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Greenslade Bedside Manners Are Extra album cover
3.60 | 231 ratings | 39 reviews | 25% 5 stars

Excellent addition to any
prog rock music collection

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Studio Album, released in 1973

Songs / Tracks Listing

1. Bedside Manners Are Extra (6:16)
2. Pilgrim's Progress (7:12)
3. Time to Dream (4:46)
4. Drum Folk (8:44)
5. Sunkissed You're Not (6:27)
6. Chalkhill (5:24)

Total Time 38:49

Bonus tracks on 2018 remaster - BBC Radio One "Sounds of the Seventies", October 31, 1973:
7. Time to Dream
8. Bedside Manners Are Extra
9. Pilgrim's Progress

Bonus DVD from 2018 remaster:
- "Greenslade" 1973 promotional film, previously unreleased:
1. Drowning Man
2. Temple Song
3. Melange
- BBC TV "The Old Grey Whistle Test" - 20th November 1973:
4. Pilgrim's Progress
5. Bedside Manners Are Extra

Line-up / Musicians

- Dave Greenslade / keyboards
- Dave Lawson / keyboards, vocals
- Tony Reeves / bass
- Andy McCulloch / drums, percussion

Releases information

Artwork: Roger Dean

LP Warner Bros. Records ‎- K 46259 (1973, UK)

CD Warner Bros. Records ‎- WPCP-4795 (1992, Japan)
CD Warner Bros. Records ‎- 7599-26866-2 (1996, UK)
CD + DVD Esoteric Recordings ‎- PECLEC 22654 (2018, UK) Remastered by Ben Wiseman with 3 bonus Live tracks plus a DVD

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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GREENSLADE Bedside Manners Are Extra ratings distribution

(231 ratings)
Essential: a masterpiece of progressive rock music(25%)
Excellent addition to any prog rock music collection(43%)
Good, but non-essential (26%)
Collectors/fans only (7%)
Poor. Only for completionists (0%)

GREENSLADE Bedside Manners Are Extra reviews

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Collaborators/Experts Reviews

Review by Sean Trane
3 stars Their peak. Lawson seems more involved in the writing and Mc Cullough gives some good drumming, but it is clear that Greenslade is too alone to make it as a real force in music . I think most people get softened to this band because of the Roger Dean cover.
Review by loserboy
4 stars GREENSLADE's second album is as remarkable as his debut album with even more mellotron than he could pack into the first release. This truly awesome album blends mellotron and flute passages that will make you drool. Once again the album is drenched in English personal and charm. Without a question "Pilgrims Progress" is one of my personal favourite songs from the 70's prog era. The symphonic passages are lush and yet the songs are aggressive and ever shifting. Songs are played with amazing musicanship and are all quite clever. Overall an outstanding album that you must own.
Review by Prognut
4 stars This Band for me was a shot in the dark...You see, when I do not know a band I try to research a bit, but if they feature something like, say Mellotron I just have a seizure and by instinct get the album; well my friends I have to tell you, that's what exactly happened and I am absolutely pleased with my acquisition. You owed to your self to get at least a CD of this obscure, underrated and mostly unknown band...that feature the beautiful mellotron, and in a very special way. This is progressive-rock at its finest. 4-piece band, with an incredible interplay and waves of violin-mellotron, for some Lawson voice may be irritating but, the whole interplay of the songs is enough to forgive that..and, actually after a while you start melting his vocals to the whole texture of the album. One thing, that actually amused me was the fact that this is a very original band. I like this one better than their first, mainly just because they tend to use Mellotron a bit more....but both albums are superb!!! Now, there is another CD "Shades of Green" that is a very good compilation of their best titles thru the 4 albums (1973-75)...If you just want to get one CD, this is probably the one...Good Hunting prognuts!!!
Review by erik neuteboom
4 stars After the demise of COLOSSEUM in '71, keyboard player Dave Greenslade founded his own band GREENSLADE, featuring Tony Reeves (bass), Dave Lawson (keyboards, clarinet, flute) and Andrew McCulloch (drums), he had left KING CRIMSON. In '73 Greenslade released "Bedside Manner Are Extra", in my opinion their masterwork. It's an an excellent blend of classic, jazz, rock, blues and symphonic rock with elaborate compositions and inventive and exciting dual-keyboardplay by Greenslade and Lawson. The omnipresence of the Mellotron is very pleasant with majestic waves of the violin-Mellotron (like early KING CRIMSON) and glorious eruptions of sumptuous choir-Mellotron. In comparison with the 'progrock-dinosaurs' ELP and YES, GREENSLADE played more varied styles, the songs were shorter and it lacked the usual 'progrock self-indulgence' (like ELP and Yes), no endless soloing. Highlight is the splendid build-up track "Drum Folk" featuring halfway a short drumsolo and some Mellotron, the climax is a bluesy, very moving Hammond organ solo, goose bumps! GREENSLADE is a band to discover and they deserve more appreciation by the progrock aficionados.
Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This is Greenslade's apex, and I'm not alone in thinking this way. Some of the most prominent Greenslade numbers ever written are right here, and even the interplaying between all four musicians is tighter and more cohesive than in their impressive debut album. There is also a productive expansion of Greenslade's sonic pallet, due to the inclusion of synth (by Lawson) and an enhancement in the role of mellotron, a role that proves quite relevant in many passages trhoughout the album. Things get started quite smoothly with the namesake prog ballad, whose first lines on piano are almost exactly the same as the ones that marked the final passages in the debut album's closing epic 'Sundance'. Well, 'Beside Manners.' is less epic and more reflective, with an unmistakable touch of irony in both the lyrics and Lawson's singing, particularly the sing- along choruses. The main basis played on grand and electric pianos is craftily adorned by mellotron orchestrations and successive solos on synthesizer and RMI electric harpsichord - not amazing precisely, but an attractive opener. Things really start to get typically Greenslade-esque from track 2. 'Pilgrims Progress' is one of the most emblematic instrumentals in Greenslade's career, and also one of the finest Dave Greenslade compositions ever: its various effective motifs and contrasting moods fluidly interconnected, the powerful performances of a well adjusted ensemble, the colourful keyboard resources that are displayed with total splendour and excitement, never getting too obtuse, always keeping a clear focus on the melodic lines - all these things make 'Pilgrims Progress' the most outstanding number in the album. But the other two instrumentals are nothing to be dismissed, not at all. 'Drum Folk' gives room for an excellent two-part drum solo masterfully delivered by McCulloch (shouldn't this guy be mentioned more often in prog forums and polls?), but there's more to it than that. The introductory ethereal organ/mellotron layers prepare the path for an effective prog- jazzy main motif in which the Hammond organ and the electric piano complement each other beautifully, while the rhythm section keeps an immaculately pace for the complex time signatures. Between both parts of the drum solo, comes a captivating Pink Floydian slow section: the mellotron flute intro is simply delicious (somewhere I read that the mellotron flute is perhaps the most beautiful keyboard sound ever, and I do tend to agree every time I listen to this brief part of 'Drum Folk'), and so are the organ harmonies added soon after, as well as the amazing RMI solo that emulates a bluesy guitar. The brief reprise of the main motif that serves as a coda ends the track with a proper sense of energy evidently developed in McCulloch's featured interventions. While not being as cohesive as the aforementioned instrumental, its epic orientation is certainly well accomplished. The last instrumental is 'Chalkhill', written by Lawson and Reeves: similar in structure to 'Pilgrims Progress', it also captures the prototypical Greenslade sound at its best. The remaining sung tracks are also very effective and powerful. The blues- rock infected 'Time to Dream' and the jazzier 'Sunkissed You're Not' are based on catchy melodies which are given an added touch of complexity through the use of clever arrangements and the layout of rooms for soloing. Excellent to masterful - 4 ½ stars.
Review by Eetu Pellonpaa
SPECIAL COLLABORATOR Honorary Collaborator
3 stars This album was a small disappointment for me due expectations from their first album, but it allowed still some sensations of enjoyment. At their best moments, there are very tender emotions evoked from the songs of this group, even risk of banal to some listeners of harder casual music. The title song "Bedside Manners Are Extra" opens the album quietly, having some Beatles reminding tones in its sounds, along with more complex rhythmic alterations which I did not find sounding very comfortable in the song's context. Some minor melodies of the verses are the very clever and powerful, so the compositional skills are evidently present, maybe the arrangement style was something not so keen to myself. I guess the ability to enjoy this album correlates with the ability to forgive (or even enjoy) some of these elements. The absence guitar didn't bother myself, the soundwall is beautiful as it is, and these keyboard driven British bands have a special funny charm. "Pilgrim's Progress" is not a Procol Harum cover in spite of its name, opening neatly and later evolving to slightly annoying faster motives. "Time to Dream" is a decent bluesy rock tune, leading to "Drum Folk". This song starts promisingly with exiting mysterious soundscapes, but then again ventures to complexities I did not feel honoring the harmonic potential of the composition. Luckily there are good mellotron parts and some other themes which are quite fine to listen and allow one's imagination to wander. "Sunkissed You're Not" is also a little jumpy composition with some good elements, and fine jamming at the middle of it. The final track "Chalkhill" is another blues beat song with some violin too. There's some nice improvisation included, and this is a quite decent song. The features I liked here are the striking Roger Dean vinyl gatefold covers, ever charming mellotrons and the good spirit of trying. This is recommended for collectors of keyboard driven prog rock and fans of symphonic music.
Review by Trotsky
SPECIAL COLLABORATOR Honorary Collaborator
4 stars Greenslade has to be the least known super-group in prog. At the time Bedside Manners Are Extra came out, the group comprised keyboardists Dave Greenslade (of Colosseum fame) and Dave Lawson (formerly of Samurai) and a rhythm section of ex-Colosseum bassist Tony Reeves and former King Crimson drummer Andy McCulloch. I can't speak for all of Greenslade's music (and to be fair I've often heard it said that this is the group's best album) but these guys have combined to make one of the most accessible and enjoyable prog albums I've ever heard.

