While writing my post last month about Uriah Heep’s sophomore album Salisbury, I found myself thinking more than once how much better that record would have been, had its title track been replaced with the magnificent July Morning – sort of like adding Strawberry Fields Forever to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and taking out When I’m Sixty-Four and Lovely Rita. July Morning had been on my mind ever since.
The song, which I would consider to be among Heep’s top tunes, was written by keyboarder Ken Hensley and lead vocalist David Byron in July 1970. Notably, Manfred Mann had been brought in by the group’s manager Gerry Bron to play a Moog synthesizer. Supposedly, this was the first time Mann was recorded using what became a staple of ’70s progressive rock. That’s according to the liner notes of Look At Yourself, Heep’s third studio album from September 1971, on which July Morning first appeared.
There were also various singles of the song. The first was an edited shortened version, released in Japan in June 1972 and backed by Love Machine, another tune from Look At Yourself. A Venezuelan single split the full song between both sides. Finally, in May 1973, a live take from the Uriah Heep Live album appeared in the U.S. I’m not fooling around with this amazing tune, so here’s the full studio album version.
Following is some additional background from Songfacts: This 10-minute song was essentially put together from different ideas from Ken Hensley and David Byron. While recording Look at Yourself, the band noticed that they had three separate parts of compositions that were all in C minor, so they tried putting them together, thus those parts became the intro, verse and chorus buildup of “July Morning.”
In a Songfacts interview with Ken Hensley, he related the story about how he came to write the song. “Uriah Heep was on tour in the UK with an American band named Sha Na Na and we were sharing a bus, which meant we had to wait for them to finish before we could go home,” Hensley said. “This was boring!”
To entertain himself, Hensley started noodling around with his acoustic guitar. “It began with a true statement,” he said. “‘There I was, on a July morning,’ and then my imagination took over.” Hensley worked the song out over the next few days and played it for the rest of the band in their rehearsal room. “I played it to the band on my acoustic guitar and, by the end of the day, it had become the song that so many people grew to love,” Hensley said. “That was magic!”
Here’s a live version of July Morning by present-day Uriah Heep. According to the clip, this was literally just captured by an attendee of Heep’s concert at Eventim Apollo in London on January 29 – not bad. Guitarist Mick Box remains the only original member. Bernie Shaw who has been Heep’s vocalist since 1986 does a commendable job, though replacing David Byron is pretty much mission impossible. BTW, the group’s current keyboarder Phil Lanzon also joined in 1986.
Last but not least, July Morning inspired a tradition in Bulgaria in the 1980s, which continues to this day, where every June 30, people from all over the country come together on the coast of the Black Sea to watch the sunrise on July 1st. The origin was political.
Once again here’s more from Songfacts: “July Morning” inspired a Bulgarian show of resistance against a repressive Soviet Communist government and became an annual festival that has only grown more popular with each passing year.
The song…doesn’t have anything overtly political in the lyrics. It seems to be about a guy waking up on a July morning resolved to find his own road and an unnamed love. It’s natural to assume that the “love” is a romantic interest, but that’s not exactly how the song is formed. Things are kept ambiguous enough that the “love” can be something more like a grand purpose, a passion, or perhaps love of life itself.
The ambiguity may in part be why the song was able to resonate so much with Bulgarians in the 1980s. During that time, a Soviet-backed communist government held power over the people. Young Bulgarians started travelling to the coast of the Black Sea, camping out, making music, and just having fun into the early hours of July 1.
It was a sort of a soft, spiritual rebellion against the joyless Soviet state, as well as a great excuse to party. It’s been compared to the hippie festivals of the 1960s in the United States. Bulgaria broke out of Soviet rule [in 1989 – CMM], but the festival has continued ever since. In 2012 it had upwards of 12,000 attendees, and one-time Uriah Heep singer John Lawton performed “July Morning.”
The other day, fellow blogger Darren from Darren’s music blogwrote about recent solo releases from members of Uriah Heep. This reminded me how my journey with the British rock band began as a teenager back in Germany in the late ’70s/early ’80s. I’m pretty sure it must have been the rock ballad Lady in Black, a big hit in Germany, which caught my initial attention. I also recall receiving a gift from a friend, a music cassette titled The Rock Album, which included Free Me, another popular Uriah Heep tune in Germany. Since I preferred Lady in Black, I ended up buying Salisbury, the album that included the tune. I own that vinyl copy to this day.
