Lee Kerslake

By the 1960s’ the suburb of Winton had become a thriving shopping hub hosting a broad selection of retail outlets including Sturtons the furniture store (founded in 1906 and still in business to this day), Tetts the Ironmongers, the Talbot Fish Store, Hart’s wine merchants, Servitel Televisions (rent a nineteen inch black and white all programme television for only eight shillings and sixpence a week) and Batten’s the jewellers. There was a large Woolworths store, Philip Whitelegg & Son the estate agents, Winton Wireless, purveyors of electrical appliances and the latest vinyl records and tucked away in the back streets, a scrap yard belonging to a Mr Eric Kerslake, father of Lee, a future member of the rock band Uriah Heep who also dealt in metal.

The Phantoms
The Phantoms circa 1961

Born in Bournemouth on 16th April 1947, Lee Kerslake developed an interest in music around 1958 while he was a pupil at Winton and Moordown School for Boys. Initially he tinkered with the piano until an evening out at a dinner dance with his parents turned him onto the delights of the drums after observing the percussionist in the Ted Heath Band. At fourteen he joined his first group, The Phantoms, a quintet of school friends who sported a rather fetching line in stage attire comprising of black trousers and shirts, lariat ties and face masks reminiscent of the type worn by Clayton Moore in the popular TV western The Lone Ranger. As personnel came and went, The Phantoms mutated into the short-lived Tony Saturn and the Planets. However, by 1964 Lee was on the lookout for a higher calibre of musicians and held auditions in a small room at the Burlington Hotel in Owls Road, Boscombe. The process unearthed a guitarist, Timothy Large (b. 14th July 1942 in Bournemouth), who brought in his mates from Southbourne Bob Michaels (b. 20th February 1946 in Bournemouth) on keyboards and bassist Bill Jacobs (b. 12th April 1947 in Bournemouth). Graham ‘Sid’ Austin (b. 17th October 1947 in Bournemouth), came in on rhythm guitar and finally the group became a sextet with the addition of Ferndown resident Tony Letts (b. Birmingham) on vocals.

The Trackmarks
The Trackmarks circa 1964, Left to Right: Bob Michaels, Tony Letts, Graham Austin, Lee Kerslake, Bill Jacobs & Tim Large 

They became The Trackmarks the day Lee’s mother exclaimed, “Look at the track marks on my carpet” after Tim Large walked into the Kerslake household with mud on his shoes. Lee’s dad Eric, or ‘Pops’ as he was more commonly known, was tasked with the day to day running of the group securing gear, sourcing gigs and laying on the transport, while Lee and the boys rehearsed a repertoire of chart hits by The Beatles, Kinks and Animals. The band made their debut on 10th April 1964 at the Holdenhurst Village Hall and plied their trade around the usual haunts such as the 45 Club, the Disque A Go! Go! and the Cellar Club in Poole, while Lee held down a day job helping his dad in the family scrapyard. Early in 1965 Large, Michaels and Jacobs left to form the r&b / soul influenced Bob Michael’s Band, later to become Dave Anthony’s Moods, leaving Lee and Tony Letts to recruit organist Gary Rice, bassist Ted Rawles and guitarist Graham ‘Wes’ Douglas (Graham was known as ‘Wes’ due to his admiration for the jazz guitarist Wes Montgomery) to fill the gaps. Graham Austin also left but was not replaced.

According to the Echo, The Trackmarks coined half the votes in a poll for favourite local group

During the summer, the group entered and won a heat of the ‘National Talent Contest’ run by The People newspaper while they were playing a summer season at the Butlins holiday camp in Bognor Regis. In October they beat off the competition in the area final in Clacton and progressed onto the grand final held at the New Victoria Theatre in the West End of London. The band lost out to Dave Thomas, a comedian from Manchester, but won £750 as runners-up. Pops told the Bournemouth Echo, “The first thing we must do is buy a respectable van. Our old one is falling to pieces”. The new van was a huge improvement on their old battered Austin coach and came in handy for the longer journeys as they travelled further afield. However, Lee was ambitious and wanted to further his career, either with The Trackmarks or without them.

