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GREENSLADE

Symphonic Prog • United Kingdom


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Greenslade picture
Greenslade biography
Founded in London, England in 1972 - Disbanded in 1976 - Reformed in 1999

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 : : :
Fan & official Prog Archives collaborator

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GREENSLADE discography


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

3.63 | 241 ratings
Greenslade
1973
3.53 | 210 ratings
Bedside Manners Are Extra
1973
3.33 | 139 ratings
Spyglass Guest
1974
2.98 | 129 ratings
Time And Tide
1975
2.34 | 48 ratings
Large Afternoon
2000

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

4.08 | 37 ratings
Live 1973-75
2000
4.07 | 17 ratings
Live 2001 - The Full Edition
2002
3.30 | 11 ratings
Live In Stockholm - March 10th, 1975
2013
3.00 | 1 ratings
The Birthday Album - Live Switzerland 1974
2016

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

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

3.33 | 6 ratings
Shades Of Green 1972 - 1975
1997
4.29 | 7 ratings
Feathered Friends
2006
2.66 | 10 ratings
Spyglass Guest & Time and Tide
2011
3.00 | 1 ratings
Sundance - A Collection 1973-1975
2019

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

4.33 | 3 ratings
Temple Song
1973
2.14 | 2 ratings
Catalan
1975
3.10 | 2 ratings
Gangsters
1976
4.67 | 3 ratings
BBC On The Air
1999

GREENSLADE Reviews


Showing last 10 reviews only
 Time And Tide by GREENSLADE album cover Studio Album, 1975
2.98 | 129 ratings

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Time And Tide
Greenslade Symphonic Prog

Review by prog_traveller!!

3 stars The 1975 sees the Greenslade engaged in the realization of their last album, released which will disband, giving way to the leader Dave Greenslade to start his solo career that will bear the first fruits already the following year with "Cactus Choir".

"Time and Tide" is a discontinuous work, where the inspiration of the initial works seems to have blurred in favor of a much simpler and more immediate style. The compositions are all quite short and do not show the levels of complexity the band had accustomed us to in the past. The early progressive is in fact contaminated here by pop sounds that make the album perhaps too accessible but still do not deprive it of interesting ideas and noteworthy pieces. One of the echoes of the past that is immediately re-proposed to us is the illustration on the cover that returns to depict the symbolic character with four arms designed by Roger Dean, this time however created by Patrick Woodroffe.

The disc begins and "Animal Farm" opens the dance in a decisive way, developing alternating slow parts with other more excited ones. Dave Lawson's voice is presented in a rather aggressive key and is supported by the sustained rhythm of Andrew McCulloch's drums and the sparkling bass of Martin Briley, which towards the middle of the track are launched in pursuit of the singer's keyboard in his solo escape. Martin in this album replaces the historic bassist Tony Reeves, who left the group after the release of "Spyglass Guest", and also takes care of the guitar pieces that belonged to Dave Clempson, at least in some patrs of the previous album. The second track "Newsworth" is also based on a rather captivating rhythm and does not leave much room for surprises of any kind. Greenslade and Lawson, who also sings on this piece, with their intertwined use of keyboards, relegate the other musicians to the role of extras for most of the song. After the first two decidedly catchy songs things start to get more interesting with the next three, linked together. "Time" is a composition written and performed by Greenslade, who only allows a choir of male voices to accompany his harpsichord. The resulting medieval sounds seem to have more than one point in common with Rick Wakeman's contemporary "The Myths and Legends of King Arthur and the Knights of the Round Table". At the end of this short intro the atmosphere becomes darker, Greenslade switches to the mellotron and performs "Tide", another evocative instrumental passage that finally leads us to "Catalan", a lively and decidedly more complex composition than the previous ones, which sees once again the keyboards in full view and the other instruments chasing them creating disruptive instrumental fugues.

