Ken Hensley is best-known for his keyboard skills with Uriah Heep, one of the 90s' hardest rocking and most influential bands. A multi-talented musician and composer, he's widely respected in many quarters, which made his long absence from the contemporary rock scene all the more mystifying. After more than a decade's silence, he's back.
This month sees the release of "From Time To Time", a 16-track collection of unissued material, recorded in the golden age between 1971 and 1982. Essentially, these are out-takes from Ken's three solo albums, with a few tracks taped after his move to the States in 1981. "It's the first record in a series of at least three," says Ken. "I'm currently working on a whole batch of new songs with a view to releasing them later this year. But I decided to release the older material first."
"From Time To Time" isn't only a fine reminder of Ken's songwriting and instrumental skills: it's a veritable who's who of British rock from the 70s. Deep Purple's Ian Paice, the Who's Kenney Jones, Simon Kirke (Free, Bad Company), Boz Burrell (Bad Company), Mick Ralphs (Mott The Hoople, Bad Company), Clare Torry (of "Dark Side Of The Moon" fame), Eric Clapton'a rhythm section and various Uriah Heep members can all be heard. And on four early tracks, taped in '71, Paul Kossofl' makes a telling appearance. But first, a bit of history.
After the birth of their son in London on 24th August 1945, Ken's parents were tempted by the promise of life in a `new town' and moved to Stevenage in 1955. Like so many of his future rock contemporaries, like Clapton and Bolan, Ken started learning guitar at the age of twelve from a Bert Weedon manual, playing his first-ever gig in 1960 with a skiffle band.
Shortly after, he formed the Blue Notes with some friends; the group was quickly renamed Ken and the Cousins. Things began to get more serious when the young guitarist hooked up with a local band called Kit and the Saracens in 1962. It was a mutation of this group, the Jimmy Brown Sound, a seven-man soul act with brass, that gave Ken his first professional experience. The band was chosen to back Ben E. King on a British visit, but the venture fell through: however, they did back Arthur A1exander (author of "Anna", later recorded by the Beatles) on one of the numerous package tours that were so popular at the time.
Heavily influenced by Zoot Money, Chris Farlowe and the Thunderbirds, Geno Washington and the Ram Jam Band and Georgie Fame, the Jimmy Brown Sound won a talent contest that took them to Pye studios, with Tony Hatch producing. The group taped five songs, four covers and one original. Ken remembers it well: "It was a case of, `Thanks for coming down, thanks for the original song, but we don't need you'." Sadly, these recordings have long since disappeared, but Tony Hatch went on to greater things in the months ahead, scoring a massive hit with Petula Clark with "Downtown".
Folding the group in 1965, Ken Hensley then formed the Gods with Mick Taylor (later of Rolling Stones fame). The first incarnation of the group issued two extremely valuable albums, "Genesis" and "To Samuel A Son" (worth £85 and £70 respectively), and several singles, with Ken writing much of the material, as well as playing keyboards. The group provided an excellent training-ground for several future rock names, including at various times, Lee Kerslake (Uriah Heep), Paul Newton (Spice, Uriah Heep), John Glascock (Jethro Tull), Greg Lake (King Crimson, ELP) and Joe Konas. Ironically, it was after Konas moved to Canada and obscurity that the Gods decided to break up.
Influenced by the heavier sounds of Hendrix and the Vanilla Fudge, Ken subsequently reformed the group, with Paul Newton on bass.
"We did quite well," he recalls, "but then Paul joined Spice (the predecessor to Uriah Heep), and we disbanded once again."
This was the cue for Ken to think about recording something elae, which he did in the aftermath of the final Gods split. In fact, he came up with two, albeit of an somewhat dubious nature. Ken remembers: "Both were a couple of contract recording gigs. `Head Machine' was organised and produced by David Paramour, who'd been involved with both of the Gods albums." Once recorded, the album - which was conceivably the third in the Gods trilogy - was sold on to a German company, who pressed it in 1969 in limited quantities. Now currently valued at anything between £50-£70, the psychedelically-inclined "Head Machine" is also available on a difficult-to-find CD.
The second album, "Weed", was taped around the time Hensley joined Uriah Heep. As its title suggests, it concerned itself with marijuana, though it's considerably more songbased than its predecessor. The record came about after Ken was invited to record by a German concert promoter, Bodo Albes. He was backed by a German band, and the record eventually went out under the name Weed, though Ken was credited as Ken Leslie. "Weed" is even more difficult to track down than its predecessor, though again it's been transferred onto CD in small quantities.
Although fans would welcome the two being paired together on a single CD, the news that there are several bona fide Gods outtakes will set pulses rising. Red Steel Music, who've worked with Ken on his latest CD, are hoping to deliver some good news on thia score shortly.
Aside from these `solo' diversions, Ken joined forces with old friend and golfing partner Cliff Bennett to form Toe Fat. Having written and played on much of the group's first album (though for contractual reasons he was never credited), Ken was tempted away, and joined Spice in December 1969.
