to be a valuable new recruit. The likeable Kiwi could write good songs and his wandering bass lines added to the group's already enviable levels of musicianship, which were further enhanced still by the arrival of Lee Kerslake (see left). 

Due to his loyalty to The National Head Band, the band's latest drummer had turned down previous overtures to join Heep. However, Lee knew Hensley (and Pau! Newton) via their shared days in The Gods, and from the moment Kerslake met the rest of the band at Jubilee Studios in November of 1971, he immediately became part of the furniture.
"Lee joining really steadied the ship musically," comments Box. "At last we were getting the right kind of people in."

The Album Cover

The album's fantasy-based sleeve was equally inspirational. Breaking with tradition, artist Roger Dean, who'd previously worked with Yes and Osibisa, was invited to hear Heep's new music before submitting his original gatefold illustration. lndeed, Hensley recently claimed that what Dean eventually delivered scarily matched a scene from a recurring dream he'd been experiencing at the time. "It wouldn't go away until one day I decided to write it down - after which I never had the dream again," he said.

'Demons And Wizards' was an odd cover for me because it was primarily painted with elements of collage, says Dean now. "The butterfly wings on the wizard are real butterfly wings. l'm still rather proud of it."

The Album

'Easy Livin", the album's second single, failed to trouble the British charts, though it turned out to be a monster hit in Holland, Germany and Scandinavia. Box recalls the track's legendary power- shuffle taking on a life of its own after "a pint or two" had been consumed in an adjacent public house, and it remains in Heep's live set to the present day, as well as a perennial highlight of Hensley's solo performances. In recent years, Demons And Wizards tracks like, "Circle Of Hands", "Rainbow Demon" and the "Paradise"/"The Spell" medley have all found their way back into the Heep repertoire, confirming the disc's profound and lasting appeal.

"The band was really focused," Hensley later remarked of the era. "We all wanted the same thing, we were all willing to make the same sacrifices to achieve it, and we were all very committed."

Heep had at last found a settled and fully motivated line-up, but they were rightly unhappy at being forced to rush their next album, 'The Magician's Birthday', into the shops just six months later. Indeed, as fruitful as the 'Demons And Wizards' sessions turned out to be, the busy days and nights spent at Lansdowne Studios in March and April of '72 weren't always what you'd call stress-free. If Uriah Heep had been an iceberg, then drug usage, alcohol dependence and inter-band squabbles
were busy eating away at them beneath the water's surface. Furthermore, their highly crucial relationship with Gerry Bron was turning sour.

"He never pooh-poohed any of our ideas [in the studio] at first, but later on he wasn't quite so good in that regard." Mick Box told me years later. "As instrumental as Gerry Bron was in building up Uriah Heep, he was equally guilty in bringing it down"
(Dave Ling writes for classic Rock magazine and is the author of the Uriah Heep book wizards)

Bonus Tracks

10. WHY (Box/Byron/Hensley /Nemon) (10:34) - previously unreleased extended '72'version, EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

A version of Why was recorded during the Look At Yourself sessions a year prior to this recording although that version had remained unreleased until 1993. Why had appeared as a B-side in 1972 in a number of countries and this was edited from a version recorded during the Demons And Wizards sessions. The full-blown track was unearthed in 1991 and several versions were mixed down. This extended version is probably the most exciting of the lot. There has been much debate as to whether this is Gary Thain! or Mark Clarke's stunning bass featured on this vastly underrated track. Laced with Mick fantastic guitar work (some of the best I have ever heard him do) and Ken's Hammond and Lee Kerslake's riveting drumming make this one of the best Heep tracks ever. The build up and climax to the ending is just pure seventies Heep. Stunning stuff, and it needs to be heard to be believed. This is a track that still knocks my socks off every time I listen to it! Play it for your
neighbours!

11.  RAINBOW DEMON (Hensley) (3:36) - previously unreleased single edit. EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

If this had ever been released as a single it would have made for interesting listening especially if it had ever got to 'Top of the Pops'.

12.  PROUD WORDS ON A DUSTY SHELF (Hensley) (2:51) - Demons And Wizards out-take. EMI Music Publishing Ltd. 1995 Sanctuary Records Group Ltd.
Unearthed and mixed in 1991 this version of Prouds Words On A Dusty Shelf (or as Mick Box and Co. jokingly call it: 'Brown Turds On A Rusty Elf) was included previously on the 'Time O{ Revelation' box set. Several versions were recorded during the Demons and Wizards sessions but it was eventually Ken Hensley's debut solo project.

13. HOME AGAIN TO YOU (copyright control) (5:36) previously unreleased version. EMI Music Publishing Ltd. 1995 Sanctuary Records Group Ltd.

