01	Gypsy						06:37
	02	Walking In Your Shadow						04:30
	03	Come Away Melinda						03:49
	04	Lucy Blues						05:10
	05	Dreammare						04:40
	06	Real Turned On						03:39
	07	I'll Keep On Trying						05:27
	08	Wake Up (Set Your Sights)						06:24
	09	Wonderworld						04:29
	10	Suicidal man						03:38
	11	The Shadows And The Wind						04:29
	12	So Tired						03:38
	13	The Easy Road						02:45
	14	Something Or Nothing						02:56
	15	I Won't Mind						05:59
	16	We Got We						03:34
	17	Dreams						06:10

Very 'Eavy Very 'Umble / Uriah Heep
June, 1970

Lineup:
Mick Box (G)
David Byron (LV)
Ken Hensley (K G)*
Paul Newton (B)
Nigel Olsson (D)**
*Colin Wood (K) on Come Away Melinda, Wake Up, Born In A Trunk
**Alan Napier (D) on Gypsy, Walking in Your Shadow, Come Away Melinda, Real Turned On, I'll Keep On Trying, Wake Up, Born In A Trunk
Keith Baker (D) on Bird of Prey

Overview - What a great debut! Few bands have ever started so strong yet allowed so much room to grow. The direction of the band wasn't quite there yet, but the flow on this album, especially the American version, is quite good. This is not a mere shadow of things to come but a great album in its own right! Grade: A-

How important was Heep's debut album? Read what Martin Popoff, author of The Collector's Guide to Heavy Metal had to say:

"Uriah Heep's debut is the weak partner in the trio of early 70's metal records which I
consider the true originators of the genre, the other two being (Deep Purple's) In Rock and
(Black Sabbath's) Paranoid. Weak partner, because it's the least whompingly heavy, yet
included because it's every bit the innovator, o'erflowing with bombast, fire-breathing
guitars, and eerie goth emotion that finally steered aggressive rock away from the blues
and/or psychedelia into molten new terrain."
Popoff goes on to say that Bird of Prey is "arguably the band's most raging work of genius", and "in the true, multi-dimensional sense of the word, Uriah Heep is a classic." Popoff gives the album a 9 out of a possible 10.

1. Gypsy - The all-time Heep stomper. Hard, progressive rock doesn't get much better. Still in their live set today! Grade: A
note: There is a decent but heavily edited single version on the reissue.

2. Walking In Your Shadow - Another stomper and Ken's first slide guitar work for Heep. Excellent vocals from David. Grade: A-

3. Come Away Melinda - Lovely, gentle anti-war piece wonderfully played by Mick. David's emotional reading of this will bring tears to your eyes. Beats the pants off the UFO version from around the same time. There is a rough alternate mix on the reissue. Stick with the original. Album version Grade: A; Alt version Grade: B+

4. Lucy Blues (VEVU only) - The alternate version on The Lansdowne Tapes is much looser and more bluesy. David's vocals are also more lively. The album version holds back too much. Sounds like Gerry Bron wanted a slicker sound than fit the band. Album version Grade: C+; Alt version Grade: B

4. Bird of Prey (UH only) - Heep classic!! A very different arrangement than what appears on Salisbury. While David's lead vocals aren't nearly as strong here, the harmony vocals are much better and the ending doesn't fade out. An alternate guitar solo as well from Mick. Why this still hasn't shown up on an European CD is a mystery to me! Grade: A+

5. Dreammare - Outstanding! Best song Paul ever wrote and the first Heep tune to deal with magic. This is the song that initially turned me on to the Byron/Hensley era. Great harmonies. Grade: A+
note: The Lansdowne Tapes include an alternate intro only with some studio chatter about "the first time I got the intro right!"

