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GREENSLADE

Symphonic Prog • United Kingdom


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Greenslade biography
After the demise of COLOSSEUM in '71, keyboardplayer 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 their eponymous debut album, followed by "Bedside Manner Are Extra" ('73), "Spyless Guest" ('74) and finally "Time and Tide" ('75). Then the band call it a day and Dave Greenslade went solo. The album "Shades of Green" ('97) is a comprehensive compilation-CD and "Live" ('99) a live-CD including recordings from '73 and '75. A few years ago Dave Greenslade and Tony Reeves teamed up to re-unite GREENSLADE with John Young (guitar and vocals) and Chris Cozens (drums). They released the albums "Large Afternoon" and "Greenslade live 2001" (same line-up except John Troter on drums).

The first two albums are 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 the sumptuous choir-Mellotron. In comparison with the 'progrock-dinosaurs', GREENSLADE played more varied styles, the songs were shorter and it lacked the usual 'progrock self-indulgence' (like ELP and YES), no endless soloing. I'm very pleased with the swinging and powerful sound of the clavinet, an underestimated keyboard within the progrock world (only Rick WAKEMAN was a frequent user). A good start to this unique band is the compilation "Shades of Green" and an even better introduction is the live-album "Live" (with tracks from '73 and '75), containing some spectacular play on the Minimoog (with pitchbend). It's the most keyboard-loaden album with hints from WAKEMAN, MANFRED MANN'S EARTH BAND and SUPERTRAMP. GREENSLADE is a band to discover and they deserve more appreciation by the progrock aficionados.

: : : Erik Neuteboom, The NETHERLANDS : : :
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Live In Stockholm - March 10th, 1975Live In Stockholm - March 10th, 1975
Cleopatra 2013
Audio CD$8.18
$12.78 (used)
Spyglass Guest / Time and TideSpyglass Guest / Time and Tide
Import
Edsel Records UK 2011
Audio CD$8.24
$13.15 (used)
Greenslade / Bedside Manners Are ExtraGreenslade / Bedside Manners Are Extra
Import
Edsel Records UK 2011
Audio CD$8.12
$13.15 (used)
Spyglass GuestSpyglass Guest
Wounded Bird Records 2009
Audio CD$9.25
$9.15 (used)
GreensladeGreenslade
Warner Music
Audio CD$9.83
$8.31 (used)
The Full Edition, Live 2001The Full Edition, Live 2001
Import
Angel Air Records 2008
Audio CD$11.87
$9.95 (used)
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GREENSLADE shows & tickets


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GREENSLADE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

GREENSLADE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 136 ratings
Greenslade
1973
3.42 | 118 ratings
Bedside Manners Are Extra
1973
3.20 | 74 ratings
Spyglass Guest
1974
2.95 | 68 ratings
Time and Tide
1975
2.35 | 21 ratings
Large Afternoon
2000

GREENSLADE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.08 | 19 ratings
Live 1973-75
2000
3.89 | 9 ratings
Live 2001 - The Full Edition
2002
3.00 | 1 ratings
Live In Stockholm - March 10th, 1975
2013

GREENSLADE Videos (DVD, Blu-ray, VHS etc)

GREENSLADE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 2 ratings
Shades Of Green 1972 - 1975
1997
4.00 | 3 ratings
Feathered Friends
2006
2.18 | 3 ratings
Spyglass Guest & Time and Tide
2011

GREENSLADE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 2 ratings
Temple Song
1973
5.00 | 2 ratings
BBC On The Air
1999

GREENSLADE Reviews


Showing last 10 reviews only
 Live In Stockholm - March 10th, 1975 by GREENSLADE album cover Live, 2013
3.00 | 1 ratings

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Live In Stockholm - March 10th, 1975
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
3 stars Pilgrim's progress

Recorded in 1975 but not released until 2013, this archival release features Greenslade performing live in Stockholm, Sweden. At the time of this concert performance, the band were touring in support of the album Time And Tide which had been released the same year, and four tracks from that 1975 album are featured here in Newsworth, The Flattery Stakes, Waltz For A Fallen Idol, and The Ass's Ears. From 1974's Spyglass Guest comes Joie de Vivre and the excellent Spirit Of The Dance both of which also appeared on Live 1973-75 (an archival live release from 2000). Bedside Manners Are Extra is represented by three tracks including the title track, which was also on Live 1973-75, and Pilgrim's Progress and Drum Folk, which were not on Live 1973-75. The band's self-titled debut album is not represented at all on Live In Stockholm.

The sound quality is not perfect, but also not too shabby. The art work by the great Roger Dean is very nice and I would guess it is something that they dug up in the archives. It is a similar style to the early Greenslade covers, though it features a long-legged lady instead of the trademark many-armed man.