The second part of the album starts practically like the first, "The Flattery Stakes" is in fact a very rhythmic and immediately assimilated piece, where Lawson's rough voice once again guides the instrumentalists in an impeccable execution, without unexpected ideas. . The following "Waltz for a Fallen Idol" and "The Ass's Ears" are two songs joined together as if they were a single composition, so much so that the first, in its regular structure, seems to be a long introduction, slow and soft, to the second, which shows a more fluctuating structure, with Andrew's drums on display, where the soft instrumental parts alternate with the frenetic singing parts. The following "Doldrum", characterized by the warm and introspective airs woven by Lawson's keyboards and light singing, is a breath of fresh air in an atmosphere that leaves little room for creativity and the atmosphere of the past. The bass and drums are absent, in fact the song is made entirely by Dave and is one of the most successful of the disc. The closing is up to "Gangsters" which, although not possessing particularly evocative atmospheres, turns out to be a varied instrumental piece. Thus the album ends, as well as the path of the band, at least for a long time, until the release of "Large Afternoon" in 2000. After the refinements of the first works, the group here allows itself a less refined but certainly not despicable style. . In fact, the album, if listened to without excessive pretensions, flows smoothly and pleasantly from start to finish.

 Spyglass Guest by GREENSLADE album cover Studio Album, 1974
3.33 | 139 ratings

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Spyglass Guest
Greenslade Symphonic Prog

Review by prog_traveller!!

4 stars On their third album "Spyglass Guest" Greenslade were able to maintain the line of symphonic rock, which is characterized by well-dosed arrangements and presents itself in typical British restraint. Smooth melodies, elegantly transfigured harmonies and light-footed jazz borrowings combine to create a picturesque soundscape. The ubiquitous analog keyboard arsenal exercises restrained grace and understands how to intervene in the musical happening at all times.

Already in the lively opening title, British understatement, which is unusual for Progrock, sets the course for a rather simple overall sound that is graced with a downright comfortable flow of melodies. Even in the compact song format, the men around Dave Greenslade knew how to take their time and carefully create gradually progressive arcs of tension on a basis of delicately pearling swabs of sound in ornamental turns. With such relaxed titles as "Rainbow" or "Siam Seesaw" the band was able to come up with a welcome counterpart to the pompous sound of many contemporaries. Instead of filigree bombast, the slowly winding "Red Light" offers a delicate dance in less than three minutes, only to be continued by "Melancholic Race". Various tactile inserts such as a sparkling e-piano, lively organ runs, whispering Mellotron, and filigree piano playing ensure a well-dosed bombast through the back door. A mixture of British understatement with slightly undercooled vocal melodies as in the final "Theme For An Imaginary Western" as well as a light-footed elegance make the sound of Greenslade seem like a delicate plant that snakes up inconspicuously between the giant trees in search of the sunlight to achieve this after all. Therefore, it takes a little patience to get involved in this. Often, however, a love at second glance lasts all the longer and more intensely.

What the album ultimately suffers from is the fact that the band is trying to write shorter, more concise songs while preserving their most important trademarks. The first two albums lived mainly from the many changes in style and sound that the musicians knew how to keep in a harmonious balance. The restrictions that are imposed here are not good for the album. Nevertheless, "Spyglass Guest" is and remains one of the three essential Greenslade albums!

 Greenslade by GREENSLADE album cover Studio Album, 1973
3.63 | 241 ratings

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Greenslade
Greenslade Symphonic Prog

Review by prog_traveller!!

4 stars Out of the legendary Colosseum, the talented keyboardist David Greenslade formed in 1971 a group in his image and likeness, the Greenslade precisely, calling to him the bassist Tony Reeves, the drummer Andrew McCulloch (former drummer at the court of the Crimson King in Lizard) and keyboardist and singer Dave Lawson. The line up already shows the particular structure of this band: Greenslade renounces the guitar in favor of the bass and chooses to experience the impact of two keyboard players who work in unison using piano, Hammond, Moog and mellotron.