Also located in 1991, several versions of this track existed on multi-track which does give some indication that the band were attempting to 'make it work'. A version of the track first appeared on the DW re-master from 1995.

14. GREEN EYE (copyright control) (3:46) - previously unreleased demo. EMI Music Publishing Ltd. 2003 Sanctuary Records Group Ltd.

Clearly only a demo that was recorded during the Demons And Wizards sessions, this track is certainly 'a heavy little Hammond number'. It is surprising this was not re-recorded at a later date, however it appears to have been forgotten. Although mixed in 1991, I then too forgot about it until Jeff Perkins who is currently writing a book on the life and times of David Byron visited me at home. He had requested to hear a few of the rare gems that we have tucked away that are still unreleased (yes, there are still a few more). Beer in hand (waving wildly, but not spilling the beer) he excitedly convinced me to include it on this remaster.

This post consists of FLACs ripped from my CD and includes album artwork for both vinyl and CD media, plus label scans.  Having been collecting records for 50+ years, there are a handful of albums that I consider to be exceptional in my collection. 'Demons and Wizards' is one of them.  

My older brother first introduced me to Uriah Heep when he would play his copy of  Very 'Eavy, Very 'umble from his adjacent bedroom on a daily basis - I was 14 at the time. I was immediately mesmerized by the sounds I heard and eventually bought the album off him when he finally grew tired of it. I also acquired 'Look At Yourself' from him, but I still wanted more. So I visited my local K-Mart and luckily stumbled upon their latest release 'Demons and Wizards'.  The Roger Dean album cover was a huge draw card and made the $5.99 purchase price even more attractive.  Needless to say, I was 'blown away' by the sounds I heard when I first played the album. I literately played the album to death for the next 6 months until I discovered that the Heep had released a follow up album entitled 'The Magican's Birthday'. 

Of course, this was the start of my life long relationship with Uriah Heep and I have acquired all of their vinyl releases to date. 

I have decided to post a CD rip this time as my vinyl is somewhat tired and worn, and I want to ensure that you get a high quality recording. The bonus tracks have come from the expanded CD edition of the album, which was released 20 years ago. If you haven't heard this album before, then don't wait a second longer - download a copy and listen to this brilliant / ground breaking album. You won't be disappointed. 

Track Listing:

01 The Wizard 3:00

02 Traveller In Time 3:25

03 Easy Livin' 2:37

04 Poet's Justice 4:15

05 Circle Of Hands 6:25

06 Rainbow Demon 4:25

07 All My Life 2:44

08 Paradise 5:10

09 The Spell 7:31

Bonus Tracks:

10 Why (Previously Unreleased Extended Version) 10:34

11 Rainbow Demon (Previously Unreleased Single Edit) 3:36

12 Proud Words On A Dusty Shelf (Out-Take) 2:51

13 Home Again To You (Demo - Previously Unreleased Version) 5:36

14 Green Eye (Demo - Previously Unreleased) 3:46

Uriah Heep were:

Vocals – David Byron

Bass – Gary Thain

Guitar – Mick Box

Keyboards, Guitar, Percussion – Ken Hensley

Drums, Percussion – Lee Kerslake

Demons and Wizards Link (480Mb)

Alternative Link (480Mb)

Uriah Heep - Wonderworld (1974) plus Bonus Tracks

(U.K 1969 - Present)

Since the June 1970 release of their debut album Very 'Eavy, Very 'Umble, Uriah Heep had been on a treadmill. Less than half a decade later, the UK-based hard rock band already had no less than six studio albums and a million-selling double concert set to their name. ln January 1974, just four months after the release of previous offering Sweet Freedom, they were about to commence their seventh full-length album.

The collection of songs that became Wonderworld was once again recorded by the same grouping of vocalist David Byron, guitarist Mick Box, keyboard player/guitarist Ken Hensley, bassist Gary Thain and drummer Lee Kerslake that had worked upon their last three studio records. Little did anybody know at the time but it would be the last album to feature Thain, who would tragically die of a heroin overdose.

From the most modest of beginnings, Uriah Heep had worked hard to build up a considerable empire. To outside observers their organisation looked distinctly palatial, but beneath the surface its foundations were becoming increasingly rotten. The performers were remaining consistent, and producer/manager/Bronze Records boss Gerry Bron was once again manning the production helm.

L - R: Thain, Hensley, Bryon, Kerslake, Box

This time, however, there were more arguments than ever before. Byron and Hensley were locked in a feud, each seemingly jealous of the attention that the other was receiving. Exasperated at the amount of time spent waiting around, David was drinking more and more Chivas Regal whiskey, while Ken's cocaine addiction had begun to spiral out of control.