The origins of Uriah Heep date back to 1967 when Mick Box, then a 19-year-old guitarist, founded a cover band called Hogwash. After David Garrick joined, who later changed his last name to Byron, Box formed a songwriting partnership with him and established a new band called Spice, which focused on original songs. In 1969, Spice became Uriah Heep, named after the fictional character in the 1850 Charles Dickens novel David Copperfield.
Uriah Heep in December 1970
In addition to Box (guitars, backing vocals) and Byron (vocals), the group’s initial line-up included Ken Hensley (keyboards, synthesizers, guitars, vocals), Paul Newton (bass, backing vocals) and Alex Napier (drums). That formation recorded the band’s 1970 debut album …Very ‘Eavy …Very ‘Umble. By the time Uriah Heep went into the studio for their sophomore album, Salisbury, Napier had been replaced by Keith Baker – the first of numerous line-up changes throughout the group’s 50-plus-year history.
Interestingly, Salisbury appeared first in the U.S. in January 1971 before it was released in the UK the following month. Unlike the group’s first album that credited the music to most members of the band, Salisbury saw the emergence of Hensley as a key songwriter, with half the tracks attributed solely to him. Let’s get to some music! This review is based on the album’s UK/European edition.
Here’s the opener Bird of Prey. First included on the U.S. version of Uriah Heep’s debut album, it’s the only track credited to four members of the group: Box, Byron, Hensley and Newton. As you listen to the powerful rocker, you can literally picture the rumbling tank on the front cover of the album. I’m a bit surprised Bird of Prey wasn’t released as a single. Nevertheless, it has become one of Heep’s most popular tunes, at least among their fans.
After the furious opener, things slow down on The Park, a ballad and one of three tracks solely written by Hensley. I realize Byron’s high vocals may be an acquired taste, especially for first-time listeners. Interestingly, I never had a problem with it, though I can see why some folks might consider his singing to be a bit weird. It’s certainly quite distinct!
Side A closes with the above-mentioned Lady in Black. The tune, another song penned by Hensley alone, also appeared separately as a single in June 1971. Remarkably, it didn’t chart in the UK. Elsewhere, it climbed to no. 5 in Germany, no. 6 in Switzerland and no. 16 in Finland. Based on Wikipedia’s chart overview, this lack of success in the UK seems to be pretty consistent when it comes to the band’s singles.
Side B only includes two tracks: High Priestess, the third tune solely penned by Hensley that also became a U.S. single in January 1971, and the title track. Here’s the latter, co-written by Box, Byron and Hensley. And, yep, it’s a massive, largely instrumental prog-rock type tune featuring a 24-piece orchestra.
Salisbury was produced by Gerry Bron who also produced or co-produced Heep’s other 12 albums released during the band’s first 10 years of their recording career, including Conquest from February 1980. Salisbury was most successful in Finland where it peaked at no. 3. Elsewhere, it reached no. 19 in Australia, no. 31 in Germany, no. 47 in Japan and no. 103 in the U.S. Uriah Heep’s first chart entry in the UK would have to wait until Look at Yourself, their third studio album that came out in September 1971.
To date, Uriah Heep have released 24 studio albums, most recently Living the Dream from September 2018. According to Wikipedia, numerous other acts have identified the British rock band as an influence, including Iron Maiden, Queen, Accept, Dio, Krokus and Demons & Wizards, among others.
In November 2021, Mick Box, Heep’s only remaining original member, told heavy metal and hard rock news website Blabbermouth.net they had finished recording sessions for a new album. “And it’s over in L.A. now being mixed,” he added. “So a new album is on the horizon.” Details have yet to be revealed.
Meanwhile, Uriah Heepannounced a “mammoth European tour, a delayed celebration of their 50th anniversary. The 61 dates will span 28 countries. Current shows are listed here.