If you liked Live 1973-75 then Live In Stockholm will constitute a good companion piece for your collection. But essential it is not unless you are a Greenslade fan and collector.

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 Large Afternoon by GREENSLADE album cover Studio Album, 2000
2.35 | 21 ratings

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Large Afternoon
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Hallelujah Anyway

Large Afternoon is the latest Greenslade album to date and likely to be their last album ever. It was released in the year 2000, 25 years after the group's previous album Time And Tide. It thus constituted a comeback of sorts (though Dave Greenslade did release some albums under his own name in the interim). Large Afternoon often gets harsh criticism, but to my ears it is an album that is worthy of the band and that fits in among (particularly the later of) the 70's albums. It is very true that not every track here is of the desired quality, but I think it must be admitted that this was true also of previous albums.

In general, I appreciate the instrumental side of this album a lot more than the vocal side. Roughly, every second track is an instrumental, starting with the opener Cakewalk, which is one of the strongest tracks here together with On Suite, which features vocals. The weakest track is Hallelujah Anyway which overstays its welcome, dragging along for more minutes than anyone could reasonably have wanted!

Certainly not among the band's best moments, and by no means essential. Yet, Large Afternoon is still a decent album and a worthy addition to a collection that already holds Greenslade's 70's albums.

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 Live 2001 - The Full Edition by GREENSLADE album cover Live, 2002
3.89 | 9 ratings

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Live 2001 - The Full Edition
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars Recorded in 2001, this is the reformed Greenslade showing that they were very much back in business. With Dave on keyboards and original bassist Tony Reeves in tow, they brought in John Young (keys/vocals) and John Trotter (drums) to resurrect the band that had made such an impact in the mid Seventies. Greenslade were always unusual in that they had two keyboard players and no guitarist ? this gave their music a distinctive sound, often more ethereal and laid back than ELP, for example. This albums opens with "Cakewalk", with the band having a blast. John takes centre stage for "Feathered Friends" but while the two keyboard players are having fun on the very Spanish sounding "Catalan" it is the fretless bass that steals the show as Tony proves that a few well-placed notes are worth a thousand played quickly with no thought as to context. Tracks are taken from throughout the band's career, mixed so that newcomers to the band wouldn't know which are new and which are nearly thirty years old. It is nice to hear songs such as "Bedside Manners Are Extra" again after all this time, and with "Joie de Vivre" breaking eleven minutes it is safe to say that Greenslade are back and even though they may not be creating chart albums anymore there is definitely an audience of proggers that will want this CD.

Originally appeared in Feedback #79, June 2004

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 Time and Tide by GREENSLADE album cover Studio Album, 1975
2.95 | 68 ratings

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Time and Tide
Greenslade Symphonic Prog

Review by VOTOMS

1 stars Where's the Roger Dean's beautiful cover art? It went home, carrying away the last star remaining to save Greenslade's catalogue for another 1/5 stars album. If you like Greenslade's debut album and felt disappointed after the second release, just forget about Time and Tide. The songs are lame, pop and shorter than before, including useless and uninteresting instrumental material. The only song which held my attention was was the track no. 10, Gangsters, and it wasn't that good, it can't save this album from my current rating. Even words are missing for describe this poor job. Lawson's voice are sounding cliche and annoying after their early records. Now, this pisses me off. There's nothing catchy about Time and Tide. Bedside Manners are Extra still have some tolerable moments and a few "just fine" passages, but Time and Tide is totally forgettable. Dave Greenslade was not the same from Colosseum anymore.

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 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.42 | 118 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by VOTOMS

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 much more like a heavy stumble. Reading some low rating reviews about their first one, I felt exactly the same, but not for their debut. For Bedside Manners. Even the vocals aren't soulful as before. The first track of the album sounds like a bad song from Supertramp, and it is the title track. These songs are far from their previous works. What a deplorable allbum it is. In my firt time listening to the second Track, Pilgrims Progress, I noticed it has a few good moments, but when I thought it would became good, the song quickly changed and threw everything up. Summarizing, the only good track is Sunkissed You're Not, in my honest opinion. The last track has a funny passage, which reminds me of Aquatarkus. The fact is: I love keyboard/piano/organ based prog. I found pleasure even with some poor albums, only because of the screaming hammond organ solos. How could Dave Greenslade made such a mistake? I feel sorry for Roger Dean.