"David was difficult at the best of times. He was always creating these impossible situations, but Ken was no angel either," revealed Bron. "Those facts were more apparent than ever on the Wonderworld album."

For tax purposes, the band had begun recording outside of the UK. The Sweet Freedom album had been cut at the Chateau d'Herouville near Paris. While they had come away with more than satisfactory results, the studio's facilities had not exactly been all that the band had hoped for. This time they went to Musicland in Munich, a famed facility owned by disco legend Giorgio Moroder that had previously been used by Ritchie Blackmore's Rainbow, the Rolling stones and the Electric Light orchestra among many others. This time the studio, in which Led Zeppelin would record their Presence album the following year, wasn't the problem; instead it was the group's personal demons that intervened.

"The whole thing was a bloody nightmare, Mick Box recalled years later. "Ken spent most of the time in his room crying and David was just on this unbelievable bender. one of my most vivid memories was tryin' to get him across a dual carriageway that separated the studio from the hotel. Cars were just whizzing by, but all David could think about was not spilling the champagne cocktails he was carrying in each hand. When we got there, Ken was nowhere to be found and I spent most days like that.

Trying to hold it all together was almost impossible. Hensley had a role in all but one of the original album's nine tracks, composing three of them on his own. The keyboard player's dominance continued to ruffle feathers in the group, some of their personnel feeling that Gerry Bron was guilty of favouritism. Yet although he was increasingly drug-impeded, Ken could still write quality material. Years later, however, Mick Box still feels strongly that he and the other members of Heep were not afforded the respect that their own contributions were due.

"Our strength at the time was that we could make anything sound great," the guitarist told me in late 2000. "Ken could bring in a bare-boned idea on acoustic guitar, we'd give it the Heep treatment and it'd take on a life of its own. We felt indestructible. It's something that we still say today; give us a stage to perform on and nobody can beat us.

Due to their manifold problems, Wonderworld wasn't one of Uriah Heep's all-time greatest albums. Which isn't to say that it didn't boast moments of out standing quality such as "Wonderworld", "So Tired", "The Easy Road" and "Something Or Nothing".

"We were still capable of producing great music, but the great songs were becoming fewer and farther between," acknowledged Ken, adding: " I don't know if Wonderworld was ahead of its time, but it had some very interesting possibilities and proved that we could still experiment. I like parts of that record.

Circumstances were certainly difficult and there were a whole range of demons that we were wrestling with. We suffered from burnout, perhaps without realizing it.

Certainly, it was hard to keep the creative flow going when the demand was so intense."

"We should have taken some time off," agrees Box.

"We were pushed to the hilt and when things are moving at breakneck speed you start looking for other areas of recreation. We were experiencing more in just one month than some find in a lifetime. I honestly believe that's why some of the band are no longer here."

The Wonderworld album was released in June 1974.

Its artwork was certainly unique, though neither Hensley nor Box can recall whose brainwave it was to cake the band in cement and stand them as statues on plinths. Mick is also the only one posing shirtless, having supplied just a pair of jeans to be concreted up. "The idea was a pretty good one", Mick told me late last year. " But they could have chosen a better shot of Lee, who looks so gnome-like you'd expect to find him at the end of my garden."

Hensley disagreed, stating: "I thought it was weird then, and I hate it now. The absolute end for me was arriving in Los Angeles and on the way to the Riot House, the infamous Hyatt Hotel on Sunset Boulevard, we passed a giant billboard of that cover - uggghhhh!"

It was at a concert in Dallas on the same 1974 tour of America - during which they were being supported by Aerosmith - that Heep experienced a nastier surprise altogether. Thain received a nasty electric shock that left him unconscious. Gary later recalled: "David rushed over and pulled the bass from my hands. At first he thought I was dead because I wasn't breathing and I was lying there stiff as a board."

Thain's body was already ravaged by heroin usage, and he was becoming troublesome, sometimes refusing to attend photo-sessions or soundchecks. To allow Heep to continue touring, he was removed from the line-up and replaced with former Family/King Crimson/Roxy Music (and future Asia) bassist John Wetton. On 8th December 1975, Gary was found dead in his south London home.

"We were pushed back out there for the almighty dollar," reflected Mick Box many years afterwards. Even after Thain's passing, the penny still didn't drop with Ken Hensley. " On the day I found out about him I went out and did cocaine," he later admitted. " I thank God for destroying that addiction."

