Uriah Heep (band)
(Read all about Uriah Heep after the video)
Uriah Heep are an English rock band formed in London in 1969. Twelve of the band's albums have made it to the UK Albums Chart (Return to Fantasy reached No. 7 in 1975) while of the fifteen Billboard 200 Uriah Heep albums Demons and Wizards was the most successful (#23, 1972).[1] In the late 1970s the band had massive success in Germany, where the "Lady in Black" single was a big hit.[2][3] Along with Led Zeppelin, Black Sabbath and Deep Purple, Uriah Heep had become one of the top rock bands in the early 1970s.[4]
Uriah Heep's audience declined by the 1980s, to the point where they became essentially a cult band in the United Kingdom and United States. The band maintains a significant following and performs at arena-sized venues in the Balkans,
Germany, Japan, the Netherlands, Russia and Scandinavia. They have sold
over 40 million albums worldwide with over 4 million sales in the U.S,[5] where their best-known songs include Easy Livin', The Wizard, Sweet Lorraine, and Stealin'.
History
1967–1971
The band's origins go back to 1967 when 19-year-old guitarist Mick Box formed a band in Brentwood
called The Stalkers, which began playing in local clubs and pubs. When
the band's singer left, drummer Roger Penlington suggested his cousin David Garrick
(who knew the band) as a replacement. Box and Garrick instantly formed a
songwriting partnership and, having higher musical aspirations than
their colleagues, decided to give up their day jobs and go professional.
They set up a new band called Spice;
it was then that David Garrick changed his second name to Byron.
Drummer Alex Napier (born 1947 in Glasgow, Strathclyde, Scotland)
joined, having answered a music paper ad and bassist Paul Newton of The Gods completed the line-up.[6]
From the very beginning Spice avoided playing covers and, according
to Box, always strove "...to do something original." Managed initially
by Newton's father, the band climbed their way up to The Marquee level, then got signed by Gerry Bron (the Hit Record Productions Ltd.'s boss) who saw the band at the Blues Loft club in High Wycombe.
"I thought they were a band I could develop and I took them on that
basis," remembered Bron later. He became the band's manager and signed
them to Vertigo Records, the newly formed Philips label.[7]
The four-piece found themselves booked into the Lansdowne Studios in
London, still under the name of Spice. Then the name was changed to that
of the well-known character from David Copperfield, Uriah Heep (for, according to biographer Kirk Blows, "Dickens'
name being everywhere around Christmas '69 due to it being the
hundredth anniversary of his death"). Uriah Heep decided to widen the
sound. "We'd actually recorded half the first album when we decided that
keyboards would be good for our sound. I was a big Vanilla Fudge fan, with their Hammond organ
and searing guitar on top, and we had David's high vibrato vocals
anyway so that's how we decided to shape it," Box recalled. Gerry Bron
brought in session player Colin Wood, followed by Ken Hensley, a former colleague of Newton in The Gods, who was then playing guitar in Toe Fat. "I saw a lot of potential in the group to do something very different," remembered Hensley.[6]
Their debut album, …Very 'Eavy …Very 'Umble
(released as Uriah Heep in the United States), introduced Hensley's
heavy organ and guitar-driven sound, with David Byron's theatrical,
dynamic vocals soaring above thunderous sonic backgrounds, although acoustic and jazz elements also featured in the mix. The album's title references the signature phrase of the Dickens character Uriah Heep ("very 'umble"). Hensley had little to contribute to the debut: Box and Byron wrote most of the material, including Gypsy,
in many ways (according to Blows) "...a marriage of contrasts that, in
time, became their trademark. In a 1989 interview, Mick Box recalled,
"The funny thing was we wrote it at the Hanwell Community Centre, and Deep Purple were rehearsing in the room next door to us. You can imagine the kind of racket we were both making between us."[6] Three quarters into the recording of the album Alex Napier was replaced by Nigel Olsson, recommended to Byron by Elton John. The debut was not popular with rock critics (especially in the USA where Rolling Stone
reviewer Melissa Mills infamously promised to commit suicide "if this
band makes it") but in retrospect the attitude towards it changed.
