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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 : : :
Fan & official Prog Archives collaborator

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The Birthday Album: Live Switzerland 1974The Birthday Album: Live Switzerland 1974
Angel Air 2016
Audio CD$7.59
$6.48 (used)
Live In Stockholm - March 10th, 1975Live In Stockholm - March 10th, 1975
Cleopatra 2013
Audio CD$8.49
$10.46 (used)
Spyglass Guest / Time and TideSpyglass Guest / Time and Tide
Edsel Records UK 2011
Audio CD$5.58
$14.98 (used)
Greenslade & Bedside Manners Are Extra - GreensladeGreenslade & Bedside Manners Are Extra - Greenslade
Audio CD$16.84
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Bedside Manners Are ExtraBedside Manners Are Extra
Wounded Bird Records 2006
Audio CD$14.99
$3.87 (used)
Warner Music
Audio CD$3.10
$1.98 (used)
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GREENSLADE discography

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

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

3.56 | 176 ratings
3.45 | 154 ratings
Bedside Manners Are Extra
3.22 | 99 ratings
Spyglass Guest
2.97 | 89 ratings
Time and Tide
2.26 | 30 ratings
Large Afternoon

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

4.06 | 25 ratings
Live 1973-75
3.80 | 13 ratings
Live 2001 - The Full Edition
3.08 | 6 ratings
Live In Stockholm - March 10th, 1975

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

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

3.00 | 3 ratings
Shades Of Green 1972 - 1975
4.00 | 5 ratings
Feathered Friends
2.38 | 5 ratings
Spyglass Guest & Time and Tide

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

3.00 | 1 ratings
Temple Song
5.00 | 2 ratings
BBC On The Air


Showing last 10 reviews only
 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.45 | 154 ratings

Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by cfergmusic1

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 previous review, but months of touring and rehearsing for this album must have given them some different ideas. Obviously it didn't take long for these guys to develop their sound into something unique, which is not unexpected considering the pedigree of all the musicians involved.

The title track, which is deservedly a fan favorite, is a good example of Greenslade streamlining their sound and eliminating the clutter that sometimes found its way into their compositions. It's a gentle, pop-prog ballad, backed mostly by Lawson's acoustic piano, which avoids sentimentality through the use of several logical key modulations throughout. This is one of the few band tunes where both DG and Lawson have a turn at solos; the first solo section about halfway through features DG's very tremolo-ed Wurlitzer, and the reprise of that section, under McCartney-esque backing vocals, gives Lawson a turn on his yawning, nasal ARP Soloist. (There's no rundown of who plays what, but I think it's safe to assume that DG's and Lawson's keyboard setups remained much the same throughout the band's existence.) Elements of the softer, more melodic side of prog (notably Supertramp) can be found here with good results.

"Pilgrim's Progress" is perhaps the group's definitive instrumental, introduced by Mellotron and eventually giving way to a synth theme that signals the quick shuffle groove that takes up most of the track. In fact, several of Greenslade's most recognizable themes can be found here, alternating between loud and soft, fast and slow, easy and hard listening; remarkably, they are all well developed and the 7-minute track generally does not outstay its welcome. This reminds me of the sort of thing that Styx tried and failed to do for most of their career (in other words, much better musically than DeYoung and crew).

"Time to Dream" is a more straightforward (by Greenslade standards) rock number to close out side one. Strange Tron pads and oblique chord movement outline some of Lawson's more fantastical lyrics, and he also gets to play around with his ARP in the middle, but not before DG's own solo on Rhodes. After some stops and starts, the piece finally ends with some huge keyboard cadences (they just couldn't help themselves).

"Drum Folk," which opens up side two, is sort of the cousin of "Melange" from Greenslade's debut, only this time there's a drum solo instead of bass?and not only that, there's two of them (uh-oh!). Once again, the actual themes are wonderful (including one quick march-like number near the beginning that reminds me of "Karn Evil 9, 3rd Impression"); however, as you've probably guessed, I'm not a huge fan of in-studio drum solos unless they're purely in the jazz realm. I'm still not sure why there needed to be two on the record, let alone the single track, but at least they're short, possibly due to after-the-fact editing. Also, DG sure likes using wah-wah pedal on his RMI, doesn't he? Ah, the 70s.