[Interview with Uriah Heep by Dave Ling: writer for Classic Rock magazine and the author of the Uriah Heep book 'Wizards And Demons']

Bonus Tracks

Today, both Mick Box and Ken Hensley feel that recording away from their home turf of England was contrary to the well being of the band. The album was released originally containing nine tracks (out of twelve tracks actually committed to tape while recording at Musicland). One of the extra tracks, "What Can I Do?" was set aside as the B-Side for the "Something or Nothing" single which was released just prior to the album release.

Two other studio tracks, "Love, Hate And Fear" and "Stone's Throw" were to rest in the vaults untouched and unmixed for inclusion on the bands penultimate box set 'Time Revelation'.

This post is the full 'Wonderworld album' in its original running order. Extra tracks included are "What Can I Do" (B-Side), a previously unreleased version of "Dreams" from the 'Wonderworld' sessions and two previously unreleased live versions of "The Easy Road" and "Something or Nothing" (both recorded live at Shepperton Film Studios in 1974). Both of these live versions were mixed for the first time in 1995. These live recordings were the last known live recordings that exist with Gary Thain playing bass. He later died of a drug overdose in December, 1974 - he was only 27 years old.

Although Wonderworld may not have been the best album Uriah Heep recorded it does contain some truly excellent moments. My personal favourites are the LP's title track, "Suicidal Man" and "Dreams". It was a shame that this classic line-up didn't last. But fame and fortune were beginning to take its' toll.

With John Wetton now in place, Uriah Heep rapidly commenced work on their next album entitled 'Return To Fantasy' which was released in November 1975 and went on to become their biggest selling album to date, reaching number seven in the charts. If I get time, I will try to post this album as well but not before I post their classic 'Demons And Wizards', so stay tuned folks.

This post consists of FLACs ripped from CD and includes full album artwork for both vinyl and CD. Label scans and all featured photos are included.

Tracklist:

 01 - Wonderworld

 02 - Suicidal Man

 03 - The Shadows And The wind

 04 - So Tired

 05 - The Easy Road

 06 - Something Or Nothing

 07 - I Won't Mind

 08 - We Got We

 09 - Dreams

10 - What Can I Do (B-Side To Single) [Bonus]

11 - Dreams (Previously Unreleased version) [Bonus]

12 - Something Or Nothing (Live/Previously Unreleased version) [Bonus]

13 - The Easy Road (Live/Previously Unreleased version) [Bonus]

Uriah Heep is:

David Byron ................... Vocals

Mick Box ........................Guitars

Lee Kerslake ....................Drums

Ken Hensley .....................Keyboards

Gary Thain ................................. Bass

Wonderworld Link (365Mb)

Uriah Heep - Innocent Victim (1977) plus Bonus Tracks

(UK 1969 - Present)

Almost a year had elapsed since Uriah Heep and their newly appointed singer John Lawton (from Lucifer's Friend) decamped to north London's Roadhouse studios to create their tenth album called Firefly. The album was flagged for release in the following February after which the band flew to the States to support Kiss, and also headlined the Reading Festival back home in the U.K

In the shape of the ballad 'Wise Man', Firefly had given the British five piece - completed by guitarist Mick Box, keyboard player/guitarist/singer Ken Hensley, drummer Lee Kerslake and newly arrived bassist Trevor Bolder (formerly of David Bowie's Spiders From Mars) - a rare hit single in the UK. Given their inconsistency during the latter years spent with David Byron at the microphone, it was a far from below-par album from Uriah Heep. Consequently, many of their fans (including me) were however reluctantly prepared to accept the band's decision to move on with Lawton.

European & UK Cover

However, the punk rock revolution was in full swing, and in popularity terms the group still found themselves reeling on the ropes as a consequence of Byron's absence. Firefly failed to chart well, and while many acts might have taken a contemplative break, or at least paused to lick their wounds, the quintet were about to begin their second of 1977.

The lineup remained the same for Innocent Victim, their eleventh studio release, as did the choice of recording studio (the Roadhouse again) and the man in the producer's chair - long serving manager Bronze Records label boss Gerry Bron. This time however, Hensley received a co-credit for his involvement.

The possessor of a fine, bluesy voice, Lawton undoubtedly grew in confidence on his second album with Uriah Heep. Having joined them just three weeks before commencing his share of the recording of Firefly, John's involvement was always going to be peripheral. This time, he co-wrote the impressive "Free 'N' Easy" with Box. The other 'new boy'. Trevor Bolder, also chipped in with a shared by-line of his own on "Roller".

Uriah Heep 1977

Hensley was far less prolific than usual, being involved with just four of the original album's nine tracks. More so than ever, the band's work bore the stamp of Jack Williams, the American tunesmith who'd cut his teeth working for a publishing company owned by The Who's Pete Townsend and Roger Daltrey, before accepting Ken's invitation to relocate to England and work for Hensley's own outlet of the era, Humble Tunes. Williams brought the band three songs; "Keep On Ridin' " (Penned in tandem with Hensley), plus "The Dance" and "Choices". Puzzlingly, one of the finest Lawton-era recordings - "The River" - failed to make the final listing (though it is added here as a bonus track).