For despite the haunting Roger Dean cover, Greenslade's lyrical themes are as down to earth as they come, and the group's music, while undoubtedly progressive, still uses the "song" as its base. Lawson's vocals may be far from technically perfect but they are soulful and suit the compositions. There's plenty of playful keyboard interaction, with the piano, electric piano, mellotron and all manner of synths making their presence felt. While Greenslade lyrics are occasionally despondent, I feel that there's a rather uplifting quality to the music on this album. Some might see it as a lightweight affair, but I think they'd just be missing the point.

Take the vaguely Carribean feel of the "Have a holiday" refrain towards the end of the title track for example. When prog groups do such things it's usually long past the sell-out date (sorry, should I have said sell-by date?), but in Greenslade's hands there's something natural and joyous about it all. In fact, this album is full of listenable progressive music that might well attract non-prog fans.

The exuberant instrumental Pilgrim's Progress strikes the perfect balance between pomp and melodic beauty. Time To Dream is another one that is sometimes silly and yet contains some magnificent solo-ing and interplay between the players. Drum Folk sees McCulloch come to the fore with an enjoyable drum solo, before a mournful segment in which Greenslade proves once again that he was one of the great keyboardists of the classic era of rock music. Sunkissed You're Not is an electric piano-heavy cut that smacks of the Canterbury sound with some effortless changes of pace that reinforces the idea that Greenslade is one of the most natural sounding prog groups ever. Chalkhill is the most "fusiony" of the album's six pieces, yet has an ominous opening and an exultant closing that set it apart from other bands' fusion cuts.

Despite the light-hearted feel, Greenslade is still capable of careening freewheeling rock moments and it's interesting that you never feel the absence of guitars on this album. Bedside Manners Are Extra is just feel-good classic-era prog. ... 74% on the MPV scale

Review by Proghead
4 stars I have been aware of Dave GREENSLADE for some time now. Like his work with COLOSSEUM, such as "Valentyne Suite" (1969) which is truly a must have album for those who enjoy bluesy progressive jazz rock. And let's not forget his next band, simply called GREENSLADE. "Bedside Manners Are Extra" is their second album, released later the same year as their debut. Cover artwork is by Roger Dean, and the band logo was also created by Dean as well (which isn't hard to tell). All four members had been in established bands. We all know Dave GREENSLADE himself and his involvement with COLOSSEUM. Bassist Tony Reeves was also of COLOSSEUM (and appeared on their first two albums, "Those Who Are About To Die Salute You" and "Valentyne Suite"). He also played in John Mayall's Bluesbreakers (in which another COLOSSEUM member, Dick Heckstall-Smith had played in). Andrew McCulloch was a brief member of KING CRIMSON, and had appeared on their album "Lizard", and keyboardist/vocalist Dave Lawson was a member of WEB during their final album ( I Spider from 1970, the previous two WEB albums, "Fully Interlocking" and "Therphosa Blondi" featured John L. Watson instead), and the one album from 1971 when WEB changed their name to SAMURAI.

Anyway, GREENSLADE's music tended to much more conventional progressive rock, those who aren't too keen on the jazzy/bluesy COLOSSEUM would have less problems here, but then the high-pitched vocals of Dave Lawson (he definately sounds a lot different than on I Spider) is an acquired taste and might throw off many people. You won't find much trace of that old COLOSSEUM sound here, despite the presence of two ex-COLOSSEUM members. Only half the songs on "Bedside Manners Are Extra" have vocals, the rest are instrumental. This album is also packed with Mellotron, I never imagined Dave GREENSLADE being a tron user, mainly because his works with COLOSSEUM were obviously dominated by organ and piano, but this album is loaded with it, and a good reason to buy this album, to fill a hole in your Mellotron collection. The title track starts off deceptively like soft rock, but most of the rest of the piece tends more to the Romantic prog spectrum. Most of the rest of the album has a more bombastic keyboard-dominated style of prog, but much more restrained than say, Keith Emerson or Rick Wakeman. "Pilgrams Progress" is an instrumental piece with a recurring theme played on tron flute. There's the occasional ELP-like passage too. "Time to Dream" has an almost GENESIS-like feel to it, especially the use of Mellotron. "Drum Folk" gets frequently criticized for the use of drum solos twice, but the great passages (including more wonderful use of Mellotron) makes up for it. The final cut, "Chalichill" is an all-instrumental piece with a great jam at the end with a wonderful Moog solo. This is truly an underrated prog rock album (likely because of Dave Lawson's singing), and aside from CURVED AIR, one of the greats found on the Warner Bros. label (a label you can't get more mainstream than that, it's nice to see GREENSLADE and CURVED AIR on a label too full of overly-commercial crap).

