THE GRASS IS GREENER

This hybrid album is a North American release only and a sort of bastardised products with a mix of tracks released elsewhere but in a different version and a different line-up. It even takes the artwork from the Valentyne Suite album, and an almost similar inner gatefold also. Yet in my eyes, this album is much deserving many attention from fans (and even almost the right to be an full-blown studio album in their discography) as there are two completely new tracks , two more that were to be featured on the double Live album, and from the four remaining tracks, three are a different version than the ones you can get on the two UK releases. As this album states, Clem Clempson is now the guitarist and Butty Litherland only appears on one track, the superb Elegy. But clearly Clempson is not a good lead vocalist, although he is fine back-up vocalist), and it is no wonder the Colosseum will be hiring Chris Farlowe for the next full release.

Jumping Off The Sun is a very interesting tracks loaded with vibes and bells and great time sig, but Clempson's voice can do no match to what Litherland or Farlowe would've done for this track. Lost Angeles is yet another very interesting but not well exploited idea, and if you compare to the extended live version of Colosseum Live, it will pale in comparison, but it is still superb on this vinyl, as you can hear the greatness of the Greenslade/DHS composition. Elegy might just be the only tracl present on this album that might come in the same previously available one, although slightly shorter. Butty's Blues is another track from Valentyne Suite, but stick with the previous version, as Clempson's vocals are no match for Litherland's and there is a full blown big band on the other .

The Jack Bruce-track Rope Ladder To The Moon is the first of a few tracks that will have Pete Brown lyrics and if the instrumentation is great (especially Greenslade's percussions) the greatly expanded-live version with Chris Farlowe is more impressive. Bolero is is unavailable-elsewhere track and might just be the first example of Ravel's piece with rock instrumentation, a few months before Crimson's and two full years before ELP's. It is probably the best version of all three because it is the one straying farthest from the monotony of Ravel's piece. Machine is a shorter version of the track on Valentyne Suite. The last track is the third movement of the Valentyne Suite that hat had been released in North America as The Ides Of March on the first UK release. Did you say confusing? ;-(

Although this album is a bit lost in the jungle, it was never released as a CD on either side of the Atlantic, but recently new expanded re-issue of Valentyne Suite with the tracks from both album was issued. I can only warmly recommend it if you do not own the album yet, and if you do already and you are a major fan of Colosseum, you might just have to dip in your pocket again.

It's easy to say this is the U.S. version of the European released "Valentyne Suite", but it's much more complicated than that. We have some different musicians on this one, and half the songs on here weren't on the original. And the four original tracks have been changed somewhat as well. They kept the same album cover but changed the hue. As Sean Trane says in his review "Did you say confusing ?" I really didn't think this would be nearly as good as the original since the 17 minute title track "Valentyne Suite" was missing from this one (although "The Grass Is Greener" section is included), but I was wrong. The four new tracks are simply outstanding ! And while I wouldn't say they're as good as the "Valentyne Suite", they're good enough (along with the other tracks) to give this 4 stars. I'll review the four new songs that I didn't already review on the "Valentyne Suite" album.

"Jumping Off the Sun" opens with what sounds like Christmas bells before the drums and guitar come flying in. Vocals follow and the bells are back. Great uptempo track. The drummer is very busy.The guitarist lets loose before 2 minutes with organ runs in the background. Back to the crazy drumming and vocals. "Lost Angeles" opens with vibes and bass as drums beat lightly. Sax and vocals follow. The vocals on this one aren't as good as on the first track. Organ helps out. Blistering guitar after 2 minutes. Nice. They seem to just jam until vocals are back 4 1/2 minutes. Organ, sax and drums end it.

"Rope Ladder To the Moon" is a cover of a Jack Bruce tune, and it's a good one ! Lots of vibes in this one and bass. Vocals are well done. Plenty of sax as well. Mellotron towards the end. I believe this is the only song they ever used mellotron on. "Bolero" has this circus-like melody with marching style drums for almost 2 minutes. Not a fan. Thankfully the rest of the song more then makes up for the beginning. This raw guitar comes barging in with some great bass lines in tow. The drums start to turn from "marching" to "rock" as he beats the hell out of them. They light it up until 4 1/2 minutes in when the drums return to that marching style, and the guitar stops.