With hindsight, Innocent Victim is a more varied and sophisticated effort than Firefly, though none but the least objective devotee could have claimed it was as good. [I must be that least objective devotee - I think it is fare better!]

To some, its combination of rock numbers and slick, scarf-waving ballads like "Illusion" represented an attempt to tap into the lucrative US stadium rock market - not what they believed an act as 'eavy and 'umble as Heep should have been doing.

Once again, the band failed to dent the UK chart, though the album was an enormous success throughout the rest of Europe - even racking up their biggest ever sales in German. Its ability to shift a million copies there was largely attributable to the crossover success of another 7" triumph.

As the Roundhouse recording sessions neared completion, Hensley had walked in one day with the song concerned. "Free Me" was laid down in two days flat. Mick Box commented many years later: "It was instant. There was no extended writing or rehearsal period - it just emerged. And everybody was very excited about it".

It sounded like a hit from the minute we heard the demo" agreed Gerry Bryon afterwards. "And it certainly did a lot to put the band back on the right track commercially. In Germany we were soon back playing venues which were as big if not bigger than anything we had played previously". "Free Me" later also topped the singles chart in New Zealand and also received good airplay here in Australia.

But there was also a flipside to this success. However many new doors "Free Me" opened for the band, it also slammed others firmly in their faces. Heep had worked hard to earn themselves a reputation as a tuneful, powerful rock band. Yet newcomers seduced by the single baulked at the rest of the record's hard rock repertoire, and many who'd grown up with Heep felt alienated by this new, more lightweight direction. The band had unwittingly made a rod for their own backs.

Innocent Victim certainly spelled the beginning of the end for John Lawton, who has belatedly concurred that the album wasn't all it could've been. As a singer observes: "There are some good numbers on there, but it wasn't consistent enough. And then, out of the blue, there was the hit single "Free Me". It turned out to be Heep's biggest single ever in Europe. It went straight to No #1 in Germany and stayed there for about five weeks.

"And it had nothing to do with what Heep were doing before that; it was a straightforward pop song". expands Lawton. "Consequently this was seen as the way to go. And after that we started to write weird pop songs. That just wasn't me, I can't write pop songs to save my life. For me, "Free 'N' Easy" was what it was all about - blood and guts".

Differences over the band's direction would ultimately inflame an unfortunate rift between John and Ken, just as the keyboard maestro had fallen out with David Byron. Hensley's frustration was stoked by Bronze's insistence that Heep deliver yet more songs in the vein of 'Easy Livin' ("Free 'N' Easy" being a mild example of the phenomenon). He also didn't look too favourably upon the presence of Lawton's wife Iris on tour, finding it intrusive.

When it surfaced in November 1977, Innocent Victim elicited a mild disinterest from the press. The opinion of Classic Rock reviewer - Geoff Barton - who'd crossed swords with Heep on many occasions in the past, was perhaps typical. Barton reviewed the LP in the pages of the weekly 'Sounds Mag' and found himself addressing what must now be a very real possibility - namely that Uriah Heep will still me making music by the time the writer reaches the grand old age of 60! Understandably, the weary journo admitted he didn't know "whether to laugh or cry" at such a notion. 

The album he professed was: "Alright. Not world-shattering, epoch-making, mind-blowing, senses-shattering, soul-searing, the pinnacle of greatness... just alright".   [Liner notes by Dave Ling - Classic Rock Mag]

This post consists of rips in FLAC format, taken from my U.S Vinyl pressing that I purchased from an import shop in Flinders Street - probably in 1978 (there were always delays in getting hold of the latest releases in Australia).  It still has the shrink wrap on the cover and the vinyl is almost virgin.  The cover is different to the European 'Snake' cover but I personally like the more conservative U.S one anyhow.  The bonus tracks were ripped from the expanded CD release and full album artwork is included for both media sets, along with label scans.

My favourite tracks are "Free 'N' Easy" and "Illusion", but I must admit I didn't really like "Free Me" at the time, as it sounded like a complete 'commercial' cop out to me.  I have since softened to it in my old age and can now appreciate that the band was under the pump to provide Bronze with another hit (for their survival). 

Although I initially found it hard to accept Lawton as Heep's new vocalist (when David Bryon exited), I was surprised to learn that my favourite track on the album was actually written by Lawton. To wit, I decided to do some research into his past and discovered his connection with the band Lucifer's Friend.  Upon further investigation, I came across a track that he wrote and sang with that band called "Ride The Sky", which is in the same vain as "Free 'N' Easy", and is a killer track.  I have included "Ride The Sky" in this post so you can appreciate the same I hope. 