"Those unfamiliar with Uriah Heep may want to try out Demons and Wizards
or a compilation first, but anyone with a serious interest in Uriah
Heep or the roots of heavy metal will find plenty to like on Very 'eavy... Very 'umble," advised critic Donald A. Guarisco.[8]
In the course of the album's making the writing relationship between
Box, Byron and Hensley was beginning to develop. "It was very quick,
because we were all into the same things. It was like it was meant to
be, there was that kind of chemistry," Mick Box recalled.[9]
When Nigel Olsson returned to Elton John’s group, Keith Baker took his place.[10] The band's second album Salisbury was more squarely in the progressive rock genre, with its 16-minute title track featuring a 24-piece orchestra.[11] One of the album's tracks, Lady in Black,
described as, "...a stylishly arranged tune that builds from a
folk-styled acoustic tune into a throbbing rocker full of ghostly
harmonies and crunching guitar riffs,"[11] became a hit in Germany upon its re-release in 1977 (earning the band the Radio Luxemburg Lion award). Produced by Gerry Bron, the second album went a long way to (according to AllMusic) perfect Uriah Heep's "blend of heavy metal power and prog rock complexity"[11]
and was also significant for Ken Hensley's instant rise to the position
of main songwriter. Soon after Salisbury's release Keith Baker left the
band[12] and was replaced by Iain Clark (from another Vertigo band Cressida). With him the band made their first US tour, supporting Three Dog Night and Steppenwolf.[13]
By the spring of 1971, Gerry Bron's deal with Philips/Vertigo was over, so he set up his own label, Bronze Records.
The third album was recorded in the summer months of 1971, during the
band's three visits to Lansdowne. "It was the point in time when the
band really found a solid musical direction," said Bron later.[13] The third album, Look at Yourself, released in October 1971, marked the solidification of disparate ideas that had been a prominent feature of Salisbury and presented the unified sound and direction. Among the stand-outs were the title track, Tears In My Eyes and July Morning, an epic many Heep fans regard as equal to Led Zeppelin's Stairway to Heaven and Deep Purple's Child in Time. "I think that July Morning
is one of the best examples of the way the band was developing at that
point in time. It introduced a lot of dynamics, a lot of light and shade
into our sound," Ken Hensley said.[13] The album peaked at No. 39 in the UK.
1972–1976
By the end of 1971 it became clear, according to Hensley, that he,
Byron and Box had become the tightly knit nucleus of the band. Feeling
marginalised, first Newton left and was briefly replaced by Mark Clarke,[13] then in November 1971 Iain Clark was replaced by Lee Kerslake, once of The Gods.[14] New Zealander Gary Thain, a then member of Keef Hartley
band, joined Uriah Heep as a permanent member halfway through another
American tour. "Gary just had a style about him, it was incredible
because every bass player in the world that I've ever known has always
loved his style, with those melodic bass lines," Box later said. Thus
the 'classic' Uriah Heep formed and, according to biographer K. Blows,
"Everything just clicked into place."
The result of this newly found chemistry was the Demons and Wizards album, which reached No. 20 in the UK and No. 23 in the USA in June 1972. While the title of it and Roger Dean's sleeve both suggested that the band was romantically working medieval myth into their songs—and surely songs like Rainbow Demon and The Wizard (co-written by Mark Clarke, during his short stay) did have thematic links with fantasy world—a more straightforward,[14] hard-rocking approach was also apparent.[15]
To discard any possible insinuations concerning any kind of concept
behind it, Hensley's note on the sleeve declared the album was "...just a
collection of our songs that we had a good time recording." Both
critics and the band's aficionados hold the album in high regard,[15] which, according to AllMusic, "...solidified Uriah Heep's reputation as a master of gothic-inflected heavy metal."[16] Ken Hensley remembered:
"The band was really focused at that time. We all wanted the same thing, were all willing to make the same sacrifices to achieve it and we were all very committed. It was the first album to feature that line-up and there was a magic in that combination of people that created so much energy and enthusiasm."