The Trackmarks play to a packed crowd at the Ritz in 1966 (Photograph courtesy Hilary Goodinge)

In 1967 the break he was looking for landed on his doorstep, literally. Paul Newton, father of bassist Paul Newton junior, visited the Kerslake family home in Luther Road, Winton after watching a Trackmarks gig at the Pavilion Ballroom. He offered Lee twenty five quid a week, more than he was earning at the scrapyard, to turn professional with his son’s new band The Gods. Lee grabbed the opportunity with both hands and a couple of weeks later threw his drum kit and a case of clothes into his car and drove the sixty miles to Andover in Hampshire to meet his new bandmates.

The gods
The Gods in 1968, Left to Right: Joe Konas, Lee Kerslake, John Glasscock & Ken Hensley

The Gods evolved from a Hatfield school group The Juniors and featured eventual Rolling Stones guitarist Mick Taylor, the Glascock brothers, bassist John and drummer Brian, second guitarist Alan Shacklock and vocalist Malcolm Collins. After several changes in personnel, the struggling blues band finally imploded with the defection of Mick Taylor to John Mayall’s Bluesbreakers in June 1967 as a replacement for Peter Green. The Gods then keyboard player, Ken Hensley, relocated to Andover where he lived a miserable existence kipping in a van while mulling over his options. Over time, he met bassist Paul Newton and his father, a prospective manager who offered to help them out if they could assemble a new band. By the time Lee pulled into town, they had recruited guitarist Joe Konas from Tony Ventures and the D.C.’s. In the autumn of 1967 the band signed with the Harvey Block Agency, who secured them plenty of work including a prized Saturday night residency at the Marquee club in Wardour Street.

With the increased workload, it seemed prudent to move to London, at which time Paul Newton left to join Mick Box and David Byron in Spice, taking his manager father with him. Lee invited his friend from Poole, Greg Lake, to take his place, but Lake’s tenure amounted to just a couple of months as he walked out after a row with the other members and eventually joined Robert Fripp in the embryonic King Crimson. The defection triggered the return of original bassist John Glasscock a matter of weeks before the band entered Abbey Road Studios to record their debut album.

The fruit of their labour, Genesis, captures a band on the cusp of psychedelia and progressive rock. Released concurrently with the non-album single “Baby’s Rich”, the album floundered as did the follow up, a concept piece entitled To Samuel a Son. Reminiscent in theme to The Pretty Things S. F. Sorrow, the album found no favours with the record buying public or the critic at the Melody Maker as his scathing review didn’t pull any punches, “The Who sure have a lot to answer for, since Tommy everybody thinks they’ve got to do a pop opera. This one’s about Sammy and it’s a loser. Puerile lyrics and utterly unmemorable songs executed with relentless mediocrity in a dated heavy rock idiom”. Another single, an excellent brass embellished cover of the Beatles “Hey Bulldog” from the Yellow Submarine soundtrack, coincided with its release followed by a further 45, “Maria”, taken from the musical West Side Story, but still they struggled to find that elusive hit.

In December 1969 producer David Paramor co-opted three members of the band, plus drummer Brian Glascock and percussionist Mike Road, to record the rather crass Orgasm. Originally slated as the Gods third album but released under the name Head Machine, the project was Paramour’s brainchild as he wrote all the songs. On the sleeve notes the participants names were changed to disguise the guilty with Hensley becoming Ken Leslie, John Glascock took on the moniker John Leadhen and for reasons better known to themselves, the two drummers, Lee and Brian, became the Poole brothers. The publicity blurb states that Orgasm is an, “erotic rock album, an album for mature persons”. With titles such as “Climax”, “You Must Come with Me”, “Scattering Seeds” and the title track, little is left to the imagination lyrically, while musically the record falls into the heavy rock idiom with plenty of raucous guitar supplied by Hensley.