Thankfully we're back to more palatable territory with "Sunkissed You're Not," another fan fave which shows the band getting down and funky with their bad selves (in 5/4, no less). This one sounds more jazzy than most of the band's oeuvre, highlighted by Lawson's best ever lyrics for the band and a crackling Wurly solo from DG that builds to a very satisfying climax and eventually calms down for the final verses. (Ironic that my favorite tracks in the early days of this band were written entirely by Lawson and not the band's namesake.)

"Chalkhill" is the album-closing instrumental, much in the same vein as "Pilgrim's Progress" but not quite as memorable until the second half, with some great Hammond from DG and a recurring line underneath, played on ARP synth tones that almost predate techno music, some 20 odd years later. The piece ends pleasantly, with Lawson's acoustic piano riding out a gentle ballad theme with DG's Rhodes in the background.

Despite the best songs here being highlights of Greenslade's career in general, and the fact that they didn't just make the debut album over again, the rest of it doesn't exactly measure up quality-wise, and so I've rated it slightly lower than the debut which is more consistent overall. Prog fans will still find plenty to like, though, so make this the second album you hear from this band (after the debut, of course). 3.5 stars out of 5.

P.S. Anyone else get the impression that the black panther on the back cover was pretty much recycled for Yes' Drama album 7 years later? Oh, Roger Dean, you sly fox, you.

 Greenslade by GREENSLADE album cover Studio Album, 1973
3.56 | 176 ratings

Greenslade Symphonic Prog

Review by cfergmusic1

4 stars Greenslade was one of the few members of that prickliest of musical aggregations, the prog supergroup (a club which also included ELP and, later on, Asia and GTR). The band's namesake and de facto leader, Dave Greenslade (who I will call DG to avoid confusion), and bassist Tony Reeves both came from Colosseum, 2nd keyboardist and lead singer Dave Lawson was a veteran of the Web and Samurai, and drummer Andy McCulloch was in King Crimson for about five minutes, by which I mean his only credit with Fripp & Co. was the Lizard album from 1971. (Funny how a lot of KC alumni go on to join other bands or form their own.) In any event, the combination that grew out of the players' distinct "jazz-ical" influences was a smooth, somewhat perky two-keyboard sound not unlike the earlier Procol Harum, which also carved out its own little prog niche in the process. (In case you're wondering, DG plays most of the keys including organ, electric piano, Mellotron and clavinet, while Lawson handles the acoustic piano and synth work.)

Probably the main source of people's curiosity about this group (including myself) is the Roger Dean covers on almost every album and accompanying Yes font for the band logo. How well does that translate to the music? Well, sub-consciously or not, I get a very strong Rick Wakeman vibe from this record in particular. DG's slightly grungy Hammond and RMI electric piano remind me of Six Wives in a number of respects, while the Mellotron (of which there is plenty in this band) is redolent of the caped Yes-man's best work on CTTE or Tales. In addition, Reeves' bass work and tone is at times strangely similar to Chris Squire (was he using a Rickenbacker as well?), while McCulloch has the feeling of how Bill Bruford might have sounded if he hadn't left Yes and that band had also kept making Fragile-type albums for another couple of years. For all the quirkier Yes influences they exhibit (instrumentally at least), the band admirably avoids sounding like Starcastle or any other band of that ilk.

"Feathered Friends" gets things off to a rocking start with bluesy Hammond from DG and a solid beat from McCulloch before shifting gears into atmospheric ballad mode. The song proper is taken over vocally by Lawson (who by the way sounds nothing like Jon Anderson, even though he certainly has the range) who sings about? nothing in particular, as far as I can tell. Lawson's vocals are a bit of an acquired taste, although he will have one or two great moments later on. Admirably, the two keyboardists complement each other very well throughout the album, and the lack of a guitar is never noticed.