Two singles were released from the album: "The Wizard" and "Easy
Livin' ", the second (a defiant rocker, according to Blows,
"...tailor-made for Byron's extrovert showmanship") peaked at No. 39 in
Billboard Hot 100.[14] Six months later, in November 1972, Uriah Heep's fifth studio album The Magician's Birthday (#28 UK, No. 31 USA)[1] came out, with "Sweet Lorraine"
released as an American single and the title track (a multi-part
fantasy epic featuring Hensley–Byron vocal duel and Box' extensive
guitar solo in the middle) being the album's highlight. "Uriah Heep used
to have an image, now they have personality," wrote Melody Maker in 1973.[14]
A lot stemmed from the flamboyant Byron. "David was the communication
point, the focal point of the whole group's stage presentation. He had
so much charisma, so much ability," admitted Hensley many years later.
But Hensley too developed into a sophisticated instrumentalist and stage
persona, whose writing and keyboard flair ignited the rest of the band.[14]
A lavishly packaged (an eight-page booklet plus) double album Uriah Heep Live followed, recorded at the Birmingham
Town Hall in January 1973. Having completed another Japanese tour, the
band (due to tax problems) went to record to Chateau d'Herouville in
France. It was there that the solid, but rather mainstream-sounding Sweet Freedom (#18 UK, No. 33 USA) was created with "Stealin'"
released as a single. Having gained world-wide recognition, the band
quit the fantasy world in lyrics and made an obvious stab at versatility
by adding funk ("Dreamer") and acoustic folk ("Circus") elements to the
palette.[17] Ken Hensley meanwhile had been gradually recording his own, mellower material; his solo debut Proud Words on a Dusty Shelf was released the same year.
Wonderworld (1974), recorded in Munich's Musicland Studios
in January, disappointed fans and band members alike. "Recording abroad
disrupted the band's normal method of operation and that had a big
negative effect on the group. Our communication was falling apart, we
were arguing over stuff like royalties and we were getting involved in
matters beyond music," Hensley said. Box remembered weeks spent in the
studio as 'dramatic' for all the wrong reasons. "David was drunk for
most of the time, Kenny was having an emotional time of it and I was
constantly trying to help them so it was difficult for me too. There was
also a little bit of friction because (artistic) Kenny didn't like all
the attention that (flamboyant) David was getting." Gary Thain was in
even more serious trouble. According to Blows, "A strenuous touring
schedule, compounded by the bassist's heavy drug dependency (inherent
even before joining Heep) was taking its toll, though matters came to a
head while on tour during September," when the bassist received a
serious electric shock on stage in Dallas. Soon after going out of hospital Thain in Sounds
openly accused manager Gerry Bron of having turned Uriah Heep into a
mere "financial thing" and was promptly fired. On 8 December 1975, Gary
Thain was found dead in his Norwood Green home, having overdosed on heroin.[14]
John Wetton (ex-Family and King Crimson) joined the band and with him Return to Fantasy
was recorded; representing a revitalized Uriah Heep, it soared up to
No. 7 in the UK. "It was a relief to have someone solid and reliable,
and he had a load of ideas too," Box remembered.[18] The following "Year-long world tour" (according to a headline in NME), was marred by a new accident. Mick Box fell off stage in Louisville, Kentucky,
breaking the radial bone in his right arm (but persevered through both
the set and the tour, receiving three injections a night).[18] In November 1975 The Best of Uriah Heep compilation was released, preceded by two solo albums: Byron's debut Take No Prisoners and Hensley's second, Eager to Please.
High and Mighty followed in June 1976. It was considered lightweight; even Box' stated: "less of the 'eavy and more of the 'umble."[18]
The matter of production here became the point of major contention.