I can't get over the photo of Dave GREENSLADE you find in the gatefold of the LP and that expression on his face.

No doubt, like RARE BIRD, this band also had two keyboardists and no guitarist, even if the music sounds nothing like RARE BIRD. It's an interesting fact that Dave GREENSLADE's first solo effort, "Cactus Choir" (1976) featured ex-RARE BIRD vocalist Steve Gould.

If you can get over Dave Lawson's singing, you got yourself some more excellent prog rock, this album really grew on me.

Review by Fishy
3 stars At the time the album caught my attention by the wonderful Roger Dean sleeve. The colourful style could only belong to an album in the progressive rock vein. When "Colosseum" broke up, keyboard man Dave Greenslade started his own band. This is typical early seventies keyboard driven prog with lots of flute, mellotron and organ. It could feel strange without electric guitar but it doesn't. The sound of the keyboards is so diverse, you'll hardly miss the guitar. Moreover there actually is a kind of a guitar part played by a keyboard.

3 tracks are instrumental, 3 tracks feature excellent vocals of Dave Lawson. His vocal does sound timid on the title track but on the other two vocal tracks it does contend some power. The voice is strange but I do enjoy it. More than once the album refers to Yes at the time Fragile was released but fortunately Yes is just one of the references, next to Elp and Colosseum. The keyboards on "Time to dream " are sounding a bit like Wakeman's and there're also some repeated motifs against the grain of the atmosphere, a bit like Yes did on "long distance". But unlike Yes the floating keyboards are omnipresent and that makes the album interesting for people who are looking for fabulous keyboard parts. The melody of the verse is sounding haunted in an excitable way. "Sunkissed you're not" is one of the most memorable moments on the album. On this track the fusion influences are more present than on other tracks. A complex track to get into. Give it time.. . The title track is the most accessible one with strong vocal melodies and a lyric which refers to adolescent years. "Pilgrims progress" is a fascinating up-tempo track with great melodies. Like on all the other tracks those floating keyboards are a delight to listen to and the main reason why this album deserves some of your attention. All instruments are handled very well. Also the way the drum are handled is worth mentioning not only on "Drum folk" which is a great track again, full of excerpts of floating mellotrons. It starts off like something from ELP but soon the atmospheric mellotrons are coming through and later on there's a drum solo which is odd to be found on a studio album.

The record was produced very poor. The rhythm section sounds like it's been recorded in a room full of mud. Even when I replaced my scratched record by a perfect sounding cd, the quality of the sound was hardly improved. I heard of the existence of a compilation album which included some remastered songs but I'm not sure it actually exists. Must be hard to take some material from this album which would mean there's some second class material included as well which isn't the case, every track is interesting enough. On "Bedside manner's are extra" the sound of Greenslade is more colourful than the on other albums of the band although the sound of the keyboards is a bit outdated today. Listening to the album gives you a laid back feeling. This is one of the few prog albums I ever heard that aren't pompous in any way. If you like the instrumental side of Yes or ELP you should give this one a spin; or better give this album several spins, it'll only get better.

Review by Joolz
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Having lived with it for over 30 years I still do not know if I like Bedside Manners Are Extra. In the normal run of things I should adore it as it is awash with all the expected early 70s keyboards, including the mighty Hammond and Mellotron. Greenslade and Lawson are both very capable musicians so no problem there, but I seem to have a number of issues.

- Many of the tunes have a jazz-rock or funky base, which is a problem for me because I have never been able to appreciate jazz

- While it is full of delicate little melodies, there don't seem to be many fully-developed themes so it all seems rather inconsequential

- Too much of it is noodly keyboard jamming, extended duelling workouts without any clear purpose and I am not usually a fan of such things

- Mood is generally light and airy but with very little variation or contrast

- Songs are pleasant without being outstanding and arrangements are weak (compare to Rare Bird)

- Lawson's voice is poor

- Sound, even on the CD, is astoundingly poor

- It is the only Prog that I know which simply floats past me, I don't feel involved in it in any way

The above are, of course, sweeping generalisations. The other side of the coin is that Bedside Manners Are Extra is full of light and bouncy compositions, bubbly as a mountain stream cascading over rocks, and performed with a welcome deftness of touch. And there are some nice little hooks too: the "have a holiday" section of the title track; the beautiful Tron flutes in Drum Folk; and the more reflective mood opening Chalkhill immediately spring to mind.

Though it is an instrumental, for me, Pilgrim's Progress is by far the most successful track and an old favourite. It has an internal structure and rhythm which lends it a sense of purpose, aided by a wonderful chugging up tempo theme and an excellent build-up to a duelling-keys climax. No dodgy vocals and no jazzy noodling, but a much stronger thematic identity which makes it memorable.

And now the crunch: Bedside Manners Are Extra doesn't 'touch' me in the way I need it to. For some reason that I have never really been able to fathom, I simply 'don't get it' and I guess after 30 years I am not now likely to. It remains for me an enigma - enjoyable but not as good as it ought to be.

[Check out the cover by Roger Dean - it's my all time favourite]

Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
3 stars Engineer pulls smart move on unsuspecting drummer!

Following on from their 1973 debut album, the Greenslade line up remained unchanged for this release the following year. In terms of content, this is very much a case of more of the same, but at the same time new and improved. If the dual keyboards of Dave Greenslade and Dave Lawson appealed to you the first time round, they certainly will do so again here.

The opening (title) track is surprisingly downbeat with a reflective lyric and delicate vocals. A sudden infusion of quicker electric piano type keyboards and then lilting mellotron cause regular variations in the mood. After a quiet intro, "Pilgrim's progress" turns out to be one of the liveliest and most upbeat pieces Greenslade have recorded. There's more than a hint of ELP in the melodic keyboard runs. The closing track on side one, "Time to dream" reflects the more muddled atmosphere of the first album, but still has more bite. This track actually sounds remarkably like the post Russ Ballard output of ARGENT.

The feature track on side 2 is the 8½ minute "Drumfolk". This diverse instrumental once again opens with an ELP like organ workout. Unfortunately the ELP similarities continue with the unforgivable indulgence of a needless drum solo (as admittedly suggested by the title). Fortunately, the engineer has the presence of mind the fade the drum solo in full flow, and replace it with some fine flute like keyboards. Drummer Andy McCulloch cannot take a hint however, and returns for the last word!

"Sunkissed you're not" is a bluesy, slightly funky piece which doesn't really work. The lyrics are just a little too off the wall, and the melody fragmented and weak. The final track, "Chalkhill" retains the upbeat feel of the entire album in a spirited instrumental.

"Bedside manners are extra" undoubtedly represents Greenslade at their peak. While that peak is still some way below that of their prog peers, this is a worthy album of enjoyable music. Pity about the drums solos though.

The album is complemented by a fine Roger Dean gatefold sleeve design.