"An English Western" is the first instrumental of the album, a bit more energetic than most of the previous track. A good portion of it sounds as though Keith Emerson hijacked the session (maybe that's why I love it so?). One of the really cool aspects of this tune is the way that the eighth-note beat is added to or subtracted in certain points, so one could conceivably tap their foot and not lose their place when the opening section repeats (to quote legendary jazz guitarist Jim Hall, "trust means never having to say you're sorry"). Great track, although the random Mellotron chord at the very end didn't really need to be there.

"Drowning Man" is mostly a ballad, starting off with low vocals and rich-sounding Mellotron cellos?actually reminding me somewhat of early Genesis. The minor mode of the first minute gives way to a major-key slow waltz that actually enters chorale/hymn territory in the third verse, before the faster instrumental section which develops themes from the verse sections. DG has most of the solo spotlight here although I think I also hear a bit of Lawson's synth during this part of the tune. Good stuff, in any case.

"Temple Song" has a sort of lounge-jazz feel to it due to McCulloch's vibes doubling the vocal melody, as well as other assorted percussion throughout. It's a dreamy, lilting detour which serves as a nice comedown from the previous tracks. DG also gets to stretch out a bit on Fender Rhodes, which may be doubling the vibes with a tremolo effect in other places. Nice way to close out the first side.

"Melange" happens to be the very first Greenslade track I heard, right here on ProgArchives; this was the track that reminded me of Wakeman and led me to explore this group further. (Hey, if you enjoy the work of a certain band or musician, doesn't it make sense to seek out the people they may or may not have inspired?) In, I guess, typical Greenslade fashion, this one alternates between rocking sections and more atmospheric passages, with interest added by a Reeves bass solo (he gets a partial writing credit here, his only one on the album)?until it becomes apparent that said bass solo lasts for the majority of the track's length and isn't terribly interesting (something I didn't realize originally upon hearing the first two minutes of the tune). The bouncy, Bacharach-esque section about halfway through sounds nice, though.

"What Are You Doin' to Me" may be my favorite track here. Lawson is the sole writer credited, and he gives it his all on this one, with easily his most impassioned vocals on the album. (Must have been teed off about a bad relationship when he wrote it.) The music reflects the struggle in the lyrics as well, alternating from a 12/8 Hammond pattern to a slower jazz-rock section to some of the darkest Mellotron passages I've heard yet from any group. Somehow it all works.

The final track, "Sundance," is also the longest and apparently the one that went through the most changes in live performance, if certain archival performances are to be trusted. It's a rather meandering instrumental, with several really nice themes throughout; unfortunately, it seems to end somewhat abruptly after 8 1/2 minutes, as if the band couldn't think of a way to tie it all together. DG once again gets some nice licks in to close out the proceedings.

My verdict? Well, with a band like Greenslade, it's difficult to point to any one album as being representative because they changed their sound seemingly with every album. Most people point to this and the follow-up, Bedside Manners Are Extra (whatever that means), as generally being the best ones, and it's pretty hard to argue with that. Having said that, this band/album will mostly appeal to keyboard freaks such as myself, since a band with lots of keys and no guitars may be tough to take for some. If you have a craving to hear more obscure prog bands such as this, I recommend starting with the debut and, if you like it, working your way forward through their discography. 4 stars out of 5.

 Spyglass Guest by GREENSLADE album cover Studio Album, 1974
3.22 | 99 ratings

Spyglass Guest
Greenslade Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars What a charming little band Greenslade were! Not exactly the coolest of prog bands (Ha, as if there has even been such a thing!), there's a slightly daggy appeal to Greenslade and their mostly upbeat, infectious and proudly melodic duel keyboard player dominated music. Very easy to listen to and enjoy, full of colourful and joyful instrumental runs and quirky vocal numbers, their third album, 1974's `Spyglass Guest', is not quite as successful as the previous albums, but there's still plenty of undemanding and tastefully played adventurous rock music to discover. Perhaps the song-writing on the vocal pieces isn't as strong or catchy this time around, but the instrumental passages and overall great playing makes it another worthy addition to their run of very decent albums from their vintage 70's peak period.