My recent “desert island” collection of 10 studio albums included Deep Purple’sMachine Head, which after more than 40 years of listening remains the ultimate hard rock album to me. In that post, I also noted that these days heavy rock no longer is my primary music choice. But occasionally, I still enjoy it, which triggered the idea to put together this playlist. I guess just like with many other things, when it comes to music, it’s all about moderation, except of course for The Beatles, The Rolling Stones, The Who, Neil Young, live concerts, music equipment… 🙂
As more frequent visitors of the blog know, I find doing rankings nearly impossible. But since I suppose there needs to be some system to the madness, the following list is in chronological order from oldest to most recent. And, yes, I suppose in some cases you could question whether a pick is really hard, heavy or metal rock, or is it just rock? The boundaries can be pretty fluid. Plus, to some extent, it’s also a bit subjective. At the end of the day, it’s all about music I dig when the occasion is right. With all these caveats out of the way, let’s get to it.
Steppenwolf – Born to be Wild
This classic from Steppenwolf’s eponymous debut album from January 1968 sometimes has been called the first heavy metal song – in part because of the second line of the second verse, “heavy metal thunder.”Born to be Wild was written by Canadian rock musician and songwriter Dennis Edmonton, aka Mars Bonfire. The tune also appeared separately as a single in June 1968 and became Steppenwolf’s biggest hit next to Magic Carpet Ride. It will forever be associated with the 1969 biker cult picture Easy Rider. Every time I hear that opening line Get your motor runnin’, I feel like climbing on my chopper and heading down Route 18 to the Jersey shore. Then reality sets in. I don’t own a bike, not to mention the minor detail I don’t really know how to ride one. But when I get the urge to look for adventure, there’s always my sexy family crossover SUV! 🙂
Led Zeppelin – Whole Lotta Love
While Led Zeppelin IV is my favorite Zep album, Whole Lotta Love possibly is my favorite tune among their crunchy rockers. Credited to all four members, the track first appeared on Led Zeppelin’s sophomore album that came out in October 1969, ingeniously titled Led Zeppelin II. The following month, Whole Lotta Love was also released as a single and became their best chart-performing song, reaching no. 1 in Australia and Germany, and peaking at no. 4 in the U.S. Notably, it didn’t chart in their home country. From today’s perspective, the fact that Whole Lotta Love became such a big hit looks unreal. You need cooling/Baby I’m not fooling/I’m gonna send ya/Back to schooling//A-way down inside/A-honey you need it/I’m gonna give you my love/I’m gonna give you my love//Want to whole lotta love/Want to whole lotta love/Want to whole lotta love/Want to whole lotta love…
Deep Purple – Speed King
Obviously, it was only a matter of time until I would feature a Deep Purple tune in this post. But while Machine Head was their Mount Rushmore, there’s more to the British hard rockers than this 1972 gem. One great example is the opener to the band’s fourth studio album Deep Purple in Rock released in June 1970: Speed King. Credited to the entire band, the song’s lyrics are made up of titles of classic rock & roll tunes by Chuck Berry and Little Richard, which I always thought was a cool idea. Good golly, said little Miss Molly/When she was rockin’ in the house of blue light/Tutti Frutti was oh so rooty/Rockin’ to the east and west/Lucille was oh so real/When she didn’t do her daddies will/Come on baby, drive me crazy, do it, do it.. This is one kick-ass rocker!
