HIGH AND MIGHTY

Writing about High & Mighty; it reminds you about how perishable everything is. Of all five members from this recording only guitar player Mick Box is still alive. Just a historical second ago they were all touring your hometown and also sipped your beer stash. If you consider the other big three heavies Led Zeppelin, Deep Purple, Black Sabbath from this time around they are certainly more spared. John Bonham (Zep), Tommy Bolin/Jon Lord (Purple) have left this earth so there are more deceased Heep members than in all other mentioned groups together. They do belong to the same generation. It's in the mid seventies and the the world is still a habitable place to stay in. The so-called classic line-up in Heep is only one step away. However, for me and a smattering of convinced, this is the perhaps the definite composition of the band. Gary Thain has been replaced by a certain John Wetton. This wasn't undisputed, far from it. Ken Hensley's reason for recruiting him was simply to replace one great player with another. Later on though, he pointed out that it was a mistake to hire Wetton. The bass player spent 18 short months in U.H. and gave a foursquare description on the outcome: 'When their management called me I had to choose between starvation or to join them'. This mutual discord doesn't necessarily mean that the end result was less interesting. On the contrary, great art is often a made of spartan and harsch conditions. After two relatively group oriented efforts in form of Wonderworld and Return to Fantasy what we are wittnessing here is an almost completly Hensley dominated effort. At least regarding writing credits. A Heep adept knows that the Hammond player is a strong force in these contexts. But H&M surpasses all previous albums. It resembles more a successor to Eager To Please than anything else. Someone claimed that the mistake they made after Thain's departure was that muscians/vocalists without hardrock background entered the domain. That's one way of looking at it. Another, more exciting, is what happens when a heavy outfit (a competent one) delves into adjacent or related territory. Just like with the case here. In the direction the wizard happened to point his wand...The cover of HM is as striking as anything from the decade. Perhaps not that much in its details, more in totality. A great concept. Fully in line with chosen chord patterns/musical direction. You'll fly along to it. It's worth pointing out though that not even K. Hensley liked it.

Negativism is yet only one side of the story; at other times Wetton was far more positive. To take a break from the complex rhythm parts in King Crimson in order to play fair-dealing Rock n' Roll. Hensley for his part, ultimately found a wealth of ideas brought by the recruit. It is embodied in current product, High & Mighty. So what did Wetton bring that Gary Thain missed? The same Thain that obviously influenced a generation of metal bassists. It's still a redundant framing of a question. U.H. has been called 'The Beach Boys of hard rock'. So what can be more proper than enlisting Wetton to the band? Maestro vocalists Byron/Hensley are are alreadey present. Now they're joined by a third. Glenn Hughes from neighbourband Deep Purple defined his collaboration with David Coverdale as the finest vocal duo ever. Without vaunt. If that's the case then you'll find the correlative trio right here. 'The Voices of Rock l' or 'The Voices of Rock ll'. A subjective truth if it applies in general. An objective truth if it applies within the genre.

It's the most advanced demo tape in music history. Leastways it feels like a strong contender. In terms of vocal delivery. As any Heep fan is aware of, opening title 'One Way Or Another' is embossed by an absent D. Byron. Rarely has a vocalist of his class chosen a more fitting time to hide in the shadows. 'One Way Or Another' in itself belongs to the upper echelons of harder music material. It exudes utmost self-assurance at a time when the genre was placed in the back seat. As if aware of its own majestic bearing. The addition of Wetton/Hensley turns it into a monster! Actually the whole track is turned upside down with a organist in form of a David Byron. You may call it a remuneration for the absent vocals. Or just as well a suitable line-up. Byron is a much more proficient keyboard player than you had any clue about. As it happens, the same singer had a sore throat and fellow band members captured his position. Albeit temporarily. When Wetton/Hensley enter the studio door they do so in order to lay a foundation for a returning Byron. It's up to everyone to size up if it had sounded differently in another reality. Where it was meant to be final product. The question is justified. Not in the slightest out of discontent with existing one, but still. The most sceptical opinions touches precisely on the subject of demo tape. It's not incorrect, it could have been done differently. But at the same time the spontaneity would've been lost. You're excused as well if you hunger for an alternative recording with permanent vocalist. There doesn't seem to exist any. Cleverly, very cleverly; Byron called off his own perpetuation of the same track. Solely on his own. The song is unique insofar as it's Wettons one and only try-out in the genre. In the wake of the end result you're just as stunned as by his magical Crimso days...The wordless outro voices transport you to levels you didn't know you were in possesion of. This is surf music, but wrapped in concrete hardness. Wetton the bass player was brought into the band. The singer came along without extra costs. Plus an array of his other talents. It wasn't only good, but too good to be true. 'One Way Or Another' is relished by the vast majority of followers. Is this the case with remaining titles?