Track List

01  Keep On Ridin'   3:41

02  Flyin' High   3:18

03  Roller   4:38

04  Free 'N' Easy  3:02

05  Illusion  5:02

06  Free Me  3:35

07  Cheat 'N' Lie  4:50

08  The Dance  4:48

09  Choices  5:42

[Bonus Tracks]

10  Illusion / Masquerade (Full unedited version)   (8:17)

11  The River (Out-take)  3:07

12  Put Your Music Where Your Mouth Is (Previously Unreleased)  2:54

13  Cheat 'N' Lie (Alternative Live Version)  5:58

14  Free Me (Alternative Live Version)  5:47

15  Free 'N' Easy (Alternative Live Version)  3:15

Band Members:

Vocals – John Lawton

Bass – Trevor Bolder

Drums, Vocals – Lee Kerslake

Guitar – Mick Box

Keyboards, Guitar, Vocals – Ken Hensley

Producer – Gerry Bron, Ken Hensley

Innocent Victim Link (459Mb)

New Link 12/10/2023

W.O.C.K On Vinyl - Haven't I Heard That Riff Before? #2

Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song or album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

For this WOCK on vinyl post, I thought I might revisit some of the 'Riff Ripoffs' that have occurred in the music industry, which probably makes it a ROCK on Vinyl post after all!

Firstly, the correct term for Rip Off is of course Plagiarism. Plagiarism is the act of copying someone else's written work and claiming it as your own. While the act can be illegal, as well as unethical, the term plagiarism is not used in law. Legally, it is one form of copyright infringement, so it enters into the arcane world of Intellectual Property law. When a musical composition is plagiarized, it's the copyright on the written musical score or arrangement that is being violated.

While accusations of music usurping show up in the news quite often, less than 100 cases have actually gone through the federal courts in the United States since the 1850s, according to the UCLA Copyright Infringement Project. As a plaintiff, you have to prove the other person copied a "substantial part" of your original work and you need to show a "substantial similarity" between the two works.

Consequently, I will let you be the judge for the following 3 ripoff cases:

"You Need Loving" (Small Faces, 1969) V's "Whole Lotta Love" (Led Zeppelin, 1969)

“Whole Lotta Love” is a song by English rock band Led Zeppelin. It is featured as the opening track on the band’s second album, Led Zeppelin II, and was released in the US and Japan as a single.

Most people think it is a Led Zeppelin original but they actually nicked two versions of two songs to make “Whole Lotta Love”.  Here’s the breakdown…

In 1962, Muddy Waters recorded a blues vocal, "You Need Love", for Chess Records. As he had done with "You Shook Me", Waters overdubbed vocals on an instrumental track previously recorded by blues guitarist Earl Hooker and his band. Willie Dixon wrote the lyrics, which Dixon biographer Mitsutoshi Inaba describes as being "about the necessity of love":

You've got yearnin' and I got burnin'

Baby you look so ho sweet and cunnin'

Baby way down inside, woman you need love

Woman you need love, you've got to have some love

I'm gon' give you some love, I know you need love

In 1966, British band the Small Faces recorded the song as "You Need Loving" for their eponymous debut Decca album. According to Steve Marriott, the group's vocalist and guitarist, Page and Plant attended several Small Faces gigs, where they expressed their interest in the song. Plant's phrasing is particularly similar to that of Marriott's, who added "he [Plant] sang it the same, phrased it the same, even the stops at the end were the same". Similarities with "You Need Love" led to a lawsuit against Led Zeppelin in 1985, settled out of court in favour of Dixon for an undisclosed amount. On subsequent releases, Dixon's name is included on the credits for "Whole Lotta Love". Plant explained in an interview with Musician magazine:

Page's riff was Page's riff. It was there before anything else. I just thought, 'well, what am I going to sing?' That was it, a nick. Now happily paid for. At the time, there was a lot of conversation about what to do. It was decided that it was so far away in time and influence that ... well, you only get caught when you're successful. That's the game. [Robert Plant]

"Little Games" (Yardbirds, 1967)  V's  "Seven Stars" (Uriah Heep, 1973)

""Little Games" was a single released by the Yardbirds in 1967, and also appeared on their album of same name. It was their first album recorded after becoming a quartet with Jimmy Page as the sole guitarist and Chris Dreja switching to bass. It was also the only Yardbirds album produced by Mickie Most. The first Mickie Most-involved recordings took place at Olympic Studios in London on 5 March 1967. This session produced the single "Little Games" backed with "Puzzles".  Although Dreja and drummer Jim McCarty were present to record "Little Games", Most used studio musicians John Paul Jones (bass and cello arrangement) and Dougie Wright (drums) for their parts to cut down on studio time.

