It was inevitable that I would come back to Uriah Heep. More than any other discovery in the past few years, they’ve been the band I’ve been drawn to the most: a potent proto-metal outfit with progressive tendencies and just some killer, killer tracks. I thought the trilogy of Look at Yourself, Demons & Wizards, and The Magician’s Birthday would be enough (all reviewed here), but both older and newer albums have ensnared me just as deeply. So the plan this week is to finish off the recent acquisitions starting with the American version of their debut, simply titled here as Uriah Heep.

I’ll never understand why they shifted away from the ominous cobwebbed visage of vocalist David Byron for the album cover (though I do really dig the weird worm dragon illustration), nor why they ditched the title of …Very ‘Eavy …Very ‘Umble – maybe it was a little too British for American listeners? Regardless, one thing they didn’t change was the monster of an opening track, the stomping rock of “Gypsy”. Byron’s voice is a powerhouse, and Mick Box’s guitars sound like the clashing of mountains. I can understand the proto-metal label immediately listening to this track. Ken Hensley’s keyboards are featured very up front in the mix, and it’s just a killer introduction to the band and the album. “Walking in Your Shadow” is another stomper, more blues based and leaning heavily on the vibes bands like Wishbone Ash, Deep Purple and Atomic Rooster were also putting out at the time. “Come Away Melinda” is the first ballad, and the acoustic guitar offset in the right channel as Byron’s vocals moves across the soundstage make for an interesting production mix for a song that borrows mellotron in a way that feels distinctly King Crimson to my ears. There’s also a 60s throwback vibe to the track with the ornamentation that reminds me of bell bottoms and list candles.

The final track on Side A is where we get big change between the UK and US versions of the album. On …Very ‘Eavy …Very ‘Umble the side ends with “Lucy Blues”, an absolutely fine if slightly uninspired bluesy R&B number that features Hensley’s keyboard work nicely and also allows the space to show off the drum work by Ollie Olsson, who was really only there for this album before leaving. Again, it’s…fine. But here in the US we get the stunning “Bird of Prey” which would actually kick off the band’s second album Salisbury (in the UK at least, we’ll cover that one eventually). This is one of the band’s best songs, period. A driving rocker that has some seriously insane vocal squawks from Byron, laying octaves on top of each other to achieve this almost religious alarm sound. The middle section goes almost dirge-like with a caveman riff a hundred other bands have done but without this sense of panache. Check it out yourself below:

Side B is identical between the two releases, kicking off with “Dreammare” written by bassist Paul Newton. My ears hear a heavy Cream influence, which is okay by me. I haven’t really touched on Newton’s bass playing – it’s fine, but after hearing how incredible Gary Thain was on Demons & Wizards it’s really hard to compare anyone else. The song though is nice; solid and shows off Byron’s pipes and how tight the band could be with a simple rocker. “Real Turned On” is the first track I can really take or leave; there’s some sweet slide guitar from Box – if anything the song at least reaffirms for me what I’d been thinking the whole time listening to Heep’s discography: the man should have been a much bigger name as a guitar hero, and his solo works here is super tasty. But the rest of the song kind of just plods along when it’s not focused on his fret pyrotechnics. “I’ll Keep On Trying” blends Deep Purple and first album Black Sabath – taking its time with an extended instrumental intro before going into its verses. Byron again lays on the choral ooohs and more importantly aaaaaaahs to great effect, but it’s the fourth time on the album and does feel a little like a trick. Doesn’t matter, because the song shifts down a gear and suddenly blossoms into a 60s psychedelic gospel until the organ, bass and guitar come back into lay some serious sleaze in the solo sections.

Uriah Heep ends with “Wake Up (Set Your Sights)” and it’s a boogie featuring some nice drum work by Alex Napier. It’s not the fire and brimstone hard rock of the earlier tracks; it’s almost quaint in its form and style, but in the constantly shifting styes we get a glimpse of the progressive tendencies the band would indulge in further on later albums. Overall it’s a really strong debut, and really starts to define the more driving 70s sound I’ve been discovering once I moved away from the more popular and mainstream acts (amazing as they all were/are).

Next time we’ll jump over 50 years in the future and see how Uriah Heep are doing in 2023. If my post about my favorites albums of 2023 didn’t already tell you…they’re doing quite well.