6. Real Turned On - One of Mick's best riffs, with lots of hot soloing from both Mick and Ken, who turns in some more great slide work. Love the ending. Grade: A

7. I'll Keep On Trying - Another prog number similar to Gypsy with lots of tempo and mood changes. Again, more of those beautiful Heep harmonies atop a heavy riff with a beautiful Beach Boys-like break. Grade: A+

8. Wake Up (Set Your Sights) - Probably the best song on the album. Very much in the Spice vein, especially with Colin's keyboard and Mick's jazzy guitar. A stunning piece of work.
It should be noted how melodic a bass player Paul Newton is. Too often he's been overshadowed by Gary Thain yet it was Paul who established the melodic bottom sound of Heep that Gary perfected and Trevor carries on today. Grade: A+

Born In A Trunk - (Bonus track on the Very 'Eavy Very 'Umble remaster)



Very 'Eavy Very 'Umble


The letters LP could well mean "Large Problem" for that is what faced everybody involved in making this album.

To condense into a single groove, the mood of each song, alone is a monumental task - but when allied with the associated technical precision demanded by today's high standards it assumes frightening proportions.

Like all problems it was solved by a powerful combination; that of great technical knowledge and experience, and determined enthusiasm. All linked by one common factor, co-operation.

I am delighted to have contributed to this record of which I am immensely proud. Happy too that I have this opportunity to offer the band's thanks to everyone concerned.

This, our first album, embraces vital individuality and a number of styles all adequately displaying individual and collective techniques. Uriah Heep is a group in its most together sense and possesses, I feel, phenomenal ability and potential.

But, superlatives aside, I would like to mention certain points on the album which permit one's enjoyment of each members influence.

Mick's guitar solo on I'll Keep On Trying is so simple in concept and yet so very effective although it's difficult to be specific when commenting on a player of such a consistently high standard.

Paul, too, is such a great bass player and complements every arrangement extensively. His writing ability is valuable and appears here on Dreammare.

Nigel joined the band with tremendous impact about three-quarters of the way through recording and provides a standard of drumming which is valid and completely satisfying. Credit must go too, to our former drummer, Al Napier.

Dave carries our vocal flag with rare precision and expression and has uncanny flexibility which makes him an instrument on his own - a "Davotron" yet! As one of the main writers in the band his contribution is priceless.

I particularly enjoy Gypsy and they let me do a little slide-guitar here and there to keep me quiet! (Quiet!)

So that's a brief insight into the structure of the band which I sincerely hope will enhance your enjoyment of our first LP.

KEN HENSLEY



This, our first album, embraces vital individuality and a number of styles all adequately displaying individual and collective techniques. Uriah Heep is a group in its most together sense and possesses, I feel, phenomenal ability and potential.

But, superlatives aside, I would like to mention certain points on the album which permit one's enjoyment of each members influence.

Mick's guitar solo on I'll Keep On Trying is so simple in concept and yet so very effective although it's difficult to be specific when commenting on a player of such a consistently high standard.

Paul, too, is such a great bass player and complements every arrangement extensively. His writing ability is valuable and appears here on Dreammare.

Nigel joined the band with tremendous impact about three-quarters of the way through recording and provides a standard of drumming which is valid and completely satisfying. Credit must go too, to our former drummer, Al Napier.

Dave carries our vocal flag with rare precision and expression and has uncanny flexibility which makes him an instrument on his own - a "Davotron" yet! As one of the main writers in the band his contribution is priceless.

I particularly enjoy Gypsy and they let me do a little slide-guitar here and there to keep me quiet! (Quiet!) So that's a brief insight into the structure of the band which I sincerely hope will enhance your enjoyment of our first LP.

GYPSY - Leading track of the album, featuring a wild organ solo and multi-tracked vocal harmonies.

WALKING IN YOUR SHADOW - An all-guitar number, featuring a guitar solo from Mick.

COME AWAY MELINDA - A feature for the softer side of David's voice. Basically a conversation between a father and his young daughter whose mother has died in the war.

BIRD OF PREY - We recorded this one last. Our new drummer, Keith, helped develop the heavy sound about a heavy "bird."

DREAMMARE - After a build up beginning "Dreammare" takes up through various dreams and nightmare sequences.

REAL TURNED ON - A funky mid-tempo all guitar shurrle, first solo from Ken and second from Mick.

I'LL KEEP ON TRYING - Back to the organ for a Gypsy-type heavy arrangement with a frightening wah-wah solo from Mick.

WAKE UP (SET YOUR SIGHTS) - Lyrically, "Wake Up" couldn't be anywhere else but at the end. A song that takes us as closely as possible from the beginning to the end of a battle, and then back to the beginning, but differently.

