Uriah Heep | ||
| Allmusic Biography : Taking their name from the scheming, parasitic lawyer in Charles Dickens 1850 novel David Copperfield, Uriah Heep is a progressive rock institution who, alongside bands like Deep Purple, Queen, Black Sabbath, and Led Zeppelin, helped lay the foundation for the United Kingdoms vibrant hard rock/heavy metal scene, via combustible hits like "Easy Livin," "The Wizard," "Sweet Lorraine," "Lady in Black," and "Stealin." Founded in 1969 by powerhouse vocalist David Byron and guitarist Mick Box, the group went through a prodigious number of members over the next four decades -- nearly 40 different musicians passed through the group over the years. Originally operating under the moniker Spice, Byron and Box eventually recruited guitarist, keyboardist, and vocalist Ken Hensley, bassist Paul Newton, and drummer Nigel Olsson, and made the transition to Uriah Heep -- fans often refer to the band as simply Heep. With Box and Byron handling most of the songwriting duties, the newly minted quintet debuted their bottom-heavy guitar- and organ-driven blend of bluesy sonic might and innovative hard rock on 1970s Very Eavy...Very Umble (called Uriah Heep in the U.S.), which was released on Vertigo Records. Initially panned by critics, the LP has since attained legendary status as an early heavy metal classic. Olsson would depart shortly after the albums release, making room for new drummer Keith Baker, who made his studio debut on the groups 1971 sophomore effort Salisbury. The ambitious six-track set, which saw Hensley making a more substantial writing contribution, adopted a far more progressive stance than the bands previous outing, with the 16-minute title cut employing a 26-piece orchestra. The group endured a flurry of lineup shake-ups -- Baker was replaced by Ian Clarke, whose role was then usurped by Lee Kerslake, while Gary Thain took over bass duties from Mark Clarke, who had succeeded Paul Newton shortly after the release of 1971s Look at Yourself and before the arrival of their acclaimed third studio long-player, 1972s Demons and Wizards. Widely praised as the bands breakthrough LP, it heralded a hugely successful run of albums (The Magicians Birthday, 1972, Sweet Freedom, 1973, Wonderworld, 1974, and Return to Fantasy, 1975) that saw Uriah Heep perfect their gothic-infused metal, as well as maintain a mostly stable lineup -- future Asia frontman and King Crimson alum John Wetton joined the band on bass for the latter offering. Wetton would stay on through 1976s fairly mainstream-sounding High and Mighty, but internal issues, due in part to David Byrons struggles with alcohol, were beginning to wear on the band. Wetton left the fold in 1977, and the group was forced to let Byron go, resulting in the release of Firefly, the first Uriah Heep effort to feature new vocalist John Lawton and former David Bowie bassist (and ex-Spider from Mars) Trevor Bolder, the latter of whom would stay with the group until his death in 2013. The bands sound began to change as well, with subsequent offerings like Fallen Angel and Conquest leaning more toward commercial AOR rock than progressive metal, though the band maintained a respectable level of popularity, especially in Germany. 1982 saw the group enter into another phase, delivering a punchier, more pop-metal era-appropriate effort with Abominog, their 14th long-player and first of three outings to feature ex-Trapeze vocalist Peter Goalby. While their audience declined as the years went on -- and pop culture norms waxed and waned -- the band enjoyed a strong international presence, and continued to release quality albums via multiple lineup iterations that featured Mick Box as the sole original member. In 2017, the stalwart rockers begun work on their 25th studio album with Jay Ruston (Anthrax, Stone Sour). The result, Living the Dream, was issued in 2018 on Frontiers, and saw the group sticking to their tried-and-tested classic rock formula. | ||
 | Album: 1 of 30 Title: …Very ’eavy …Very ’umble Released: 1970-06 Tracks: 16 Duration: 1:19:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Gypsy (06:38) 2 Walking in Your Shadow (04:34) 3 Come Away Melinda (03:48) 4 Lucy Blues (05:09) 5 Dreammare (04:40) 6 Real Turned On (03:41) 7 I’ll Keep on Trying (05:28) 8 Wake Up (Set Your Sights) (06:22) 9 Bird of Prey (US album version) (04:08) 10 Born in a Trunk (vocal version) (04:32) 11 Come Away Melinda (alternative version) (04:16) 12 Gypsy (extended version) (07:07) 13 Wake Up (Set Your Sights) (alternative version) (06:32) 14 Born in a Trunk (instrumental version) (04:37) 15 Dreammare (1970 BBC session) (03:08) 16 Gypsy (BBC session) (05:16) |
| …Very ’eavy …Very ’umble : Allmusic album Review : This album was the debut of Uriah Heep, an English band that would become one of the Titans of the 70s heavy metal sound. Despite their eventual hard-rocking reputation, Very Eavy... Very Umble finds the band trying on different stylistic hats as they work towards finding their own sound. At this juncture, their music falls halfway between the crunch of heavy metal and the dramatic arrangements of prog rock. When this style jells, the results are quite powerful: "Dreammare" blends psychedelic lyrics and a complex vocal arrangement with a stomping beat from the rhythm section to create an effective slice of prog metal fusion while "Ill Keep on Trying" presents a head-spinning, complex tune with enough riffs, hooks, and tempo changes to fill three or four songs. However, the albums finest achievement is "Gypsy": this heavy metal gem nails the blend of swirling organ riffs, power chords, and leather-lunged vocal harmonies that would define the groups classic tunes and remains a staple of the bands live performances today. Unfortunately, the focus of the album is diluted by some unsuccessful experiments: "Lucy Blues" is a dull, unmemorable stab at a Led Zeppelin-style heavy blues tune and "Come Away Melinda" is an overproduced, melodramatic cover that tries to marry the bands full-throttle musical style to a message song. Despite these occasional moments of stylistic schizophrenia, Very Eavy... Very Umble is a likable album that shows the promise that Uriah Heep would soon realize. Those unfamiliar with Uriah Heep may want to try out Demons and Wizards or a compilation first, but anyone with a serious interest in Uriah Heep or the roots of heavy metal will find plenty to like on Very Eavy... Very Umble. The American edition of this album was retitled Uriah Heep and omits "Lucy Blues" in favor of the track "Bird of Prey" from Salisbury. | ||
