Ken Hensley - 1973 - Proud Words on a Dusty Shelf

Ken Hensley

1973

Proud Words on a Dusty Shelf

01. When Evening Comes (4:37)

02. From Time to Time (3:37)

03. A King Without a Throne (3:54)

04. Rain (3:16)

05. Proud Words (3:15)

06. Fortune (5:18)

07. Black Hearted Lady (3:38)

08. Go Down (3:11)

09. Cold Autumn Sunday (5:30)

10. The Last Time (2:48)

- Ken Hensley / guitars, organ, keyboards, vocals, arrangements

With:

- Gary Thain / bass

- Dave Paul / bass

- Lee Kerslake / drums & percussion

"Pain not they who suffer only love,

for theirs is knowledge and truth

lay not thy heavy hand on he

whose only sin is youth"

Ken Hensley

"I think my first meeting with Ken was some five years ago; and now we find ourselves working in the same unit - Uriah Heep. Ken's first solo venture is based on an overflow of material that he had expressed a desire to record.

After working on this and many other projects with Ken, I find in him a great versatility as a writer-musician, a capability of honest sincerity working in many different moods.

I hope this album gives you the same listening pleasure as it did myself and all those who worked on it."

Gary Thain. November 1972

"Having lived with Ken for 27 years and having worked with him most of that time, I find I quite like him really."

Ken Hensley. November 1972

Ken Hensley was born 24 from August of 1945 Hertforshire, England. Showing from his childhood an extraordinary gift musician. In the mid 60's he would form a called group "THE GODS", which also included stars of the caliber of Mick Taylor and Greg Lake, recording two albums, which now are very looked by the collectors. From ashes of this group another merges with the name of Toe Fat, which in its first album participates Hensley next to a young Lee Kerslake and Cliff Bennett, once outside the group he was invited by Paul Newton to be member of another called group: "Spice" in which also are Mick Box and David Byron, this in 1969; changing the name in 1970 to URIAH HEEP. In Uriah Heep, Hensley it passed ten years playing keyboards and guitar, as well as providing more than 70% of the compositional material that would make famous to this band, the very evocative, nostalgic and sentimental lyrics they were easily identifiable by astute listening, that without a doubt is songs that have supported the test of the time well.

Besides the previous success Ken Hensley have to record several solo albums, which much more reflect the style characteristic of composition and musical quality that Ken Hensley have. In 1973 he recorded its first album as a soloist, call Proud Words are to Dusty Shelf", which was made accompany by the rhythmical base of Uriah Heep, Gary Thain and Lee Kerslake, feature subjects of great musical quality, like the great "Fortune" which is a mini epic of and evocative musical sounds capes, as well as the characteristic "When the Evening Comes", which has an excellent guitar licks, as well as an evocative lyric of past and future moments, love and sadness, "King Without to Throne" with characteristic and powerful bass playing in charge of Thain and an exquisite sticky melody that Hensley delights to us, among others songs of great musical invoice. In 1975 Eager to Please was his sophomore album, which is an album more "rocker" than first, but moving away of the sound that he used in its first effort, being "Eager to Please" and "Stargazer" songs these, with a melodic wealth difficult to find in other artists or groups; besides containing excellent ballad "Through The Eyes of a Child", one of the best compositions of Hensley than is made accompany by cords and that sing of very emotional way.

For 1980 after a tour by Barcelona Ken Hensley he resigns to Uriah Heep and he decides to form a group of short life: "Shotgun", besides the previous thing, records a third titled album: "Free Spirit", which is a strong disc, with a melodic sound and also in the style of those years, songs like "The System", "New York" that emphasize by their power and lyrical musical comedy mix with others like "Inside The Mystery", "When" that shows a Hensley divided between using the characteristic touch that notoriety with Uriah Heep gave him and exploring new sounds. After forming the ill-fated Ken Hensley Group, Hensley went to collaborate with Blackfoot in 1982, a group of hard rock of Florida, with records two albums and after finding out the death of David Byron (ex-vocalist and founding member of Uriah Heep), he decides not to continue collaborating with Blackfoot and enters a stage of semi retirement, collaborating with musicians like Blackie Lawless of WASP and with other groups.

In the middle of 90´s he begins to see resurgence in his musical carrer, in 1994 show to public the album "From Time to Time" in what it contains interesting sessions of 1970 to the date of the disc, the song "From Time to Time" of the first album, curiosity is not including in this compilation.

In 1999 Ken it decides to form a called group Visible Faith, with which it records an excellent album, "Glimpse of Glory" and that supposes its return to public the musical activity, and to his renewed religious faith, which is clear in the entire album. His fans will be thankful for the returned to Hensley to record more "New Songs".