KEN HENSLEY



Very 'Eavy Very 'Umble
Reissue Liner Notes

Melissa Mills' Infamous Rolling Stone 'Suicide' Review

The US and Canadian version not only differed in album title, but also the cover art and track listing. Lucy Blues was dropped for the US version and replaced with Bird Of Prey (off the band's second UK release, Salisbury).

The recording for what was to become Uriah Heep's first album started in July 1969 at Lansdowne Studios in London's Holland Park, after Gerry Bron had signed his newly discovered act SPICE to his Hit Record Productions Company. Bron had seen the hard-working SPICE at the Blues Loft in High Wycombe and thought they might be a suitable band to develop if they could cut it in a recording studio. SPICE then consisted of Mick Box on guitar, David Byron as singer, Paul Newton on bass, and one Alex Napier on drums.

Recording was performed in fits and starts throughout the latter part of 1969 by the four piece and as work progressed the powers that be suggested keyboards as an addition to the recording process. A friend of Gerry Bron's, Colin Wood was drafted in on a session basis and played keyboards and mellotron on several of the tracks being recorded by Spice. His playing does in fact grace a few of the Very 'Eavy Very 'Umble album tracks. Upon the suggestion of Heep's bass player, Paul Newton, Ken Hensley was drafted in as a permanent addition to the band. Ken and Paul had played and recorded together in The Gods a few years earlier. The band's name was to change at the same time as Hensley's entry; at Bron's suggestion the band altered their name and Uriah Heep was born. The name Uriah Heep stemmed from a character in a Charles Dickens novel and, being a centenary year for the famous author's death, his name was plastered all over buses and billboards in London.

"It just sounded good," says Mick Box about the name today.

With Hensley in place, the band re-recorded some of the songs SPICE had been working on and also recorded extra material that Hensley had written or co-written with his new found band.

Song writing and recording rapidly became prolific and no less than a dozen tracks had been recorded for Heep's debut album. As it happened though, only eight tunes ever made it onto the original vinyl. In fact, the remaining SPICE tracks lay buried in the vaults until they were mixed in 1993 and released on The Lansdowne Tapes (Red Steel RMCCD 0193) - for the curious, this release gives a real insight into the band's early recording career.

With the addition of Ken Hensley into the Spice/Uriah heep arena, the band quickly developed their definitve sound based on vocal harmonies and driving Vanilla Fudge influenced guitar/keyboard combination. It was the adaption and refinement of this sound along with Hensley's composing skills that took the band to the top in the mid seventies. However, it was far from plain sailing as the band proceeded to go through no less than four drummers during their first year of trading. Alex Napier, the drummer from Spice, was replaced by Nigel 'Ollie' Olsson (later of Elton John fame) and it was this line-up that completed the Very 'Eavy Very 'Umble album, issued on the new Phillips offshoot Vertigo Records in June 1970, each copy commanding the princely sum of 42s 6d!

Slated by the critics, Heep's debut album did go on to become a 'gold' seller once the band hit the big time.

Gypsy was released as the B side of The Wizard in the UK, although the single version was the full length album version including tea cups clinking in the background of the drum solo. The version we have included here was a remixed and edited version that only ever came out on the original Best Of Uriah Heep.

c 1991, 1995 Robert M. Corich




From Rolling Stone Magazine, October 1, 1970

URIAH HEEP (Mercury SR 61294)
If this group makes it I'll have to commit suicide. From the first note you know you don't want to hear any more. Uriah is watered down, tenth-rate Jethro Tull, only even more boring and inane. UH is composed of five members: vocals, organ, guitar, bass, and drums. They fail to create a distinctive sound tonally; the other factor in their uninteresting style is that everything they play is based on repetitive chord riffs.

According to the enclosed promo information, Uriah Heep spent the past year in the studio, rehearsing and writing songs. No doubt their lack of performing experience contributed to the quality of the record; if they had played live in clubs they would have been thrown off the stage and we'd have been saved the waste of... (This is where the clip runs out. If you've got the rest, please send it to me!)