 | Album: 2 of 30 Title: Salisbury Released: 1971-02 Tracks: 6 Duration: 39:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Bird of Prey (04:21) 2 The Park (05:47) 3 Time to Live (04:08) 4 Lady in Black (04:51) 5 High Priestess (03:46) 6 Salisbury (16:21) |
| Salisbury : Allmusic album Review : On their second album, Uriah Heep jettisons the experiments that weighed down Very Eavy Very Umble and works toward perfecting their blend of heavy metal power and prog rock complexity. Salisbury tips the bands style in the prog direction, containing one side of songs and one side dominated by a lengthy and ornate epic-length composition. Highlights on the song-oriented side include "Bird of Prey," a soaring rocker that blends furious, power chord-fuelled verses with spacy, keyboard-drenched instrumental breaks, and "Lady in Black," a stylishly arranged tune that builds from a folk-styled acoustic tune into a throbbing rocker full of ghostly harmonies and crunching guitar riffs. The big surprise on this side is "The Park," a ballad-style song built on a light blend of acoustic guitars and ethereal keyboards. It has a gentle, appealingly psychedelic feel that is topped off by David Byrons falsetto vocal and some soaring harmonies from Byron and Ken Hensley. However, Salisbury is undone by its title track, the 16-minute track that dominates the albums entire second side: it feels more like a lengthy jam session instead of a prog epic with distinctive and carefully crafted sections. Another problem is that the overly busy brass and woodwind arrangements that have been grafted onto it intrude on the groups sound instead of fleshing it out. All in all, Salisbury is too unfocused for the casual listener but offers enough solid songs for the Uriah Heep completist. Collectors note: The American version of this album had different cover art (the tank on the British edition was replaced by a gruesome image of man tearing out of his own skin) and replaced "Bird of Prey" with a bluesy B-side entitled "Simon the Bullet Freak." | ||
 | Album: 3 of 30 Title: Look at Yourself Released: 1971-10 Tracks: 7 Duration: 40:56 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Look at Yourself (05:09) 2 I Wanna Be Free (04:00) 3 July Morning (10:24) 4 Tears in My Eyes (04:58) 5 Shadows of Grief (08:36) 6 What Should Be Done (04:11) 7 Love Machine (03:36) |
| Look at Yourself : Allmusic album Review : The third time proved to be the charm for Uriah Heep: on Look at Yourself, the group perfects its fusion of heavy metal power and prog rock majesty, and the result is one of the best albums in the Heep catalog. The gauntlet is thrown down on the title track, a powerful rocker that layers its relentless hard rock attack with ornate vocal harmonies and quicksilver organ runs before climaxing with a tribal-sounding drum jam. The remainder of Look at Yourself presents an effective blend of gutsy guitar rock and organ-fueled prog excursions. In the rock arena, the gems are "Tears in My Eyes," a powerful rocker driven by an almost rockabilly-style riff that stops midway for a surprising vocal harmony break supported by smooth wah-wah guitar, and "Love Machine," a short, punchy slice of hard rock built on an infectious, stomping rhythm. However, the best track on the album is one of the more prog-oriented ones: "July Morning" starts with a pastoral organ riff, then builds into a heavy yet symphonic rock tune that divides its time between gentle acoustic verses and emotional, organ-fueled choruses before climaxing in a monstrous jam dominated by a swirling Moog synthesizer lead. Special note should also be taken of David Byrons vocal performance; his multi-octave, operatic style was no doubt an influence on later metal vocalists like Rob Halford. All in all, Look at Yourself is both one of Uriah Heeps finest, most cohesive albums and a high point of 1970s heavy metal. | ||
 | Album: 4 of 30 Title: Demons and Wizards Released: 1972-05 Tracks: 14 Duration: 1:06:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 The Wizard (03:00) 2 Traveller in Time (03:25) 3 Easy Livin’ (02:36) 4 Poet’s Justice (04:16) 5 Circle of Hands (06:26) 6 Rainbow Demon (04:25) 7 All My Life (02:46) 8 Paradise (05:10) 9 The Spell (07:31) 10 Why (extended version) (10:34) 11 Rainbow Demon (single edit) (03:36) 12 Proud Words on a Dusty Shelf (out-take) (02:51) 13 Home Again to You (demo version) (05:36) 14 Green Eye (demo) (03:46) |
| Demons and Wizards : Allmusic album Review : This is the album that solidified Uriah Heeps reputation as a master of gothic-inflected heavy metal. From short, sharp rock songs to lengthy, musically dense epics, Demons and Wizards finds Uriah Heep covering all the bases with style and power. The albums approach is set with its lead-off track, "The Wizard": it starts as a simple acoustic tune but soon builds into a stately rocker that surges forth on a Wall of Sound built from thick guitar riffs, churchy organ, and operatic vocal harmonies. Other highlights include "Traveller in Time," a fantasy-themed rocker built on thick wah-wah guitar riffs, and "Circle of Hands," a stately power ballad with a gospel-meets-heavy metal feel to it. Demons and Wizards also produced a notable radio hit for the band in "Easy Livin," a punchy little rocker whose raging blend of fuzz guitar and swirling organ made it feel like a 70s update of classic 60s garage rockers like the Electric Prunes or Paul Revere & the Raiders. However, the top highlight of the album is the closing medley of "Paradise" and "The Spell": the first part of the medley starts in an acoustic folk mode and slowly adds layers of organ and electric guitar until it becomes a forceful, slow-tempo rocker, while the second half is a punchy, organ-led rocker that includes an instrumental midsection where choral-style harmonies fortify a killer, Pink Floyd-style guitar solo from Ken Hensley. All in all, Demons and Wizards works both as a showcase for Uriah Heeps instrumental firepower and an excellent display of their songwriting skills in a variety of hard rock styles. As a result, it is considered by many fans to be their finest hour and is definitely worth a spin for anyone with an interest in 1970s heavy metal. | ||
