After two albums that downplayed their penchant for gothic sounds and mystical lyrics, Uriah Heep brought these elements back to the fore on 1975's Return to Fantasy. The resulting album retains the musical experimentation that marked Sweet Freedom and Wonderworld but has an overall harder-rocking feel that makes it more consistent than either one of those albums. Return to Fantasy throws down the gauntlet with the title track, which builds from a tapestry of spooky synthesizer and organ riffs into a thunderous rock tune where the guitar and organ duel over a galloping backbeat laid down by Lee Kerslake.

The official 25th anniversary collection. 63 tracks all remastered, 20 previously unreleased / alternative versions. 60 page book containing full band history plus rare photographs, memorabilia & full discograhy. A Time of Revelation is a four-disc box set spanning Uriah Heep's entire career. The bulk of the set draws from the Heep's '70s heyday, including album tracks, live cuts, and previously unavailable-on-disc rarities. For the die-hard collector, the set is a must-have for its obscure items. While the set may be too much for casual fans, it does a good job of rounding up the highlights, so any casual listener wanting a comprehensive collection should turn here.

Proud Words On A Dusty Shelf (1973). This is the solo debut of Uriah Heep's resident keyboardist and top songwriter, but it isn't the heavy metal epic one might expect. In fact, Proud Words On A Dusty Shelf uses electric guitar sparingly and instead goes for a moody soundscape built on acoustic guitar and piano. Songs like "Black Hearted Lady" and "The Last Time" even evoke a bit of a country and western feel, thanks to their use of mellow-sounding slide guitar. This subtle sonic style puts Hensley's songwriting in the spotlight and that is a good thing because each of the songs is well-crafted and tuneful: a subtle combination of acoustic guitar and synthesizer brings out the haunting, delicately crafted melody of "From Time To Time" and "Black Hearted Lady" effectively evokes its mood of heartbreak with a descending acoustic guitar riff…

Wonderworld continues in the vein of Sweet Freedom, trying to bring Uriah Heep's appeal to a wider level while still retaining the grandiose trademark elements (the organ-guitar attack, David Byron's operatic shriek) that got them noticed. The result is an album that is solid but not as inspired as Look at Yourself or Demons and Wizards. The hard rock quotient is a little stronger on this album than it was on Sweet Freedom: "Something or Nothing" is a galloping stomp-rocker in the vein of past classics like "Love Machine" and "Suicidal Man" is an organ-fortified speed-rocker that is one of the band's finest hard rock tunes.

The Magician's Birthday is the fifth album by British rock band Uriah Heep, released in 1972 by Bronze Records in the UK and Mercury Records in the US. The concept was "based loosely on a short story" written by Ken Hensley in June and July 1972. In a retrospective review, Sputnikmusic praised The Magician's Birthday, saying, "Though probably not as cohesive as it could be, it still offers plenty of highlights, earning its place among Heep's finest albums". Reviewer Daniel Dias singled out "Sunrise", noting that it was "a highlight in Heep's catalog and one of the band's finest progressive rock ballads". AllMusic noted the album's prog elements as well, and said, "The Magician's Birthday never quite hits the consistent heights of Look at Yourself or Demons and Wizards but remains a solid listen for Uriah Heep fans". The Magician's Birthday was certified Gold on 22 January 1973.

This double-disc collection covers the glory years of Uriah Heep extensively, with all the main cuts by the David Byron/Mick Box/Ken Hensley/Gary Thain/Lee Kerslake version of the group as well as earlier and later material. Chances are that serious Heep fans will have everything here, so this serves as more of an introduction for the new convert. There's plenty here that's aged well from the Bronze label years, such as "July Morning," "Easy Livin'," "The Magician's Birthday," "Look at Yourself," "Stealin'," etc. In fact, about the only thing that's not here, inexplicably, from the early years is the Box slide workout on the classic "Tears in My Eyes." There is also plenty from the later decades of the '80s, '90s, and beyond, when Box took the group to a new and heavier place – somewhat recalling the UH of the Salisbury and Very 'Eavy…Very 'Umble eras. There are 34 tracks in all, with good sound and workmanlike liner notes. For the money, this is a good bang for the buck.

After losing founding vocalist David Byron in 1976, many hard rock fans thought Uriah Heep had reached the end of the line. However, the group bounced back in 1977 with Firefly, an album that pursued a stripped-down sound harking back to the group's early-'70s successes. They also boasted a new singer in John Lawton, a vocalist who had made his fame working with artsy German hard rockers Lucifer's Friend. Although he lacked the multi-octave range of David Byron, Lawton boasted an impressive and emotionally rich hard rock voice that instantly jelled with the Uriah Heep sound. An ideal example of this new synergy was provided by the opening track, "The Hanging Tree," which featured Lawton dramatically delivering a narrative about an outlaw on the run over a spooky musical track that blended echo-drenched synthesizers with some typically gutsy guitar riffs from Mick Box.