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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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Bedside Manners Are ExtraBedside Manners Are Extra
Esoteric 2018
$18.32
$18.59 (used)
GreensladeGreenslade
Esoteric 2018
$18.43
$73.09 (used)
Spyglass GuestSpyglass Guest
Esoteric 2018
$12.91
$15.97 (used)
Time & TideTime & Tide
Esoteric 2019
$12.61
$17.93 (used)
The Full Edition, Live 2001The Full Edition, Live 2001
Angel Air Records 2004
$11.12
$8.90 (used)
Greenslade / Bedside Manners Are ExtraGreenslade / Bedside Manners Are Extra
Edsel Records UK 2011
$280.00
$33.58 (used)
Live In Stockholm - March 10th, 1975Live In Stockholm - March 10th, 1975
Cleopatra 2013
$11.99
$12.59 (used)
Spyglass Guest/Time & TideSpyglass Guest/Time & Tide
Edsel Records UK 2011
$83.18
$21.25 (used)
Right Now on Ebay (logo)
Fiddler On The Roof QUADRAPHONIC SQ Hollywood Pops Arthur Greenslade QL-6765 USD $13.55 [0 bids]
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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)

3.61 | 215 ratings
Greenslade
1973
3.51 | 190 ratings
Bedside Manners Are Extra
1973
3.30 | 128 ratings
Spyglass Guest
1974
2.95 | 117 ratings
Time And Tide
1975
2.30 | 44 ratings
Large Afternoon
2000

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

4.11 | 35 ratings
Live 1973-75
2000
4.11 | 16 ratings
Live 2001 - The Full Edition
2002
3.31 | 10 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)

3.29 | 5 ratings
Shades Of Green 1972 - 1975
1997
4.29 | 7 ratings
Feathered Friends
2006
2.57 | 9 ratings
Spyglass Guest & Time and Tide
2011

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

4.33 | 3 ratings
Temple Song
1973
2.00 | 1 ratings
Catalan
1975
3.00 | 1 ratings
Gangsters
1976
5.00 | 2 ratings
BBC On The Air
1999

GREENSLADE Reviews


Showing last 10 reviews only
 Time And Tide by GREENSLADE album cover Studio Album, 1975
2.95 | 117 ratings

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Time And Tide
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Team

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
3.51 | 190 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by kev rowland
Special Collaborator Crossover Team

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
3.51 | 190 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 3½ stars.

 Catalan by GREENSLADE album cover Singles/EPs/Fan Club/Promo, 1975
2.00 | 1 ratings

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Catalan
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
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
3.00 | 1 ratings

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Gangsters
Greenslade Symphonic Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
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.

 Time And Tide by GREENSLADE album cover Studio Album, 1975
2.95 | 117 ratings

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Time And Tide
Greenslade Symphonic Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

3 stars And now we have reached the ending for Greenslade as a band in the 70's. Ït was a very intense and exciting journey, providing the prog community with many a gem. Unfortunately we are not leaving Greenslade on a high, looking out over a flourishing civilization. We are, rather, leaving them in some sort of nadir. Wait, I don't mean that they didn't leave us trinkets of worth on "Time and tide", beacuse they did, but the pickninck basket is largely comprised of stale bread and too little sustenance.

There is an understandable and often wise notion to kick off an album with a song that truly packs a punch. I mean, you want to make a statement, no? Sad to say the statement delivered by Greenslade by way of "Animal farm" makes me wave my arms in the air leave us bot in total disagreement. This is simply a horn heavy rock'n'roll song of the kind that leaves my face looking odd from the displeasure I am experiencing. What happened, I wonder. "Newsworth" holds some worth but it's not a fantastic song. "Time" is a short piece, only 1 minute and 15 seconds, but is a small treat. A choir over a cembalo (is it?). Really nice and the next track "Tide" is also wonderful with it's high level of mellotron. And then we recognise Greenslade. They're back with a playful instrumental called "Catalan". This one is probably the best track on the album. Sorry to say the band makes a skip back to the beginning and decide to "rock out" on the pub rock groove of "The flattery stakes". Not very effective. I think "Waltz for a fallen idol" is an okay ballad, "The ass's ears" quite a powerful track partially reminding me of Quatermass and this one I like. "Doldrums" is an atmospheric ballad-y sort of song and works alright with me. The ending "Gangsters" is quite charming little piece with great keyboard sounds and quite a drive.