 | Album: 5 of 30 Title: The Magicians Birthday Released: 1972-11 Tracks: 23 Duration: 1:46:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Sunrise (04:06) 2 Spider Woman (02:28) 3 Blind Eye (03:36) 4 Echoes in the Dark (04:53) 5 Rain (04:00) 6 Sweet Lorraine (04:16) 7 Tales (04:10) 8 The Magicians Birthday (10:21) 1 Echoes in the Dark (Alternative Version) (03:13) 2 Sweet Lorraine (Alternative Version) (04:56) 3 Blind Eye (Alternative Version) (05:08) 4 Tales (Alternative Version) (04:02) 5 Silver White Man (Alternative Version) (04:08) 6 Sunrise (Alternative Version) (04:25) 7 Crystal Ball (Alternative Version) (04:09) 8 Spider Woman (Alternative Version) (02:38) 9 The Magicians Birthday (Alternative Version) (10:50) 10 Rain (Alternative Version) (04:40) 11 Silver White Man (No Vox; Alternative Version) (03:43) 12 Happy Birthday (Alternative Version) (04:42) 13 Sunrise (Alternative Single Version) (03:36) 14 Sweet Lorraine (Alternative Single Version) (03:38) 15 Garys Song - Crystal Ball (Alternative Version) (04:22) |
| The Magician's Birthday : Allmusic album Review : After reaching an international level of success with Demons and Wizards, Uriah Heep continued to build their fan base by knocking out another album of prog-like metal before the years end. The end result, The Magicians Birthday, is not as consistent or cohesive as Demons and Wizards but still offers plenty of highlights. It starts dramatically with "Sunrise," a spooky power ballad that alternates quiet organ-led verses with an emotional chorus and guitar-fuelled instrumental breaks topped off by David Byrons operatic wail. The remainder of the album divides its time between punchy rockers and spacy balladry before climaxing with another prog-inflected epic. Highlights in the rock arena include "Blind Eye," an acoustic-flavored rocker whose galloping pace is firmly anchored by Gary Thains melodic bassline, and "Sweet Lorraine," a stomping good-time rocker that adds extra texture to its guitar-driven sound with some spacy synthesizer lines. As for the quieter moments, "Rain" is a lovely piano ballad that makes surprising and impressive use of a xylophone in its sound and "Echoes in the Dark" is an eerie mid-tempo song that alternates stark piano-led verses with an emotional chorus cemented by Mick Boxs searing guitar leads. There is also another multi-part epic in the title track, a prog-ish piece with fantasy themes. It lacks a strong structure (it feels more like three songs grafted together than a true multi-part composition) and succumbs to a bit of aimless jamming in the middle, but it is redeemed by strong hooks in the opening and a spirited performance from the band on its space rock finale. All in all, The Magicians Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans. | ||
 | Album: 6 of 30 Title: Sweet Freedom Released: 1973-09 Tracks: 14 Duration: 1:16:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Dreamer (03:43) 2 Stealin (04:50) 3 One Day (02:47) 4 Sweet Freedom (06:29) 5 If I Had the Time (05:38) 6 Seven Stars (03:49) 7 Circus (02:45) 8 Pilgrim (07:09) 9 Sunshine (single b-side) (04:48) 10 Seven Stars (extended version) (07:03) 11 Pilgrim (extended version) (08:29) 12 If I Had the Time (Ken Hensley demo version) (06:02) 13 Sweet Freedom (alternative live version) (06:48) 14 Stealin (alternative live version) (05:41) |
| Sweet Freedom : Allmusic album Review : By 1973, Uriah Heep had progressed from an English heavy metal band to a worldwide success. They moved on to a new label (Warner Bros.) and began to explore new styles to flesh out their combination of prog complexity and heavy metal muscle. The bands desire to break new ground is established with the lead-off track, "Dreamer": while it riffs as hard as the bands past rockers, it adds a surprising element of funkiness into the bands sound. The gentle, acoustic guitar-dominated "Circus" is another change of pace that pushes the groups sound in a meditative, folky direction. The group also explores new avenues in the lyrical arena. Instead of the mystical tales that dominated albums like Demons and Wizards, Sweet Freedom offers lyrics designed to appeal to the listener on a personal level: The most stirring example is "Stealin," a song about the regrets that come with living a self-obsessed life. These sentiments were combined with a stirring, soulful melody that helped make the song a radio favorite. Another highlight in this vein is the title track, a song that combines lyrics about the price of being free with an organ-fuelled, hymn-like melody. Despite these successful experiments, there are a few tracks that weigh the proceedings down: "Seven Stars" takes an exciting riff and runs it into the ground with a repetitive arrangement and "Pilgrim" is an over-the-top stab at an adventure tale that pushes the groups excesses to the level of self-parody. However, Sweet Freedom is likable enough to triumph over these missteps. While it isnt the groups finest record, it remains a solid listen for Uriah Heep fans. | ||
 | Album: 7 of 30 Title: Wonderworld Released: 1974-06 Tracks: 13 Duration: 54:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Wonderworld (04:30) 2 Suicidal Man (03:40) 3 The Shadows and the Wind (04:33) 4 So Tired (03:42) 5 The Easy Road (02:44) 6 Something or Nothing (02:56) 7 I Wont Mind (06:04) 8 We Got We (03:39) 9 Dreams (06:10) 10 What Can I Do (single b-side) (03:10) 11 Dreams (unedited long version) (07:08) 12 Something or Nothing (live Shepperton 1974) (03:09) 13 The Easy Road (live Shepperton 1974) (02:53) |
| Wonderworld : Allmusic album Review : Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heeps appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byrons operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the bands finest hard rock tunes. On other tracks, the group continues in the experimental vein of Sweet Freedom: "The Shadows and the Wind" tacks a Queen-style round of a cappella harmonies onto its tag and "We Got We" marries one of the bands gothic melodies to a funky rhythm track that features some tasty clavinet jamming from Ken Hensley. However, the most successful experiment is "The Easy Road," an orchestrated romantic ballad that features a lovely, understated vocal performance from David Byron. Despite these highlights, the remainder of Wonderworld has trouble sustaining a similar level of inspiration: The title track is powerfully performed but feels like the band is going through the motions and "Dreams" lacks the strong melody necessary to prop up the songs interesting riffs. Ultimately, Wonderworld lacks the consistency and the high number of standout tunes that would help it win over new listeners but contains enough highlights to please the Uriah Heep fan base. | ||