By 1969 Cliff Bennett and the Rebel Rousers had run their course after two top ten hits, the best being a cover of The Beatles “Got To Get You Into My Life”. Bassist Chas Hodges and drummer Mick Burt eventually went on to a long career as two-thirds of the rockney trio Chas and Dave with bassist Dave Peacock, while Bennett snapped up Ken Hensley, Joe Konas, who switched to bass, and Lee to form the rather unsavoury sounding Toe Fat. Signed to Parlophone in the UK and Tamla Motown’s progressive subsidiary Rare Earth in America, they released a single, “Working Nights”, backed with “Bad Side of the Moon”, an early Elton John and Bernie Taupin song. A self-titled album, sporting a queasy cover by Hipgnosis, displayed a beach scene of naked people with superimposed big toes for heads. Mainly unadventurous seventies rock in the vein of say Patto or Humble Pie, the album was enlivened by Bennett’s soulful rasp, Lee’s characteristic harmonies and Hensley’s fuzzed up guitar. The Melody Maker was very positive, “Cliff Bennett’s Band sound amazingly heavy and exciting on stand out tracks like “Nobody”. One can’t help feeling they’re taking a leaf from Zeppelin’s book, though they tend to overdo the emphasis on simple riffs”. Despite the record bombing, the band won a support slot on an extensive thirty date tour of North America with Eric Clapton’s new venture, Derek and the Dominos. When they returned home Hensley said his goodbyes and joined Mick Box, David Byron and Paul Newton in Spice and Brian Glascock took over the drumming stool from Lee who left to hook to up with the National Head Band. Toe Fat recorded one more ill-fated album before calling it a day.

Formed from the ashes of The Business, backing band to Liverpool singer / song writer Mike Hart, guitarist Neil Ford (a soul fan), bassist Dave Paull (a bluesman), keyboard player Ian Schelhaas (a folkie) and drummer John Skorsky, drafted in Lee (a rocker) as a second drummer at the insistence of their record company Warner Brothers. Soon after entering Advision Studios with Yes producer Eddie Offord, original drummer Skorsky quit reducing the band to a manageable quartet. Offord worked on pulling the disparate influences of the four musicians together on the album Albert 1. The record slipped out unnoticed and after a less than successful schlep around the Top Rank ballroom circuit with virtually no promotion, the band found themselves penniless and split up. Apart from Lee, that is, as he had already been fired for getting legless after winning a darts game at a gig in Scotland. Schelhaas went on to future success with Camel and Caravan, Paull joined Jonesy and Lee found his spiritual home in Uriah Heep.

The origins of Uriah Heep date back to 1965 in East London where guitarist Mick Box joined bassist Ricky Hurd, guitarist Alf Raynor and drummer Roger Penlington in The Stalkers. The addition of vocalist David ‘Byron’ Garrick, Penlington’s cousin, gave a distinctive voice to their pop and rock n’ roll stew. In 1967 Mick, David and Alf, who switched to bass, turned professional and recruited drummer Nigel Pegrum to the newly christened Spice. A year later Paul Newton replaced Raynor bringing his dad with him to handle their affairs and shortly after that Ken Hensley joined from Toe Fat after a recommendation from Newton. To bring more expertise to the business side of the operation, Paul Newton Senior entered an ultimately doomed joint management deal with Gerry Bron who renamed the band Uriah Heep (a character from the Charles Dickens novel David Copperfield). Lee had been on their radar for months but had resisted all overtures, until a whiskey-sodden darts night released him from all future commitments. He came aboard in November 1971, replacing Pegrum. There were a few more upheavals before the classic line-up finally took shape. Bassist Paul Newton was ousted, along with his father, when Gerry Bron set up the Bronze record label and took full control of production and management. He was momentarily replaced by Mark Clark from Colosseum until the final piece of the jigsaw fell into place, the addition of New Zealand born bassist Gary Thain from the Keef Hartley Band.

The band was three albums into an undistinguished career with Very ‘eavy…Very ‘umble, Salisbury and “Look at Yourself” already under their belts. However, the addition of Thain’s meandering bass lines and Lee’s power house drumming created a solid bedrock from which the band would be propelled to the forefront of the progressive / heavy rock arena. Their breakthrough fourth album, Demons and Wizards, unleashed Lee’s potential, showcasing his dynamic drumming and melodic high harmony vocals on nine hook laden songs. Housed in a Roger Dean sleeve it broke into the top twenty, closely followed by album number five, The Magician’s Birthday, which fell short by just creeping into the top thirty. Both are regarded as high-water marks in the band’s catalogue, eventually earning gold status. Chart success with two singles, “The Wizard” and “Easy Livin'”, in America, Holland and Germany kept the band busy throughout 1972 with tours of the USA, Europe and the UK which included a date at the Bournemouth Winter Gardens on 26th May, the first of four visits to Lee’s hometown over the next decade.

