Newsgroup: it.arti.musica.rock.progressive
Titolo: huria hip

chi mi sa dire dove trovare gli "huria hip" spero si scriva cosě
grazie
rare...@tin.it

, Raffaello

si scrive Uriah Heep ed i loro dischi li puoi travare anche
dal panettiere...
NPR
* Sent from AltaVista 
http://www.altavista.com
 Where you can also find related Web Pages, Images, Audios, Videos, News, and Shopping.  Smart is Beautiful

 chi mi sa dire dove trovare gli "huria hip" spero si scriva cosě
Uriah Heep.
Gruppo a tratti hard prog, a tratti banalmente hard.
Eccoti qualche notiziola biografica da una delle mie fonti *segrete* :-))
Sorry, ma non trovo nessun sito ufficiale nč degno di nota.
---------------------------------
The roots of Uriah Heep lay in two late sixties bands. Byron and Box, who
were both from Epping in Essex, originally played together in 1967 in a band
called The Stalkers, which became Spice, whose later line-up also included
Paul Newton. Ken Hensley had previously formed The Gods (which had also
included Newton and drummer Lee Kerslake, who joined Uriah Heep in 1971).
Hensley was also in The Cliff Bennett Band and Bennett's subsequent Toe Fat
en route to Uriah Heep. He may also have been a member of Head Machine under
the pseudonym Ken Leslie. Kerslake was also in Toe Fat and National Head
Band before joining Uriah Heep.
Hensley, Box and Byron got together to form a heavy rock band in 1970 and
took the name from the swindling accountant in the book 'David Copperfield'.
1970 was the centenary of Charles Dickens' death so there was a lot of
interest in his books at the time.
They signed to the new Vertigo label and started work on an album, adding
bassist Tony Newton and drummer Alex Napier to their line-up. Napier soon
left and was replaced by Nigel Olsson, who'd earlier been with Plastic
Penny, but he was only with them a short while too before departing for
Elton John's backing group.
The Very 'Eavy Very Humble album had some decent moments, particularly on
Gypsy, which was adopted as the band's anthem and also appeared on The
Vertigo Annual double album compilation in 1970, also included their
acclaimed re-work of Tim Rose's Come Away Melinda.
Various drummers were tried but eventually Keith Baker (ex-Bakerloo) got the
job on the Salisbury album, an important progressive recording which
indicated a clear change of direction for the band. Church organ effects and
operatic vocals were brought into play alongside Box's killer guitar riffs.
On the 16-minute title track, a large brass and woodwind section was brought
in too. Another song, Lady In Black, was issued as a 45. US copies of the
album featured Simon The Bullet Freak (the flip side to their first two UK
45s, which was not on the UK album) in place of Birds Of Prey and this has
made it sought-after by some collectors.
Baker quit soon after the album's release and Ian Clarke (ex-Cressida) came
in to replace him. The band also signed a new record deal with Gerry Bron's
new Bronze label, who reissued their first two albums.
Their next album, Look At Yourself, was accompanied by a sleeve with a
transparent mirror effect, enabling the buyer to do just that. One of its
finest numbers was July Morning, which featured a Moog synthesizer and
featured members of Osibisa and Manfred Mann. This album climbed to No 39 in
the UK Charts, but Clarke and Newton left, to be replaced by Lee Kerslake
and Mark Clarke (briefly), then Gary Thain (ex-Keef Hartley).
Their next album, Demons And Wizards, is regarded as their magnum opus,
climbing to No 20 in the Charts. By now, they had established a good
reputation as a live touring band. Singles success still eluded them here in
Britain; neither The Wizard nor Easy Livin' culled from the album were hits
here, although the latter was a big hit on the Continent.
Another of their best songs was the title track to their next album, The
Magician's Birthday, which featured some fine guitar work from Box. There
were plenty of other good tracks on this album, too, like Sweet Lorraine and
Sunrise.
Their Live album was taken from a concert recorded at Birmingham Odeon in
1973. It was lavishly packaged and came with an eight-page booklet. Their
live reputation was further enhanced when they appeared at London's
Alexandra Palace in August 1973, headlining the British Music Festival.
Sweet Freedom, their sixth album, was another strong effort which made the
Top 20. Stealin' was taken from it as a 45 - failed to chart, but remains
one of their most popular songs. By contrast, the follow-up, Wonderworld,
was weak. Then Thain took a fatal drug overdose, having been out of the band
for several months after electrocuting himself on stage. John Wetton
(ex-Family and King Crimson) replaced him.
Uriah Heep certainly demonstrated the resilience to reverse the recent
downturn in their fortunes when their next album, Return To Fantasy, became
their biggest album to date. It spawned another good 45, Prima Donna, but as
with their previous efforts, the singles buying public just weren't
interested.
Bronze put out a Best Of Uriah Heep compilation in 1975. By now, though,
Byron had developed drink problems, which had disrupted the recording of
their High And Mighty album. In June 1976, he left the band but went on to
form his own outfit for a couple of solo albums in the late seventies. He
met with a premature death, though, dying of a heart attack in February
1985, brought on by drug and alcohol over-indulgence. John Wetton went on to
play with Roxy Music, U.K., Wishbone Ash and Asia. Ken Hensley remained with
the band. He'd recorded a solo album back in 1973 and continued a solo
career as a member of the band.
They may have enjoyed an indifferent press over the years but Uriah Heep
were hard-working and durable. Very durable, in fact, for they not only
recorded for the rest of the seventies, but were present throughout the
eighties.
------------------------------------------
--
Marco.
marco...@hotmail.com
germin...@hotmail.com
http://www.thehungersite.com
"Di me per esempio che ne č stato?
  Chi di preciso e quando mi ha disperso?"
  (Germinale 2000)