 | Album: 8 of 30 Title: Return to Fantasy Released: 1975-05 Tracks: 9 Duration: 40:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Return to Fantasy (05:51) 2 Shady Lady (04:47) 3 Devils Daughter (04:49) 4 Beautiful Dream (04:53) 5 Prima Donna (03:10) 6 Your Turn to Remember (04:22) 7 Showdown (04:19) 8 Why Did You Go (03:52) 9 A Year or A Day (04:24) |
| Return to Fantasy : Allmusic album Review : After two albums that downplayed their penchant for gothic sounds and mystical lyrics, Uriah Heep brought these elements back to the fore on 1975s Return to Fantasy. The resulting album retains the musical experimentation that marked Sweet Freedom and Wonderworld, but has an overall harder-rocking feel that makes it more consistent than either one of those albums. Return to Fantasy throws down the gauntlet with the title track, which builds from a tapestry of spooky synthesizer and organ riffs to a thunderous rock tune where the guitar and organ duel over a galloping backbeat laid down by Lee Kerslake. Its bracing stuff and one of the finest rockers in the Uriah Heep canon. The rest of the first side continues in a similarly strong hard rock vein and its other key highlight is "Beautiful Dream," a song that marries stomping hard rock verses to a spooky, ethereal chorus that sounds like it could have been plucked from a mid-70s Pink Floyd album. On the second side, Heep give themselves over to experiments that, while listenable, cause the album to lose focus. For instance, "Prima Donna" is a sardonic commentary on the rock & roll world that features a prominent brass section and prominently overdubbed Beach Boys-style harmonies, while "Your Turn to Remember" is the kind of bluesy AOR ballad that groups like Journey would later specialize in. Both songs are fun listening but stray too far from the groups traditional sound and are too dissimilar to make Return to Fantasy a cohesive experience. Despite these problems, the group never turns in a less-than-engaging instrumental performance and the consistent quality of their work keeps the album from getting carried away by all the genre-hopping. In the end, Return to Fantasy lacks the coherence of a top-shelf Uriah Heep classic like Demons and Wizards but remains a strong and likable album that is guaranteed to please the groups fans. | ||
 | Album: 9 of 30 Title: High and Mighty Released: 1976-06 Tracks: 10 Duration: 40:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 One Way or Another (04:40) 2 Weep in Silence (05:06) 3 Misty Eyes (04:18) 4 Midnight (05:42) 5 Cant Keep a Good Band Down (03:50) 6 Woman of the World (03:10) 7 Footprints in the Snow (04:01) 8 Cant Stop Singing (03:30) 9 Make a Little Love (03:30) 10 Confession (02:09) |
| High and Mighty : Allmusic album Review : By 1976, Uriah Heep was on shaky ground. Although they had scored a big success with Return to Fantasy, the group was suffering from personality conflicts (vocalist David Byron left after this album) and division over their musical direction. This tension is visibly apparent on High and Mighty, an album that shows flashes of the groups old firepower, but is ultimately sunk by a combination of unfocused experimentation and uneven songwriting. It starts promisingly with a solid first side: "One Way or Another" is a surging, dramatic hard rocker that features Ken Hensley trading verses with bassist John Wetton, and "Misty Eyes" is an engaging up-tempo tune that trades the groups hard rock thunder for a sound built on some tasty acoustic guitar riffs. It also contains one of the groups finest songs in "Midnight," a meditation on the price of success that neatly balances Mick Boxs soaring guitar leads with an array of lush keyboard textures from Ken Hensley. This song is also notable for the dramatic, heart-wrenching vocal it is given by David Byron. However, High and Mighty fails to maintain this standard of quality on its second side. Several of the songs find the band flirting with pop elements in a way that doesnt complement their hard rocking style: "Cant Stop Singing" starts curiously with "Monty Python"-style mock tribal chants before devolving into a silly keyboard pop tune, and the hard rock energy of "Woman of the World" is sunk by the ridiculously bouncy beat and English music hall-style piano it is saddled with. The second side also sports a surprisingly lame and derivative rocker in "Make a Little Love," a throwaway that sounds like an uninspired attempt to duplicate the sound of Bad Company. All in all, High and Mighty is far too uneven to win Uriah Heep any new fans, but it contains enough solid rockers to make it worth a listen for the groups devoted ones. | ||
 | Album: 10 of 30 Title: Firefly Released: 1977-02 Tracks: 12 Duration: 55:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 The Hanging Tree (03:42) 2 Been Away Too Long (05:04) 3 Who Needs Me (03:39) 4 Wise Man (04:43) 5 Do You Know (03:15) 6 Rollin On (06:23) 7 Sympathy (04:45) 8 Firefly (06:19) 9 Crime of Passion (single b-side) (03:37) 10 Do You Know (demo version) (03:15) 11 A Far Better Way (out-take) (05:50) 12 Wise Man (TV backing track version) (04:48) |
| Firefly : Allmusic album Review : After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the groups early-70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifers Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. An ideal example of this new synergy was provided by the opening track, "The Hanging Tree," which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box. Other memorable tracks on Firefly include "Who Needs Me," a spirited slice of boogie rock with a rousing singalong chorus, and the title track, a miniature prog epic that deftly blends balladry, hard rock, and acoustic-styled folk into one cohesive outing. Nothing on Firefly hits the epic heights of "Gypsy" or "July Morning," but it contains none of the failed experiments that weighed down High and Mighty and it further benefits from a nice sense of consistency that is built on tight songwriting and inspired performances. In the end, Firefly remains one of the most cohesive albums from Uriah Heeps mid- to late-70s period and is guaranteed to bring a smile to the faces of the groups fan base. | ||