Uriah Heep
The classic line-up of Uriah Heep in 1970, Left to Right: Gary Thain, Ken Hensley, David Byron, Lee Kerslake & Mick Box

1973 kicked off with another UK tour and a live recording from Birmingham Town Hall unimaginatively entitled Uriah Heep Live. Housed in a lavish gatefold sleeve, it featured a collage of cuttings from the music press slating the band including a review from Rolling Stone which opened with, “If this group makes it I’ll have to commit suicide. From the first note you know you don’t want to hear anymore”. Their sixth studio album Sweet Freedom, another top twenty collection, was recorded in France for tax reasons, but the stress of constantly touring and relentless recording schedules was tearing the band apart. To deal with the work load Ken Hensley developed a cocaine habit, David Byron turned to booze, Gary Thain favoured heroin and Mick Box was prone to the odd tipple. Lee on the other hand was unhappy that his song writing was constantly being overlooked and the way that he was portrayed as a lesser member of the band by manager Gerry Bron. Despite the backdrop of infighting and serious substance abuse, it’s a wonder 1974’s Wonderworld appeared at all. In hindsight, Box admits the band should have taken a sabbatical to recharge their batteries and get their lives in order, but a holiday was never on the cards. During yet another long trek around America, Thain suffered an electric shock at the Moody Coliseum in Dallas, Texas and had to take time off to recuperate. Three weeks later he returned but he was in a sorry state, heroin had taken a firm grip and within a matter of months he was deemed unfit to continue and was fired. Gary Thain died on 8th December 1975 of respiratory failure brought on by a heroin overdose, he was twenty seven years old.

To fill the void, Lee turned to a friend from Bournemouth, John Wetton, who had just spent the best part of a year touring the world with Roxy Music. Wetton appeared on two albums, Return to Fantasy, which climbed to number seven, the highest chart placing in their career and the disappointing High and Mighty that failed to crack the top fifty. During Wetton’s tenure tensions between Hensley, the chief songwriter, and Byron, the attention grabbing front man, threatened to derail the band, but the cracks were papered over and the juggernaut kept on rolling for a further twelve months until Byron was finally sacked. The singer’s drinking and unreasonable behaviour had finally become intolerable to the other members and after one incident too many in Spain, a drunken rant and a boot through a plate glass door, he was replaced by the relatively unknown John Lawton from the German rock band Lucifer’s Friend. When Wetton heard of the sacking, he felt uncomfortable with the situation and tendered his resignation. His replacement was Trevor Bolder from the glam rock era Ziggy Stardust and the Spiders from Mars. David Byron died of alcohol-related complications on 28th February 1985 after a less than successful solo career.

Bron ushered the new line-up into Roundhouse Studios to record the relatively successful Firefly. On the sleeve an eagle eyed fan would have noticed that Lee had acquired the nickname ‘The Bear’, because of his facial hair and burly physical appearance. He also broke the monopoly of Hensley’s material by including one of his own songs, “Who Needs Me”, a dig at his status within the band. A ballad, “Wise Man”, was chosen as a single and made the top forty, earning them an unlikely appearance on Top of the Pops alongside 10CC, Kiki Dee and ABBA. Shortly after the album’s release, Lee became the poster boy for his favourite tipple Jägermeister. An advertising campaign mounted by the drinks company plastered his face on buses and trains throughout Germany and in the hugely popular Stern magazine. In the photo he was wearing a T-shirt bearing the cover artwork of Firefly which he believes boosted sales of the album by at least a further two hundred thousand units. The year ended with the disappointing Innocent Victim, a lack lustre addition to their cannon that sold well in Germany and spawned “Free Me”, an uncharacteristic pop song that became a number three hit in New Zealand and South Africa. It is said that the eyes of the snake on the cover artwork belong to Lee.

1978’s Fallen Angel was Lee’s last Heep record of the seventies. He squeezed one song on to the track listing, “Come Back to Me”, a plaintive heartfelt ballad lamenting the break-up of his marriage, but it was too little too late and he quit as the ongoing wrangling and manipulation behind the scenes with Bron and Hensley became unbearable. John Lawton also left as he was in constant conflict with Hensley over his insistence on bringing his wife on the road. Former Lone Star vocalist John Sloman took Lawton’s place and Lee was succeeded by Chris Slade from Manfred Mann’s Earth Band.