Review by Atavachron
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Though not as polished and urbane as ELP, David Greenslade's band made some top-notch keyboard prog and if this album has problems with consistency and a sadly murky sound, it also has some highly pleasing and paradigmatic symphonic rock. 'Pilgrim's Progress' borrows from post-modern classical and though a bit dated and dusty, shows the soild working relationship between Greenslade and second keyboardist Dave Lawson, turning into an extremely tasty duel of space-age synths, organ, mellotron and toy piano. 'Time to Dream' is kick-butt organ rock supported by Tony Reeves' fat bass and a sweet lead taken by David. 'Drum Folk' eases open with a soft fife sound and a ceremonial drum, awakening Greenslade's news-at-eleven call to action and Baroque keyboard runs. It leads to a somewhat misplaced solo by drummer Andy McCulloch and stretches a bit long with bland jamming and another unneeded drum solo. But among the most consistent tracks is the killer bass line, electro-charm and deceptively catchy melodies of 'Chaulkhill', and wraps it up nicely for this gratifying if low-key record.
Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator
3 stars This was one of the bands that colored my childhood rock spirit when I knew nothing about prog rock. To me, at that time, everything I was listening to was just "rock" that's it. It spanned from Deep Purple, Grand Funk, Yes, Genesis etc. which sounded "roc" to me. Greenslade was known due to a local cassette compilation by Prambors radio station which included one of Greenslade songs in their compilation. By then I recognized that the music of Greenslade was quite unique especially the way keyboard was played and the vocal quality. "Feathered Friends" which became hit from the band's first album was very famous and had become my regular play list before I went to school. And now I got the CD format of the second album "Bedside Manners Are Extra" with me.

This is the 2nd album by Greenslade - a band which had a mastermind of keyboard player Dave Greenslade, joined by colleague Colosseum alumnus Tony Reeves (bass), Andy McCullough who played on King Crimson's "Lizard", and keyboardist/vocalist Dave Lawson. From their track records you can guess that this must had been a great supergroup. Their music is basically comprising multi-layered keyboard / mellotron work with unique vocal line of Dave Lawson. Unfortunately this album is not as strong as the first one. The whole album when it's enjoyed in its entirety seems like having a disorientation of the overall music theme. However, each individual song is not a bad one. The opening track "Bedside Manners Are Extra" (6:16) attempts to create a cohesive tune, by blending the vocal and mellotron work combined with drumming. However, the melody line of the vocal and the mellotron / keyboard work do not seem to unite in a cohesive way. The best track is, of course, track no 4 "Drum Folk" where Andy McCullough demonstrates his virtuosity in dynamic drumming throughout the track. It's like McCullough Show entirely!

Overall, I think this is a good classic prog rock album which should be collected by those of you who love vintage prog bands. Even though this is less solid than the debut album, but still . it's worth collecting. Keep on proggin' ..!

Peace on earth and mercy mild - GW

Review by Mellotron Storm
4 stars GREENSLADE features two keyboard players but no lead guitarist much like RARE BIRD. Dave Greenslade and bassist Tony Reeves were formerly with COLOSSEUM, while drummer Andrew McCullock played on KING CRIMSON's "Lizard" album. Dave Lawson is very prominant on keys and especially mellotron which is all over this album, in fact it's on every track. He also is the vocalist. Half of the 6 songs are instrumentals.

"Bedside Manners Are Extra" has a very dreamy sound as vocal melodies turn into vocals a minute in with piano and bass. Drums arrive 2 1/2 minutes in followed by a windstorm of mellotron. Fragile vocals come in followed a minute later by keys and a more energetic sound. More vocals and mellotron to end it. "Pilgrims Progress" is an instrumental that opens with flute and mellotron in a mellow beginning. An uptempo section takes over with drums and organ leading the way. More flute 2 minutes in. It calms right down a minute later with flute followed by floods of mellotron. Some nice drumming and then the tempo picks back up 4 minutes in. More mellotron and some great bass lines 6 minutes in. "Time To Dream" opens with bass, drums and then organ, it ends with piano. Nice. Vocals,organ and drums arrive and lead the way. I like the line "Forgive me for staring you remind me of someone i know". Distorted keys come in with some scorching melodies as drums pound away 2 1/2 minutes in. Back to the vocal / bass melody as organ chases. The bass is well done throughout this tune.

"Drum Folk" is another instrumental. It begins with lots of atmosphere as different sounds come and go with no real melody. That is until 1 1/2 minutes in when drums and a flury of keys come charging in. Mellotron and bass follows. The drums are relentless as we get a solo after 2 1/2 minutes. It then calms right down 4 minutes in to some solo flute. Organ and then a minute later some great keyboard sounds.This is great as it goes on and on. Another drums solo before 8 minutes. "Sunkissed You're Not" opens with a drum outburst before vocals come in quickly. Bass and keys standout. I like the vocals on the chorus. Nice instrumental interlude as bass and keys shine. Kind of jazzy. It lightens 4 1/2 minutes in before drums, then vocals return. "Chalkhill" is an instrumental. This one is dark with bass and drums leading the way as keys join in. The organ comes in at 1 1/2 minutes. Nice bass 2 minutes in. The tempo picks up before 3 minutes. Piano to end it.

I wasn't bowled over by this album but to me it's worth 4 stars for the mellotron and warm, catchy tracks. Ok the Roger Dean cover art doesn't hurt either.

Review by SouthSideoftheSky
3 stars A slightly darker shade of green

Bedside Manners Are Extra is the second album by Greenslade, and like the self-titled debut this one too features art work by the great Roger Dean. Once again we are given keyboard-dominated progressive Rock in a somewhat similar style to that of Rick Wakeman and Emerson, Lake & Palmer, though Greenslade is somewhat "lighter". The opening title track is not too exciting, but the Pilgrim's Progress is an excellent number.

As I noted in my review of the band's debut, I like Greenslade but I don't love them. I think their albums are good, but none of them are great. Personally, I think this second album is preferable over the first, but only slightly so. I enjoy this music, but only a few of the tracks manage to excite me and leave any lasting impressions. It is good, neither more nor less.

Recommended for fans of keyboard-driven progressive Rock, but there are better albums of its kind

Review by b_olariu
4 stars As i said on Spyglass guest and Time and tide reviews this band is a special one for me. I have them in my collection for quite some time and i know by heart the first 4 albums, wich i find them essentials in any collection. Bedside manners are extra is the second album of Greenslade and not a weak moment here. All musicians are involved here more than on the debute and the result is clear a better album than the first. Examples are many, maybe all the pieces but with a plus one Pilgrim's Progress and Drum Folk excellent progressive pieces and typical for Greenslade. The music of Greenslade always was for me something enjoyble to listen maybe because here are no guitars only keybords that gives them a special status, and very recognizible from the first note. So a strong album in my opinion, still underrated by many, for me 4 solid stars.
Review by ZowieZiggy
3 stars This second album from ''Greenslade'' is very much in-line with their debut released some months prior to this one and which I had rated with three stars.

''Bedside Manners Are Extra'' is of course not very different and the ones who liked their first release, shouldn't dislike this one even if the long ''Drum Folk'' is very transparent and little interesting. Closer to improvisation than a structured track (especially during the first half).