 wrote in message 8m3r3i$m2t$1...@nslave2.tin.it...


 dal panettiere...
* A Chiavenna i panettieri devono essere un po' particolari  ;-)
Qui al massimo tengono Britney Spears. :-)
Direi che gli Uriah Heep sono un pochino i progenitori
degli attuali gruppi prog-metal... certo allora non esisteva
il metal ma l'hard rock. Del primo disco mi piaceva un po'
solo il famoso "Gipsy" (o era "Gipsy queen"? Da decenni
non ho piů guardato i titoli dei dischi degli Uriah Heep...).
Poi venne "Salisbury"... composto e registrato in meno di sei mesi,
dissero. Una miscellanea di prog e hard rock, appunto.
E' probabile che fosse rimasta una certa richiesta da parte di
una fetta non poi cosě minima di audifili di ascoltare un genere
a mezza via tra rock duro e rock prog, tale istanza negli anni
'90 in cui ad essere affermato č soprattutto il metal piů
che l'hard rock (a meno che qualcuno dica che i Pearl Jam
sono in sostanza "hard rockers anni '70" vestiti da Grunge...
il che forse non č neppure del tutto campato per aria...),
tale richiesta dicevo ora viene quindi "soddisfatta" soprattutto
dai gruppi prog-metal.
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/
/\/\/\/\/\/ High Tide \/\/\/\/\/
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/

 dissero. Una miscellanea di prog e hard rock, appunto.
A me piace molto "Demons & wizards"

 dischi :-)
Ma se sono ristampati dalla Castle!!!!! che ormai č una
major a tutti gli effetti. allora non trovi neancheblack
sabbath, elp e un po' di altri gruppetti insignificanti...
napra


gruppo.
2 righe di risposta e 134 di quote?
Se ti vedesse Rama... :-)
-- 
 ---------------------------------------
 w__w        Fabio Venturini        w__w
 (@@)    fabventu@TOGLI@
libero.it
   (@@)
/(  )\   ("TOGLI" per rispondere)  ~(  )~
--ww---------------------------------ww--


OOOOOPPPPPSSSSSS!!!!! chiedo venia........