Aside from Roger Dean’s iconic cover illustrations, Greenslade weren’t like most prog brands of the 1970s. Keyboardist Dave Greenslade and bassist Tony Reeves formed the quartet in 1972 after leaving jazz-rock outfit Colosseum. Eschewing guitars, they hired Samurai’s Dave Lawson as a second keyboardist, and former Manfred Mann drummer Andrew McCulloch (he also played on King Crimson’s Lizard). The band’s approach utilized typical knotty, stop-and-start cadences, and key and tempo changes, but those are only a few elements in their complex soundscape. The rest of Greenslade’s sound reflected a penchant for catchy melodies derived from pop, jazz, classical, and folk. Keyboardist Lawson spent years backing singers including Bing Crosby and Peggy Lee.
Greenslade, Reeves, and
McCulloch came up in the British blues and jump R&B bands of the
early 1960s. The remastered albums in this box mark their four studio
outings: 1972’s Greenslade, 1973’s Bedside Manners Are Extra, 1974’s
Spyglass Guest, and 1975’s Time & Tide. 1972’s Greenslade still
reflects the jazz-fusion influence of Colosseum. The textural and tonal
juxtapositions of organ, Mellotrons, synth, and acoustic and electric
pianos frame the gorgeous “Feathered Friends,” while instrumental “An
English Western” weds Morris Dance rhythms to boogie woogie piano, and
set showcase “Sundance” delivers a dazzling prog exercise. Released a
few months later, Bedside Manners Are Extra‘s title track makes use of
the Beatles “Here Comes the Sun King” in the intro and bassline before
moving toward jazz. “Pilgrim’s Progress” is a seven-minute adventure in
layered cadences and key changes; the rhythm section counters with a
punchy R&B shuffle. “Chalk Hill” is sumptuous prog-jazz fusion with
fantastic keyboard soloing and swinging drums. A cover photo in lieu of a
Dean illustration on 1974’s Spyglass Guest hinted at something
different. Due to practical circumstances, Lawson and Greenslade
composed separately for the first time. Opener “Spirit of the Dance” is a
wily, lighthearted prog instrumental. “Rainbow” offers some of the
band’s most elegant pop songwriting. Reeves’ “Siam Seesaw” — with
guitarist Clem Clempson and violinist Graham Smith — initially sounds
like an anime interlude but is transformed into a bluesy jazz groove.
The set closes with a cover of “Theme from an Imaginary Western” that
sounds more like Procol Harum than Greenslade. Reeves left after its
release and was replaced by guitarist/bassist Martin Briley. Time &
Tide (with a Dean cover illustration) reflects the more commercially
viable prog of the day and somewhat marginalizes jazz and classical.
Lawson’s vocals on “Animal Farm” and “Newsworth” are jarring in the
midst of hooky garage prog. “Waltz for a Fallen Idol” sounds like
Supertramp backed by Steely Dan. (It’s great.) “The Ass’s Ears” offers
grandly majestic prog, while closer “Gangsters” gloriously returns
Greenslade to swinging jazz fusion. All four albums have been remastered
from analog source tapes.