 | Album: 11 of 30 Title: Innocent Victim Released: 1977-11 Tracks: 9 Duration: 39:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Keep on Ridin (03:47) 2 Flyin High (03:22) 3 Roller (04:41) 4 Free n Easy (03:10) 5 Illusion (05:11) 6 Free Me (03:37) 7 Cheat n Lie (04:54) 8 The Dance (04:49) 9 Choices (05:47) |
| Innocent Victim : Allmusic album Review : After breaking in new vocalist John Lawton on the back-to-basics outing Firefly, Uriah Heep once again found themselves feeling the need to experiment a bit on Innocent Victim. The resulting album doesnt cohere as neatly as Firefly did, but manages to keep the listener engaged thanks to a combination of slick performances from the band and a handful of truly great Uriah Heep songs. Overall, Innocent Victims blend of sharp, short rockers and pop-friendly ballads feels like an attempt to court the American AOR market. The rockers are all pretty strong stuff: "Free n Easy" is a fast-moving tune built on an ear-scorching guitar riff that feels like boogie rock in overdrive, while "Roller" is a stylish midtempo track that blends funky, languid verses with a faster, bass-driven chorus that ups the songs rock quotient. The band also weaves in some experimental tracks that hit the bulls eye: "Illusion" is a spacy tale about dreaming that creates a rich atmosphere through an arrangement built on strong keyboard and vocal textures, while "The Dance" successfully marries a reggae beat to its prog-like melody. Meanwhile, the albums ballad leanings brought Uriah Heep one of their biggest international hits in the form of "Free Me," a tune whose acoustic style and accent on harmonies brought the group dangerously close to Eagles territory. The downside of Innocent Victim is that it works a little too hard at being radio-friendly: despite their high level of energy, songs like "Keep on Ridin" and "Flyin High" are too contrived and self-consciously poppy to sit comfortably alongside gutsy rockers like "Free n Easy." Despite this unevenness in tone, Innocent Victim remains a likable album with enough strong material to satisfy Uriah Heeps admirers. | ||
 | Album: 12 of 30 Title: Fallen Angel Released: 1978-09 Tracks: 18 Duration: 1:06:14 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Woman of the Night (04:04) 2 Falling in Love (02:53) 3 One More Night (03:30) 4 Put Your Lovin on Me (04:08) 5 Come Back to Me (04:19) 6 Whadya Say (03:40) 7 Save It (03:33) 8 Love or Nothing (03:00) 9 Im Alive (04:17) 10 Fallen Angel (05:02) 11 A Right To Live (Promo B-Side) (03:36) 12 Cheater (Single B-Side) (04:04) 13 Gimme Love (Single B-Side) (03:16) 14 Last Farewell (Alternate Version Of One More Night - Previously Unreleased) (03:20) 15 Street Lady (Alternate Version Of Woman Of The Night - Previously Unreleased) (03:42) 16 Struttin (Alternate Version Of Gimme Love - Previously Unreleased) (03:16) 17 Falling In Love (Alternate Live Version - Previously Unreleased) (03:08) 18 Woman Of The Night (Alternate Live Version - Previously Unreleased) (03:18) |
| Fallen Angel : Allmusic album Review : On Fallen Angel, Uriah Heep continued the push toward an AOR-friendly style that began with Innocent Victim. The resulting album is too poppy to please hardcore metal fans and too eccentric to fit the bill of an AOR record, but it still manages to be a surprisingly enjoyable listen. Fallen Angel focuses squarely on crafting driving rock tunes leavened with a series of pop hooks: "Woman of the Night" pairs guitar-bolstered verses with a harmony-drenched chorus reminiscent of Queen while "One More Night" cleverly conforms the sloppy good cheer of boogie rock to a pop song format. Other tracks find the band stretching their heavy-AOR ambitions into other genres: the burbling synthesizers and stuttering bassline of "Whadya Say" lend that song a disco feel while the insistent, naggingly catchy "la la la" chorus of "Love or Nothing" suggests the group had spent some time listening to old bubblegum pop singles. This surprising diversity points out the problems with Fallen Angel: it goes in so many different directions that it never coheres the way a really good album should, and it strays too far from the groups original sound to really fit in with the rest of their catalog. Nonetheless, it is simply too energetic and well-crafted to be rejected as a bad album. Patient Uriah Heep fans will also be rewarded with some stunning tracks that hark back to the groups gothic metal style: "Im Alive" is a barnstorming anthem of self-affirmation that layers Mick Boxs soaring yet mournful slide guitar leads over a furious, double-time backbeat from Lee Kerslake and the title track is a gothic-tinged ballad about a lost romance that is built on a haunting chorus and an atmospheric backing of acoustic guitar and synthesizer. All in all, Fallen Angel may not please Uriah Heep fans who favor the groups Demons and Wizards-era style, but it offers enough slickly crafted music to please any fan of 70s AOR sounds. | ||
 | Album: 13 of 30 Title: Conquest Released: 1980-02 Tracks: 13 Duration: 1:01:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 No Return (06:02) 2 Imagination (05:48) 3 Feelings (05:24) 4 Fools (05:01) 5 Carry On (03:56) 6 Wont Have to Wait Too Long (04:51) 7 Out on the Street (05:52) 8 It Aint Easy (05:47) 9 Been Hurt (Single B-Side) (03:57) 10 Love Stealer (single a-side) (03:28) 11 Think It Over (Single A-Side) (03:34) 12 My Joanna Needs Tuning (single b-side) (03:02) 13 Lying (out-take) (04:23) |