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 Greenslade by GREENSLADE album cover Studio Album, 1973
3.50 | 136 ratings

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Greenslade
Greenslade Symphonic Prog

Review by VOTOMS

5 stars An underrated british symphonic prog gem. Dave Greenslade, the man from COLOSSEUM, just plays the keyboard like I wanted to hear. Supported by members of King Crimson, Colosseum and Web-Samurai, Greenslade put out the heavy rock without any guitar, but tasty organs and keys. Highly reccomended to organ-based rock fans. The album starts in a Deep Purple way, but it slowly becomes totally progressive, from slow times to hard psychedelic Hammond-Organ-washed music. Awesome epic songwriting. And what about the vocals? Heh... It is... Goddamn great! Lawson's vocals is something like Robert Plant singing some VDGG/Peter Hammil's vocal line. After listen to the whole album you will get my point about the vocals (if you hadn't heard of it before, of course). I must say that Roger Dean's artwork captures the soul of the music, and listen to a good album feautring his cover design and paintings, always makes the final touch.

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 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.42 | 118 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by Warthur
Prog Reviewer

2 stars It's honestly a shame that Greenslade's albums are so lukewarm, because gorgeous Roger Dean cover art like that (not to mention that arm-blessed green fellow!) deserves to be associated with better music than this. It's not that the band are outright incompetent, but they're still offering soulless prog-by-numbers which offer a platform for Dave Greenslade to showboat - but when he does get that spotlight he doesn't actually do anything which hadn't been done to death in prog terms already by this point in time. If you're a big enough fan of symphonic prog that you'll listen to anything which isn't downright incompetent, it might be a decent pick, but if you're choosier about your prog you'll probably resent any time or money you expend on this.

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 Greenslade by GREENSLADE album cover Studio Album, 1973
3.50 | 136 ratings

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Greenslade
Greenslade Symphonic Prog

Review by Warthur
Prog Reviewer

2 stars Greenslade's debut album underscores what the Greenslade project was all about - namely, Dave Greenslade jamming with a bunch of musicians who would happily follow his lead. Dave's keyboard antics are technically competent but tend towards showboating for showboating's sake, whilst the other musicians are present but not exceptional. (In particular, Dave Lawson's vocals don't quite work for me.) Hampered by an adequate but not sparkling production job, the album as a whole feels inconsistent and flavourless, as though Greenslade were just ticking off numbers on a prog rock checklist rather than bringing anything genuinely substantial and meaty to the table. Competent but disposable.

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 Live 2001 - The Full Edition by GREENSLADE album cover Live, 2002
3.89 | 9 ratings

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Live 2001 - The Full Edition
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars Joie De Vivre

Greenslade never was one of the really big and essential Prog bands. Nevertheless, I think that a comprehensive Symphonic progressive Rock collection should have at least one of their albums. I have all of their albums (studio as well as live) and for me they are all good ones, but the present live album from 2001 is the only one that I've rated above three stars. I must confess that I initially gave this album too only three stars, but after having re-listened to the band's back catalogue, and also given this live many more spins, I have now decided to upgrade my rating to four stars. This means that, in my considered judgement, Live 2001 - The Full Edition is the best Greenslade release.

However, having that said, I must add that the original studio albums from the 70's had certain charms that have not all been successfully carried over to this much more recent live presentation. Fans of vintage keyboards in particular may perhaps be put off by the more modern keyboard sounds that can be heard here. I fully respect those who would prefer the original albums over this one for that reason. Yet, for me, the original studio albums also had certain flaws that to a large extent have been remedied here. The vocals is one such aspect. It is often pointed out that the vocals were a weak aspect of Greenslade's earlier albums. Here the lead vocalist is John Young who also plays second fiddle to Dave (that is, second keyboards). Young is a much more "conventional" vocalist and some may think that his voice is commonplace and not distinctive. While there might be some truth to this, I think that he really lifts these songs, even though I would agree (again) that the originals had a certain charm as well. The rest of the band here consists of John Trotter on drums and Tony Reeves on bass, both also doing a very good job.

Another consideration that speaks in favour of this live album is the song selection. While the presence of so many songs from the comeback album Large Afternoon may put some fans of classic Greenslade off, nobody can deny that it is great to have some of the band's best songs on one and the same album. These include Catalan (from Time And Tide), Spirit Of The Dance and Joie De Vivre (from Spyglass Guest), and Sundance (from the self-titled debut). Catalan in particular is here improved over the studio version. Young sings songs like Feathered Friends and the title track from Bedside Manners Are Extra very well even if they were never big favourites of mine. Though there are some songs that I would rather have heard, like Pilgrims's Progress for example, the set list is well chosen.

The album that they were touring in support of when this live recording was made is Large Afternoon. Released in the year 2000, this was the first new Greenslade album in 25 years (and still the latest one to date). From this album comes five of the 12 songs in the set list. Cakewalk, Large Afternoon, and On Suite are in the style of, and in my opinion up to par with, the better of classic Greenslade material. No Room - But A View and In The Night, however, are more towards soft Rock and the lyrics are rather lame and prosaic. The song Wherever I Go is in a similar, ballad style, but I don't know where this song is taken from. Taken on their own these songs are nothing to get excited about, but within the context of the others they bring diversity to the proceedings and they don't manage to bring this album down too much.