The second part is saved by a beautiful and melodic keyboards (simulating flute). The closing (and second) drum solo from this instrumental track is again far from being necessary. But I have never been over enthusiast over this ''performance'' on a studio album.

There are too few tracks which can blow away the listener to be honest. But ''Greenslade'' never played in the first division; which is fine since not all bands can play major roles in the music history.

On the contrary of most of the reviewers here, I preferred their debut album even if the ELP influence was too clearly marked. The loose and jazzy structure of ''Sunkissed You're Not'' can't attract my attention, at least on the positive side. But before this track, the mellowish and passionless opener (and title track) gave already a hint of what was going to be available on this record.

IMO, the best song is ''Pilgrims Progress''. Bombastic as you wish, melodic as I like. Gorgeous mellotron and at last, some feeling of unity in the music. It is also the most ELP oriented song from this offering. An excellent number and the highlight for sure.

The closing ''Chalkhill'' is also worth a listening and shines brighter than the rest; but this was not a daunting task frankly. All in all, this is not a great album. I would say average (five out of ten). Upgraded to three stars.

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Bedside Manners are Extra is the second album from British symphonic progressive rock act Greenslade. I´ve owned and listened to the debut album from the band for many years but it´s only recently ( a couple of years ago) that I purchased Bedside Manners are Extra. I wasn´t disappointed to begin with and I actually liked this one better than the debut for a while. But having had the oppertunity to listen to Bedside Manners are Extra for a couple of years now I´d say that the debut wins the race.

The music on Bedside Manners are Extra is very symphonic which is mostly due to the fact that there are two keyboard players in the band. They have no guitarist on the other hand, but the guitars are not missed. Lots of vintage keyboard sounds like organ and mellotron are a large part of Greenslade`s sound. The vocals from Dave Lawson are okey but nothing more ( I like his sinister mood in the title track though). The music is very influenced by the big symphonic prog bands of the time Yes, Genesis and especially ELP. There are lots of classical inspired notes on the album. We also get to hear some drum soloing as the fourth song on the album called Drum Folk is a vehicle for Andy McCulloch to showcase his skills. There are also some very skilled keyboards soloing in that song.

The musicianship is excellent and lovers of vintage keyboard sounds should take a listen to this.

The production is better than on the debut. Warm and pleasant.

Greenslade was always a second division symphonic prog rock band IMO and even though I really enjoy their debut I know that it´s probably more out of nostalgia than out of objective opinion that I gave that one 4 stars. Bedside Manners are Extra is a good album but not really excellent. 3 stars is my rating. The songs don´t touch me and seem to much to be vehicles to showcase skills instead of emotion ( I guess Greenslade had the same disease as ELP).

Review by ProgShine
COLLABORATOR Honorary Collaborator
5 stars 01. Bedside Manners Are Extra The beginning of the disk is a beautiful thing, a music that speaks the soul and at the same time is happy and 'up', the flower emotion the skin in a beautiful vocal from the start. The voice of Dave Lawson is a highlight of the track, along with the keyboards of Dave Greenslade and Tony Reeves of beautiful low. The middle forward the song to become happy and at the same time full of melancholy (if that is possible.) 'Please write to me ... 'Lawson sings in a tone of anguish, and is followed by a ground of keyboards very cool. Follows a choir and a Final wonder you get a disc.

02. Pilgrims Progress The beginning fool ... .. Below is a progressive instrumental in the best style Emerson, Lake & Palmer of Hoedown, and for more highlights the keyboards, a progressive 'dancing' at school in Triunvirato (which is the escloa of Emerson, Lake & Palmer). And it is developing lock in a bustling and cheerful melody. Featured in the line of low-end, simple and very well played.

03. Tune To The Dream It starts with certainty to what I call a 'progressive samba' (of course, one way English!), And then, changes for a vocal line worked very well (which of course is a high point of the band, the vocals of Dave Lawson are wonderful), and gave him land of keyboards and inspired with original timbres. Removing soil from a keyboard jazz/arábi- co close to what would be the 1st part of the disc.

04. Folk Drum Heady! Starts so that you get scared, and as the name already assumed, to highlight the impact of Andrew McCulloch (with a very interesting ground there by means of the song), and gives you more land of keyboards, with the already known and worked with melodies that all keyboardist progressive values that should have total privacy. Then the ground begins a which leads us to the old and famous' Land of Never '(you know those tunes that remind us of distant lands and beautiful style in Lord of the Rings?). And most jazz solos of keyboards! 8'53 of many soils and melodies.

05. Sunkissed You're Not Belo riff! And again the beautiful voice, with a very catchy chorus! In summary the best of the disc in my think!

06. Chalkhill Nice introduction of low! Followed by a perfect battery and taken to land and married the keyboard. Dave Greenslade knew very well how to work the keyboards of this disc. (A curious fact to note is that disc for sure is that he was recorded live in studio, as some imperfections appear on the disc and were not 'maquiadas', which in my opinion is a great thing. Ending only with a final piano creepy! In summary this disc is very good, nice to find the ears accustomed to big names of Progressive Rock, we must always in remember that music is made of large discs of great composers, not just for big names already included!

Review by Ivan_Melgar_M
SPECIAL COLLABORATOR Honorary Collaborator
2 stars There are bands with skilled musicians, good compositions excellent sound, but there's some factor that simply stops some of us of liking them, GREENSLADE is one of them, each time I listen "Bedside Manners are Extra", everything seems OK, the music is well written and performed, the vocals are a bit annoying, even when not terrible, but simply can't follow them, maybe the lack of spectacular moments or something else I can't describe, but bores me terribly.

The best example of this is the self titled opener, nice keyboards, good arrangements but can't stand the complete track, something is too clean too pristine to be real, seems like they avoid all the risks to play safe and become repetitive to an extreme, they create some sort of Prog Pop that is nice to the listener but the name of the game is Progressive Rock and this implies risks, the song flows gently from start to end without surprises or brilliance.

"Pilgrim Progress" starts soft and appears to be predictable, but suddenly they change into some sort of soft Heavy Prog that gives hope of listening something different, but again, the lack of imagination appears to be the general rule, despite some ELP influenced riffs that present some pomp, they fall into bland sections "a la" CAMEL, but without the originality, to the point that they start to sound a bit cheesy. A few radical changes are not enough to capture my interest into this anodyne track that keeps repeating itself almost from the start.

"Time to Dream" is an excellent title for this track, because by this moment I'm already sleepy, at least the song is frenetic enough to stop me from taking a nap, but I believe it's absolutely incoherent, like they never knew what they wanted, the instruments are thrown one over the other with no coherence, not a good song.

"Drum Folk" is supposed to be the central piece, the closer GREENSLADE comes to an epic, and to be honest, they achieve some suspense in the introduction, but when the keyboards take the lead, the band falls again into that predictability that is one step to be tedious.

Before they even reach the climatic section of the track, they decide to include a drum solo, for God's sake, never seen one in such a terrible moment, not that is bad, because Andy McCulloch is very capable, but destroys all the coherence of the song, and even worst, they restart with a soft flute section instead of using the extra boost the drums provided.