When the song is over and the album has ceased it's spinning and I'm sitting there, I wonder: What the hell did I just listen to? Well, I listened to an album of sometime reasonably good and accessible prog (albeit with a good dose of pop), a few really misplaced rock songs and a couple of really talented progressive songs. If I was to direct someone through the best pieces on the smorgasbord there aren't very many courses to recommend. "Time" and "Tide", obviously, and "Catalan" are well worth trying. Those are really nice pieces. There are a few other bits and pieces I find tantalizing but overall this is quite a bland, a bit tired and only partially inspired album. I find that quite sad considering that "Spyglass guest" that came before was such an inspired affair. I suppose every band and member there of have their limits. In 1973 they released two abnormally great albums, followed by a third equally brilliant record in 1974. If the well ran a bit dry after that or the bucket just seemed to be full of holes, draining the inspiration out, I can understand that. "Time and tide" isn't a complete loss, not a total disaster. When the critique has been aired what remains is a partially charming, sometime great and occasionally bland album with a stunning cover. "Time and tide" is not the place to start when discovering Greenslade, it's the place where you end up after devouring the brilliance of the first three albums. My rating lands on three stars but I would rather call it "okay" than "good".

 Spyglass Guest by GREENSLADE album cover Studio Album, 1974
3.30 | 128 ratings

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Spyglass Guest
Greenslade Symphonic Prog

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars It must be said that I fully understand the sometime dislike and difficulty some people have with the music of Greenslade. I have been there myself. My reltionship with the band have been a long, sometimes ardous, journey. At 21 I got myself "Bedside manners are extra" and failed utterly at understanding what I heard. So, I put the band on hold for a period of five years before buying "Greenslade", the debut. I fell in love with "Feathered friends" but cared less for the remainder of the album. Yet again Greenslade was put on hold and kept outside in the waiting room expecting to be called back in again. This never happened. The re-visitation was always postponed and seemed almost to be an unlikely event. However, after a couple of years something changed. They got called back in for a rendez-vous and chat, this time about their third album "Spyglass guest". Did we click? I dare say we did. Big time. There are those openings in time and space where everything just seems to fall into place. With "Spyglass guest" this window was flung open and yes, there was love in the air. After that I came to love also the first two albums without any reservations.

Greenslade was always a very fullbodied group, soundwise. For the two first albums they had skipped the position as guitarist and instead gone for the straight keyboard approach but on "Spyglass guest" they (at least partially) filled the spot for the six string. Clem Clemson entered and the sound was enlarged, rather than enriched. (Seeing they already filled the soundscape to the max, as I have already stated, just by using keyboards.)

The album is very warm and inviting. Lush and majestic keyboards, gorgeous vocal harmonies and interesting ideas makes this album a very enjoyable experience. It goes through so many genres and nods to musical fancies one stands amazed. The music of Greenslade was always playful and "Spirit of the dance", the opener, is just that. A very playful, almost classical, piece that sets the mode and tone of the album. It is a lovely piece that gallops away and shifts direction and pace through it's five minute duration. The follow up, "Little red fry-up", is a nod to jazz-rock and is quintessentially british in every sense. "Rainbow" is a lovely little thing starting with the presence of thunderous rain and ominous keyboards but is soon transformed into a beautiful ballad-y sort of song. Wonderful vocal harmonies! Brilliant. "Siam seesaw" sees Greenslade rock out a bit and it is a number high in energy and works so well as contrast to "Rainbow" and the next and longest track, "Joie de vivre". This 8 minutes and 30 seconds long opus is the best piece on the album and is quite extraordinary. My only complaint is that the opening chords reminds me a bit too much of "Stand by me", made famous by (among others) the soulsinger Ben E. King. But that is soon over and done with, when a very british sounding melody enters with the whole band adding texture and layers of wonderful music. Just lean back and enjoy. This is masterclass and brilliance in a nutshell. "Red light" is a jazzy, very groovy piece that is followed by "Melancholic race". The latter is a brilliant example of exquisite jazz rock that goes from smooth and soothing to high energy excursions. The last piece is the least interesting and in my opinion the only track that feels out of place. I love "Theme from an imaginary western" but it had and has been done better by others, ironically enough by Colosseum. It's not bad but it's not great either. It's okay and I thank God it comes last, to avoid it crashing the party and disrupting the enormous flow of the album.