Ozzy Osborne
Ozzy Osbourne band, Left to Right: Randy Rhodes, Lee Kerslake, Ozzy Osbourne & Bob Daisley

With time on his hand Lee planned to record the songs he had stockpiled over the years, but before anything could be committed to tape, he received a phone call from a promoter acting for Ozzy Osbourne asking if he would like to sign on with the former Black Sabbath vocalist. He accepted and joined bassist Bob Daisley and the American guitar wiz Randy Rhoads, who Ozzy had poached from the American heavy metal band Quiet Riot. The quartet recorded two albums at Ridge Farm Studios, 1980s’ Blizzard of Oz with Don Airey on keyboards and twelve months later Diary of a Mad Man, which contained eight tracks, six of which had writing input from Lee. In-between albums the band toured Europe with Lindsey Bridgewater on keyboards and the Welsh rock band Budgie in support. Prior to the American leg of the tour, Lee and Daisley asked for living expenses up front which was granted by Ozzy’s then manager Don Arden, however, during a short holiday the pair discovered they had been sacked by Ozzy’s new manager Sharon Arden (Don’s daughter and soon to be Mrs. Osbourne). The fall out resulted in years of recriminations resulting in Lee and Daisley’s names being removed from the albums credits and replaced by the then current members, drummer Tommy Aldridge and bassist Rudy Sarzo. Over the years the situation deteriorated. In 1998 Lee and Daisley filed a lawsuit seeking royalties and in 2002 the albums were reissued with the original bass and drum tracks erased and replaced by current bassist Robert Trujillo and drummer Mike Bordin. In 2003 the lawsuits were dismissed on a technicality by a district court in LA which bankrupted Lee. To this day the pair still haven’t received the monies due to them. As a footnote; the 30th anniversary box sets released in 2011 had the original bass and drums reinstated and in 2019 Ozzy and Sharon relented and sent Lee the platinum discs he was due for sales over four and three million copies, respectively.

During Lee’s sojourn with Ozzy, Uriah Heep imploded. Hensley, unhappy with the musical direction quit, Trevor Bolder also departed after a bid to bring David Byron back into the fold failed, leaving Mick Box to curtail the agony by reluctantly pulling the plug. After a period in which he locked himself away and drowned his sorrows, he vowed to reform the band and called Lee, who was happy to return, bringing Bob Daisley with him. Next in was John Sinclair on keyboards and to complete the new line-up Box recruited the former Trapeze vocalist Peter Goalby. The first album by the revitalised line-up was 1982’s Abominog, a critical success, particularly across the pond. That summer a resurgent Heep performed at the ‘Monsters of Rock Festival’ at Castle Donnington Raceway with Status Quo, Gillan and Saxon.

The rest of the eighties proved to be a difficult time for the band. Daisley left to re-join Ozzy Osbourne for a bigger pay packet, leaving a vacancy for the returning Trevor Bolder fresh from serving two years with Wishbone Ash. Then their record company Bronze went bust and a UK tour of the provinces found the band playing to audiences of less than a hundred people in some towns. To compound the problems, John Sinclair followed Daisley over to the Osbourne camp making way for Phil Lanzon from Sad Café and Peter Goalby, suffering from throat problems, had to step aside on doctor’s orders. His replacement Steff Fontaine lasted one tour before he was sacked for unprofessional behaviour and was succeeded by Bernie Shaw from the short lived English band Stratus. Their luck then took an upturn as their line-up remained stable for the next ten years. Touring continued throughout America, Europe, Japan and Russia where they played a ten night stand at Moscow’s Olympic Stadium in front of 180,000 fans, which opened up a lucrative new market. Recording wise, the steady stream of studio albums from their heyday slowed down to a mere trickle over the next ten years, with only four seeing the light of day, Raging Silence, Different World, Sea of Light and Sonic Origami, the last to feature Lee.

2001 proved to be a pivotal year for Lee as he was in New York on the 11th September when two planes crashed into the World Trade Center, barely half a mile from the hotel where he was staying. The experience of seeing the towers collapse and the horror of people throwing themselves from the windows, made him re-evaluate his life and relationships. The Heep were planning a special gig at the Shepherd’s Bush Empire titled the ‘Magicians Birthday Party’ with previous members Ken Hensley and John Lawton. However, the emphasis before the show centred on how Lee and Hensley would react together after their well-publicised falling out. After his epiphany in Manhattan, the animosity of the past melted away and the pair buried the hatchet. The show went without a hitch and gained a release on DVD and compact disc. It has now become an annual event.