Very 'Eavy Very 'Umble
Artist Comments
Mick Box 1990 | Mick Box 1995 | Ken Hensley 1995

MICK BOX
1990

The funny thing was we wrote it at the Hamwell Community Centre, Shepherds Bush, and Deep Purple were rehearsing (for In Rock - JP) in the room next door to us. You can imagine the kind of racket we were both making between us!



MICK BOX
Sept. 1995 (on tour in Germany)

This was a very exciting time because it was our first visit to the studio to record an album and we went in as a four piece called 'Spice' and came out as a favie piece called 'Uriah Heep'.

With the addition of keyboards to our sound, notably the Hammond organ, and the fact that we had five singers in the band, gave us some very strong harmonies. These traits, along with my developing wah wah pedal technique, enabled us to slowly carve out our own sound which stood us apart from all the other bands that were around in the early seventies. I felt that the songs were all very strong and showed the versatility of the band by recording such a very 'eavy Hammond organ based track as Gypsy which has become Uriah Heep's anthem over the past 25 years and then something 'umble and beautiful as Come Away Melinda on acoustic guitar which was very much part of the Spice set. Come Away Melinda was recorded with a mellotron which gave it a great atmosphere, and to this day David Byron's vocal performance on this song sends chills down my spine. We were very proud of this album once it was finished and felt that we were on to something very exciting that we could definitely develop further. To have it remastered on CD with the original artwork makes me as proud of it today as I was back in 1970. If there was nay doubt at all, yes that is David Byron's face in cobwebs on the front cover and it was done by my good self with a glue based cob-web machine. It took three weeks to get out of his hair and impressed David was not, but it gave us a great cover.



KEN HENSLEY
Sept. 23, 1995, St. Louis, USA

Recording Very 'Eavy, Very 'Umble was an amazing experience. There was so much energy and excitiement of a kind that could never be re-created. Also, though it is not musically or sonically the best album we did, it will always be special to me. Considering it was our first album, we were allowed to be very free in our choice of songs and it was a giant step in establishing our definitive musical direction. Of course, that helped us shape the personnel choices that would lead to the 'ultimate Heep'.






Wonderworld
June, 1974

Lineup:
Mick Box (G)
David Byron (LV)
Ken Hensley (K G)
Gary Thain (B)
Lee Kerslake (D)


Overview - First of all, this album gets blasted too often as a 'weak' Heep album. Weak compared to what? It's not the magnum opus that Demons & Wizards or The Magician's Birthday are but it's certainly as good as Sweet Freedom or Look At Yourself.
Secondly, and unlike most of those albums, there is not one weak tune on the album! So quit whining, Heepsters! This is a one great rock album! Grade: A

1. Wonderworld - When Heep makes a title track, you know it's going to be great. This song does not dissapoint. A wonderful mix of minor and major keys and nice use of the synth by Ken. Grade: A+

2. Suicidal Man - One of the best Heep riffs ever - get out your air guitars for this one! My only complaint is that at times this song sounds too polished or over-produced for such a heavy rocker. Grade: A

3. The Shadows and the Wind - I love this piece! Great sing-a-long! Crank up your speakers at the start or you'll miss one of the quietest starts to a rock song ever. Great buildup to some beautiful Heep harmonies, the kind that gave Heep the nickname The Beach Boys of Heavy Metal. They even go a capella for us before bringing the band back in. Grade: A+

4. So Tired - Another hot rocker with great playing by everyone. Nearly every phrase has subtle differences from similar phrases, from Lee's rhythms to Gary's bass lines to Dave's vox. After a soft bridge, everybody gets a chance to solo. Then at the end, just as Dave and Mick get going ala Blackmore & Gillan (Deep Purple), the song fades out! Too bad an unedited mix wasn't included as a bonus track! Grade: A+

5. The Easy Road - When I first listened to this song, I thought it was one of the wimpiest things I'd ever heard. Now I love it, including the orchestral arrangement. This is a very lovely ballad, nearly as good as Rain. Grade: A
note: A live version from Live At Shepperton is included as a bonus track.

6. Something or Nothing - The third great riff on the album, this just bristles with energy throughout. Like Suicidal Man and So Tired, this doesn't merely rock, it's also a song you can really sing along with in the car. This probably has the best melody of the three. Grade: A+
note: A live version from Live At Shepperton is included as a bonus track.