The result is a fairly canonical progressive rock keyboard in the sound and structure of the pieces, but with an impressive and engaging instrumental impact: Greenslade and Lawson are excellent jazz rock musicians, and blend the sound of the keyboards perfectly; Reeves plays the bass in a very particular way, indulging in solos, virtuosity, crazy rhythmic scans, while McCulloch proves to be a surprising drummer, creative, chameleonic and above all able to perfectly support the instrumental impulses of the two main soloists. The sung parts are less effective, and even if Lawson has a good voice and good skills, the lyrics are rather banal and his vocalizations are sometimes not too successful; perhaps because he tries, in keeping with the group's approach, to use the voice more as an instrument. The album of the same name comes out in 1973, it is their debut and opens with the beautiful Feathered Friends: it starts in a sunny way, with a sparkling rhythm, the cheerful organ and an agile piano riff, then the voice enters, the rhythm drops , it expands and the piece becomes reflective and majestic. It must be said that here Lawson sings really well, with highs and darker tones, while the keyboards weave an epic and melancholy background, and the bass embroider with wisdom; the organ and voice crescendos are very beautiful, the drums are excellent. Finally, the mellotron solo is wonderful, assisted by organ and bass, towards the finale, which comes after a last sung verse. The second piece is the short An English Western, a lively instrumental with jazzy flavors guided by the organ that winds through counter-times, fast drum rolls, accelerations and slowdowns while the piano "strum" merrily in the background. It is short, but it undeniably shows the great class and skill of the four. Then we find an excellent piece, Drowing Man, which begins in a dark way and then lightens up with a beautiful almost "liturgical" organ riff trimmed from below. The vocal performance of Lawson is good, the entry of rhythm and keyboards is perfect and raises a rather elaborate rhythm; the piece becomes more and more festive, engraved by Moog and at the end an excellent opening of the mellotron which leads back to the initial riff, this time even more solemn and to the last verse sung very well. Temple Song features a fairytale melody accentuated by the gentle sound of the organ and bells. The voice starts well but lets itself go in falsettos, there is a simple high note organ solo while the drums finish with cymbals. Great instrumental proof is given in Melange, a piece with a fairly complicated but absolutely engaging structure: here too it starts in a festive and light-hearted way, but it is surprising to notice the ability of Greenslade and Lawson to slide with great skill from light tones to more solemn tones and epic; in fact the piece is characterized by a theme, expressed in the opening by Moog and mellotron, with a gothic and grandiose flavor that is repeated several times. After two minutes a phase opens where, on the perfect scansion of the cymbals, the bass carves out an extraordinary solo intervention, supported by fleeting notes of keyboards and light choral engravings, then Reeves recovers the initial theme, supported by the mellotron, and finally passes it to the organ, which reinterprets it with a beautiful recording. Perfect drums and fabulous mellotron crescendo lead the song to a grand conclusion as the lead bass echoes with distorted sound. A magnificent piece, played great and absolutely thrilling from every point of view. What Are You Doing to Me is rather normal: the initial round and the organ riffs vaguely recall the Eruption section of Tarkus, the drums are glowing and a little noisy, the excited voice and the rather banal lyrics: evidently a finished love is always a good reason to rant. More effective is the menacing mellotron record, even if it sounds a little out of place just like the organ ending. in conclusion it is entrusted to another beautiful instrumental, Sundance, opened by a long and poignant solo piano tour, which limits the virtuosity but strikes for its refined effectiveness. The entry of the rhythm and the organ is powerful and almost threatening, with the drums hammering with absolute precision and the Moog producing nervous riffs in the background; the mellotron contributes vigorously to the gothic and praying atmosphere, while the bass and drums proceed with exceptional skill on the crossed embroidery of the keyboards.

The album is in my opinion splendid; the technical ability of the musicians is amazing, yet Greenslade and Lawson do not let themselves be carried away by cloying virtuosity. The amalgamation of all the instruments is perfect, the absence of the guitar is absolutely filled, the work of the bass soloist is excellent. In addition, emotions are certainly not lacking, especially in the longer songs: the epic theme of Melange is one of those that remain forever. Also beautiful is the cover of the great Roger Dean, a great progressive graphic designer, who gives a fantastic and legendary touch to a small masterpiece hidden among the immense labyrinths of prog.

 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.53 | 210 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by prog_traveller!!

4 stars Greenslade albums are primarily characterized by harmony: between acoustic and electrical parts, between progressive folk and rock, between songs and instrumentals. This, coupled with a strange friendliness of the music, makes the band's albums so likeable without them drifting into beautiful sound or empty courtesy. The strange and particular thing about this band is the presence of two keyboard players and the lack of the guitar, this amalgam therefore is able to offer very intriguing musical solutions. Their musical proposal is based on a very compact and classic progressive, which develops and rises on the compositions of the two virtuoso keyboardists (soft keyboard sounds, organ, strings, piano dominate, here and there counteracted by light jazz colorations) and on the dynamic work of Reeves' bass, fundamental and quite decisive in keeping the instrumental balance of the compositions(powerful but never muscular bass playing, who now and then even takes the liberty of taking on the main melody or playing solos).

