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Toaster Mantis View Drop Down
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Direct Link To This Post Topic: Uriah Heep and the critics
    Posted: April 26 2014 at 02:53
So exactly what did UH do to back in the 1970s earn so much opprobrium from not just professional mainstream music reviewers - e. g. that "if this band makes it I'll commit suicide" remark in Rolling Stone's review of their debut LP - but also the underground press? The Swedish prog fanzine Musikens makt ("the power of music") basically singled them out - along with Sabbath and Zeppelin - as being the epitome of every way the genre was going in the wrong direction back in the mid-1970s.

I know that quite a few critics didn't really know what to make of the progressive rock movement and early heavy metal for that matter, which probably was to be expected. I'm just continually baffled by how much ire Uriah Heep drew even by the standards of a band with one foot in each of those styles. It's also possible that the 1960s/1970s rock scene had generation gaps form much more easily than today because how quickly everything could change back then.
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Direct Link To This Post Posted: April 26 2014 at 03:15
^  "The illustrated New Musical Express Encyclopedia of Rock" (Salamander Books, 1977,   by Nick Logan and Bob Woffinden)  says about Uriah Heep that the group "is imitating Led Zeppelin", and that the Uriah Heep was "mocked by critics" regarding the debut album, but also on the occasion of their second release.

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Direct Link To This Post Posted: April 26 2014 at 03:16
Music critics talk bollocks. End of.
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Direct Link To This Post Posted: April 26 2014 at 04:25
Originally posted by richardh richardh wrote:

Music critics talk bollocks. End of.

Of course. Uriah Heep couldn't "imitating" Led Zeppelin at all, because Uriah Heep was nothing less original band than Led Zeppelin; imo, Uriah Heep's music is way more original than Led Zep's music.
Btw, NME rock encyclopedia what I mentioned above, which was regarding as an important rock book at the time when it was issued, doesn't contain an entry of Hatfield & The North, then entry (without a photo) of Caravan is half shorter than entry of Dr. Feelgood (with a photo) and so on.

Edited by Svetonio - April 26 2014 at 05:11
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Direct Link To This Post Posted: April 26 2014 at 04:43
Even more headscratching: RS' initial review of Judas Priest's Sad Wings of Destiny accused that of being a bad LZ knockoff too.
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Direct Link To This Post Posted: April 26 2014 at 07:23
As far as I remember, Heep were a bit of a laughing stock in the NMEs of this world, but then again so were Sabbath,
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Direct Link To This Post Posted: April 26 2014 at 07:26
Wonder what became of the music critic who said this upon reviewing Uriah Heep debut LP? "If this band makes it i'll commit suicide"
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Direct Link To This Post Posted: April 26 2014 at 08:05
Critics have a mindset and are never really objective. The major music criticism sources during Uriah Heep's 70s heyday, particularly Rolling Stone Magazine, had no interest in the type of music Heep was playing and they dissed them, in the same way they vilified ELP and Tull. They preferred rock to maintain its primitive roots, hence their preference for punk, or at least steering toward an accepted Bob Dylan-style form of lyricism, hence their early worship of Bruce Springsteen as the second coming of Jesus Christ. It didn't hurt that The Ramones and Springsteen were from the greater New York area, because New York-based performers always seemed to get more and better press with the Manhattan Unintelligentsia. How the hell else can anyone explain Billy Joel?

So Heep was dull and plodding, ELP was pretentious and Tull albums were referred to as "canards", or bloated releases without a 2:30 minute single. That's not rock and roll. Wink


Edited by The Dark Elf - April 26 2014 at 08:06
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Direct Link To This Post Posted: April 26 2014 at 08:17
Originally posted by The Dark Elf The Dark Elf wrote:

Rolling Stone Magazine...hence their preference for punk

RS hated punk at first (for taking blues out of rock) and claimed it was just a fad. They bashed artists at the time who are thought of highly today, like Zeppelin and Joni Mitchell. Heep was just one of those bands who critics hated but had lots of fans anyway (like Grand Funk Railroad). Those type of groups are sometimes referred to as "the people's band."
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Direct Link To This Post Posted: April 26 2014 at 15:06
Who knows ..maybe it was a rock n roll snob thing.?
 
From the New Rolling Stone Record Guide, 1979, same review was in the earlier version published some years earlier:
 
" A mutant version of Deep Purple,  Uriah Heep has to be considered one of the worst commercially successful bands of the seventies. Good points: sincerity and an organist (Ken Hensley) far more intelligent and capable than the group.
Bad points: one of the most strident and annoying singers (David Byron) in rock history. The problem is that Byron gets the material he deserves."
 