| Conquest : Allmusic album Review : Uriah Heeps first new album in almost two years, and their first, too, since the departure of vocalist John Lawton, was all but overlooked at the time of its release, and that despite Heep being very much in the forefront of the bands lionized by the then-prevalent New Wave or British Heavy Metal. Certainly, new vocalist John Sloman was cut in that mold, and if bandmates Mick Box, Chris Slade, Trevor Bolder, and Ken Hensley do sometimes seem a little uncertain about the newcomers talents, it should also be noted that this is the freshest-sounding Heep album since the mid-70s. No longer attempting to trade off former glories, the band is hard and sharp throughout, with the eight tracks averaging out around the five-minute mark, and all being designed according to what they could bring to the live show -- which, at this time, was seething. The one-two punch of the opening "No Return" and "Imagination" certainly take no prisoners and, while Conquest would ultimately prove a false dawn (a very different lineup recorded Heeps next album, Abominog), at the time, fans could scarcely have asked for anything more. | ||
 | Album: 14 of 30 Title: Abominog Released: 1982-03 Tracks: 16 Duration: 1:07:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Too Scared to Run (03:49) 2 Chasing Shadows (04:39) 3 On the Rebound (03:14) 4 Hot Night in a Cold Town (04:03) 5 Running All Night (with the Lion) (04:28) 6 Thats the Way That It Is (04:06) 7 Prisoner (04:33) 8 Hot Persuasion (03:46) 9 Sell Your Soul (05:26) 10 Think It Over (03:36) 11 Son of a Bitch (single b-side) (04:07) 12 Tin Soldier (single b-side) (03:54) 13 Think It Over (alternative version) (03:17) 14 Too Scared to Run (live version) (04:18) 15 Sell Your Soul (live version) (05:43) 16 Thats the Way That It Is (live version) (03:58) |
| Abominog : Allmusic album Review : By the dawn of the 1980s, Uriah Heep was considered a relic in the heavy metal world and no one was surprised when they disbanded shortly after 1980s half-hearted Conquest album. However, everyone listening received an unexpected surprise when the band returned with a new lineup and a sleek, revamped sound on 1982s Abominog. If one can get past the Spinal Tap-like title and the gruesome cover art, this outing quickly reveals itself to be one of the most consistent and engaging albums in the groups lengthy catalog. The new Uriah Heep that debuted on this outing was a different animal from the gothic metal ensemble that barnstormed its way through albums like Look at Yourself and Return to Fantasy: echoes of the groups old style could be heard in the drama and instrumental firepower of the new songs, but the overall sound owed a greater debt to the New Wave of British Heavy Metal and harder-rocking AOR groups of the time. The tone is set by opening track "Too Scared to Run," a dynamic rocker that contrasts its furious guitar-laden verses with a harmony-drenched chorus worthy of Queen. Other sharp rockers in this vein include "Running All Night (With the Lion)," a punchy rocker that pairs an ascending guitar riff with a singalong chorus, and "Hot Persuasion," a lusty metal opus that sounds like Foreigner gone metal crazy. Elsewhere, the band balances the hard rock with mid-tempo tunes that marry their energy to sweet AOR melodies: "Chasing Shadows" allows John Sinclairs keyboards to take the lead on a tune that marries power chords to synth pop hooks, while "Thats the Way That It Is" became a hit single thanks to its combination of slick harmonies and an insidiously catchy melody. Its a diverse bill of fare but it manages to cohere nicely thanks to a tight, unified attack from the band that is built on the synthesis between Mick Boxs thick guitar riffs and John Sinclairs symphonically layered keyboards. Special note should also be taken of the groups new vocalist, Peter Goalby: His emphatic vocal style suggests a cross between Ronnie James Dio and Lou Gramm. It fits the musics powerful-yet-slick style like a glove and provides the emotional intensity necessary to put the songs over the top. In the end, "Abominog" rocks hard enough to please heavy metal addicts but is slick enough to win over AOR fanatics and this combination makes it one Uriah Heeps most enduring achievements in the album format. | ||
 | Album: 15 of 30 Title: Head First Released: 1983-05 Tracks: 10 Duration: 37:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Other Side of Midnight (03:57) 2 Stay on Top (03:38) 3 Lonely Nights (04:07) 4 Sweet Talk (03:52) 5 Love is Blind (03:39) 6 Roll-Overture (02:19) 7 Red Lights (02:59) 8 Rollin the Rock (05:27) 9 Straight Through the Heart (03:48) 10 Weekend Warriors (03:50) |
| Head First : Allmusic album Review : After rising from the ashes with 1982s impressive Abominog, Uriah Heep continued to pursue a similar combination of heavy metal firepower and AOR sleekness on Head First. This album lacks the consistently strong tunes and unified feel of its predecessor, but it still offers enough highlights to make it worth a listen. Head First does best when it concentrates on songs that evenly balance power chords and pop hooks: "The Other Side of Midnight" cleverly balances a boisterous pop-tinged melody built on a pulsating bassline with plenty of powerful guitar riffing while "Weekend Warriors" layers its shout-along chorus over a slick rock backing that fuses programmed synthesizer lines with high-flying guitar work and relentless double-time drumming from the ever-reliable Lee Kerslake. However, Head First occasionally loses the plot when it strays from this balancing act: "Love Is Blind" works too hard to ape AOR conventions and comes off sounding faceless as a result, while "Roll-Overture" is an ornate prog instrumental that doesnt really fit in with the rest of the album due to its lack of hooks and guitar riffs. The album also runs into problems in the lyrical department due to its overt AOR-styled reliance on the travails of love as its main subject matter (see "Sweet Talk" and "Love Is Blind"). Despite these occasional shortcomings, Head First manages to work, thanks to its consistent high level of energy. Even at its poppiest, the album throbs with guitar-fuelled energy: for a good example look no further than the bands cover of Bryan Adams "Lonely Nights," where the poppish quality of the melody is boosted into the hard rock stratosphere by a lengthy succession of guitar riffs and a relentless backbeat. In the end, Head Firsts adherence to AOR stylings may turn off some hard rock fans but there is enough energetic, well-crafted music here to please anyone who liked Abominog. | ||