Living Loud
Livin’ Loud, Left to Right: Don Airey, Steve Morse, Jimmy Barnes, Lee Kerslake & Bob Daisley

During a period of downtime in 2003 Bob Daisley and Lee put together a side project, Living Loud, with Deep Purple’s guitarist Steve Morse and Jimmy Barnes, the former vocalist with the Australian band Cold Chisel. A self-titled album recorded in Florida with keyboard parts added later in London by Purple’s Don Airey, contained six songs co-written and recorded during their time with Ozzy Osbourne, plus a further five new compositions. The band only performed two concerts, both in Australia while Deep Purple were there on tour, one at the Melbourne Metro and another at Fox Studios in Sydney which was filmed and recorded.

For the next four years Uriah Heep slowly regained their status with heavy touring throughout the Far East, South America, Russia and Europe. However, Lee found the rigours of constantly being on the road increasingly difficult and in early 2007, with tinnitus and osteoarthritis hampering his ability to perform at the highest level, he left the band. Russell Gilbrook succeeded him and has helped Uriah Heep stay on the road with the solitary original member Mick Box, still at the helm. They have sold over forty million albums and have plans to celebrate their fifty-year anniversary in 2020.

After a period of recuperation Lee was invited to play at an annual Uriah Heep convention in Spain with The Legends, an amalgamation of old Heep members Paul Newton, John Lawton and Ken Hensley plus Phil Baker guesting on guitar. He returned in 2009, 2011 and 2012 in Finland and 2015 in Belgium. His latest band, The Berggren Kerslake Band, came together after he met Stefan Berggren in the short lived His Masters Project, a semi-professional band that played a small number of dates in Switzerland. Berggren had been in The Company of Snakes with Bernie Marsden and Mick Moody. The pair recorded an album, The Sun Has Gone Hazy, in 2014 with bassist Tomas Torberg.

Lee Kerslake 2019
Members of The Trackmarks pictured in the foyer of the Pavilion Theatre in 2019, Left to Right: Ted Rawles, Tony Letts, Lee Kerslake & Graham ‘Wes’ Douglas (Photograph Bournemouth Echo)

Sadly, Lee was diagnosed with terminal prostate cancer in late 2018 but it did not stop him from putting together an autobiographical documentary, Not on the Heep and a new album, Eleventeen, in collaboration with Jake Libretto. He eventually succumbed to the disease on 19th September 2020 and is survived by his wife Sue. Lee was a larger than life character and everyone that new him speaks of a witty, friendly guy who was always up for a laugh and good time. He will be sorely missed by everyone who knew him and his many fans.

For an overview of the Heep’s career try the forty-six track, triple CD Loud, Proud & Heavy – The Best of Uriah Heep on the Union Square Music label.

