LUCIFER's FRIEND is much prog compared to URIAH HEEP. And to me, this one album does not justify to conclude this band asĪ prog band. But I never dare to say that this band is a prog band except But 'Demon's and Wizards' is a prog album? Give me a their SALISBURY album is definitely a prog rock am I in the right space? Where am I? URIAH HEEP! Is it a progīand?. Posted Saturday, J| Review this album | Report (Review #31282) An edited version of this track was released as a single B side, but other than that, this absolute gem was for many years generally unavailable. The recently released deluxe remaster has 5 bonus tracks including an extended version of 'Why'. In another moment of inspiration, Roger Dean was asked to design the excellent cover, which looks so much better on the gatefold sleeve of an LP. I'm sure you get the message though, this album is the pinnacle, a work of pure genius. Had the other tracks appeared on any other album, I would have been listing them individually with glowing praise. It sends shivers up my spine every time I hear it. The centre point is a choral backed slide guitar solo by Hensley, which on its own would have made an excellent single in the 'Sylvia' (Focus) vein. It has a complex structure with a multitude of vocal styles, and time changes a plenty. 'The spell' was in many ways a predecessor for Queen's 'Bohemian Rhapsody'. 'Paradise' is a soft acoustic number, on which Byron and Hensley alternate the vocals on the repeating choruses. It is two separate pieces, which happen to combine well together. The closing two part track 'Paradise/The spell', is awesome. 'Circle of hands' is similar in structure to 'July Morning' from the previous album, with a repeating instrumental conclusion. The Hammond organ and lead guitar combine with a great bass line from Thain, to provide the basis for this brief masterpiece. 'Easy Livin'' is wonderful three minute burst of driving rock, with everything turned up to 11.

The opening track, 'The wizard' is an acoustic number, which finds David Byron in his best vocal form. The album is supremely melodic, and much less ''eavy' than previous albums. These were the final pieces which would see Uriah Heep creating it's finest works. Ken Hensley was now fully installed as the main composer with the band, and had just entered his 'fantasy' phase. This was the first album recorded by the 'classic' line up, with Lee Kerslake (drums), and Gary Thain (bass), completing the quintet. That misgiving soon vanished however, and ever since it has taken pride of place in my collection. I do remember however when I first heard it, the one minor criticism I had at the time was that, when compared to the previous 'Look at yourself', there were too few instrumental breaks. I must admit to finding it somewhat difficult to write dispassionately about this album, since for the last 30+ years it has been my all time favourite. Lee Kerslake / drums, percussion Releases informationĪrtWork: Roger Dean with Dominy Hamilton (photo)ĬD Castle Communications ‎- CLACD 108 (1987, France)ĬD Essential ‎- ESMCD 319 (1996, UK) Remastered by Mike Brown w/ 3 bonus tracksĬD Castle Music ‎- CMRCD672 (2003, UK) Remastered by Mike Brown w/ 5 bonus tracks Ken Hensley / keyboards, guitars, percussion, vocals (8,9) * Previously unreleased Line-up / Musicians Why (edited for single B-side) (4:53)īonus tracks on 2003 Castle Music remaster:

Uriah heep all my life