What a talented man Dave Greenslade is. Please check this band out.

Third Colosseum studio album is a strange fruit. It was released in USA only, and formally is "Valentyne Suite" , band's second studio album's, version for US market. Even cover picture is almost the same (only darker and in a different hue).

But under the cover, situation is more difficult. Half of the album (4 songs) are all new ,and don't appear on any other band's studio album ( Jumping Off the Sun, Lost Angeles, Rope Ladder to the Moon and Bolero). So this album has a full right to be counted as their third studio one. And big part music is very different from "Valentyne Suite" there due to the replacement of James Litherland for Dave 'Clem' Clempson.

In fact, there are three songs from "Valentyne Suite" side A presented, and part 3 from "Valentyne Suite", long composition, filling all side B on original "Valentine Suite " release is used as well ( under slightly different name as well - original name is "The Grass Is Always Greener ... "). But from all 4 songs, only one could be possible absolutely the same as on "Valentyne Suite" album. It is "Elegy", great song with previous vocalist Butty Litherland vocals. Three other are re-recorded with Clempson vocals.

Music on this album is generally same great early heavy jazz-rock, with massive keyboards and excellent sax of Dick Heckstall-Smith. Having its roots in r'n'b from late 60-s, Colosseum is one of great early jazz-rock band of all times. Compositions are complex, but very melodic, still with great rock tradition of songwriting ( and not main accent on musicianship technique). You will easily feel some blues rock and light psychedelic smell there.

Interesting and very competent work, I think it is not a best entrance to Colosseum. Clempson is possibly their worst vocalist, and because of strange songs combination this album is not so representative. But absolutely must have for band's fans.

The US-only anomaly in Colosseum's catalogue. The US version of their debut album is less interesting by comparison - sure, the track listing is different and the Valentyne Suite has a different third movement, but ultimately it's still a compilation of tracks from their first two albums. This one, however, is a bit different - cooked up as a means of debuting new singer-guitarist Dave Clempson (who, admittedly, has quite a pair of lungs on him), this mixed up original tracks with the remaining leftovers from Valentyne Suite, with most of those having Clemson overdubbing James Litherland's takes on the songs in question - all but for Elegy, which is left in its original Valentyne Suite configuration. (...Why? What's the point of not finishing the job, if you're going to scrub Litherland?)

The end result hangs together better than expected, mostly because Clempson's vocals and guitar work add enough to proceedings to make the alternate versions worth bothering with and because the new material is pretty decent. Not on the level of Valentyne Suite, but pretty good.

This album is apparently quite the anomaly in that most of these songs have appeared on previous Colosseum albums but here they employ a different lineup of musicians. Plus, this was an album that was released only in North America- -which seems to indicate that the band (or record company) was trying to gain a foothold across The Pond--one that they had obviously failed to gain with their previous releases. The offerings here are jazz-tinged psychedelic rock album that predicts the music of GENTLE GIANT while reaching back to familiar West Coast psychedelic power rock bands like like The Doors, Spirit, as well as taking advantage of the way paved by more successful British Invaders like The SPENDER DAVIS GROUP, PROCUL HARUM, and LED ZEPPELIN.