 
LOL
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Direct Link To This Post Posted: April 26 2014 at 15:12
I agree somewhat with what you say about David Byron,he was indeed very flamboyant.On some songs his voice is great,on other songs it's more like a screech.Wonder why Mick Box get's little or no recognition.I've always thought he was a great guitarist.Regardless i've always loved the band,but it's not a band everyone can love.
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Direct Link To This Post Posted: April 26 2014 at 16:07
I've got that Logan/woffinden's Encyclodepia of rock too - italian version.

I've never disagreed more with a band's review. What was their problem anyway? At least they admit The Heep made it with the Look at Yourself album.
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Direct Link To This Post Posted: April 27 2014 at 05:10
Originally posted by chopper chopper wrote:

As far as I remember, Heep were a bit of a laughing stock in the NMEs of this world, but then again so were Sabbath


Don't remember any contemporary review of Black Sabbath as scornful as that suicide comment by Melissa Mills, though. (and yes she did go on to have an illustrious reviewing career if I remember correctly)
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Direct Link To This Post Posted: April 27 2014 at 05:58
Originally posted by Andrea Cortese Andrea Cortese wrote:

I've got that Logan/woffinden's Encyclodepia of rock too - italian version.

I've never disagreed more with a band's review. What was their problem anyway? At least they admit The Heep made it with the Look at Yourself album.

Although the book has flaws ( I saw both Uriah Heep and Led Zep and Uriah Heep were better imo), the book quite well reflects the general state of critics and fans at that time regarding the bands & solo artists. There are interesting details in the book actually. For example, there is entry of Steve Miller Band, where they wrote that the Steve Miller Band recorded "two of milestone albums" - Sailor, and Children of the Future which was, as per NME illustrated encyclopedia of Rock issued in 1977, "considered as the best progressive rock album of 1968".



Edited by Svetonio - April 27 2014 at 06:09
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Direct Link To This Post Posted: April 27 2014 at 06:45
I would have hoped that in the age of the internet that I need not remind people that "history of ..." books are not encyclopaedias documenting the definitive history of anything - they are as much subjective opinions as any hack review. (As we know, opinions are like elephants - every room has one...) In the world of Rock Journalism (where opinion is always presented as fact) it is impossible for them to present a history without prejudice and biased opinion, and in the 70s and beyond that opinion invariably elevates Led Zepp above all else as the progenitors and undisputed kings of heavy rock music. In these tomes even Deep Purple are portrayed as Johnny-come-lately bandwagon-jumpers who stand in the shadow of the mighty Zeppelin.  If the author didn't like the band or if there was a comparable band that the author preferred they rarely portrayed them in a positive light - impartiality is never a trait that we can attribute to rock journalists.

Heep suffered from not belonging to a single easy to categorise camp, they were a bit heavy rock and a bit prog rock and a bit glam rock, and in an era where being different and original was revered and being clone was frowned upon, any band that sounded a bit like another band was quickly dismissed as "unoriginal". (In some circles ... ie by people who didn't like them ... Zepp were also regarded as either a bit glam rock or dismissed as merely copyists of The Who ... I have even heard them referred to as a teeny-bop band by one disparaging critic who took exception to their bedroom-wall pinup status). In 1969 Deep Purple Mk2 and an unknown band called Spice using the same rehearsal studio in Hanwell Community Centre resulted in two not dissimilar hammond-heavy guitar-driven albums being released the following year - Deep Purple In Rock and Very 'Eavy... Very 'Umble (with Spice having by then changed their name to Uriah Heep). Comparisons between the two were inevitable and Purple emerged the victors with the critics and subsequently with the record buying public, bad reviews for one were a consequence of good reviews for the other. Replacing Byron with a "cabaret singer" from The Les Humphries Singers six years later didn't improve their standing with the trade rags or die-hard fans much either.

Another band that seemed to suffer from biased journalism at the time was Barclay James Harvest and scoring a minor hit with Mocking Bird did not help matters.

One curious anecdote I have regarding Heep is that a suedehead (that's a 1970s UK term for the subculture that followed after skinhead predominately made up of females, who were also known as bootgirls after their predilection for wearing Doc Marten boots, and not fans of Brett Anderson and his band) friend of mine owned a lot of the expected Mowtown and Trojan label records but was also a fan of Magician's Birthday and Demons and Wizards. These two albums were the only rock records she liked.


Edited by Dean - April 27 2014 at 14:32
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Direct Link To This Post Posted: April 27 2014 at 06:57
I thought female skinheads were called Chelseas after their peculiar haircut?