7. I Won't Mind - A slow, grinding blues burner featuring Mick and Ken torching their strings! There must've been smoke rising from their guitars by the time this one was over! Unfortunately, Dave's performance is flat on this one. Again, another piece that should've been offered unedited on the remaster instead of fading out on Mick. Grade: A

8. We Got We - Gary gets funky on this good old-fashioned Heep-stomper straight out of the Gypsy vein. This one, however, gets a little too rough at times, as the band is often out of sync, especially on the break. Grade: A-

9. Dreams - This is the best song on the album. Another mystical piece, this is a wonderfully dark song with great synth work by Ken and vocals by Dave. There are 2 versions on the remaster, and both are great. I prefer the longer (by a full minute) alternate version, especially for Lee's drumming. Grade: A+ (both versions)

What Can I Do - (Bonus track - 'B' side of Something Or Nothing) Good solid rocker, although it's obvious why it wasn't put on the album. The riff is much too plodding and relies too much on the organ. On the upside, the band plays with a lot of energy and the production isn't so overpolished. Grade: B+

Love Hate & Fear - (Bonus track on Time Of Revelation) Wonderfully quirky song with surprising chord changes and great harmonies. It's amazing that a song like this gets left in the can when most bands today would give their right brain for something this creative! Grade: A

Stone's Throw - (Bonus track on Time Of Revelation) This song, unfortunately, was probably too mellow for Heep at the time, as it's all acoustic. A great bluesy piece featuring Ken on either an acoustic slide or a dobro. It's a real shame this gem didn't make the original album. Grade: A




Wonderworld
Reissue Liner Notes
1990 Liner Notes | 1997 Liner Notes

While much ado is made of the giants of 70's hard rock - bands like Led Zeppelin, Black Sabbath and Deep Purple - little is said these days about some of their equally influential but less well-know peers. Surely topping the list are long-time British veterans, Uriah Heep.

When this English quintet's debut LP was released in 1970, some critic who did not go down in rock history said, "if this band makes it, I'll have to commit suicide". Well, Heep did make it, despite this and other vicious critical barbs, but the fate of the reviewer is unknown. It was just the beginning of a strange career that has seen the group get slammed by the music press throughout their entire twenty-year career, yet somehow endure and carry on to play for eager audiences around the world.

Heep was formed out of the ashes of a band called Spice, by guitarist Mick Box and singer David Bryon. The sound was heavy, blues-influenced, yet possessed of chaotic edge that often veered into primal metal drone. Perched atop it all were Bryon's histrionic yet powerful vocals, and harmonies that gave the band the nickname of "the Beach Boys of heavy metal". It's those distinctive harmonies, plus the group"s trademark mix of wailing guitar with swirling Hammond organ, that have survived numerous personel changes and too many ups and downs of fortune to list here.

There's no doubt that Hep were at their peak between 1972 and 1974, and the lineup at the time remains the quintessential Heep: Box, Bryon, keyboardist Ken Hensley, bassist Gary Thain, and drummer Lee Kerslake. Heep's best and most successful albums came out of that period, and it remains a tragedy that the chemistry flared for all too brief a time, and that two members, Bryon and Thain, are no longer with us today.

The album you hold, Wonderworld, was the final LP recorded by the classic Heep lineup and surely captures five musicans who were spreading their musical wings and diversifying freely while remaining true to the band's core identity. Suicidal Man and Something For Nothing are typical, bottom-heavy Heep anthems, I Won't Mind is a blues crawl, Dreams is a mystical epic, and both Wonderworld and The Easy Road are piercing ballards, showcasing the group's depth and range of emotion. Also included is an ultra-rare bonus track, What Can I Do. Recored during the very sessions that yeiled Wonderworld, this unearthed gem has been pulled from the vaults and is finally avaiable after all these years.

Heep are still aound,with Mick Box still at the helm and Lee Kerslake continuing behind the kit, and it's a tribute to their perseverance and talent that Heep still enjoy a healthy following after two decades. I can think of no better tribute to their music than for us to once again enjoy the album you hold in your hands.