Black Sabbath – Paranoid
While I can’t claim to be a Black Sabbath fan, there’s just no way you can leave out these English rockers from any heavy rock collection. It would be like doing a post about the British Invasion and excluding The Beatles. And, to be clear, I’m not just featuring Sabbath because I felt I had to. I’ve always loved Paranoid, the title track of their second studio album that came out in September 1970. Credited to the entire band, Paranoid first appeared as a single in August of the same year. It became their biggest hit, topping the charts in Germany, and reaching no. 2, 3 and 4 in Switzerland, Austria and the UK, respectively. Apparently, audiences were less receptive in America, where the tune stalled at no. 61 on the Billboard Hot 100. Here’s a cool official clip, even though it’s all playback. Check out Tony Iommi’s cool Gibson SG. One day when I grow up I’m gonna get an ax like this – it even plays rhythm and solo at the same time! 🙂
Uriah Heep – Bird of Prey
Yep, Uriah Heep with their crazy high vocals can border a bit on the weird, but these guys were rockin’, especially in their early days. I seem to remember when I bought the album Salisbury as a young teenager, my six-year older sister who accompanied me to the record store was a bit embarrassed about my choice. Come on, sis’, while with Carole King’sTapestry, CSNY’sDéjà Vu and Pink Floyd’sWish You Were Here, to name a few, you undoubtedly introduced me to some of the best-recorded music ever, your taste also varied – let’s just leave it at that! 🙂 Credited to the band members Ken Hensley, Mick Box, Paul Newton and Keith Baker, Bird of Prey is the furious opener of Heep’s sophomore album from February 1971. That tune rumbles just like the tank on the album cover – “geil,” as was fashionable to say in Germany back in the day!
Rainbow – Long Live Rock ‘n’ Roll
I don’t care how you feel about Rainbow, and my thoughts about them are mixed these days, Long Live Rock ‘n’ Roll just is an epic rocker. Co-written by former Deep Purple guitarist and Rainbow founder Ritchie Blackmore and the band’s powerhouse lead vocalist Ronnie James Dio, Long Live Rock ‘n’ Roll was the title track of Rainbow’s third studio album released in April 1978. It also became the record’s lead single in March of the same year. To me, this is Rainbow’s best song. Apparently, audiences felt differently, at least the time, and far preferred some of their later songs, on which Blackmore adopted a more commercial sound along the lines of Foreigner.
Gary Moore – Victims of the Future
Before Gary Moore fully embraced electric blues during his solo career, the Irish guitarist released heavy rock album Victims of the Future in December 1983. The big hit off that record was the power ballad Empty Rooms, which was played to death on the radio in Germany. I don’t even recall hearing the title track, which was co-written by Moore, Neil Carter (keyboards), Neil Murray (bass) and Ian Paice (drums) – and, yep, that’s the Ian Paice from Deep Purple. The song wasn’t released as a single; clocking in at more than six minutes, it wouldn’t have been radio-friendly to begin with. Admittedly, this is a pretty aggressive tune I can only tolerate occasionally, but when I’m in the mood for some heavy action, I still enjoy it. According to Wikipedia, Moore later dismissed the record as “just one of my feeble attempts at heavy rock”. It’s certainly quite different from his electric blues music he released starting in the early ’90s all the way until his premature death at age 58 in February 2011.
Guns N’ Roses – Sweet Child o’ Mine
My sentiments about Guns N’ Roses, in general, are similar to the previous pick. Sometimes, their music is simply too aggressive, so again, I need to be in the right mood. When I am, I actually enjoy a good number of their tunes. On these occasions, Sweet Child o’ Mine is one of my favorites. It’s a track off their debut album Appetite for Destruction from July 1987. Credited to the entire band, the tune also became the album’s third single in August of the same year. It was one of the songs that fueled the record’s massive international chart success, turning it into Guns N’ Roses’ biggest album. The guitar work on this song is just killer!
Scorpions – Raised on Rock
I suppose writing a post about heavy rock without acknowledging German veterans Scorpions would border on treason. The band from the city of Hannover first entered my radar screen with Love at First Sting, their hugely successful ninth studio album they released in March 1984, 12 years into their recording career. I seem to recall reading somewhere there were times before then when Scorpions were more famous elsewhere than in their home country. With hits, such as Rock You Like a Hurricane, Big City Nights and Still Loving You, Love at First Sting definitely changed that. Scorpions continue to rock and roll to this day. In April, they released a new tune, Sign of Hope, a classic Scorpions-style ballad, inspired by COVID-19. According to a statement on their website, they have been working on songs for a new album. The tune I decided to feature here appeared 26 years after Love at First Sting. Raised on Rock is the opener to the band’s 17th studio album Sting in the Tail from March 2010, which together with the supporting tour was positioned as their farewell. Then, they decided they simply couldn’t stop.