With Bron committed to non-musical projects (including his air-taxi
service) the band decided to produce the album themselves. The manager
later insisted the result was Heep's worst album, while Hensley accused
the manager of deliberately ignoring the band's interests.[18]
The album, though, was launched in the most lavish manner (with
journalists and business people being flown off to the top of a Swiss
mountain for a reception). However, it was not matched with the quality
of live concerts, which were increasingly chaotic due to Byron's
inconsistency on stage.[18]
"He'd always got drunk after the show but it had never got to the point
where it would jeopardize the show itself. The performance had always
been first and foremost with David. It was when the show started to come
second that the problems began," Hensley remembered. "The distance
between David and the rest had grown to unworkable proportions,"
according to Blows. "It's a tragedy to say it but David was one of those
classic people who could not face up to the fact that things were wrong
and he looked for solace in a bottle," commented Bron. In July 1976,
after the final show of a Spanish tour, Byron was sacked. Soon bassist
John Wetton announced he was quitting. Obviously neither he was
comfortable in the band, nor his colleagues with him. Hensley later
explained, "When he joined, we thought that we could replace a great
bass player (Thain) with another great bass player, but we ignored the
personality factor, which is crucial. It was like grafting on a new
piece of skin but it just didn't work—the body rejected it."[18]
1977–1981
Uriah Heep recruited bassist Trevor Bolder (ex-David Bowie, Mick Ronson) and, after having auditioned David Coverdale (Deep Purple, Whitesnake), Ian Hunter and Gary Holton (Heavy Metal Kids), brought in John Lawton, formerly of Lucifer's Friend and the Les Humphries Singers,
with whom they turned away from fantasy-oriented lyrics and multi-part
compositions back toward a more straightforward hard rock sound typical
of the era. Box later said, "Image-wise he wasn't quite what we were
looking for, but his pipes were perfect and so we went for the music end
of it." Hensley agreed: "He had a voice that I thought would give a new
dimension." Firefly
was released in February 1977, displaying, "renewed effervescence and
energy in unveiling what was clearly a new beginning for Heep" (per. K.
Blows), "a new vigour and confidence" (according to a Record Mirror
review)[19]
and also the new singer’s abilities: the latter (according to
AllMusic), although lacking the multi-octave range of David Byron,
"…boasted an impressive and emotionally rich hard rock voice that
instantly jelled with the Uriah Heep sound."[20] The band then toured the USA supporting Kiss. Paul Stanley
later recalled, "They were incredibly professional, and so consistent
that their worst nights were excellent and their best were tremendous."[19]
Innocent Victim, released in November 1977, "had a slight edge on Firefly
according to Box, but still in retrospect this "...blend of sharp,
short rockers and pop-friendly ballads" looked like "an attempt to court
the American AOR market."[21] The single "Free Me" (whose "acoustic style and accent on harmonies brought the group dangerously close to Eagles territory," according to AllMusic)[21]
became an international hit (making it to No. 1 in New Zealand). In
Germany the album sold over a million copies and became Uriah Heep's
most successful, which coincided with the success of the re-released "Lady in Black." For some time during this period, there were three Uriah Heep singles sitting together in the German Top 20, these being Wise Man (from Firefly), Lady in Black and Free Me.[19]
In the end of 1978 Fallen Angel
came out, having completed a hat-trick of studio albums to feature a
consistent lineup (only the second time in their career that they had
done so). "Too poppy" for Mick Box’ liking (but still, "too eccentric to
fit the bill of an AOR record," according to Allmusic),[22] it was well received at the time (Sounds
gave it 4 stars) but failed to chart. Meanwhile, the relative stability
of the Lawton period belied the behind the scenes unrest having to do
with Ken Hensley earning much more than his colleagues. "Everything he
wrote, he had to use… And if you insist in using everything you end up
with substandard albums," disgruntled Box opined. The major rift,
though, developed between Hensley and Lawton. As K. Blows writes, "the