1. "Jumping Off the Sun" (3:00) psych rock in a GENTLE GIANT vocal form. The music is a bit closer to the psych rock bands of the late 1960s--like SPIRIT but those vocals sound just Derek Shulman. The musicianship is very high, very tight. (8.75/10)

2. "Lost Angeles" (5:30) this one sounds like a sophisticated THE WHO song with Paul Weller singing the vocal. Drummer Jon Hiseman is so good that you can tell that the rest of the band feeds off of (or is driven by) his powerful skill. Great Jimmy Page-like guitar solo from David Clempson in the third minute. The rest of the band around him (including a second guitar track) are equally great: all focused on delivering the unmitigated CREAM-like power that Hiseman and the spirit of this song seem to demand/require. I can finally hear Dick Heckstall-Smith's sax in the final minutes of this one. Excellent song. (9.3333/10)

3. "Elegy" (3:26) a famous song that brings to mind both SPENCER DAVIS and BRIAN AUGER. Guest vocalist James Litherland has a great, soulful voice. The song's basic chord progression and melodic hooks work very well: a very memorable song. The role of the soprano sax and Neil Ardley's strings is noticeable but not a major contributor. (9.66667/10)

4. "Butty's Blues" (6:45) yes, full on organ-lead blues: the first song on which Dave Greenslade gets to really shine. He's very good--with an excellent horn arrangement behind him from Neil Ardley and excellent bass and drum play from Tony Reeves and Jon Hiseman. Once the amazing "big band" intro is over at 1:28, the song turns into a very typical blues/blues-rock tune--like something JOHN MAYALL or ROBIN TROWER would do. But then the horns return to remind us of the modern juxtaposition and Dick's tenor sax takes a solo in place of the second vocal verse. The dynamic whole-band finish is awesome! I normally don't like blues/blues rock but the participation of the horns makes this very dynamic and exciting. (13.5/15)

5. "Rope Ladder to the Moon" (3:42) an outlier in that this song had not appeared on any previous Colosseum releases, the song was picked up Jack Bruce and made more famous as one of his anthemic concert favorites. It is a very cool song with great vocal, lyrics, melodies, and full-band support music. Rated up purely on the vocal performance & clever lyrics (and delivery). I have the feeling that this song may also have been influential to Derek Shulman and his brothers. (9/10)

6. "Bolero" (5:28) one might laugh upon seeing this title on the page but the band actually do Ravel's original quite some justice with this heavy, full power-rock version. Nice keyboard and sax play over Jon's impeccable drumming, but it's David Clempson's fiery, bold-like-TERRY KATH electric guitar solo that really gives it its unique identity. It is one of those great, truly original and, therefore, iconic guitar solos. As a matter of fact, it's so good (and the rest of the bands' performance on his coattails) that you are actually transported into forgetting that this is Ravel's "Bolero"!! (9.125/10)

7. "The Machine Demands a Sacrifice" (2:48) another song lifted off of the previous year's Valentyne Suite album, this one has a psychedelic feel not unlike that of Iron Butterfly's "In-a-gadda-da-vida"--especially in the drum-and-bass- centered music. (8.75/10)

8. "The Grass Is Greener" (7:31) one of the pieces lifted from the actual "Valentyne Suite," this one is gentler and more prog-tempered than the album's other tunes--probably because it's an instrumental on which the band hope to show off their skills as musicians. I'm surprised at the uncredited full-horn ensemble opening as well as the slower TRAFFIC/Southern Rock tempo. It seems as if all of the band's instruments gain some showing here with full-spotlight solos from Hammond organ, bass, volume-pedal-controlled electric guitar, even sax and drums. The tempo shift into high speed for final three minutes (as well as the long, protracted dénouement at the end) will become such a template for so many Southern Rock bands like LYNYRD SKYNYRD, MOLLY HATCHET, CHARLIE DANIELS, and THE OUTLAWS. (The Allman Brothers were already doing it--so maybe Colosseum picked up the idea from them.) (13.125/15)

Total Time 38:10

I very much like this album: it has great musicianship--feeling as if each member of the band is fully committed to and engaged with each song. At the same time, despite the presence of horn sections on several songs and despite the excellent (probably virtuosic) musicianship, I could probably never be convinced that this music is Jazz-Rock Fusion. It's just progressive blues-rock psychedelia dressed up in some jazz fittings.

B/four stars; though I find the skillful and tight musicianship on this album to be exceptional, the songs are not always aligned with my own personal preferences. At the same time, I can definitely imagine the success and popularity that an album like this would have created in 1970/71.