AC/DC – Play Ball
Let’s wrap up things with a great late-career rocker by AC/DC. Play Ball is from their 16th studio album Rock or Bust, which is the band’s most recent to date from November 2014. There have been reports about a new album for some time, largely fueled by Twisted Sister’sDee Snider, who apparently is close to AC/DC. According to this NMEstory from late July, the album is already in the can, but it’s release has been delayed due to COVID-19. It sounds like thanks to some technology wizardry, it will feature the classic lineup including Malcolm Young and be the band’s final album. For now, let’s focus on actually released AC/DC music. Co-written by Malcolm Young prior to his forced retirement due to dementia and his younger brother Angus Young, Play Ball was the lead single from Rock or Bust, which appeared in October 2014, preceding the album by one month – a classic AC/DC rocker!
Jeez, after listening to ten heavy rock tunes, my ears are exhausted. Yesterday, the long-awaited reissue of The Rolling Stones’Goat Heads Soup came out. I think I’m just about ready for Angie. A-Angie, A-Angie/When will this hard rock disappear/Angie, Angie/where will it lead from here…
Uriah Heep can be an acquired taste, especially their sometimes very high vocals. Interestingly, I pretty much dug the British rock band from the get-go. It all started with the power ballad Lady in Black, which became a pretty big hit in Germany and was on the radio all the time. Because of that tune, I bought Salisbury, their sophomore album from February 1971. And then I got Uriah Heep Live, the band’s first live album that appeared in February 1973. It definitely sounds very ’70s, but I still find it pretty enjoyable.
Uriah Heep were founded in London in late 1969. Their initial line-up featured Mick Box (guitars, backing vocals), Ken Hensley (keyboards, synthesizers, guitars, vocals), David Byron (lead vocals), Paul Newton (bass, backing vocals) and Alex Napier (drums). The band, which remains active to this day with Box being the only original member, has seen numerous changes over the decades. At the time Uriah Heep Live was recorded at Town Hall in Birmingham, England on January 26, 1973, Newton and Napier had been replaced by Gary Thain and Lee Kerslake on bass and drums, respectively.
Let’s kick things off with what Byron called a party song, a rock & roller boogie: Sweet Lorraine. Co-written by Box, Byron and Thain, the tune first appeared on Uriah Heep’s fifth studio album The Magician’s Birthday released in November 1972. I believe that somewhat crazy-sounding keyboard is a Moog synthesizer played by Hensley; hey, it’s the ’70s, baby! 🙂
Here’s another nice upbeat rocker: Easy Livin’, a track from Demons and Wizards, which was the band’s fourth studio album from May 1972. This tune was penned by Hensley.
July Morning from Look at Yourself, Uriah Heep’s third studio record that came out in September 1971, definitely blends into prog rock. The 10-minute-plus opus was co-written by Box and Bryon.
Next up is Gypsy, a co-write by Box and Byron from Uriah Heep’s debut album …Very ‘Eavy …Very ‘Umble. In the U.K., it was released in June 1970. The U.S. version, which had a slightly different tracklist, appeared in August that year. And in this case, there’s no doubt about the Moog, since Byron noted it during the song’s announcement. While he referred to it as a “Moog simplifier,” it was actually the so-called Minimoog, a highly popular synthesizer in the ’70s. Okay, I guess I’m getting a bit carried away here, so on to the song! 🙂
Let’s do one more tune: Look at Yourself, which apparently was the official set’s closer. The title track from Uriah Heep’s above mentioned third studio record was written by Hensley.
Altogether, Uriah Heep have released 24 studio albums, 20 live albums, 41 compilations, 33 singles and 17 videos to date. I had to count them all! Just kidding – that’s according to Wikipedia. For the most part, I’ve only listened to the band’s first five studio records and this live album.
It looks like Uriah Heep’s most recent album, Living the Dream from September 2018, charted in several European countries, including the U.K. (no. 57), Germany (no. 10), Austria (no. 18), Switzerland (no. 5), Norway (no. 28) and Finland (no. 28). While I haven’t listened to it, that’s pretty remarkable for a band that has been around for more than 50 years!
Their website currently lists various gigs across Europe starting in July – seems a bit optimistic to me! In early April, they also announced a series of shows in Russia that have been rescheduled to April 2021. That may be more realistic!
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