combination of constant friction between the two (resulting in the
nearest thing to violence the group had seen) and the constant presence
of Lawton's wife on the road finally led to the vocalist getting the
chop, shortly after playing the Bilzen Festival in Belgium."[19]
Ex-Lone Star John Sloman
was brought in, a younger singer who played keyboards and guitar and
was, in the words of Box, "...an all rounder." But almost instantly, Lee
Kerslake departed, after a row with Bron, whom the drummer accused of
favouritism towards Hensley's material. Several tracks of the next album
had to be re-recorded with a new drummer, Chris Slade (of the Manfred Mann's Earth Band). Conquest
LP was released in February 1980 and received 5 stars from Record
Mirror, but, according to Box, "was a difficult album to record" and
represented "a confused Heep," even "a mess" (in the words of Trevor
Bolder).[23] The band went on the 10th Anniversary Tour with Girlschool as support and attracted respectable crowds. Hensley was very unhappy, primarily with Sloman, and he explained why:
The band had chosen John and I had opposed that decision. He was a good musician and he looked great but I thought he had little going for him vocally. The way that he interpreted songs were totally different to the way I had written them. I could understand wanting to move on but this was like the difference between Black Sabbath and Gino Vannelli. We weren't addressing our basic problems, in that we weren't re-establishing our musical direction and John definitely wasn't helping us to do that.
A meeting at the manager’s office concerning the songwriting dissent
was the last straw and, in September 1980, Hensley quit. Gregg Dechert, a
Canadian who had worked with Sloman in Pulsar, came in and the band
went on a 23-date tour of the UK. After that Sloman left, citing musical
differences for a reason.[24] He would later go on to work with UFO, Gary Moore and Robert Palmer.
Hensley's acrimonious departure left the group in a state of collapse.
Box and Bolder visited David Byron with attractive propositions. "We
couldn't believe it when he said he didn't want to know," the guitarist
remembered. Bolder, who by that time, "...had had enough of Gerry Bron
and the management," decided to join Wishbone Ash. When Dechert left, Uriah Heep were down to just Mick Box with the name and contract.[25] The Melody Maker headline "Heap of Heep" reflected the press's attitude towards the band's possible future.
1982–1986
Box
remembered, "I locked myself in my flat for two days and drank myself
senseless in complete self-pity. But I somehow managed to pull myself
together and consider my options."[25] First he rang Lee Kerslake (who in the meanwhile had co-founded Blizzard of Ozz with Ozzy Osbourne) and the drummer brought along with him bassist Bob Daisley. Then John Sinclair came in whom Box knew from the times he was a member of Heavy Metal Kids and who currently played with a Los Angeles band called Lion. The band’s new vocalist became Peter Goalby of Trapeze
fame. The latter had once auditioned for Uriah Heep and failed,
ironically Hensley being the only band member who had supported him as a
choice. "With us all contributing to the writing we forged our new
direction," Box recalled.[25]
Produced by Ashley Howe, Abominog
(1982) album (according to Blows) was, "…important…in the way it pulled
Heep out of the Seventies and thrust them into the Eighties with
determination muscle," even if sounded a bit too American.[26] Released in March 1982 (and preceded by Abominog Junior EP), it won favour with the critics. Sounds gave it a five star review, the newly established rock Kerrang!
declared it "the most mature and perhaps best album of their career"
and in retrospect it is still seen as "one of the most consistent and
engaging albums in the group's lengthy catalog."[27] The album did relatively well in the American charts (#56) and the band successfully performed at the Castle Donington Monsters of Rock event. Head First (1983), produced again by Ashley Howe (who, according to Goalby, became "like the sixth member of the band"),[26]
followed much in the same vein, pursuing (according to AllMusic) "...a
similar combination of heavy metal firepower and AOR sleekness."[28] Not long before its release Daisley left the band to return to Ozzy Osbourne and Trevor Bolder re-joined Uriah Heep.[26] Both albums, Abominog and Head First, updated the band's sound and generated a brief, newfound interest in Uriah Heep among younger heavy metal fans.
