I just stumbled on this source this a.m. I’m intrigued by the implication that Hensley was choice #3!
It kind of throws the writing credits into disarray ... It would be interesting to know what they actually are.
For contrast and comparison, here is Harry Belafonte's version of Come Away Melinda .... it is even more different than I could have imagined.
Wow, completely different. Also, doesn’t include the last Heep version verse (“that someone is your mommy”). Thanks.
It seems like Judy Collins, Theodore Bikel and several others did similar versions to Belafonte... But a guy called Tim Rose did a version closer to Heep's version A psychedelic band called Velvett Fogg did their take. Velvett Fogg - Come Away Melinda, 1968 or 1969- and for interest sake UFO UFO - Come Away Melinda I think the Heep version is the most solid version though Edit: it is surprising how many covers of it there are actually
The cobweb face was the band's logo for awhile it was on the drummer's bass drum and a huge poster hung on the stage wall behind the band at concerts.
I love Tim Rose! Used to have an LP by him that I played over and over. Had a good version of If I Were A Carpenter, a cool song called Cotton Growing Man and others. Loved the drummer.
Lucy Blues I guess we have already seen that this is possibly the least favourite track on here for a lot of folks. I personally like the track. I have been a fan of blues, for as long as I can remember, and I think the band actually capture the feel really well. In some ways I think that this again, just shows the variety that the band were capable of, and capable of in a very genuine way. It is very true that anyone can play a blues, it is a somewhat simplistic form, but there is an intangible something that some folks have for conveying it beyond the notes played. I think Heep here give a compelling case that this style is/was certainly not outside their wheelhouse. I think the rhythm section has that loose sway down. I think Hensley gives the piano and the organ a really nice feel and delivery. Box's guitar break is beautifully understated and gives the song a laid back swing that fits in the context without trying to say "hey look at me, I can really burn it up here". Byron also delivers a believable vocal, and it all works well for me. Having said that I can understand why some would find this song out of place on the album, because there is somewhat a mentality that blues in heavy rock is derivative and should be avoided to some degree. I wouldn't say that is right or wrong personally, but it is a valid feeling, even if it isn't my feeling.
Plenty of rock bands have had a go a go at playing blues & mostly the results have been terrible. I don't think I've heard a hard rock band play blues with the sort of feel that Uriah Heep achieve here. Hell there are plenty of bands calling themselves blues bands that don't get anywhere near this level.
Dreammare We come in with a cool organ playing a phrase, and then it is punctuated with power chords, and then we get a nice lead melody over the top. I really like the intro, I think it works beautifully. Then we move into a really cool rhythm guitar, that moves into a nice heavy, moderate tempo groove. We have a lyric that, as the title suggests, is based in the idea of a nightmare, and I like the use of lyrics here to get the little story across. For me this is an excellent song, and it works really well. I have to say that I even think the La la la section works as well, and I often dislike la la lyrics lol On this Box gets a chance to burn the strings up a bit, and he gives us a very good lead break. Newton only stayed with the band up to the Look At yourself album, and his writing disappeared in the face of Hensley's, but I think this is an excellent song.
For now, I am going to, where possible, do two songs a day, because I get the feeling we don't want to get bogged down and move too slowly. The thing is though, this is YOUR thread. I know everyone may have different opinions, but unless anyone particularly objects, I will continue with two a day
I enjoyed it quite a bit, although Gerry Bron comes across as kind of an ass. Even when he makes a rare compliment of the band members, or an album, it's done in a backhanded way.
Very nicely stated. The only part I might quibble with is that including a blues during that time period was par for the course. After the introductory piano, Hensley turns to an almost church-like organ. Very different from the deep, rich knock-em-over Hammond sound. I did not include this on my playlist but I think it is performed quite competently.
This is one of the best recordings from 1970. Some great songs too but the production is just crazy good. I have the original Bronze CD and its total audiophile grade bliss. But you need the early Castle release for the absolutely essential "Born In A Trunk".
Watched the first hour. Finally got a chance lol Excellent balance. Bron may seem a little obnoxious, but he is a nice balancer in the context of the whole thing. Worth a watch.
For those wanting a little more. Here is a rough recording of Heep live in Berlin 12/29/1970 1. Bird of Prey 2. Time to Live 3. See You in My Dreams Tonight 4. Dreammare 5. Simon the Bullet Freak 6. Salisbury 7. Gypsy
I’ve never heard of See You in my Dreams Tonight. Just did a search and found this (copy/pasted): “See You In My Dreams / So Nice, a song first recorded by Uriah Heep.” Discogs. Clicked but didn’t find anything.
I arbitrarily selected a spot that I thought I might find See You in my Dreams Tonight and caught the last part of Time To Live. Put it this way...I sure hope they abandoned that live arrangement! Then listened to a couple of mint of See You in my Dreams. No loss. I’m glad they didn’t pursue that further. Thanks for linking this, though, as it is interesting to see the old set list and see how they evolved on stage.
Wow! I miss one day and four songs go by. Excuse me while I backtrack. Walking In Your Shadow I like this unassuming little rock tune. It offers a bit of a breather from the sonic onslaught of opening track, Gypsy, and though Walking In Your Shadow would never make my Uriah Heep top 10 it does set my foot to tapping. The main riff reminds me a bit of Jethro Tull circa Stand Up, and the laid back spacey section is a nice added spice to the sonic stew. Come Away Melinda This song is just plain beautiful and heartbreaking at the same time. And as would become usual with this band as they continued, David Byron shows himself extremely capable with the quieter, more heartfelt tunes. An A-level performance from the man behind the microphone. Bravo.
Dreammare A strong B-side opener. I love the crunchy sound of Mick Box's rhythm guitar, and I've no problem with the layered La La La vocals. In the context of this song they work. And as others have mentioned, poor Paul Newton doesn't get the credit he should. His leaving Uriah Heep just before they hit their commercial peak is probably the main cause for this. It certainly isn't because of his playing, and the man could pen a good tune from time to time.