'Weep In Silence' is eveything but second track on the long play; it's a musical monument. It reminds one of how bizarre music biz is. To be in the right place at the right time, with right offering to right recipient. 'Weep' does obviously not fulfil any of this criteria. In a reality where fashion changes with the speed of the second hand. It is and will remain a hidden album track. On the positive side, it turns into your own precious possesion. Like a golden amulet on your bookshelf, you don't need to share it with the unwashed riffraff. It's a strong contender for the pre-eminent position as the finest Heep song ever. Both musical AND lyrical conviction. Byron makes up lost ground on track 1 with double impact on 'Weep'. What Wetton/Hensley achieved together there, Byron will put across alone here. As an extra bonus you'll be washed with the all-embracing and choir like section at the heart of the song. The shining star is however Mick Box. Loud protests towers up, he's not even playing here. He is sidelined. That's true, and also the point. Back to square one, who did the same on previous song? Yes, David Byron. The turn has come to the guitar player. Cleverly, very cleverly. The generosity from Messrs Byron/Box on initial two songs is worth stopping and considering. To step aside for the good of the group, or just what's considered to be the best for the group. As well known, there are countless examples of the opposite attitude. You don't need to go far outside the domains of Heep where a simillar process would be completly unthinkable. To understand the concept of the piece one has to fully comprehend who composer Ken Hensley is. Though normally considered the keyboard player of Heep he started his career as guitar player. Not only this, his primary instrument in soul/heart remained so all along the way. The bottom line becomes that Box is fully capable to deliver what's requierd, but allows his colleague Hensley to give vent to his interpretation. It becomes even more tangible when you consider that the founders of the band did not write a single note on the record. Not only did Hensley play fantastic lead, he also did the steel part in the intro. The loyal in remembrance knows that this sortie was done by B.J. Cole on both solo/band albums before. The definition 'intro' is however scanty on 'Weep'. It's far too advanced to be left aside as a start of the song. It's rather a song within the song. An outside producer with clever vision could still have squeezed out the last drops and turned it into a 7"; some remix in intro and mid-section. The track is firmly rooted in the same league as Deep Purple 'Love Don't Mean a Thing' and 'Air-Dance' with Black Sabbath. Limitless height on one hand. Forlorn obscurity on the other. The reason for this dilemma is quite repetitive. No matter how gilded and shining; it's not traditional Heep, Purple, or Sabbath.

It'll be much vocals in this review. Plus more again. There's an obvious reason for this venture. Not enough has been put down on paper regarding the highly material question. 'Misty Eyes' takes the record on to the third track. There's nothing missing here that was a key part on first two songs. Byron's vocal arrangement on 'Misty' makes the whole Lp worth every hard-earned penny you paid for it (if you belong to the youth generation below 55; Compact disc). Hovering, atmospheric, schooled, saturated, pastoral. You name it. Let's put it clear; Byron makes his finest achievment ever on H&M (which is saying a lot). Despite this, and it may be unique, I wish him away from here. At least on parts and pieces, or one more track of the record. Because of the capacity kept in the background. The presence of Wetton with his strict art rock tone brought the best out of David 'davotron' Byron. That's logical; tell me who you mingle with and I will tell you who you are. Add that Byron on his maternal side has a healthy jazz background. There isn't one inhalation / exhalation from him on High & Mighty that lacks completion. The text content on 'Misty' is perhaps not brand new, but always on the agenda; Hensley's frequently returning theme deals with relationship issues. If you're missing a companion you're in for big trouble. Finally you'll reach solid ground and kiss your catch on the cheek; only to learn that the problems won't go away. They just change character. Possibly you've been through similar situations and felt betrayed by life. Then you can console yourself that you're not the only one. High & Mighty is a golden opportunity to delve deeper into the core subject. Let's praise a hitherto unmentioned member of the band. Rhythm section's Lee Kerslake. If you don't know the distinction between a tom and a tambourine one tends to place such in the background and just let 'em follow spontaneous breathing. What's the difference between a languid and very good drummer then? It's like a dwelling you live in attached to sturdy pillars or sliding on oozy mud. Kerslake keeps the Moog lead you hum along to in the correct position. Also credited as one in the opulence of vocalists. He's not on a par with other members as soloist but that's a task beyond hope. 'Misty Eyes' seems to be the first track here to be included on a collection album. As bonus on the Cd of the original 'Best of'. It's worth mentioning as the record in general is overlooked in such contexts.