Uriah Heep toured the US supporting Rush, Judas Priest and Def Leppard,
whose vocalist Joe Elliot remembered: "They were the best band that
we've ever toured with either as a headline or support, because there
was no ego, no pretentious kind of stuff. They were good in as much that
we learnt a lot from them." By this time Gerry Bron was Uriah Heep
manager no longer (they were looked after by Neil Warnock in Europe and
Blue Oyster Cult's management team in the US) and then, finally, Bronze
Records collapsed under the weight of debts, which, according to Box,
"...cost Heep a lot of money."[29]
Massive Asian and South American tours followed before the band
returned to the studio with producer Tony Platt and a new deal with
CBS's Portrait label secured by new manager Harry Maloney. Meanwhile, David Byron died of a heart attack and liver disease on 28 February 1985 at the age of 38.[18]
Equator (1985) sold poorly, due to the fact that "CBS just did a terrible job getting it into the shops," as Box saw it.[29]
On the other hand, what Kirk Blows described as "a solid piece of
product that had the potential to do extremely well" was regarded less
favourably by later reviewers. Jason Anderson, for one, argues that with
this "lackluster" album, high only "in high-schmaltz rating," the band
squandered the chance that Portrait gave it.[30]
Totally exhausted and having serious voice problems, Goalby left
mid-way through the Australian tour. "I loved and believed in Uriah Heep
but it kicked the shit out of me in the end," were his parting words.[29] Then John Sinclair quit deciding to join Ozzy Osbourne and keyboardist Phil Lanzon (Grand Prix, Sad Café) came in to fit in immediately into the Box-envisaged scheme of things. American singer Steff Fontaine, formerly of Christian metal band Joshua,
joined but he was criticized for being totally "unprofessional" (he
missed for some reason a San Francisco gig) and was sacked after just
one American tour.[31] Fontaine's position was offered then to ex-Grand Prix, Praying Mantis and Stratus vocalist Bernie Shaw,
and that in retrospect was a winning move. Shaw "felt honoured at being
invited to join such a legendary band" while for Box "it was like
everything falling into place."[32]
1987–present
The lineup remained unchanged from 1986 until 2007, being veteran
Mick Box at the helm, Trevor Bolder on bass, Lee Kerslake on drums,
vocalist Bernie Shaw and Phil Lanzon on keyboards. Their principal tour
circuit has been in Germany, the Netherlands, Scandinavia, Japan and
Russia. In December 1987 they were one of the first ever Western bands
to play in Soviet Russia (UB40 were the first in 1986), under Mikhail Gorbachev's policy of glasnost.[33] At Moscow's Olympic Stadium
the band played ten consecutive nights to a total of 180,000 people
(following a reception that Bernie Shaw remembered as being "something
like Beatlemania"), which was represented in the international press as
not just an achievement for Uriah Heep but a major breakthrough for
Western music in general. The concerts were recorded and issued as the Live in Moscow album, which included three new tracks. Ironically, it was this behind the Iron Curtain
excursion that did well to re-establish Heep's name back at home. After
a series of sell-out dates in Czechoslovakia, East Berlin and Bulgaria
the band returned to Britain for the Reading Festival in August 1988, and toured the UK with The Dogs D'Amour. Raging Silence, produced by Richard Dodd and released in May 1989, was followed by a return to the Soviet Union, concerts in Poland, East Berlin, six dates in Brazil
and another British tour. "The last two years have been the most
enjoyable of all my time in Heep," Trevor Bolder was quoted to say at
the time. The band played in the Central TV studios in Nottingham (the film was shown as part of the Independent TV series Bedrock
and a few years later it was repeated in the Cue Music series) and
celebrated its 20th Anniversary with a series of compilations and
re-issues.[32]
Produced by Trevor Bolder and released early in 1991, Different World got a mixed reception from the press (put down in Kerrang!, hailed in Metal Hammer) and sold poorly. "Yet another technically sound but artistically bland recording from Uriah Heep" (according to AllMusic)[34]