Surprisingly a Psychedelic guitar keyboard break is the best the band has presented since the album started, but when they jump to another solo, I believe it's time to press the skip button.

"Sun Kissed You're Not" starts like some sort of failed soft jazz Symphonic experiment (something like Chuck Mangione meets Rick Wakeman), the keyboards can only be described as cheesy and unimaginative, I can't understand how they were able to create a middle 80's product in the early 70's, no need to comment this track, for a second occasion the skip button is the solution.

"Chalkhill" closes the album in the same vein as the previous track, but still with less energy and weaker keyboards, at this point the skip button becomes my best friend.

Not much to say, good musicians not always make good albums because skills alone are not enough, you need some imagination, something this album lacks from start to end, will give them two stars being that some keyboard sections are interesting, but nothing more.

Review by ClemofNazareth
3 stars Greenslade is one of the few progressive rock bands from the seventies where the hackneyed phrase “awash with Mellotron” actually does accurately describe their albums. Even better, the band’s songs are for the most part tastefully arranged and executed with professional aplomb, while avoiding the sort of pretentious self-indulgence that brought about the near-demise of prog rock in that era. Not masterpieces to be sure, but these four records are all pretty decent.

This second album suffers a bit from the sophomore jinx I think, not necessarily because the music is any less interesting or trite than the band’s debut, but more because once you’ve heard their self-titled debut you maybe expect something newer and fresher for a follow-up, but really it’s more of the same. Certainly these guys aren’t the first (and won’t be the last) band to crank out several records of only slightly-varying music, but in an age where progressive musicians were reaching to often absurd heights to stretch themselves musically, Greenslade get no better than an average grade for innovation and creative development.

On this album the couple of songs that do manage to stand out a bit are “Time to Dream”, “Pilgrim’s Progress” and “Sun Kissed You're Not”. “Pilgrim’s Progress” gets a nod for the extended Mellotron passages and gently-flowing arrangement, and frankly for avoiding too much singing from Dave Lawson. Prog music fans are pretty tolerant of unusual singing voices (Rush, Yes, Supertramp and Spring are all good examples), but in Greenslade’s case less really is better.

“Sun Kissed You’re Not” is about as close as the band comes on any of their albums to a true symphonic rock epic. Not long enough for that to be sure (only six and a half minutes), but the trappings are all there with extended keyboard passages, a couple of minor tempo shifts and an appropriately abstract but seemingly deep theme. Add to that a clear jazz influence in the early inflections of the song and you have quite an unexpected treat. Too bad the band doesn’t have a lot more like this in their repertoire. I also think this could have become something Yes-like had the group found a way to morph the closing (and similar) “Chalkhill” into this one to create a real magnum opus. They sound like one song to me anyway.

And “Time to Dream” is an interesting case as it has some of the characteristics of ‘Sun Kissed’ (jazzy, ‘pretty’ keyboards) but also suffers from Lawson’s singing. In this case though it almost seems like the band breaks away from the fusion-like opening to a borderline AOR sound on purpose, just to bring the thing back around to something tasteful by the three minute mark. A very odd tune but one I find myself strangely drawn to. Better not to fight your impulses I always say…

So a decent album, certainly not a classic masterpiece (nor was anything else the group put out), but definitely well worth seeking out if you are a symphonic rock fan interested in having a fairly comprehensive collection of the genre. Three stars, maybe 3.5, and recommended if you have a few extra dollars of discretionary income. The original and import versions are too expensive in my opinion, but the Warner CD reissue is very modestly priced.


Review by stefro
2 stars A marked improvement over their sluggish debut and far superior to 1974's commercially-successful 'Spyglass Guest', this 1973 album from the British quartet finds the double-keyboard flexing group hitting peak form. Fronted by classically-trained pianist Dave Greenslade(formerly of the groundbreaking jazz-rock outfit Colosseum) and featuring keyboardist Dave Lawson(The Web, Samurai) as well as bassist Tony Reeves and drummer Andrew McCulloch(King Crimson, Fields) Greenslade issued four albums on major label imprint Warner Bros between 1972 and 1975, yet despite prime backing never quite managed to reach the early-seventies progressive rock premier league inhabited by the likes of Yes, Genesis and ELP. Hardly the most prolific of outfits, the quartet - much to the chagrin of Dave Greenslade himself - have always been cast as a kind of second division prog act, but it is easy to see why. Of the four studio albums 'Bedside Manners Are Extra' is easily the pick of the bunch, yet what is most startling of all is the marked gap in quality between this 1973 effort and the group's three other 1970s albums, none of which come close to replicating the giddy charm and catchy melodies found at the core of this sweetly-crafted record. Alongside the likes of Rare Bird, Fields and Aardvark, Greenslade were one of small number of groups who deliberately eschewed the use of guitars as the lead instrument, instead utilising endless wire-strewn banks of synthesizers, organs and keyboards to create a rich and multi-layered sound. However, despite the obvious technical assurance of the individual band-members themselves, it is only on 'Bedside Manners Are Extra' - the group's second release after 1972's self-titled debut - that Greenslade fully realized their complex sonic vision(can you have a sonic vision...?). But what a way to realize it. From beginning to end, this consistently-impressive album proves a real treat for symphonic prog fans, something which may come as a surprise to those(and there have been many of you) who, over the years, have dismissed Greenslade as nothing more than a second-rate Yes-and-Genesis clone. Slightly tougher and rockier than the likes of Druid or England, yet with a playful edge so typical of British prog, 'Bedside Manners Are Extra' showcases the real Greenslade. It certainly took this once-doubtful writer by surprise. Highlights, then, are many, with the twinkling title-track and the deceptively-maudlin 'Pilgrim's Progress' highlighting Dave Lawson's undervalued lyrical skills, yet for the real meat look no further than the exciting and emotive 'Sunkissed You Are' - a mysterious love song dealing with regret - and the dazzling closer 'Chalkhill', which features some furiously-inventive keyboard interplay from both Greenslade and Lawson. A real surprise, 'Bedside Manners Are Extra' might just be the best British prog album you've never heard. Great stuff. STEFAN TURNER, STOKE NEWNGTON, 2014

Review by apps79
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Greenslade were going through an extremely prolific period in 73' and during the summer of the year they entered again the Morgan Studios in London to record the follow up of their debut.The album, entitled ''Bedside manners Are extra'', was released again on Warner Bros and featured the excellent work of Roger Dean regarding its superb artwork.

Musically the period between the first and second release was too short for anyone to expect any particular changes in style.However the new work contains light Fusion/Canterbury touches in some instrumental parts of an otherwise very Classic British Prog effort.The music is again focused on refined, elaborate and diverse compositions, heavily driven by the accomplished keyboard duo of Greenslade and Lawson.While not extremely original, the sound swirls around tremendous Hammond organ breaks, huge Mellotron flashes, dreamy Moog synths and smooth electric piano parts with a jazzy edge, however the overall structures remain in a symphonic vein with links to the sound of GENESIS, FRUUPP and early KING CRIMSON.A couple of tracks are led by nice groovy parts and loose instrumental runs with some sort of a COLLOSEUM edge, while there are some really astonishing dual keyboard battles delivered in the album, creating bombastic and furious atmospheres.