DON KAYE, KERRANG



Wonderworld was Uriah Heep's seventh studio album. It was to be the last album to feature New Zealander Gary Thain on bass. It was also the second album to be released by Warner Brothers in the US. Wonderworld featured the line-up of David Byron (lead vocals), Mick Box (guitar), Ken Hensley (keyboards, guitar, vocals), Lee Kerslake (drums, percussion) and Gary Thain (bass). This line-up had been consistent for three previous studio albums - Demons & Wizards, The Magician's Birthday and Sweet Freedom - and the million seller live opus Uriah Heep Live 1973.

Recorded at Musicland studios in Munchen (Munich), Germany. The band were once again recording outside of the Country for tax reasons. 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 were to rest in the vaults untouched and unmixed until 1996. The acoustic Stone's Throw and Love, Hate And Fear have subsequently been mixed for inclusion on the band's penultimate box set Time Of Revelation. What you are now holding is the full Wonderworld album (re-mastered of course) in its original running order. Extra tracks include What Can I Do?, previously only released on the Rarities From The Bronze Age CD (Sequel NEX 184).

Also included is a previously unreleased version of Dreams from the Wonderworld sessions. This version is longer than the original and was mixed for the first time in August 1995.

Two previously unreleased live versions of The Easy Road and Something Or Nothing both of which were recorded live at Shepperton Film Studios in 1974. Both of these live versions were mixed for the first time in 1995. The Live At Shepperton concert (a full concert including many re-runs of songs) was originally setup for airing to American radio in 1974 as PR and pre-release for the Wonderworld album. Both songs are different versions to those released on the Live At Shepperton '74 album.

These live recordings were the last known live recordings that exist with Gary Thain playing bass. By February of the following year Thain was ousted from the band due to 'lack of reliability'. He was replaced by John Wetton (Family, UK, Asia). Although Thain was a brilliant player he had been plagued by ill health, drug problems and several incidents involving musical equipment malfunction. One of the worst incidents involving him being electrocuted while playing live in Dallas. This resulted in hospitalization for Gary and cancellation of the remaining US and UK dates. Disaster followed in the December following his exit from the band when Gary was found dead in his flat from a drug overdose. Rock and roll had lost one of the greatest bass players of this era.

Although Wonderworld may not have been the best album Uriah Heep recorded it does contain some truly excellent moments. It was probably a shame the line-up couldn't have continued together. Fame and fortune were beginning to take their toll.

With John Wetton 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.

c 1996 Robert M. Corich




Artist Comments
Mick Box 1974 | Gary Thain | Ken Hensley 1989 | Mick Box 1990 | Gerry Bron | Mick Box 1995 | Ken Hensley 1996

MICK BOX
1974

We're very pleased with it, because it was a strange studio. What I like about it is that we did a couple of the numbers spontaneously in the studio. I like that 'cause when we go on stage we have one go with each song and it's great if you can do that in the studio 'cause you get the right feel.



GARY THAIN
1975

All I remember is going to the amplifier to adjust the equalizers, the next thing that happened was I blacked out. (Regarding his electrocution in Dallas Sept. 1974.)

The music's been forgotten, it's now a financial thing. (Regarding his firing.)



KEN HENSLEY
1989

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.

...I love that song (The Easy Road). It represented an area musically where the band, particularly David, was very comfortable in. I guess it was borne out of a frustration that was developing as a result of the fact that we were fighting over so many unimportant things, and that we weren't communicating on things that were crucially important.

...I always loved Gary as a person. He had a quality of irresponsibility that I always liked. I think he died because he misjudged what he was doing and it got the better of him.



MICK BOX
1990

That was the most dramatic album I've ever worked on. 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. We were just not cut out to record abroad it seemed.

...You couldn't help loving Gary, he was his own man and didn't take s*** from anyone and he loved living life on the edge. It was just a shame that he had that weakness that he couldn't control.



GERRY BRON
1990

I used to spend a lot of time trying to persuade Gary to find another reason to live apart from music.