I could argue that this album is flawless and I could have held that position come rain or snow, had it not been for "Theme for an imaginary western". It seems out of place. Apparently the band had other material, penned by members of the group, ready for recording but as it all played out they went for this cover song, funnily the only cover the band recorded. But, enough of that. "Spyglass guest" is a wonderful, very british sounding, playful, joyful, adventurous, exciting, fun, highly accomplished, creative, complex, accessible and loving album. One of my favorites, actually, and just as good as the previous efforts. If this sounds thrilling, do treat yourself to a great sitting that lasts a mere 39 minutes but that is a sitting that will keep you amused and leave you with a smile on your face.

 Bedside Manners Are Extra by GREENSLADE album cover Studio Album, 1973
3.51 | 190 ratings

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Bedside Manners Are Extra
Greenslade Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

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.

 Time And Tide by GREENSLADE album cover Studio Album, 1975
2.95 | 117 ratings

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Time And Tide
Greenslade Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

2 stars A friend who worked as DJ in a local radio station always got new releases and gently borrowed some to this young, penniless teenager (yes, me). In 1975 one of the LPs I got was Greenslades Time and Tide. And although I tried very hard to like it at the time I was 15, I remember I did not. 40 years after the fact I am now listening to this album again, in a vain attempt to change this view. There were the first line up changes, with the departure of original bassist Tony Reeves, replaced by the equally competent Martin Briley, who also plays some guitar solos. But the problem with this group remains the same as ever: excellent musicians and weak compositions, plus sometimes unimaginative arrangements, even if some bits are really tasteful.

It seems to me that Greenslade tried hard here to sound both more rocking and commercial. Maybe the fact that other double keyboards bands were gaining some degree of success that Greenslade was not, like Supertramp, served as an example to be followed, I don´t know. But I do get the feeling they were trying to sound like Supertramp in some ways (just listen to The Flattery Stakes). Of course it didn´t work. In fact, this CD seldom works. And it is no wonder this would be their last album until some 25 years later. To be fair, not everything here is a waste: The trio of instrumentals (Time, Tide and Catalan) are the best tracks and sounds good put together like a mini suite. Also there are some instrumental breaks where those beautiful combinations of vintage keyboards and excellent rhythm section bring the best of them. But Dave Lawson´s often histrionic vocals ruin it all (he seems to be imitating Geddy Lee from Rush, get the picture?).

Time and Tide is surely Greenslade least interesting album of the 70´s. And considering that they did not exactly took the world by storm in any way, take these words as a warning. If you´re into their first trio of LPs then you should check this out. If you don´t get those first before tackling this one. Because Time And Time is definitely for fans and collectors.

Rating::2 stars.

 Large Afternoon by GREENSLADE album cover Studio Album, 2000
2.30 | 44 ratings

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Large Afternoon
Greenslade Symphonic Prog

Review by Tarcisio Moura
Prog Reviewer

2 stars I should warn everybody that the only reason I got this CD is because a friend at Prog Brazil raved about it. I was thinking to myself that maybe, after 25 years since their last album, this band could come up with something really interesting. Well, only half of the original band is here: Dave Greenslade himself on keyboards,of course, and Tony Reeves on bass, plus newcomers John Young (former Asia member) taking up the place of Dave Lawson on vocals and keyboards, and Chris Cozens substituting Andrew McCulloch on drums. But upon listening to Large Afternoon all you get is the same as before: the musicians are excellent, but songwriting is simply dull.

Worse still is the fact that what was the best feature on all early Greenslades albums (i.e. the vast array of very organic keyboards like Hammond organ, Fender Rhodes electric piano and mini moog) was replaced by very cheese synthesizers. It sounds more like an 80´s recording than a new millennium CD, with such mediocre timbres. The production does not help things much either. As usual with Greenslade the songs themselves are not really bad: they have some nice melodies here and there, but nothing that really stands. Several tracks, like the opener Cakewalk do have an interesting beginning and a kind of build up that unfortunately goes nowhere. Anthem is the best track on the whole album: it does have the closest of a memorable melody line and an accordion-like solo that is quite moving, but really that can not sustain a whole album.

Conclusion: it is no wonder why Greenslade never really made it. They had the techinique but not the songwriting skills necessary to make them stand out. It certainly did not change my opinion about this band. I wonder what my friend saw about Large Afternoon. I can only recommend this one for hardcore fans and collectors. And this is certainly NOT the album for the newbie.

Rating: 2 stars.

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