 | Album: 16 of 30 Title: The Best Of Released: 1985 Tracks: 24 Duration: 1:57:03 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Free Me (03:35) 2 Lady in Black (04:46) 3 Stealin (04:48) 4 Wizard (02:59) 5 Look at Yourself (05:07) 6 Gypsy (06:39) 7 Easy Livin’ (02:36) 8 Return to Fantasy (05:53) 9 Your Turn to Remember (04:22) 10 Sweet Freedom (06:34) 11 Shady Lady (04:48) 12 Firefly (06:17) 1 Free Me (03:34) 2 Lady in Black (04:48) 3 Stealin’ (04:49) 4 The Wizard (03:02) 5 Look at Yourself (05:10) 6 Gypsy (06:38) 7 Easy Livin’ (02:36) 8 Return to Fantasy (05:52) 9 Your Turn to Remember (04:22) 10 Sweet Freedom (06:36) 11 Shady Lady (04:50) 12 Firefly (06:18) |
 | Album: 17 of 30 Title: Anthology Released: 1985 Tracks: 10 Duration: 1:00:47 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Gypsy (06:38) 2 Bird of Prey (04:14) 3 Lady in Black (04:44) 4 Look at Yourself (05:10) 5 Salisbury (16:11) 6 Love Machine (03:37) 7 Easy Livin’ (02:36) 8 The Wizard (02:59) 9 Sweet Lorraine (04:15) 10 The Magician’s Birthday (10:21) |
 | Album: 18 of 30 Title: Equator Released: 1985-04 Tracks: 14 Duration: 1:04:15 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Rockarama (04:31) 2 Bad Blood (03:34) 3 Lost One Love (04:43) 4 Angel (04:50) 5 Holding On (04:23) 6 Party Time (04:22) 7 Poor Little Rich Girl (06:34) 8 Skools Burnin (04:25) 9 Heartache City (05:02) 10 Night of the Wolf (04:35) 11 Rockarama (single edit) (04:03) 12 Back Stage Girl (single B-Side) (04:19) 13 Gypsy (live) (04:52) 14 Poor Little Rich Girl (single version) (04:01) |
| Equator : Allmusic album Review : Uriah Heep were perhaps a little traumatized back in 1985. They had endured the commercial disappointment of Head First and the subsequent loss of their recording contract. Fortunately, CBS imprint Portrait Records offered the free agents another chance that was sadly squandered with the release of Equator. The Def Leppard knockoff "Rockarama" is a desperate opener that sets a contrived tone for whats to follow on this pop-metal mistake. Some formulaic lyrics ("Bad Blood") and inane power balladry ("Lost One Love") follow, essentially choking the life out of Equator before the fourth track even begins. Listeners brave enough to venture more deeply into this set are not rewarded for their effort, as numbers like "Skools Burnin" and "Party Time" do nothing to lower this records high-schmaltz rating. Another lackluster 80s outing from Uriah Heep, Equator tightly circles the commercial rock format of its day: a treacherous territory that the band had no chance to successfully navigate. | ||
 | Album: 19 of 30 Title: Milestones Released: 1989 Tracks: 22 Duration: 1:49:19 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Love Machine (03:37) 2 Easy Livin’ (02:36) 3 Gypsy (06:38) 4 Sweet Lorraine (04:13) 5 The Wizard (02:59) 6 July Morning (10:36) 7 Rollin On (06:32) 8 Firefly (06:18) 9 Bird of Prey (04:05) 10 Rollin the Rock (05:31) 1 The Other Side of Midnight (03:55) 2 Return to Fantasy (05:51) 3 Feelings (05:26) 4 Been Away Too Long (05:04) 5 Rainbow Demon (04:30) 6 Look at Yourself (05:07) 7 What Should Be Done (04:13) 8 Lady in Black (04:33) 9 Wake Up (Set Your Sights) (06:22) 10 Love Is Blind (03:39) 11 Weekend Warriors (03:51) 12 Cant Keep a Good Band Down (03:40) |
 | Album: 20 of 30 Title: Ironstrike: 14 Rock Hard Hits Released: 1989 Tracks: 14 Duration: 1:05:03 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 On the Rebound (03:13) 2 Chasing Shadows (04:38) 3 Hot Night in a Cold Town (03:57) 4 Sweet Lorraine (04:13) 5 Sunrise (04:04) 6 Traveller in Time (03:26) 7 Rainbow Demon (04:30) 8 The Wizard (02:59) 9 July Morning (10:36) 10 Look at Yourself (05:07) 11 Lady in Black (03:32) 12 The Park (05:38) 13 Dreammare (04:39) 14 Walking in Your Shadow (04:31) |
 | Album: 21 of 30 Title: The Collection Released: 1989 Tracks: 18 Duration: 1:26:36 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Love Machine (03:42) 2 Easy Livin’ (02:36) 3 Look at Yourself (05:10) 4 July Morning (10:24) 5 Firefly (06:19) 6 Running All Night (with the Lion) (04:23) 7 Return to Fantasy (05:50) 8 Been Away Too Long (05:06) 1 Rainbow Demon (04:22) 2 Gypsy (06:38) 3 Thats the Way That It Is (04:06) 4 Wake Up (Set Your Sights) (06:22) 5 Love Is Blind (03:39) 6 Cant Keep a Good Band Down (03:49) 7 On the Rebound (03:16) 8 All of My Life (02:39) 9 The Other Side of Midnight (03:55) 10 What Should Be Done (04:13) |
 | Album: 22 of 30 Title: Raging Silence Released: 1989-05 Tracks: 16 Duration: 1:15:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Hold Your Head Up (04:33) 2 Blood Red Roses (04:10) 3 Voice on My TV (04:19) 4 Rich Kid (04:49) 5 Cry Freedom (04:34) 6 Bad Bad Man (04:10) 7 More Fool You (03:34) 8 When the War Is Over (05:08) 9 Lifeline (04:53) 10 Rough Justice (04:24) 11 Miracle Child (single b-side) (04:11) 12 Look at Yourself (live 1987) (07:20) 13 Too Scared to Run (live 1987) (03:58) 14 Corina (live 1987) (04:46) 15 Hold Your Head Up (12" single extended version) (05:53) 16 Blood Red Roses (extended remix) (04:53) |
| Raging Silence : Allmusic album Review : Uriah Heep is one of the few heavy metal/hard rock outfits that can rival Deep Purple when it comes to an abundance of personnel changes; you could write a book about the many different Uriah Heep lineups that existed in the 1970s and 1980s. Because it was such a revolving door, its work became increasingly erratic as time passed -- many headbangers gave up on the band in the late 70s. Recorded in 1988 and 1989 and released in April 1989, Raging Silence is the work of a band that was long past its prime. On this CD, the five-man lineup includes founder/guitarist Mick Box as well as lead singer Bernie Shaw, bassist Trevor Bolder, keyboardist Phil Lanzon, and drummer Lee Kerslake. The material is generic arena rock -- try as it might, Uriah Heep is unable to recapture the magic and creativity of its early years. Corporate rock items like "Cry Freedom" and "Blood Red Roses" are mildly catchy, and a cover of Argents "Hold Your Head Up" is pleasant enough. But even so, Raging Silence pales in comparison to classics like 1971s Look at Yourself and 1972s Demons and Wizards. Not a disaster but certainly unremarkable, this CD is strictly for completists. | ||
 | Album: 23 of 30 Title: Still eavy, Still Proud: Two Decades of Uriah Heep Released: 1990-04 Tracks: 10 Duration: 51:23 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Gypsy (live November 1989) (07:35) 2 Lady in Black (live November 1989) (06:05) 3 July Morning (live November 1989) (10:17) 4 Easy Livin (live Moscow 1988) (02:56) 5 The Easy Road (02:43) 6 Free Me (03:34) 7 The Other Side of Midnight (03:57) 8 Mr. Majestic (live November 1989) (05:31) 9 Rich Kid (04:49) 10 Blood Red Roses (1990 remix) (03:52) |