There is so much vocal pyrotechnic in 'Midnight' that if you added let's say 35% it would be nothing but the fabulous abundance it already is. 'Midnight' tackles quite an original route and once again it's from the creative hands of Ken Hensley. More of the same vocalist; it's worth-while to have a look at his membership in The Gods a decade before. There was a bassist by the name of Greg Lake in the same unit. Emphasize 'bassist'. Hensley was the one and only lead singer in The Gods. Kenny is by no means a singing instrumentalist. He is vocalist, is musician. There's an enormous plethora of types who just pretend to be both of them. Good at one perhaps, hardly at the other. When Hensley felt the time was ripe to join forces with U. Heep the position as lead vocalist was already occupied. It did not hinder him from occasional rescues when the situation required so. The reason why he sings lead in Heep varies from case to case. Hensley's performances on Demons and Firefly are plain gorgeous and otherworldly. You may rightly pose the question; why do other vocalists even bother to show up? Hensley's lead share on actual album isn't big in quantity. It is big in quality.

The B-side of H&M is despite its diversity nothing but a coherent pearl rope. The splendid and lustrous writing from Hensley combined with a [flamboyant] instrumentation. We've noted it before; The former Family member now has his living quarters in U.H. If you mention 'Book of Saturday', 'The Night Watch', 'One More Red Nightmare' you're in King Crimson land. Also some of the most lordly and noble artrock ever produced. It is worth pointing out that John Wetton is the longest serving singer in the latter. More than Greg Lake, more than any other in the original version of Crimson. With a pedigree like that how can a future be other than going? Wettons genie glides as an indivisible part over the sections of H&M. That's good and less good at the same time. There doesn't seem to be a lot of Heep fans who who admire the B-side in its entirety. Except myself of course and one or two more. Plus the creator, Ken Hensley. It is allowed even for an artist to relish in his own work. In Hensley's case it has null and void to do with selfishness. He put it as a top three album. Rightly so. A record blended like High & Mighty can't touch more than a limitid cohort. Not even bandmembers. Byron called it a 'bummer' because it missed writing contribution from others. Blackmore didn't want to touch Stormbringer with nippers on account of its funky elements. Ozzy did not find the jazz piano and brass elements on Never Say Die comfortable. Fans were not late to queue up. Ken Hensley takes on a mini-Mike Oldfield role on present album and it's a fabulous sound sorce. 12-string electric guitar, slide, steel, tubular bells, plus the usual keyboard arsenal. + even more. The production and consequential crisp sound is unique in a Heep catalogue. You can start with just any song; 'Woman of the World' clicks with its witty lyrics and cabaret show sounding 20s piano. Filtered/treated vocals from Byron. 'Can't Stop Singing' is of course not a Uriah song. The fans are right. Rather a Steely Dan soundtrack to some unreleased obscure seventies movie. The pleasant problem is that it's matchless. Peppy, with top level arrangement. The guitar enters exactly where you need it. Followed by aerial tubular bells. 'Footprints In the Snow' takes over where 'Weep In Silence' dropped off. The counterpart on side B. Starting with a lovely Genesis instrument, the 12 string acoustic handled by an emerging Mick Box. It has the same spiritual and blessed timbre as 'The Musical Box'(no pun). Nothing but an eternal cascade, just as fresh every time it's devoured. You've never heard anything like it either before or after in the realm of Heep. It's not meant to be here. It's too good to be true. The acoustic guitar is however not always undisputed. The frequently mentioned Hensley picked up one onstage around this time. Some spectators responded by throwing things on him. A minority for sure. Call them music huligans. The vocal layers on 'Footprints' are as exemplary as anything. The electric guitar on final part is nothing but eerie in its Crimso garb (It's worth pointing out that close fellow Greg Lake has a similar fabulous title). Wetton is credited for co-writing here just like on 'Weep'. What most people don't realize is that he wrote more on Return to Fantasy than second effort. The usual 'contractual reasons' precluded the bassist from writing credits on Fantasy. He was promised paid compensation but god knows where this went. As a matter of fact, the management thought that his salary was fat enough. So no matter what embellishments Wetton contributed with on H&M, his offerings here are still accentuated by shortages from big selling debut album.