MICK BOX
London, England, Nov. 11, 1995 (Armistice Day)

This was our second attempt to record out of England and we went to Musicland Studio in Munich, Germany. Before we left we tried out the new material playing a concert at Shepperton Studios in front of our fans and friends which also included a nude female streaker running across the stage. The band didn't really adjust to recording abroad so this became a difficult album to make. The hotel was across the road from the studio and I remember clearly David walking from the hotel bar across a very busy street with two champagne cocktails in his hand with cars whizzing past at breakneck speed and David arriving at the studio with not a drop spilt. On the cover you will see that I am the only one with no shirt and no shoes standing on the platform. This was not by design but I understood that we were only standing in our jeans to be concreted, not everything. Oh well!!! We still managed to overcome all adversity though and produce a typical "Heep" album and So Tired was always a good rocking stage number. I hope you enjoy this re-mastered version along with the bonus tracks.



KEN HENSLEY
St Louis, USA, Jan. 1996

Wonderworld was a name I gave to the place I went in my dreams. So many songs were inspired in this somewhat strange place that I thought it necessary to name it! (The title track is actually me talking to this place!) There are some strong moments on this record and there were times when it was fun to make but the fact that we were recording out of our home environment (and this for all the wrong reasons!) really weakened the overall record. It could have been much better and so could we. We were not, in my opinion, at our best at this time. I do rate The Easy Road as one of our best ballads.







Uriah Heep - "Very 'eavy...Very 'umble" (1970) Few bands captured the sound of classic 70's rock better than Uriah Heep did with their grandiose, melodic and progressive heavy rock. Even if their debut-album was pretty much your typical early 70's organ-drenched heavy rock, several of the most distinctive Heep-trademaks could already be heard here, like the operatic vocal-harmonies and the wha-wha dominated playing style of guitarist Mick Box. And not at least, the very powerful B3-Hammond of Ken Hensley, who also contributed with some guitar on the non-organ songs. The album opened with one of their best and most legendary hard rockers: "Gypsy". The track is based in a simple but genius riff that gets relieved by powerful vocal-parts with David Byron at his absolutely best (along with Ian Gillan, Byron was one of the very first typical heavy metal singers) and a long and absolutely outstanding organ-solo from Hensley. This is 70's heavy rock as good as it can get. Both the non-organ songs ("Walking in Your Shadow" and "Real Turned On") are also excellent tracks based in great riffs. The only track that I don't care for here is the limp blues of "Lucy Blues". The album also features a Mellotron-dominated cover of "Come Away Melinda" and this is for my money the best version ever recorded of this track. The two closing numbers showed Heep from their most progressive side. First you had the complex "I'll Keep on Trying" that probably had their heaviest riff ever. The lighter, more melodic "Wake Up (Set your Sights)" is a kind of a two-part track where the first part have a slight jazz-influence. The second part is basically the same melody as the first, but with a much calmer and laidback arrangement, including Mellotron. WHAT an atmosphere and sound! And now I almost forgot to mention "Dreamare" with it's idiotic but irresistable catchy "la la la la" chorus. The album contained one flaw with "Lucy Blues" but the rest is great.

Uriah Heep - "Wonderworld" (1974) The first disappointing Heep-album. While all the previous albums had been solid and even works, "Wonderworld" was filled with several weak tracks and an overall thin production. But it opens actually quite promising with the title-track. This is gentle, melodic and classic Heep with a great arrangement and melody. But after that? Well, "Suicidal Man" is a very limp and lame attempt at making an aggressive hard rocker. It has actually one decent riff, but it's only played twice. The rest of the track sucks. "The Shadows and the Wind" is on the other hand one of the better tracks on the album, and features their distinctive vocal-harmonies at their best. "So Tired" is a decent rocker, but nothing fantastic. But "The Easy Road" is a very tasty and orchestrated piano-piece that easily ranks up with their best ballads. Side 2 opens with "Something or Nothing" and this is a catchy and energetic number in the vein of "Spider Woman". But that's the only noteworthy track on the second side. "I Won't Mind" features long guitar-solos from both Box and Hensley to cover over how weak the track is. "We Got We" is plain awful and one of the worst Heep-songs from the 70's. And "Dreams" is a cheesy and half-assed attempt at making another epic in the vein of "Pilgrim" but fails completely. "Wonderworld" is generally for die-hard fans only.