failed to chart and marked the end of the band's contract with Legacy
Records. Touring incessantly, the band issued some compilations of which
Rarities from the Bronze Age and The Lansdowne Tapes
(featuring previously unreleased material from the early 1970s) are
considered most noteworthy. Still the first half of the 1990s is
regarded even by the Heep fans as "the wilderness years."[32]
The Sea of Light album (1995) produced by the band along with Kalle Trapp[35]
was well received and in retrospect is seen as the band's return to
form, the key to success being (according to critic Donald A. Guarisco)
the way it "forsook the ill-judged pop metal stylings of albums like Equator for a return to the gothic-tinged old-school metal style that highlighted classic Uriah Heep albums like Look at Yourself.[36] Produced by Pip Williams, Sonic Origami,
originally issued in Japan in 1998, then, a year later, in the U.S.,
had "a grand, epic tone throughout" that, according to rock critic Steve
Huey, "doesn't always match Uriah Heep's journeyman-sounding
prog-tinged hard rock," still being "a solid entry in its chosen genre.[37] The release was followed by a successful European tour, which continued through 1999.[32] The band released The Legend Continues
DVD and then toured the UK. A reunion gig with Ken Hensley & John
Lawton took place in London on 7 December 2001 in the course of the Magicians Birthday Party,
which since then became a tradition, even though Hensley never actually
joined again. For most of the years that followed Uriah Heep have
returned to Britain for a tour or just this annual showcase concert,
which in 2003 was held at the now demolished London Astoria.[32] All the while Mick Box acted as a manager for the band until, on 5 April 2005, they retained Simon Porter as their manager.[38]
In early 2007, drummer Lee Kerslake had to leave the group due to ill health. In March of that year the band recruited Russell Gilbrook as their new drummer and immediately started recording a new studio album entitled Wake the Sleeper, where they used double drums in the songs Wake the Sleeper and War Child. Originally slated for a summer 2007 release, Universal Music finally released Wake the Sleeper on 2 June 2008. In October 2009 Uriah Heep released their 40th Anniversary Celebration album, containing new studio recordings of twelve of their best known tracks, plus two brand new songs.[39]
"This collection underlines again that Uriah Heep are deserving great
respect for their past achievements but far more importantly it makes it
crystal clear that this is a band with a bright future as well as a
glorious history," wrote Chris Kee in his 9/10 review in Powerplay
magazine’s February 2010 issue.[39]
A United States tour for June/July 2010 was delayed due to immigration
problems; the first two dates had to be rescheduled. This resulted in an
appearance at B.B. King's in New York City as being the first date of
the tour. Then Uriah Heep performed live on the Progressive Rock stage
at the inaugural High Voltage Festival in London's Victoria Park on 25 July 2010. They played their 1972 album Demons and Wizards in its entirety, being joined by ex-Whitesnake man Micky Moody on slide guitar.[40]
Uriah Heep released their 23rd studio album Into the Wild on 15 April 2011 in Europe (3 May in North America) via Frontiers Records.[41]
Bassist Trevor Bolder died on 21 May 2013 after suffering from pancreatic cancer. He was 62 years old.[42]
Uriah Heep entered the studio in January 2014[43] to begin recording their 24th studio album Outsider, which was released in June 2014.[44] The album features new bass player Davey Rimmer who had been a substitute for Trevor Bolder previously.
In March 2015 they went on the "Down Unda Tour" visiting Sydney,
Melbourne, Perth, Adelaide, Brisbane and Auckland. On 25 September, they
announced the release of their 25th studio album Totally Driven,
a collection of re-recordings of classic Heep songs made in 2001, which
was released on 12 November. On 15 October that year, the group played
alongside Ken Hensley and Lee Kerslake at a special two-hour concert at
Crocus City Hall in Moscow.
2016 saw the group play a few Japanese dates and the Legends Rock Cruise. They are currently recording their next album.
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