Step forward six years, and popular UK band Uriah Heep were working on their sixth studio album entitled 'Sweet Freedom', released on 3rd September, 1973. I distinctly remember the time when I bought this album, as I had only just discovered this band after listening to their 'Demons and Wizards' and 'Magician's Birthday' albums.  I couldn't wait to get the copy onto my turntable, and it was everything I'd hoped for. Every track on the album had its unique riff and sound, but one track in particular stood out for me - and that track was "Seven Stars".  Starting with its first 5secs of high pitched screeching and then its distinct 'galloping guitar riff' and Hammond organ interludes accompanying David Byron's vocals, this track had me hooked immediately.

My obsession with the band eventually faded once Byron and Hensley had left the band, but it was only recently that I stumbled upon the Yardbirds track "Little Games", and my heart sank even further. That magical riff in Seven Stars was the same as the one in "Little Games".

Ironically, the most popular track on Uriah Heep's 'Sweet Freedom' album was 'Stealin' which was also written by Ken Hensley! Hmmm.......Anyhow, have a listen....am I wrong or right?

Lady Of Light (Autumn, 1971) V's  Ventura Highway (America, 1972)

Finally, I'd like to share the similarity between an earlier release by Australian band Autumn entitled "Lady Of Light" and the later hit "Ventura Highway" by popular duo America. Although the tracks differ in their sound (keyboard v's acoustic guitar) and speed, the general beat and riff along with vocal phrasing are too similar in my opinion.  Autumn's track is heavier and more labored than America's song I admit, but I find myself hearing the more popular Ventura Highway when listening to their track.

As the Autumn track was released more than 12months early than America's mega hit, it makes we wonder whether Dewey Bunell had heard this song, which inspired his writing of Ventura Highway. 

 

"Ventura Highway" was lifted from Homecoming, their second studio album which was released on November 15, 1972 through Warner Bros. Records. Acoustic guitar-based, with a more pronounced electric guitar and keyboard section than their first album.  Homecoming peaked at number 9 on Billboard's Pop Albums Chart and was certified platinum by the RIAA. It produced three hit singles, one of which was "Ventura Highway", which peaked at number 8 on the Billboard singles chart.

Well, there you have it - more 'ripoffs' that have occurred in the music industry, and of course I'm sure there are many more. If you have some examples that you would like to share with other visitors at Rock On Vinyl, then feel free to list them in the Comments.

I have included all of the tracks mentioned above as MP3 (320kps) in the download, so you can make your own judgment about each Rip Off.  If you found this post interesting, then you'll probably enjoy my first Rip Off post back in 2010.

Rip Off #2 Link (49Mb) New Link 13/11/2024

Uriah Heep - Live (1973)

 (U.K 1969 - Present)

Named after one of the most odious characters in literature (thanks to Charles Dickens), Britain’s Uriah Heep have been churning out records and touring relentlessly for over forty years. The Allmusic guide lists more than three dozen albums and informs us that there have been over 30 members of the band formed by the wonderfully monikered Mick Box and singer David Byron in the late sixties. Though Mr Byron died in sad circumstances in 1985, Mr Box still carries the flame, toting it around the world with unflagging energy.

By early 1973, Uriah Heep had released five studio albums and had already made a name for themselves, with a sound all of their own, fusing elements of progressive rock and hard rock. They were one of the most unique bands of their era, and remain revered by fans of the genre all these decades later.

By 1973, the next thing on the radar for the legendary band was a live record, which fans got in the form of Uriah Heep Live in the spring of 1973. Featuring the legendary lineup of vocalist David Byron (RIP), guitarist Mick Box, keyboardist Ken Hensley, bassist Gary Thain (RIP), and drummer Lee Kerslake, the double album was recorded in January of 1973 in Birmingham. Initial CD releases of the record omitted the closing track due to the constraints of the day, but it was reinstated for later CD issues. A more recent expanded edition of the album, released in 2004, includes bonus US radio show and film mix songs on a second disc.

Although you are not going to see Uriah Heep's Live album mentioned on the lists of great 70s live albums like KISS’ Alive! Or Deep Purple’s Made in Japan, this live album still holds great respect amongst 'Heep Fans'.