Uriah Heep Loud, Proud & Heavy
Lee Kerslake Discography
 The Gods Singles

Baby’s Rich c/w Somewhere in the Street: Columbia (DB 8486) 1968

Hey Bulldog c/w Real Love Guaranteed: Columbia (DB 8544) 1969

Maria c/w Long Time, Sad Time, Bad Time: Columbia (DB 8572) 1969

 The Gods Albums

Genesis: Columbia (SCX 6286) 1968

To Samuel a Son: Columbia (SCX 6372) 1969

 Head Machine Album

Orgasm: Major Minor (SMLP 79) 1970

 Toe Fat Single

Working Nights c/w Bad Side of the Moon: Parlophone (R 5829) 1970

 Toe Fat Album

Toe Fat: Parlophone (PCS 7097) 1970

National Head Band Album

Albert 1: Warner Bros (K 46094) 1971

Uriah Heep Singles

Easy Livin’ c/w Why: Bronze (WIP 6140) 1972

The Wizard c/w Gypsy: Bronze (WIP 6162) 1972

Stealin’ c/w Sunshine: Bronze (BRO 7) 1973

Something or Nothing c/w What Can I Do: Bronze (BRO 10) 1974

Prima Donna c/w Shout It Out: Bronze (BRO 17) 1975

One Way or Another c/w Misty Eyes: Bronze (BRO 27) 1976

Wise Man c/w Crime of Passion: Bronze (BRO 37) 1977

Free Me c/w Masquerade: Bronze (BRO 47) 1977

Come Back to Me c/w Cheater: Bronze (BRO 62) 1978

That’s the Way It Is c/w Hot Persuasion: Bronze (K 8782) 1982

Lonely Nights c/w Weekend Warriors: Bronze (BRO 166) 1983

Stay on Top c/w Playing For Time: Bronze (BRO 168) 1983

Rockerama c/w Backstage Girl: Portrait (A 6103) 1985

Poor Little Rich Girl c/w Bad Blood: Portrait (A 6309) 1985

East Livin’ c/w Corina: Legacy (LGY 65) 1988

Hold Your Head Up c/w Miracle Child: Legacy (LGY 67) 1989

Blood Red Roses c/w Rough Justice: Legacy (LGY 67) 1989

Dream On / Mr Majestic c/w The Other Side Of Midnight: Castle (HTD CD 102) 1995

 Uriah Heep Albums 

Demons and Wizards: Bronze (ILPS9193) 1972

The Magician’s Birthday: Bronze (ILPS213) 1972

Uriah Heep Live: Bronze (ISLD 1) 1973 Live

Sweet Freedom: Bronze (ILPS9245) 1973

Wonderworld: Bronze (ILPS9280) 1974

Return to Fantasy: Bronze (ILPS9335) 1975

High Mighty: Bronze (ILPS9384) 1976

Firefly: Bronze (ILPS9483) 1977

Innocent Victim: Bronze (BRON504) 1977

Fallen Angel: Bronze (BRNA512) 1978

Abominog: Bronze (BRON538) 1982

Head First: Bronze (BRON545) 1983

Equator: Portrait Records (PRT26414) 1985

Live at Shepperton 74: Heep CD (HEEP1) 1986 Live

Live in Europe 1979: Raw Power (RAWLP 030) 1986 Live

Live in Moscow: Legacy (LLP 118) 1988 Live

 Raging Silence: Enigma Records (LLP120) 1989

 Different World: Legacy Records (LLP137) 1991

 Sea of Light: Castle Records (HTDLP33) 1995

Spellbinder Live: SPV (085-76992) 1996 Live

King Biscuit Flower Hour Live Presents in Concert: BMG (70710-88027) 1997 Live

Sonic Origami: Eagle Records (EAGCD043) 1998

Future Echoes of the Past: Classic Rock Productions (CRL0605) 2000

Acoustically Driven: Classic Rock Legends (CRL0676) 2001 Live

Electrically Driven: Classic Rock Legends (CRL0715) 2001 Live

The Magician’s Birthday Party: Classic Rock Productions (CRL0933) 2003 Live

Live in the USA: Classic Rock Productions (CLP1089) 2003 Live

Magic Night: Classic Rock Legends (CRL1537) 2004 Live

Loud, Proud & Heavy – The Best of Uriah Heep: Union Square Music  (METRTCD828) 2007 Three CD Best of

 Ozzy Osbourne Singles

Crazy Train c/w You Lookin’ at me, Lookin’ at You: Jet (JET 197) 1980

Mr Crowley c/w You Said it All: Jet (JET 7003) 1980

Ozzy Osbourne Albums

Bizzard of Oz: Jet (JETLP 234) 1980

Diary of a Mad Man: Jet (JETLP 237) 1981

Living Loud Albums

Living Loud: Capitol Records / EMI (09463-32331-2-6) 2005

Living Loud Live in Sydney: Edsel Record (0191462ERE) 2008

Berggren Kerslake Band Album

The Sun Has Gone Hazy: AOR Heaven (AORH00092) 2014

 Lee Kerslake Albums as a Guest

Ken Hensley Proud Words on a Dusty Shelf: Bronze (ILPS92232) 1973

David Byron Take no Prisoners: Bronze (ILPS9342) 1975

4 thoughts on “Lee Kerslake

  1. Thanks for the correction Nick, I have updated the text accordingly. If you have anymore information regarding The Trackmarks, please feel free to pass it on.

    Like

    1. Pleasant read giving the history of always impressive an amazing Lee Kerslake. I have had the pleasure of meeting Lee a couple times and have great memories from those meetings. Thank you Mr Kerslake for many years of great music.

      Like

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