Another winner in Greenslade's discography.Mostly impressive keyboard-led Progressive Rock with huge space for instrumental workouts of a nice inspiration.Strongly recommended...3.5 stars.

Review by Warthur
4 stars I had initially written off Greenslade's albums as lukewarm prog-by-numbers affairs, existing to offer a platform for Dave Greenslade to showboat. I've mellowed on that since; Bedside Manners Are Extra, in particular, is a charming bit of prog which, like the band's debut album, might not be ragingly original set next to what others were doing at the time, but is certainly a competent contribition to the art form. Some pieces are smoother, and a little poppier - generally anything with vocals - but others are are fun prog detours. Drum Folk, in particular, takes on a spacey sound which is particularly pleasing. I even found the drum solo unobtrusive and tasteful, and how rare is that?
Review by Aussie-Byrd-Brother
SPECIAL COLLABORATOR Honorary Collaborator
3 stars The second Greenslade album `Bedside Manners Are Extra' (housed in a wonderful Roger Dean cover) is an easier listen compared to the debut album to my ears, a joyful collection of catchy and melodic symphonic prog with lengthy instrumental passages. The whole album is dunked in a vat of liquid Mellotron that drips over every inch of the LP, the Mellotron cup truly doth runneth over or something like that! Due to no guitars, the money shot of the band is the dual keyboard players David Greenslade (Colosseum) and Dave Lawson (Samurai, The Web), the latter toning down his almost unlistenable vocals from the first album and singing with real warmth, Colosseum bassist Tony Reeves and fleeting King Crimson drummer Tony Mccullock rounding out the band, with all four coming together to offer adventurous yet always accessible progressive music.

With a sprinkling of piano, floating wistful Moog and pattering drumming, the opening title track is a chilled out rumination with a nice pleading vocal from Dave in the chorus, aggressively distorted electric piano, Hammond and flecks of Mellotron. "Have a holiday!" offers the band, and it sounds like fine advice to me! `Pilgrims Progress' sees the band launch into a fast-tempo and upbeat E.L.P-styled instrumental charge full of regal organ pomp, surging bass, fiery drum-work and a nice soothing 'Tron flute and string reflection in the middle. A wicked and delirious electric piano solo just as the piece fades out is enough to make Triumvirat envious! Cool upbeat groover `Time To Dream' has an urgent vocal (I swear Dave's snarling vocal sounds like Pete Nicholls of Neo-proggers I.Q!), sneaky fuzzy jazzy bass, smoky Hammond blasts and electric piano meltdowns throughout, and the band sounds like they're having a ripping time during this infectious and fun number.

While side B's `Drum Folk' is frequently a showcase for drummer Mccullock - booming drum rolls, military beats and soloing insanity galore - it's actually a romantic and soulful class-act. Brooding and chiming electronics, breakneck electric piano runs and scratchy Hammond scorches with a grand triumphant repeated Mellotron theme. Then the second half moves into a lonely and crying flute 'Tron lament with a helping Hammond hand to offer reassurance. Subtly funky verses balance with a frantic vocal truly masterful improvised Hammond and bass run through `Sunkissed You're Not' (oh but you are, album!), then `Chalkhill' is a final race to the finish with the band tearing through a dreamy and feel-good, foot-tapping thrilling final instrumental run.

`Bedside Manners Are Extra' is a really enjoyable and positive album, a lighter prog LP that always makes me smile and puts me in a great mood. While Greenslade were honestly something of a second tier prog band, they've come to be considered a very solid and worthy act, spoken of in revered tones by those that love them, and this second album justifies their devotion. There may be better and more complex prog albums, but not many match the sheer good vibrations this one floats on.

Three and a half stars.

Review by Tarcisio Moura
3 stars Most critics and fans alike rate Bedside Manners Are Extra as Greenslades best album. I tend to agree with them. Not that is great, but surely is far superior to their disappointing debut (although the cover did become quite iconic) and everything they put out after that too. The LP has a consistency that no other of their releases had, with the good moments outlasting the mediocre ones, especially on the instrumental parts. The vocals are not bad either, Dave Dawson doesn´t blow things up like he would on 1975´s Time And Tide but once again this CD, like all others by this grup, shows why he is not exactly one of prog´s most loved singers.

Anyway, there is a maturity on the compositions and the arrangements are tasteful most of the time, If you´re a fan of keyboards driven, guitar-less bands, or has a special love those analog, vintage keyboards sounds, this is a nice finding. Unfortunately not even here they find a way to sabotage a nice song with the apply titled Drum Folk. Yes, they recorded a drum solo in the studio. And, believe it or not, the short instrumental middle section has probably the best melody line of the whole disc. its a very fine moment. Then the drums come again and spoiled it all. A real shame, but quite telling. It is no wonder they never made prog´s first league.

Conclusion: Greenslade best, no doubt about it. I guess the only one I can hear from start to finish without skipping a track (even with that very annoying drum solo). If you´re new to this band, this is a good starting point. At least some coherence and an overall good songwriting throughout.

Rating: 3,5 stars.

Review by Matti
4 stars In my opinion, the British band Greenslade had one major fault which prevented it ever to approach my list of prog favourites. It's the vocals of Dave Lawson. To my ears they're awful bad occasionally, and harmlessly neutral at best. Luckily this band was pretty much instrumentally oriented, so the disliking of vocals is not that serious. The reason I'm now reviewing their second album is the recent re-release by Esoteric Recordings. As usual, the fine package with new interview-based liner notes and extra contents (this time with some visual material also) increases the appeal compared to the original album per se. The cover art of Roger Dean is among his finest ever, and in this cardboard-coated set it comes better alive compare to the normal plastic-coated CD.

Greenslade was a quartet named rather accidentally after the founding keyboardist Dave Greenslade, formerly of COLOSSEUM alongside the bassist Tony Reeves. The line-up had two keyboard players (Lawson came from WEB and its continuation SAMURAI) and there were no guitars on the two first albums. Musically Greenslade operated between Colosseum-like jazz-rock and Yes/ELP-kind of symphonic prog. Bedside Manners Are Extra was recorded within nine days in July 1973 and released in November, the same year as the eponymous debut was released. One could presume, due to the short writing and production time, that the material would be weaker, but that's not the case here. Many listeners regard this album as their best one, and I agree. The opening title track, about two young lovers who have to depart for summer, starts as a calm, piano-centred ballad and proceeds through lively instrumental sections to more joyous final part, and the fairly decent vocals don't go into the horrible "pain in the stomach" style that Lawson sometimes used.

Three of the six tracks are instrumentals. 'Pilgrim's Progress' with its jolly atmosphere and suitably catchy organ melodies is perhaps the best. 'Drum Folk' that began the vinyl's B side is composed by Greenslade and drummer Andy McCullogh (who played on the King Crimson album Lizard, 1970). On the faster parts the music reminds me of ELP. The drum solo is well in line with the organic feel of the entire album that was mostly played live in the studio with no overdubs. The third instrumental, Reeves-Lawson penned 'Chalkhill', ends the album. The vintage keyboard sounds are the main clue rather than the composition; if you'd imagine a Greenslade instrumental into a Yes album for instance, they'd be not much more than decent fillers.