Uriah Heep Live might just be the best moment of the band’s classic 70s era, with their ultimate lineup in fine form. Why this record does not get more recognition from classic hard rock fans all these years later is a complete mystery; the record shows off just how great these guys were on a live stage back in their initial prime. Essentially, this is the greatest lineup the band ever had, showing off their musical prowess in a high energy setting, pulling out all the stops for the fans. This is the way the band was meant to be remembered, captured on album. To Heep fans the record is sacred, and rightfully so.

This is not simply a “greatest hits live” album, nor are the cuts here copycats of the studio versions either. The group plays a wide assortment of tracks covering most of their first five records, including the well-known cuts and deeper gems alike. Each member of the band gets more than a few chances to shine; Ken Hensley’s organ never sounded better than it does on this release, and the late, great David Byron gives a vocal performance for the ages.

In addition to a ripping version of the band's hit "Easy Livin'", the record includes classic live cuts such as "Sweet Lorraine", "Sunrise" and an extended live version of "July Morning".

The classic “Gypsy” also gets the “extended” treatment, turned into a 13 minute plus jam! The wide variety of tracks keeps things interesting throughout; even with the extended jam versions of many of the songs, there are no dull moments in sight. The “Rock and Roll Medley” shows off the band’s more humorous side while at the same time paying homage to their early rock and roll heroes, and it makes for a comical yet appropriate finish to it all. 

While on tour in the States, Live 73 reached #13 in the UK charts. The original album packaging was a lavish affair, typical of the early-1970s. Being a 2-LP set it was a gatefold sleeve, with center pages featuring photographs of the band members.

The album was recorded by the Pye Mobile Unit, engineer Alan Perkins. Uriah Heep Live was certified Gold by the RIAA on 12 October 1973. Mercury Records initially released the album on CD without the medley, due to time constraints. This was later restored on the 2004 Sanctuary release by releasing a double CD set.

The band released several commercially successful albums in the 1970s (ie. 'Demons and Wizards and The Magicians Birthday), but their audience finally declined by the 1980s, to the point where they became essentially a cult band in the United States and United Kingdom. Uriah Heep maintain a significant following in Germany, the Netherlands, Scandinavia, the Balkans, Japan and Russia, where they still perform at stadium-sized venues [extracts from zrockr.com and wikipedia]

It's a shame that Gary Thain succumbed to drug use and misfortune, what a talent and force he was on the bass! Ken Hensley assumed the role of band leader, which resulted in bickering and fighting with lead singer David Byron, whose own voice defined the sound of the group along with Mick Box's worthy, compelling guitar work and Lee Kerslake's driving, forceful backbeat.

Footnote: Heep fans were recently saddened to hear of the death of Ken Hensley, organist and core member of Uriah Heep. He was previously in The Gods and brought his heavy organ riffing to the fledgling outfit, who had their most successful albums with Ken on the keys.

This post consists of FLACs ripped from my treasured vinyl (which I bought secondhand several years after its release for the pricey sum of $7.50) which is still in immaculate condition.  I have also included full cover scans for vinyl and CD along with label scans.

My only criticism of this live album was the inclusion of the somewhat 'daggy'  rock 'n' roll medley at the expense of not including classic tracks like "The Wizard", "Rainbow Demon" and "Bird of Prey".   

I have consequently included live versions of these 3 tracks for those of you who who might feel the same way and might consider substituting them if burning to CD.

I must confess that my interest in the band faded after "Firefly" and have always thought that they peaked with their twin masterpieces 'Demons & Wizards' and 'Magicians Birthday'. These two albums are still regular items on my play list, even 50 years later; and I still enjoy the mystical atmosphere they create.

A future post me thinks - a double treat. 

Treacklist

A1 Introduction  :48

A2 Sunrise 4:18

A3 Sweet Lorraine 4:27

A4 Traveller In Time 3:20

A5 Easy Livin' 2:43

B1 July Morning 11:23

B2 Tears In My Eyes 4:34

C1 Gypsy 13:32

C2 Circle Of Hands 8:47

D1 Look At Yourself 5:57

D2 Magician's Birthday 1:15

D3 Love Machine 3:07

D4 Rock 'n' Roll Medley:

-Roll Over Beethoven 1:51

-Blue Suede Shoes 1:13

-Mean Woman Blues 0:28

-Hound Dog 0:56

-At The Hop 1:32

-Whole Lotta Shakin' Going On 0:40

-Blue Suede Shoes 1:37

Bonus Tracks

E1  The Wizard [Live 1972]

E2  Bird Of Prey [Live 1972]

E3  Rainbow Demon [Live 1972]

Musicians:

David Byron - Lead vocals

Mick Box - Guitars and vocals

Ken Hensley - Keyboards, guitar and vocals

Lee Kerslake - Drums

Gary Thain - Bass and vocals

Uriah Heep Live Link (546Mb)  New Link 17/10/2023