Also, my own theory is indeed that Uriah Heep weren't very easy to pigeonhole into the glam-rock, prog/psych or heavy metal rival movements in the rock music of the day but I weren't there so I'm a bit cautious with laying down a thesis like that. It is interesting that the Swedish fanzine I mentioned lumped them in with Black Sabbath rather than Deep Purple and company, though, because I've always been under the impression UH were on the other side of that generation gap between the original psychedelic rock scene and early heavy metal in both outlook and music style.
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Direct Link To This Post Posted: April 27 2014 at 07:03
Originally posted by Toaster Mantis Toaster Mantis wrote:

(...) my own theory is indeed that Uriah Heep weren't very easy to pigeonhole into the glam-rock, prog/psych or heavy metal rival movements in the rock music of the day but I weren't there so I'm a bit cautious with laying down a thesis like that (...)


In 70s, Uriah Heep were considered as a hard rock band only.



Edited by Svetonio - April 27 2014 at 07:08
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Direct Link To This Post Posted: April 27 2014 at 07:45
Originally posted by Toaster Mantis Toaster Mantis wrote:

I thought female skinheads were called Chelseas after their peculiar haircut?
I would not claim to be an expert on hairstyles (haven't had a haircut in over 20 years), but that looks a much later style to me. When skinheads hair grew-out it had the appearance of suede, hence the term suedehead, often the girls would leave it short on top and allow it to grow longer at the back and sides (Dave Hill of Slade is the extreme of this) in a style that, when it was allowed to grow-out further, would later be known as a feather-cut (re: early Suzi Quatro).

Originally posted by Toaster Mantis Toaster Mantis wrote:


Also, my own theory is indeed that Uriah Heep weren't very easy to pigeonhole into the glam-rock, prog/psych or heavy metal rival movements in the rock music of the day but I weren't there so I'm a bit cautious with laying down a thesis like that. It is interesting that the Swedish fanzine I mentioned lumped them in with Black Sabbath rather than Deep Purple and company, though, because I've always been under the impression UH were on the other side of that generation gap between the original psychedelic rock scene and early heavy metal in both outlook and music style.
After the success of In Rock and the first two Sabbath albums, and perhaps more notably the release and success of the Black Night and Paranoid singles, the UK press (and fans) would generally lump Sabbath and Purple together. Purple were an established band with three "psychedelic" releases prior to In Rock and Sabbath's psyche roots show in the lyrical content of many of their early songs, Planet Caravan being the most obvious. Uriah Heep were not considered to be in the same echelon as either band.

In searching the Internet earlier I found this interesting article from NME dated April 15th 1972:  Music to lay chicks by - Uriah Heep`s David Byron Talking.

Quote While Heep undeniably fall into the progressive band tag – unlike other groups who are tagged with that label they don't just go on stage and rely on a lead guitarist or a sweaty drummer, grimace at the audience and look miserable.
LOL

I notice in that article about Heep's clash with T.Rex, Byron talks of the single "The Wizard", if my memory serves me correctly (not guaranteed, even on a Sunday), Bolan later claimed plagiarism over The Wizard (his first solo single and later re-recorded by T.Rex) but cannot find any confirmation of that on the web.

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Direct Link To This Post Posted: April 27 2014 at 07:50
Originally posted by Svetonio Svetonio wrote:

Originally posted by Toaster Mantis Toaster Mantis wrote:

(...) my own theory is indeed that Uriah Heep weren't very easy to pigeonhole into the glam-rock, prog/psych or heavy metal rival movements in the rock music of the day but I weren't there so I'm a bit cautious with laying down a thesis like that (...)


In 70s, Uriah Heep were considered as a hard rock band only.

*sigh*

You might want to read that NME article from 1972 I linked in my previous post before making such claims.

Quote Heep may not be rated with the best progressive bands in Britain, but abroad – certainly in Germany – they are. Recently in a conglomeration of European magazines they were voted No. 1 underground band and No. 2 band for the future. And last year they sold more albums in Germany than any other band. But one would assume they would prefer more attention here.


Edited by Dean - April 27 2014 at 07:52
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Direct Link To This Post Posted: April 27 2014 at 08:11
I dunno... looking up contemporary reviews from here in Denmark and Sweden too? Quite a few of the critics who championed Cream, The Jimi Hendrix Experience, Deep Purple etc. still had no idea what to make of what Black Sabbath, Uriah Heep, Led Zeppelin and Grand Funk Railroad were doing a few years later or at least saw quickly that both sides were kind of coming from the same place but didn't either have quite the same creative priorities or were going the same direction. (the preferred term for the new generation of hard rock being "concrete rock" before the "heavy metal" label stuck in the mid-1970s)
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