This live album is not perfect, and it may not be all the Greenslade you will need, but it is a very good live album that deserves to be heard by fans of keyboard-dominated progressive Rock everywhere (even by those who were not too impressed by the group's 70's albums).

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 Live 2001 - The Full Edition by GREENSLADE album cover Live, 2002
3.89 | 9 ratings

BUY
Live 2001 - The Full Edition
Greenslade Symphonic Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars This is a damn fine live album, acting as a 'best of' spanning a 23 year career , all the expected tracks are present except for my all-time favorite Greenslade tune 'Melange' off the debut, (which you can listen to it on the MP3 section of PA) and the tremendous 'Pilgrim's Progress' of the second release. . There is a tremendous upside in John Young's voice (he of Asia, Wetton, Lifesigns) being so much more attractive than original second keyboardist Dave Lawson's, whose vocals were a hard digestion to say the least and the presence of fabulous bassist Tony Reeves. I, for the record, will restate that Reeves is one of my giant bass idols, owner of an exemplary technique, an almost fretless style that is awe-inspiring. Unfortunately, original drummer Andy MacCulloch (yes of King Crimson infamy) is replaced by the more straightforward John Trotter. This disc really encompasses some those little details that make this band somewhat unique in the prog realm. I will endeavor to highlight those in the course of the review.

Let's get to the killer tracks first: 'Cakewalk' opens up the festivities with Reeves bopping bass leading the crew and it's just plain fun. Little tongue in cheek humor to start off a show, but what do you expect! Dave Greenslade will always be considered as the poor man's Emerson/Wakeman, which in no way diminishes his celebrated talent. The luxuriant 'Catalan' is a celebrated piece that gives the soloists the room to show off their chops (Reeves pulls off a solo that is to die for) but not before going through some Mediterranean sonic stylings that just make you close your eyes and dream. A true prog classic off their 'Large Afternoon' is the title of their 2000 return album, their last one to date. It's a classic setup for both John Young and Dave Greenslade to display some explosive work on synthesizers, piano, organ and such. 'Sundance' is another Greenslade classic off their stellar debut disc, an epic and symphonic masterpiece that swims in dense orchestrations, dazzling electric piano and tons of flute mellotron, before unleashing a blazing hot synth blast that would make Manfred Mann blush with envy. The honky tonk piano solo in the midsection is diabolical. A couple of tracks from 'Large Afternoon' come up next, the 'On Suite' is a modern synth fest, with a bass track nice and present as well as a sax/oboe synth solo that is simply the best ever, a tad lightweight but the bombast via the trumpet sounding synthesizer brings the pulse back to home base, Reeves shepherding the crew magically. The next one is perhaps a bit corny but I love a good romantic tune with symphonic dressing, so 'In the Night' delivers the raw emotion in spades, enhanced by some stellar e-piano work that flutters beautifully, paving the way for the cheese factory voice to be sure but Young can sing with the best of them. I love that lounge/blues/jazz feel, I admit it's an acquired taste but I like Sade, so give me a break! What gets me is that unique guitarsynth patch and the bluesy sway. 'Bedside Manners are Extra' is the title of their second album (1973) and has a playful aura, nothing too cerebral but still chock full of mellotron waves in the old Genesis fold that just veers into a country-style piano romp, with a cool Young vocal. Refreshingly amusing. 'Joie de Vivre' is a lust for life piece off the otherwise dull 'Spyglass Guest' album, an epic 11 minute + keyboard showcase, where both the boss and Young get to try out all kinds of ivories. This is a more buoyant example of their unique legacy, a 'no guitar'/2 keyboardist attack that is quite rare in the music world. Lots of soloing here when Young ends his singing parts, both taking turns at ravaging their set-ups, screeching sounds tortured by deft fingers (a Moog solo to knock your jaw off!). Fun! 'Spirit of the Dance' is a bubbly finale overflowing with eclectic organs runs, a bold bass cutting through the waves, a good time to be had by all and superb playing by all musicians, a fascinating farewell.

The less interesting and predominantly vocal 'oriented tracks are interspersed with these extended pieces. The 1973 'Feathered Friends' is lovingly reworked with some sensational singing by Young as well as that pseudo sax synth solo that is utterly cute. 'No Room 'But a View' and the previously unreleased but poignant 'Whenever I Go' are shorter and more accessible ditties that are still miles away from being radio-friendly pap. Kind of idiotic that this is actually destined to please keyboard fans but I just follow that maddening bass and really get off on Reeves' talent. A very, very pleasant live album that is perhaps their finest recording ever. This is the place to start (at the end?). Oh well!

4.5 Jade slaves

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