The first album, "Greenslade", sees the light in 1973 and for many it is considered their best one. An album with few weaknesses, where the tempo changes, the seductive keyboards and the dominance of moog and mellotron stand majestically in the song structure. The following year Greenslade released the album that I want to present to you, "Bedside Manners Are Extra", a work that does not differ much from the debut of the previous year. The disc opens with the title track that plunges us into a soft atmosphere created by Dave Greenslade's piano, but from the following "Pilgrim Progress", more lively dynamics are unleashed for one of the most enthralling and successful pieces. It then continues with Drum Folk, a long and shady song with a long drum solo by Andy Mc Cullogh in the middle. Then we arrive at the end of the disc with Sunkissed You 're Not, which acts as a forerunner for the effective conclusion entrusted to Chalkhill, with the electric piano in great evidence and a very accelerated grand finale of strong jazz brand.

To further embellish the work is the cover designed and created by the great Roger Dean, who for over thirty years has collaborated with the best known names in the musical world, from Yes to Asia, just to name a few. Greenslade, before the dissolution in 1976, recorded two other excellent records, "Spyglass Guest" in 1974 and "Time And Tide" in 1975.

 Greenslade by GREENSLADE album cover Studio Album, 1973
3.63 | 241 ratings

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Greenslade
Greenslade Symphonic Prog

Review by Psychedelic Paul

4 stars The English band GREENSLADE are named after their founder and keyboard player, Dave Greenslade (born 1943). Greenslade sounds like an ideal name for a Prog-Rock band, conjuring up images of magical castles, occupied by fairies, elves & goblins. It's handy to have a proggy-sounding surname if you're going to name the band after yourself. It's a good thing Dave Greenslade wasn't named Smith, Brown or Jones. Dave Greenslade and the bass player Tony Reeves had previously been members of the Jazz-Rock band Colosseum. This album is the first of four albums released in the 1970's. The self-titled "Greenslade (1973) album was quickly followed by " Bedside Manners Are Extra" (1973), "Spyglass Guest" (1974) & "Time & Tide (1975). A comeback album "Large Afternoon" was released in the year 2000. Dave Greenslade also released five solo albums between the years of 1976 and 2011. The fantasy artwork for the "Greenslade" album was designed by renowned album cover artist Roger Dean. All but one of Greenslade's albums featured the familiar figure of the Greenslade wizard on the album cover.

The album takes flight with "Feathered Friends". Is it a bird, is it a plane? No, it's a bluesy Jazz-Rock number. If you listen carefully, you can hear the mellifluous sound of a Mellotron in the background, which comes as no surprise, when Greenslade are often referred to as a Mellotron band, alongside other melodic Prog-Rock luminaries such as The Moody Blues, Barclay James Harvest and Genesis. Next up is "An English Western". What's it all about you may well ask. Well, it's impossible to say, because it's a bright and breezy, proggy instrumental with not a cowboy or indian in sight. And now we come across a "Drowning Man", a sad lament, which is only to be expected with a song title like "Drowning Man". Although we may have arrived too late to save him, the music is saved by some uplifting and rousing keyboard virtuosity from Dave Greenslade. "Temple Song" closes Side One. We're getting all flowery with this pleasing little Jazz-Rock ditty, as these lyrics reveal:- "See the flowers in the garden, All the petals there are falling, falling, falling." ..... This charming song sounds as English as, well..... an English country garden!

Side Two opens with "Melange", which IS a bit of a melange, which can't be a bad thing as variety is the spice of life, or so we're told. It's seven and a half minutes of Jazzy prog, underlaid with the gorgeous sound of the Mellotron, so relax and enjoy "Melange", while you eat a blancmange. Onto the penultimate and sixth song on the album now with "What Are You Doin' to Me", a rollicking, rock & rolling, Jazz-Rock barnstormer of a song. The album is brought to a radiant close now with "Sundance", the stunning highlight of the album. At nearly nine minutes long, it's the longest song on the album, which gives Dave Greenslade time to really get into his element and let loose with some very impressive keyboard dexterity. Take it away Dave!