Opening instrumental `Spirit of the Dance' couldn't be more appropriately titled, because the energetic synth duellings full of movement of Dave Greenslade and Dave Lawson couldn't be more dance-like! A cute keyboard jig with playful Moog spirals, light Mellotron flecks (pretty sure the 'Tron is actually singing in the final minute too!) and glistening electric piano with Andrew Mculloch's urgent snappy drumming, it's almost like a more peppy version of those rollicking Genesis and P.F.M numbers in parts. Odd jazz/fusion groover `Little Red Fry-Up' is almost comical with a variety of loopy vocals with lightly naughty grooves worked through slinking bass, tinkling electric piano and bluesy electric guitar wailing. The slightly melancholic `Rainbow' is full of mystery, eerie electronic drones, ambient synths and creeping electric piano with sighing group harmonies. `Siam Seesaw' might have one of the loveliest and most romantic melodies on any Greenslade album, drowsy acoustic guitar and dazzling harpsichord weaving blissfully together with humming bass and dreamy electric piano.

The almost nine minute symphonic piece `Joie de Vivre' turns out to be quite a jaunty tune, with many frequently whimsical moments driven by stirring violin and joyous keyboard soloing that wouldn't have sounded out of place on any of the mid 70's Caravan albums. `Red Light' is a brief somewhat silly vocal/electric piano piece that appears to be about a prostitute or an obsession with a cheater partner - maybe both! `Melancholic Race' doesn't really develop too well, jumping around from nice sweeping Mellotron fanfare, strolling electric piano walkabouts and outright jazz/fusion rupturing bass explosions. It's a whole mess of ideas, but a glorious and addictive tasty mess all the same! The album closes on a fairly plodding yet smooth cover of Jack Bruce's `Theme For An Imaginary Western', let down by a scratchy endless Lawson vocal that pushes the friendship, but at least Tony Reeves' lovely murmuring bass lifts it slightly higher.

Greenslade remind me of a band like Fruupp in that they released a run of quality albums in their vintage prime and got out before the rot of too much commercial pressure and the changing musical taste of the public led them to making really sub-standard albums. `Spyglass Guest' may not be the most challenging or important prog album, but there's still so much to enjoy about it, performed by a first-rate bunch of musicians, and it probably works best as a pleasing background listen.

Three stars.

 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.45 | 154 ratings

Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

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.

 Large Afternoon by GREENSLADE album cover Studio Album, 2000
2.26 | 30 ratings

Large Afternoon
Greenslade Symphonic Prog

Review by Gatot
Special Collaborator Honorary Collaborator

2 stars Those who like the band in the seventies would definitely regret with this reunion studio album in 2000. In 2000, Greenslade and Reeves, after considering a full-blown reunion of the original line-up, teamed up with vocalist/keyboardist John Young, and recorded a new Greenslade studio album: Large Afternoon. But unfortunately this album lacks its fundamentals in composing good music where the melody must be crafted carefully and then all the instruments must then be combined together to build good arrangement of the music. The gentlemen here were not sure about what kind of music identity they wanted to pursue. You would not find any unique music like Time and Tide or Bedside Manners are Extra that were excellent during their seventies golden period. This new album is really boring and it's not worth listening at all. It comprises only keyboard work and vocal that do not flow with good melody nor good composition. It's not recommended at all to anyone to own this piece of album. This might be worth for hard core fans who want to complete their collection.

Peace on earth and mercy mild - GW

 Live In Stockholm - March 10th, 1975 by GREENSLADE album cover Live, 2013
3.08 | 6 ratings

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

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

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.

 Large Afternoon by GREENSLADE album cover Studio Album, 2000
2.26 | 30 ratings

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.

 Live 2001 - The Full Edition by GREENSLADE album cover Live, 2002
3.80 | 13 ratings

Live 2001 - The Full Edition
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

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

 Time and Tide by GREENSLADE album cover Studio Album, 1975
2.97 | 89 ratings

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.
 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.45 | 154 ratings

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.
Thanks to ProgLucky for the artist addition. and to easy livin for the last updates

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