 | Album: 24 of 30 Title: Different World Released: 1991-02 Tracks: 14 Duration: 1:05:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Blood on Stone (04:38) 2 Which Way Will the Wind Blow (04:50) 3 All Gods Children (04:19) 4 All for One (04:25) 5 Different World (04:09) 6 Step by Step (04:06) 7 Seven Days (03:34) 8 First Touch (03:53) 9 One on One (04:03) 10 Cross That Line (05:28) 11 Stand Back (03:54) 12 Blood Red Roses (remixed version) (03:52) 13 Hold Your Head Up (new edit) (04:21) 14 Rockarama (live 1987) (10:03) |
| Different World : Allmusic album Review : Continuing an early-90s decent into faceless mediocrity, Different World is yet another technically sound but artistically bland recording from Uriah Heep. Originally released in 1991, the more common Castle Records reissue (featuring three bonus tracks) hit stores in 1994. Joined by Trevor Bolder on bass, Lee Kerslake on drums, keyboard player Phil Lanzon, and vocalist Bernie Shaw, founding member Mick Box does nothing to enhance the reputation of his over-ripe project. After some decrepit Def Leppard and Journey knockoffs open Different World, things deteriorate as the album descends into Bryan Adams oblivion. Barely a shell of their former selves, theres not even a hint of the groups classic British metal. While a few extra-large choruses might remind die-hard fans of the bands glory days, casual listeners will find it difficult to tolerate the squishy soft rock sound: an approach safe enough to make Bad English sound like early Metallica. As with a majority of Uriah Heeps post-Abominog attempts at relevancy, Different World is for Uriah Heep completists only. | ||
 | Album: 25 of 30 Title: Sea of Light Released: 1995-04 Tracks: 12 Duration: 1:01:14 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Against the Odds (06:12) 2 Sweet Sugar (04:43) 3 Time of Revelation (04:02) 4 Mistress of All Time (05:33) 5 Universal Wheels (05:39) 6 Fear of Falling (04:38) 7 Spirit of Freedom (04:14) 8 Logical Progression (06:12) 9 Love in Silence (06:48) 10 Words in the Distance (04:46) 11 Fires of Hell (03:56) 12 Dream On (04:26) |
| Sea of Light : Allmusic album Review : Although they had continued to record steadily after making a comeback with 1982s Abominog, Uriah Heep had slipped off the heavy metal worlds radar by the mid-1990s. Just the same, they manage to notch up an impressive and well-received album in 1995 with Sea of Light. The key to this albums success is that it forsook the ill-judged pop metal stylings of albums like Equator for a return to the gothic-tinged old-school metal style that highlighted classic Uriah Heep albums like Look at Yourself. A great example is "A Time of Revelation," a gutsy rock tune that glides forwards on a one-two-three punch of thick guitar work, rousing organ riffs, and several layers of operatic vocal harmonies. Meanwhile, "Against the Odds" resurrects the operatic feel of the groups early work, and "Sweet Sugar" is a gritty rocker that could have easily fit in on Return to Fantasy. However, the classic rock punch of Sea of Light is tempered with a mature lyrical outlook that forsakes the Dungeons and Dragons themes of their 1970s output and the AOR-styled love lyrics of their 1980s albums for a world-conscious outlook. Sometimes they get a bit carried away when they try for the message song ("Universal Wheels" lays it on a little too thick, especially when it starts working in faux news report sound bites about the worlds problems), but the positivism expressed in tunes like "Spirit of Freedom" and "Logical Progression" is appealing, and these lyrics effectively complement the generally anthemic tone of the music. In the end, Sea of Light may be a little too old-fashioned for rockers accustomed to Metallica and Megadeth, but those who enjoy the heavier side of classic rock will find plenty of old-school pleasures on this disc. | ||
 | Album: 26 of 30 Title: Sonic Origami Released: 1998-09 Tracks: 14 Duration: 1:15:39 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Between Two Worlds (06:28) 2 I Hear Voices (03:55) 3 Perfect Little Heart (05:17) 4 Heartless Land (04:44) 5 Only the Young (04:43) 6 In the Moment (06:23) 7 Question (05:26) 8 Change (06:03) 9 Shelter From the Rain (06:09) 10 Everything in Life (03:15) 11 Across the Miles (05:13) 12 Feels Like (04:37) 13 The Golden Palace (08:33) 14 Sweet Pretender (04:46) |
 | Album: 27 of 30 Title: Wake the Sleeper Released: 2008-06-02 Tracks: 11 Duration: 50:44 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Wake the Sleeper (03:33) 2 Overload (05:58) 3 Tears of the World (04:45) 4 Light of a Thousand Stars (03:57) 5 Heaven’s Rain (04:16) 6 Book of Lies (04:05) 7 What Kind of God (06:37) 8 Ghost of the Ocean (03:22) 9 Angels Walk With You (05:24) 10 Shadow (03:35) 11 War Child (05:07) |
 | Album: 28 of 30 Title: Into the Wild Released: 2011-04-11 Tracks: 11 Duration: 52:55 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Nail on the Head (04:15) 2 I Can See You (04:13) 3 Into the Wild (04:20) 4 Money Talk (04:44) 5 I’m Ready (04:14) 6 Trail of Diamonds (06:28) 7 Southern Star (04:26) 8 Believe (05:09) 9 Lost (04:51) 10 T-Bird Angel (04:01) 11 Kiss of Freedom (06:14) |
 | Album: 29 of 30 Title: Outsider Released: 2014-06-18 Tracks: 13 Duration: 58:43 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Speed of Sound (04:53) 2 One Minute (04:54) 3 The Law (05:24) 4 The Outsider (03:22) 5 Rock the Foundation (04:07) 6 Is Anybody Gonna Help Me? (05:07) 7 Looking at You (03:35) 8 Cant Take That Away (04:54) 9 Jesse (03:59) 10 Kiss the Rainbow (05:12) 11 Say Goodbye (03:34) 12 One Minute (60 Seconds) (03:23) 13 Between Two Worlds (live) (06:18) |
 | Album: 30 of 30 Title: Living the Dream Released: 2018-08-29 Tracks: 11 Duration: 57:03 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Grazed by Heaven (04:31) 2 Living the Dream (05:34) 3 Take Away My Soul (06:13) 4 Knocking at My Door (04:58) 5 Rocks in the Road (08:19) 6 Waters Flowin’ (04:27) 7 It’s All Been Said (06:01) 8 Goodbye to Innocence (03:34) 9 Falling Under Your Spell (03:25) 10 Dreams of Yesteryear (05:25) 11 Take Away My Soul (alternative version) (04:36) |