The two remaning vocal tracks are not as good as the opener, and the vocals get rather bad especially on 'Sunkissed You're Not'. The CD on the Esoteric re-release contains three songs (of this album) performed for BBC Radio One in October 1973 (shortly prior to the release of Bedside Manners). These well-played live versions do not alternate very notably from the studio originals.

The bonus DVD contains a promotional live-in-a-studio film of three debut songs, 'Drowning Man', 'Temple Song' and 'Melange'. The picture quality is slightly worn-out, but at least the camera work is pretty good, having none of the psychedelic visual gimmickry that ruined for example ELP videos of the time. And then there's "The Old Grey Whistle Test" TV performance of 'Pilgrim's Progress' and 'Bedside Manners Are Extra'. Both of these films capture the band and its essence very nicely. The original album I'd rate with three stars, but the re-release stretches out to four, after the obligatory rounding up of 3½ stars.

Review by kev rowland
5 stars I am not sure when I first came across this album, but it wasn't when it was first released in 1973 but some time in the Eighties. I was immediately blown away by the concept of having two keyboard players, and no guitar, and while some likened them to ELP I never really saw (or heard) the link. Yes, there are long instrumentals, but singer (and second keyboard player) Dave Lawson had a very different voice to Greg Lake. I know he is often castigated for his vocals but I personally never felt there was an issue and actually enjoy his singing, especially on the opening title cut.

This was the second album by Greenslade, who were formed by Dave Greenslade after the break-up of Colosseum. He brought on board fellow Colosseum founder member bassist Tony Reeves, who had left after contributing to just one song on 'Daughter of Time', along with Lawson (Samurai, and had also been a member of The Alan Bown Set and Web) along with drummer Andrew McCulloch (King Crimson, Fields). Many fans say the debut Greenslade album is the best, while the third 'Spyglass Guest' was the commercially most successful, but this is always the album to which I turn. It captures a time when anything was possible, and the band certainly felt they weren't restricted on what they were doing. At this point within the British music scene there was the feeling that boundaries were there to be broken and pushed aside, and while Greenslade never really managed to capture the fan base of their contemporaries, to my ears it was never due to lack of songs or ability. Listening to this album on headphones, some 35 years on from its original release, still fills me with a great deal of pleasure and I know that many progheads who have overlooked this in the past will also feel the same way.

But wait, there's more! I have been fortunate enough to have in front of me the reissue on Esoteric, and as always, they never feel just making an album available again is enough. So, firstly we have three additional songs which were recorded for the Radio One 'Sounds of the Seventies' series, from October 1973. Then there is a second disc, a DVD featuring five numbers. The first three are a live in the studio promotional film, while the other two are from the wonderful OGWT. It has been a hard choice for me as to what to play most, and in terms of pure listening it is the CD, but the films are also well worth watching. This is a superb set, which has been making its way repeatedly back to my player, and deservedly so.

Latest members reviews

5 stars What a delicious album, the music here is so gentle it goes with anything. It exudes a calm yet engaging demeanour that beckons me to it with a smile. The music truly matches it's beautifully entrancing artwork (who is the green guy!? Fella needs to be adapted into media of some kind, aside from mus ... (read more)

Report this review (#2522161) | Posted by Beautiful Scarlet | Monday, March 8, 2021 | Review Permanlink

3 stars So remember my review of Greenslade's debut album, where I said that they sounded like an alternate version of Yes? I think we can pretty much discount that aspect of their sound entirely with this release. I'm not sure if anyone else in 1973 noticed the similarities that I touched upon in my previo ... (read more)

Report this review (#1617017) | Posted by cfergmusic1 | Thursday, September 29, 2016 | Review Permanlink

2 stars Greenslade second albums is the hole that sucked all of their awful notes and made a concept album about how they went from hero to zero writing songs. Seriously, this album is unbearable. Bedside Manners Are Extra is from the same year than Greenslade self-titled. But this next step is muc ... (read more)

Report this review (#1057158) | Posted by VOTOMS | Wednesday, October 9, 2013 | Review Permanlink

2 stars At times is good (just good), at other times dull and forgettable The Lack of Guitars Is probably one of the responsibles: "Bedside Manners are Extra" (3.00 out of 5.00) Starts enigmatically but weak, it has a lot of piano and mellotron good moments but not as delightful as I expected. Also, ... (read more)

Report this review (#747481) | Posted by raul_siberian | Wednesday, May 2, 2012 | Review Permanlink

5 stars A Sundance in the Temple ☞note: this review stands for Greenslade's first two albums. You, who were around 18 in 1973, have to admit it. Do not deny it. Whenever you saw that green Dean cover glittering from the shopwindow as it if were inside a cave of wonders with vaults as high as a cath ... (read more)

Report this review (#620023) | Posted by ibnacio | Thursday, January 26, 2012 | Review Permanlink

5 stars Bedside Manners Are Extra is Greenslade at their peak. While the first album was still a search for direction, the second one is more individual and musically more solid and interesting. The Concept is still the same, there are those Lawson-love-songs whitch are unlike Greg Lake-ballads, aggressive ... (read more)

Report this review (#365284) | Posted by BrainStillLife | Monday, December 27, 2010 | Review Permanlink

3 stars I put in a bid on Ebay for the live album some days ago. Mostly because of the Prog Archives reviews and the price (hilarious low). I hope I will win it later tonight. So I thought it was perhaps a good idea to dust of my copy of Bedside Manners Are Extra. I have played it only once a couple of y ... (read more)

Report this review (#186851) | Posted by toroddfuglesteg | Saturday, October 25, 2008 | Review Permanlink

4 stars Another great album from the great band Greenslide. It was released the same year than a debut and it is nearly as good. This album is somehow less rocking that the debut. A lot of soft slow passages are played. The musicianship is perfect and in the vein of the debut. My favourite song is S ... (read more)

Report this review (#104929) | Posted by Hejkal | Saturday, December 30, 2006 | Review Permanlink

5 stars The second work released in 1974 "Bedside Manners Are Extra". It is great goods that a cool, fantastic sound is bright. It is the highest masterpiece as the group. It is invited to the world of a comfortable fantasy. I recall Sunday in childhood afternoon when listening to this album why. ... (read more)

Report this review (#57006) | Posted by braindamage | Saturday, November 19, 2005 | Review Permanlink

4 stars This is a truly marvelous piece of keyboard orientated prog-rock, and i'd like to give it a five because this is a 4.75 star album and nearer to the five than the four. If you like keyboards, especially Mellotron and Hammond Organ, this album may well be worth adding to your collection. This a ... (read more)

Report this review (#52814) | Posted by Swinton MCR | Saturday, October 22, 2005 | Review Permanlink

5 stars Ive always loved GREENSLADE....for their sheer musicianship...and the fact that they (like RARE BIRD) used "only" keys,bass and drums....instrument wise.....this is laidback progmuisc....well thought out prog and the always wonderful mellotron to the fore!! "Bedside manners are extra" are one wond ... (read more)

Report this review (#3061) | Posted by Tonny Larz | Friday, November 28, 2003 | Review Permanlink

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