"After coming to see Toe Fat play live, Mick (Box), David (Byron) and Paul (Newton) invited me along to a Spice rehearsal. I really liked some of the material and after meeting with Gerry (who bought me a Hammond B3) I accepted."
By January 1970 Spice had been renamed Uriah Heep. "Uriah Heep was a much better musical proposition than Toe Fat", Ken recalls. "I could play keyboards again, which I waa unable to do in Toe Fat, and I also had the option of playing some guitar."
(top left) Exotic 70s jewellery predated Ken's latter-day religious beliefs; (top right) Ken at 15, giuing his first ever performance; (above) Ken used to practise his scales wherever he could.
Heep was incredibly succesaful during the 70s, and it's impoasible to overestimate Ken Hensley's contributions, which included much of the songwriting. The band's hard rock was powerful, yet disarmingly melodic, and Ken remained with the group for 13 studio albums and one live set, before departing in 1980.
It was fashionable - some would say essential - for rock and progressive musicians to reveal their worth as solo artists during the 70s, and Ken released three albums under his own name. These were inevitably overshadowed by Heep's success at the time, and only more recently have collectors realised their true worth.
Hensley started work on his first solo album, "Proud Words On A Dusty Shelf (Bronze ILPS 9223), at Lansdowne Studios late in 1971. A year later, he returned to complete it, and it eventually appeared in 1973, just as Heep hit the big time. Actually, prior to entering Lansdowne, Ken did some preparatory recording at Luxembourg Studios, London in 1971: With him were legendary Free guitariat Paul Kossoff' (later with Back Street Crawler) and Free drummer Simon Kirke. Ken recalls: "I shared a flat in Ladbroke Grove with Paul and Simon; so they were an obvious choice when I decided to record demos and early takes."
However, none of the Kirke/Kossoff performances ever made it on the "Proud Words" album: instead, the Uriah Heep rhythm section of Lee Kerslake and Gary Thain ended up on the finished product. "Gary was a very special person," recalls Ken, "and his importance to Uriah Heep as an individual and a musician was almost incalculable. It was his death that really signalled the end of the band. I don't think we really understood that at the time. Something had gone that could never be restored. His contribution to `Proud Words' ia a fitting reminder to the skill and feeling he possessed as a player."
With tragedy, conflict and personnel changes mounting in Uriah Heep, Ken took refuge by recording a second solo project, "Eager To Please" (Bronze ILPS 9307). The album featured bass playing, singing and writing contributions from Mark Clarke (formerly of Tempest, Colosseum and, for three months, Uriah Heep), plus the usual array of other great musicians. Work on the album began in 1974 at Stevie Wonder's Crystal Studios in Los Angeles, and waa completed at Nova Sound in London. Issued in 1975, it revealed a lighter side to Ken's compositions than he'd displayed before. "In The Morning" was lifted from the album as a single, coupled with an out-take from the sessions, "Who Will Sing For You". It's not easy to locate these days, so the B-side has been given a welcome revival on the "From Time To Time" CD, the only recording you'll find that's been previously released.
After deciding to quit Uriah Heep in 1980, Ken threw himself into what has been his last fully-fledged recording project for over 13 years. Titled "Free Spirit" (Bronze BRON 534) the album was largely lost amidst the sea of enthusiasm for the emerging New Wave Of British Heavy Metal. But as the out-takes unearthed for the latest CD suggest, Ken was hardly struggling to find new material, or friends to play with. Ian Paice, Trevor Bolder, Kenney Jones, Simon Kirke, Boz Burrell, Liza Strike and B.J. Cole are just some of the names who crop up on impressive out-takes like the aching ballad, "You" (complete with strings!)or the rockin' (and unused) title track, "Free Spirit".
After moving to the States in the early 80a, Ken scaled down his musical activities, sitting in on the occasional session, and recording two albums with the American band Blackfoot. Even that stint waa abruptly curtailed in 1984.
"When Gerry Bron called me to tell me that David Byron (ex-Heep vocalist) had died, I immediately quit the band, and turned my back on touring forever," says Ken. Instead, he became involved in the business side of the industry, holding an Artist Relations post for a major American musical instrument company.
This, the death of his parents and other unfavourable circumstances all led Ken back to God, and what he calls, "my daily quest for a Christian life. This has made an enormous difference in my attitude to everything, and I know that God is guiding me as I move forward with these projects."
In fact, little was heard of Ken until I990, when Sequel issued "The Best Of Ken Hensley" (NEX CD/LP 104), which offers the definitive introduction to the best of his solo work.
Late last year, Ken decided it was time
to reactivate himself, which brings us up-to-date with the "From
Time To Time" CD (Red Steel Music RMCCDOl9S), and his plans
for an album of new material. "I never stopped writing, and
I knew in my heart there would come a time when I would be compelled
to do something with my unreleased material." Expect Ken's
new album later this year, plus a second instalment of rarities
spanning Ken's career. And for Heep fans, a four-CD retrospective,
to celebrate the band's 25 years in the business, is in production
at Castle. It's thought that around 50% of the material will be
previously unreleased.
Thanks to Rob Corich. "From
Time To Time" is distributed by Grapevine/Polygram.