If you're in the mood for some melodic and Jazzy prog, imbued with the mellifluous and hauntingly beautiful sound of the Mellotron, then "Greenslade" might be just the album you're looking for. It's a worthy addition to the progosphere and after listening to this first album, you may be inspired to check out Greenslade's later albums too!

 Time And Tide by GREENSLADE album cover Studio Album, 1975
2.98 | 129 ratings

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Time And Tide
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

3 stars This album is often linked with 'Bedside Manners Are Extra', which always seems strange to me as there was an album in between the two, 'Spyglass Guest', but given this again shows the man with many arms it is probably due to the artwork and not the music. 'Spyglass' was the last to feature the original line-up as bassist Tony Reeves left to pursue a career in production and was replaced by session guitarist Martin Briley. The new line-up didn't last long though, and 'Time and Tide' was to be the last album from Greenslade for more than twenty years. Dave formed a new version of the band at the turn of the century with Tony back on board, and keyboard player/vocalist John Young and drummer Chris Cozens. 'Time and Tide' has always felt to me to be of a band in flux, no longer really sure of direction, where they were going and what they wanted to achieve.

Greenslade (the man) was working more on his own, while some of the songs with vocals seem very at odds with what the band had been playing previously. "Waltz For A Fallen Idol" could have been produced for Rod Stewart, and it certainly doesn't seem like a Greenslade track at all. The backing vocals and falsetto just doesn't make sense at all, and the use of electric guitar also shows a band moving further away from their roots. Of all of the original Greenslade albums, this is the one I play least as while there are some delights to be heard, they are mixed with others which I can gladly skip.

This is the Esoteric reissue, which means there are some additional songs on the CD, one a single edit of "Catalan" while the other is a B-side. But we also have another disc, a Swedish Radio show which was recorded in March 1975, prior to the release of the album, and given this contains songs from other albums as well, this is the one I have been playing most. Opener "Pilgrim's Progress" is still a powerful, dramatic number and one can only wonder what would have come of the band if they had stayed together for another album. With an essay from Malcolm Dome inside, this is yet another powerful reissue from Esoteric, but it just doesn't have the punch and panache of 'Bedside Manners'.

 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.53 | 210 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

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.

 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.53 | 210 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by Matti
Prog Reviewer

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 3 stars.

 Catalan by GREENSLADE album cover Singles/EPs/Fan Club/Promo, 1975
2.14 | 2 ratings

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Catalan
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars "Bona Nit"

Catalan was released as a single in 1975 to promote the Time and Tide album. The single version of Catalan is an edit with a running time of 3:52 compared to the album version's 5:06. The edited version appears on CD for the first time as a bonus track on the 2019 Esoteric Recordings re-issue of Time and Tide. Given that it was always the instrumentals that stood out on Greenslade's albums, it was a good and brave choice to pick an instrumental for release as a single. And Catalan works well as a single a-side.

With Catalan representing the instrumental side of Greenslade, the vocal side of the band is represented by Animal Farm, which is the b-side on this single. Not a bad single, but it adds little of value to the album.

 Gangsters by GREENSLADE album cover Singles/EPs/Fan Club/Promo, 1976
3.10 | 2 ratings

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Gangsters
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars Play for Today

Gangsters is an instrumental written by Dave Greenslade for the BBC TV series of the same name which began life as an edition of Play for Today in 1975. The tune was also included on the Greenslade album Time and Tide in the same year, and in 1976 it was released as a single. (There is also a version with vocals by Chris Farlowe that was used in the third series).

The b-side of the single is a non-album track called Rubber Face & Lonely Eyes. This is also an instrumental, and though not as strong as Gangsters itself, works very well as a partner track. It is a very rare track, appearing on CD for the first time as a bonus track on the 2019 Esoteric Recordings re-issue of Time and Tide that came out only last week. In the CD booklet, it is explained that Rubber Face & Lonely Eyes too was done for the Gangsters series.

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