'Can't Keep a Good Band Down' tenses the muscels against the music industry. Rightly so, as Heep were one of their main targets to dump on. An easy listening and jolly song despite its theme. A slightly edited and even more catchy version was planned for single release but kept back due to internal turmoil. It could have saved the album from slipping from Premier- all the way down to National League on home ground (compared with Fantasy). There was no more top 40 for the remainder of the 70s in Great Britain. 'Make a Little Love' is a traditional rocker with Ken on slide guitar. Single release in Nordic countries (it's yours for a mere $160). If you wonder why it's because sales figures here per capita topped everything else by far. Despite this there was no more touring in arctic land. Hensley alone at the grand piano, what could be a more proper ending? Not another instrument in sight only lined up vocalists with sheet music in hand.

The album was recorded intermittently from late -75 up to March -76. In parallel with the ongoing Return to Fantasy tour. This was a hectic period in the history of the group. The H&M tour begun with a lengthy US streak of concerts. Their second long visit there in a very limited time. Understandable as it's the most important record market in the world. Almost 80 gigs in 75-76. That was even before the actual record release. Unfortunately their diligence didn't really pay off. The neglected record company boss Gerry Bron not only deprecated H&M. He made a rod for his own back, and for some unfathomable reason reined in a US release (not everone understands the role a Peter Grant in Led Zeppelin had). Bron refused to take part in the recording. Not only this, the band too yearned for a fresh turnover on the producer's chair. Bron had been sitting there since debut. Album issue was set to late May/early June with some sporadic European dates. In other words, tour was over when record was out. First of all; it's wrong to call it H&M tour. Rather 'U.H. tour'. Simply because of the meager inclusion of material from the latest album. Only 'One Way Or Another', 'Midnight' and 'Make a Little Love' reached the stage. A conscious strategy, as the band obviously feared for its limited commercial potential. None of these would ever be played again by later line-ups. However, Hensley/Wetton would play both 'One Way Or Another' and 'Confession' during the early 2000s. It goes hand in hand with Stormbringer/Never Say Die. What else did you believe?

Final date in Bilbao (Spain) has a special meaning. That was the last chance to enjoy both Byron/Wetton. The lead singer got the boot due to his pub crawls that became too numerous. The bassist and pard of the front man followed soon in his footsteps. Had Byron stayed there would've been a better chance to see Wetton on at least one more album. Or an Asia (or UK) line-up in Heep? That could've meant 'Wise Man' without Lawton, John but with Wetton, John. The latter had proposed a six months break from all touring duties to fully concentrate on writing new material. Not an unwise idea. Should've been a direct hit. It's worth pointing out that on Byron's funeral a decade later there was only one present musician; John Wetton. Exit David, whiskey bottle in hand, German wife in the other. Enter David, whisky bottle in hand, German wife in the other. The second Dave is Coverdale. He auditioned (with Denny Ball on bass) but finally got solo contract and a Whitesnake career. The Deep Purple associations are many from Wetton/Hughes; reluctance of both to join, uncredited writing on debut(Hughes got his later on), top notch vocalists & bassists, strong influence on second efforts, limited stay after that. It doesn't stop there; both steered the ocean liner into uncertain waters. You could just as well add Don Airey's ingenious keyboard playing on Never Say Die. All engine rooms are running smoothly. There's only one problem; it's not Heep, Purple or Sabbath. It's something entirely different. It wasn't only good, but too good to be true. An irreversible ride into a cul-de-sac.