Besides the previous thing, rumors began to scatter on a possible meeting with John Lawton (secondly vocalist of Uriah Heep), who finally would be crystallized in the year 2000 with an recorded concert and a tour, which stood out as much with the repertoire of songs of Uriah Heep, as of some songs of discs soloists of Hensley and an update of the great song: "Salisbury".

Also a one off Concert with Uriah Heep shows in the 2001, playing with old members Mick Box and Lee Kerslake and also with the "new members" Phil Lanzon and Bernie Shaw, as well with John Lawton, who also was a special guest, and playing several Uriah Heep songs with great passion and enjoyment.

Later he record in 2002 its fourth disc denominated soloist "Running Blind", which stands out by its freshness and precise melodies, as they are characterized already by the richness lyrics of Hensley which definitively they reach a zenith rarely reached about a musician of this caliber.

In 2004 a very good disc, very nostalgic and melancholic album "The Last Dance", that would prepare the land for "Blood on the Highway", his most recently effort, in which Hensley narrates the life of a rock musician from the beginnings and that passes through the fame and fortune as well as the decay, surrounded by excellent musicians and who demonstrate that Hensley still must much say.

By 1972, Uriah Heep were enjoying the most successful period in their entire career. "Demons and Wizards" and "The Magician's birthday" had both brought the band to the attention of a vast audience, and their solid fanbase was desperately seeking new material by them. The following year, Uriah Heep released one of the finest live albums ever made, further cementing the respect they were garnering the world over.

Keyboard player, second guitarist and second vocalist Ken Hensley was a major influence on this success, writing virtually all the material on their most recent albums. Such was the prolific nature of Hensley's writing though, that he found he had a growing collection of songs which were gathering dust. Some of these songs had been rejected by Uriah Heep while others Ken himself felt would not be suitable, and were thus not offered to the band. Demo versions recorded by the band of some of Hensley's songs which did not make it onto band albums (such as the title track of this album) have subsequently appeared as bonus tracks on Heep albums from the period.

By and large, this is a true solo album by Hensley, the only additional contributors being the Uriah Heep powerhouse of Gary Thain and Lee Kerslake on base and drums respectively, plus bass on some tracks by Dave Paul. Hensley took about a year to record the album, working on it when he had the opportunity during gaps in the hectic touring and recording schedule of Heep.

Each side of the LP opens with a wonderful piece of heavy prog. "When evening comes" has a lead guitar motif similar to that on the Beatles "She's so heavy", Hensley immediately demonstrating that while his singing talents did not quite match those of David Byron, he was not far behind. "Fortune", which opens side two swims on organ like the soon to come "Sweet freedom"; the song lyrically sounds like an outtake from "Demons and wizards" with autobiographical overtones. These two songs alone are to all intents and purposes Uriah Heep masterpieces.

My personal favourite song from any Hensley solo album is "From time to time", a haunting synthesiser fuelled piece with a superb instrumental conclusion. Structurally, the song reminds me of Genesis "Entangled", the atmosphere being similarly effective. "King without a throne" is really the only prosaic number on the album, this mid-paced blues based number being adequate but unexciting.

"Rain" is something of an exception on the album, as it is the only song to also appear on a Uriah Heep album. When the band originally recorded the song, it was a simple vocals (Byron) and piano (Hensley) ballad. Hensley told the band he wanted to make the final verse, which is a repeat of the penultimate verse, a much louder, organ backed crescendo. The band disagreed, and democracy dictated that the song remain a gentle ballad. Here, Hensley demonstrates how he wanted the song to be arranged, the final verse being suitably majestic. In reality, both versions bring out the beauty of what is a fine composition, which only goes to prove that both were right!

The title track might have made a decent Uriah Heep single, the positive lyrics being complemented by a sing-a-long toe-tapping melody. The song probably lacks a strong enough hook, but there's no doubt it is good fun.

Another personal favourite is "Black-hearted lady", where Hensley gives an impressive vocal performance. It would probably have been a ballad too many for Heep, but it makes for a superb addition to this album. If one was being cynical, it could be suggested that the weaker tracks have been placed in the middle of each side, and "Go down", while better than "The king.." on side one, is similarly OK but no more.

The epic "Cold autumn Sunday" takes a basic three verses and bridge and transforms them into a compelling 5½ minute piece of descriptive art. Here again, Ken shows the versatility of his voice, with a performance of startling emotion and beauty. The album closes with a delightful ballad "The last time", which once again is of a quality which would grace any Uriah Heep album.

At the time of this album's release, both Uriah Heep and Ken Hensley could do no wrong. "Proud words on a dusty shelf" is simultaneously a lost Uriah Heep album and a solo statement by Ken Hensley which offers something a bit different yet totally familiar. The album therefore slots neatly into the band's catalogue at the time. Recommended.